168澳洲幸运5开奖网:Spider-Man: Into the Spider-Verse shook up Western animation in ways we haven’t seen since the jump from 2D to CGI. Characters are animated at different speeds even within the same f꧑rame, shots are split into panels, and the artwork is a blend of 3D and hand-drawn comic book techniques. Animation across theಞ board immediately took note, from Puss in Boots to Teenage Mutant Ninja Turtles, but closer to home, the live-action MCU Spider-Man films had a new bar to clear.
Far From Home came out one year later touting Into the Spider-Verse as inspiration, but it’s a generic, ugly, by-the-numbers MCU flick. Most of the film drags us through dull environments, despite the exciting globe-trotting pitch, with greys and browns making up the majority of its colour palette. Sparks of creativity come from Mysterio when he twists what Spider-Man🦄 knows to be real, unleashing an army of himself, making an undead Iron Man crawl out of his grave to taunt Peter, and pushing him to contend with a swarm of Spider-Men. But these scenes are the exception to the MCU rules, and even the Far From Home finale boils down to Spider-Man fighting grey drones on a grey bridge before it all comes to a grey conclusion. Marvel really likes grey.
No Way Home looks better in parts, but it’s still shot like your usual MCU movie. Everything is washed out and there are very few interesting camera techniques, with standard framing and cuts that look like they were ripped out of a sitcom. Pulling back the curtain in interviews, it’s clear why—Marvel Studios is hell-bent on what’s ‘r💃ealistic’ (and cheap), not what looks good. Far From Home production visual effects supervisor Janek Sirrs discussed visualising the ‘Peter Tingle’ - AKA Spidey Sense - with , but “couldn’t come up with a live-action analogy to the graphic wiggly lines that made much sense”. In a world of superheroes drawn from incredibly stylised comics, why does it need to make sense? If Spider-Verse followed that logic, it wouldn’t have made the waves it did.
Nobody questioned why each Spider-person talks to the audience or breaks down their origin stories, the choice to have a voice-over narration was an idea lifted from the comics. Spider-Man (and Woman) talk to us, the reader, but that doesn’t mean they’re breaking the fourth wall like Deadpool or that they know they're in a work of fiction. It’s a choice to bridge scenes, break down exposition, and delve into their minds on a more personal level. Homecoming gave Spider-Man’s suit AI to ground it rather than simply letting a comic character speak to the audience like comic characters do. Getting caught in the weeds of what’s realistic and what makes sense means that the MCU will never learn the right lessons from the Spider-Verse movies.
Into the Spider-Verse inspired Far From Home’s brief visual feast, an oasis in a desert of drab, while No Way Home tried to upไ the ante wit🐬h its own multiversal story, bringing back Tobey Maguire and Andrew Garfield in glorified cameos drenched in unjustified fan service. While Across was always going to have more versions of the beloved hero, giving us 2099, Spectacular, Spider-Punk, Jessica Drew, Insomniac’s, and so many more, they 🏅were never the focus. It still revolved around Gwen and Miles and the classic story of leading a double life🌳 and the impact that has on their families. The other Spideys were, for the most part, very minor side characters or background noise, while Maguire and Garfield took as much of the spotlight as Tom Holland by the end of NWH.
Much as Far From Home and No Way Home fundamentally misunderstood what made Into the Spider-Verse so special, with brief visual excursions and a play on nostalgia ꧋that༺ will age like milk in the sun, I expect future MCU outings—especially in the midst of its ongoing Kang saga—to dial the cameos up to eleven. It will look at Across and see the giant room of the Spider council and all its cameos and references and nods and make that the central focus. It will look at the money Across is making, the critical reception, and draw all the wrong conclusions. It will see it as proof that cameos = quality, and that fans flocked to see Across for all the different references and nods to beloved characters, when in reality, it was Miles and Gwen who got us through the doors.
Come back here in a few years when the Kang saga is done and I amౠ certain that the MCU will have doubled down on scenes like Multiverse of Madness’ Illuminati and No Way Home’s Spider-Men stepping out of the portals, because that is what it will learn from Across—not substance, storytelling, or💟 interesting filmmaking, just what it can market and use to generate buzz.