This powerpoint describes the McCloud theories of comic writing evident in the Web of Spider-Man comic episode number 113.

2. High-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.

3. The 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

4. 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.

5. 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.

6. 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

7. 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.

8. 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.

9. 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.

10. Choice of image:
stances/expressions
and
emotions/attitudes
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.

11. 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.

12. 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.

13. 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.

14. 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.

15. 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.

16. 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!

17. 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.

18. 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.

19. The center of the
page draws
attention, and
therefore assigns
importance.
Gambit is smack center – all
focus is on him!

20. 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.

21. 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.

22. Christian Na
Mass Communications
Dr. Corso
15 April 2016