Across the Spider-Verse and Canon Events
Warning: Spoilers for the entirety of the new spider-verse film.
Into the Spider-verse’s plot is a brilliant commentary on the nature of superhero AU’s and the comic industry’s tendency towards retelling the same stories ad nauseum, and to explain why we need to look at both the plot of the movie and the words they use to describe that plot.
The plot of Across the Spider-verse (ATSV) is actually pretty standard. Its one we’ve seen a million times. Certain events have to happen or else something terrible will happen. Its just that in most of these types of movies the reason these events have to happen is fate, or destiny or time travel shenanigans. The hero changed the past and now they have to go back and undo that mistake to stop a “bad timeline” or whatever.
But in ATSV its not fate, its canon. And the events that the Spider-organization is seeking to ensure are the major plotbeats and storylines that define the character of Spiderman. Uncle Ben dies. Gwen Stacy dies. Spider-man lifts the rubble. These are the classic, iconic events of Spiderman’s story. The ones told and retold across a hundred different reboots, continuities and alternate universes.
And if these don’t happen, ATSV posits, the universe will be destroyed. In Spider-Gwen’s universe, Captain Stacy and Peter Parker have to die. She has to lift the rubble. Or else the world ends.
Except, that’s not true (if it was, Gwen’s father wouldn’t have quite the police and Miles wouldn’t be the main character of the movie).
Because those events don’t have to happen for the world to exist.
And that is really interesting in the context of reboots, AU’s, etc. Because in the real world, these events always happen. These are the events the reader’s want. When a reader opens up a Spiderman reboot they aren’t looking for a completely original story. They’re looking for these events. The greatest hits of a story that’s been running since 1962 edited down to perfection. Everything iconic, everything that works kept, and the rest jettisoned or retooled.
And it doesn’t matter what form of reboot the story is. If you’re watching a Spiderman cartoon, this is what you are going to get. Reading a comic where Spider-man is a robot? Same beats, just with a twist.
Because if these things don’t happen… well there’s a risk the fans might not like that. The story might not be good (and we know the original story is good, we’ve been telling it since 1962). And if its not good? Well then its stops getting made. The story ends. The universe ends.
And so every AU plays it safe and tells the same stories.
Except for Miles Morales. His story was never a reboot, or a retcon or an AU. It was a continuation. Ultimate Spiderman had already done the “greatest hits of Spiderman” before Miles Morales stepped onto the page. And that meant it was free to tell its own story.
And that story was great. So great that it survived the destruction of its own universe and Miles Morales got added to the “main” 616 continuity.
Miles Morales, in his comics, in real life, and in the movie is living proof that reboots can take risks and tell their own stories. The world won’t end. The readers will still read. The audience will still watch.
The world will go on.
So take risks. Tell your own story.
You don’t need to be caught in a web made up of 61 years of canon.


















