The defining hero of our times<\/a>, this 1,000th edition<\/a> also begs the question: what is it about superheroes<\/a> that make them routinely outlive almost every other cultural property out there \u2013 regular heroes included? <\/p>\n My ongoing research into the world of superhero franchises<\/a> may present a partial answer. Over the past several years, I have read a few thousand comic books, seen most (if not all) superhero films ever released, and interviewed dozens of superfans across the globe. I believe the secret to the longevity of Spider-Man (as well as countless other superheroes) lies at the nexus of four qualities cultivated over many decades within Marvel<\/a> and DC<\/a>, the two largest names in superhero entertainment for almost a century.<\/p>\n Heroes are heroes because we always know where they stand. From Hercules to Luke Skywalker, a hero is a person of generally high principles and integrity. Heroes are reassuringly reliable, almost by definition. <\/p>\n In contrast, superheroes are compelling because they are unreliable, even to themselves. For instance, Spider-Man quits being Spider-Man altogether in The Amazing Spider-Man #50<\/a>, and publicly unmasks in the Civil War comic book series<\/a> (which undermines the character\u2019s long-established anonymity). He is actually replaced in The Amazing Spider-Man #698-700<\/a> by arch-villain Doctor Octopus, who for a while becomes a harsher, more violent \u201csuperior\u201d Spider-Man.<\/p>\n Across these stories, Spider-Man is never just a fixed moral archetype. Instead, he is a character whose very meaning can be repeatedly unsettled. And, comparing Spider-Man across different eras and manifestations fascinates the fans, who can never agree on what Spider-Man actually is outside of the name and a now-canonised origin story. <\/p>\n At first, Spider-Man was just Peter Parker. Over time, however, Spider-Man stopped being a single character and became a narrative role that different characters could inhabit together and in parallel. <\/p>\n For instance, Ben Reilly, introduced as Peter\u2019s clone in The Amazing Spider-Man #149, eventually takes over<\/a> and becomes Spider-Man during the 1990s Clone Saga. Miguel O\u2019Hara, a brilliant scientist, then reimagines the character for the future in Spider-Man 2099<\/a>. There are several more incarnations too, including Peter Porker<\/a> (aka Spider-Ham), a pig bitten by a radioactive spider, Spider-Spider<\/a> (a spider in the Spider-Man costume), and even a medieval British version called Peter Parquagh<\/a>.<\/p>\n Over time, Spider-Man no longer describes one biography so much as a portable combination of recognisable powers, a loose moral compass and visual codes. For fans, this makes the brand unusually elastic. As they do not have to agree on a single definitive Spider-Man, they can attach themselves to the version that best fits their tastes.<\/p>\n Almost by definition, heroes must undergo the hero\u2019s journey<\/a>: they are called to an adventure, transformed by an ordeal and eventually return home as changed people. This has been a consistent pattern since Odysseus at least.<\/p>\n In contrast, Spider-Man never really gets to go home, as his supposedly formative experiences simply become the beginning of further experiences. For instance, in The Amazing Spider-Man ##121-122, the death of Gwen Stacy<\/a>, Peter\u2019s friend and first love, permanently upends the emotional stakes of his life \u2013 a fact that reverberates in Spider-Man #1000.<\/p>\n Decades later, however, he marries Mary Jane Watson. But The Amazing Spider-Man #544-545<\/a> dissolves this marriage and resets much of his adult existence again. That is, before Brand New Day<\/a> begins yet another personally tumultuous phase in #546. <\/p>\n None of these moments supply a final transformation. Spider-Man simply can never graduate from being Spider-Man, the tortured Hamlet of superheroes. Therefore, his journey becomes less a cycle and more a never-ending life story in which apparent endings are continuously folded into new beginnings. For fans, this constant regenerativity creates a peculiar promise: older fans can \u201cgrow old\u201d with Spider-Man, while new readers always encounter what feels like a brand new beginning. <\/p>\n Traditional heroes usually arrive with relatively little narrative baggage, and their defining trials and transformations are contained within finite and carefully staged stories. <\/p>\n Every new Spider-Man story, however, enters a world already crowded with previous stories. Spider-Man does not merely accumulate stories. Instead, later stories continually reactivate, reinterpret and cross-reference earlier ones.<\/p>\n This accumulated baggage can surely make the Spider-verse difficult to navigate for some. But it also rewards familiarity and time investment: the more Spider-Man you consume, the more meanings, references and connections become visible, turning laborious research into a source of pleasure and expertise.<\/p>\n Spider-Man\u2019s longevity is the product of a highly specific narrative architecture. Spider-Man can contradict himself, multiply into different people, begin again after apparent endings and continuously mine his own past for new stories. These qualities make Spidey unusually difficult to exhaust, as each new generation of fans inherits a Spider-Man that is both recognisably old and strangely new.<\/p>\n Issue #1,000 is therefore less a culmination than a proof of concept. Looking back at more than 60 years of constant reinvention, Spider-Man\u2019s greatest superpower may simply be his ability to go on despite all odds.<\/p>\n Roman Pavlyuchenko does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.<\/span><\/em><\/p>\n","protected":false},"excerpt":{"rendered":" This autumn marks a special occasion in the Marvel universe: Spider-Man, perhaps the most popular superhero of all time, has reached issue #1,000 in the comics series. The tale of a scrawny teen from Queens who was bitten by a radioactive spider at 15, Spider-Man premiered in Marvel\u2019s Amazing Fantasy #15 in August 1962 as […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-2003","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"_links":{"self":[{"href":"https:\/\/redzine.co.uk\/index.php\/wp-json\/wp\/v2\/posts\/2003","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/redzine.co.uk\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/redzine.co.uk\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/redzine.co.uk\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/redzine.co.uk\/index.php\/wp-json\/wp\/v2\/comments?post=2003"}],"version-history":[{"count":0,"href":"https:\/\/redzine.co.uk\/index.php\/wp-json\/wp\/v2\/posts\/2003\/revisions"}],"wp:attachment":[{"href":"https:\/\/redzine.co.uk\/index.php\/wp-json\/wp\/v2\/media?parent=2003"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/redzine.co.uk\/index.php\/wp-json\/wp\/v2\/categories?post=2003"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/redzine.co.uk\/index.php\/wp-json\/wp\/v2\/tags?post=2003"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}1. Spider-Man is unreliable<\/h2>\n
2. Spider-Man is actually Spider-People<\/h2>\n
3. Spider-Man: no way home<\/h2>\n
4. Spider-Man remembers everything<\/h2>\n
![\"The](\"https:\/\/counter.theconversation.com\/content\/293482\/count.gif\")
<\/p>\n