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Stop reading the comic if you can't get past the art.
ONCE A GOBLIN… Norman Osborn may not be the real Spider-Man, but he's the Spider-Man NYC's got. Despite Norman doing his very best to do good, everyone, including Peter Parker's allies, is trying to take him down. And someone or something(s) is hunting GOBLINS…and they're finally ready to spring their terrifying trap!
This is a really solid issue that would stand well on its own even without the context of the wider story arc. It's genuinely enjoyable to see Jonah Jameson and Norman Osborn bond over how infuriating yet deeply likeable their friend Peter Parker is, while also acknowledging how knowing him has pushed them toward becoming better versions of themselves. Read Full Review
Amazing Spider-Man #18 continues Joe Kelly's steady, character-driven run with an issue that leans heavily into Norman Osborn's burden and guilt while quietly setting several powder kegs across the board. Between the Spider-Slayers escalation, Brian's mounting resentment, and the fragile trust forming between Norman and Jameson, this issue works less as a standalone spectacle and more as a crucial piece of a larger, carefully layered story. It's patient, thoughtful Spider-Man storytelling that rewards readers paying attention. Read Full Review
The Amazing Spider-Man#18 is Norman's best issue yet, working to capstone his development throughout these last few issues in a satisfying, albeit predictable, way. With Rodrick Kingsley back on the prowl some solid John Romita Jr. art to back it all up, the issue felt like a classic issue ripped right out of the 2000's, just with a focus on Norman Osborn instead of Peter. Read Full Review
Amazing Spider-Man #18 is by far the best issue of the Earth-based chapters we have been getting with this current series direction. That is not saying a lot since the Earth-side of things has been the weakest part of Amazing Spider-Man. Read Full Review
Amazing Spider-Man #18 asks you to pay five dollars to watch a character who isn't the title character have an emotional breakthrough while a mysterious villain's identity is revealed with all the impact of a secret being whispered in an empty theater. The Jameson and Norman conversation is genuine, but it's buried under pacing that mistakes sprawl for depth and treats five separate storylines like they're chapters of the same book when they're really just pages torn from different comics. Read Full Review
I’ve been highly critical of the ASM editorial and creative teams really since Nick Lowe became editor. However, Joe Kelly has turned things around. Minus the eight deaths of spider man, his run has been very good (trending towards great). We’re back to meaningful dialogue and characterization, use of internal thought balloons/callouts, good story pacing, new characters, etc. I’m excited again about ASM. Nick Lowe deserves some credit for finally righting the ship.
What a way to end Kelly's first year on ASM. Writing for both JJJ and Norman was stellar and I liked all the developments here. Especially the final pages, I did not expect this direction. JRJR's art also worked really well, even if slower paced issues are not his strength as much as more action-focused are.
One could think why I praise this comic, while also dissing USM so often. Even if the problems are the same: "no focus on Peter, no development on his side and overall plot moves slowly".
Difference is: we see Peter again in the next issue and have seen his growth. There are also isn't a month long timeskip to the next issue, where everything this issue focuses on is ignored. And the two major character in this boo more
Plot
Norman Osborn confesses to J. Jonah Jameson and explains his actions to fill the void left by Peter Parker.
Meanwhile, the other Spider-Men try to figure out what to do about Norman Osborn, and a robot is hunting the Green Goblins with deadly force.
Art
John Romita Jr. perfectly captures the dark and somber tone of this situation and incorporates it into the unique visual language he gives Spider-Man. It's a privilege to read comics illustrated by this legend, who is always evolving his art. JRJR always includes one or more splash pages that define the comic. The inverted splash pages are a spectacular retro touch.
Summary
Norman Osborn confesses to J. Jonah Jameson
Art style of JRJR is not for me. The story was fine. I liked the conversation with Norman and Jonah. The goblin slayer stuff really didn't do much for me.
I want to be good again, I really do and this showed the potential that it could’ve but there was a bit of a fumble.
First the art. I don’t like JRJR’s work, but he did a great job on this one. I give credit where it’s due.
The main plot with Norman was great, if that was the whole book it would’ve been an 8 or higher. However, they tried to squeeze too much in. It was like a TV show that keeps jumping around to different plot points but nothings really all that connected. It can be an effective story telling tool in the right scenario but not here, it felt too disjointed.
FIRE ROMITA
I gave .5 because the story is decent, I simply can't enjoy it because my eyes are burning from all the shitty art.
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