Issue link: http://digital.copcomm.com/i/1545081
all within the constraints of ever-evaporating time and budget. In some episodes, it was the Sandman's transformation, in others, it was Megawatt's electricity powers. And with The Spider, there was the web-slinging and the wall-crawling. There were a lot of conversations—and plenty of storyboards— about exactly how the practical wall-crawling stunt would be achieved. Stylistically, we were aiming for a classic noir style, paying homage to films like The Maltese Falcon, The Third Man or Night of the Hunter, and I wanted to stay true to that in the boards. I tried to come up with a style that could capture the dynamic shadows, Dutch angles and classic noir compositions and also keep up with the pace of the show. It was also great to work with Warren Young's Art Department. In the Spider-verse, there's the Daily Bugle and if it's 1933, there better be editorial cartoons in there. I was able draw on my cartooning background and create a caricature of the mayor for an insert shot, done in an old- school, period-appropriate style. D A. & B. STORYBOARDS WERE KEY WITH SO MANY SPECIAL EFFECTS AND VFX SHOTS IN THIS SEQUENCE, WHEN BEN DISCOVERS THERE ARE OTHER SUPER- POWERED INDIVIDUALS OUT THERE. C. & D. A FLASHBACK SEQUENCE, TO THE SPIDER IN HIS GLORY DAYS - THE GOAL HERE WAS TO SHOW HIM AT THE HEIGHT OF HIS POWER. C