The Alternate Universes of Animation
For animation fans, the final cut of a film is just one version of the story. The true multiverse of possibilities lies buried in storyboards, concept art, and early script drafts. Official art books, like Ramin Zahed’s “Spider-Man: Across the Spider-Verse:
The Art of the Movie,” serve as a passport to these abandoned timelines. These lavishly illustrated books pull back the curtain on the creative process at studios like Sony Pictures Animation, showcasing the thousands of hours of drawing, writing, and rethinking that go into every frame. They are more than just coffee table decorations; they are detailed histories of what could have been, revealing character designs that were scrapped, plot points that were rewritten, and entire sequences that never made it to the screen. For a film as visually complex and narratively ambitious as “Across the Spider-Verse,” these glimpses into its development are especially revealing, offering a masterclass in storytelling and world-building.
A Much Bleaker Cliffhanger
Perhaps the most significant change revealed through interviews and behind-the-scenes material was the film's original ending. In the theatrical release, Miles Morales finds himself trapped on Earth-42, confronted by a version of himself who has become the Prowler. Just as despair sets in, the film cuts to Gwen Stacy, who has assembled a new team of Spider-Friends to rescue him, ending on a note of hope. However, this hopeful beat was a late addition. Co-director Justin K. Thompson and writer-producer Christopher Miller revealed that early screenings ended abruptly with Miles trapped, leaving audiences feeling frustrated and unsatisfied. The feedback was so strong that the creative team scrambled to add the “Go Rescue Han” moment, referencing the hopeful ending of “The Empire Strikes Back.” They storyboarded and animated the entire Gwen rescue sequence in about six weeks, a testament to the crew's agility and a crucial decision that transformed the cliffhanger from a downer into a thrilling promise.
Conceiving the Spider-Society
The art book also unveils the visual evolution of the film’s sprawling cast of new heroes. Characters like Spider-Punk, Spider-Man India, and Jessica Drew went through numerous iterations before their final, iconic designs were locked in. Early concepts show different color palettes, costume details, and even physical builds. For example, the design of Spider-Man 2099, Miguel O'Hara, had to convey immense power and a rigid ideology, which artists explored through various sketches focusing on his physique and intimidating presence. These early drawings highlight the challenge of creating dozens of memorable characters, each needing a distinct visual identity that reflects their personality and home dimension. The book showcases explorations of how each character’s world would look and feel, from the vibrant, chaotic collages of Spider-Punk’s London to the sleek, futuristic lines of Nueva York. Seeing the paths not taken makes the final character designs feel even more perfect and intentional.
The Evolution of The Spot
The film’s villain, The Spot, was not always the existentially terrifying threat he became. Storyboard artist Matt Jones shared experimental animations he created for fun, inspired by the warped look of deteriorating nitrate film stock. One experiment involved rotoscoping a boxer to make it look like a Spider-Man was fighting himself through one of The Spot's portals. These playful explorations ultimately informed the villain's unsettling visual language. Interviews in “The Art of the Movie” expand on this, detailing how the team developed The Spot from a C-list, almost comical villain into a multiverse-ending force. The challenge was to visually represent his growing power, starting with simple, hand-drawn spots and evolving into terrifying, reality-bending voids. This progression from a simple concept to a complex, menacing antagonist is a core part of what makes the film's story so effective.
