The Amazing Spider-Man #1 review

Hey, it’s The Amazing Spider-Man #1, I’ve not reviewed one of those since 2018! I liked that one, but quickly fell off the series – too many gangsters. So how’s the latest debut issue?

Pretty great, actually. I was grabbed from the opening scene, vignettes of Peter Parker interviewing for a new job, starting with this…

Oh dear. And things don’t get much better… thank goodness Peter has Aunt May to keep his spirits up.

A phone call brings good news – despite days of disaster which served only as a chance for Peter to show off his surprisingly nice collection of ties, he’s got a job. It turns out an old school pal has an in at one of the Marvel Universe’s biggest R&D firms.

The Parker Luck, of course, derails Peter’s first day – well, first minute, actually – and it’s Spider-Man who gets busy.

Later, Peter has a chance to decompress as he and new girlfriend Shay chum Randy Robertson on a blind date.

I think I’d rather be riding the Rhino.

One thing that does come up during the evening is social worker Randy’s observation that people on his East Harlem patch seem a little weird lately. The Rhino lives in East Harlem… coincidence? A midnight trip to the absent Rhino’s digs might enlighten Spidey.

Which brings us to that very busy cover scene, and a two-page credits/recap/character introductions spread. Apart from this useless positioning, it’s all win with this untitled tale. Returning writer Joe Kelly’s smartly structured script introduces characters and situations with economy and flair. Characters are likeable, from old GOAT Aunt May to new guy Brian Nehring via recently introduced love interest Shay Marken. And we have the mystery of what’s happening in Harlem, a shadowy cameo from a classic bad guy and an intriguing tease from Aunt May (does she still know Peter is Spidey, I lost track – he’s helping her hang a picture via stepladder rather than sticky feet, but perhaps he wants to avoid mucking up the wallpaper).

Pepe Larraz does a marvellous job with the visuals, putting loads of life into Peter’s world. There’s dynamism to spare, whether it’s the rampage of the Rhino or Peter’s marvelously mobile face. People wear clothes that look like they’re of this century (Randy even has a nice fade haircut), the backgrounds are detailed and convincing… it’s just great.

And it’s all well coloured by Marte Gracia, with much of the book in Marvel’s patented muted palette, with everything popping with the arrival of Spidey on the page. It’s effective, and I suppose most homes and offices today don’t sport the bright Sixties tones I enjoy. The red tones when Spidey uses his rarely seen belt buckle light are excellent. And Joe Caramagna’s cheery letters are the cherry on the page.

All in all, a great opening to the first issue of Amazing Spider-Man (this year). We oldies can use the legacy number, #965, which is on the cover.

But that’s not all, there’s a back-up short in which Norman Osborn – publicly known as the Green Goblin but not in prison, God knows why – is attacked by one of his many victims.

Written again by Kelly, the art is by longtime partners John Romita and Scott Hanna, meaning it’s pretty decent – I’m not a fan of uninked Romita, and Hanna is his best wingman. The action is nicely bombastic, but why does Norman look so young?

Colour artist Marcio Menyz is clever with the background tones here, showing Osborn’s rising rage.

And Caramagna’s close-fitting word balloons for the big moments look terrific.

And that’s the comic.

Or is it? After the lettercol and a look at next issue’s cover, we get another four pages by the same creators – Romita and Hanna are the alternate art team on this fortnightly series. Archaeologists in the Arizona desert come across a fearsome figure, and if I didn’t know better I’d think we’d fallen into an issue of post-Crisis Wonder Woman.

I’m not the biggest fan of Spider-Man facing huge supernatural threats, but Joe Kelly is such a good writer, I’m willing to see where it goes.

Again though, positioning – I guess editor Nick Lowe and his five assistants are aiming for a movie post-credits feel, but I bet lots of people miss this section.

The double cover by Larraz and Grazia is a pretty great ad for the comic, even if it is a little too similar to that 2018 number one.

If the creators keep up this quality, maybe this time I’ll stick with Spidey.