#my uncle was saying he doesn’t like the new spider verse and that the art is bad and my mom told him he has bad opinions | Explore Tumblr Posts and Blogs

septembercfawkes · 5 years

Text

Story Structure Explained: Prologues, Hooks, Setups, Inciting Incidents

Over the last several months I've been reviewing story structure off and on as I try to brainstorm and "percolate" my next novel and finish revising my current one. I've already broken down and talked about the basic approach to story structure in the post "What to Outline When Starting a Story." But since there are different approaches and story structures and more elements than I covered in there, I'm revisiting the topic with more specificity.

The elements in here aren't my own, but they have my own spin and explanations. This post's take on story structure is influenced by Story Engineering by Larry Brooks, the Seven Point Story Structure, Million Dollar Outlines by David Farland, The Hero's Journey, and even the basics of Freytag's Pyramid. You'll find that a lot of story structure resources have the same points and elements, but may call them different things or approach them in different ways. What matters most is that you understand the concepts and ideas, not what you call them (and in the writing community, some terms are used very ambiguously).

None of these things are 100% black and white--there are grays and there are variations--but you'll find that most successful stories have this structure or some rendition of it. And whether you like to plot or discover your story, whether you write intentionally or subconsciously, you'll probably hit a lot of these elements by the time your story is finished, so this isn't meant to restrict you, but help enhance your storytelling.

I'll be referring to Spider-verse as an example, because I love it, it recently won an Academy Award, and I've watched it four times over the months I've been reviewing story structure. You'll see how it fits, and varies, from the structure. Also worth noting is that while it is not the most mind-blowing story, the creators completely nailed everything they approached.

Here are the elements I'm going to hit:

(Prologue) Hook Setup Plot Point 1 (or "Inciting Incident") Pinch Point Midpoint Pinch Point 2 Plot Point 2 Climax Resolution/Denouement (Epilogue)

This varies somewhat from the others (and is a combination of them), so I hope that doesn't offend anyone, but it's how I like to think of it. 😉

I'll also be taking the heroes through these stages (I've heard them attributed to the Hero's Journey plot structure, but I'm not sure that's where they originated):

Orphan Wanderer Warrior Martyr

And I'll be including character arcs and themes and talking about escalating stakes and costs. So let's get started with the beginning! (Cause apparently it's too much awesome to fit in one post! 😎)

Beginning (or "Exposition")

The following elements are in the beginning of the story, what Fretag's Pyramid refers to as "exposition"--I don't recommend using that term because it makes it sound like you can write a bunch of info-dumps. 😂 (Spoiler: you can't 🤷‍♀️)

Prologue (not always present)

I was going to say this was "optional," but that's not the right way to look at prologues. Listen, some stories need prologues, some DO NOT need prologues, and some can actually work either way.

People are hecka confused about what prologues are, how they actually function, and how to even write a good one. I strongly believe the primary, all-encompassing purpose of a prologue is to make promises to the audience. That is the main function of a prologue. There are different kinds of promises you can make and different kinds of ways to make them. If you haven't read my post and plan on using prologues in your writing, I strongly recommend you check out "How Prologues Actually Function & 6 Types to Consider"

In Spider-verse

In Spider-verse, the prologue is at the very beginning, where Peter Parker tells the audience who he is and what it's like being Spider-man.

Type: Informational

- an informational prologue functions by making promises to the audience via giving information

Note: This can't come across as a stale info-dump, which is why you'll see in here the prologue is also infused with the appropriate voice and tone to be entertaining.

Notice that this prologue also gets everyone on the same page by offering a quick recap of Spider-man and his origin story. It also bridges Peter Parker's past story to the story we are about to watch.

But most importantly, it makes promises to the audience--like every good prologue should. And the promises work as hooks, which brings me to the next element.

(Worth mentioning is that this prologue also relates to the dual draw, alternate POV, and even touches the theatrical types of prologues.)

Hooks

I decided to make the term plural, because today, you really need more than one hook. Hooks are lines, concepts, elements--whatever--that pull the audience in. Often this is done by making promises. (The terms can overlap, but technically aren't the exact same thing.)

Hooks primarily function by getting the audience to look forward in some way, so they are anticipating what comes next in the story (which relates to tension). There are a lot of ways you can infuse your story with hooks, so I won't lay them all out here, but I have some helps in "5 Tricks that Help with Hooks."

Hooks should be included throughout your novel, but they are vital to open with. You may even open directly with The Hook™ (the concept that the audience came for). But hooks should be in the very beginning, which is why I'm including it as part of story structure itself.

In Spider-verse

Most of the hooks in Spider-verse come from the prologue. You might be thinking, "Really? But it was just information we already know!" Stick with me. This is exactly why they work as hooks.

Almost always, by the time the audience has sat down in a movie theater or picked up a book, they know something about the story, even if it's minimal. For books we have the back cover copy. For movies, we have trailers. You can absolutely create hooks by playing with the relationship of the back cover copy with the opening pages (or, since back cover copies are often written later, by keeping that in mind).

Unless you are blind (haven't seen trailers, posters, or any promotional material, or talked to anyone), you know Spider-verse has more than one "Spider-man" in it, which is why the prologue has so many hooks--we know that everything Peter Parker is saying is about to change. "I love being Spider-man." "I'm the one and only Spider-man." In other words, it creates a lot of contrast and carries contradictions, which is one approach that almost always works for writing hooks in the beginning of a story: using contrasts or opposites. Contrasts and opposites immediately draw attention and beg the audience to stick around for the story--because they are wondering how those contradictions are going to fit together.

Other hooks include elements of humor (dancing, Christmas music, a popsicle) and the promise of simply getting a good Spider-man story. Even before the prologue, we get teasers of a glitching world and the comic book style of animation--all hooks.

Note: In the Seven Point Plot Structure, the term "hook" is used to encompass the whole story's setup. I don't like it used that way because I don't believe everything in the beginning functions as a hook, and it makes the term "hook" more ambiguous. Open with a hook and get the setup going.

Setup

This is often the most difficult part of the story to write, because you have to convey a lot without being boring or killing the pacing. (FYI, whether or not you have a prologue, you still need a hook in the opening, but then you should continue using hooks to help tighten pacing.)

In the setup, you are essentially grounding the audience: Who is this story about? Where is this story taking place? When is it taking place? What's normal?

And the last one is important, because I'd argue that one of the primary purposes of the setup is to convey a sense of normalcy to the audience (because everything is about to change).

The setup will introduce us to the main character's arc ("arc" refers to how a character grows or changes) by showing how the character is now, which means it also usually nods to the theme, because those two elements are almost always tied together.

If you are writing speculative fiction, you may be explaining magic systems and worldbuilding elements in this section as well.

In Spider-verse

The setup conveys all these things:

Protagonist: Miles

Setting: Modern day, New York

State of normalcy: Miles is a teenager who lives with his parents, likes graffiti, and is attending a new school where he doesn't feel he fits in. His father is pushing him. Spider-man regularly saves people in New York (as shown on the news). Classes at the new school are intense.

Key characters introduced: Mom and Dad, Gwen, Uncle Aaron, Spider-man (already introduced in the prologue), and we even get a cameo of a villain, Olivia

Character arc introduced: Miles wants to quit his new school, is dealing with everyone's expectations of him, and doesn't know what he wants to do with his life.

Theme introduced: This is directly related to the arc. The primary theme of Spider-verse is to get back up (in other words, not quit). Notice how this is also introduced in a contrasting way in the prologue, where Peter Parker says directly that he always gets back up. Peter knows who he is, what he likes to do ("I love being Spider-man,") and how he is going to live his life.

Foreshadowing: In Miles's class, we see Olivia talking about other universes. When Uncle Aaron takes Miles somewhere to put up his graffiti, Miles asks, "How do you know about this place?" and Aaron answers, "I did an engineering job down here"--alluding to working for the villain. People are talking about earthquakes happening in New York.

Character traits, abilities, and wants: Miles does graffiti art and is apparently pretty good at it. He's also smart enough to go to this new school and get "100%" on his test. But what he wants is to flunk out and return to his old life and not deal with others' expectations. These are important elements. His skills make him likeable and a want/desire/goal gives a sense of direction to the story so it isn't stagnant--it still has a sense of progression.

It's important to know that while you are conveying a sense of normalcy, what's on the page (or screen) needs to be moving the story forward. This means that we don't need a play by play of your protagonist waking up, showering, eating breakfast, sitting through each and every class, etc. (though that is all one reason why those beginnings are so cliche). Notice that we don't get a play by play of every moment of Miles's day; we get a montage, which in novels, is the equivalent of summary.

Orphan State

At the beginning of the story, the protagonist is often in an "orphan" state. This may be literal (Harry Potter, A Series of Unfortunate Events, Peter Parker (both his parents are dead), Frodo (lives with his uncle), or a zillion other protags with no mom and/or dad), or it may be figurative--they may be removed from their parents, isolated from friends, or emotionally distant in some way.

In Spider-verse

While Miles has both parents, he is an "orphan" in the sense that he has become somewhat emotionally distant from his dad and literally distant by attending a new boarding school. He's been disconnected from his past friends, and he feels like he doesn't fit in.

Plot Point 1

This is often called the "inciting incident." But like other terms, there is some disagreement on what and when the "inciting incident" is, though putting it here with plot point one is most common. However, there are others who argue they are two different things, on a more micro-level. (Curse you ambiguous writing terms in the community!! 😡👎) But like I said in the beginning of this article, what matters is not so much what you call it, but that you understand it.

This is the moment where something enters the story and critically changes the protagonist's direction; it's when the story moves from setting up to reaction, from "exposition" to "rising action" if you like Freytag's pyramid, from beginning to middle, from intro to significant conflict. In a Hero's Journey story, this is the "call to action." However you want to think of it, it is the moment that disrupts the established normalcy and sends the protagonist in a new direction.

The inciting incident/plot point one may happen in an instant or it may take place over several scenes.

In Spider-verse

This is the moment where Miles gets bit by the spider. It changes everything. We leave the setup and enter the rising action. He can't go back to the "established normal." And he's going to have to react to all the changes.

In other words, we are leaving the beginning, and starting the middle. . . which I'll cover next time!

110 notes · View notes

hellzyeahthewebwieldingavenger · 5 years

Text

Spider-Force #3 Thoughts

Fucking Awful.

This story issue and mini –series as a whole was a fucking mess.

Let’s get some pleasantries out of the way.

The art was nice but a downgrade from Siquiera’s from the first 1.5 issues of this mini-series. The fact that we couldn’t maintain a consistent art team for THREE ISSUES speaks to how poorly thrown together this mini-series was.

Also a nice thing. The concept of Spider-People fighting in zero gravity where a lot of their powers would be undermined, especially their agility and webbing. Too bad the idea isn’t explored at all and downright contradicted.

Finally not exactly a pro or con here but something I forgot to mention as a problem in Spider-Geddon #4. I made a mistake in my thoughts on it where I said that I didn’t get what Ben Reilly had to do with Otto’s bargain with the Inheritors, but re-reading it I evidently forgot that it was stated that by absorbing his life essence the Inheritors would learn how his cloning tech would work. The problem with that being...the Inheritors don’t gain knowledge from their victims last I checked. Maybe I missed something else but I’m pretty sure that was never a thing before issue #4 and if so what lazy writing my God.

Why is that relevant to this issue though? Well because we’re diving into the problems of this issue of which there are numerous and I thought I’d start at the end instead of the beginning.

Sooooooo...the ending of this story doesn’t jive at all with Spider-Geddon #4.

When I read Spider-Geddon #4 I complained that it ruined the resolution of this mini-series. Now in fairness I wasn’t being exactly fair in that point as readers could still wonder of course what had become of the other Spider-Force members sans Charlie and (not that anyone cared) how precisely they got a hold of the Solus crystal.

Well if you did care about any of that prepare to be disappointed. Turns out Verna just gave the crystal to Jessica without her knowing and we don’t know WTF happened to any of the other characters. In fact the start of issue #1 is chronologically the last time we see them. What a fucking waste of time.

Worse is that as I said it doesn’t jive with Spider-Geddon #4 at all. Jessica’s body language and dialogue not match between the two issues.

Speaking of Jessica Drew not only do all the problems I cited before stand with her character, but Priest compounds them by implying she has like animal keen senses, as though she’s Wolverine or something??????????

She also claims everyone’s wall crawling powers are useless in zero gravity because there is no friction. I’m no scientist but I’m pretty sure friction would still exist in zero gravity. Even that aside...that...that isn’t how their powers work. I can’t entirely explain it but it’s about electricity not friction.

The same thing applies to her concerns about their other powers. I get that agility is at least less useful in zero gravity...but super strength? Gravity isn’t going to affect your gripping potential? Besides it doesn’t matter. The story has Verna speedily grab John Jameson and earlier on John viciously stab Verna in the throat and then plays like the characters are making a hasty retreat as though they were moving quickly but...they weren’t obviously because no one can run or jump in zero gravity.

By the way as we’re on the topic we reinforce the stupidity of Jessica being immune to the Inheritors because her powers come from radiation. They don’t and even if they did...so does Spider-Man’s but he can still be eaten so what gives?

Let’s talk about Jameson and Verna.

Let’s put aside how the recap page refers to John as the Spider-Man of this world (fuck Uncle Ben I guess). What a waste of an interesting concept. And Verna? So apparently she can...heal by eating people? Okay maybe I’m forgetting something but I don’t remember that being an ability either. But then again this mini-series has given people all sorts of random powers. For example not only are the Inheritors vulnerable to radiation but apparently it’s basically kryptonite to them. It’s not that it’s something that hurts them like it hurts everyone. No, no, no they’re MORE vulnerable to it than regular people. Which raises the question of why the fuck didn’t anyone in this entire mini-series arm themselves with radioactive weaponry? Like Peter Parker injected himself with radiation in the very first Morlun story, couldn’t you make a big ass gun to shoot radiation at these guys?

More confusing to me is the idea that she stashed away Solus’ crystal to keep it safe from members of her own family; with artwork so bad I couldn’t tell it was even her until dialogue clarified.* This is the first time the idea of the Inheritors backstabbing one another has ever been raised, it comes out of nowhere and is just a cheap aspect of the story to justify some of the plotting. Because if the Inheritors had the Solus crystal in their homebase then at the very least this mini-series wouldn’t exist.

An inconsistency with the crystal I noticed is that Charlie figures out that Verna set up a beacon nearby it in the train station and that was the unique energy signature John first zeroed in on because the crystal isn’t emitting an energy signature. Ummm....how does he know that? I get he’s Peter Parker who is smart but how would he be able to deduce this without examining the crystal? He just seems to know this stuff.

Speaking of Charlie there is little more I can add to his character or indeed Ashley’s. They’re storyline goes nowhere in this mini-series. At least Scarlet Spiders from Spider-Verse had something of an emotional payoff as their mission was a success, Ben died and this propelled Kaine into vengeance. Here the mini-series doesn’t end so much as stop it might as well be Spider-Geddon #3.5. Except at least the main book has been building towards a pay off for it’s central characters of Miles and Otto. This mini-series was clearly most invested in Ashley and Charlie and it goes nowhere, we don’t even get details on his past. Apparently he appears in Spider-Geddon #5 but I have little hope we’ll find out what his past is exactly.

The nicest thing I can say is that he displays intelligence via his trap for Verna. Where this plan becomes stupid though is in the fact that Kaine has a big ass gun out of nowhere and for some reason they were walking around without their radiation suits for awhile....why? Why would you do that???????? Has it got something to do with Charlie’s confusing Pokemon reference?

Consequently we find out that the radioactive water they flooded the subway with back in issue #1 is corrosive which....again not a scientist, but would radiation make water corrosive really?

Let’s talk about Kaine. He’s an out of character jerk who is dissed as not having a soul and who lied to his team for no reason. I don’t get it? And he was supposed to be the lead character? Maybe? It’s unclear because this mini-series is so badly put together.

Priest also makes some bullshit statement about how Jameson’s telepathic trick last issue boned them all but that’s talked about more than it is shown. We only saw 3 flashbacks last issue after all but now we’re talking about how Jessica didn’t get anything from Kaine because he’s a clone who has no soul maybe.

And yet we do get a random flashback from her in this issue to the brith of her son and...Skullls(????????????) are there???????????????? Maybe this synchs with her solo-book but maybe contextualize that for the new readers who’ve not read that Priest? Jesus Christ.

This series is a turd. Don’t bother reading it.

*That scene also had this weird pointless caption box about iron phosphate power cells which went nowhere.

#Spider Woman #Jessica Drew #Scarlet Spider #Ben Reilly #Clone Saga #Kaine #Kaine Parker #Spider-Geddon #Christopher Priest #Skrulls #Inheritors #Spider-Man #Peter Parker

19 notes · View notes

lumikinetic · 5 years

Text

*flops down on sofa*

*exhales*

Tumblr gives me a lot of wild shit every now and again. Sometimes it's good, sometimes it's bad, sometimes it's hilarious, sometimes it's disheartening. And then yesterday came along and gave me the one-two punch of:

Captain Marvel being dolled up by the Russos instead of a jacket, S.H.I.E.L.D baseball cap and a Nine Inch Nails shirt, which is how she should be (not gonna talk about this, just want it out there that I'm pissed about it)

One Day At A Time being cancelled

ODAAT I'm gonna kind of touch on because it's not really what I want to talk about, but it did help me finalize the words for what I do, and that's capitalism in entertainment.

The most annoying goddamn trend in filmmaking (and of course in TV and Netflix/Prime originals) is companies caring more about their bottom line and less about making good content, and yeah I know this dead horse isn't just beaten, it's thrown into an active supervolcano but it really pisses me off and it's why I hate the new Star Wars stuff (well OK hate is a bit strong but they're uh Not Good) but I'll get to that. What corpos can't seem to get into their bloated skulls is that one cannot exist without the other. You need to put out good, quality content with value so that fans like it so they give you money so they increase your profits so you can make more content and so on. But somewhere down the line some fuckhead went "what if we just pushed out what we have?" and just kinda expected us to not take notice.

Now before the comments section gets all hot and bothered because I know some people on this site don't have the gift of reading comprehension, I know profits are important, I'm saying when companies shun good filmmaking for more money, they get lazy and all they can think about is profit and not how they make that profit, they don't care at all about using that money to make more good, valuable content.

One Day At A Time

I've never watched One Day At A Time but the fact Netflix just outright cancelled it knowing damn well what it meant to the people the characters are representing is just disgusting. And they have the fucking audacity to blame it on the viewership? I've seen hundreds of artworks, gifs and a video clip here and there of this show. I've seen precisely one (1) meme of 13 Reasons Why and that is literally it. I'm not following the tags for either. Plus, #saveODAAT has, last I checked, 350k tweets on trending or thereabouts?

So obviously the viewership isn't the problem, it's the racism and homophobia of cancelling a Spanish (? - again, never seen it), LGBT+ focused show that a lot of people quite happily and positively connect with when a crap show about suicide and Friends gets to stay on. It's just ugh. Cancelling a show like this then paying something like $100mil to keep Friends. I was going to expand on the shitty capitalism here but tbh that's it, Netflix are making bad decisions and like I say, I'm only going to touch on it because it's not the main part.

Star Wars

Go watch the original trilogy and it's clear George Lucas was trying to create and do. He was trying to make art. The key difference between that and modern SW to me is BB8. Look at C3PO and R2D2 and already you can see they belong. C3PO is a translator droid and I'm not sure what exactly R2's job description is but it's obvious he does some kind of pilot assistance for X-Wing fighters. I never understood people who said R2 never did anything, because they obviously haven't seen Star Wars. You get that this is an R2 unit, right? Like, there's more than one out there and they have a job they were specifically built to do, it's just this one particular R2 unit who had to carry the message? Anyway, I'm derailing. R2 and C3PO have functions and they're clearly not new, they've been used for a long time. Then you look at BB8 and instantly it's like "this is a toy. This so called character was designed to sell toys". And then he was. He's a toy, he's on bags, notebooks, pens, clothes, everywhere. Disney is less concerned about making a Star Wars movie and more about making money off of the Star Wars name.

Into The Spider-Verse VS YA Movies

YA movies tend to suck because they were adapted from books and we all know how that pans out but the reason I'm using YA books specifically is because my mind jumped to The Hunger Games. I couldn't tell you a single fucking thing that happens in those movies. They're so dull and dead and forgettable and the characters are borderline unlikeable but you know which one I do like? Catching Fire, for one reason and one reason only: Jena Malone as Joanna Mason. Save for Haymitch, she's the only character I liked because those two are the only characters with any kind of charisma or life to them. They made an at most halfway decent attempt overall at recreating some otherwise really great books and they made a big show out of it, hiring some pretty well known names. And I'm not disparaging their performances, it was just what I call, ever since Suicide Squad came out, the Harley Quinn effect, in which good actors get given a good character and perform them really well and, through no fault of their own, fuck it up because the character was written poorly and no matter how well they act, if the script doesn't change, the performance will always be shit. The same for Divergent. And Percy Jackson. And Fault In Our Stars.

Then outside all of that you have Perks Of Being A Wallflower which is just a great, heartwarming movie because the characters feel like people and the brightness isn't turned way the fuck down in post and you actually want to be invested, and they're not afraid to have a colour palette beyond a splash of pink here and blue there and red there. Plus, Ant-Man as an English teacher. THEN you go watch Spider-Verse and oh hey. I can actually see the movie now. And I mean see it. They do not slack off when it comes to visuals. Even by animation's standards, everyone is so expressive and alive and... animated. Sorry, I couldn't get a better word but they are! When you look at Miles in comparison to Katniss in terms of writing and performance, the difference is just startling. The only times I can think of where Katniss shows any kind of emotion in the first movie is when she slams the knife in the table and Rue's funeral and I had to think about that. Without thinking for Miles, already I've got "who's Morales?", the scene where Uncle Aaron teaches him the shoulder touch, the scene where Miles spray paints in the subway, that scene in the alley, the moment in Olivia's office when he just freezes after she says she can't wait to watch Peter in immense pain Like That and made all the wlws melt in their seats. You get the idea. So what's the point for this section? Well, as simply as I can put it, Hunger Games was made with money, for money. Spiderverse was made with love, for love. Spiderverse cared about people who read comic books and paid more than enough tribute to the art forms people think of as lesser for no goddamn reason other than elitism and proved for the thousandth time that it is something that can be used in filmmaking. They were trying to make art. Hunger Games and most other YA novel movie adaptations saw a preestablished fan base they could exploit for money. They were trying to make money.

Rambo

This was a weird one, yeah. Don't worry I was confused too when it popped into my head. I saw the original Rambo a while back and what I liked about it (and Apocalypse Now) is it wasn't a war film where the USA charge in and hooray everything's all right, this movie grabs your shirt and says "hey. Vietnam did something to these guys and they're not OK. Probably they'll never be OK". Then I watched the Rambo reboot that came out in like 2011 or something and I remember thinking "OK so now he's just this dude? Who lives in Thailand... And what, that's it?" There was no scene to show his psychological state today. Nothing to acknowledge his PTSD. They just thought "hey! Let's make Rambo but this time, just give him guns and and yelling and spray some blood!" The reason I kind of ended this train of thought quickly is because I realised that, let's be real, the main body of Rambo's audience just want to see Sly Stallone kill some fools. But yeah, the fact that they just ignored John's mental state in place of mega violence is such a glaringly obvious move to just appeal to violent teenage boys.

The Auteur

My favourite director is Wes Anderson and my favourite movie is The Grand Budapest Hotel (though Panos Cosmatos seems to be eyeing these titles with Beyond The Black Rainbow and Mandy, I haven't watched them yet). Quentin Tarantino, Spike Lee, Wes Anderson, auteurs always stand out even though their movies are all the same, and I think the reason they're so successful is because that specific style is so much better than most other mainstream cinema. I'm not saying that those other movies are bad, I love them and will watch them again and again but I'm saying Wes Anderson could make a short movie and it would be better than most Marvel movies put together (don't talk to me about Captain Marvel, I haven't seen it yet. Gonna see it this Sunday). No matter what you think of these directors, you can instantly tell the difference between these movies that they care about and the passion and hard work they put in and Disney pumping out their 400th reboot.

It Keeps Working

You guys wanna know the thought that keeps me up at night? Someday they're going to make a Fortnite movie. You guys wanna know why it keeps me up at night? Because it's going to be popular. Yeah, obviously not at the box office, because it'll be a videogame movie and those are worse than book movies, but it will be popular for no apparent reason. And what pisses me off is that Fortnite's popularity is only because of the battle royale mode, which has now essentially become synonymous with dying franchises and it just adds another layer to the lack of creative effort and the movie will just be Hunger Games with guns. Exactly the same as what I said at the start of this rant, there's a really noticeable shift from making content to jumping on whatever bandwagon is passing by because you know it'll make you money. Yeah, you have to spend money to make money but that doesn't mean you get complacent in what you spend your money on or if you spend money at all because when you cut corners, consumers can see that shit.

Anyway I'm done complaining thanks for having the willpower to pay attention to my dumb opinions.

#discourse #odaat #one day at a time #capitalism #star wars #into the spiderverse #rambo #long post #hunger games #hunger games: catching fire #ya fiction #young adult fiction #netflix #eat the rich #corpo #captain marvel #marvel #disney

24 notes · View notes

zak-animation · 5 years

Photo

Miles Morales: The Hero’s Journey of ‘Into the Spider-Verse’

In this post, I’m exploring the plot of my chosen film Spider-Man: Into the Spider-Verse as an example of the Hero’s Journey as described by Christopher Vogler. The film examines what it means to be a hero, and I felt like breaking down the plot in this format would be a good start to my research into the movie and it’s narrative. For this post, I’m primarily responding to the first essay question:

Analyse your chosen narrative with close reference to the Hero’s Journey or another appropriate story template. You may write about the film’s failure to fit a conventional structure too. Understanding how a film may subvert and challenge narrative conventions is a good aspect of structural analysis.

Act 1: Separation

1. Ordinary World - introduce the character’s everyday life After a fun opening shot featuring Peter Parker, the film quickly introduces us to the film’s main protagonist Miles Morales. Miles is a teenager from Brooklyn who admires Spider-Man, and we’re shown that he’s struggling to live up to the expectations and standards of his parents and teachers. The film establishes the strong family dynamic of the film, in which we learn that Miles’ father, police officer Jefferson sees Spider-Man as a menace. We learn that Miles has a passion for street art, and pop music that allows him a sense of comfort and ease. After school, Miles sneaks out to visit his Uncle Aaron.

2. Call To Adventure - the hero receives a call to adventure Aaron takes Miles down to an abandoned subway station, presenting him with a blank canvas. Miles sets to work creating a graffiti ‘masterwork’, and is bitten by a radioactive spider in the process. He’s been bitten, and there’s no going back now.

3. Refusal of the Call - the hero (initially) refuses the call Though just a brief moment, Miles does initially refuse the call in a sense of disbelief. After finding out he has spider-like abilities, Miles reads an Amazing Fantasy comic book detailing the superhero origins of Spider-Man, and he draws similarities to what he’s experiencing. He refuses to believe there ‘can be two Spider-men’. He runs away, saying ‘it’s just puberty’ as the thought bubble ‘no’ flies off around him.

4. Meeting the Mentor - the hero meets the mentor Miles returns to the subway station, searching for the radioactive spider. He unintentionally finds a particle accelerator built by big bad Wilson Fisk, who wishes to open parallel universes in a tragic attempt to find alternative, alive versions of his wife and son. Miles watches as Spider-Man swings in to save the day against Fisk’s villainous cronies Green Goblin and the Prowler.

Spider-Man ends up saving Miles from falling to his death, and they share a bonding moment in which they realise they both have similar spider-like abilities. Miles meets his superhero inspiration and mentor, who says he’ll show him ‘the ropes’. Unfortunately, the mentor is gravely wounded by an explosion during the battle, which also kills Green Goblin.

5. Crossing the Threshold - the hero crosses a boundary, and enters a new world Spider-Man gives Miles a USB drive to disable the accelerator and warns him that if the machine is turned on again, the city will be destroyed. Miles makes an escape after watching Fisk pummel Spider-Man to death. Miles has been given a task, and now the city enters a new world: one without Spider-Man.

Act 2: Descent and Initiation

6. Tests, Allies, Enemies - the hero is tested In a comical sequence, Miles attempts to master his new abilities and become the new Spider-Man - but manages to inadvertently damage the USB drive in the process. He visits Spider-Man’s grave, and meets Peter B. Parker, and older and more tired version of Spider-Man from another dimension. We find out that Peter has been dragged into Miles’ dimension by Fisk’s accelerator, and needs to return home - and so begrudgingly agrees to train the Brooklyn teenager in exchange for help in creating a new USB drive, using stolen data.

Here, Miles faces new challenges and tests as he teams up with older Spider-Man to break into Fisk’s research facility, and fight off against chief scientist Olivia Octavious. She reveals that Peter will eventually deteriorate and grows closer to death the longer he stays in their dimension, while Miles manages to take the desired data. The dynamic duo make a hasty retreat, pausing to grab a bagel before Peter teaches Miles to web-swing. They are saved by Gwen Stacy, another dimension-displaced spider heroine. Gwen takes Peter and Miles to May Parker, who is shown to be sheltering the other Spider-People: Spider-Man Noir, Spider-Ham, and Peni Parker and SP//dr, who are also deteriorating before Miles’ eyes. He steps up the plate, and given the fact that this is his dimension, offers to disable the accelerator to send the other Spider-People home. Miles, and the audience, begin to learn the rules of this new special world.

In this step, we are introduced to Mile’s allies and enemies, as we learn more about Peter, Gwen and the gang. Something mentioned in the research lecture when we first explored the idea of the Hero’s Journey was how this step was also known as ‘trailer material’. This was especially true with Into the Spider-Verse, as the majority of shots came from the visual gags and quick-paced action of the ‘break in’ scene and as Miles learns to web swing with Peter.

7. Approach To the Inmost Cave - the hero approaches an external / internal threat The heroes attempt to teach Miles how to use his powers, but their lecturing becomes overwhelming and he runs back to Aaron’s home for advice. When he gets back, however, he discovers that Aaron is actually The Prowler, one of Fisk’s hired guns. Terrified, he flees to May’s house, to find out that Peni has completed building the drive. Unfortunately, Miles was followed by Fisk and his enforcers Octavius, Scorpion and Aaron himself. A fight breaks out, and Miles tries to make an escape with the drive.

Prowler seizes Miles, who prepares to kill him on Fisk’s order. Miles unmasks himself, leading Aaron to realise he has been hunting down his own nephew. Prowler decides not to kill Miles, leading Fisk to shoot him in the back - killing his uncle before his eyes. Devastated and afraid, Miles makes a run for it.

The Spider-gang prepare to face Fisk by attending his dinner party in a convenient disguise, while Peter restrains Miles in his dorm and leaves him behind for his own safety. Peter decides to sacrifice himself by taking Miles’ place in deactivating the accelerator, and swings away to help the others. With his mouth webbed up and stuck to his desk chair, Miles’ father Jefferson knocks on his son’s door to tell him about Uncle Aaron. With just silence as his response, Jefferson assumes Miles doesn’t want to speak to him, and proceeds to apologise for his mistakes as a dad.

Here, our hero faces his inner demons and reaches his lowest point. Jefferson leaves, and Miles is forced to combat his own demons. He realises he’s ready for the challenge, and using an on-request surge of energy, breaks out of the web. This isn’t the Ordeal, this is just the build up to it. Miles returns to Aunt May’s house and the original Peter’s Spider-Cave, and designs his own costume using his own spray cans. We next see Miles clinging to the side of a skyscraper. He’s more confident, but he’s still scared. He’s not Spider-Man yet. Miles adjusts his position, in preparation for the ordeal, moving closer and closer to the edge.

8. Ordeal - the hero faces his threat, midpoint, death and rebirth ‘That’s all it is, Miles - a leap of faith’. Our hero lets go of the building, as the window shatters around his hand, and leaps down into the city skyline. He’s out of control, plummeting towards the ground below. We’re left in suspense as Miles takes a literal leap of faith.

9. Reward - the hero gains something (Seize the Sword) At the last second, miles shoots a web upwards….and it sticks to a building! Miles begins to swing, moving through New York with a visually pleasing fluidity that oozes confidence. After running between taxis and across windows, Miles swings on top of the Brooklyn Bridge and catches his breath. He looks at Fisk Tower, and as an audience, know he’s ready - he is Spider-Man.

Act 3: Resurrection and Rebirth

10. The Road Back - the protagonist, now a hero, embarks on a quest back Miles swings back to meet the gang, and battles Fisk’s enforcers for a final time. It’s a quick fight, but we see how Miles has become his own hero and plays off of his team members easily. Miles manages to activate the USB drive and sends all the Spider-People back to their home dimension. The other heroes have returned home, but the fight isn’t over: Miles isn’t out of the woods just yet.

11. Resurrection - the protagonist is reborn as a hero Fisk and Miles fight it out throughout the accelerator, which attracts his father’s attention. Jefferson watches as this new Spider-Man risks his life to protect the city and the ones he loves, and realises he’s not the enemy. Spider-Man is reborn as a hero in his father’s eyes, which inspires Miles to defeat Fisk and destroy the accelerator in the process. Jefferson and the authorities arrest Fisk and his enforcers, as the officer and the city recognise Spider-Man as a hero.

12. Return With The Elixir - the hero returns, changed Miles swings around the city, ecstatic to be Spider-Man and have his father’s approval. We literally see him return to his ordinary world - in this case, his bed, at the end of the film. Miles lays back, transformed by the experience. He embraces who he is, and the responsibilities of his new life.

Response In this post, I’ve begun my research into my chosen film of Spider-Man: Into the Spider-Verse. To kickstart the process, I’ve analysed the film’s plot in relation to the Hero’s Journey, a narrative structure described by writer Christopher Vogler. It’s clear to me that Chris Lord presents a refreshing take on the Hero’s Journey, following all the beats outlined by Vogler, but in an exciting way that’s new and distinctly…Spider-Man.

As an update on the classic Spider-Man origin story, Mile’s superheroic beginnings manage to feel unique and fresh, whilst also echoing those of Peter Parker’s. However, it should be worth noting that the film’s actual narrative - of becoming a hero - is nothing ground-breaking or particularly new. Instead, that honour goes to the the film’s animation and visual style. It’s a brand-new approach to animated filmmaking, and it’s going to make waves in the industry.

To continue my research exploring Into the Spider-Verse and it’s narrative, I’m going to be looking at its ground-breaking comic-inspired visual aesthetic: how it was made, and how this allows the filmmakers to tap into an entirely new approach to visual storytelling in film.

#ba1b:narrativetheory

11 notes · View notes

recentanimenews · 5 years

Text

Crunchyroll Favorites 2018 Part Three: EVERYTHING ELSE!

This is it--the final installment of CRUNCHYROLL FAVORITES 2018! In our first feature, we talked about our favorite anime and manga of the past year, and yesterday we shared our favorite video games. Today, we wrap up with one of my favorite parts of CR Favorites: "EVERYTHING ELSE!"

Instead of posting individual articles for everybody's favorite movies, books, music, TV shows, sports moments, life moments, and so on and so forth, we just pile them all here into the "Everything Else" installment and share what's important to us that isn't related to anime, manga, or video games.

Just like before, the rules are simple: only stuff that came out in 2018, or continuing works that had a major milestone last year. You're gonna get to see a lot of different lists from different people--let's get started!

Nate Ming

The Night Comes for Us- Timo Tjahjanto brings most of the gang from The Raid and its sequel back for this absolute onslaught of perfectly-choreographed action that refuses to let up--or look away. This one's for the hardest of hardcore action fans, and absolutely not for the squeamish.

Mandy- Nicolas Cage teams up with the stylish and totally gonzo Panos Cosmatos for a trippy, violent ride that starts as a horror story and ends up as a wild action/revenge flick. A friend of mine pointed out that Mandy is the closest we'll probably ever get to a live-action Berserk, and y'know what? He's right.

Spider-Man: Into the Spider-Verse- It's rare when, while watching a movie, I don't want it to end. It's almost as rare when it wraps up and I immediately want to watch it again. Into the Spider-Verse has it all: pure emotion, an outstanding soundtrack, action that's like greased lightning, and characters I want to spend even more time with. More like this, please.

Fighting in the Age of Loneliness- Jon Bois--already known for his insightful, fun breakdowns of sports minutiae--teams up with Felix Biederman for a deep dive into the stories that make the history of mixed martial arts. Even people who aren't MMA-heads will dig this--check it out and learn why people fighting in a cage for money is so compelling.

Amanda Nunes vs Cris Cyborg- And speaking of that, in just 51 seconds Amanda "Lioness" Nunes took down the undefeated Cris Cyborg, trading shots until Cyborg caught a huge overhand right and dropped. What a showdown--women's MMA has always been great, but now is the time of legends.

Honorable Mentions: Braven, Creed II, Hereditary

Nicole Mejias

A more stable life- 2017 and 2018 have been very trying years of my life, and I’m glad I made it through in one piece. Depression is something I’m still battling with, but it’s something I’m thankfully more in control of these days. I’m very grateful for my close friends who helped me when I felt I was lost; without them I wouldn’t be here. Thank you! Let’s conquer our goals in 2019!

CEO x NJPW show- I talked about this show briefly in my CEO 2018 report, but my goodness, it was quite the mind blowing show! I never expected NJPW to make it out to Florida of all places, and I certainly didn’t expect the world of fighting games and wrestling to come together in beautiful harmony! It’s a show I’ll remember for a very long time.

Crunchyroll Expo 2018 experience- It was my first time going to this event, and I was very impressed by pretty much everything the convention had to offer! Add in the bonus of meeting up with colleagues face-to-face for the first time and network with amazing folks, and it was an event that I was very happy to be a part of. I’ll be back again this year!

Working for Crunchyroll- The biggest highlight of 2018 was when I got the chance to work here, which was something I didn’t think would happen. Started as a video script writer, then moved on to becoming a features writer and editor! This job has helped me out in so many countless ways, and I’m really blessed to be here and that I’m working with such an awesome group of people!

Daniel Dockery

Beginning My Crunchyroll Writer Journey- Writing about anime for a lot of websites usually requires some handholding (“Hey kids. Have you heard of anime? Before I begin my actual article, here’s a half page about what anime actually is.”) Luckily, Crunchyroll came along and has let me geek out about One Piece for six months. God bless them.

Creed II- After his awesome performances in Universal Soldier: Regeneration and Day of Reckoning, it was only a matter of time before Dolph Lundgren became the heart of a major blockbuster.

Deadwood Movie Hype- It’s finally happening. The Deadwood movie that’s been talked about since 2006 is going to be in front of me in 2019. I don’t want to say that the power of my dreams made this happen, but I will. You can thank me all now.

Shrimp Tacos- Have y’all had these? They’re great!

Peter Fobian

Shonen Jump- I promise I’m not getting paid to tell you that Shonen Jump made history in 2018. They made the most popular comics magazine in the world FREE. They’re selling access to one of the largest collections of comics in the world at a pittance. This is the best deal in the history of comics, hands down. I’m only one month in and have already burned through over 20 volumes of manga. I’m actually going to catch up to One Piece. This is unreal.

Annihilation- I almost missed this movie since they did very little way in the promotion, and man am I glad I saw it in theaters. An awesome sci-fi horror film with a great premise, great cast, some fantastic effects, and a legendary ending. Even if you were underwhelmed by the majority of the film, those last 15 minutes aren’t going to leave your head anytime soon.

Wanikani- Various life circumstances have made it hard for me to continue in-class Japanese studies so I started up Wanikani in January at the recommendation of a friend. It’s the easiest to keep up with language studying app I’ve managed to main pretty consistent all year, finishing off 2018 with a 2000 written word vocabulary is pretty good, I think. I really want to hit max level...

Ricky Soberano

All of the wine I’ve drank- Cheers to speaking about the difference between organic, kosher, vegan, and orange wines. Biggest cheers to figuring out my preferred wine region (Piedmont) and enjoying every Barbera and Barolo I had the privilege of consuming.

The streetwear collabs that mattered- Thank you, universe, for finally getting it. The same people that love manga and anime can also love fashion and finally have a means to show it off to the world. This is why the Primitive x DBZ drop popped off. This is what made the Uniqlo x Shonen Jump collection so important. I can’t wait to see even more in 2019.

Crazy Rich Asians breaking the world- Everything was riding on this film to do well. The future of Hollywood’s treatment towards Asian casts, writing, and films hung in the balance and it slayed the box office. The phenomenon surrounding it was as electric as the film itself.

Japanese Breakfast’s article on H-Mart- My uncle had passed away a few weeks before one of my favorite singers published her first article for The New Yorker. It’s a beautiful testament to coming to terms with identity as an Asian-American, mourning, and food.

Everything that Childish Gambino has blessed us with this year- This special supernova doesn’t need to go so hard on every project that he works on but he does anyways simply because he can and if you can’t appreciate that then you can enter that black hole over there.

Emily Bushman

Victoria Schwab- One of my favorite authors because she writes fantastic stories, and her new YA book, City of Ghosts, is no exception. It’s like a cross between Stranger Things and the best parts of Scotland, with just a DAB of Harry Potter, and I love everything about it. Her other new novel, Vengeful (sequel to Vicious), also soared high for me with three superior villains who plotted death and destruction, all the way to a satisfying conclusion.

Supernatural- I’m late to the game... but why does it feel good to do something as bad as binge-watching 13 straight seasons over a three month period? To be fair, my friend and I are only on season 9, but we’re getting there. Slowly. Steadily. The checkout lady at our local grocery store approves. And if I’ve learned anything from this, it’s that everyone should have a moose in their life. Get your moose, people. Get your moose.

Haunting of Hill House- The original book by Shirley Jackson (of “The Lottery”) was a favorite of mine, but the Netflix adaptation took it to a whole new level. Love the book, love the show, and love the questions about what it means to be a family, what can happen when a family turns against itself, what it means to be a ghost, either alive or dead, and, most importantly, how the trappings of a perfect life can turn into the ties that bind us down.

Sticky Toffee Pudding- This is a British thing, but I live and die for it and was recently reminded of how much I love it when my best friend begged me to make it for her, gluten free. It’s the perfect gooey sweet sheet cake, with to-die-for caramel toffee sauce. Please try this. This is my favorite recipe, from my favorite queen of internet food blogging, Deb Perelman. You can make it with Cup for Cup, a gluten free flour substitute, and it tastes essentially the same. >> http://bit.ly/2fE1OvW

Strange the Dreamer- Written by Laini Taylor, it’s a YA novel about a boy named Strange, the Dreamer. It’s a weird mix of pseudo-Egyptian Gods, alchemic research, and impossible puzzles that is both fascinating and, well, dream-like. It is unusual, the outlier in a field of run-of-the-mill stories, but it entranced me, and I eagerly await the sequel.

Nick Creamer

The Haunting of Hill House- Ostensibly based on the classic Shirley Jackson novel, Netflix’s Haunting of Hill House abandons the book’s narrative entirely, and instead tells a story about family, forgiveness, and the meaning of home, all filtered through the profoundly haunted titular house. Though the film’s dialogue can get a little clumsy, its evocative cinematography, psychologically scrambled cast, and sharp understanding of horror make it satisfying both for its thrills and its sympathetic emotional core. In a year I’ve spent binging whatever horror anthologies I can find, Hill House has risen to the top.

Offerings- As the follow-up to the staggering concept album White Lighter, Typhoon’s Offerings had some serious shoes to fill. The resulting album absolutely blew me away, with its comparatively stripped-down sound offering a harrowing journey through the steady disintegration of a fraying mind. Lines like “the part of you that I love is still in there, even if it doesn’t know my name” cut to the heart of watching a loved one fade away, and offered understanding in a very tough year. Offerings is a difficult listen, but it’s worth it.

Cooking- After a former housemate gifted me and my roommates a slow cooker last winter, we embarked on a lengthy journey to actually learn how to feed ourselves. After a long and arduous year of training, I am proud to say I can probably avoid incinerating a chicken at this point, and perhaps even prepare a soup. Getting there!

Kara Dennison

Black Mirror: Bandersnatch- I will never stop talking about this, and you can’t stop me. It’s my happy union of Charlie Brooker’s hardcore video game geekdom, my love of choice-based gaming, and my inexplicable desire to disturb myself at every given opportunity. It’s been at least a year since I lifted my hands off a keyboard and walked away because I was so affected. That’s how hard it got me.

Gabutto Burger- A recent trip to visit a friend in Illinois ended up with us at this anime fan-friendly burger place, run by a Japanese family and branded to the gills with mascot characters. It’s as close as I’m going to get (for now) to going to a collab café, plus the food was amazing.

The Night Before Critmas- I wish I had time for the full Critical Role experience, but their one-shots are just right for my schedule. This Christmas-skinned D&D campaign told the flipside of The Nightmare Before Christmas, with dangerously-skilled elves setting out to retrieve Santa from a legally-distinct talking bag of bugs. Their Crash Pandas campaign was no slouch, either.

Crunchyroll Social Media- This year I got to stick a toe in our social media department, running accounts for shows like Magical Girl Ore and How NOT to Summon a Demon Lord. I’ve loved getting to see what the fans enjoy and find more for them between episodes!

----

And that's a wrap for Crunchyroll Favorites 2018! Thanks for joining us for this three-parter, and we'll see you next year! If you're in the mood for more CR Favorites, here are the links to past years' features:

Crunchyroll Favorites 2017 Part One | Part Two | Part Three

Crunchyroll Favorites 2016 Part One | Part Two | Part Three

Crunchyroll Favorites 2015 Part One | Part Two | Part Three

Crunchyroll Favorites 2014 Part One | Part Two | Part Three

Crunchyroll Favorites 2013 Part One | Part Two | Part Three

Crunchyroll Favorites 2012 Part One | Part Two | Part Three

Crunchyroll News' Best of 2011 Part One | Part Two

What were your favorite "everything else" parts of 2018? Remember, this is a FAVORITES list, not a BEST-OF list, so there are no wrong answers--sound off in the comments and share your favorites!

-----

Nate Ming is the Features Editor for Crunchyroll News and creator of the long-running Fanart Friday column. You can follow him on Twitter at @NateMing. His comic, Shaw City Strikers, launches January 15, 2019.

By: [email protected]

#Anime #News #Latest in Anime News by Crunchyroll!

0 notes

hellzyeahthewebwieldingavenger · 5 years

Text

Spider-Force #2 Thoughts

The text at the issue’s end advertising issue #3 includes the phrase ‘what-the-heck-just-happened’.

All too appropriate for this series.

In issue #1 there was a sense of...confusion on my part. A sense of ‘why is this happening, who are these people, what’s going on’. Not for the over all plot but for specific elements, such as regarding Charlie. I thought maybe the consequent issues will flesh this out.

But with issue #2 I doubt that.

Some things were answered but other things played out in head scratching ways. In fairness I think it’s less a matter of what happened so much as the presentation of it.

I think the key example here is Ashley and Charlie’s relationship.

The idea that Ashley would seek to connect to a version of her grandfather isn’t an uninteresting angle per se.

However having her open up to Charlie and encourage Charlie himself to open up to her whilst they are literally tumbling through space is a baffling creative decision. I’m wondering if Priest went that direction to be funny (he does lampshade it a little) or if he just needed to cram it in there.

This baffling use of presentation applies to stuff that is initially confusing but gets answered later, but isn’t presented initially as something that is posing a mystery or a question in the first place. One example would be Charlie’s initial recruitment and him saving the falling safe. Another would be when we get 3 flashbacks in a row from the POV of Astro-Spider, Ashley and Charlie. When you first see this it’s very confusing because they don’t seem to line up and it’s not clear that we are getting flashbacks to all 3 characters. The fact that Charlie’s past was being dived into was immediately made clear when he yells for Astro-Spider to get out of his head. But it isn’t until way later in the comic that we find out we also got to see Ashley’s past.

Granted maybe that’s on my end because I’m not overly familiar with Ashley.

This brings up a point of debate regarding presumed knowledge on the readers’ parts. I have read Old Man Logan but it was a while back and shockingly I was more focussed upon Logan’s story than anyone else’s. And yet knowing the wider world building and Ashley’s angle would’ve made a point of alienation in the story much more accessible, but I was never told or reminded of that aspect. In contrast though Astro-Spider’s origin is clearly connected to the cosmic rays that created the Fantastic Four. And at first I didn’t bat an eye at that because of course I know the F4’s origins. But then I got to Ashley’s character and it made me realize if you didn’t know the F4’s origin you’d seriously be baffled by Astro-Spider’s. So at the end of the day I feel very much it’s a failing on Priest’s part that he doesn’t have some kind of exposition or explanation that will be more inviting to new or unfamiliar readers. After all it’s maybe one thing to presume general knowledge about Spider-Man when you are writing a Spidey tie-in for a Spidey event but quite another when doing that to presume they’ve also read F4 and Wolverine comics.

Even putting aside the issue of presumed knowledge there is a certain...cheapness to the modest exploration of Ashley’s character and her relationship with Charlie.

Now I read Old Man Logan a while back (and wasn’t impressed at all) and don’t remember everything about it. I also didn’t read all of Spider-Verse and skimmed a lot of the stuff I did ‘read’. So maybe I’m forgetting or in the dark about something in need of enlightening. But I don’t remember Ashley being a sexual abuse survivor. I don’t remember Ashley having particular connections to her grandpa Peter Parker.

These elements to her are thrown into this and the last comic and then exaggerated in order to give her some kind of emotional angle through her connection to Charlie. Now first of all throwing in so casually an abuse backstory for any character is pretty messed up (not helped when pages later the Inheritors are framed as pedophiles when...they’re really not at all). Second of all if Ashley really felt this kind of connection to her grandpa...wouldn’t that have come up earlier?

I mean she is emphasising a familiar connection with a version of Peter Parker who doesn’t wear the regular costume, has a drastically different character and backstory, isn’t even called ‘Peter’ and is barely a teenager not an older man like her grandpa. Surely there were other Peter Parkers around more closely resembling her grandfather. IIRC wasn’t Otto in Spider-Verse pretending to be Peter Parker initially? What about Kaine even? You could argue she connects with Charlie due to a similar backstory of being a child victim and growing up fast, but other Spiders were tough too and even if you disagree again it’s just sort of thrown in there. It’s lazy development.

It isn’t even that these aspects couldn’t be explored or make for interesting angles on what is ultimately a rather bland character. But they sort of just show up they aren’t conveyed or developed organically at all. The same applies to her over all relationship with Charlie.

If I had to guess the root of this is that there is too much going on in this comic. Priest simultaneously needs to serve the plot of the over all event he’s tying into but also wants to dosome character stuff and develop and flesh out his original contributions. And in 3 issues it just doesn’t work.

A street punk 13 year old Peter Parker who HATES Uncle Ben is a great idea.

A post-apocalyptic waste land criminal, childhood abuse surviving granddaughter of Spider-Man, who wants to connect some version of her long gone grandpa who represents the few good parts of her life is a great angle.

An astronaught Spider-Man who is a familiar face and leader of human survivors in space is a great idea.

A Spider Strikeforce on a suicide mission on a radioactive wasteland working against the clock is a great idea.

A morally grey clone of Peter Parker with a bloody past making tough decisions to serve the greater good is a great idea.

A Spider-Hero who just wants to protect the world for her baby’s sake is a great idea.

A Regency dressed totem vampire on the hunt for a crystal containing her father’s essence in space...is a shite idea but they can’t all be winners.

However when you do these things all at the same time...it becomes an inconsistent rushed mess.

Let’s tangent briefly to talk about a few (the only few) positives of the comic. The art continued to be good even though the new artists doing a few pages aren’t as good as the regular artists and the switch is very noticeable. And Astro-Spider...is a great idea. John Jameson as Spider-Man is something I’ve always been intrigued by but can’t recall ever happening before. This is different to what I imagined because I was thinking he’d be more traditional as Spider-Man not an astronaut version of Spidey. But it’s still brilliant, taking the most famous angle of John Jameson, the F4 and Spidey and smashing them together to create something visually dynamic and fitting for the world we’re in.

Okay the positives are over now lets get back to the problems.

Last issue the recap page seemed at odds with the internal comic story. The same is true for this issue but bizarrely the recap page is now saying something different so it’s at odds with the last issue’s recap page and still at odds with the comic itself.

We’ve gone from a group of Spiders not afraid to die to Spiders who’re willing to do whatever it takes. But last I checked that wasn’t true. Correct me if I’m wrong here but:

a) Was Charlie really established as being willing to do whatever it takes, which in context probably means killing people? He’s more rough and maybe more violent than 616 Peter but is he that extreme really?

b) In the Clone Saga Kaine killed people but he had a rule about hurting innocent people (some exceptions applied). Preeeeetty sure in his solo book at minimum the same applied or else he was in fact more against killing. Didn’t he NOT kill Kraven the Hunter specifically because of that? He also wasn’t ever willing to sacrifice anyone for the greater good last I checked. In fact this is one point I’m 99% resolutely sure is aggressively NOT in character for Kaine. For Otto sure, but Kaine as the comic implies. No fucking way. I dare you to prove me wrong.

c) I know Spider Woman has had spy and HYDRA associations, but is she really of the Wolverine school of thought when it comes to killing. I’m possibly wrong but I don’t think her morals regarding how hardcore you get are that different to Peter Parker’s

So what’s the deal here?

Wouldn’t it be easier to just say this is a team of Spider Bad asses who’re willing to get more rough and violent than the other hero’s?

Part of Kaine’s (meagre) characterization in this story is in fact connected to the ‘whatever it takes’ angle of the story. Like I said this is very out of character for Kaine but it also makes the story more inconsistent. The rationale for Charlie’s inclusion has seemed to be implied variously as him being rougher, him being willing to die (based on what?), him being willing to do whatever it takes (based on what?), him being willing to save people from a falling safe (just like...pretty much ever Spider-Hero here) and now we’re hearing it’s because he’s bait.

Because the Inheritors are sort of like pedophiles apparently and they like that young spider meat, like veal I guess. Um....again correct me if I’m wrong but I’m pretty sure that’s bullshit, pretty sure the youth of their targets isn’t that big of a deal to them. But then again I’m also pretty sure that they can only drain the life forces of totems yet Verna bafflingly can just take ANYONE’s life forces...wtf??????

Connected to this WTFness is the fact that Charlie out of nowhere seems to just know the Inheritors have a preference for young meat. How and when did he figure that out exactly? He didn’t even know about the Inheritors until less than 24 hours ago.

Speaking of time...let’s do a rundown of everything that’s happened between their arrival in issue #1 to the end of issue #2.

So they’ve shown up, Kaine’ sabotaged their transport devices, they’ve battled Astro-Spider, he’s given them exposition and they’ve talked, they’ve located and boarded his space ship, then they’ve had an alert from his space station prompting another skirmish, then they’ve gone into space, divided their team, gotten to their designated target zones and whilst all this is going on Verna got into the station with her gang and had killed over 30 people and searched the place.

And according to issue #1 aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaall that...happens in under 15 minutes...

Fuck.

Off.

More than anything that time limit has irreparably wrecked the internal logic and consistency of this story.

Even moreso than the fact that the baffling fact that Solus’ crystal somehow ended up in space. I mean last I checked Mayday threw it into the radioactive world for Daemos to fetch. I’m not saying there is no way for it to have been lost and taken into space but no comic in the entire event has addressed that at all.

Skim Astro-Spider’s backstory and pages if you want but otherwise I recommend not reading this crap.

P.S. The explanation for the name ‘Inheritors’ seems inconsistent with the explanation given previously IIRC

P.P.S. Editing this in after the fact. But...

a) How and why does John have the ruby that turns him into Man-Wolf if he’s got Spider powers?

b) How and why does John know who Peter Parker is? It’s written as though he knows he was the hero Spider-Man but in this universe he wasn’t Ben Parker was.

P.P.P.S. What was with all the PG swearing where they used safe versions of common curse words? It felt tryhard edgy to me.

#Spider-Force #Spider-Geddon #Morlun #Inheritors #the Inheritors #Spider-Man #Peter Parker #Christopher Priest #Ashley Barton #Kaine #Kaine Parker #Scarlet Spider #John Jameson #Spider Woman #Jessica Drew

17 notes · View notes

hellzyeahthewebwieldingavenger · 5 years

Text

Spider-Geddon #3 Thoughts

Okey dokey this was actually better than the last few issues of the main book.

Now look...there are still problems.

Still gaping fundamental problems.

Let us put aside the fact that the Inheritors are awful antagonists.

We still have 3 glaring problems that were present in Spider-Verse yet totally fixable in this event.

a) The over focus upon Doc Ock, which if anything is WORSE in this event than in the last one

b) Just like in Spider-Verse waaaaaaaaaaaaaaaaaaay too many characters rendering most everyone generic cartoon variants of Spider-Man as opposed to using the nuances of their personalities and exploring them via interactions. We have RYV Peter and MJ right next to a kid Peter and Uncle Ben Spidey and...nothing. Isn’t seeing Ben or kid Peter react to seeing all grown up Peter and his Spider WIFE more interesting that talking about how we should have one big Spider team? Isn’t seeing RYV Peter react to a living Uncle Ben more compelling than Spider-Ham making a snarky one gag? The closest we get to truly exploiting these types of opportunities is Ben and Otto butting heads and RYV MJ briefly (very briefly) showing a soft spot for Kid Peter. But would that have been that different if it was any other character? It only means something because he’s a kid and she’s a mother.

c) Why. Has. No. One. Suggested. Fighting. The. Inheritors. With. RADIATION!

*facepalm*

I’m even ashamed of myself for not bringing that point up sooner.

The first Morlun story concludes with the genius tactic by Peter to use radiation to fight Morlun which practically kills him.

In Spider-Verse NOBODY brings this up until conveniently towards the end when they are stranded on a radioactive Earth.

In Spider-Geddon, again, nobody brings this up.

Radiation might not be to the Inheritors what sonics and fire are to symbiote but it has still been a consistently effective weapon against them as far as anyone knows. And in almost all the early Venom and Carnage stories Spider-Man or the other protagonists (and the writers handling them back then) were smart enough to try and exploit that obvious weakness so why do we start up the stupid pills in Inheritor stories?

In Spider-Verse you vaguely had the excuse that really only Peter and maybe Doc Ock would know of that weakness but after that story everyone knew of that weakness and no one is trying to exploit it. I get that you need recruits but if you HAVE a means of beating them then maybe USE it? For fuck’s sake Doc Ock is a specialist in radiology!

This next criticism is a little more debatable I will admit.

In the context of this situation...is it really believable that there would be a roughly equal number of people opposed to killing the Inheritors?

Of course there would be some but there seems to be about as many opposing the idea as supporting it. In fact the book is (superficially) framing both sides as neither wholly right or wrong.

But...is that really the case?

Touchy subject here but...this is a genuine bona fide war for survival. The Inheritors were actively engaging in genocide in their killing spree last time and were trying to achieve an endgame of eradicating all spider totems, willing to murder a baby to do that.

Now you might be saying it’s right and proper for there to be a side opposed to the killing. Because Spider-Man has a no kill rule right?

And that’s true...usually...Because....he has actually taken life a few times. Sometimes deliberately. He’s no Punisher or even Captain America but it’s happened.

In fact in Morlun’s first story Peter very seriously considers for a moment how far he’s willing to go to stop Morlun once he has him at his mercy. He’s spared the decision but it’s really not clear cut what he would’ve done. In fact he outright murders Morlun in their next encounter, granted he was not in control of himself.

Now of course you have got situations like Maximum Carnage wherein Spider-Man has considered but ultimately rejected killing as a viable option, and that was also a sort of war too, one in which you had some nasty characters indeed.

Buuuuuuuut...there are important differences.

First of all Carnage and his gang were very possibly not as physically imposing as the Inheritors. Carnage was their biggest gun and he was stronger than Venom and Spidey combined. But Shriek wasn’t. Demo-Goblin wasn’t. Doppelganger wasn’t. They had their own strengths and weaknesses and none of them were push overs by any means. But it wasn’t like the only hope anyone had of taking them down in a fair fight was with sheer weight of numbers. The Inheritors are essentially a gang of Carnage’s but who can kill and weaken with just a touch.

Carnage specifically also had a more easily exploitable weakness that enabled him to be subdued more easily. Sonics and fire are easier to come by and safer to use than radiation. Remember the Inheritors might be vulnerable to radiation but it’s like how Superman is vulnerable to magic. It’s not their specific Achilles Heel like with kryptonite or sonics/fire, it’s just something beyond the limits of their durability.

Team Carnage was also not as much of a threat. Okay the Inheritors arguably might only target totems instead of civilians in general, but Carnage’s limited technology and means of travel meant he was at worst a citywide threat. The Inheritors are a multiversal threat at least to totems.

Another crucial factor here is that as weird as this might be to say now, Team Carnage had some hope of reform, whereas the Inheritors really don’t. Carnage and his crew were mostly mentally disturbed individuals with homicidal tendencies and super powers. In theory they could maybe be cured of their mental instability or their abilities. This isn’t the case with the Inheritors because they aren’t crazy at all. Mass murderers yes, but not crazy. As cartoonishly evil as they are, fundamentally they do what they do to survive. They kill the totems because they literally eat them, that’s how they are biologically constructed. They were trying to wipe out all spider totems to neutralize future threats to themselves. To hope for them to reform is akin to hoping a lion will turn vegetarian, it’s never going to happen because it’s in their nature to be what they are. They could be nicer, they could be unwilling to kill civilians to reach their goals, maaaaaaaybe they could even be convinced to not try and en masse wipe out all spider totems.

But fundamentally they do what they do because of the food chain and the Spider-Heroes of this story are their menu options.

This goes beyond the morality of taking life, it’s survival plain and simple made clearer cut because the Inheritors are willing to kill those in the way of their snack time.

Finally, and perhaps most crucially, not killing the Inheritors in Spider-Verse was arguably an option because there was a viable means of containing them long term (even though eating radioactive mutant spiders would surely kill them but whatever).

In this story, that option is dead in the water. They haven’t got the means to imprison them the way Team Carnage could be imprisoned and potentially rehabilitated.

So with all this said I find it seriously questionable that the story would even bother framing this as a true blue ‘debate’. Killing them is at least as morally justified as killing Nazis in a fire fight during WWII would’ve been.

I also debate some of the people who’re on Miles’ ‘no kill’ team.

I mean RYV Peter Parker...he did literally kill Venom. And I know RYV #5 by Slott tried to make out he was renewing his no kill vow by not killing the Regent but like...he wasn’t in the wrong really for killing Venom in the first place.

Maybe this is justified on the grounds that they didn’t know of the schism between the two groups and just stuck with whatever group initially recruited them.

In the flipside I find it a little unbelievable that Gamerverse Spidey is so unfazed by Otto’s willingness to kill. From what we’ve seen of his character, I dunno I don’t get that impression of him at all. At least he’d question it and morally wrestle with it to some extent. But he just goes along with it.

In fact that describes his whole character thus far in the main event. After issue #0 (which in hindsight was released when it was because the game was at it’s hottest) his appearance here amounts to being shocked by Leopardon and making a few quips and that’s it. He’s basically here for the same reason Peter was in New Avengers, boost sales via investment in him, so he shows up to do the bare minimum. Although what makes me raise an eyebrow is if his multiverse saving adventure where he met a giant robot will ever be mentioned again. I doubt it will. Also doesn’t it make more sense for him to be on Miles’ team given his history with Miles, his comparatively more similar morality and the fact that there is an MJ on his team? It seems way more full of potential drama if nothing else; but like I said this series isn’t interested in that so much as playing with variant action figures.

Now speaking of Leopardon, unquestionably he and Supaidaman (along with Spider-Ham in fairness) stole the show. The gag scene about leading with the sword was genuinely great especially if you’ve seen shows like the 1970s Japanese Spidey show or Power Rangers/Super Sentai.

Other positives include the art and Ben Reilly not being a jerkoff. Now I’m reading this having NOT read his solo-book that preceded this so maybe he’s out of character and I just don’t know.

Something that is a positive and a negative is the use of Otto and Miles.

Obviously pushing Miles and/or (especially) Otto over Peter would typically piss me the fuck off.

As would doing a story so outside of what a Spider-Man story should be.

Buuuuuuuuuuuuuuuuuut...I have come to appreciate some caveats to that in the context of this series.

Spider-Geddon mercifully didn’t derailing Peter (or to my knowledge Miles’) solo books the way Spider-Verse did. Even in Spec from what I’ve read it’s just Spider-Man and Morlun punching each other on the streets which mitigates the mysticism that typically shouldn’t be in a Spider-Man story. Plus Zdarsky’s (crappy) Spec run had wrapped up when Spider-Geddon hijacked Spec.

Spider-Geddon is in a sense off to the side, it’s own mini-series and can thus be it’s own thing. The tie-ins to it from other titles (like Spider-Gwen) is another discussion and I’m not reading everything because I don’t hate myself enough to do that.

Not only does this mostly mitigate it not being what a Spider-Man story should usually be (because it’s a Spider-Man universe story off to the side, not a Peter Parker or Miles story in their own books) but it also better justifies Miles and Otto getting the spotlight.

Whilst in Spider-Verse it was insulting that Peter wasn’t the main character in his own book, because this isn’t happening in his own book (but he is still the lead in his tie-ins to the main story) it makes his absence from the spotlight okay.

In theory it even makes Otto’s presence in the spotlight okay...were it not for him being an asshat painted as more morally greyer than an asshat.

That however does bring up the problem that this series was both advertised as and specifically exists to serve Miles first and foremost. This series was supposed to make bank off the public awareness of Into the Spider-Verse but Miles is at best the secondary character in this cast of thousands vs. Otto who is clearly the primary character. He gets more panel time, he gets more exploration of his personality...even if that mostly amounts to obnoxiously repeating ‘the die is cast’ over and over.

It doesn’t help when the narrative, in spite of it’s pretences of even handedness, subtly paints Otto as in the right and much smarter than Miles.

Sticking with the issue of leadership I get that this event exists to primarily (in theory) serve Miles and secondarily (in theory) serve Otto (in practice it is the reverse) because one was getting a movie and the other was getting a solo book.

So it adds up then that they’d be the leaders of their respective factions....but...surely on Miles’ team there were more qualified people?

Miles is an inexperienced kid who to my understanding has never operated as a leader in a team. You have waaaaaaaaaaaaaaaay more experienced Spider-Heroes there some of whom may have worked as leaders before so...why is Miles leader in-story exactly?

I mean think about it, Peter was made leader of a faction in Spider-Verse because he succeeded in beating Morlun and/or he was the Chosen One or something right?

But...RYV Peter is right there. He’s identical to 616 Peter in almost every way except he

a) Didn’t have 10+ years of shitty Brand New Day and Slott stories to live through...which automatically makes him better than 616 Peter if anything, and

b) He’s had over 8 years worth of experience functioning as part of a team and arguably the leader of it to, or at least co-leader with MJ

Surely he is more qualified than Miles?

Another sort of double edged sword presented in this issue is how it handles tie-ins.

Spider-Verse is slightly notorious for Slott outright lying in claiming that you wouldn’t need to read the tie-ins to follow the story but of course you did.

However to Spider-Geddon’s credit that’s only been the case in regards to issue #0. Most everything of significance that has happened outside the main books has been shown or referenced enough that you could follow the main book thus far without having read anything else. Yes, this does still make the book feel like an anthology add for everything else but it’s done better than Spider-Verse is what I’m saying.

One thing that is a hold over problem though is the wonky timeline.

I said of issue #2 that it weirdly happens before issue #0 and shows us stuff that happens after the first Spec tie-in issue. Well issue #3 continues that trend.

Whilst Spider-Geddon #2 showed us something that surely happens after the first Spec tie-in issue (thus ruining it’s cliffhanger) but Spider-Geddon #3 seems to give us the resolution to that second tie-in issue as well because we learn Peter chooses to fight Morlun in order to keep him occupied and make everyone else’s jobs’ easier.

Um....nice to be told that in this issue rather than be shown it in Peter’s own book.

And before you ask if I just read things out of order I double checked and the second Spec tie-in issue was in fact released after Spider-Geddon #3 so the editor(s) fucked up big time.

It’s also a decision that seriously hurts the main book if they stick to it going forward.

Because Morlun for the strong first impression he had...was really never one of the more interesting or colourful of Spider-Man’s enemies.

And his family are even blander variant action figure versions of him.

Verna is Female Morlun.

Daemos is Bigger, Dumber, more Brutish Morlun.

Brix and Bora are ‘Those Ghost Twins from Matrix Reloaded’ Morlun...who also take out whips and pose as if it’s fight time for no reason in that one panel randomly.

Jennix is Scientist Morlun if he also ripping off Ra’s Al Ghul.

And Solus is Old Morlun who looks like evil Santa Claus.

If Morlun isbread with some thinly spread butter, then his family has no butter and has dried out a lot.

Like honestly how much of a difference would it have made if you swapped out 2 of the 4 Inheritors in this story with Verna and Morlun who were absent? Nothing sans the fact that you needed Jennix to do science stuff but even then he wasn’t very good at it. And that’s the plot too. He’s a super cloning genius but he can’t figure out New U tech. Um....okay that is weird.

Moving on, this is more a point in connection to Spider-Force than this comic but Otto claims that he handpicked the members of that team.

This raises some questions.

1) How? I get Ashley Barton, Kaine and Jessica Drew. He knows all of them, but how could he have known about Charlie?

2) Spider-Force claims that the strike force was assembled because they don’t mind dying. Now this is inconsistent in the issue itself but for the sake of argument let’s say it was true, how would Doc Ock know any of those people sans maybe Ashley wouldn’t mind dying. Maybe also Kaine but I’d imagine his bad blood with Kaine would colour his perceptions on that one. With Jessica and Charlie...there is no reason for him to think that that I can think of.

3) Now in fairness the attitude and skillset of that team does make them well suited to a strikeforce...except Charlie. He seems tough and streetwise...why does this make him a great fit for that team, someone Otto would handpick??????????

Let’s stick with Scarlet Spiders for a moment.

So Ben Reilly’s 27th clone says dying all those times turned him wonky. Okay that’s not too bad. But also all the other spiders met him and he already explained himself to them and endeared himself to them.

Again...why are we telling but not showing. Ben Reilly (after recently being basically an evil businessman) meets a version of Norman Osborn? Where was that juicy scene??????

Let’s change gears here and talk something more superficial briefly.

So the art was....good. Different artists from the last 2 issues and it shows but not bad art by any means. The transition from one artist to another is a little noticeably but the styles are similar enough and both look good enough (great even) that it’s not a problem.

The fight scenes sans anything involving Leopardon though...are. They’re just so bland and functional, there is no sense of dynamism or choreography to them. I blame there being too many characters along with the Inheritor’s boring visual designs.

Ironically for all my gripes the last scene of the comic was...intriguing.

I didn’t read the Edge of Spider-Geddon issue introducing Norman Osborn Spider-Man...but now I just might do that.

The idea of Norman being Spider-Man is already kind of interesting.

But more poignantly the idea that whilst Miles and Otto have divided the team along moral lines and the Inheritors are also out there, there is now a small, secret fourth faction working their own agenda makes this way more interesting.

It hints that Spider-Geddon will become more like a real war and have people running their own agendas. And Norman is a great choice to make that faction. What’s so delectable also is Norman isn’t even making a power play out of selfishness per se. He like Miles and Otto is seeking to win the war, beat the Inheritors and above all else survive, but he’s just considering yet more extreme methods to do it. In a very abstract way it’s a little like how Xavier and Magneto fundamentally disagree about their methods regarding mutantkind but they are united in fundamentally disagreeing with Apocalypse third extremist option.

So over all...I can’t say I disliked reading this issue. A first for the main Spider-Geddon book I must admit.

P.S. the cover lied. No fight between the factions and no Superior Ock

14 notes · View notes