Moving the story on a year, all this tinkering has left a big hole in the multiverse. Enter The Spot (Jason Schwartzman), a faceless figure from Miles’ past who can throw down portal-like holes wherever he feels, breaking just about every rule of physics.

Initially, Miles doesn’t take him seriously – he’s more embroiled in dealing with his inquisitive parents (Brian Tyree Henry, Luna Lauren Vélez), who still don’t know the truth about his alter-ego.

Then there’s Miles’ love interest Gwen (Hailee Steinfeld), aka Spider-Woman, who has been hanging out with an “elite” group of Spideys in another realm led by the oh-so-serious Miguel O’Hara (Oscar Isaac).

When she turns up again, Miles follows her like a puppy, and this is where it really gets bonkers. The first stop is Mumbattan, where they meet Spider-Man India (Karan Soni), before reuniting with Peter B. Parker (Jake Johnson), the jaded older Spidey, who now has found a new meaning in life.

Other newbies include Jessica Drew (Issa Rae), a pregnant African-American Spider-Woman, and Hobie (Daniel Kaluuya), aka Spider-Punk, a British political activist with a penchant for using his guitar as a weapon.

The invention doesn’t stop there, with an endless stream of brilliant sight gags flashing past your eyes – too many to mention, but I personally enjoyed a hoarding advertising ‘Soda’, with the logo ‘It’s a generic brand’.

There are also lovely moments when infographics appear on the screen – one translating Hobie’s Cockney rhyming slang (“Scooby Doo” = “clue”).

Once again, the animation is out of this world, switching styles like Morales jumps dimensions. It’s a thrilling ride, made more so by the deepening of the characters and their dynamics.

Next March – when Beyond the Spider-Verse continues the story – can’t come fast enough.