Spider-Man ’94 #1 Review – The Animated Series Finally Swings Back Into Action
For those of us who grew up in the 1990s, Spider-Man: The Animated Series was more than just another superhero cartoon. It was one of the boldest and most ambitious shows Marvel had ever put on TV. Across five seasons, it told sprawling stories about Peter Parker’s struggles, the rise of his villains, and even multiverse-level adventures that rivaled anything happening in the comics at the time. But the series ended in 1998 with one of the most infamous cliffhangers in superhero television history.
Mary Jane Watson had vanished. Spider-Man was left searching for her across realities. And then… silence. For over 25 years, fans wondered if they’d ever get closure. While X-Men ‘97 did kind of reveal an ending to the saga, it was a fleeting moment that felt extremely anticlimactic. Now, Marvel has finally answered with Spider-Man ’94 #1, a brand-new comic that acts as a continuation of the animated show. Written by J.M. DeMatteis with art by Jim Towe, the series brings Peter Parker back to the animated universe and attempts to deliver the long-awaited next chapter. As a lifelong fan of the cartoon, I had high expectations going in. The result is a fascinating blend of nostalgia, new ideas, and a few rough edges - but ultimately it’s one that’s undeniably worth the wait.
One of the smartest things about Spider-Man ’94 #1 is that it doesn’t try to reinvent the wheel. From the opening pages, it makes clear that this is the same world as the 1994 animated series. The comic recaps where things left off, reminding readers about Peter’s separation from Mary Jane and the multiverse chaos that closed out the show. This recap is handled with efficiency, so even if you haven’t rewatched the series in years, you won’t feel lost. That said, if you have seen the finale recently, the comic feels like an immediate extension of it. It reads less like a reboot and more like a “lost episode” that was only just now unearthed.
And the best part? It doesn’t just give us a reunion, it pushes the story into new territory. The book introduces characters like Morlun and Kaine, who never appeared in the cartoon but are iconic in the comics. Their arrival is a sign that this series isn’t just a nostalgia trip, it’s trying to grow and evolve the animated world by pulling in modern Spider-Man lore from the wider comic universe.
J.M. DeMatteis is a writer who knows Spider-Man inside and out. His previous work on stories like Kraven’s Last Hunt proved he understands the psychological and emotional weight that comes with being Peter Parker. That same approach is on display in Spider-Man ’94 #1.
The action beats are there with plenty of swinging, fighting, and threats that feel appropriately big, but the emotional side of Peter’s life takes centre stage. The lingering mystery of Mary Jane is central, and Peter’s doubts about what really happened to her are handled with care. This issue doesn’t resolve everything, but it lays the groundwork for a deeply personal story. One of the standout moments comes when Peter and MJ finally reconnect. Without spoiling specifics, it’s a scene that feels authentic to the cartoon’s tone: heartfelt, a little melodramatic, and full of the emotional sincerity that made 90s Spider-Man so beloved.
Of course, no Spider-Man story would be complete without humour. DeMatteis sprinkles in enough quips and lighthearted moments to keep the tone balanced. This feels like Spider-Man at his best - torn between joy and tragedy, never quite getting an easy win, but always finding the strength to keep moving.
Visually, Spider-Man ’94 #1 aims to capture the bold, colorful style of the animated series. On that front, the coloring is a success. The bright tones, neon accents, and vibrant cityscapes scream “90s cartoon,” and it’s hard not to smile at how faithfully that atmosphere is recreated.
The layouts are also strong. Action scenes have a sense of motion and scale, and the book feels dynamic in the way a Spider-Man comic should. You can almost imagine the panels being storyboard frames for an episode that was never produced. Where the art struggles, though, is with character design. Some of the faces and proportions look off, particularly with Peter Parker. At times, he comes across as oddly meek or awkward in ways that don’t quite match either the classic cartoon or the comics. Mary Jane fares better, but even she occasionally feels inconsistent.
It’s not a deal-breaker, but it does pull you out of the story here and there. If you’re expecting exact recreations of the animated designs, you may find the art a little jarring. But if you’re willing to accept it as a stylised interpretation, the energy and nostalgia of the visuals still carry the day.
One of the most compelling aspects of Spider-Man ’94 #1 is how it addresses unfinished business. The original show left Peter in limbo, chasing Mary Jane across realities. This comic doesn’t immediately tie everything up, but it acknowledges that cliffhanger and gives it emotional weight. More importantly, it leans into Spider-Man’s core theme: responsibility. Peter’s reunion with MJ raises new questions about what it means to be a partner, a hero, and a man who can never fully escape his burdens. The sense of longing and uncertainty is still there, but so is the determination to keep fighting.
It’s also worth noting that the comic takes time to show Peter interacting with familiar supporting characters. These moments ground the story and remind us that Spider-Man’s world isn’t just about villains and battles. It’s about family, friends, and the messy relationships that define Peter Parker as much as Spider-Man.
Nostalgia is a tricky thing. Too much of it, and a story can feel like a hollow retread. Too little, and you risk alienating the very audience that came for a continuation. Spider-Man ’94 #1 walks that line pretty well. Fans of the cartoon will notice small touches that instantly transport you back. The way the city is lit, the tone of Peter’s narration, and even the pacing of the story all feel like they could have been lifted from a Saturday morning episode. But it’s not just fan service. There’s a genuine attempt to build on the foundation of the show, making this feel like a true next chapter instead of a greatest hits compilation. At the same time, the introduction of newer villains gives the comic a modern edge. Morlun, in particular, is a fascinating choice. He’s a relatively recent addition to Spider-Man’s rogues’ gallery, but he fits surprisingly well into the animated universe. By blending nostalgia with fresh threats, the book finds a balance that should satisfy longtime fans while keeping things unpredictable.
Overall, for the most part Spider-Man ’94 #1 lives up to the impossible task of continuing a series that ended nearly three decades. The writing captures the spirit of the cartoon while also expanding its scope. The emotional beats land, the action feels cinematic, and the introduction of new villains adds excitement. The art won’t be for everyone, but the vibrant energy of the book outweighs its visual missteps. Most importantly, it gives fans what they’ve wanted for years: closure, or at least the start of it. Knowing that this is the first issue of a limited series, I’m genuinely excited to see where it goes next.
If you grew up with the animated series, this comic is a must-read. If you’re newer to Spider-Man but curious about one of his most iconic adaptations, it’s still a fun and accessible starting point.
Rating: 8/10
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