Now that two stories are established, Amazing Spider-Man is primed to jump between Peter Parker in space and the exploits of Norman Osborn and Ben Reilly back on Earth. In Amazing Spider-Man #14, the focus swings back to Norman and Ben, with Norman taking it hard that the Spider-Man friends don’t want him around. The thing is, maybe Norman needs to be Spider-Man for more reasons than we know.
Amazing Spider-Man #14 is drawn by two artists, with Todd Nauck covering scenes that Norman isn’t in, and Ed McGuinness taking on Norman scenes. The issue opens where we left off, as it’s confirmed that Miles, Spider-Boy, and other Spider-Friends don’t want Norman dressing as Spider-Man. It turns out it’s not really his choice later in the issue, when a threat comes for Norman and only Spider-Man can save himself.
A chunk of this issue delves deeper into Ben and Hallow’s Eve, taking out some criminals. The trick of her powers is used more than once, first as a Frankenstein’s monster, and later in a surprising way. It seems fitting that Janine is using these powers in time for Halloween, and her relationship with Ben is strained a bit.
More of this, please.
Credit: Marvel
Writer Joe Kelly does a subtle thing as he plucks out Ben’s desire to be someone, or do something. He’s taking Peter’s day job and research seriously. That desire to count for something is also seen with the new hero, Kintsugi, who makes another appearance. It’s a slow burn to get more info on Kintsugi, but this issue might have the most yet. The nuance in character development is key, from Peter’s buddy being pushed to be as good as Peter on their project, to the need for Aunt May’s connection Ben craves and Janine knows all about.
As far as spectacle, McGuinness brings it and then some. Spider-Man fights a foe looking to kill Norman, and it’s exciting as the action stretches into double-page layouts. The show stopper is Spider-Man kicking and swinging around the enemy. You can see great care was taken to get the motion and energy just right. Nauck does well, although their styles are so different that you might get taken out of the story when they switch.
Another key scene involves Ben and Norman interacting. The two are aware that each other has a double life, and they do not see eye to eye. It’s a reminder that Peter formed a new friendship with Norman, but Ben won’t have any of it. It’s in these interpersonal moments where the comic feels as classic as Stan Lee and Steve Ditko’s run.
Amazing Spider-Man #14 keeps the series’ momentum alive with a deft balance of character depth and spectacle. Joe Kelly continues to weave a web of redemption, rivalry, and identity as Norman Osborn wrestles with his need to be Spider-Man, and Ben Reilly struggles to reclaim purpose alongside Hallow’s Eve. With stunning action from Ed McGuinness and Todd Nauck, and heartfelt introspection beneath the chaos, this issue captures both the heart and high-flying energy that define Spider-Man at his best.
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