Because of the negative backdrop surrounding Amazing Spider-Man, it might seem like Friendly Neighborhood comics are at rock bottom right now. But that’s not entirely true. Within this shifting landscape, there are still standout Spider-Man stories worth diving into—tales that blend horror, psychological depth, buddy-cop dynamics, children’s adventure, and even existential endings and rebirths. Welcome to a fresh take on the web-slinger’s world, where each thread tells a twisted, compelling story.
Three distinct narrative iterations emerge: Web of Past, Web of Dreams, and Web of Absurd. Each offers a unique lens through which to view Peter Parker’s legacy. Which of these resonates most with the tone and style of Insomniac’s Spider-Man game? Let’s explore.
Spine-Tingling Spider-Man
Writer: Saladin Ahmed
Artist: Juan Ferreira
Though most of Spine-Tingling Spider-Man was released in 2023, its impact carried well into 2024—so much so that it’s impossible to ignore. Originally a digital-only series, it was later reprinted as a print one-shot #0, followed by a four-issue limited sequel. This comic proves a long-standing truth in storytelling: pair a visionary artist with a strong script, and you get something unforgettable.
Here, the spotlight shines brightest on Juan Ferreira. His art plunges readers into a psychedelic nightmare, where surreal bubbles and distorted realities dominate—offering a stark contrast to the more grounded The Spectacular Spider-Men. Ferreira’s expressiveness conveys emotion even in silence, making every panel a window into Peter’s unraveling psyche. Saladin Ahmed’s writing is sharp and atmospheric, but it wisely takes a backseat to the visuals, allowing the artwork to lead the narrative.
The story follows Paul (yes, that Paul), the antagonist of the zero issue, who uses music to steal dreams. Spider-Man must fight to stay awake, yet he keeps slipping into terrifying visions—hallucinations so vivid they evoke the unsettling horror of Junji Ito. In fact, the entire experience feels like Spider-Man Meets Junji Ito, complete with a 100-page artbook’s worth of dread.
The limited series cranks the surrealism even higher. Now, Spidey isn’t just dreaming—he’s trapped in a directed nightmare, a relentless cascade of fears. It’s reminiscent of Beau Is Afraid, where everyday anxieties morph into grotesque, inescapable horrors: being unrecognized by loved ones, haunted by a conductor for an unpaid fare, or lost in a city that twists against you.
Ferreira employs the classic manga technique of “simple vs. detailed”—a method perfected by Junji Ito. The monstrous figures are hyper-detailed, their grotesque faces drawing the eye immediately, while Peter remains visually simplified, making him a vessel for reader identification. It’s a masterclass in visual storytelling: the horror isn’t just seen, it’s felt.
Spider-Man: Shadow of the Green Goblin
Writer: J.M. DeMatteis
Artist: Michael Sta. Maria
Here’s a bold claim: the original Green Goblin wasn’t Norman Osborn. Enter the Proto-Goblin—a forgotten experiment, a tragic footnote in Osborn family history. What role does he play in the Osborn legacy? And how does a young Peter Parker, still grappling with the weight of power and responsibility, become entangled in this dark origin?
This series is a flashback, yes—but not the kind that feels like rehashed nostalgia. Marvel once flooded the market with retro stories, capitalizing on 80s and 90s nostalgia. Many were forgettable. But every so often, a gem emerges. Shadow of the Green Goblin is one of them.
J.M. DeMatteis, the legendary writer behind Kraven’s Last Hunt and his seminal run on The Spectacular Spider-Man, returns with a story that’s as psychologically rich as it is dramatically intense. Think of it as Dostoyevsky writing Spider-Man—a tale of inherited trauma, moral decay, and the slow corruption of the soul.
At the heart of The Spectacular Spider-Man was Harry Osborn’s tragic arc: a man consumed by his father’s madness, who briefly conquers his inner demons only to die in the process. Now, DeMatteis explores the beginning of that darkness—the moment evil first took root.
The Proto-Goblin, Nels van Adder, was a lab assistant—Norman Osborn’s first test subject for the Goblin serum. The failed experiment turned him into a red-skinned monster, a forgotten casualty of Osborn’s ambition. This isn’t just a superhero story; it’s a family tragedy in slow motion.
Peter isn’t the central focus here, and that’s the point. He’s caught in the web of a larger, inevitable disaster—the rise of the Green Goblin. Norman hasn’t donned the purple yet, but his shadow is already green. The brilliance of the comic lies in showing that Norman’s madness wasn’t born from a serum—it was always there, festering since youth, poisoning everyone around him.
Despite its depth and emotional weight, Shadow of the Green Goblin has been overlooked, a casualty of declining interest in flashback limited series. Don’t make the same mistake. This is one of the most haunting Spider-Man comics in recent memory—a melancholic masterpiece that enriches the entire Osborn mythos.
Spider-Man: Reign 2
Writer/Artist: Kaare Andrews
This isn’t a sequel. Not really. Spider-Man: Reign 2 feels more like a reimagining—a self-aware reboot that dismantles the original even as it builds upon it. The first Reign was often seen as a parody of The Dark Knight Returns, but Reign 2 aligns more closely with Andrews’ own Iron Fist: The Living Weapon—a brutal, emotionally raw story where violence isn’t glamorous, but devastating.
In this dystopian New York, Wilson Fisk rules behind an electric dome designed to keep out a zombie threat. Peter Parker is dead—killed by his own radioactive sperm (yes, really)—and now exists in a digital afterlife with Mary Jane. But when a young thief, Kitty Cat, shatters the illusion, Peter is pulled back into a broken world. Together, they embark on a time-travel mission to prevent catastrophe.
Andrews fills the story with callbacks to his previous work: the frail protagonist fighting through bloodied fists, the young girl with a pivotal role, the traumatic image of a mother’s death, and the unrelenting fury of combat. This is a comic drenched in rage and regret.
It’s also intentionally absurd. Time travel? Check. Miniature Goblins? Check. J. Jonah Jameson’s son as a radicalized teen? Beards left untucked? Kingpin as a cybernetic mountain of flesh? And yes—[spoiler]—a grotesque fusion with Venom that makes Venom: The Last Dance look tame. It’s as trashy and tragic as Tom Hardy’s wildest dreams.
Yet beneath the chaos, there’s catharsis. This is the most brutal version of Spider-Man ever depicted—one who finally lets go of the past. Like Hickman’s Ultimate Spider-Man, Reign 2 shows a Peter overwhelmed by his responsibilities, broken by the burden of heroism. But in the end, he finds a way to move forward.
These three iterations—Web of Past, Web of Dreams, and Web of Absurd—each offer a different vision of Spider-Man. If Insomniac’s game leans into emotional depth, psychological struggle, and a grounded yet surreal tone, then Web of Dreams—embodied by Spine-Tingling Spider-Man—resonates most strongly. It’s a world where the line between reality and nightmare blurs, where Peter’s mind is his greatest battleground. Just like in the game, the real enemy isn’t always the villain in front of him—it’s the voice inside.
