If movie audiences must be forever inundated with comic-book superheroes for the remainder of recorded time, may all the movies be as clever, sweet and visually striking as “Spider-Man: Into the Spider-Verse.”

This computer-animated side adventure to the Marvel Cinematic Universe is smart, ridiculous, gorgeous and a little insane. It might be the best “Spider-Man” yet. It’s undoubtedly the funniest and best-looking.

“Spider-Verse” is a movie that starts with a wink and never stops winking.

“All right, let’s do this again,” says Peter Parker (Chris Pine) in the opening voice-over. He takes us, yet again, through Spider-Man’s origin story. Albeit briefly, and in the process taking some welcome digs at Spidey’s most risible moments — namely Tobey Maguire’s “Stayin’ Alive” strut in “Spider-Man 3.”

Parker’s introduction is a feint, of course, as this “Spider-Man” movie belongs to Miles Morales (Shameik Moore), a half-black/half-Puerto Rican teen living in Brooklyn who is bitten by a radioactive spider and ... you know what happens to people who get bitten by radioactive spiders.

This is the first big-screen iteration of Morales’ Spider-Man, and it likely won’t be the last. He’s a winning alternative to the well-trodden escapades of Peter Parker. And, given how much money this movie’s gonna make, there’s clearly enough room in multiplexes for multiple Spider-Men.

Which is important for “Spider-Verse,” because there are a lot of Spider-Men (and Spider-Women) in this movie.

Shortly after Miles begins to develop his new abilities, he meets Peter Parker’s Spider-Man and — because a portal to other universes has opened up — five other Spider heroes. They are:

» Peter B. Parker (Jake Johnson), an overweight, disheveled and sweatpants-wearing version of the hero whom Miles refers to as a “janky ol’ hobo Spider-Man.”

» Spider-Woman (Hailee Steinfeld), a teenage hero who wears all white.

» Spider-Ham (John Mulaney), an anthropomorphic pig from a cartoon universe with the power to float through the air when he smells a delicious pie.

» Peni Parker (Kimiko Glenn), a Japanese girl from an animé universe who’s teamed up with a radioactive spider to co-pilot a biomechanical suit.

» And, my favorite, Spider-Man Noir (Nicolas Cage), a black-and-white detective Spider-Man from a 1930s universe who fights Nazis, lets matches burn down to his fingers and spouts old-timey tough-guy dialogue à la Humphrey Bogart.

So yeah, this movies is nuts. It’s also hysterically funny, thanks to the ever-clever and self-referential screenplay by Phil Lord (“The Lego Movie”) and Rodney Rothman (“22 Jump Street”). With its meta sensibilities, the movie plays like a family-friendly “Deadpool” — but much funnier.

If the show-stopping strangeness is the movie’s biggest draw, “Spider-Verse” does the action and origin-story stuff pretty well, too.

Miles is still learning the ropes (or, more accurately, the webbing) of being Spider-Man, but each of these alternative heroes is happy to give him advice. He gets further aid from this universe’s Aunt May (Lily Tomlin), a hilarious remix of the character. This May is completely in the know, serving as the Spider-Gang’s “M,” equipping them with the gadgets they need to save the world from villains Kingpin (Liev Schreiber) and Doctor Octopus (Kathryn Hahn).

Miles’ own origin story involves a fraught relationship with his police officer father (Brian Tyree Henry) and his uncle (Mahershala Ali). The family stuff only gets more complicated once Miles gains the ability to swing across cityscapes. All in all, it’s a welcome variation to the Parker origin story we’ve now seen on the big screen too many times.

“Spider-Verse” further distinguishes itself with its uniquely stunning animation style. It took the filmmakers a year of tinkering with animation techniques to get 10 seconds of footage they liked. They took it from there, and have created a look that fully immerses viewers in a comic book world.

Computer-generated elements run up against hand-drawn animation and old-school comic-book aesthetics (all those beautiful Ben-Day dots), and the result is like nothing you’ve ever seen on the big screen before — a purposefully glitchy and glittering explosion of pop art. The finale’s battle royale across colliding universes is one of the most singular sequences of any comic book movie I’ve seen.

It’s not a perfect movie. Like much of its genre, “Spider-Verse” runs about 15 minutes too long. But the visuals, dialogue and overall eccentricity keep you hooked, regardless.

And in what other movie are you going to hear Nic Cage call someone a “hard-boiled turtle-slapper”?