So, yes, it turns out—unfortunately—I was right. Norman Osborn is a megalomaniac who needs an audience, so he keeps Norah the reporter alive. However, his sidekicks are very bad people who would not. But still they hang out with her. In fact, I wish Osborn was an issue longer because DeConnick has such a great time writing Norah with the supervillains.

By pairing Norah with Norman here, Rios gets to combine her two styles on the series and it’s no surprise the relatively calmer Norah art is moved aside for the frantic Norman art everywhere. The result is a visual feast—definitely the best art so far in the series.

DeConnick’s script continues to be really smart as well as engaging—setting Norman up against the Senator, turning her into the antagonist and toning Norman down to be a suitable protagonist finally… it all works.

It’s quite good.