AMAZING SPIDER-MAN #14 Review

Written by: Joe Kelly
Art by: Ed McGuinness, Todd Nauck, Mark Farmer, Wade von Grawbadger
Colors by: Marcio Menyz, Erick Arciniega
Letters by: VC’s Joe Caramagna
Cover art by: Patrick Gleason, Marcio Menyz (cover A)
Cover price: $4.99
Release date: October 15, 2025

Amazing Spider-Man #14, by Marvel on 10/15/25, is all about masks, secrets, and barely-disguised chaos. Ben Reilly is pretending to be Peter Parker, Norman Osborn is pretending to be Spider-Man, and by the end, Roderick Kingsley (aka Hobgoblin) makes a very on-brand, late-game entrance to stir up trouble.

First Impressions

This issue left the heart thumping, but not from excitement. Rather, from a persistent sense that something was missing. The art is gorgeous, practically a how-to guide for superhero comics, but the story itself never delivers a single classic Spider-Man wow moment. If you came looking for wall-crawling thrills or emotional resonance, get ready to sift through a lot of narrative filler.

Recap

Previously, Peter Parker was stranded on Imperial Gaileia 3 with Rocket Raccoon, Symbie, Raelith, and other cosmic fugitives. The group’s peaceful cargo job devolved into chaos during a bribery attempt gone wrong, igniting a firefight and a tangle of moral debates over mercy and vengeance. Peter’s leadership was pushed to its limits, especially during a tense confrontation with Black Dwarf of the Black Order. In the end, the crew survived, but their unity and faith in Peter’s idealism remained shaky as they faced uncertain futures in the unforgiving cosmos.

Plot Analysis

Ben Reilly, disguised as Peter Parker, wakes up and navigates a life that isn’t his—heading to work at Rand while balancing a tense relationship with Janine and covering for the real Peter, who’s still lost in space. At Rand, Ben is caught between half-hearted work obligations and social awkwardness, ending up in a brunch meeting arranged by Dr. Osmanni-Milton that’s anything but ordinary. Meanwhile, Norman Osborn, donning the Spidey suit, tries his hand at heroics, but his violent methods put him squarely at odds with the rest of New York’s spider-themed vigilantes.

Midway through, an attack at a cafe shakes things up. Norman shows up to request a private meeting with “Peter” when a modified Spider Slayer crashed the eatery, targeting Norman. Dr. Osmanni-Milton is cornered and Ben – still pretending to be Peter – gets embroiled in chaos that brings out Captain Kintsugi, a would-be hero whose forced inclusion only disrupts the already muddled cast. The fight involves rogue tech and property damage, with Norman’s charade as Spider-Man pushed to its limit as he tries to protect bystanders while keeping up the ruse. Throughout the mess, Norman’s failures as Spider-Man become glaringly clear, both to himself and anyone watching.

Elsewhere, supporting characters like Janine and Aunt May make brief but telling appearances, anchoring the story in Spider-Man’s usual world even as it spins further away. As secrets multiply, Ben and Norman’s masks start to slip, exposing the cracks in their borrowed lives.

The climax features a messy showdown and a retreat, with Captain Kintsugi barely making a case for a recurring spot. In the final pages, the curtain rises for the return of Roderick Kingsley, the Hobgoblin, hinting that real danger and actual stakes may still be waiting around the corner.

Writing

The script excels at setting up complex deceptions and awkward social interactions, but that’s about it for memorable storytelling. The plot meanders with minimal consequence, relying on mistaken identities and forced team-ups. Dialogue lands flat or functions as clunky exposition, and there isn’t a single moment that captures the high-stakes charm of the best Spider-Man tales.

Art

If you want eye candy, this issue delivers. The art by the team of McGuinness, Nauck, Farmer, von Grawbadger, and Menyz is clean, dynamic, and expressive, fusing kinetic energy with crisp character designs. Action scenes have clarity and punch, while quieter moments benefit from solid linework and expressive faces. The color palette pops, giving the book a visual identity that proclaims, “Yes, this is a modern Marvel comic.”

Characters

On the character front, the big theme is impostor syndrome in every way. Ben Reilly’s struggle with pretending to be Peter is painted with suitably awkward strokes, but the story gives him little depth beyond rote self-doubt. Norman Osborn, as a makeshift Spider-Man, is a disaster masquerading as redemption, his violent impulses at odds with the delicate hero persona. Captain Kintsugi is shoehorned to the front but lacks convincing motivation or impact, coming off as a contrived addition to the story. Roderick Kingsley’s last-page cameo as Hobgoblin is the only genuine spark in a sea of uninspired character beats.

Positives

This comic’s biggest win is its art, hands down. The artists bring energy and polish to each page, with panel layouts that keep the eye moving and colors that make even the blandest dialogue look lively. Visual storytelling elevates fight scenes and character reveals, making even the weakest scripting feel professional and inviting.

Negatives

What sinks this book is the utter lack of momentum and gravitas. There are no big swings, no signature wow moments, just plot-contrivance after plot-contrivance. Captain Kintsugi shows up out of nowhere and feels forced, as if editorial demanded a new face for no good reason. Worst of all, the real Spider-Man and Peter Parker are nowhere to be seen, leaving readers with pale imitations and a nagging sense that none of this actually matters.

About The Reviewer: Gabriel Hernandez is the Publisher & EIC of ComicalOpinions.com, a comics review site dedicated to indie, small, and mid-sized publishers.Follow @ComicalOpinions on YouTube, Facebook, Instagram, and Twitter

Final Thoughts

Amazing Spider-Man #14 has killer looks and nowhere to go. The art team deserves a bonus, but every time the story starts to gain steam, it slams into a wall of pointless substitutions and unearned emotional beats. With Ben and Norman faking their way through someone else’s life, and Captain Kintsugi dropped in like last-minute garnish on a half-baked dish, all the issue really proves is that sometimes, even Marvel icons can put the mask on upside-down.

6/10

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