New cartoon “Spider-man” portrays the superhero in a differnet light

The new “Into the Spider-Verse” cartoon style movie introduces fans to an interesting style of art and a captivating plot line.

In a world where the ever-popular superhero movie follows a solidified plotline, the newest Spiderman is a fresh and intriguing pull into the universe of cinematic heroism. 

“Spider-Man: Into the Spider-Verse” is nothing similar to its Marvel counterparts. An origin story in nature, but nothing like that of the heroes of the Avengers. Miles Morales, the most popular of the alternate Spidermen, finds himself as New York’s friendly neighborhood vigilante. Miles is a younger version of Peter Parker, who doesn’t stray too far from the winning formula of a relatable hero. 

Miles deals with the everyday struggles as the typical high school student sitting in the audience. As a student in a New York magnet school, he has a constant stack of books piling onto his stress and fragile psyche, as well as the continual echoing of expectations and pressures of his demanding but respected father, and these weigh on Miles almost more than the duties of Spiderman. 

This hammers home the excellent first rule on making a lovable protagonist: make him relatable to the audience. Nearly anyone who watches can see themselves in the shoes of Morales’ quirky footsteps. Miles personality effectively engages urban youth with not only his actions and word choice, but his aesthetic character design. 

The constant reminder from the adults towering over Miles is cleverly depicted in the shoelaces from his Air Jordan “OG’s,” which are always untied, a genius way to symbolically show the difference between the generations. After all, it is a choice. 

Miles’ character building and development is what makes “Into the Verse,” so attention-grabbing, but the supporting cast of heroes is what keeps your attention to the screen. John Mulaney’s nasally voice is amplified in the comical relief character Spider-Ha. Nick Cage’s foreboding voice is perfect as the narrator for Noir Spider-man. The alternative Peter Parker that stays truest to the style is precisely the opposite of the young hero, a washed-up and fatter version, Peter B. Parker’s longing is a redemption story of building Miles into the future savior of New York. 

It converges well with the objective of resumption of normalcy within the strewn multi-verses. It is all woven together perfectly, with each resolution fitting and pleasing in the conquest of Miles Morales. 

The art, in a sea of brilliancies, is probably the most effective in portraying the astute tale of the “Spider-Verse.” Being the first animated modern superhero odyssey, the artists had a tall task of describing every version of Peter Parker in a creative but familiar tone. 

They incorporated the ideas and visuals of the comic books that these characters were conceived from. By somewhat breaking the fourth wall, comics are brought up to introduce the supporting cast, as well as guide Miles into the abyss of superheroism. The comic book onomatopoeia slides proportionally into the frame. It naturally resides to convey the events as familiar to the audience and characters as possible. 

Most memorably, when Miles swings his way toward the final battle after a well-executed moment of self-realization, a “wooo” slid right between two buildings beautifully. It is small, insignificant and easy to gloss over, but really hammers home the excellent visualizations that had proceeded during the entire movie. 

“Spider-Man: Into the Spider-Verse” is a brilliant movie that connects with the audience. It has an exciting and conceivable plot line and an art style that has never been portrayed on the big screen. It is a groundbreaking movie that will usher in a new type of superhero movie. “Into the Spider-Verse” is a must see for any fan of the Marvel odyssey, no matter how vague.  

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