Into the Spider-Verse: "Did *that* feel like a cartoon?"

The Something Awful Forums > The Finer Arts > Cinema Discusso > Into the Spider-Verse: "Did *that* feel like a cartoon?"

Apraxin: Feb 22, 2006; General-Admiral

howe_sam posted:

My only very minor complaint was that the film didn't have time for a few of Pete's emotional beats, like he had zero reaction to seeing Gwen, but it's also not his story so it's understandable.

Multiverse and all, he could be from a branch that just focuses on Peter and MJ from the get-go and doesn't have a Gwen, like some of the movie versions. He does react to seeing her ('oh you know her, that's cool'), but there's no visible recognition.

# ¿ Dec 15, 2018 22:47

Adbot: ADBOT LOVES YOU

# ¿ May 11, 2024 16:36

Apraxin: Feb 22, 2006; General-Admiral

asecondduck posted:

Comic book creators tend to do a bunch of things that they think are super funny subversions, like "haha wouldn't it be funny if a black man shared a name with a racist traitor? But it's okay because, he's like, taking it back! And also wouldn't it be funny if, like, there was a Spider-Woman who, like, Peter was literally uncontrollably horny for because of, uh, pheremones that I'm pretending is commentary on sexism and fetishism of female characters in comics? And what if her uniform was just a bunch of webs she shoots onto herself, so the readers are also uncontrollably attracted to her at the same time?"

Sorry I just peeked at the Spider-Verse comics to see what they were like and was reminded why I don't really read comics anymore.

Hilariously, as soon as she started appearing in comics not written by that one specific guy, for some reason she got an entirely new, normal costume and no-one mentioned the old one ever again:

To tie back into the movie, I think it's been indicated she'd be one of the characters in the potential Spider-Women semi-sequel that's supposedly in the works, which I hope ends up being a)made and b)as amazing as Spiderverse was.

Apraxin fucked around with this message at 05:08 on Dec 17, 2018

# ¿ Dec 17, 2018 05:03

Apraxin: Feb 22, 2006; General-Admiral

I Before E posted:

Honestly, I don't know why they didn't just call it Shattered Dimensions, which is both taken from a better piece of media than the Spider-verse comic and a better, more accurate title.

Maybe hoping that the shared name will get people who liked the film to try the comics? But yeah, outside of the characters and the general concept of Spiderpeople from across the multiverse teaming up, I don't think they took anything at all from the Spiderverse comics.

# ¿ Dec 24, 2018 03:30

Apraxin: Feb 22, 2006; General-Admiral

tin can made man posted:

So since this iteration of Miles gets his powers through a multiversal origin, is it fair to assume he's the only Miles in the multiverse? Like there's nothing to say there's not multiple Gwen Stacys as spider folk out there, but maybe Miles is unique among the spiderverse, such as it is. Unless we accept this is also just a uni/multiverse parallel to the comics, where Movie Miles and 616/Ultimate Miles are separate entities which is a case I certainly hope no one tries to make in the franchises future

Comic Spider Verse event, again, sucks total poo poo but a cool element of it WAS just all these spider someones hanging out in one place, which opened up moments like Pavitir (Spider Man India) being self conscious about being a reflection of what seems to be a "default" identity. I always thought it'd be interesting and in theme to see the giant spider conclave keep tally on a chalkboard of the different identities and permutations. Like, there's a majority of Peters and Peter-Adjacents but how many Mileses are there ? Gwens or Bens (with sub tallies for Parker, Reilly)? Miguels and Miscellaneous (Hobie Brown, Otto Octavius, Aunt May, etc)?

E: "May, Daughter" and "May, Aunt" would also have to be discreet categories

Comics-wise I think that's more Gwen's thing - so many Spiderpeople are one type of Peter Parker or another, and where there's a Peter there's usually a backstory with a Gwen who died in some brutal, tragic way. So whenever the plot calls for dimension-hopping shenanigans, the others travel to exciting new worlds and meet interesting new people and for the most part revel in their differences, but for Gwen most places she goes everyone sees her as an aberration and views her whole existence through the lens of the effect it'll have on their version of her dead best friend, the multiverse's default hero.

Not sure if the potential sequels would want to go down that road, but her dealing with the emotions/angst that brings up is a nice character arc, imo.

# ¿ Dec 25, 2018 00:32

Apraxin: Feb 22, 2006; General-Admiral

OldTennisCourt posted:

What does this even mean? People like me made netflix a viable and more easily usable option?

Lowtax/the admins made another forum called Blockbuster Video, with the idea that BV would be for 'i like movie/i hate movie' discussion, and CD would be the place for analyzing Boss Baby through the lens of Foucault. It er... hasn't exactly worked out.

# ¿ Dec 26, 2018 02:34

Apraxin: Feb 22, 2006; General-Admiral

Not Keyser Soze posted:

After watching the trailers I had kinda been anticipating how Gwen and Peter would react to each other and was a bit shocked to learn that whole character history is mostly ignored.

It would probably have taken too much time and emotional focus on two characters who aren�t Miles - in the middle of his own origin story - to fit it in.

I think they can plausibly put it down to Peter B�s universe not having a Gwen, and him being too far removed from her skinny teenage nerd version of Peter to cause much of an emotional reaction (as opposed to May clearly seeing the surrogate son she just lost in this older, thicker version) if they want to revisit it in later installment.

# ¿ Dec 27, 2018 01:00

Apraxin: Feb 22, 2006; General-Admiral

Guy Mann posted:

I thought "engineering job" was just a euphemism for his Prowler work guarding/overseeing the work around the particle accelerator since that tagging spot being near the particle accelerator is exactly why the spider was there in the first place and why when Miles came back to it later he was within earshot of Prowler fighting off Spider-Man when he showed up to turn the machine off.

I think he still has to have some kind of engineering background though, otherwise �I came here on an engineering job� wouldn�t be a believable explanation to tell Miles.

# ¿ Dec 30, 2018 03:09

Apraxin: Feb 22, 2006; General-Admiral

Guy Mann posted:

Tony Soprano tells his family he works in sanitation but we see him attacking and killing people for organized crime and not actually doing any sanitation work, does this mean he is some sort of supervillain who got powers from radioactive trash or some sort of evil trash golem? I really Into the Sopranos-Verse 2 dedicates some time to his origin story so this blunder can be corrected.

I�m totally down for a movie about a super-villain�s family tiptoeing around their unconvincing cover identity and pretending to believe dad is totally a legit businessman or whatever to spare his feelings.

# ¿ Dec 30, 2018 03:29

Apraxin: Feb 22, 2006; General-Admiral

credburn posted:

Is there evidence of this in the film or is this speculation? Or, is this in adherence to the comic which already explains this... which now that I think about it sounds like it's kind of the obvious answer.

It's a bit of both:

Phylodox posted:

You hear Gwen�s voice and see a smaller version of the shimmering light of the accelerator�s portal.

Plus Gwen in the comics has a dimension-hopping device for whenever Marvel needs her to interact with the main-universe characters.

# ¿ Jan 1, 2019 10:52

Adbot: ADBOT LOVES YOU

# ¿ May 11, 2024 16:36

Apraxin: Feb 22, 2006; General-Admiral

Ghost Leviathan posted:

Not sure how you'd do a socialist superhero movie. Except maybe Wonderful 101.

There's always Mieville's pitch for Scrap-Iron Man:

quote:

A six-issue comic, with a view to introducing a new hero into an existing canon.

The economic crisis bites. Flinton, MI, was built on industry, and the industry�s gone, since by far the city�s dominant company took the stimulus cheque, attacked wages, outsourced more and more, then finally all, R&D and production overseas.
Flinton, like so many other towns, is dying.

An extraordinary figure in bizarre makeshift power armour the colours of rust and hazard-warning yellow has appeared, fighting burglars, thieves, drug-dealers, graffiti-taggers. Flashback: he�s Dan, an ex-worker in one of the high-tech heavy defence plants, horrified at the social breakdown, going through the many scrapheaps of the town and cobbling together his suit from industrial junk, trying to save his home.

Dan smashes up a crack house, but while most of those within run, one stays and jeers at him, calls him a bully. Dan knows her: Louise was the union rep at his factory. He�s ashamed: he always liked her. They get talking. �You really want to do right by Flinton?� Louise says eventually. 'By all the other Flintons? Then quit messing with symptoms. It�s time to take down the real villain.�

Louise has contacts. They gather together a group of laid-off workers, from all the fields and departments of the now-dead industry, who with their combined expertise add weapons, flight capability, computers to the armour. Over Dan�s initial resistance, Louise even insists they contact some of the overseas workers where the plants have been relocated, to get up-to-date information, technology, and help, because, Louise insists, they�re on the same side. They make the suit vastly more powerful.

Dan knows how to fight, but that isn�t enough. They put controls in the suit connected to a central hub in Flinton, into which they can log, so Dan will be in constant touch with the others, who can take control of different aspects of the system as necessary: so the other scrappers can help fight, the veteran who was once a sniper can aim the weapons, the one with a pilot�s licence can fly it, the techie can patch into data systems, and so on, and they can all strategise together. A single-bodied union. A collective superhero.

They�re almost ready. They�re preparing to finish the cosmetic upgrade on the prototype suit: it still looks like junk. But Dan and Louise stop them.

'No,� Dan says. 'We need a symbol.'

'Capitalists are a superstitious cowardly lot,� Louise says. 'This fucker put our town out with the trash, threw us on the scrap heap. Well, the scrap heap�s got up, and it�s coming for him.�

The crew take their places at the controls. Dan puts on the battered welding helmet that disguises his identity and, in a burst of rust, launches into the sky for New York, to face down the sociopathic authoritarian fascist arms-dealing corporate billionaire who left Flinton to rot, who�s responsible for so many countless deaths, in the US and around the world: Tony loving Stark.

Dan: 'Get ready for payback, Iron Man. We are Scrap Iron Man.'

# ¿ Jan 6, 2019 18:03

The Something Awful Forums > The Finer Arts > Cinema Discusso > Into the Spider-Verse: "Did *that* feel like a cartoon?"