This article aims to question the blockbuster superhero film’s normative discourse on superhero comics. To this end, we examine the various operations of transmediation at stake in the process of transposition as critical modalities of reflexivity. In order to make more plain the ideological determination of this process, we have opted for a diachronic approach highlighting socio-historical changes in transmedial poetics. We take into consideration one of the most famous Marvel characters, Spider-Man, and more specifically the transmediation of the first episodes of the comic book series as it first appeared, censored, in French all the way to Sam Raimi’s 2005 screen version. The evolution of media transpositions of superhero comics shows a crucial axiological displacement in the normative evolution of the superhero figure as well as a stagnation in the recognition of comics as a media, as well as a cultural and artistic form.