Spider-Man is consistently a major financial success for Marvel. As their most well-known character, regular Spider-Man comics, limited series, and standalone issues are a significant part of Marvel’s publishing plans. The success of the Spider-Verse has prompted Marvel to release different versions of the character inspired by the movie, including Spider-Man Noir, who originally appeared in Marvel’s Noir line from the 2000s. Now, with a new TV show on the way, Marvel is bringing the character back with a new comic book. Spider-Man Noir #1 immerses readers in this Spider-Man’s world with a promising story that, so far, doesn’t quite feel like traditional noir, but certainly shows potential.
When writer/artist Erik Larsen departed Marvel in 1992, it was a significant loss for Spider-Man comics. Larsen was consistently a strong writer, and he truly understood the essence of Spider-Man. He’s developed even further as a writer since the early ’90s, making his return to this book a natural fit. Right away, he demonstrates a firm grasp of Peter Parker in this universe, quickly establishing the setting and providing necessary background information within the first few pages. He begins with an exciting action sequence and cleverly uses caption boxes to reveal character thoughts and motivations, helping readers understand where things stand.
The comic is quite effective, and this quality continues throughout the entire book. Larsen is a traditional comic book writer, meaning he introduces various plot elements early on that he later resolves. These aren’t full-fledged subplots, but rather small, intriguing details about Peter Parker’s world that work nicely. The issue’s pace is perfect, and you definitely feel like you’re getting a worthwhile story. The book establishes a compelling mystery centered around Gwen Stacy and her father’s murder, and the final page introduces a very promising development.
One issue with the writing – and it might be just my opinion – is that this book feels like a typical Peter Parker story simply moved to a different location, rather than a fresh take on the character. The Peter Parker in this universe feels almost identical to the Spider-Man from the 616 universe, which repeatedly pulled me out of the story. It also lacks the expected darkness you’d find in a noir tale. The humor is good, but it doesn’t always quite match the tone. Furthermore, editor Nick Lowe’s influence, and particularly his fondness for Gwen Stacy, is very noticeable throughout the book. Peter and Mary Jane are already separated at the beginning, and it strongly suggests the story will follow a Peter/Gwen romance, though that could still change. After all, this *is* noir, and deceptive female characters are common in the genre.
Rating: 3.5 out of 5
| Pros | Cons |
| Great humor throughout | It doesn’t feel like a different Spider-Man from another universe |
| The art is fantastic; kinetic and detailed | Too much of Marvel’s anti-Mary Jane agenda shines through |
| The mystery has potential | So far, it doesn’t really feel like a noir story except for the plot itself; there’s no noir atmosphere |
Spider-Man Noir #1’s Art Is Outstanding
Larsen is an artist himself, giving him a unique understanding of what artists need in writing, and that really shines through here. Artist Andrea Broccardo delivers fantastic work right from the start. He expertly captures the fast-paced energy of Spider-Man’s action sequences. From the initial fight with the Scorpion Gang, to Spidey fleeing the police from a morgue, and even a battle against Fliegende Fledermaus (which translates to Flying Bat – it’s unclear if this villain is meant to be a Nazi-themed Vulture), every fight feels dynamic and thrilling.
Broccardo’s attention to detail and skill in portraying characters are consistently impressive throughout the issue. The level of detail never slips, and he convincingly captures the feel of 1939, with costumes and fashions that are historically accurate. This really immerses the reader in the period. Rachelle Rosenberg’s coloring is also excellent, perfectly setting the mood. When Peter is in costume, the use of a sepia tone in the scenes perfectly evokes the classic noir aesthetic. Overall, the artwork is the strongest aspect of this book, and it effectively compensates for some of the story’s weaker points.
Spider-Man Noir #1 is a fun comic and effectively introduces the main storyline. The writer, Larsen, clearly knows Spider-Man well, and that skill is evident here. Though it doesn’t always fully capture the noir feel, Larsen demonstrates an understanding of the genre, crafting a compelling mystery with a surprising twist and hinting at further developments. However, at times it feels less like a true noir story and more like a contemporary Spider-Man tale simply set in the 1930s. The artwork is particularly strong and does a lot to create the atmosphere. If you’re a fan of Spider-Man, this is worth checking out – it’s not flawless, but it’s still an enjoyable read.
Spider-Man Noir #1 is on sale now.
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2025-10-01 15:10