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Nick

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xx Marvel Reboot 2015
« Thread started on: Jan 21st, 2015, 09:27am »

http://www.newsarama.com/23276-the-marvel-universe-is-ending.html

Seems like Marvel are doing it too.
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TheMidnighter

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xx Re: Marvel Reboot 2015
« Reply #1 on: Jan 22nd, 2015, 07:48am »

It's about time Marvel followed the proven formula that DC started with the New 52.

Wait.

I went against my own mantra ("never read the comments") and I read and learned about Sam Wilson being Captain America, Wolverine being dead, and Cyclops being a murderer (something I had read before). Abysmal. If 'stories' are about the end result of it, it's not a story at all, right?

I had some leftover comics lying about because I couldn't cancel my monthly subscriptions quick enough. During a planned power outage I read Uncanny X-Men (2011) and Wolverine and the X-Men.

It left no emotion. I found that surprising because Wolverine and the X-Men was heralded as great and pure fun. I couldn't see it. Furthermore, Jason Aaron really only has one voice: quick-witted or something that's supposed to pass for it, I suppose. Annoyingly, he writes all his characters as such so that Logan, Hank McCoy and Quentin Quire sound indistinguishable.

Ranting about comics while I've given up on them for years now. It's such a shame because I'd love to be interested in the current comics and supported the printed medium. If the creative directors at the Big Two weren't such complete tools.

Please die, Marvel and DC.
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xx Re: Marvel Reboot 2015
« Reply #2 on: Jan 23rd, 2015, 5:51pm »

Quote:
Please die, Marvel and DC.


They're doing their best.

Consider, Marvel is a company that came up with The Clone Saga in the mid-'90s, reportedly because Peter Parker was "too old" (married!!). After over 2 years and, at least, the seeds of an alienated readership, Marvel ended the "storyline"/shock event, with Peter Parker still married. The event's internal reason for being, from a narrative standpoint, was completely lost because of their ineptitude at telling a story; this from the same group that, to this day, would swear that the miserable story dynamics of their most popular character wasn't their fault, but the fault of that character. Yeah right.

This has been going on longer than any of us have been alive. But it's mission creep. In the '70s Marvel's Universe shifted from serialized storytelling to IP protection (ironically, this connects back to the first, much smaller, Clone Storyline, when Marvel couldn't quite let Gwen Stacy RIP). IP's are just ugly corporate statues: they can't change. Marvel's Brain Trust is little more than the flock of seagulls that gather over that statue; that's the type of change they can effect within the story parameters that they all, publicly at least, embrace. They provide shit, all of which will eventually be washed away and forgotten within the same narratives they pretend to be world-/character-building in.

No one can really change the specific character(s) because that might hurt easy marketability, yet this is coming from within an industry that has next to no market reach or presence. They never seem to notice the paradox. These characters are huge, but the medium they sprang from has gone from a decent-sized, almost-mainstream, business to Pogs' prettier cousin.

Marvel and DC both have ended up in a place where storytelling is little more than a series of retroactive "mistakes" they self-righteously promise to fix -- first, ostensibly. ad nauseam, now ad infinitum -- from the same marketing bullet points and the usually the same hacks, effected/affected in the form of the latest Event Arc.

There are two layers, off the top of my head, for the Events. The first layer is: character gets married (now impossible, because this deeply offends 50-something man-boys that are obsessed with "youth"), gets a new power, dies/is critically injured and/or changes race.

(The latter is really their best option, short term, because it creates fawning headlines from the mainstream press on "diversity" and, conflated, allows them to retell nearly the exact same stories while pretending to be daring and different; intrinsically and predictably, they use this same pretense to shout "racist" at anyone who questions what they're doing. Win. Win. Win.)

The second layer is the corporate analgesic posing as purity and new life: the Continuity Arc, like Zero Hour that fixes "mistakes" while ignoring timeline gaffes (creates them) and plot holes and, after 20-25 years, climaxes in the form of "the multiverse destroying/expanding/creating" reboot. It's not storytelling. It's a marketing cycle that publicly justifies itself by complaining about storytelling.

Brilliant. As with almost everything in our society, noticing the Dialectic's omnipresence within/without is probably the most entertaining part of this microscopic farce.
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