Review by Ian Keogh

As both the murderous Green Goblin and a businessman without a conscience, Norman Osborn has long been one of the Marvel universe’s primary villains. So would such a man cope with his sins removed, but the knowledge of his actions intact? In Marvel’s 2023 continuity Norman Osborn was no longer the Green Goblin, his murderous persona eradicated leaving just the brilliant businessman and technological designer. He’s now acutely aware of a past requiring repentance, which is cleverly reinforced at the start by Christopher Cantwell juxtaposing the sound of Osborn’s grandson hitting baseballs with memories of how it sounded when Gwen Stacy’s neck snapped after he threw her from a bridge. Yes, it’s dark. More recently Osborn designed a different power suit to intervene and save Spider-Man’s life, and sees that as the way forward, attempting to atone for the past.

The cover suggests straightforward superhero action, and boy, is that a case of not judging a book by the cover. Cantwell lays on the torment and regret in portraying Osborn as just about holding it together when faced with ghosts from his past and misuse of technology he designed. Then again, he’s a man with an awful lot to be sorry about. That’s even before he discovers the sins removed from him have been personified elsewhere.

Much of the story occurs as the unpleasant inhabitants of Limbo invade New York, monsters even worse than Osborn was, but they’re just something to beat up on as Osborn dives further into trouble. Eventually a more tangible menace coalesces with good reason to target Osborn personally, and his life becomes even more difficult.

Lan Medina’s not a particularly intuitive artist, unsubtle in conveying emotion when toning things down would have been more effective. There is an occasional sad face nailing the mood, and he’s at his best when ghosts manifest, giving them an intangible, wispy appearance. Medina’s pages, though are better than the standard superhero trappings supplied by Rafael Pimentel.

Because it’s relentless in pushing at Osborn, Gold Goblin must rank among the darkest comics Marvel have ever published. Every time there’s a shot at something good, Cantwell whips it away as if he has some personal score to settle. Were that paired with more suitable art this might be a real gem, but it has the art it has.