Review by Ian Keogh

Spider-Verse: Spider-Zero begins with the energy rush of Miles Morales being sucked through one alternate universe after another for brief encounters with the local Spider-Man variants. For once the use of multiple artists on a Marvel superhero project is positive, as each new artist defines a new world, until Miles learns the Web of Destiny may have been destroyed in Spider-Verse, but a new one is being woven. Unfortunately it’s being corrupted.

A promising start, though, rapidly hits the skids when it becomes apparent this is yet another anthology title where Jed MacKay may have set things up, but assorted other creators then take over for a chapter at a time spotlighting alternate Spider-Men. Each time Miles pops into existence to lend a hand. Does the idea of a kindly old Aunt May as Spider-Ma’am dropping black and white TV era homilies appeal? Or Sp//dr, a mech Spider-Man? Or Web-Slinger, a western-era Spider-Man with little more than a Spider-Man mask (and one for his horse) connecting him to the larger continuity.

Most individual chapters lack inspiration. They’re not bad, but neither are they anything you’d want to read a second time. Only Christos Gage and Juan Ferreyra buck that trend. They rather randomly restore Spider-Man Noir to life after his tragic death in Spider-Verse, but then supply a pulp adventure that’s the collection highlight, not least for Ferreyra’s grey wash art with spot colour being very striking. The villain is stupid, but Ferreyra’s imagination ensures they’re visually stunning, and he’s the artist on the subsequent Spider-Man Noir: Twilight in Babylon.

McKay returns for an overly sentimental final chapter wrap-up requiring Zé Carlos to draw an army of alternate Spider-Men to no great purpose, and supplying an unconvincing explanation of why every universe has a Spider-Man. For maximum enjoyment you really have to buy into the premise of alternate Spider-Men, and there’s little here to make anyone want to come back.