Spider-Man: Into the Spider-Verse takes place in the Brooklyn(first universe), but features five other parallel universes of the Spider-Man family: Fat Peter Parker, Spider-Gwen, Shadow Spider-Man, Penny Spider-Man and Spider-Man. If the "real" Spider-Man is included, the movie involves six parallel universes.
6 That's an interesting number; in the Marvel Universe, it's traditionally thought that stories don't go beyond 5 universes at most, but this 2018 Spider-Man cartoon breaks that perception.
In fact, the Marvel Universe is so diverse that to call it "cluttered" would be an understatement. By my incomplete count, the Marvel Comics Universe (not the Marvel Cinematic Universe) has 23 parallel universes involving Spider-Man. According to Stan Lee's "rules", the universes are independent of each other and don't make cameo appearances in each other's stories, and this rule is still in effect today in the comic book storytelling system. Why are there so many parallel universes?
In fact, it is very simple, Marvel Comics, the first and foremost, can be compared with DC Batman in the commercial value of the IP image is Spider-Man. After decades of comic book story development, Spider-Man's story fancy, each series of the main writer and the main beauty of their own, their own flowering, Marvel in order to balance the dominance of different creators, as well as the commercial considerations of the joint efforts to build Spider-Man IP, Marvel defaulted to the universe of each version of space, as long as not mess up the main universe 616, anything is fine, so Spider-Man flying all over the place.
The animated movie we're talking about, which translates to "Spider-Verse," may not sound so good, but it tells all the secrets of how the movie was conceived and designed - PP is the only Spider-Man, if you don't count the other Spider-Men in the multiverse! So - what fun would it be to gather all the familiar Spider-Men from the decades and put them all in the same space? Phil Lord, who wrote the Lego Movie, took the idea to Sony, and now we have Spider-Man Mayhem.
It's fun to see the classic but different Spider-Men - the COS-inspired Spider-Gwen; the scruffy, wrinkled, pot-bellied PP of the future; the second-generation robotic Penny Parker; the black-and-white Spider-Man Noir; the two-dimensional cartoon Spider-Ham, better known as Peter Porker - all in one funny, nostalgic package that's sure to get the audience going. Man Noir; two-dimensional cartoon image of Spider-Ham we prefer to call it Peter Porker - funny, nostalgic, the contrast between the characters of the qualities of the audience absolutely let the audience a lot of fun, the audience does not like the big fight? Spider-Man vs. Superman, Godzilla vs. King Kong, Alien vs. Iron Warrior, Pacific Rim (robots fighting monsters), all of these are actually very familiar, and they are all rehashed versions of King Kong vs. Godzilla.
But the problems can't stop there.
What exactly do you do for a story that fits into this plot? Of course, the source of the idea contained the seed of the plot - parallel universes. In order to fuse the characters of different universes into one, a "multi-dimensional super particle gas pedal" was necessary, so the story of the film centered around such a machine.
The villains also naturally don't have to worry much about what villains there were in the previous, multiverse space, and it's just as well that the same set is assembled this time around, and it's just as well to have the villain manipulate such a dangerous device that's going to turn the whole world upside down, nay, just Brooklyn, which is, after all, the only community that the new Spider-Man successor has ever known, touched, and cared about, which is his equivalent of the world, and that's all that's needed.
So, by this point, the main story line is there. Is it clichéd? Of course it's cliché, that goes without saying. But is it appropriate? Of course it's appropriate, suitable for the current theatrical animation formula, suitable for the current film entertainment market, suitable for the current audience (mainly referring to Europe and the United States), suitable for the pattern and complexity of the story itself, and also suitable for - as mentioned above - the original planning and creative point of this project. The original planning and creativity of this project.
The story goes this far, and that's really enough. But - the problem is far from solved.
Yes, Sony got through producer Phil Lord (who also wrote the screenplay), got through where the story was going, got through all the visions and setups that should have been in place up to that point in the planning, but it was the next problem that was the hardest to solve--How to bring characters with very different styles, even in terms of visual style, into the same picture is the most difficult problem of Spider-Man Parallel Universe, after all, the movie is still visual, especially it is a movie with a very deep comic book base, especially it is an animated movie with so many classic predecessors standing there, especially it is also a tired and declining sony movie in need of revival.
After all, the movie is still visual, especially since it is also a movie with a very deep comic book base, especially since it is also an animated movie with so many classic predecessors standing there, and especially since it is also a movie that needs to be revitalized by the tired and declining sony movies ...... especially since there are so many things that one must look for a huge visual breakthrough in order to be able to support such a massive, wide-ranging, multi-dimensional assemblage of classic Spider-Men, because the very fact that so many iconic superheroes are assembled becomes an Icon in and of itself.
Good, good in the director and the main United States created a visual style that no one has ever done before, and ultimately achieved this movie, and even created a new three-dimensional animation movie "visual style", the visual achievements of this movie, and even the three-dimensional animation style created by Pixar is not too comparable to that year, the "Spider-Man Parallel Worlds" completely Spider-Man Parallel World" has completely broken through the visual barriers of American comics (Bubble Words, etc.), Pop Art (Bandai Dot quality), secondary 2D animation (penny modeling of Japanese manga style), American 3D animation (MM and other character modeling), and digitally-realistic painting (Street Scene), and formed a brand new visual style of 3D animation, coupled with the popular Hiphop music and MV rhythmic editing. ...... This is the biggest "achievement" of the movie, and it is the biggest force that pulls us into this fictional world.
Parallel Worlds of Spider-Man is a great example of how a "mainstream and solid" story can only become a box office and word-of-mouth success if it's backed by the right visual communication techniques and art. The key word, of course, is "proper" visual communication, not necessarily "excellent" or "top-notch" visual communication, but don't get me wrong, I naturally consider the visuals in this movie to be "top-notch". But don't get me wrong, I naturally think the visuals are top-notch, and there's no doubt that the top-notch aspect of this movie is that it breaks new ground and looks very pleasing to the eye, which is something that we might have a hard time doing, and it's a shame that there aren't any directors and artists in China who have this kind of artistic visual quality yet.
Of course, I don't want to end on such a pessimistic note, and looking at the movie on a curatorial level, it's even less of an end. The movie's intentions and the reasons behind them are still worth talking about.
The original point of the movie's intention is anchored on the matter of "succession", the real Spider-Man Peter Parker is going to be "retired", because his persona is out of touch with the mainstream social values of the United States nowadays. What are the mainstream values of the United States, at present, from the analysis of the signs revealed in many movies, can not escape the following points - black culture and dark-skinned population values, the value of pluralistic sexual orientation, the value of the status of women is rising day by day. Traditional values, such as the frustration and inspiration of teenage growth, the duel between good and evil, personal sacrifice and urban protection, and the relationship between responsibility and duty, will not take a backseat, even though they have faded a lot.
From this point of view, Marvel or Sony, so do a few active and a few helpless? Iron Man is old, Captain America is old, Spider-Man is not young after being renovated a few versions of ...... superhero construction of the Marvel Universe, facing the biggest "crisis" is not how to defeat the rational and domineering Exterminator, but is in the impulsive period of youth, The biggest "crisis" facing the Marvel Universe is not how to defeat the sensible and overbearing Exterminator, but the impulsive youth, a crop of teenagers. What they think and what they do, what they see and how they see it, is Marvel's greatest concern, so Marvel's universe has collapsed and rebooted again and again ......
Going back to Spider-Man Parallel Worlds, despite the storyline focusing on a bunch of alternate universe Spider-Men, the central protagonist is MM, a dark-skinned Brooklyn teenage boy, born and bred, with a cop father and a bad uncle, who is spoken to in Spanish by his mother, and who doesn't quite fit in with all the elite schooling, a setup that expands the sense of identity for a global audience. A few of his own concerns are the ability to make peace with his surroundings, the conflict between his preferences and those of his parents, his concern for his physical development and emerging sexuality, his ignorance of love and friendship, his budding sense of justice, and finally - the conflict with the city, getting along, and working his way to the top! Know yourself...... is this teenage MM, both familiar and strange, to take over from the old Spider-Man Peter, following the trend of old IPs having to adapt to the new youth.
What's important is not that "white" comic book artists have planned and conceived a lot of different awesome heroes, but that minority kids and teens get to see "themselves" on the big screen in superhero movies. -It's not that simple, of course - it starts with being a superhero intern.
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This is what the superhero genre has done for a new generation of children and teenagers - iterate itself.
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