Gold Goblin #2 puts pressure on Norman's recovery efforts, much like an addict tempted with his elixir of choice. The character work is intriguing, and the future potential is rife with possibility. Just don't expect much as a Dark Web tie-in, since the event is barely a factor in this issue. Read Full Review

Gold Goblin #2 marks a substantial improvement upon the series' debut as the focus shifts to Norman's perspective and motives without simply stating them repeatedly for readers. Read Full Review

Deconstruction of one Norman Osbourn continues. Doesn't feel like a Dark Web tie-in tho.

I like the more comedic aspects of this issue. It's a nice mix of dark humor and self-loathing. I hope Cantwell keeps up the good work.

I still like it.

This is most interesting Norman has been in a long time. And I like how this is explored. Sure, the costume isn't the best, but it's passable.

Writing here is strong and so is how Norman's character is handled.

While the Dark Web crossover is present here, it doesn't really take anything away from the story. Medina's art continues to fit in with the darker tone of this book, while Cantwell continues to deliver with his scripts. The childhood dog was a great element for Norman to face as well, and I was entertained by the ending confrontation as well. The only thing that drags this down for me just a tad is Jack-o-Lantern, as I don't really have a strong interest in his character as of yet. However, I hope that changes, as I'm certain he'll be returning before this run is over.

Even though I find Norman's psychological torment powerful, I think the author wants it to be profound and operatic and unique, and I wouldn't pile those kind of superlatives on.

I wish the plot were the straightforward "Norman vs. Queen Goblin" conflict Norman is looking for; the loose ends (Jack O'Lantern in particular) don't excite me.

I'm not thrilled by the art, either.

It's pretty solid. I think this issue lacks a lot of depth, but it does bring some good scenarios and some great art.

As much as I appreciate Medina's art and I truly believe Cantwell is doing his best, this is not very good. Apart from Norman's memories and guilt, the rest is mediocre and the dialogues are bad. Also, it feels so rushed (how did Ben get into Oscorp? How did Norman get back to a safe place?).