REVIEW: Marvel's Superior Spider-Man #1 (2024)

A lot has happened since the events of End of the Spider-Verse. Doctor Octopus has gotten a taste of what it means to be Superior Spider-Man. Peter Parker experienced a reality where his Uncle Ben survived -- only to be brought back to face his old universe -- and adjust to working with a sidekick he can't remember. Meanwhile, Bailey Briggs has to re-adjust to the world and a mentor who doesn't remember him -- while re-educating the hero about the enemies he's completely forgotten. Now, another enemy, Supernova, a victim of Superior Spider-Man, has surfaced and is out for revenge. The problem is that she's hunting the wrong Spider-Man.

Superior Spider-Man #1, written by Dan Slott, featuring the art of Mark Bagley, John Dell, and Nathan Stockman, colors by Edgar Delgado, and letters by VC's Joe Caramagna, continues the latest chapter in the Marvel Comics Spider-verse. The first segment, "Mistaken Identity Crisis," has Supernova emerge to mistakenly seek revenge on Peter Parker, which leads to Doc Ock making a startling discovery. The second segment, "Negative Reinforcement," revisits Ock's run as Superior Spider-Man, his ruthless methods, and Spider-Boy's role as an established hero.

See Also

15 Things You Didn't Know About Superior Spider-ManSuperior: 15 Memorable Moments From Doc Ock's Time As Spider-ManSuperior Spider-Man from Marvel ComicsSuperior Spider-Man [in Characters] @ SpiderFan.org

Superior Spider-Man #1 continues where the one-off issue Superior Spider-Man Returns #1 left off, following Peter Parker and Doctor Ock's returns to their respective realities. It also marks the return of Spider-Boy after he was erased from existence and the collective memory after End of the Spider-Verse. At this point, the character of Spider-Man is so deeply entangled in multiple continuities and universes that the threads come together less as a web and more as a tangled, inextricable bundle. When one thread is pulled, others come out along with it. This is the case for Superior Spider-Man #1, with a storyline so steeped in continuity that it's not the most beginner-friendly of issues. Unfortunately, it also relies on a lot of clunky exposition, lots of telling in between the showing, and a few awkward "As you know" statements from the characters. This isn't the writer's fault but rather a weakness developed over time within the franchise's continuity due to its emphasis and expansion of the multiverse -- making for an unwieldy load for any writer to handle.

Writer Dan Slott has a lot of story elements and plot threads to balance and weave together. Being a Spider-Man story, there is plenty of angst, drama, and high-stakes, nail-biting suspense between the quick repartee and webslinging witticisms. For the most part, Slott delivers. Although the dialogue suffers from exposition and some unnatural phrasing, Superior Spider-Man #1 has otherwise solid storytelling. It introduces new plot elements while at the same time never dropping previous unresolved threads; instead, Slott continues to weave the loose ends left from the earlier chapters of this ongoing plotline with impressive deftness. The origin of Supernova, the events and consequences of Doc Ock's time as Superior Spider-Man, and Spider-Boy's new, precarious existence in a reality where nobody remembers him are all handled well, with each element never outweighing the other.

Most impressive is Slott's handling of Spider-Boy's character. In many instances in media, the new young sidekick character usually doesn't blend well in a way that feels natural to the rest of the cast or story. As a result, they tend not to be received well by audiences. In some cases, the "new, younger sidekick" archetype has a poorly realized personality, either overly assertive, taking away the spotlight on the main hero, or being so nondescript that they have no identity beyond being a sidekick. However, Bailey Briggs averts these trends by having an impressive plot and backstory. His predicament is unique to a world dependent on multiverses. Having to reconcile that the world does not remember him is a poignant and effective plot point, which delivers just the right amount of humor and angst that is emblematic of the Spider-Man franchise.

Most importantly, Bailey stands out as a strong and intriguing character in tandem with Spider-Man, and in his own right, by actively contributing to the story as a character rather than a plot device. Due to his unique circ*mstances, he has essential knowledge Peter Parker lacks, especially regarding his updated rogues gallery. Likewise, he has different strengths and weaknesses from his mentor, being the "webless wonder," making his gradual development into a stronger hero more impactful and making his current role as a sidekick realistic and believable.

Since Superior Spider-Man #1 consists of two segments, told from two separate perspectives in different timelines, it fittingly boasts the work of two artists. "Mistaken Identity Crisis" features pencils and designs by Mark Bagley and inks by John Dell, while Nathan Stockman helms the visuals for "Negative Reinforcement." The former chapter is told mostly from the perspective of the adults -- Spider-Man and Doctor Ock. Bagley's art style reflects this by utilizing a more traditional approach to the characters' designs and the urban setting. Heroic builds, rendered muscles, dramatic black placements, cross-hatching, dynamic lines, and intricate details in the textures of buildings. Since the "Mistaken Identity Crisis" plays out like a classic Spider-Man issue -- quirks and new characters notwithstanding. Bagley is wise to channel the old-school Marvel aesthetic. Inker John Dell follows up spectacularly, his line art demonstrating his finesse and sense of craft. There's a slight softness to the edges, and his use of line weight to portray scale, foreground, background, and intricacy adds a sense of depth and realism that makes this issue very easy on the eye. His inks also display dynamism, adding life and movement to Bagley's already strong sense of visual motion.

The second segment, the Spider-Boy-led "Negative Reinforcement," has visuals to match the spirited, naive, and exuberant energy of the young, webless wonder. Nathan Stockman's art style is a less rigid take on the "classic" aesthetic employed by Bagley and Dell. Though the changes are subtle, they make a world of difference in turns of tone and perception. Characters' movements and poses are more extreme, flexible, and dramatic; likewise, the characters' expressions are stronger, an impressive feat considering the two leads are both wearing masks. Stockman's extreme angles emphasize Spider-Boy's youth, smaller stature, energy, vulnerability, and relative innocence compared to Negative and the Ock-possessed Superior Spider-Man. Whereas Negative and Spider-Man are solid forces of nature, Spider-Boy jumps all over the pages, sometimes displaying multiple moves in a single panel. It makes for a truly explosive and visually electric fight scene. More importantly, it demonstrates Spider-Boy's potential as a strong and competent character while still reminding readers of his youth and precarious position as a child hero.

Edgar Delgado's color palette, however, is surprisingly restrained. The signature primary color palettes of both Spider-Man and Spider-Boy are present. Still, they're quite subdued, drowned out by the environments' all-encompassing, earthen, and muted colors. While Delgado does allow for some splashes of color through the lit-up signs of Times Square and utilizes color knockouts to emphasize Supernova's brightness and power via white light and gradient washes of orange, red, and green during fights, these are mere interludes in a rather drab procession of colors. While the selection of greys, taupes, black, muted greens, and blues does reflect the real-life color palette of New York City's chilly concrete jungle by evening, it unfortunately leeches the light and liveliness of the other colors, and the dynamic strokes of both Bagley and Stockman's lines. This is especially noticeable in sequences where Spider-Boy is front and center. His primary colored suit doesn't mesh well with the gloomy backdrop, which could have been improved with ambient color light, a gradient wash overlay to unite the colors or a less literal take on the New York nighttime setting.

Superior Spider-Man #1 covers a lot of ground in a short amount of time, and despite a few missteps in the dialogue and pacing, Dan Slott delivers. While this issue doesn't necessarily tie up loose ends, it adds to them, continuing to weave a strong story that never feels extraneous or padded. Similarly, this issue strengthens Bailey Brigg's character arc without detracting or distracting from those of Spider-Man and Doctor Octopus. With its impressive visuals, solid storytelling, and attention to continuity and detail, Superior Spider-Man #1 is worth a visit, especially for readers familiar with and still left hungering after the events of End of the Spider-Verse.