Swing In for the Best Spider-Man Comics

This is it. This is the first meeting of Peter Parker (Earth 616) and Miles Morales (Ultimate Universe). This is the best of both worlds and brings it all together. Peter is the one misplaced in the Multiverse and comes face to face with his own mortality when he learns his Ultimate Universe equivalent has died. It doesn’t help that someone else has taken up the Spider-Man costume, and Peter’s not exactly sure how he feels about that. Peter and Miles are very different as their own incarnations of the character, but this collection shows how they are both Spider-Man–even if they realise this the hard way. Pichelli is the absolute best here, allowing fluidity across the panels and creating the most dynamic fight scene I have seen in recent times.

What’s better than our favourite neighbourhood Spider-Man? A whole Multiverse of Spider-Men! Wait, what is the collective for Spider-Man? Any web, I personally feel like this is the only crossover Marvel got right (though my opinion might be biased). The trigger for this madness is Morlun, a villain from Earth-001 who hunts all Spider-Totems — that mystical link between human and spider. He is one of the few who has successfully killed Spider-Man across various Earths, and this time he is bringing the family. Fortunately, Spider-Man has his own Spider-Family, leading to a life-or-death battle across the Marvel multiverse. I love how the creators have included the unique and sometimes nice touches of Spider-Men across the ages. It’s full drama and high action all the way, but its true strength is bringing readers of all ages together in this magnificent crossover. Without it, we are unlikely to have ever been blessed with Into the Spider-Verse, only the best Spider-Man movie of all time (see my complete and convincing argument here).

You know it’s going to happen. It says it right on the cover. Every page leads up to it. But when it actually happens — when Spider-Man/Peter Parker dies — a little of your comic book innocence dies along with him. Making this story in the Ultimate Universe does not soften the blow. Peter Parker is still the same nerdy teen weighed down with the same guilt for Uncle Ben and his responsibility to protect those he loves, especially Aunt May. The soul of the character is still the same. His absolute determination to do what is right and advocate for what is right. Personally, I think this one needs to be read at the same time as Death of Spider-Man: Prelude and Death of Spider-Man Fallout. The first, because you can feel the emotional volcano building with pressure; the latter, because we need to see how this impacts those around him as well. It also introduces Miles Morales, who is a breath of fresh air and a brilliant return to the innocence and youthfulness of Spider-Man.

Doc Ock body-swapped with Peter Parker and was determined to prove he was the better hero. Risky and controversial, it was also ground-breaking as it reset the parameters of Spider-Man and redefined the villains of this series. The epic conclusion sees Octavius hopelessly battle against Norman Osborn and his army of Green Goblins. It is here Octavius realises: he is simply NOT Spider-Man. Until that moment, Octavius never understood the sacrifice of being Spider-Man: that connection with something greater in the community, no matter how much crap comes tumbling down on you. In this moment of revelation, Octavius does the one true Spidey-thing: he sacrifices his life so that Peter can live again. And that moment when Osborn realises he ain’t fighting Octavius anymore? Worth every dollar you will pay to get your hands on this Spidey-goodness. *chef’s kiss*

Shout out to Humberto Ramos, who was the primary artist for earlier issues in Superior Spider-Man, especially for the “Superior Venom” in issue #15. Ramos was able to draw Spider-Man as Spider-Man while balancing it with a cartoonish touch of SpideyOck. “Superior Venom” was his first work giving us fluidity and a sense of danger that oozed off the page. “Goblin Nation” is my fave out of the series, but it is worth reading the entire catalogue just to appreciate Ramos’ contribution to Spidey’s portfolio.

The secret to Spidey’s universal appeal is his relatability. No, we’re not all going to start phwipping through New York City. But at no point in the comics do we ever forget that there is a person in the costume. Peter struggles with the responsibility of being a superhero, but he does not shy away from it. His empathy for his rogues may seem like a detriment to some but, as Peter reflects, it is often the only way he can hold on to his humanity.

Marko Flint/Sandman is facing his own mortality, and a life wasted fighting his nemesis, Spider-Man. He is presented as a broken man, desperately trying to pull himself together. When Spidey learns from J. Jonah Jameson that Flint is in hospital for his final moments, Peter chooses to take Flint to his favourite place in the city and simply let go. The dialogue between Jameson and Peter afterwards calls to the very heart of Spider-Man’s responsibility: constantly on heightened awareness to make the right choice. It’s exhausting enough with everyday decisions, but Spidey shows the extensive weight that sits on superheroes.

Ahmed has taken the reins with Miles and gives us a warm welcome into Spider-Man comics. There are still bits and pieces of Spider-Man’s mythos coming through, but the best part is Miles’ relatability. Just like Peter Parker, Miles Morales feels like a real person, someone you can associate with, who you might even walk past in the street while ditching school. At the same time, it’s new, helped along by Garrón’s smooth drawing. If you’re looking to jump into Spider-Man for the first time, you can easily start with this volume and then work your way back through the list above. It will honour everything you will ever know about Spider-Man in every shape, form, and costume.