The Amazing Spider-Man #3: Hob-o-Matic

The Amazing Spider-Man #3 is a tight, 28-page burst of superhero storytelling. Joe Kelly’s solo run hasn’t broken new ground yet, but it’s laying down a solid foundation—one that blends modern energy with a classic touch, both in the writing and the art. It’s everything readers love about Peter Parker, just sharper and more in step with the moment.

What really makes this issue work is the structure and pacing. A great Spider-Man story lives in the tension between Peter and his alter ego, and this one hits that sweet spot. Kelly raises the stakes by putting Peter’s relationships front and center—Shay, May, even the new job—but never lets them drown out the main plot. Shay and Peter’s relationship takes a hit after what goes down at Ravencroft, but it never feels like the story is about them. It just gives the whole thing more weight. Same goes for May’s role—small beats, big impact.

Some readers might bristle at Kelly’s take on Peter’s younger years, but honestly, I think it adds texture. We’re way past the Ditko era, but Peter’s emotional volatility has always been part of the package. Zeb Wells pushed that to some extreme places, but Kelly’s approach feels more grounded. Peter still feels like Peter. His internal struggles are tied into the literal poison working through his system, and those layers play off each other in a way that shows real growth. It’s one of those rare cases where the writing gets to have its cake and eat it too.

That said, Peter’s new job still isn’t clicking. So far, it’s had zero real impact on the big picture, which makes the scenes there feel flat. It’s not a bad idea, just one that might’ve landed better in a quieter arc. Right now, it’s a little too “Horizon Labs 2.0,” without enough time or space to stand on its own.

The villain plot hasn’t been mind-blowing, but seeing Hobgoblin step back into the spotlight is a win. He had some fun in Miles Morales: Spider-Man, but in Amazing, he’s felt like an afterthought since Phil Urich died. The slow build to his showdown with Peter—teased nicely at the end—is working for me. Even if the mystery behind his plan feels a bit convenient, it’s still compelling.

Itsy Bitsy is a weird addition, but honestly, I’m into it. She’s chaotic and a little annoying, but that sycophantic energy brings something new to Spidey’s rogues’ gallery. Pairing her with Hobgoblin keeps her in check, and Kelly’s clearly having fun writing her. It’s a dynamic that almost feels like old-school Deadpool in his villain era—irritating, but in the right way.

And then there’s the art. Pepe Larraz is absolutely crushing it. The whole visual team deserves credit—they’re setting a new standard for what this book can look like. Amazing Spider-Man hasn’t felt this fresh or iconic since the McFarlane and Larsen days.