SPIDER-MAN: INTO THE SPIDER-VERSE

WORKING

SPIDER-MAN: INTO THE SPIDER-VERSE. For variant titles and titles in translation, see IMDb. Bob Persichetti, Peter Ramsey, Rodney Rothman, directors. Rodney Rothman, script; Phil Lord, script and story. Stan Lee et al., "comic characters created by" — see IMDb for the extensive "et al." Justin [K.] Thompson, production design. USA: Columbia Pictures Corporation & Marvel Animation present a Sony Pictures Animation Film (basic production) / Sony Pictures Releasing (US distribution), 2018. See IMDb for details on production and distribution.

Animation with complex effects featuring a small part of the multiverse with different Spider-Men, and young women. Somewhat significant here for the Japanese-anime Spider-Girl using a robot she can get inside of. More significant that the entry into the multiverse may be a black hole produced by a large collider but in any event features the portals to the different universes produced by a very large device that is called a "collider" and resembles a more compact version of The Large Hadron Collider run by the European Organization for Nuclear Research (CERN). One can interpret the complex and beautiful — if sometimes violent — visuals of the opening of the paths between universes as not only mediated by the collider but occurring within the energies produced by the collider. Cf. and contrast the network/corridors of time in BILL AND TED'S EXCELLENT ADVENTURE and "the Machine" in Carl Sagan's Contact and to some degree in the 1997 film CONTACT directed by Robert Zemeckis.

There are also standard Spider-Man scenes involving New York's elevated railways, and subways (also non-standard shouts involving non-super travel on medium-range busses).

Perhaps not on first viewing, but eventually, notice polygons, including hexagons — a trope in SF and futuristic movies and TV shows — and, if or when octagons, a useful bit of subliminal foreshadowing of what may be a surprise hidden identity of a gender-bender character combining the emphatically organic and mechanical.

Note in the climactic sequence the imaging of machine-mediated descent into the interpenetration of several universes, hence a kind of chaos. Cf. and contrast the imaging of this motif in, e.g., Ursula K. Le Guin's short novel The Lathe of Heaven and, more immediately relevant, PBS's THE LATHE OF HEAVEN (film 1979/80).

RDE, Initial Compiler, 31Dec18, 5May19