Web of Spider-Man is a comic book series published by Marvel Comics starring the superhero Spider-Man in solo adventures. The first volume ran monthly for 129 issues from April 1985 to October 1995.[1] A second volume of the series was published from 2009 to 2010, running for 12 issues.[2]The title was introduced as a direct successor to the Marvel Team-Up series, which ended with issue #150 in the same year, transitioning Spider-Man's narratives from team-up formats to additional standalone stories that complemented the existing The Amazing Spider-Man and The Spectacular Spider-Man titles.[3] This expansion allowed Marvel to publish more frequent Spider-Man content, delving deeper into his personal life, relationships, and battles against villains in New York City and beyond.[4] The series also produced ten annual issues from 1985 to 1994, often featuring extended tales or special events.Debuting with issue #1 written by Louise Simonson and penciled by Greg LaRocque, Web of Spider-Man quickly established key elements of Spider-Man's mythos, including a pivotal confrontation with the alien symbiote costume in its opening story, where Peter Parker rejects the suit during a church bell tolling, foreshadowing the creation of Venom.[5] Over its decade-long run, the book featured writing from creators like Gerry Conway, David Michelinie, and J.M. DeMatteis, alongside artists such as Alex Saviuk, Todd McFarlane, and Mark Bagley, contributing to iconic arcs involving foes like Doctor Octopus, the Vulture, and the Hobgoblin. Notable crossovers included ties to Secret Wars II, where Spider-Man grappled with the Beyonder's influence, and the Acts of Vengeance event, pitting him against mismatched villains orchestrated by supercriminal alliances.[6] The [first volume of the] series concluded with issue #129 in October 1995; the title was then renamed Web of Scarlet Spider for four issues before cancellation, with The Sensational Spider-Man launching in 1996 as a successor title, leaving a legacy of diverse storytelling that enriched Spider-Man's 1980s and early 1990s era.[4]
Overview
Series Premise
Web of Spider-Man is a Marvel Comics series starring the superhero Spider-Man (Peter Parker), functioning as a secondary ongoing title alongside the flagship Amazing Spider-Man to expand the character's adventures and provide additional standalone stories interconnected with the main continuity.[1] Launched in April 1985, the series replaced the concluded Marvel Team-Up title and capitalized on Spider-Man's surging popularity in the 1980s, when Marvel published multiple concurrent books—including Spectacular Spider-Man and Web of Spider-Man—to meet growing reader demand for more frequent narratives.[1][7]The premise centers on Peter Parker, a young scientist who gained superhuman abilities—such as enhanced strength, agility, and wall-crawling—after being bitten by a radioactive spider, balancing his dual life as a crime-fighter and everyday civilian. Stories in Web of Spider-Man often delved into psychological depth, exploring Parker's internal conflicts, moral dilemmas, and relationships, while introducing new villains and experimenting with elements like costume variations that might not fit the primary series' structure.[7]The series debuted with an experimental arc tied to the "alien costume saga," where Spider-Man confronts the living symbiote that had bonded to him as a black costume, ultimately severing the parasitic connection in a climactic battle that underscored the title's role in bold, self-contained yet mythos-expanding tales.[5] This launch positioned Web of Spider-Man as a platform for innovative storytelling, emphasizing themes of identity, temptation, and heroism beyond the constraints of the mainline book.[7]
Publication Details
The first volume of Web of Spider-Man was published by Marvel Comics on a monthly schedule as part of the direct market distribution system, which targeted comic book specialty retailers.[1] It consisted of 129 standard issues, cover-dated from April 1985 to October 1995.[1] These were typically 32-page color comics in the standard Modern Age U.S. format, featuring glossy covers, newsprint interiors, and saddle-stitched binding.[1] The initial cover price was $0.65 for issue #1, increasing to $0.75 by issue #24 in 1987 and reaching $1.50 for regular issues in the early 1990s before climbing to $2.25 by issue #120 in 1995.[8][9]In addition to the main series, ten annuals were released from 1985 to 1994 as special oversized issues, often containing extended or holiday-themed stories.[10] The series incorporated logistical tie-ins to broader Marvel events, such as Secret Wars II, aligning issue releases with crossover narratives.[1]A second volume launched in December 2009 as a 12-issue anthology series, concluding in November 2010, and maintained the monthly cadence with standard 32-page color formatting at a $3.99 cover price. No annuals were produced for this volume.[11]
Publication History
Volume One (1985–1995)
Web of Spider-Man debuted in April 1985 as Marvel Comics' third ongoing Spider-Man series, written by Louise Simonson and penciled by Greg LaRocque, continuing the narrative threads from the Secret Wars miniseries where Spider-Man acquired his black symbiote costume. This launch aligned with Marvel's strategic expansion of the Spider-Man franchise to capitalize on the character's popularity post-Secret Wars, adding to the existing Amazing Spider-Man and Spectacular Spider-Man titles to provide more monthly content for fans.[12] The inaugural issue focused on Spider-Man's confrontation with the alien costume, setting a tone of psychological horror and action that defined early arcs.Throughout its run, the series featured several milestone issues that advanced major Spider-Man lore. Issue #18 (September 1986), scripted by David Michelinie and illustrated by Marc Silvestri, introduced the Venom symbiote's antagonistic presence through a shadowy figure pushing Peter Parker toward an oncoming subway train, foreshadowing Eddie Brock's full emergence. In October 1987, issue #31 participated in the "Kraven's Last Hunt" crossover event, depicting Kraven the Hunter's obsessive pursuit and contributing to the storyline's exploration of Spider-Man's mental strain across multiple titles. By issue #117 (October 1994), written by Terry Kavanagh and drawn by Steven Butler, the book entered the protracted Clone Saga, reintroducing the concept of Spider-Man clones and escalating identity crises for Peter Parker.[13]Editorial leadership shifted notably in the late 1980s under Tom DeFalco, who served as Marvel's editor-in-chief from 1987 to 1994 and oversaw the Spider-Man line's creative direction, including team assignments and crossover integrations that maintained continuity across titles.[14] This period saw a rotation of writers like David Michelinie and Ann Nocenti, emphasizing character-driven stories amid growing commercial pressures. Sales reached their zenith in the early 1990s during the speculator boom, when inflated demand from collectors drove print runs well beyond typical volumes; for instance, issue #100 (1993) achieved a print run of 850,000 copies, reflecting the era's market frenzy for variant covers and anniversary gimmicks.[15][16]The series concluded its original numbering with issue #129 (October 1995), written by Tom DeFalco (plot) and Todd DeZago (script) with pencils by Steven Butler, which pivoted the narrative to Ben Reilly assuming the Scarlet Spider mantle as Peter Parker grappled with clone revelations from the ongoing saga. This installment precipitated a title rebranding to Web of Scarlet Spider starting the following month, but the change proved short-lived amid fan backlash to the Clone Saga's convoluted plotting and excessive length.[1] After four issues, the title was canceled in early 1996 as part of Marvel's post-Clone Saga consolidation, with the title succeeded by The Sensational Spider-Man to streamline the franchise.[17]
Volume Two (2009–2010)
In December 2009, Marvel Comics relaunched Web of Spider-Man as Volume Two under the editorship of Stephen Wacker, with the series running for 12 issues until November 2010.[18][19] This revival shifted the title from its original Peter Parker-focused narrative to an anthology format, presenting multiple short stories per issue that explored the broader Spider-family and supporting characters, such as Kaine (the Scarlet Spider) and Mayday Parker (Spider-Girl).[20][21]The series tied into the larger "The Gauntlet" storyline unfolding in The Amazing Spider-Man, providing side explorations of Spider-Man villains and family dynamics without directly advancing the main plot.[19][22] It featured a rotating creative team, with writers including J.M. DeMatteis, Tom DeFalco, Fred Van Lente, and Zeb Wells contributing stories, alongside artists such as Val Semeiks, Ron Frenz, and Barry Kitson.[20][23] For example, issue #1 opened with DeMatteis and Semeiks on a Kaine tale, while DeFalco and Frenz handled a Spider-Girl segment.[20]Despite an initial strong sales performance—with issue #1 shipping approximately 58,000 copies—the series experienced declining numbers, falling below 20,000 copies per issue by mid-2010 (e.g., #9 at 17,581 copies and #12 at 15,155).[24][25][26] Marvel cancelled the title after its 12th issue, aligning with a strategic emphasis on core Spider-Man books during the post-Brand New Day era, which prioritized streamlined continuity over expanded anthology lines.[18]
Fictional Content
Key Story Arcs
The Black Suit Saga, featured prominently in Web of Spider-Man issue #1 (1985), depicts Spider-Man's initial experiences with the alien symbiote costume acquired during the Secret Wars event, which enhances his strength and web-shooting abilities while gradually amplifying his aggression and altering his personality.[27] As the arc progresses, the symbiote's influence leads to increasingly violent confrontations with villains such as the Shocker, Silver Sable, and the Flag-Smasher, culminating in Spider-Man's rejection of the costume after recognizing its corrupting effects during a church bell confrontation.[28] This storyline explores themes of power's psychological toll and identity, setting the stage for the symbiote's later evolution into Venom.[27]Kraven's Last Hunt, beginning in Web of Spider-Man #31 (1987), is a six-part crossover arc that reverses the traditional hunter-prey dynamic between Kraven the Hunter and Spider-Man, with Kraven drugging and burying Spider-Man alive to assume his role and prove his superiority.[29] Written by J.M. DeMatteis and illustrated by Mike Zeck, the narrative delves into psychological horror, identity loss, and obsession as Spider-Man grapples with survival and escape while Kraven impersonates him in a spree of brutal vigilantism.[30] The arc concludes with Kraven's suicide, affirming his twisted victory, and profoundly impacts Spider-Man's worldview on heroism and mortality.[31]The Maximum Carnage event, involving Web of Spider-Man issues #101–103 (1993) alongside tie-ins, pits Spider-Man against Carnage and a cadre of psychotic villains including Shriek, Demogoblin, and Doppelganger, who unleash widespread chaos and murder across New York City.[32] As Carnage's symbiote progeny rallies a "family" of killers, Spider-Man reluctantly allies with Venom and other heroes like Captain America and Black Cat to combat the horde, highlighting moral conflicts over lethal force and the limits of heroism in the face of mass violence.[33] The storyline emphasizes themes of redemption, insanity, and societal breakdown, with Spider-Man's restraint tested amid the escalating death toll.The prelude to the Clone Saga in Web of Spider-Man issues #117–125 (1994–1995) introduces Ben Reilly, a clone of Peter Parker previously believed deceased, sparking an intense identity crisis as the two Spider-Men clash and undergo genetic testing that questions Peter's authenticity.[34] Amid manipulations by villains like the Jackal and Judas Traveller, the arc escalates with revelations about cloning origins, multiple Spider-variants, and escalating threats that fracture Peter's sense of self and relationships.[35] This involvement builds to the saga's broader controversy, exploring themes of legacy, duplication, and the essence of heroism through Reilly's emergence as a heroic counterpart.[34]Annual-specific arcs in Web of Spider-Man include issue #5 (1989), which ties into the Atlantis Attacks crossover rather than Inferno, featuring Spider-Man and the Fantastic Four defending against an Atlantean invasion orchestrated by Ghaur and Llyra to summon the elder god Set, involving sea monsters and surface world assaults.[36] These stories highlight Spider-Man's role in larger Marvel events, blending personal heroism with cosmic and infernal threats.[36]
Introduced Characters and Elements
The character of Eddie Brock, who becomes the host of the Venom symbiote, makes his first cameo appearance in Web of Spider-Man #18 (September 1986), depicted as the unidentified figure shoving Peter Parker in front of an oncoming subway train in an act of vengeance. This early tease sets up Brock's origin as a disgraced journalist who blames Spider-Man for the loss of his career after a story about the Sin-Eater proves false, leading him to bond with the alien symbiote discarded by Peter Parker.[37] As Venom, Brock gains enhanced abilities including superhuman strength, agility, and durability exceeding Spider-Man's, as well as the symbiote's shape-shifting properties that allow it to form tendrils, camouflage, and weapons like razor-sharp claws.[37] The rivalry originates from Venom's obsessive hatred of Spider-Man, viewing him as a pretender who rejected their "perfect" union, evolving Venom from a lethal foe into a complex anti-hero over time.[37]Shriek, real name Frances Barrison, is introduced in the Maximum Carnage crossover event, debuting in Spider-Man Unlimited #1 (May 1993), with significant development in Web of Spider-Man #100–101 as a sonic-powered psychopath and ally to Carnage.[38] A former criminal empowered by a symbiote experiment gone wrong during her imprisonment at Ravencroft Institute, Shriek possesses the ability to emit devastating sonic screams that can shatter objects, induce madness in listeners, and manipulate emotions to incite violence on a massive scale. Her alliance with Carnage stems from a twisted romantic bond, where she amplifies his chaos through her powers, often leading rampages that force Spider-Man to confront psychological horror alongside physical threats.Kaine, a flawed clone of Peter Parker created by the Jackal as part of his cloning experiments, makes his first appearance in Web of Spider-Man #119 (December 1994), teased earlier in the series as a shadowy pursuer.[39] As the "Scarlet Spider" variant, Kaine exhibits accelerated mutations including a precognitive "spider-sense" that borders on prophecy, allowing glimpses of future events, alongside physical imperfections like degenerative skin lesions and a toxic touch that causes rapid tissue decay in victims.[39] These traits position him as a darker, more violent counterpart to Spider-Man, driven by survival instincts and a quest for identity, often clashing with Peter while protecting him from greater threats like the Jackal's other clones.[39]The black symbiote suit, an alien entity with its own sentience, is prominently featured from the debut issue of Web of Spider-Man #1 (April 1985), where it enhances Spider-Man's abilities while subtly influencing his aggression and independence.[40] Distinct from the classic red-and-blue costume, the symbiote forms organic webbing, provides camouflage, and amplifies strength without mechanical aids, but its bonding process reveals a parasitic nature that amplifies the host's darker impulses and resists separation through psychic resistance.[27]Supporting cast expansions in Web of Spider-Man delve into Mary Jane Watson's modeling career, portraying her rise as a successful supermodel whose high-profile assignments frequently intersect with Peter Parker's vigilante life, creating tension from public scrutiny and scheduling conflicts.[41] Arcs highlight her professional triumphs, such as international photoshoots and endorsements, juxtaposed against the strains of secrecy, where her visibility as MJ exposes her to villains targeting Spider-Man's loved ones.[41]
Collected Editions
Trade Paperbacks and Essentials
The trade paperbacks and essentials collections of Web of Spider-Man provide affordable access to the series' early issues and key storylines, often in black-and-white formats or slim full-color editions that reprint select arcs without the premium binding of hardcovers. These volumes focus on seminal events like the black symbiote suit's debut and major villain confrontations, making them ideal for readers seeking entry points into the title's history up to 2025.[42]Essential Web of Spider-Man Vol. 1 (2011) collects issues #1–18 along with Annuals #1 and #2 and a crossover from The Amazing Spider-Man #258, spanning 528 pages in black-and-white and highlighting Spider-Man's adoption of the alien black suit during his early adventures against foes like the Vulture and Magma. This edition captures the series' launch and the symbiote's corrupting influence, offering a comprehensive look at the title's foundational tone under writers like Louise Simonson.[43][4]Essential Web of Spider-Man Vol. 2 (2009) collects issues #19–35 and Annual #3, spanning approximately 512 pages in black-and-white and covering mid-series stories such as the aftermath of the black suit, battles with Hydro-Man, and contributions to "Kraven's Last Hunt," providing continued affordable access to the title's 1980s evolution.[4]Spider-Man: Birth of Venom (2013 edition) reprints Web of Spider-Man #1 alongside related issues from The Amazing Spider-Man #252–259, #298–300, #315–317, Fantastic Four #274, Amazing Spider-Man Annual #10, and material from Marvel Super Heroes Secret Wars #8, totaling 352 pages in full color and centering on the symbiote's evolution into the Venom antagonist through Eddie Brock's origin. Though earlier editions exist, this version emphasizes the black suit's transformation and Spider-Man's rejection of it, providing context for Venom's enduring role in the mythos.[44]The Spider-Man: Kraven's Last Hunt Deluxe Edition (2018) includes Web of Spider-Man #31–32 within a broader 336-page full-color collection featuring The Amazing Spider-Man #293–294 and 15, Peter Parker, the Spectacular Spider-Man #131–132, and additional tie-ins like What If? #17, delivering J.M. DeMatteis and Mike Zeck's psychological thriller where Kraven the Hunter buries Spider-Man alive in a ritual of obsession and madness. This affordable reprint highlights Web's contribution to the crossover's descent into horror and identity themes.[45][46]Epic Collections incorporating Web of Spider-Man include the 2016 Amazing Spider-Man Epic Collection: Return of the Sinister Six (reprinted 2024), which features issues #35–37 as part of the Sinister Six's reformation under Doctor Octopus, alongside The Amazing Spider-Man #334–350 and the Spirits of the Earthgraphic novel, in a 512-page black-and-white volume exploring Spider-Man's battles with the team and personal crises like power loss. Similarly, the Spider-Man: Clone Saga Omnibus Vol. 1 (original 2016; new printing 2024) serves as a companion by reprinting #117–125, integrating them with The Amazing Spider-Man #394–401 and other titles in a 1240-page edition that revives the clone conspiracy with Ben Reilly's return and Kaine's threats, though focused more on the overarching event than standalone Web content.[47][48][49]Recent releases from 2024–2025, such as the Amazing Spider-Man Epic Collection: Web of Life, Web of Death (November 2024), tie in Web of Spider-Man #120–123 with related issues in a 472-page black-and-white format, covering multiversal threats and Spider-Man's alliances amid the "Web of Life" saga. No dedicated trade paperbacks solely for later Web of Spider-Man issues have appeared post-2023, with content instead bundled into broader Spider-Man Epic Collections for accessibility.[50][51]
Hardcover and Omnibus Collections
Premium hardcover and omnibus editions of Web of Spider-Man cater to collectors seeking comprehensive, high-end formats that bundle multiple issues, crossovers, and rare material into oversized volumes. These collections often feature slipcased designs, variant covers by renowned artists, and digital extras for enhanced accessibility, distinguishing them from more affordable trade paperbacks. Released primarily through Marvel's direct market, they emphasize archival quality with restored artwork and bonus content like creator interviews.[52]The Web of Spider-Man Omnibus Vol. 1 (2025), spanning 1,128 pages, collects issues #1–34 and Annuals #1–3, alongside select Amazing Spider-Man tie-ins (#268, #293–295), capturing early adventures including international escapades and the seminal "Kraven's Last Hunt" crossover written by J.M. DeMatteis. This volume highlights Spider-Man's black costume era and battles against foes like the Vulturions and Magma, with variant covers by Charles Vess, Greg LaRocque, and Mike Zeck. Announced for a March 2025 release, it addresses long-unreprinted stories for modern readers.[52]Crossover events are integrated into broader X-Men omnibuses, such as the X-Men: Inferno Omnibus (2021), a 1,184-page edition that incorporates Web of Spider-Man #47–48 into the demonic invasion storyline orchestrated by N'astirh and Mister Sinister. Aiding the X-Men alongside Spider-Man, Daredevil, and the Avengers, these issues depict New York's hellish siege and Illyana Rasputin's corruption, with the collection featuring variant headshot covers and full tie-in continuity.[53][54]The Spider-Man: Clone Saga Omnibus Vol. 1 (original 2016; new printing 2024), at 1,240 pages, delves into the identity crisis arc by including Web of Spider-Man #117–125 plus extensive tie-ins from Amazing Spider-Man, Spider-Man, and Spectacular Spider-Man. This edition unravels the return of Peter Parker's clone, Ben Reilly, and the Jackal's machinations, offering a massive overview of the saga's complexity with restored pages and variant editions for collectors.[49][55]Recent updates extend to creator-focused releases like the Spectacular Spider-Man by DeMatteis & Buscema Omnibus (2025), a 1,200-page hardcover that complements Web material through shared "Kraven's Last Hunt" elements, though primarily covering Spectacular #178–263. An upcoming Web of Spider-Man Omnibus Vol. 2 (announced for 2026 holiday), bundling issues #35–75 in a slipcased format with digital inclusions, continues the premium tradition into late 2025 solicitations. These editions prioritize durability and exclusivity, often with limited direct market variants.[56][57]
Collection Title
Release Year
Page Count
Key Web of Spider-Man Issues Included
Notes
Web of Spider-Man Omnibus Vol. 1
2025
1,128
#1–34, Annuals #1–3
Variant covers; includes "Kraven's Last Hunt"
X-Men: Inferno Omnibus
2021
1,184
#47–48
Demonic crossover; headshot variants
Spider-Man: Clone Saga Omnibus Vol. 1
2016 (reprint 2024)
1,240
#117–125
Identity saga tie-ins; restored art
Spectacular Spider-Man by DeMatteis & Buscema Omnibus
2025
1,200
N/A (complementary via crossovers)
Creator focus; slipcase option
Legacy
Critical Reception
Upon its debut in 1985, Web of Spider-Man was well-received for advancing Spider-Man's black symbiote suit storyline, which brought fresh visual and thematic innovation to the character through dynamic artwork and atmospheric narratives.[58]The series' involvement in the Clone Saga, beginning with issue #117, provoked widespread criticism for its overly complex plotting and editorial decisions perceived as manipulative to boost sales, such as extended teases and tie-ins. Wizard Magazine was outspoken in its condemnation, later ranking the saga among the worst developments in Spider-Man history and calling for a complete overhaul of the franchise in the wake of its conclusion.[59][60]The 2009 revival as Volume Two elicited mixed responses, with IGN rating the debut issue 7.4 out of 10 for its ambitious expansion of the Spider-Man supporting cast and family dynamics during "The Gauntlet" event, while faulting the anthology structure for inconsistent storytelling and tonal shifts across contributors.[21]In retrospective analyses from the 2020s, the series has been lauded for laying foundational elements in Venom's origin and popularity, particularly through the black suit arcs that depicted the symbiote's malevolent influence and set the stage for the character's anti-hero evolution. Collected editions featuring these key stories, such as Essential Web of Spider-Man, Vol. 1, hold average Goodreads ratings of 3.6 out of 5 from over 130 user reviews, reflecting solid but not exceptional fan appreciation for the era's highs.[61][62]Sales figures mirrored the critical trajectory, peaking in 1993 at over 350,000 copies per issue during the pre-Clone Saga hype—exemplified by Web of Spider-Man #101 ranking in the top 40 best-sellers—but plummeting to approximately 50,000 copies by late 1995 amid saga fatigue and the broader comics market crash.[63][64]
Cultural Impact
The introduction of the symbiote in Web of Spider-Man #1 (1985), where Peter Parker permanently separates from the alien entity via church bells, laid the foundational narrative for Venom's emergence as a major antagonist, profoundly shaping Spider-Man adaptations across media. This storyline directly inspired the portrayal of the symbiote in the 1994–1998 Spider-Man: The Animated Series, where Venom debuted as a recurring foe in episodes like "The Alien Costume" trilogy.[65] It further influenced live-action depictions, including Topher Grace's portrayal of Eddie Brock/Venom in Spider-Man 3 (2007), which grossed over $890 million worldwide and introduced the character to a broader audience. The symbiote's legacy culminated in the 2018 standalone film Venom, starring Tom Hardy, which explored the entity's origins and earned $856 million globally, spawning a franchise that continues to expand the Spider-Man universe.[66]The Clone Saga, prominently featured in Web of Spider-Man issues from 1994–1996, explored themes of identity and duplication that reverberated through subsequent Spider-Man narratives, influencing the Ultimate Universe's handling of similar concepts. In Ultimate Spider-Man (2000–2009), Brian Michael Bendis revisited clone dilemmas in arcs like the Ultimate Clone Saga (issues #97–100), refining the original's chaotic exploration of Peter Parker's authenticity into a more streamlined commentary on legacy and self-doubt, which "fixed" perceived flaws in the 616 version.[67] The saga's fan backlash, including widespread criticism of its protracted crossover format and sales manipulations, prompted Marvel to overhaul event planning, leading to tighter editorial oversight in later crossovers like Civil War (2006–2007) to avoid similar narrative bloat and reader alienation.[68]Web of Spider-Man Volume 2 (2009–2010), structured as an anthology of self-contained tales tied to events like "The Gauntlet," anticipated the multiverse expansion in Spider-Man media by showcasing diverse character backstories and interconnected webs of allies and villains. This format prefigured the anthology-style storytelling in the 2014 Spider-Verse comic event, which introduced dozens of alternate Spider-heroes and influenced the 2018 animated film Spider-Man: Into the Spider-Verse, grossing $384 million and emphasizing family-like dynamics among variants.[21] The series' emphasis on modular narratives helped normalize multiversal family themes, seen in sequels like Across the Spider-Verse (2023).Merchandise from the original run bolstered Spider-Man's collectible culture, with Toy Biz's 1987 action figure line drawing from Web of Spider-Man #18's shadowy debut of Venom's hand, launching symbiote-themed toys that became staples in the 1990s wave.[69] Fan engagement persists at conventions, such as New York Comic Con 2023 panels discussing how the series' 1980s artwork by creators like Todd McFarlane influenced modern designs in titles like Amazing Spider-Man. Recent adaptations nod to key arcs, with the 2023 video gameMarvel's Spider-Man 2 incorporating elements of "Kraven's Last Hunt" (from Web of Spider-Man #31–32) in its hunter storyline and suits, echoed in 2024 updates.[70] As of 2025, no new Web of Spider-Man series revival has occurred, though digital rereleases on platforms like Marvel Unlimited have increased accessibility, introducing the anthology's stories to new generations.