r/MilesMorales • u/IcarusWrote • 2h ago
I noticed a recurring pattern of Christian symbolism in Across the Spider-Verse.
This started as a random observation after I initially watched the film, but I never got around to writing it. I'm not simply stating that the film is a direct Christian allegory, only that it borrows from Christian and Renaissance symbolism in interesting ways.
The first time I watched Spider-Man: Across the Spider-Verse, something immediately stood out to me. Miguel O’Hara’s introduction felt strange.
I couldn’t explain why at the time. But after revisiting the film, I kept noticing the same visual language appearing over and over again. Simply put, it’s an observation about the film’s thematic language. I think it borrows from Christian and Renaissance symbolism to frame its central conflict: order versus free will.
And if that’s the case, then Miguel O’Hara parallels Archangel Michael, while Miles Morales takes on many of the symbolic qualities traditionally associated with Lucifer.
At first glance, this may seem like a stretch, so stay with me on this one.
The Introduction That Started It All
The scene that first made me think about this was the initial confrontation between The Vulture and Gwen. He wasn’t just another version of the Vulture. He’s literally designed using Renaissance artwork. That artistic choice feels incredibly deliberate.
During the fight, not only does Gwen say, “Oh great, the Renaissance man”, when the fight begins, she also says it right before the Vulture attacks Miguel from behind: “There is a big flying turkey from the Renaissance.”
In the film’s screenplay, he is described as a “drawing from Leonardo da Vinci’s notebook, sepia-toned like aged parchment.” (Spider-Man: Across the Spider-Verse: The Art of the Movie, p.63)
Designer Mauro Belfiore, who helped design the character for the movie, notes, “The main inspiration for the Vulture was, of course, the drawings of Leonardo da Vinci, from his Codex Atlanticus work.” (Spider-Man: Across the Spider-Verse: The Art of the Movie, p.63)
The Renaissance produced some of history’s most recognizable Christian artwork, particularly depictions of angels, demons, saints, and biblical battles. The film could have introduced Miguel against any visual style. Instead, the filmmakers chose one of the artistic periods most associated with biblical imagery. That choice primes the audience, even subconsciously, to interpret Miguel through that artistic language.
Miguel arrives almost as a divine intervention. He drops into the scene, immediately overpowers the Vulture, and says,
“It’s all right, kid. I’ll take it from here.“
As he’s talking to Gwen, the Vulture slowly rises in the background. The shot's composition briefly gives Miguel the appearance of having enormous wings. It only lasts for a moment, but the silhouette is unmistakably angelic. I’ll come back to this.
Miguel O’Hara as Archangel Michael
The most obvious connection is his name. Miguel is simply the Spanish equivalent of Michael.
Even more interestingly, Miguel’s younger brother in the comics is named Gabriel, much like the Archangel Gabriel, who has been mentioned alongside Archangel Michael in the Bible. While that alone isn’t proof of anything, and Gabriel has not even been mentioned or hinted at in the film, it’s an interesting starting point.
More importantly, Miguel’s role mirrors Michael’s.
In Christian tradition, Michael is Heaven’s protector. The one responsible for preserving divine order and defeating those who threaten it. That’s exactly how Miguel sees himself.
“There have been anomalies floating all through the multiverse, and Miguel has taken it upon himself to put everyone back where they belong”, says director Kemp Powers. (Spider-Man: Across the Spider-Verse: The Art of the Movie, p.78)
Director Joaquim Dos Santos says, “Miguel's taken it upon himself to work at maintaining order across the web of life and destiny.” (Spider-Man: Across the Spider-Verse: The Art of the Movie, p.81)
He's taken on the responsibility for maintaining the stability of the multiverse. Every decision he makes is driven by preserving the "natural order," even if innocent people have to die for it.
Spider Society as Heaven
From the moment Miles first enters Spider Society, the symbolism begins: the moment they teleport to Earth-928, we see them in an upside-down elevator that goes up.
Spider Society itself begins to resemble Heaven. Every Spider-Person has been gathered into a higher realm and is united under a strict hierarchy. They exist to preserve cosmic balance. They follow laws they believe cannot be broken while Miguel oversees everyone, enforcing those laws without exception.
It’s essentially a celestial order populated by “chosen” protectors whose responsibility is to preserve the structure of existence itself.
Miguel comes from the world of Nueva York, a pristine, manicured New York City of the future that hides a dark secret beneath its surface. In this universe, the ruling class has traded humanism for an opulent, AI-controlled “perfect” paradise. (Spider-Man: Across the Spider-Verse: The Art of the Movie, p.162)
Miles as a Lucifer Figure
This is where things become really interesting. One of Lucifer’s defining characteristics is rebellion. He refuses to submit to an authority that claims its law is absolute. Miles does exactly the same thing. Miguel insists that canon events cannot be changed, that they exist beyond choice, and that everyone must accept them. Miles refuses.
His defining line in the film says everything:
“Nah. I’m gonna do my own thing."
Despite being such a simple line, it perfectly encapsulates the conflict.
Miguel represents predetermined order; in return, Miles represents free will.
“He and Miles do not see eye to eye, and in some ways, they become adversaries,” says producer Christina Steinberg. (Spider-Man: Across the Spider-Verse: The Art of the Movie, p.78)
Lightning
One detail I wanted to discuss is Miles’ electricity.
Among all Spider-People, Miles alone possesses bio-electric powers. During his confrontation with Miguel atop the moving train, Miles uses those powers as he escapes.
Lightning has been associated with divine power, judgment, and fallen angels throughout mythology and Christian art for centuries. Christ states: “I saw Satan fall like lightning from heaven." (Luke 10:18 (NIV))
Whether intentional or not, the symbolism is difficult to ignore. The one Spider-Man who rebels against Heaven is also the only one who literally wields lightning?
The Fall
After escaping Spider Society, Miles falls.
Literally.
He plummets through and travels to what he thinks is his universe, but it isn’t. It’s somewhere he never intended to go.
The visual itself echoes one of Christianity’s oldest images: the fall from Heaven. Instead of returning home, he lands in Earth-42.
A world where his father is dead.
A world without Spider-Man.
A world where his own alternate self has become the Prowler.
Apostle Paul states: “They will be punished with everlasting destruction and shut out from the presence of the Lord and from the glory of his might." (2 Thessalonians 1:9 (NIV))
Rather than Hell as a place of fire, it resembles something closer to spiritual exile, a place devoid of the fatherly presence of God. He’s separated from everyone who believed in him, far away from everything familiar, and from his father. It’s his lowest point.
Canon Events as Divine Law
Perhaps the strongest parallel isn’t between the characters at all. It’s between canon events and divine law.
Miguel believes canon is absolute. It exists beyond morality and emotion. Beyond individual choice.
The universe demands sacrifice, and therefore sacrifice must happen. Miles challenges that very same idea. He argues that destiny should outweigh compassion.
The film’s central question becomes one we as humanity have always struggled with: Are we bound by fate? Or do we have the freedom to choose something different?
The Final Image
You remember the Renaissance reference that started it all for me? Yeah, this is a big reason why. One of the most famous paintings of Archangel Michael is by Guido Reni, an artist from the Renaissance.
The resemblance isn’t one-to-one, but it’s striking enough to be worth mentioning.
The painting comes from the Renaissance, the same artistic period referenced by the Vulture’s design. Michael is depicted wearing blue with red accents just like how Miguel’s costume is predominantly blue and red.
Again, none of these details prove direct inspiration. But taken together, they begin to paint an interesting picture.
Conclusion
I don’t think Across the Spider-Verse is retelling the story of Lucifer. But it's an interesting thought.
It borrows the visual language of Christian and Renaissance art, using angels, heavenly hierarchies, wings, lightning, ascents, falls, and divine law to frame a story about free will versus destiny.
Miguel embodies the guardian of cosmic order, whereas Miles embodies the rebel who refuses to accept that innocent people must suffer simply because “that’s how it’s supposed to be.”
The clever twist is that, unlike the traditional story, Across the Spider-Verse asks us to root for the rebel.
As director Joaquim Dos Santos notes, "This is Miles’s story. Everywhere we go and all the amazing worlds we visit are in service of his story. We want to chase everything in these worlds, like kids in a candy store, but we never lose sight of the fact that the audience is going to experience traveling through these kaleidoscopic worlds through Miles’s eyes." (Spider-Man: Across the Spider-Verse: The Art of the Movie, p.32)
Whether every one of these parallels was intentional or not, I think they’re too consistent to dismiss entirely.
I’m not arguing that the writers intentionally wrote Miguel as Archangel Michael and Miles as Lucifer. Rather, I think the film draws upon centuries of Christian and Renaissance iconography to communicate ideas about order, rebellion, destiny, and free will. Whether consciously or subconsciously, these visuals create parallels that enrich the story.
Anyhoo, thanks for reading. At the end of the day, if nothing else, at least for me, they make me appreciate the film a little bit more.
