Collecting Kraven's Last Hunt as single issues means tracking down six separate back issues across three different Spider-Man titles, all published within the same two-month window in late 1987. That makes it a manageable but genuinely multi-title hunt, which is part of its appeal for collectors who like a defined, finite goal.
Unlike collecting a long-running key-issue chase across a single title, this run is short and self-contained - six issues and you're done, with no ambiguity about whether you've completed the set.
This guide walks through what collectors generally look for across the six issues, condition considerations specific to comics from this era, and how to think about protection if you're planning to submit any of them for grading.
None of this requires guessing at current market values - the focus here is on the collecting and condition fundamentals that matter regardless of where prices happen to sit today.
The complete run is Web of Spider-Man #31-32, Amazing Spider-Man #293-294, and Spectacular Spider-Man #131-132, all cover-dated October and November 1987. Collecting the full six-issue run as singles is a defined, achievable goal rather than an open-ended chase.
Because the story was a genuine crossover event across three ongoing titles rather than a promoted miniseries, original print runs for all six issues were standard ongoing-series print quantities for the period, not a specially limited release.
Kraven's Last Hunt is consistently ranked among the most acclaimed Spider-Man stories of its decade for its psychological depth and Mike Zeck's artwork, which keeps sustained collector interest in the run well beyond a typical late-1980s crossover. That reputation is part of why the single issues remain a worthwhile chase rather than a forgotten crossover.
Collector interest in a story like this tends to track its critical reputation over time rather than any one speculative spike, which is a more durable reason to chase the run than hoping for a short-term price jump.
Comics from this era are old enough that common condition issues include spine stress, color-touch to white edges, and the kind of general handling wear that accumulates over nearly four decades. Checking seller-provided grading photos closely - corners, spine, and centerfold - matters more here than for a recent release still likely sitting in near-mint condition at retail.
Newsstand variants exist for comics from this period with slightly different distribution patterns than direct-market copies, so it's worth confirming which type you're looking at if that distinction matters to your collecting goals.
Buying raw and having a copy graded afterward gives you control over which issues you prioritize for submission, while buying already-graded slabs removes guesswork about the final grade but usually costs more per issue. Both are reasonable approaches depending on how much of the process you want to handle yourself.
If you're buying raw with an eye toward eventual grading, handle every issue with clean hands and store it bagged and boarded immediately - pre-submission handling damage is an entirely avoidable way to lose grade points.
A snug-fitting bag and board combination sized for the current comic book format protects the issue from additional wear while you decide whether and when to submit it, and a rigid toploader adds an extra layer of protection during transport to a show or a grading drop-off. Toploaders are especially worth using if you're carrying issues anywhere outside your own home.
Avoid tape, rubber bands, or paperclips anywhere near a comic you're planning to grade - even indirect pressure marks from a rubber band left on too long can show up as a defect during grading.
Once a comic comes back from grading in a sealed slab, EVORETRO's Resealable Bags for Graded Comics add scratch protection for the outer case without affecting the seal or the visible grade label. This matters if you're planning to display, transport, or eventually resell a graded copy.
Keep graded slabs out of direct sunlight the same way you would raw issues - UV exposure can still affect the comic itself even inside a sealed case over a long enough timeline.
Six, spanning three different Spider-Man titles.
Mike Zeck, with a script by J.M. DeMatteis.
Either works - raw gives you control over submission timing, graded removes grading uncertainty.
Spine stress, edge wear, and color-touch to white are the most common things to check for.
Protect every issue in the run before submission with EVORETRO's Comic Book Toploaders.
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