The Godwulf Manuscript marks the debut of Robert B. Parker's celebrated series, introducing the enigmatic Spenser. In this inaugural tale, he emerges not yet fully realized, but still intriguing. Unlike the later renditions, this early Spenser is a solitary soul, emotionally unburdened, with a penchant for culinary arts and a wry, self-aware humor. Absent are the significant figures of Susan Silverman and the formidable Hawk, who will later become key players in his life. At this juncture, he embodies the solitary detective akin to Raymond Chandler's iconic Philip Marlowe—rugged, sardonic, and ever-ready to battle the forces of crime. This nascent Spenser indulges more in libations, embraces casual encounters, and is less inclined towards philosophical musings than his future self.

Within the pages of The Godwulf Manuscript, Parker unveils several enduring characters. Lieutenant Martin Quirk stands out as the impeccably attired member of Boston’s finest, paired with his companion, the disheveled and perpetually peckish Belson. Initially, Quirk shares a somewhat contentious rapport with Spenser, a dynamic that will evolve over time, while Belson already shows a greater acceptance of Spenser's unconventional methods. Joe Broz, the city's criminal overlord, maintains a consistent adversarial relationship with Spenser, echoing through the series.

Brenda Loring, who serves as the secretary to the university President Bradford W. Forbes, becomes Spenser's romantic interest in this adventure, providing an early prototype of Susan. Her appearances are brief, marking her as a minor character in the saga. President Forbes, portrayed as a pompous and self-important authority, foreshadows a recurring archetype in Parker's universe. Meanwhile, Carl Tower, the head of campus security, aligns more closely with Spenser, sharing a mutual, mild disdain for their superior, facilitating smoother collaboration. Terry Orchard, a scion of Boston's elite, finds herself entangled with a radical student group suspected of pilfering the manuscript for subversive reasons.

The Orchard family, much like other affluent clans in Parker's narratives, epitomizes the moral decay and squander of those blessed with wealth but lacking character. Terry becomes another damsel in distress for Spenser to save, a recurring motif in Parker's work. Her mother, Marion, is depicted as sexually frustrated and listless, while her father appears ineffectual and weak, both shielded by their affluence and societal standing. These archetypes, emblematic of Parker's criticism, are ones he revisits with unflinching scrutiny throughout his tales.