Norman Osborn is a man reborn, having been stripped of the sins of his past by the Sin-Eater during Nick Spencer’s contentious final arc. Since Zeb Wells’ takeover of Spider-Man, Osborn has tried to be supportive of Peter’s ventures, even going as far as building him a new suit. But the Goblin can’t keep away from his glider for too long. In Marvel’s latest issue of The Amazing Spider-Man, Osborn makes his first appearance as the billionaire anti-hero, Gold Goblin, who rescues Spidey from the clutches of two Hobgoblins, opening up a psychological can of worms. Gold Goblin #1, written by Christopher Cantwell, features artwork from Lan Medina and Antonio Fabela with letters from VC’s Joe Sabino.
Gone are the old days when Norman Osborn used to hole up in his penthouse and plan Spider-Man’s demise. Gold Goblin #1 offers the iconic villain a chance to spend time with his family. But as he watches his grandson play, his competitive nature and rage begin to resurface, and dark thoughts about past sins surround him from every side. Osborn is aware of his issues, and he also knows that putting on the costume and strapping into the glider to fight Hobgoblin should have been the last thing on his to-do list. Standing at the crossroads, Osborn decides to venture further into superheroics.
The past casts a long shadow over Gold Goblin #1. Osborn’s painful, villainous past hangs over every moment of the book, driving its protagonist off the rails. Cantwell’s narration circles around the same point over and over again, as Osborn remembers the people he has wronged throughout his nefarious career. While there is an inherent horror in seeing and hearing the dead characters, their prolonged presence starts to feel like nails dragging across a chalkboard. Luckily, this is a redemption arc. In the final act, Cantwell dives straight into the action as the Gold Goblin his hand at vigilantism, giving the plot a much-needed change of pace and tone.
Lan Medina has a knack for using shadows to bring out the temperament of the characters. His inks create a gloomy atmosphere to reinforce the tone of the issue. Considering how he portrays the backgrounds with sunny, joyful activities, the dissonance adds to the melancholy surrounding the former villain. The best representation of this comes from a splash page showing Osborn going down in an elevator accompanied by Gwen Stacy’s ghost in a literal depiction of his descent into madness. Colorist Antonio Fabela gives the pages a bright look to inspire some hope in the face of darkness. However, the colors are not outright joy-instilling as they meld with Medina’s inks, creating a consistent, tense aesthetic.
Gold Goblin #1 is a regretful look at a life of villainy and an exploration of guilt. Osborn’s decision to become a costumed vigilante has triggered an emotional response within his psyche. But it is still hard to swallow the fact that the Goblin has turned over a new leaf, especially when he is still driven by his baser instincts. In his attempt to humanize Osborn to the audience, Cantwell and the rest of the creative team remind them of all the pain he’s caused. Scenes like the one featuring Gwen seem almost distasteful if her only purpose is to shock the customer and send a message to the protagonist. Still, Gold Goblin #1 tries its best to propel the Goblin toward something new and bold.
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