“Across the Spider-Verse” is arguably the first superhero film to take such full advantage of what comic-book art can achieve.
” , when he tells Miles, “I’m not your guy in the chair.” Inevitably, there is a meme-inspired scene of Spider-Man pointing at Spider-Man. This is the kind of self-aware fan fodder that, in lesser films, might feel tired.
The first scene in the movie reintroduces us to Miles’s long-distance best friend, Gwen Stacy of Earth-65, a.k.a. Spider-Gwen . Her world looks painterly, as if rendered by brushes and pastels; she often appears in Expressionist shades of blue and pink. That’s how the rest of the film will roll: each Spider-Man, Spider-Woman, or Spider-Villain, and each new Earth on which they live, has its own eye-popping art style.
The film’s version of Miguel O’Hara behaves like a stern, bad Spider-Dad. He resolves to stop Miles from disrupting something called a Canon Event—a plot development so important that it has to happen in every parallel world, lest the entire universe be at risk. “You break enough canons,” Miguel warns, “and we could lose everything.” He sounds almost like a Marvel Comics editor, telling writers that they can’t go too far.
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