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    • Spider-Man: Into the Spider-Verse's animation style was the most unique I've seen since Satoshi Kon's PAPRIKA. It's truly meant to be seen in 3-D. The animation style is so unique that I found this New York Times article outlining the process behind the film and how the team decided they wanted to bring Spider-Man to the screen in a completely new and fresh way: "Many of those conventions are built into the systems that produce computer-generated imagery. “In C.G.I. films, many things you see
      onscreen are the result of the desire to automate the process: simulations for hair, cloth, wind, rain, etc.,” Persichetti explained. The decision to forgo tradition “was incredibly daunting — but also
      incredibly freeing...“From the beginning,” Miller said, “we wanted someone to be able to
      freeze any frame of the movie and have it look so good, they’d want to
      frame it and hang it on the wall.”

      And it works! From including 5 Spider-beings in one scene, to flipping many of the fixtures on their head, the film brings a fresh perspective to a beloved character.

    • I'm really eager to see this! It looks amazing.

      Some of the film nerds I follow on Twitter have been tweeting detailed breakdowns of the animation techniques used in certain scenes and it's super fascinating:

    • “Tell me what it was like to grow up during the Bronze Age of Comic Books, reading hand drawn graphic novels by artists such as Jack Kirby, John Buscema and Frank Miller.”

      We called them comic books back then for starters.  

      And it was the cover artwork that often caused you to plunk down your quarters for an Incredible Hulk over a Spider Man or The Avengers.

      When I rediscovered comic books as an adult, I was delighted that entire stories spread out over a year’s worth of monthly issues were being collected and bound in one volume: I could rediscover and get caught up on old favorites as well as dive deep into new creations.

      The computer-generated artwork, by contrast, was a disappointment.  

      The story writing had evolved for the better to be sure: Peter David’s writing efforts on Captain Marvel in the late 1990s was sublime.  But the artwork had a sameness and flatness that often distracted from or even diminished great storytelling.

      I was therefore intrigued to read in the Times review that

      The Spider-Verse movie celebrates its print origins with bold graphics and mainstays of comic-book style, including thought balloons, printed words and wavy lines to indicate a tingling Spidey Sense.

      It’s a good sign when a film respects and pays homage to the past.  I’ve seen the trailers over the past few months and it looks amazing.  

      Guess what I’m doing this weekend?