The Amazing Spider-Man #18 – Goblin Season

I’ll be the first to admit that I’ve been somewhat underwhelmed by the stories following Norman Osborn and Ben Reilly in this new status quo for The Amazing Spider-Man. While Peter’s journey through space has been poignantly written and sharply integrated into the broader narrative, its Earthbound counterpoint has felt comparatively sluggish. Too often, the book has circled genuinely compelling ideas without committing to them, leaving substantial storytelling potential unrealized as the creative team appeared hesitant to fully engage with the themes they introduced.

The Amazing Spider-Man #18 is the issue I’ve been waiting for as it finally gives Norman Osborn the attention and clarity his arc demands as he continues to unravel his own fractured identity through his time posing as Spider-Man. The issue is dense with smart setup for future stories, anchored by an exceptionally written conversation that pushes Norman’s concept of redemption into far more uncomfortable and meaningful territory. Add to that the simmering threat of a bloodthirsty Roderick Kingsley operating in the margins, and the result is a remarkably confident issue that balances its many ambitions without ever sacrificing pacing.

The standout sequence is unquestionably the extended conversation between J. Jonah Jameson and Norman Osborn. What makes it resonate isn’t just the sharpness of the dialogue, but its willingness to acknowledge Norman’s motivations for stepping into the role Peter left behind. The exchange reads naturally, with Jonah’s tone-rich inner monologue giving Zeb Wells (and Kelly, by extension) the space to deepen the book’s engagement with Spider-Man’s classic supporting cast. At carefully chosen pauses in their discussion, the issue cuts away to scenes of Ashley Kafka, Ned Leeds, and Phil Urich being abducted by a strange contraption. These interruptions never feel gratuitous; instead, they heighten the tension and elegantly steer the narrative toward an inevitable confrontation with Roderick Kingsley, one that deliberately stops short of payoff, but is nonetheless set up with precision and restraint.

Ben Reilly, notably, is absent from the issue entirely. While this does leave his storyline momentarily underdeveloped, the brief setup involving Brian hints at future complications that will likely test Ben once Norman’s reckoning with his Goblin legacy reaches its conclusion next month. In practice, Ben’s absence is a net positive. His role in this arc has been unfocused, and his appearances have rarely carried the emotional or thematic weight required to justify his presence. By narrowing its focus to a single figure attempting to occupy Peter Parker’s life, the issue reads cleaner and more purposefully, allowing Kelly to articulate a clear thesis on Norman Osborn without it feeling like a narrative shortcut.

On the visual front, John Romita Jr. delivers one of his stronger modern performances. His command of expression, subtle character acting, and panel composition is on full display, elevated further by Marcio Menyz’s confident and atmospheric coloring. No single panel demands attention until the final page, which reveals Kingsley alongside his amassed horde of unconscious Goblins. It’s a classic, restrained image—tight, ominous, and effective—serving as a fitting capstone to one of the most cohesive issues of this run.