2020-08-08 【Aiden in English】
Spiderman: Into the Spider-Verse is a relatively recent big-screen animated Marvel film that introduces many new characters from numerous dimensions derived from multiple comic book series. From the classic Peter Parker to a slightly more vaccinated Peter Porker, the wide range of loosely based spider (and another animal) heroes band together with the main protagonist and freshly bitten Miles Morales to take on evil in the most flashy, comedic 1990s style possible. Although the movie is almost two years old, I only recently watched the entire work via HBO's free quarantine access. It's not often that I come across films where the storyline isn't the main takeaway. Still, for this particular case, I walked away from this movie enjoying the plot and characters, most of all appreciating its detail and design. Animated projects from large studios over the past decade have featured smooth animation and picturesque artwork. Still, Spiderman: Into the Spider-Verse creates grand, colorful displays I find unparalleled by other movies. Whether it be whips of orange and red trees against a snow-covered forest floor or bright neon lights scattered across a midnight sky, each scene's beautifully crafted features engrain the story's acts in your mind. As I recall the entirety of the film, the drastic contrasts between setting colors symbolize the progression in Miles Morales' journey to becoming the ultimate Spiderman of his dimension. Beginning at rock bottom, he opens his superhero adventure with an escape through a chaotic red and orange swirling forest; gradually adapting to his mentor and companions, the movie shifts to another chaotic tussle in a cramped suburban house; finally, with Miles taking a leap of faith, the setting switches to a cool, calm black—the color of his suit. In a character-defining section of the film, a swell of heart-pumping music and a scene of impeccable artistry build the awe-inspiring cinematic spectacle of Miles Morales confidently backflipping off a glass high-rise into the glowing skyline of New York City below. Spiderman: Into the Spider-Verse creates momentum like no other movie. I was satisfied with a wholesome, creative masterpiece, but my mind held a lingering curiosity. After finishing the fantastic hour and fifty-six-minute runtime, I researched a bit deeper on the animation to confirm this notion. As I hesitantly noticed in the first screening, Miles Morales, the newly bitten Spiderman, is indeed animated for the first two-thirds of the movie in twelve frames per second. In comparison, almost everything around him is drawn in a smoother twenty-four frames per second. In other words, Miles Morales appears jittery and unstable in his early outings, even when he's not in his suit. He hasn't found his purpose in life, is embarrassed by an outgoing father, and is struggling to juggle his new school courses. In his first attempts at superhero-ing, he clumsily trips over ledges and crashes into trees like an infant raccoon on ice skates. However, when Miles makes that leap off the skyscraper, and Black Caviar's "What's Up Danger" drowns out everything else, there is a distinct moment—a transformation of both animation and character— where Miles enters the world of twenty-four frames-per-second. His moves suddenly gain fluidity and grace, and syncing with the blood-racing excitement of the sound, the movie achieves a momentous climax that I realized I couldn't find in any other kids' or superhero film (yes, including Avengers: Endgame). Implementing such creative techniques, the producers and animators weave together this wondrous artwork—a masterpiece of character and story building that concludes in a manner that leaves me cheering on a fictional teenager in a fictitious universe of Spidermen and arachnid piglets. 【紅霞譯】
《蜘蛛俠：平行宇宙》是漫威動畫公司近期發行的電影，片中引入了不少漫畫叢書中出現的角色，從經典古樸的彼得·帕克到稍微油頭滑腦的彼得·帕克，形形色色的蜘蛛（還有另外一種動物）英雄無所不用其極地將劇中主角且剛被咬傷的邁爾斯·莫拉萊斯塑造成上個世紀九十年代最招搖、最幽默的除惡翻版。
儘管電影已公映快兩年，但直到最近美國家庭電影台為冠狀肺炎病毒防疫豁免收看費用，我才得以看完這部作品。平常我瀏覽的片子大多口碑極佳，但這回我卻偏愛劇情與角色，最重要的在於我更欣賞它的豐富細節與設計理念。過去十年間，大型影業製作的動漫片都講究動畫流暢性和藝術詩畫觀，而《蜘蛛俠：平行宇宙》恢弘絢麗，無論是雪地上橙紅色森林，還是夜空中霓虹燈閃爍，各個精心打造的故事場景無不銘刻在觀眾腦海之中。當我回憶起整部影片，每處拍攝場景顏色之間的強烈對比都象徵了邁爾斯·莫拉萊斯變成終極蜘蛛俠的發展過程。故事開頭，描述他是從逃離一片戰混亂瀰漫的橙紅色森林開始了超級英雄冒險之旅；鏡頭逐漸轉向他的導師和同伴，在郊外狹窄陋屋裡出現另一場爭鬥；最終，蜘蛛俠放手一搏，場景呈現冷靜、沉穩的黑色，也就是身上穿的西裝顏色。在詮釋角色部分中，大量撼人心魂的音樂旋律和無可挑剔的藝術場面營造出不同凡響的視覺奇觀，蜘蛛俠自信地向後空翻，離開了掩映在紐約天際線下光鮮的玻璃摩天大樓。
《蜘蛛俠：平行宇宙》獨闢蹊徑，很高興看到這樣一部極富創作性的傑作問世，但我心存好奇，一個小時五十六分鐘激動過後，為確認播放速度，我對動畫部分進行了更深入研究。第一幕：邁爾斯·莫拉萊斯即剛被咬傷的蜘蛛俠，我慢慢地注意到三分之二的電影畫面數均為12幀/秒，而幾乎所有與他有關的鏡頭則採用更加流暢的24幀/秒刷新率，換句話說，前期出現的蜘蛛俠即使沒穿制服，依舊緊張多變，外向老爸讓他難堪，新課程也得加勁適應，而且尚未找到屬於自己的人生目標。在第一次嘗試超級英雄時，他像溜冰的小浣熊一樣，笨手笨腳翻過窗台撞到了樹上。 然而，當蜘蛛俠躍上摩天大樓時，黑魚子醬演唱的《當心危險》聲起，蓋過周圍一切，特立獨行的時刻到了—動漫與角色轉換—蜘蛛俠進入24幀/秒畫面，他的一舉一動突然變得流暢瀟灑，讓熱血情感找到了共鳴，由此將劇情推向高潮，我意識到沒有哪部兒童或超英電影能像《蜘蛛俠：平行宇宙》再次刷新世界觀（沒錯，包括《復仇者聯盟4：結局之戰》）。運用創新技術，製片人與動畫師聯手開創了抽幀卡點的先河，優秀藝術作品離不開豐滿的角色與奇妙的故事，最後我發現自己禁不住為蜘蛛俠們和擬人蛛—蜘豬俠終極世界中的虛構少年拍手稱道。 Today in History(歷史上的今天): 2014: Punchliner on Carnival(嘉年華·妙語連珠)
Crosslinks(相關博文): 11th Grade Film Criticism—Character Movies(影評—角色電影) 11th Grade Book Review─Freakonomics(書評─淺議《魔鬼經濟學》)
7th Grade Book Review─Thank You M'am(書評─《謝謝您，夫人》) 6th Grade Book Review─Head above Water(書評《浮出水面》) 6th Grade Book Review─Urban Outlaws(書評─淺議《城市水滸傳》) 11th Grade(高中三年級) |
