When examining the technical and formal elements of a live-action film, there is commonly an awareness that the best one can do is simply guess at the auteur’s intentions. Though the aesthetic impact is surely felt by the audience regardless of whether it was intended by the director, the “am I just reading too much into this?” question still lingers, haunting all of the poignant observations and didactic metaphors we interpret in the film. However, the experience of watching an animated film is largely free from that nagging question. Every movement, every frame, and every editing choice of an animated film feels intentional, loaded with an awareness of how meticulously each shot was created. In Spider-Man: Into the Spider-Verse, the auteurs’ purpose of bringing a comic-book to life translates easily across the screen in the new visual language tailor-made for the film’s narrative. The formal elements of the film work together to create the aesthetic experience of a bildungsroman story. Given the superhero-genre of the film, you might guess that this is certainly no ordinary coming-of-age story; however, in many ways, it is. In the “Leap of Faith” scene, the culmination of Miles Morales’ bildungsroman serves as the perfect example of this aesthetic experience.
Despite not being the technical climax of the film’s action and external conflict with Kingpin, the “Leap of Faith” scene could be considered the pinnacle of Miles’ bildungsroman. The universally experienced themes associated with the traditional coming-of-age story are explored throughout the film: identity, self-acceptance, loss, family dynamics, responsibility, and the significance of community/belonging. In this scene, all of these themes converge. Earlier in the film, Miles remarks on how loud his comic-like thoughts are, and now we hear them too as the words of his family and friends echo in his mind. The emotional impact of each phrase is heightened by the visual animation that accompanies it. When Miles’ dad says “I see this spark in you, it’s amazing” we see lightning strike above the New York skyline. As Miles’ mom says, “Our family doesn’t run from things,” Miles looks straight into the eyes of the Spider-Man suit’s mask. Then, it is our turn to look into Miles’ determined eyes as his Uncle Aaron says “You’re the best of all of us Miles. You’re on your way.” As Miles sits on the ledge of a building, staring down the side of a dark-windowed building to the fluorescent city streets below, his question “When do I know I’m Spider-Man?” echoes in his loud thoughts. The reply of Jake Johnson’s Spider-Man resounds, “You won’t. That’s all it is, Miles. A leap of faith.” As Black Caviar and Blackway’s contemporary song “What’s Up Danger” pulses in the background, Miles takes his leap. Although Miles seems to be falling, plummeting startlingly fast down the side of the New York skyscrapers, the audience isn’t afraid for him. They know that Miles is not falling, but rather he is rising as Spider-Man. This moment brings Miles’ bildungsroman full-circle, the symbolic leap of faith resonates with every viewer, prompting them to reflect on their own relationships and experiences. Your own coming-of-age moment might not have been a leap off the top of a 300-foot building, but you likely can identify just the same with the experience of discovering the bravery to finally believe in who you are. It is clear that part of bringing the comic-book to life is bringing the story of Miles Morales to life. This scene enhances the film’s zero-to-hero conceit through the use of thematic storytelling and captivating visuals.
While the viewer was being drawn into the story by the emotional resonance of Miles’ internal thoughts as he sat on the edge of the building, the shots of Miles were close-ups, whereas the point-of-view shots of the building and ground below were in the framing of an extreme long shot. But as Miles swings across the skyline, the orientation flips, taking us along for the ride as Miles fully embraces his Spidey abilities. One of the most striking instances of this film breaking the rules of continuity and perspective happens to result in what is perhaps the most iconic still from the movie: the flipped orientation shot of the upside down New York skyline, with Miles nosediving up. As Miles soars, this shot reminds us once again that while he is rising to the occasion of being Spider-Man, he is also finding self-discovery as Miles Morales along the way.
As Miles flies above the vibrant streets, auditory elements continue to contribute to the comic-book aesthetic of the film. The diegetic sound effects pay homage to the onomatopoeias of comic strips. Towards the end of the sequence, the sounds are even accompanied by text displayed on the screen, as if you are watching a comic-book come to life right before your eyes. The choice of animation style for Miles’ world uniquely combines the traditional hand-drawn illustrations and textures of comic-books with the vibrant graphics of computer-generated renderings. Additionally, this scene features paneling reminiscent of the comic-book style. Instead of flattening the characters and their story, the hand-drawn effect of the animation actually enables their dynamism through expression and design. From extreme long shots of Miles flying through the sky, to tracking shots of Miles running down the crowded city street or scaling the sides of buildings, to even a close-up of Miles’ signature Spider-Man logo, the quickly shifting shots invite us into the action as Miles proudly leaps and swings from building to building. The outcome of this aesthetic experience is a triumphant feeling as Miles bounds above the glowing streets of his city.
Utilizing the comic-book aesthetic, the technical aspects of the film create the transcendent, immersive world of Miles Morales’ New York City. In the “Leap of Faith” scene, the animation synthesizes the movement of computer-generated action with the style of hand-drawn illustrations. This scene is a reflection of how Spider-Man: Into the Spiderverse honors the style of the source material by actually looking like a comic-book. Continuing to build on the emotional resonance created by Miles' story, the scene depicts how Miles’ character is at once ordinary and extraordinary, both relatable and superhuman. Even in the midst of the swirling multiverse and the pressure to save it from Kingpin’s collider, this scene is just about Miles, the kid. Although Miles seems to have finally learned the ropes of his Spider-Man capabilities, it still feels like this scene is less about the fact that Miles has become a superhero and more about how Miles has grown into the person he was meant to be. After all, this climatic sequence does not end with Miles saving innocent civilians and lifting cars – it ends with Miles just swinging around the city that shaped him, leaping from the sides of skyscrapers and then removing his mask with a satisfied grin.
26 July 2024
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