CHRISTIAN NA

WEB OF SPIDER-MAN

ABSTRACTHigh-school student Peter Parker is bitten by a

radioactive spider from which he acquires spider-like powers. When his uncle is murdered, Parker is inspired to use his powers to protect mankind and fight for justice. Marvel’s Spider-

Man comics have been influential in U.S. culture since the early 1960s. Their popularity is no question, as evident in the successful film

adaptations and video games – even the Broadway musical – about Spider-Man that

have been made in recent years. Spider-Man is a fantastic comic that has made its mark on history and popular culture then and now.

THEME/FOCUSThe two themes of this comic were evil and surprise. Evil, really, is a common theme of most comics. Without evil, there seems less

urgency in the plot of the comic. After all, it is evil that inspires Spider-Man to use his powers for good. The second theme of surprise occurs several times within the plot. Spider-Man, Black

Cat and Gambit don’t realize that they are in the same building at the same time, and they surprise each other when they encounter each other. At the end of the comic, F.A.C.A.D.E. is taken over, and we are surprised because we didn’t expect it to happen. The surprise in the

issue keeps us engaged throughout and hanging at the end.

The principle of an establishing shot is

great for giving audiences a feel for

where the story they’re reading is

about to take place.

This shot is operative in

depicting the setting of the

comic – the entire story takes place

inside the building that Spider-Man is

looking at.

The scene to scene jump helps us

understand what is going on in an

efficient way – we don’t have to see the progression between

two frames.

In the left frame, we see the Black Cat standing and

thinking (upper right frame) in a

crowded room. The scene to

scene jump in the bottom right frame gives us a

“meanwhile...” point of

view.

Subject to subject jumps are transitions that change out point of view in the same scene, allowing the cartoonist to direct

our attention.

The left frame depicts the Black Cat speaking with a man. Then,

the right frame offers a

scene to scene jump on the right, where the

man speaks to the couple standing in

the background of the left

frame.

Action to action jumps help us see every

action as it happens, which allows for a very detailed plot.

Though the layout for these three slides isn’t quite like the side-by-side layout in the text example, they still show the Black Cat as she fights silencers, with every movement, adding detail to the

fight scene.

Aspect to aspect jumps illustrate

different aspects of the setting at the

same moment in time, so that we get to look around at where the scene is taking place.

These slides allow us to look at two things

at the same time. Here, we see the

characters and what floor they’re on.

Choice of frame: worm’s eye view

makes objects in a frame look large, and gives them grandeur.

It can also characterize objects, like in the example of

F.A.C.A.D.E.

This frame offers a view that is from low

to the ground, in order to illustrate

the robot F.A.C.A.D.E. as

extremely large and powerful.

Choice of image: stances/expressio

ns and emotions/attitude

s help us determine

information about all characters in a

frame.

Though not every

character is speaking

here, we can tell there is tension in the frame, because of

their stances and

expressions.

Choice of flow helps us read from frame to frame in the correct

order. We follow the left-to-right, up-to-down

The layout on this page might be confusing, but because we stick to the rules of flow, we know

which slides to read and when.

Visual distinction in character design is

extremely important in helping us recognize

characters.

The characters in this scene are so distinct

from each other, making them very recognizable

and discernable, especially because each

is an iconic Marvel character.

The basic emotions help characterize the cast of your cartoon, while

helping illustrate their reactions to what’s going on.

Mr. Jameson sees F.A.C.A.D.E. for the first time and is stunned by the power and size of

the robot.

Body language is another way to

characterize the characters in your

cartoon, which helps us

understand their emotions and why they act the way

they do.

Dr. Haney is

suspicious in this

frame. His crossed

arms and leaning posture

help depict his

emotions, which are developed just a bit

later in the plot.

Word-specific slides depend largely on

the text accompanying the picture to help tell

the story.

The Black Cat, in civilian form Felicia Hardy, looks stunning in this frame. However, she is

only standing still, so the panel serves no purpose

without the text beneath it, making it work-specific.

Duo-specific slides illustrate stories with words and pictures at the

same time. It’s a combination that

strongly reiterates itself, to clarify the

plot.

This slide tells the same story in both

image and text: they’re in love!

Intersecting combinations tell a story by revealing

bits of what is going on through both the image and the text.

The only way to know exactly what’s going on is by the

mix of both!

We know the Black Cat is

looking at/for something, but

the text bubbles (her thoughts)

clarify what it is that’s making her look up.

The montage lets the words serve the

same purpose as the picture.

“POOM” is text, but it’s just as much a part of the picture as Spider-

Man himself.

The center of the page draws attention, and

therefore assigns

importance.

Gambit is smack center – all focus is on him!

Symmetry is everything. It

helps us recognize ourselves and the

things that are like and unlike us in everything we

see.

This silencer is clearly not

human – but he possesses the symmetrical

characteristics that help us

recognize him as a living

thing.

CONCLUSION

This project explored the ways in which the “Web of Spider-Man” comic number 113 reflected the ideas and principles

described in McCLoud’s Making Comics. With a detailed analysis of each concept,

and how it appears in real-life comic books, it is easy to learn the ways of

effective comic book writing, as well as cartoon artistry in general.

THE END

Christian NaMass CommunicationsDr. Corso15 April 2016