Comic Book Storytelling in Spider-Man Into the Spider-Verse

By Bill Friedell

It wasn’t until after my first viewing of the academy award winning Spider-Man: Into the Spider-Verse (2018) that it dawned on me how few theatrical animated superhero films we have. While there have been some, such as The Incredibles (Brad Bird, 2004 ), The Lego Batman Movie (Chris McKay ,2017), and Batman: Mask of the Phantasm (Eric Radomski, Bruce Time, Kevin Altieri, Boyd Kirkland, Frank Paur, Dan Riba, 1993), most animated superhero films tend to be based on pre-established animated tv shows or franchises, and most tend to revolve around offshoots of Batman. Spider-Man: Into the Spider-Verse showed audiences something that other animated superhero films could potentially employ better than live action films could: replicate the style of comic book storytelling. Not only by adapting this unique storytelling style does this film distinguish itself in the realm of animation, it also serves the very story it tells.

Animation seems to be the perfect genre for incorporating comic book storytelling because like it too is an animation built on the foundation of illustration. The stylized visual elements of comics seem much more at home in a drawn environment because both art forms stem from illustration. To see an example of this style attempted in live action (with very different results) is Hulk (Ang Lee, 2003) and Scott Pilgrim vs the World (Edgar Wright, 2010). Hulk’s use of panel transitions comes off as distracting and overall doesn’t fit the aesthetic set out by the film. It distracts rather than enhances. Scott Pilgrim vs the World establishes a world in which the comic book and videogame aesthetics can coexist. Down below are some examples of how Hulk and Scott Pilgrim vs the World utilized this style.

​One of the major techniques used to create this comic book feel in Spider-Man: Into the Spider-Verse is the frame rate utilized by the animators. The film was shot on “twos.” This means that every other frame of character movements is used. This helps exaggerate the movements and allows actions to pop in the same way a comic book character does on a page. But it can also help sell the story beats in a really subtle way. In the sequence where Miles Morales (Shameik Moore) and Peter B. Parker (Jake Johnson) are running from armed scientists, Miles needs to learn how to web swing. Peter is a master of web swinging, so he is shot on a different frame rate, smoothly swinging. Miles, shot on twos, is out of sync with Peter. As he gets better, he and Peter match frame rates, showing Miles and Peter finally working well together and revealing both character’s progression without any dialogue. 

Perhaps the most prominent use of comic book storytelling techniques takes place when Miles goes through school after being bitten by a radioactive spider. For the most part, when following Miles, the comic book flourishes are restricted up until this point (with the exception of when he makes his graffiti art, which will be important later). Once he wakes up after being bitten, it acts as an onslaught. His thoughts are louder, written in thought boxes. His senses are enhanced, which is shown through beautiful multi-panel closeups of people talking about him. This use of the style displays his progression by the very placement of the comic book style storytelling.

This is also seen in the mirrored scenes shown when he tries to swing between buildings. In the beginning of the film, he starts on a small building and falls, nearly dying, with a large “AHHHHH!” graphic following him. Later in the film, now believing in himself and sporting his own Spider-Man suit, he falls from upward (based on the camera position) and succeeds, with a “WHOOOO” graphic rising with him. These choices mean something in the greater context of the film by charting Mile’s growth and overall serving a purpose in the story. Nothing is superfluous. 

Another major part of the comic book storytelling aesthetic is the celebration of artistic diversity. Just as the various Spider heroes come from various backgrounds, genders, races, and universes, the art styles in which they are drawn are distinct and diverse from each other. Peni Parker (Kimiko Glenn) represents an anime/manga art style with exaggerated movements and poses. Spider-Man Noir (Nicolas Cage) is drawn in black and white, reflecting film noir. Spider-Ham (John Mulaney) resembles the slapstick simplicity of the Looney Tunes. Spider-Gwen (Hailee Steinfeld) has an elegance movement style and comes from a water colored world, reflecting her own hit comic book.

Left to Right: Peni Parker (Kimiko Glenn), Gwen Stacey (Hailee Steinfeld), Spider-Ham (John Mulaney), Miles Morales (Shameik Moore), Peter B. Parker (Jake Johnson) Spider-Man Noir (Nicolas Cage)

By showcasing the various Spider-Men and Women in different art styles, it serves two purposes. One, it reflects Miles’ journey of self-discovery, seeing as he spray paints a Spider-Man costume to reflect his own style, mirroring his earlier graffiti art. Miles adopts a hip hop graffiti aesthetic, finally coming into his own as Spider-Man of his universe. But this diverse mixing pot of styles reflects the diverse art styles and stories that comic books, animation, and film can accomplish. Very few comic books in the market look alike, ranging from cartoony, to realistic, to impressionistic, to retro, and so much more. By each of these styles being put in a mixing pot, it celebrates the diversity and potential refreshment that new styles can bring.

When you look at Spider-Man movies of the past, many share similar stories, particularly, the retelling of Spider-Man’s origin, which is a constant joke throughout the film. Mile’s story is an origin, sharing similar traits to the Spider-Man origin: being bitten by a radioactive spider, losing an uncle, making up for a past failure, etc. But the film tells the story in such a unique and artistic way that it feels like hearing the story for the very first time.
 
Spider-Man: Into the Spider-Verse is a love letter to comic book storytelling, superheroes, and Spider-Man. It represents the possibilities of looking at things through a different perspective. Superhero stories must allow for stylistic experimentation, just like how any other medium or genre must develop and grow in order to stay alive in the moviegoers mind and heart. By bringing in comic book storytelling that allows for diverse design, and characters that serves those characters and these stories, Spider-Man: Into the Spider-Verse brilliantly marries animation and comic book storytelling to create a Spider-Man film unlike any other. And when there have already been so many Spider-Mans in live action and animated shows, that’s saying something.

WORKS CITED
​WIRED, director. YouTube. YouTube, YouTube, 22 Mar. 2019, www.youtube.com/watch?v=l-wUKu_V2Lk.