Spider-Man Noir: The Complete Collection

Spider-Man Noir (Collected Editions) #1-2

by David Hine, Lee Weeks (Illustrator), David Hine (Writer)

The hard-boiled adventures of the grittiest webslinger in the Spider-Verse! In the dark days of the Great Depression, young reporter Peter Parker finds himself forever changed by a spider's bite - and resolves to take on crime and corruption as the urban vigilante called Spider-Man! And there are no shortage of foes - from gangland bosses the Goblin and Crime Master, to pulp-era twists on familiar faces like Kraven, Chameleon, Doctor Octopus and more! But will the seductive Felicia Hardy prove friend or foe? Plus, Spider-Man Noir enters the Spider-Verse via an encounter with Mysterio - and shares a spectacular team-up with a six-armed Spidey! And a brand-new video comic adventure, in print for the first time!

Collecting SPIDER-MAN NOIR #1-4, SPIDER-MAN NOIR: EYES WITHOUT A FACE #1-4, EDGE OF SPIDER-VERSE #1, SPIDER-GEDDON: SPIDER-MAN NOIR VIDEO COMIC and material from SPIDER-VERSE TEAM-UP #1.

Genres: Comics, Marvel, Graphic Novels, Spider Man, Superheroes, Fiction, Comic Book

264 pages, Paperback

Published May 28, 2019

Reviews

[Arda Uğur Demir · Rating 4 out of 5]

I don't wanna be the "the comic is better than the live action adaptation" person but god damn this left a good taste in my mouth and i want the same thing from the new acclaimed Spider-Noir tv show🕷️

[Dan · Rating 4 out of 5]

I'm out of the loop so it's just a coincidence I was reading this the day the Spider-Noir trailer dropped. The two miniseries are really good. The darker take on Spider-Man in the 1930s was right up my alley. The one-shots were just filler, although I'm slightly more interested in reading the Spider-Verse books now.

[Ethan’s Books · Rating 5 out of 5]

Really liked it. Toomes is depicted terrifying in this.

[Todd Glaeser · Rating 2 out of 5]

I really wanted to enjoy this, but in an attempt to portray the '30s, when life was in black and white, apparently, they forgot the white. This artwork was so dark that I simply gave up. I couldn't tell what was going on.

[Alex · Rating 3 out of 5]

My first foray into actual comics, I quite enjoyed this (thanks Jacob!) I really love this hard-boiled detective crime thriller version of Spiderman, it feels refreshing but also familiar.

I am really glad it didn't just feel like they were doing "Batman but not," which I was concerned about before going in. There are clear similarities in theme, but the character feels unique enough to stand on his own. If I had to describe the feeling reading these, it was like a mix between Batman, Indiana Jones, and the film Se7en.

It is only let down really by the lack of continuity - the last 3 stories all lead into bigger multiverse comic sets, but Spiderman Noir doesn't feature strongly in the rest of the comics in those sets so all we get here is the beginning and a cliffhanger and then nothing... the best stories are contained in the first half of this collection for sure.

[Malum · Rating 4 out of 5]

As a classic pulp fan, this is easily my favorite incarnation of Spider-Man. The only place this loses points with me is that the art and coloring in the first two stories is pretty awful.

[Justin Nelson · Rating 3 out of 5]

The two main mini-series here are surprisingly dark. Hine does a fine job of creating a Noir-style story true to the title's name. The re-imagining of the characters in both series is fun and fitting to the theme. The Vulture stands out as a particularly terrifying and gruesome alternative representation of the character. Felicia Hardy is a great, tragic femme fatale (although I'm not sure about where they take her character in the later stand-alone tie-in issues). The second series, Eyes Without a Face, has some very shockingly dark twists and turns, and Hine handles the plots well and tells two complete stories. The art by Carmine...not fitting to me. I enjoyed Carmine's work on The Flash where his frenetic lines convey a sense of constant motion. Here, it made many of the scenes very hard to follow, and, combined with the darker coloring and lighting, it was difficult to enjoy.
All in all, an uneven entry into the Spider-Verse with story highs and art lows, imo.

[Reagan · Rating 4 out of 5]

The first story arc was the closest to actually feeling like a noir story and I quite enjoyed it.

The second arc is much darker and I think it thinks it's saying something important about racism but really it just brutalizes its Black characters and literally robs them of agency and it could have told its story without doing that. It felt way too dark and over-the-top villainous and actually horrifying and it wasn't done well. The same arc also brutalizes the female love interest. It was like noir by someone who's only familiar with Sin City. It didn't hit the right tone for noir or for Spider-Man and it didn't justify any of its choices.

Then there are three short little stories from the Spiderverse that were perfectly fine.

All in all, I enjoyed the art style and the world they set up in the first arc (which we saw again in the Spiderverse issues), but really wish they'd had a better hand on the creative control for the second arc because fucking oof.

[DaViD´82 · Rating 3 out of 5]

Koncept pochmurného Spider-mana v noir hávu je nosný, jakkoli "Spidey-Bat" je chtě nechtě opisování od jiných a proti duchu toho, co Spider-man představuje. Problém celé série je, že David Hine nepochopil, co je "noir". Ten tu totiž nevychází z atmosféry, pulpovosti, postav či scénáře. Ono na tom noirového není ani zbla. Jde o samoúčelnou jakože temnotu pro temnotu. Navíc kresba je nepřehledná a vůbec ne noirová. Neříkám, že to hned muselo vypadat jak Sin City (i když alternativní černobílé obálky jsou lahůdkové), ale zvolený styl je až nevkusně nijaký.

Aby to ovšem nevyznělo jako nejhorší komiks všech dob, tak co se povedlo je hned několik scén (kupříkladu ta úvodní, kde to na noir ještě vypadá či vyústění Ottovy linie), vzhled kostýmu, alternativní verze některých "starých známých". Bohužel to na čem Spidey vždy stál bez ohledu na zasazení, zde absentuje. Ostatně i zdejší záporáci postrádají motivace. Nejlepší Spideyho protivníci vždy vycházeli z "dobré úmysly dláždí cestu do pekel". Tady jsou bez výjimky již všichni v pekle, bez motivací a čistě zlí laciným způsobem typu kanibal/nácek/rasistický vědec. Není to však nečitelné, není to nezajímavé, jen to není noir a navzdory vší té "rádoby temnotě" to není ani Spider-man pro dospělé.

Co to tedy je? Tuctový průměr, na kterém je nejzajímavější ona vize "nesousedského pochmurného socialisticky smýšlejícího Parkera v době hospodářské krize". Každopádně i nadále platí, že Spider-mana v nefalšovaném pulp noir hávu bych si tuze moc rád přečetl. Tady po něm však není ani vidu ani slechu.

[Tuncer Haydarlar · Rating 4 out of 5]

Süper kahramanların farklı dönemlerde yeniden yorumlanması yaklaşımının iyi örneklerinden. Hikaye de karakterler de "Noir" adının hakkını veriyor. Tarih ilerledikçe Nazilerle kurulan bağlantı ve farklı karakterlerin köken hikayelerinde yapılan değişiklikler de işi yeterince orijinal kılıyor. Evren için gayet iyi bir girizgah, devamını da merak ettiriyor. Ama çizimleri, hikayeyle uyumlu olsa da pek iyi yaşlanmamış maalesef.

[Nate · Rating 4 out of 5]

The narrative in the first two stories are amazing, and the Spider-Verse stories are also pretty fun and interesting. I'm actually interested in reading Edge of Spider-Verse because this collection contains the first issue. This collection also contains variant covers for Spider-Man Noir, Spider-Man Noir: Eyes Without a Face, page layouts, a script excerpt, and character designs. However, Spider-Geddon: Spider-Man Noir Video Comic is terrible, and while I'm glad it's included for the sake of completeness, it should never have been made in the first place.

The only real negatives with this collection are the art and the panels. The art isn't bad per se, but there are instances where the characters are stiff or very awkwardly posed. These aren't major negatives I understand artists get paid per page and that there are timing constraints so not every page can be perfect and the art style is pretty complex. The character art and designs are great, but the complexity can lead to less than stellar art in a comic.

The bigger problem is the paneling. There are some pages with lots of panels that don't need that many panels. It would make the comic feel more cinematic if the art was more consistent and less awkward. Then there are the action scenes. I couldn't really follow 95% of the action scenes. I'm not asking for Toriyama or Murata levels of paneling for action scenes, just a clear flow of action. There is a particular double page-spread of action in Spider-Man Noir where I just can't determine the flow of action. I know where it ends, and I think I know where it begins, but I can't figure out how we got from beginning to the end. Carmine di Giandomenico's use of "ghosting" to show the flow of action is nowhere near as effective as he thinks it is.

Overall, I'd recommend picking up this collection if you're a fan of comics, if you're a fan of Spider-Man, you're not afraid of violence, and you don't mind some awkward art or a bit of poor paneling.

[Elysephone · Rating 3 out of 5]

As promised, Spider-Noir is certainly cut from the same cloth as the Noir films of the 30s & 40s. Unlike other Spidermen iterations, this is gritty, violent and dark. So much so that unfortunately this Peter Parker has no time for whimsy and witty banter. While in the Spider-Verse movies, Noir plays a sort of time-travelled-fish-out-of-water that is a great set-up for charming comedy as the deadpan, dramatic Labrador amongst a cast of golden retrievers, in his own time and story he is simply as sombre as the Great Depression. For some, that may be what they are looking for, but I personally missed the lovable Spider-Man wit we know and love. I know it is a fundamentally darker toned story with mobsters and Nazis, but it can be done.

Eyes Without a Face is a particular hard read and unfortunately lowers my rating quite significantly. While the world-building and aesthetics are still on par with the previous Spider-Man Noir comic, and I do appreciate the nod to the Georges Franju classic that I am fond of, it's incorporatation of racism and White Widow's origin is painfully of its time. I had a check of when it was published and it is certainly of the early 2000s, before Marvel/Superhero narratives seemed to realise that POC and women can have proper agency in stories that revolve around them (especially the former). I found it quite a hard read, not just for it's more fucked up content, but simply because it's clearly using black folk and histories as a narrative/world-building device for a white-saviour plot point. I'm sure there are ways we could have done this much better, which is even more of a dissapointment in a story rooted in a time-period of rich Black cultural history. In Eyes Without A Face Black people are defined by their struggle and suffering, the most crucial moment for our female lead is the violence enacted against her for her association to the Spiderman, and also the only disabled character is the sociopathic villain. Not a great look all around. I know it's a story heavily enriched in the 30s, but we're not writing it in the 30s. We can do better.

Other than those two main points though, it's an interesting, inventive twist of the character we know and love that webs different origins for not just Peter but other familiar faces such as Kraven and Vulture. I also rate the decision to make Aunt May an out-spoken, working class activist. Of course this is the woman who raised our Nazi-punching, rubic-cubing vigilante.

[Erik Schotanus · Rating 4 out of 5]

Positives:
- Love the concept. I also don't mind this version of Spider-Man is not your optimistic, friendly neighborhood Spider-Man. Because what does it have to be positive about in this story? It is truly dark and grim.

- The depiction of Spidey Sense is cool.

- The reimagining of the villains in this book are interesting as well.

Negatives:

- Man it is hard to see what's going on sometimes. The artwork itself is good but with everything in black and white it gets hard to follow, especially during action scenes.

- It starts with a focus on how young and still a bit immature this Peter is. But once he becomes Spider-Men it seems like he instantly becomes mature and skillful. There was no room to showcase any growth in building up his skills.

- Except for the Spidey Sense and sometimes some web-shooting, it feels like his powers are a bit underused.

Will probably read this book again before the Nicholas Cage series comes out in 2026. I'm still optimistic and really hope Sony does not ruin this IP any further.

[Jordan Bradley · Rating 4 out of 5]

Technically, I have only read Spider-Man Noir (2008) #1-4 and SN: Eyes Without a Face (2009) #1-4 because my omnibus isn’t in Goodreads, but these stories are brilliant. The art style and atmosphere of this alternate Spider-Man is incredible, and the story to accompany it is very gruelling and dark to match. I preferred the origin run to the follow up, but I really enjoyed the brutal twist on such an iconic character in both narratives. It only left me wanting in terms of its villains; I would have preferred if more creative, supernatural characters were included, such as the Sandman, for Peter to go up against. Nonetheless, I’m not sure if there is more Spider-Man Noir out there, but I really want to read more of it.

[Claudia · Rating 4 out of 5]

Tras ver la serie de SpiderNoir, que vi con mi pareja y que me gustó bastante, decidí darle un tiento a los cómics en los que se basa.

¿El resultado? Un giro sorprendentemente crudo y realista de la Gran Depresión, con los grandes dramas de los años treinta directos a la cara: una tía May más comunista imposible, el nazismo a la vuelta de la esquina y corrupción a raudales, con un Peter Parker sin ambages ni medias tintas (al contrario que el original, este no duda en sacar un arma si hace falta). En comparación, la serie es muuuucho más suave.

A pesar de que es oscura como ella sola, me han gustado las dos primeras partes, los capítulos del multiverso me han sobrado un poco pero entretienen.

[iamjacsmusings · Rating 4 out of 5]

The plotting and pacing is so thwiping on point. The fact there's not more issues in the main run is as criminal as the reinvented rogues gallery of sinister scoundrels.

[Dani Rodriguez · Rating 3 out of 5]

Me han gustado todas las historias excepto la última.
Un poco rollete.
Demasiado complicado de una forma muy forzada

[Brad Hodges · Rating 4 out of 5]

After seeing Spider-Man: Into the Spider-Verse, I was stunned to see what direction Marvel had taken with Spider-Man; basically spinning him off into various universes, where he (or she) was a different entity. The one that intrigued me the most was Spider-Man Noir, who was web-slinging during the 1930s. I just finished reading the complete collection, most of which was written by David Hine and Fabrice Sapolsky.

The collection includes two four-issue stories, plus three other one-shots. Those last three incorporate other Spider-Men, notably a six-armed one (Spider-Man experts may recall that this once happened to the "real" Spider-Man).

The first series is basically an origin story It is 1932, and the depression is raging. Aunt May is an advocate for social justice, and Felicia Hardy operates a saloon called The Black Cat. The crime boss in town is known as The Goblin, and he employs a few henchman that readers will recognize as Spider-Man villains, notably The Vulture, who is here a former circus geek.

A reporter named Ben Urich takes Peter Parker under his wing, although Urich, like many in New York City, is in the Goblin's network. Of course, the Goblin was responsible for the death of Peter's Uncle Ben (poor Uncle Ben can't catch a break). During a break-up of a smuggling ring, spiders from an African totem bite Parker, who gives him the powers he will later employ.

The second story is called "Eyes Without a Face," set in 1939, and features a quite different Dr. Otto Octavius, who is here a German scientist trying to perfect a way to make docile slaves (('m not sure if this was written before or after the film Get Out). Parker's friend Robbie Robertson, along with many other black people, are kidnapped to use as guinea pigs (there is a playful reference to Tuskegee Institute as well). Meanwhile the local crime lord is now a masked figure called The Crime Master, who answers to the Nazis, and has a henchman called The Sandman.

I found these stories to be terrific. Of course they are darker, figuratively and literally, than most Spider-Man comics. Characters die gruesome deaths, including cannibalism, and there's no question that Parker is having sex with Felicia. At times the artwork is so dark that I had trouble telling the many masked figures in fedoras apart. But the spirit of noir is there.

These stories are a good opposite to the brightly-colored spandex of modern comic book superheroes. The characters here, except for Spider-Man, don't have superpowers (and Spider-Man even uses a gun on occasion). There are no spandex outfits, just trench coats and masks (Parker wears what look like part of a gas mask). It's a different kind of super-hero comic, and a welcome one.

[Victoria · Rating 2 out of 5]

Like most people, I started searching for more Spider-Man comics after “Into the Spiderverse” premiered and basically became the best Spider-Man movie so far. And Spider-Man Noir became an immediate favorite of mine. Unfortunately I don’t think this is for fans who were introduced to him through the film.

The origin comic is a bit of a mess, Peter Parker is a bit too self righteous (and weirdly a bit of a stick in the mud). The Vulture, while terrifyingly disgusting, was also one of the cooler villain reinventions alongside Goblin. Both unfortunately are killed off in the first issue. Peter’s origin spider bite is confusing and rushed, like where did all those killer spiders go anyway??

Also, the first two issues have serious issues with its artistic choices. The style is muddy and uninteresting, the color scheme makes it hard to focus and often I didn’t know what I was supposed to be looking at. And it was worse during the fight scenes where you have no idea what the heck Spider-Man is even doing. The graphic are also atrocious, reminding me of a kid going “BRAPAPPA” while playing cops and robbers.

And I have to call into issue of the female characters, how few there were, having little to no agency and basically being tortured and fridged for the sake of storyline.

The Mysterio issue is stiff and boring to read up until the other versions of Spider-Man arrive, and the art is lacking action, movement, and facial expressions.
The last issue in the collection is the Spiderverse storyline, and truly this one shines the brightest (literally and artistically, goodbye overuse of shadows!)

I think Spider-Noir truly shines when he’s partnered up with other Spidermen variations. His dark and serious nature becoming a foil for more light and quippy Spider-Man dialogue. It’s fun, and the action is finally, FINALLY, easy to read.
So all in all, this didn’t convince me to look for more SpiderNoir, but it did convince me to look for more Spiderverse issues.

[Brian Longtin · Rating 3 out of 5]

Putting the well-known character in a depression-era setting made for some cool art, creative world-building, and surprisingly dark twists on classic villains (Doc Ock the eugenicist, anyone?). But as a bit of a one-off, it felt more like a fun special episode than a classic tale with a whole lot to say or much emotional depth, so more enjoyable than essential.

[Nate Deprey · Rating 2 out of 5]

This didn't do it for me. There is a way to tell a "noir" story and still maintaine the core elements of a character. Hine chose not to do that here, instead delivering a dark and beaten down Peter Parker devoid of the joy and insecurity that makes the character timeless. It's a real missed oportunity.

[Rich Rosell · Rating 3 out of 5]

Never heard of Spider-Man Noir before watching 'Into The Spider-Verse', so I decided to take the plunge with the one-volume complete series. The setting is mid-1930s New York, with plenty of a slightly new takes on familiar Spider-Man characters.

Kind of fun.

[Johan · Rating 3 out of 5]

I wanted to know more about Spider-Man Noir after watching the movie “Into the Spider-Verse”.

Short review because it’s late:

- concept, idea: 4*
- stories: 3*
- artwork, graphics: 2*

[Israel Broch · Rating 5 out of 5]

Lo más Batman que hay en Marvel. Una de las mejores interpretaciones de Spider-Man.

[Contra Inercia · Rating 4 out of 5]

Spider-Man Noir nos cuenta la historia de un Peter Parker distinto, nacido en el seno de una familia pobre. Le cuida su tía May, famosa por agitar a las masas con soflamas socialistas que no gustan a las mafias de la ciudad, lideradas por Norman Osborn, responsable intelectual de la muerte de su tío Ben. En este contexto conoce a Ben Urich, un periodista que busca visibilizar la situación de los pobres de la ciudad, pese a sus adicciones al alcohol y a las drogas. Este toma a Peter como pupilo, y le lleva a documentar un desembarco de criaturas extrañas para Kraven cuando una araña peculiar le muerde, dotándole de poderes. En este punto, y a raíz de la muerte de Ben, Peter Parker iniciará una campaña para acabar con el Duende y con sus acólitos, y así destapar una trama de corrupción sin igual.

La segunda historia transcurre meses después, con un Peter Parker que actúa de justiciero y que se ve envuelto en una trama de experimentación humana del doctor Octopus, el cuál sirve en secreto a los nazis para intentar crear al esclavo perfecto con seres humanos de raza negra. En esta historia, el racismo es la temática central, y cómo la propia CIA y el gobierno estadounidense financian estos experimentos. Eso es algo que me fascina: los ciudadanos de ese país saben de sobra que sus gobiernos siempre están metidos en temas turbios, pero no hacen preguntas ni se cuestionan nada.

El tono de ambas historias es el esperado en una trama de este tipo y de este género. Tenemos una urbe completamente decadente y donde la ley destaca por su ausencia. Los únicos que plantan cara son el cuarto poder (quién les ha visto y quien les ve) y ciertas personas que se toman la justicia por su mano. Los personajes están especialmente bien construidos aunque caen en algunos clichés, como es el caso de Felicia, Black Cat, que en esta ocasión dirige un local clandestino y es la novia florero de los capos de la ciudad. Hay personajes potenciados, como el Buitre, que da auténtico pavor, mientras que otros tienen su aura reducida, caso del duende verde. Luces y sombras.

Cada historia cuenta con apenas cien páginas, lo que hace que su lectura sea muy llevadera, y las dos historias son muy entretenidas, por lo que se le pasa a uno el tiempo volando y disfrutando. El dibujo quiere parecer vintage, pero sin renunciar a las técnicas actuales, lo que lo hace muy atractivo. En resumen, es un cómic con el que pasar un buen rato y que es autoconclusivo, por lo que tampoco deja deberes para saber cómo continúa la trama.

[Dale · Rating 2 out of 5]

Published in 2019 by Marvel.

When people watched Sony's fantastic Spiderverse cartoon they were treated to the vision of multiple versions of Spider-Man teaming up to save the the world of Miles Morales. One of the most talked about versions of Spider-Man was Spider-Noir, a hard-bitten detective version of Spidey that was voiced by Nicholas Cage. Spider-Noir came with a trench coat and a fedora and lives in a black and white universe with dramatice lighting, much like a character in a Sam Spade movie.

In the summer of 2026, Nicholas Cage played a live action version of that character in a popular streaming series and I was thrilled to discover that Spider-Noir wasn't just a character made up for the Spiderverse cartoons, but was actually part of an existing series of comics that reimagined multiple popular Marvel characters in the 1930s.

I got hold of Spider-Man Noir: The Complete Collection and eagerly jumped in - only to be disappointed.

I was not disappointed that the comic differs significantly from the streaming series - that kind of stuff is to be expected. For example, in the streaming series, there is no Peter Parker and everyone's superpowers are the result of a lab experiment gone awry. Marvel simply loves to imbue superpowers via bad science experiments.

The way Peter Parker receives his powers in the comic is much closer to how Madame Web receives her powers in the Madame Web movie. That was fine by me - it doesn't always have to be a lab accident.

What was not fine by me was the art in the original series was often unclear and extremely hard to follow. It is often too busy (see above.) Quite simply, it did not work in too many panels throughout the comic. The art was much better in the smaller follow up comics at the end of this collection.

Even worse...

Read more here (also see an example of the confusing art)
https://dwdsreviews.blogspot.com/2026...

[Ian · Rating 4 out of 5]

In the Great Depression crime and corruption are rampant in New York City until a chance encounter with a mystical spider-totem imbues young Peter Parker with remarkable powers.

I was a little wary of this book, wondering if Spider-Man Noir was just going to turn out to be a bit of a gimmick (like the Batman stories where he's a pirate and that ilk). However, I was pleased to find that the writers have fully embraced the noir vibe, as well as not shying away from the dark aspects of crime in the 1930s.
There's real emotional weight to this book and we learn early on that this isn't the optimistic do-gooder Peter Parker we're used to. This version of Spider-Man is a deeply troubled and somewhat jaded individual who is very much the product of a dark time in America's history.

The villains on offer here are done justice too, with particularly dark and grim versions of familiar characters enhancing the dark tone of the story. For example we get a version of the Vulture who is a cannibal and literally ate Ben Parker alive, as well as an incarnation of Doctor Octopus who is using Nazi funding to conduct horrifying experiments on kidnapped black people. What I found interesting was seeing these characters not as costumed supervillains but as truly wicked humans who are, frighteningly, somewhat believable.

The Spider-Verse crossovers which make up the last quarter of the book did let it down a little. Not that there's anything exactly wrong with them, it's simply that they have more of the mainstream Spider-Man feel to them which spoils the dark tone of the book up to that point.
But perhaps you'll need a more light-hearted palette-cleanser after the horror and misery of the rest of the book and, if nothing else, it perhaps does noir Peter some good to encounter some of his more hopeful and upbeat variants.

* More reviews here: https://fsfh-book-review2.webnode.com *

[Jill Elise · Rating 3 out of 5]

(A discombobulated review 😅)

There's something relatable about a broke high school/college student saving the world because he couldn't afford health insurance to get his spider-bite checked out....

That said, Peter Noir's comment in Into the Spider-Verse, "I let matches burn down my fingers just to feel something"- WELL GEE, no WONDER HE SEEMS SO YOUNG??- (I'm glad we didn't animate Peter Noir's spider bite sequence exactly true to comics because yeesh, my eyes-)

I'm slowly realizing I'm just not a fan of comics due to the quick plot and excess of telling vs. showing, so I didn't enjoy this quite as much as I would've if it were a graphic novel or even a traditional novel (I know, very depressing). I also missed Peter Noir's version of thwip-y humor, something we only got in the final cross-over comic. There's definitely a disconnect between his movie counterpart and comic version in terms of personality (although, I wonder if this is from a time-skip, too, since Movie Peter Noir seems older).

However, I did like seeing Peter Noir's sense of justice, and his passion for making things right, that eventually leads him to becoming hard and angry. I liked watching him make morally-incorrect choices that he justified through the end, but wished we could've seen a little more of his internal conflict over making those choices (or even just that shift). I loved seeing his universe's version of Spider-Man's Enemies, and the individual story concepts were interesting. Ben Urich's character arc was also really interesting!! And the discussion of corruption in the political machine, seeping through the sewers all the way up to the top, was really cool as it was revealed through various characters.

[Curtis · Rating 3 out of 5]

I was really excited to learn about this, firstly because I was eager to read something else by David Hine, having read his Strange Embrace and loving it, and secondly because I like Spider-Man but prefer limited run comics to never-ending Marvel style stuff. I really thought this would be the dream ticket for me.

Unfortunately, it didn't quite live up to expectation. I did really like the concept and some of Hine's ideas of what to do with familiar characters were great, perhaps most notably The Vulture and JJ Jameson.

On the negative side, the writing was good but the stories just didn't grab me in the way that Strange Embrace did, and I just wasn't really excited to get back into the story when I picked it up each night before bed. I had a stronger dislike of the artwork, which was dark to the point of making the action scenes hard to follow.

The first story was my favourite, not necessarily because it was the better of the two volumes but because the novelty hadn't yet worn off. The second volume was arguably a bit stronger but the disappointment that this was 'good not great' had already set in and my enthusiasm was waning. Finally, when the last volume came along, I thought I was getting into a third story but it quickly became apparent it was something else entirely that I had no interest in, and I wasn't all that disappointed to be done with it.

All in all, it was good enough but a bit of a disappointment when I think of what it could've been, and despite David Hine succeeding in his attempt to do something different here, it didn't always land. Coupled with the artwork and superfluous crossover stories at the end, the 3.5 star story pulls this collection an even 3 stars from me.

[Matt · Rating 4 out of 5]

COLLECTS SPIDER-MAN NOIR ISSUES #1-4, SPIDER-MAN NOIR: EYES WITHOUT A FACE ISSUES #1-4, EDGE OF SPIDER-VERSE ISSUE #1, SPIDER-GEDDON: SPIDER-MAN NOIR VIDEO COMIC and material from SPIDER-VERSE TEAM-UP ISSUE #1

I read most of this collection in the past, but I needed to read the Video Comic to complete the collection. Here are my past reviews:

Spider-Man Noir:

I really enjoyed this parallel universe version of Spider-Man. There were some interesting twists and surprises that I wasn't expecting along the way.

Because this story doesn't take place in the traditionally Earth-616 universe, the writer is able to re-imagine many well-known characters in creative ways.

The setting for this alternate universe story is 1933, during the Great Depression and the times of Prohibition.

Here are some of the Spider-characters cast in a new light within these pages:

-Peter Parker
-Aunt May
-Felicia Hardy
-Norman Osborn
-J. Jonah Jameson
-Ben Ulrich
-...and many more

Spider-Man gains his powers in a new way, unique to this universe.

I'm excited to read more stories set in this universe, and especially excited to read more of the Spider-Man Noir character.

Spider-Man Noir: Eyes Without a Face:

The original Spider-Man Noir story was dark, but this story was even darker. This story, set in 1933, takes place on an alternate Earth in a parallel universe.

In this story, Peter Parker has to try to stop an alternate, Nazi-like Otto Octavius from doing human experimentation. Alternate versions of Felicia Hardy, Mary Jane Watson, Curt Connors, and the Sandman also appear.

I still like the idea of Spider-Man Noir, but I liked this story less than the original.