Spider-Noir Teaser Retains the Spirit of the Marvel Comics
“Wherever I go, the wind follows.
And the wind smells like rain.” If those words came from the mouth of Humphrey Bogart or Edward G.
Robinson in a crime flick from the 1930s or ’40s, they would sound like the cry of a tortured soul, living in the dregs of society.
But because they come from the mouth of Nicolas Cage in the movie Spider-Man: Into the Spider-Verse, they sound like melodramatic jokes, just as silly as anything said by the Looney Tunes-esque Spider-Ham, voiced by John Mulaney.
And Cage is now reprising his role as Spider-Man Noir for the upcoming series Spider-Noir.
But as the show’s first teaser reveals, the live-action Amazon MGM series has done away with the goofy tone of the movie that preceded it.
Presented in black and white, the show is all moody visuals and implications of violence, in which a morally conflicted Spider-Man, still in his fedora and trench coat, does battle with the 1930s criminal underworld.
As surprising as this shift may be to those who love the Spider-Verse movies, Spider-Noir is drawing its inspiration from the comics, and that’s a good thing.
Marvel’s Great Depression
The first issue of the 2008-2009 miniseries Spider-Man: Noir, written by David Hine and Fabrice Sapolsky and illustrated by Carmine Di Giandomenico, sees the police busting into the offices of Daily Bugle editor J.
Jonah Jameson, only to find Spider-Man standing over him.
Images such as this are well-known to fans of the wallcrawler, but this one is different.
It’s not just that this scene takes place in 1933, nearly 30 full years before Spider-Man makes his first appearance in Amazing Fantasy #15.
It’s also that Jameson has been shot to death and Spider-Man, dressed in a black trench coat (no fedora here), is holding the gun.
Of course Spidey didn’t do it, and the series follows his investigation into Jameson’s murder.
But the very shock of the image does underscore the tone of Spider-Man: Noir.
Gone is the quippy Spidey, with his relationship problems and lovable hard-luck.
In its place is a Spidey who dwells on the edges of society.
He’s still Peter Parker, but he now lives among the downtrodden who lost everything in the Great Depression, listening to the socialist speeches delivered by his Aunt May, reimagined here as an Emma Goldman-type figure.
Surprising as that description sounds, it follows the original appeal of Marvel Comics, described by Stan Lee as taking place in “the world outside your window.” 1933 was a period of great social change, with the excesses of the Roaring ’20s still enjoyed by some while others were consumed by the ravages of the stock market crash.
Hitler has just become the German Chancellor, but a mistrust of the institutions that had failed them and a general nativism and xenophobia kept most Americans from seeing yet another world war on the horizon.
Instead most Americans turned their attention to more immediate enemies, which include the upper classes who wanted to cling to Gilded Age power (and the institutions who supported them), as well as immigrants who continue to make their way to the U.S.
All of those tensions inform Spider-Man: Noir, making for a more morally complex story than one would expect.
The teenage Peter Parker is still the pure-hearted kid we know and love, but the general cynicism of the world gives him no clear moral standing as he fights Norman Osborn, aka the Goblin, and his thugs.
Seriously Dark
The Spider-Man Noir of Into the Spider-Verse played more like a parody of a film noir, which literally translates to “black film,” as coined by French critics analyzing moody American crime pictures of the 1940s and ’50s made in the wake of this era.
In those films, the hero was a a hardboiled cynic, a la the detectives in The Big Heat or The Maltese Falcon.
But in Spider-Verse, he’s a buffoon to be laughed at for his melodrama and inability to understand color.
It’s a good joke, but not the sort of thing that can sustain an entire television series.
So it’s a good thing that Spider-Noir seems to be taking its cues from the comics instead of the movie.
Granted, though, that some things need to be changed.
Even if Spidey remains masked, Cage sounds every bit like the 61-year-old he is, and no amount of digital de-aging will make him into the young teen from the comics.
Thus he can’t quite be the same innocent he was in the comics, nor can he have a firebrand Aunt May.
She and Ben would be long gone by the time sexagenarian Spidey is working.
However, she could still have been a leftist, perhaps a union organizer or suffragist.
More than a matter of political preference, though, the depiction of Spider-Noir’s Aunt May matters because the series cannot be a bunch of winking nods at movies and literature of the ’30s and ’40s.
That worked for maybe 10 minutes of screen time in Spider-Verse, but it won’t hold a series—in part because modern audiences don’t know enough about film noir to get the reference.
Instead it needs to be a story grounded in a type of reality, especially because it has a fantasy character at the center.
Spider-Man: Noir and its sequel miniseries The Eye of the Beholder are a great model for the show and, if this first teaser is any indication, the model that Spider-Noir intends to follow.
Spider-Noir will stream on MGM+ in 2026.
Source:
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#spidernoir #teaser #retains #the #spirit #marvel #comicsSpider-Noir Teaser Retains the Spirit of the Marvel Comics
“Wherever I go, the wind follows.
And the wind smells like rain.” If those words came from the mouth of Humphrey Bogart or Edward G.
Robinson in a crime flick from the 1930s or ’40s, they would sound like the cry of a tortured soul, living in the dregs of society.
But because they come from the mouth of Nicolas Cage in the movie Spider-Man: Into the Spider-Verse, they sound like melodramatic jokes, just as silly as anything said by the Looney Tunes-esque Spider-Ham, voiced by John Mulaney.
And Cage is now reprising his role as Spider-Man Noir for the upcoming series Spider-Noir.
But as the show’s first teaser reveals, the live-action Amazon MGM series has done away with the goofy tone of the movie that preceded it.
Presented in black and white, the show is all moody visuals and implications of violence, in which a morally conflicted Spider-Man, still in his fedora and trench coat, does battle with the 1930s criminal underworld.
As surprising as this shift may be to those who love the Spider-Verse movies, Spider-Noir is drawing its inspiration from the comics, and that’s a good thing.
Marvel’s Great Depression
The first issue of the 2008-2009 miniseries Spider-Man: Noir, written by David Hine and Fabrice Sapolsky and illustrated by Carmine Di Giandomenico, sees the police busting into the offices of Daily Bugle editor J.
Jonah Jameson, only to find Spider-Man standing over him.
Images such as this are well-known to fans of the wallcrawler, but this one is different.
It’s not just that this scene takes place in 1933, nearly 30 full years before Spider-Man makes his first appearance in Amazing Fantasy #15.
It’s also that Jameson has been shot to death and Spider-Man, dressed in a black trench coat (no fedora here), is holding the gun.
Of course Spidey didn’t do it, and the series follows his investigation into Jameson’s murder.
But the very shock of the image does underscore the tone of Spider-Man: Noir.
Gone is the quippy Spidey, with his relationship problems and lovable hard-luck.
In its place is a Spidey who dwells on the edges of society.
He’s still Peter Parker, but he now lives among the downtrodden who lost everything in the Great Depression, listening to the socialist speeches delivered by his Aunt May, reimagined here as an Emma Goldman-type figure.
Surprising as that description sounds, it follows the original appeal of Marvel Comics, described by Stan Lee as taking place in “the world outside your window.” 1933 was a period of great social change, with the excesses of the Roaring ’20s still enjoyed by some while others were consumed by the ravages of the stock market crash.
Hitler has just become the German Chancellor, but a mistrust of the institutions that had failed them and a general nativism and xenophobia kept most Americans from seeing yet another world war on the horizon.
Instead most Americans turned their attention to more immediate enemies, which include the upper classes who wanted to cling to Gilded Age power (and the institutions who supported them), as well as immigrants who continue to make their way to the U.S.
All of those tensions inform Spider-Man: Noir, making for a more morally complex story than one would expect.
The teenage Peter Parker is still the pure-hearted kid we know and love, but the general cynicism of the world gives him no clear moral standing as he fights Norman Osborn, aka the Goblin, and his thugs.
Seriously Dark
The Spider-Man Noir of Into the Spider-Verse played more like a parody of a film noir, which literally translates to “black film,” as coined by French critics analyzing moody American crime pictures of the 1940s and ’50s made in the wake of this era.
In those films, the hero was a a hardboiled cynic, a la the detectives in The Big Heat or The Maltese Falcon.
But in Spider-Verse, he’s a buffoon to be laughed at for his melodrama and inability to understand color.
It’s a good joke, but not the sort of thing that can sustain an entire television series.
So it’s a good thing that Spider-Noir seems to be taking its cues from the comics instead of the movie.
Granted, though, that some things need to be changed.
Even if Spidey remains masked, Cage sounds every bit like the 61-year-old he is, and no amount of digital de-aging will make him into the young teen from the comics.
Thus he can’t quite be the same innocent he was in the comics, nor can he have a firebrand Aunt May.
She and Ben would be long gone by the time sexagenarian Spidey is working.
However, she could still have been a leftist, perhaps a union organizer or suffragist.
More than a matter of political preference, though, the depiction of Spider-Noir’s Aunt May matters because the series cannot be a bunch of winking nods at movies and literature of the ’30s and ’40s.
That worked for maybe 10 minutes of screen time in Spider-Verse, but it won’t hold a series—in part because modern audiences don’t know enough about film noir to get the reference.
Instead it needs to be a story grounded in a type of reality, especially because it has a fantasy character at the center.
Spider-Man: Noir and its sequel miniseries The Eye of the Beholder are a great model for the show and, if this first teaser is any indication, the model that Spider-Noir intends to follow.
Spider-Noir will stream on MGM+ in 2026.
Source:
https://www.denofgeek.com/tv/spider-noir-teaser-retains-the-spirit-of-the-marvel-comics/
#spidernoir #teaser #retains #the #spirit #marvel #comics
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