In many ways, with The Clone Conspiracy, Slott is attempting to reopen Pandora’s Box while still keeping his fingers attached - because while the "Clone Saga" eventually became universally reviled once it wreaked havoc on Peter Parker’s status as the one, true Spider-Man, the overall paranoid arc of the long-running event was a solid, personal hook. With two Spider-Men running around, the existential crisis of “am I a real person?” brought the tension to a fever pitch - and wound up consuming the entire thrust of the series, eventually immolating the Spider-Man franchise by trying to write Peter Parker out of the mix entirely.
But that’s not who Dan Slott is. Peter Parker is written into his DNA - even when he wrote Otto Octavius filling in with Superior Spider-Man, it was clear there was an end game in sight, that this was a pretender usurping the webs only temporarily. And with The Clone Conspiracy, there isn’t any doubt over identity here - in that regard, Slott’s delivered a solid and sturdy introduction punctuated by the right bursts of action, such as a break-in at New U or a two-on-one battle royale between the Rhino and the new Electro. While Slott’s previous issue of Amazing Spider-Man poignantly summed up Peter Parker’s ongoing battle between personal obligation and superheroic responsibility, the personal hook for The Clone Conspiracy isn’t quite there yet, outside of Peter’s ire being raised when he sees Miles Warren’s face for the first time. Structurally, this hits all the right beats for a Spider-Man story, and so most fans will enjoy this for its extreme accessibility as well as the popcorn action factor, but like "Ends of the Earth" or "Spider-Verse," you might need to be patient until the main conflict heats up.
That all said, if getting in on the ground floor on the latest Spidey-event isn’t enough for you, Jim Cheung on the artwork might be another strong selling point. It speaks to the quality of Dan Slott’s storytelling that he’s gotten to work with such a murderer’s row of talent over the years, but having Cheung on this book feels like a bit of a career highlight. When Peter is in his Spidey suit, Cheung and inker John Dell deliver an almost Romita-esque solidness to the character, built from rectangular shapes that never seem to diminish the character’s innate agility (particularly as he climbs through a darkened air shaft). Perhaps unsurprisingly, given his status as a blockbuster event artist in recent years, Cheung’s action sequences are also showstoppers, with Spidey’s fight between the Rhino and Electro providing a wonderful showcase of the wall-crawler’s agility. Cheung’s panel layouts are also nothing to sniff at, as he is always careful to give his work room to breathe, which pairs nicely with Joe Caramagna’s lettering - Spidey stories like this can always trip readers up thanks to their roots in convoluted continuity, but the visuals work just as hard to provide an accessible story as Slott’s script.