Who Could Write A Successful Spider-Man Dc Crossover?

I've been turning this idea over in my head for ages, and the writer who makes me most excited is someone who can blend snappy Spider-voice with mythic DC stakes. To me that screams a team-up like Dan Slott paired with Geoff Johns. Slott gets Peter Parker's quips and the science-y, emotional backbone of 'Spider-Man', while Johns understands the iconic, legacy-driven heart of 'Justice League' era characters. Together they'd keep Peter funny and human while giving the DC side a grand, resonant purpose.

If I picture the book, it's not just a merge of rogues' galleries — it's about tone balance. Start with a small, personal scene (a Parker family dinner gone sideways) and then escalate to a city-twisting threat that requires Batman-level strategy and Spider-sense improvisation. Slott's sharp character beats plus Johns's world-shaping reveals would let the crossover feel like both worlds matter.

I also secretly adore the idea of sprinkling in a wildcard like Grant Morrison for a single, surreal arc. Morrison could come in for an issue or two to blow the doors off the multiverse and then hand back to Slott/Johns for the emotional cleanup. That blend of heart, humor, and spectacle would make me buy every issue.

I’ll be blunt: if you want a Spider-Man/DC crossover that actually sings, you need someone who respects both pathos and punchlines. My personal pick is Brian Michael Bendis working with Tom Taylor. Bendis’s knack for tight, conversational dialogue fits Peter Parker perfectly, and Taylor has this uncanny skill for emotional clarity under pressure — you can feel every choice a hero makes. Together they could craft scenes where Spider-Man cracks jokes while feeling like a real, exhausted person, and the DC heroes come off as monumental but relatable.

They’d also avoid the two biggest traps: making Spider-Man a sidekick in his own story, or turning DC characters into props. I’d want clever issue hooks, a villain team-up that forces moral compromise, and quieter moments — like Peter teaching someone at the Daily Bugle about responsibility. Those human beats are what make crossovers memorable to me.

If I’m daydreaming short and sweet, my wishlist goes: Dan Slott for Spider-voice, Mark Waid for high-energy heroism, and James Tynion IV to thread in psychological stakes. Slott knows Peter inside out, Waid keeps momentum and moral clarity, and Tynion can make the eerie stuff land emotionally.

For a crossover to succeed, it needs clever villain pairing (Green Goblin meets Joker? yikes, but brilliant if done right), mutual respect for each universe, and room for quieter character beats amid the chaos. I’d want the opening to feel intimate — a New York moment that pulls in a Gotham consequence — and the ending to leave both sides changed, not erased. That’s the kind of story I’d devour on a rainy afternoon.

Every so often I daydream about cross-company stories and the kinds of writers who'd pull it off with finesse. For me, Grant Morrison as the architect and Dan Slott as the heart would be an electrifying combo. Morrison would bring the cosmic, multiversal weirdness that elevates the stakes — think body-swap shenanigans or reality-fracturing illusions — while Slott would keep Peter grounded, conversational, and scientifically curious. The structure I'd love is non-linear: open on Gotham night with a small, eerie ripple, cut to Peter mid-science-class crisis, then stitch them together via a mystery that grows stranger.

A successful crossover needs careful scene economy: make it clear this is a meeting of equals, not a take-over. Hand off scenes so each writer gets the moments that suit them best — Morrison writes the surreal, DC-centric set pieces; Slott writes the Parker moments and the Spider-villain interplay. Throw in a few backup one-shots by a playwright-like voice (someone akin to Paul Dini) for tight, character-driven side stories. I love the idea of a final issue that strips both universes down to their moral cores, leaving the characters changed in small, believable ways rather than rehashed melodrama.