Marvel’s Phase Four content, which mostly serves as a reaction to “Avengers: Endgame,” has lost sight of these standards. The premise was simple and the execution was complex, engaging, and unilaterally successful. When it first arrived on the scene, the MCU delivered something that had never been done before: an interconnected grouping of quality-driven movies with quality-driven characters played by quality-driven actors. To say, at their current rate, that Marvel movies are dying, would not. To say Marvel movies are dead would be an overstatement.
SIMPLE COMIC CRASHES MOVIE
Narrative, in this case, dictated nostalgia and the movie largely succeeded. Each of the three Spider-Man iterations earned their place in the story, contributing to complex character development in themselves and one another. “Spider-Man: No Way Home,” for example, crafted a heartfelt (though at times shaky) narrative about personal growth and hardship. Marvel seems unable to imagine and produce a movie of the caliber of the original “Iron-Man.” While occasional glimpses of the old Marvel are present in the new, those glimpses are becoming few and far between.
SIMPLE COMIC CRASHES HOW TO
Recently, Marvel has forgotten how to experiment. Nostalgia puts people in the seats.īut narrative - not nostalgia - keeps people in the seats. Marvel movies are meant to be exhilarating cinematic romps with friends old and new - be it Peter Parker, Stephen Strange, or Kamala Khan. They’re silly, fun, serialized nostalgia goodness - comfort food, if you will.
Superhero movies, after all, are based on their staple-bound, 32-page forebears. Is this to say that nostalgia shouldn’t play a role in superhero movies? Not at all. In each of these cases, the MCU bastardizes its legacy characters and exacerbates an ongoing superhero fatigue.
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Disney Plus content, notably “WandaVision,” “Werewolf by Night,” and “The Guardians of the Galaxy Holiday Special,” are firmly rooted in pastiches of pre-established film and TV genres. Upcoming films, including “Deadpool 3” are being made in the same vein.
Fantastic (John Krasinski), Professor X (Sir Patrick Stewart), and an array of fan-favorite characters as the short-lived Illuminati. In particular, “Doctor Strange and the Multiverse of Madness” introduced Mr. Like comic book companies of the early 1990s, the MCU has fallen back on fan service and superfluous gimmicks to get audiences into theaters. Though this figure is partially attributable to a diminishing cinema-going public, it is likely that superhero fatigue and oversaturation are largely to blame. Pre-pandemic, five of the last six Marvel movies grossed over one billion dollars, while only one of seven have achieved the same feat since the re-opening of theaters. This chokehold, however, has shown signs of loosening. Marvel movies have taken unprecedented control of the box office, accounting for eight of the 25 highest grossing films of all time (seven of which came out in the last decade). This crazed trajectory, culminating in the Comic Book Crash of 1993, closely mirrors a current takeover of the cultural zeitgeist: the Marvel Cinematic Universe (MCU). Soon enough, everything came toppling down. But these gimmicks, which had once worked exceedingly well, no longer compelled the jaded masses. In search of a greater share of a booming industry, many companies glutted the market with premiere issues and (often disappointing) “cataclysmic” events. Superheroes were a commodity - a darling of prospective investors and pop culture gurus alike. With foil, die-cut, and embossed covers flooding newsstands, publishers printed millions of comic books per month.
Major events like Superman’s “death” and the X-Men relaunch became cultural touchstones as publishers - notably the “Big Two” (DC and Marvel) - endorsed bombastic, interconnected narratives and marketing campaigns to match. In the 1980s and 1990s, the comic book market surged.
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