The Top 25 Spider-Man Stories Of All Time

What Mickey Mouse is to Walt Disney and the Disney Corporation, Spider-Man is to Marvel Comics and Stan Lee. Created in 1962 by Lee and artist Steve Ditko, Spider-Man is one of the most popular comic book heroes of all time, having appeared in various cartoons, live action TV shows, and blockbuster movies, not to mention on cool kids' lunch boxes.

Back in the '60s, Spidey was revolutionary. Peter Parker, the web-slinger's Clark Kent-like real identity, was a young, hopeless romantic with a nerdy side that often saw him become the target of abuse in high school and college. Let’s face it: most comic book fans aren’t the last surviving members of a dying planet, or trust fund orphans that dress up like flying rodents to fight crime. But many comic heads do get bullied, beaten up, and left home alone on Saturday nights with no dates whatsoever. That's what makes Spider-Man so relatable and what has kept him relevant for nearly 60 years.

Over his six-decade career, the venerable Wall Crawler has been a part of some of the most important stories in the history of Marvel Comics. While some weren't so great, such as the horrible ‘90s Clone Saga and the miserable One More Day, some have been true classics. And in anticipation of the next major Spidey storyline, Spider Island (hitting shelves this week), we’re taking a look back at the Top 25 Spider-Man Stories Of All Time.

Brian Michael Bendis’ reimagining of Venom was just what the character needed after nearly a decade of vomit-quality stories. Bendis made Venom more like Spider-Man’s twisted mirror image than other writers had ever before, playing up the similarities between the two characters as opposed to just focusing on their differences. Even though Bendis kind of rockets through Spidey’s whole “black suit” phase a little too quickly, once the story starts to click, it’s one of the best Venom stories yet.

This was a character truly in need of an update, so when Bendis made him a little bit more subtle and have him some real motivation, the character instantly became more dangerous. There are a lot of terrible Venom stories out there, but fans of Spider-Man's evil counterpart should check this one out for the simple reason that it handles the character seriously and doesn’t turn him into a one-note monster like most others.

Although this is a fairly recent installment into the Spider-Man saga, Unscheduled Stop is a small gem of a story that bests some of the bigger, more anticipated tales of the past. Written by Mark Waid, with art by the flawless Marcos Martin, this story deals with Spider-Man trying to rescue a group of civilians trapped underground after the Shocker collapses a subway tunnel.

The story is very simple in essence, but what really works here is the humanity and vulnerability that Waid brings to it. It’s pure heroism and comic storytelling, all aided by one of the best artists in the business.

Dan Slott’s 2005 miniseries Spider-Man & The Human Torch is a love letter to the collective history of the two characters and the somewhat quirky friendship they have shared over the decades. Over the course of five issues, Slott recounts the major stories that both Peter Parker and Johnny Storm have been a part of, in the visual style of each era.

The writing, tone, and art changes in every issue is based on when the specific flashback takes place. It’s extremely faithful to the stories that it retells, while adding some humor and pulling everything together over a larger narrative. At the time of its initial release, the Spider-Man books had been somewhat stagnant and humorless, so Slott’s dose of adrenaline came just in time.

In 2008, writer David Lapham and artist Tony Harris released Spider-Man: With Great Power, a five-part miniseries focusing on Peter Parker’s career as the Wall Crawler right before he decided to become a hero. This was a period when Peter thought he could strike it rich with his new powers by selling out to the media and becoming a celebrity.

Lapham got rid of the good-hearted Peter that everyone loves and made the character extremely selfish and arrogant, using his powers to get payback on everyone that had wronged him in the past. Along the way, he rolls with some unsavory agents and makes one bad decision after another.

As With Great Power rightly points out, few people would think about saving the world with their new powers. Instead, the majority of us would instantly look for fame and fortune. But the end of the story makes it clear that such a selfish route to fame isn’t always the best bet, and if you’re not careful you can lose someone you love in the process.

In one simple issue, writer Paul Jenkins accomplishes more than any other Spider-Man writer in the past decade. When Spectacular Spider-Man #14 starts, we’re introduced to Joe Beal, a young man with cerebral palsy. During the day, his father puts him in a wheelchair and leaves him on the roof in order to get some fresh air. Beal spends his days gazing out over the cityscape, watching Spider-Man swing by and wishing that he was Spidey.

After Beal watches the Wall Crawler battle Morbius, the living vampire, he captures Spidey's attention, leading to a visit. The superhero reassures Joey that he's safe, and just when he’s about to leave, he takes his mask off. Joey looks upon the face of a worn-out, somber Peter Parker. Instantly, Joey knows that nothing is as glorious as it seems—not even being Spider-Man.

With an incredible script by Jenkins and jaw-dropping art by Paolo Rivera, this is one great Spider-Man story that even non-comic-readers could appreciate.

Who is Spider-Man’s greatest villain? Venom? The Green Goblin? The Hypno-Hustler, who can control people’s thoughts with his whacky guitar?

No, Spider-Man’s real enemy is something more devious and dangerous than that: suburbia. With no buildings to swing on or skyscrapers to stick to, small town America is like Kryptonite to Spidey. So in Amazing Spider-Man #267, writer Peter David plops the character right in the middle of a quaint suburban town, where he looks for a thief that eluded him in Manhattan.

Don’t take this story too seriously, and don’t moan that no super villains show up in it. Just know that this issue is one of the most creative Spider-Man stories in decades.

In an attempt to modernize characters for the current times, the comic book industry has gone to great lengths to include real world events, such as the war in Afghanistan and Iraq, into their monthly stories. The results are usually met with indifference as most of the stories seem very forced, but sometimes an issue comes out that brings the tragedy of modern war into the pages of the funny books with astonishing results.

Written by Marc Guggenheim, Amazing Spider-Man #574 is about how Flash Thompson, the former high school bully of Peter Parker, wound up in the army because of how much he idolized the heroism of Spider-Man. It shows Spidey not only as a costumed vigilante but also as a source of hope and inspiration for the citizens of the world. It's a beautiful story with a devastating ending.

Guggenheim goes to great lengths to illustrate how Spider-Man has made Thompson a better person, turning him from a reckless bully into an American hero. Spidey's impact is felt throughout the story, despite only being shown in flashbacks.

After a string of dreadful Spider-Man stories in the ‘90s, Marvel decided to give the web-slinger a shot in the arm by hiring superstar writer J. Michael Straczynski to work on Amazing Spider-Man, along with classic Spider-Man artist John Romita Jr. What followed was an extremely fresh take on the character complete with a new supporting cast and a fresh career for Peter Parker.

Although Straczynski’s run on the character went completely off the rails eventually due to editorial pressure, his first story arc, later titled Coming Home, was quite successful. It explored the very nature of Spider-Man’s powers after Peter Parker is confronted by a man named Ezekiel, who possesses the same abilities. Ezekial is beyond rich thanks to his abilities, and he asks Peter why he didn't take advantage of his powers in the same way.

Straczynski added an odd supernatural background to Spider-Man’s powers, but despite a few of these changes, Coming Home is an excellent update to these well-worn characters that adds a ton of charm and humor to the property.

Set in a dystopian future where New York City is veritable fortress guarded by a heavily armed police force called The Reign, Spider-Man: Reign is a dower, depressing love letter to Frank Miller’s The Dark Knight Returns. With Spider-Man M.I.A., the Reign brutalizes criminals and strips civilians of their human rights without blinking an eye.

Peter Parker now exists as a broken down old man haunted by hallucinations of his dead wife, Mary Jane. He has given up being Spider-Man and now works as a florist as the whole world goes to hell. That is until he is visited by an old friend, J. Jonah Jameson, who gives him a present: his old camera and a black Spider-Man mask.

Spider-Man: Reign is simultaneously heartbreaking and uplifting, as it shows a down-and-out hero coming back for one last fight. It may not be the most original Spidey story ever (it literally steals multiple plot points from Dark Knight Returns) but Reign is still one of the best.

In 2001, Marvel launched the title Spider-Man's Tangled Web, an anthology series that featured indie comic writers and artists working on Marvel’s most popular character in order to tell stories outside of the main continuity.

These tales were often much more artistically challenging and stimulating than most of the comics at the company and often saw the creators win numerous awards for their efforts. Marvel eventually canceled the title due to mediocre sales, though, and fans were once again saddled with the same old Spidey stories every month.

The title’s most accomplished storyline was Flowers For The Rhino, written by Peter Milligan with art by Duncan Fegredo. An homage to the classic sci-fi story Flowers For Algernon, Milligan's tale saw the dimwitted villain get a brain operation to turn him into a super genius. With his new intellect, the Rhino becomes a published author and criminal mastermind, but soon finds that his new intelligence makes it impossible to enjoy the things that he did while stupid. Now he must find a way to regain his low IQ and go back to the simpler life.

Flowers For Rhino is a short, quirky story that adds much to the character’s personality and presents a social dilemma for audiences to mull over.

In 2000, Marvel decided to give Spider-Man an overhaul with their new Ultimates line, an updated look at the classic heroes for a new generation of readers. Placing Peter Parker in the year 2000 just as he gained his spider powers, writer Brian Michael Bendis and artist Mark Bagley brought Spidey up-to-date with modern society.

The first story arc of Ultimate Spider-Man took a much more detailed look at Peter’s origin and planted the seeds for the entire series. Featuring new versions of the Green Goblin, Mary Jane, and other Spidey stalwarts, Power And Responsibility was very relatable and easy to pick up for new fans.

While Bendis may have retreaded well-worn territory, Ultimate Spider-Man was a fantastic series while it lasted.

After years of dating and breaking up, Mary Jane Watson and Peter Parker finally decided to tie the knot in 1987. Featured in Amazing Spider-Man Annual #21, The Wedding! is a fairly straightforward tale about the Webslinger’s upcoming nuptials. But despite the cliché story beats, writer Dave Michelinie does add some realism by detailing the cold feet that both Mary Jane and Peter get before the marriage.

Unlike most superhero weddings, this ceremony goes off without a hitch...for the most part. Despite a brief fight with Electro a few days before the big day, Spider-Man’s wedding is never hampered by super-powered throwdowns or battles. It's a nice story that rewards longtime fans waiting for the character to grow up.

And because things in this world rarely make any sense, Marvel simultaneously held a publicity event featuring actors dressed like Spider-Man and Mary Jane getting married in Shea Stadium. You can almost see Stan Lee’s pockets bursting at the seams with all of the money he was given to take part in this awful event. Watch, and cringe, for yourselves.

After years of failing health and a brief affair with Doctor Octopus (yeah, that happened), Peter Parker’s Aunt May was finally about to bite the big one. And, coincidentally, her ticket was about to be punched right in time for the highly publicized 400th issue of The Amazing Spider-Man. Marvel is nothing if not crafty.

J.M. DeMatteis and artist Mark Bagley crafted a picture-perfect sendoff for May as her last hours were met with overwhelming emotion and subtlety. There were no larger-than-life word balloons emblazoned with the word “WHY!” when May finally passed away, nor was there a supervillain in sight. Her death was met with the same emotion and gravitas as one in the real world, and that's what makes it work so well.

The image of Peter Parker clutching his dead Aunt while reciting a passage from a story she used to read him as a kid, Peter Pan, still gets us choked up. Too bad Marvel decided to ruin it by revealing this was nothing more than a robot imposter later on. Sometimes it seems like they want us to hit the bottle.

In yet another example of a milestone issue number coinciding with a major character’s death, Spectacular Spider-Man #200 saw the Grim Reaper set his sights on Harry Osborn. Harry was the son of Norman Osborn, a.k.a. the Green Goblin, yet he was also Peter Parker’s best friend. But the cheese eventually slipped off Harry's cracker and he became the new, and somehow crazier, Green Goblin.

While this issues does include the requisite fighting and explosions, coupled with more whacky Green Goblin shenanigans, Spectacular Spider-Man #200 actually packs an emotional punch at the end when Harry saves Peter’s life from an explosion. But with Harry weakened by fever, no thanks having the Goblin's formula in his blood, he soon collapses. In the ambulance, Spider-Man stays with his one-time friend and asks Harry why he helped him. Harry simply replies, “Because you’re my best friend.” The two hold hands until Harry dies on the way to the hospital.

It's one of the more impactful moments in the character’s history. Too bad Hollywood screwed the pooch when they tried to recreate this moment in 2007's abysmal Spider-Man 3.

As writer Peter David’s first successful pitch to Marvel, The Death Of Jean DeWolff explored the moral relativism of superheroes and how each of these masked do-gooders go about their respective business in their own ways without any predetermined rules.

After Spider-Man’s ally within the NYPD, Capt. Jean DeWolff, is murdered in cold blood by the Sin Eater, Spidey loses it and goes to hunt down the assailant. Along the way, Daredevil aids the Wall Crawler while also trying to convince him that extreme violence won’t solve anything. This is the first storyline to show an enraged Spider-Man incapable of controlling his own emotions, and it’s easily one of the most frightening portrayals of the character yet.

Peter David presented both sides of the argument fully, and what’s even better is that every reader would have a different opinion on how Spider-Man should take justice on the Sin Eater. Some would want the killer dead; others, meanwhile would want Spidey to go by the books. Either way, David colors the world of superheroes in shades of grey rather than simple black and white.

Although somewhat underappreciated and nearly forgotten now, Mark Millar’s introductory story arc on the Marvel Knights Spider-Man series is a genuinely gripping and action packed success. After Spider-Man defeats the Green Goblin, he's shocked to learn that someone has kidnapped his Aunt May in order to taunt him.

Here’s the problem: only the Goblin knows who this mysterious villain is, which leaves Spidey twisting in the wind. From there, Spider-Man must deduce who this villain is on his own, all while he contends with the likes of the Vulture, Electro, a new Venom, and Doctor Octopus.

The Marvel Knights line was intended to be a bit more brutal than Marvel's standard fare. This Spider-Man arc provided the sheer personal violence and fisticuffs that was necessary. Aided by strong artwork from Terry Dodson and Frank Cho, Millar proved that Peter Parker could get his hands dirty when he needed to.

It doesn’t have the sentimentality or emotions of some of the other stories on this list, but Nothing Can Stop The Juggernaut is the perfect example of a superhero story. Filled with tons of action and suspense, it's tightly plotted and intense, not to mention tons of fun.

Unlike most comics from the ‘80s, this story doesn’t include gritty rape scenes or brutal murders; instead, writer Roger Stern crafts a traditional narrative about good against evil. Black Tom Cassidy sends the Juggernaut to capture Madame Web in order to use her psychic powers to stop the X-Men. While this is happening, Spider-Man attempts to stop Juggernaut, but fails repeatedly.

Stern gives Spider-Man real vulnerability and makes him more human than most other heroes. But we all know that Peter Parker never gives up, and. eventually. he outwits the Juggernaut and saves the day. It's nothing fancy, but Nothing Stops The Juggernaut is so well-written with such great characterizations that it’s easily one of the better web-slinger tales of all time.

In Amazing Spider-Man #31-33, writer Stan Lee and artist Steve Ditko provided fans with the first major story arc in the character’s career. With a mysterious villain, the Master Planner, robbing nuclear shipments all over New York, it’s up to Spider-Man to try and stop him. But with Peter Parker starting his first day of college, and Aunt May ill in the hospital, there are much bigger things on his mind than a few thefts.

This is Comic Storytelling 101 for anyone interested in pursuing writing as a career. There's drama around every corner, great character interactions, and tons of action as Spider-Man tries to get hold of a serum that his Aunt needs to survive; however, he soon finds out that the Master Planner, a.k.a. Doctor Octopus, also needs it.

If This Be My Desiny is most famous for a four-page sequence in which Spider-Man is pinned under a ton of machinery in a flooded underground fortress. With Aunt May’s medicine just out of reach, the Wall Crawler must find the will to lift this insurmountable weight off his back. It’s four pages of pure artistic perfection by the legendary Ditko, and it doesn’t need any words (even though Stan Lee adds plenty of odd dialogue) to tell the story. Pure brilliance.

Working on major heroes such as Daredevil, Hulk, Superman, and Batman, writer Jeph Loeb and artist Tim Sale have the outstanding ability to harness the nostalgia of a character's early days and craft a unique story around past events. Their most outstanding effort in this practice is Spider-Man: Blue; a retelling of Amazing Spider-Man #40, #43-48 and #63.

Blue recounts the highlights of the relationship between Gwen Stacy and Peter Parker with some beautifully romantic artwork by Sale and sentimental scripting by Loeb. The main story beat is actually a flashback bookended by a distraught Peter recording a love letter to a now-deceased Gwen into a tape recorder on Valentine's Day.

Blue is one of the most emotionally draining and heartbreaking superhero comics out there, but it's also exquisitely exciting and energetic. This isn’t about how many tons Spidey can lift over his head or how years of continuity fit together—it's a tragic romance.

In Amazing Spider-Man #39, the Green Goblin did the unthinkable: he discovered Spider-Man’s secret identity. He didn’t do this through clever deduction or during a battle—he simply just followed him home one day. It was brilliant in its own simplicity, but it worked easily after the Goblin deadened Parker’s spider-sense with a specialized gas.

This is the highpoint of Stan Lee and John Romita’s time on the character. In Amazing Spider-Man #40, Spidey one-upped the Goblin by finding out that he was actually Norman Osborn. Together, the two issues effectively changed the characters' entire relationship. Ever since then, their battles have been much more personal, with loved ones and dear friends winding up as casualties.

Unmasked marked the birth of Goblin's sadistic side; at the time, it was revolutionary for comics to have a hero and villain know each other’s identities and be so intimately attached to one another. The story's events shaped the web-slinger's entire career, changing his relationships with Gwen Stacy, Mary Jane, Harry Osborn, and almost everyone else in his life.

In the late ‘80s, the writers, editors, and artists behind Spider-Man felt intense pressure to keep up with the dark, gritty stories that had become popular in comics such as Daredevil and Batman. In order to compete, writer J.M. DeMatteis and artist Mike Zeck concocted a violent and brutal story focusing on one of the Wall Crawler’s more maligned enemies, Kraven the Hunter.

In Kraven's Last Hunt, the baddie grows weary of his inability to defeat Spider-Man and finally decides to take one last run at the Wall Crawler’s life. Shrugging all of the usual supervillain pandering and boasting, Kraven simply shoots Spider-Man with a tranquilizer and buries him alive. With Peter Parker now out of the picture, Kraven dons the red-and-blue costume and, to prove he's the better hero, begins to fight crime.

Kraven’s Last Hunt features the usual comic action, but it also blends aspects from classic literature and recurring themes in order to present a deeper, more complicated narrative. It routinely quotes William Blake’s poem The Tyger, and Mike Zeck’s art fills the book with gritty photorealism. This one's for a more sophisticated audience.

Spider-Man seems to quit his job more often than a greasy-faced McDonald’s employee. But in Amazing Spider-Man #50, Peter Parker seems genuine when he renounces his secret identity in order to live a normal life. This is all brought on after the news of his Aunt’s worsening health and the fact that his collegiate grades have been declining.

Peter realizes that his secret life as Spider-Man is keeping him from succeeding at what's important. So, on a rainy night, he crumples up his Spidey costume and throws it in the trash in one of the most iconic panels in comic book history.

Spider-Man No More!, written by Stan Lee and illustrated by John Romita, shows the strain that being a superhero can have on one's personal life. Most comics romanticize the life of a hero; here, Lee and Romita demonize it. This story is so important to the character's existence that most of the beloved film sequel Spider-Man 2 is based on it; in fact, director Sam Raimi's smash hit includes some of the most pivotal scenes from the book shot-for-shot.

Amazing Spider-Man #248 is all about Spidey tracking down Thunderball (typically a Thor villain) and battling him in the middle of New York. But what really makes that issue stand out is the short backup story titled The Kid Who Collects Spider-Man, which centers on a young boy named Timmy Harrison, who was just been the subject of a feature article in the Daily Bugle for apparently being Spider-Man’s biggest fan.

After Spider-Man reads about his young fan, he decides to pay him a visit. The two talk for a while and Spider-Man eventually tells young Timmy about the accident that turned him into a hero, and also about his Uncle Ben. And then in a rare move, Spidey unmasks in front of his adoring fan and reveals that he’s the photographer that always takes the pictures of masked her for the Bugle. It’s a beautiful moment that shows Peter's real character, and, unlike most comic tales, is more about the man behind the mask than anything else.

Once the hero leaves the boy's bedroom, readers are treated to the last line of the Daily Bugle article written about Timmy, which states, "You see, Tim Harrison has leukemia, and the doctors only give him a few more weeks to live."

This is where it all started. In an attempt to capitalize on the success of the Fantastic Four and The Incredible Hulk, Stan Lee decided to create Spider-Man, a teenage superhero who could stick to walls. The character's introductory story took place in the last issue of a fledgling anthology titled called Amazing Fantasy.

After the story's release, the character was forgotten about and Stan Lee moved on to other projects. But when the sales figures for the issue came back, Lee's editor demanded that Spider-Man get his own series. And the rest, as they say, is history.

Amazing Fantasy #15 details the hero's origin, from nerdy Peter Parker to celebrity to vigilante. Everyone already knows the character's background and the heartbreak caused by Uncle Ben's death; it's been told through animation, feature films, and even other comics. But nothing tops the original. While Lee's script was great for the time, it's the art by Steve Ditko that ties everything together. It works just as well today as it did in 1962.

Easily one of the most important stories in comic book history, The Night Gwen Stacy Died marked the end of the more positive Silver Age of comics and ushered in the Bronze Age, a time when comics began to show their teeth a little.

Gwen Stacy was Peter Parker’s first love, and all of the writers and editors at the company just assumed that they would get married eventually. However, the idea of a married Spider-Man would drastically limit the character's story possibilities, so writer Gerry Conway, artist John Romita, and editor Roy Thomas decided to kill Gwen off in order to prevent Spidey from getting hitched.

Gwen died during a battle between Spider-Man and Green Goblin; she was thrown off the Brooklyn Bridge (or the GWB, as some fans would have you believe.) Even though Spider-Man shot a web and saved her before she hit the water, the shock of the event, combined with the sudden stop from the web, caused her death.

While characters like Batman and Daredevil receive all of the press for being “dark” and “gritty,” this story started the whole movement of superhero comics getting violent. The Night Gwen Stacy Died was revolutionary in that regard, and, ever since its release, no supporting character has been off limits from the Grim Reaper’s grim embrace.