Amazing Spider-Man #2: Itsy Bitsy Blues

While it may not exactly be headline-worthy, The Amazing Spider-Man #2 is a structurally kinetic and textbook brilliant issue of superhero dramatics that has me roaring for more. It won’t change the mind of anyone not already on board with the book’s conceptual direction, but it’s definitive proof of the team’s capabilities—effortlessly blending the smallest of details with the grandest of visual layouts.

The issue is built around a series of blackouts Peter experiences, courtesy of the Hobgoblin and their mystery partner’s schemes. As it interferes with both his Spider-Man and civilian lives, all roads lead back to the Ravencroft Institute, where the arc’s mystery villain awaits him with anticipation.

While things kick off with a big, fun action sequence, the blackouts cleverly serve to zero in on Peter’s new(ish) status quo, all while keeping the Hobgoblin plot moving forward. As for the big identity reveal in this issue, I like how quickly it was delivered—it kept the story moving without trampling over the rising tension of our antagonists. Whether the return of this villain—who debuted in Joe Kelly’s Spider-Man/Deadpool—will prove genuinely interesting is something the next couple of issues will have to decide.

Shay and Norman both play key roles that justify their place in Peter’s life in this post-Wells landscape. They’re characters born from the thematic DNA of the previous run, but Kelly does a great job grounding Peter’s relationships with them in something more believable—more than anyone else has thus far, save for Justina Ireland’s work with Shay during Eight Deaths.

Norman’s only around for maybe three pages, but he naturally folds into the role of Peter’s darker mentor, with his own history of psychological blackouts making him the perfect mirror for what Peter’s going through. Shay gives Peter the “in” at Ravencroft, pushing the arc’s mystery forward while also adding a bit more depth to their dynamic.

Pepe Larraz’s art is the secret puzzle piece that’s elevating these early issues. Kelly’s voice for the character is what initially won me over, but I’m fully sold on Larraz as the main artist—more so now than even during the opening issue’s bombastic Rhino battle. The dynamism in his paneling and the breathtaking view of Ravencroft showcase his range beyond just pitch-perfect action. It’s his ability to distill the character’s visual mythos that grounds the fantasy of this title and makes it sing.