Why I think Spider noir is on the younger side(18-20) in the new spiderverse movie per my previous post:
Let’s break it down by Context, Timeline, Mood, and ATSV
Context:
Spider noir has two comic runs that happen before COMICS spiderverse. With that said, there were like inter dimensional energy vampires and that’s obviously not the direction the spiderverse movies went with. So we’re going to largely disregard them for this. To expand, there was a big time jump between that last noir comic and the spiderverse ones. Peter would be closer to mid/late 20s at the start of the comics spiderverse and therefore ITSV if we were to integrate and replace the timelines, BUT I always hated the way they did that time jump in the comics and what it did to Peter’s character.
It felt like they were trying to tie him into 616 Peter wayyyy too much by making his love interest MJ(who we rlly haven’t seen and what we have seen hasn’t had good chemistry), have a good relationship with May(they rlly brushed him shooting someone in front of her and calling him an animal under the rug Huh), and going to college(I get it I do, but unlike most universes I don’t think this Peter could ever stop spiderman enough). There wasn't really any mention of Felicia, Urich, or Robby and their past. They also changed his webbing, his look, and his spider senses.
I felt like that was completely getting rid of all of Peter's characterization and he just becomes the spider with a gun from the 1930s. But the point is they clearly went in a very different artistic and narrative direction after the time jump to a point where it doesn’t feel like the same character.
Refitting the timeline:
So, scrapping the comics spiderverse timeline, I don’t really see a reason for a disjointed time jump. And after those first two comic runs it can be argued, for this Peter, that ITSV happens much sooner for him after that second run, possibly even after the first comic. Then ATSV would happen after that second run. There is an 8mo. time jump between the two runs so it is definitely feasible.
But let’s talk about mood between the runs.
We all know at least somewhat this Peter's origin, and if you don’t, to sum it up: organized crime, monsters, socialism, cannibalism.
The first run ends, Peter beats the goblin without killing him and he’s feeling pretty good about himself/confident. But he’s still got a lot of well deserved angst and self hatred. His uncle is dead, his new mentor/father figure is dead, his relationship with May is on the rocks to say the least, and there’s the whole Felicia thing. He’s still a high schooler and in that teen range, but a big ass lanky teenager who's only solid looking because of the gear he wears. I’d place him around 16-18, a case could be made for 15 but I’m going to politely disagree. ITSV could very easily be fairly soon after these events.
It’s 8 months after the first run. He becomes cocky and overconfident this whole next issue, possibly because of an interdimensionally inflated ego? Point is he feels on top of his game. Also worth mentioning, he’s ignoring MJ this whole issue to the point the audience knows basically nothing about her while he is having a very intense relationship with Felicia(which we already know how I feel about that whole mess) and who MJ is very blatantly and very badly a foil to.(I love MJ she is just not well written here).
The second run ends, his best friend/possible love interest(I said what I said), Robbie, is dead and unavenged.(I can talk a lot more about Robbie and what effect he had and will have on Peter going forward, also the disservice of his ‘death’) Felicia is disfigured and blames Peter. Peter not only blames himself for all this but the comic ends with him saying he feels powerless and a constant sense of impending doom. He really did not get a single win during this comic, man got the shit beaten out of him too. The age at the end of this comic is 17-19. After the last comic dude was messed up but still had hope, after this one we don’t see the fall out, but I can assure it was BAD. That whole ‘you don’t have to kill the bad guy thing’ is probably out the fucking window. I’m more hesitant to think ITSV happened after this run because of that. He isn’t just depressed or self loathing anymore, he isn’t just playing fast and loose with his life to get results. He does not care, he has no hope, and he doesn’t see a good future.
Pre - ATSV predictions with mild spoilers:
With the year and a couple of months time jump for ATSV it’s very plausible that the events of that last run plus possible spider task force shenanigans could happen before the movie. For more context in the comics spider noir was a recurring spider in the ‘elite strike force’. Personally, if he was invited, I could very much see him accepting, especially with his current mental state, and being very aggressive about it. Which, theoretically, could cause him to get kicked off or make a rash decision to leave bc fuck those guys. But the point is at the end of that last comic this man really doesn’t have a single win, he is in a prime state to be manipulated in.
Edit: my dumbass forgot literally the most important detail. The year 1933 is when ITSV noir comes from which matches this timeline with the comics as well.
To sum everything up, the reason why I think spider noirs age is in the 18/20 range is because it fits the above timeline, which I believe to be the most probable timeline of events that are canon by the movies while also staying consistent with at least some of the original comics. It should be further noted there is no evidence of his age throughout the ITSV movie, besides him being played by Nicholas Cage and being tall. In fact, I’d argue due to his excessive use of slang it would naturally place him in a younger category as well as the classic melodramaticness that can come with being a coping teenager. The most important thing that makes his age and at what point in his storyline he’s in up to interpretation is the fact that we see his face once and it’s heavily shadowed. If we saw his face more I’d feel better about giving him a more solid age, but till then context clues for the win. But anyways, this was long and I still have more I could get into/say and I will eventually. Feel free to ask any questions or even tell me why you disagree!
245 notes
·
View notes
Tomorrow I'm getting my wisdom teeth removed! Tonight, I'm paying too much attention to color symbolism. Drabble below the cut;
(In which Noir Peter returns home after the Collider Incident, briefly seeing in color, only for everything to fade as his universe reminds him how long hope lasts when you're a hero in a city like this. In which Robbie is dead. In which sunsets are orange until they aren't.)
(Writing inspired minorly by this post, by @im-a-luxury , which was mostly discussing ATSV, but got me thinking about post-ITSV noir)
...
Peter learns about color, or rather, the full spectrum of color is forced upon him, during the Collider incident. It's too much, and it's always going to be too much - this isn't something he can will away or exposure therapy out of. Bright light is one thing he already has trouble with in his own world, but color is a greater beast.
Nonetheless, it's beautiful - unforgettable. It's spectacular in a way he has no words from his world to describe. It sticks with him.
He goes home.
And there's a cube in his pocket that he takes everywhere, when it feels safe to, and even if he leaves it there for days at a time without looking, it's a slight weight and a great reminder. It centers and grounds, making simple concepts he had barely had the time to grasp.
He comes home, and the memory of it in his hands, a blue sky overhead, clicks, shimmers. He thinks the sunset he's facing through the window might be orange to him, even if it's only a dream.
As he lets the hours tick by arguing back and forth over the correct amount of commas for an honestly disgracefully run-on bit of prose with Robbie, he decides that what he's looking at must be purple. Primaries, secondaries, cool and warm tones, they were terms that he was given and quickly lost, but the visual memory sticks, however unreadable.
Hooved hands steady a blue and red tile together on the side facing him, and he is told that they create purple when mixed.
Purple.
Robbie wears purple.
It's bright in his eyes, even if the person opposite him can't even see it, doesn't have the words to describe it - Saturation, value, hue - No, Peter doesn't have those words either, minus value, perhaps. But it's purple, and it fits, like a finished face, a portion of a puzzle solved.
He commandeers a scarf while visiting the Robertson household, and lets a tie go missing in exchange. He finds that he is often orange. Orange, like sunsets, he remembers. Was that yellow and green? Does it matter? They match. The puzzle slots.
He finds it odd, on the days he really considers it, how exposure changed his view. The reality that he's surrounded with - black and white, varying shades between greys - is a direct affront to the ideal his mind tries to fit beside it. The color isn't there, he knows, but something about it is tangible in a way that doesn't feel as fake as it should.
Is this hope?
He likes to think hope is purple.
And then, of course, like everything does in time, like black fabric left in the sun over weeks, bleaching to white, the cube begins to change.
It starts slow:
Maybe he doesn't move quickly enough, maybe a stray bullet puts his left shoulder out of commission, maybe he doesn't catch the person that kills the local newsboy's mother. The night after, he tries writing an apology with his right hand, and the words scrawl at a 20 degree slant downwards.
(The red face of the cube matches the grey of the table from where it sits staring at him as he abandons the effort altogether.)
Maybe he considers standing trial after he fails again to save someone, but he knows that the mask is as much his face now as anything else on it is. Is this how Osborne felt? A scar intersects the edge where his hair meets his forehead and goes down, like a mirror of the stitching he gave to the Spiderman’s face.
(The blue looks similar to the green - it's hard to discern, like it's spilling. He doesn’t see stars in New York’s sky through the smog, and what blue there might have been begins to fade.)
Maybe he gets ground into the wood panel floor under the fists of someone that has killed more than there are seats in a theater. He coughs up blood when he manages to roll over, and it's black - it's always been black, what other color could it be?
(The yellow and white are the same. The cube collects dust. He considers putting it in a drawer to forget about. He can't bring himself to until. Until.)
Maybe red and blue find no union in passing hands or shades. Maybe the sunset was only ever grey and grey and grey until black.
Maybe he doesn't board the boat that brings Robbie home.
Maybe he takes the second ship instead.
Maybe it didn't matter.
(Orange is the color of sunsets, fires, endings, and denouements. Even the venom of a closed-shut finality is robbed of the world.)
He doesn’t find a high rooftop to watch the sun makes its bed among clouds - white on grey on blooming black. After all, it’s already night when they dock at shore, Ellis Island behind them.
He takes the long walk home.
(The cube is posited into the black to sleep. No sunlight reaches it, and still it bleaches, completely, finally. It is set to rest, like the sun before they made it home, like purple under a scalpel, unlike Peter.)
He doesn’t sleep.
He has nothing to do but let go.
17 notes
·
View notes