‘Spider-Man: Crossing the Multiverse’ premieres on digital with multiple versions different from what was seen in theaters

Once Spider-Man: A New Universe revolutionized contemporary animation, every sequel since then sony I was going to deal with unsustainable expectations. It is reasonable to assume that crossing the multiverse has lived up to it, with some excellent numbers at the box office and some great reviews that cast an optimistic look at the future of the saga (Beyond the Spiderverseas the conclusion to the trilogy, is already underway), but all this angst to transcend could also have had its dark side.

crossing the multiverse had been on billboards for a while when vulture published a report reviewing the precarious working conditions of the film’s animators: work of 11 hours a day, 7 days a weekand subjected to an eagerness to improvise and waste efforts that could be held responsible Phil Lord as an all-powerful producer. It is what leads us to look without so much sympathy at what we have come to know after crossing the multiverse: It may be funny that there are several different versions of the film going through theaters, but this has been possible thanks to the suffering of the artists.

Andrew Leviton, the film’s publisher, confirmed that there was no single version of the film playing in theaters after several fans shared their discoveries on social media. He did not say then what was the reason, supposing that perhaps it was a “game” linked to the importance of the multiverse, with its various realities, in the plot of the film. Either way crossing the multiverse It is already available in digital copies and more people are accessing the film, discovering then that the same thing has happened on other platforms: there are many versions, different from what we saw in theaters.

A Twitter user has reviewed everything that has been pointed out. The differences are in the style of what we once knew of theatrical prints: differences that can be as subtle as the labels of a scene, even dialogue that changes. For example Miles Morales tells Miguel O’Hara during his persecution “sorry man, I’m going home” in some versions, and in others it is silent. In others Lyla, O’Hara’s assistant, gets a selfies during an interaction, and not in others.

The alternate Miles of the last few minutes even goes so far as to change his hairstyle: significant differences, which will have cost an effort, and whose real motivation escapes us. There may even have been some disagreement between the artists when it came to choosing which copy of the film to release, but it’s still disconcerting that there seems to be no such thing as “montage for cinemas”.

At the same time unpleasant for imagining how much someone will have suffered to materialize these irrelevant changes.

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