When Marvel Comics launched Jonathan Hickman’s X-run, House of X/Powers of X was strong out of the gate.
A lot of titles, particularly X-Men, seemed to be establishing plot threads that would play out in X of Swords and even later in Hickman’s run.
X of Swords was a stab at a fantasy adventure. In contrast, Hickman’s first big Avengers event was a spacefaring sci-fi adventure in Infinity, so he and the various creative teams get points for attempting to branch out and tackle the fantasy genre for his first big X-event. It was a bit slow, dragged out a bit, and didn’t necessarily meet expectations for a big dangerous sword fight. Fantasy aficionados may note that the non-sword fight challenges may reflect the more cerebral appreciation for magic and divine trickery in fantasy, but still.
To its credit, X of Swords ends strongly, with a massive battle and the arrival of the calvary consisting of every X-Man EVER!
X of Swords does do a lot. It reestablishes the Captain Britain Corps, with Betsy Braddock as the new template for the Captain Britains of the multiverse. It potentially sets up Mr. Sinister’s chimera mutants; a plot point touched on in House of X/Powers of X. This event also laid the groundwork for the new status quo moving forward with Arakko being rejoined to Krakoa (a plot point that at the time of this writing has yet to be addressed in the X-titles). However, given the hardness of Arakko’s conditions, a clash of mutant culture seems unavoidable.
Overall though, X of Swords gets weighed down by the plot-heavy purpose it serves (think of Iron Man 2 or Avengers: Age of Ultron in terms of how much they got weighed down in terms of setting up future developments in the shared universe). This was a smart, if uneven, event, but it doesn’t flow as smoothly as some of Hickman’s work in other franchises, particularly the Avengers. He juggled multiple books that led to nothing less than a destruction and reboot of the Marvel multiverse. I also don’t understand how the X-titles could show that there is a Sword of Cerebro leading up to X of Swords and have it not feature in this event.
In fairness to Hickman, his role as “Head of X” finds him coordinating multiple creative teams and an ever-increasing number of X-titles. One could forgive him for getting bogged down in plot details. The X-team has cast a big net, and with the conflict between Krakoa and Arakko behind them (for now), the X-titles have only touched on one small part of the events foreshadowed in HOX/POX.
I hope that the plot’s heavy establishment of the status quo gives way in future titles and events to a smoother flow of action. But while X of Swords was not a perfect event, I’m excited about the storytelling potential it establishes moving forward!
There have been films that deviate from the usual superhero formula, and Archenemy is the latest. Similar to Hancock, Archenemy follows the fallen superhero trying to navigate through our reality path, and it works at times, but other times it’s frustrating. It presents a unique message regarding perspective, but the story isn’t that fleshed out to leave an impact.
This approach has worked in the past for films like Unbreakable, the deconstruction of superheroes, presenting a flawed hero, or someone who isn’t aware of the power they possess. Archenemy offers a hero who has been dumped into our dimension, and along the way his narrative of being the good guy becomes unclear. Directed and written by Adam Egypt Mortimer, the film stars Joe Manganiello, Skylan Brooks, Zolee Griggs, Paul Scheer, Amy Seimentz, and Glenn Howerton. Archenemy follows Hamster (Brooks), a teen with a dream of being an influencer, as he meets Max Fist (Manganiello), a homeless man who claims he is from another dimension and also a superhero.
Joe Manganiello as Max Fist in Archenemy
Eventually, the two team up to take out a local drug ring in the city and its boss. Mortimer has proven himself in the past with his work on Daniel Isn’t Real, but here the writing feels a bit hollow. Max is given a fascinating backstory and we learn that he is from a city called Chromion, but his archenemy Cleo Vetrik (Seimentz) attempted to ruin the city, and in the process of stopping her ended up being shifted into our reality. This causes him to age, his powers are gone, the blood in his body is altered, and he is a crazy homeless man to most. Elsewhere, Hamster is a teen who lives with his sister Indigo (Griggs) and they both struggle to maintain the life they live. Hamster is a dropout with dreams of being a social media influencer, and Indigo makes ends meet by working for The Manager (Howerton), an individual involved with the drug ring.
Mortimer delivers on character development, and he will make audiences doubt the hero angle Max wants us to believe, but Max’s arc could have been better if more of the story was about him and his past. Still, this is a solid script that offers a familiar approach while being slightly different. Indigo and Hamster are likable characters as well, and anytime hardships are introduced in a character’s life it becomes easy to side with them. Archenemy introduces Cleo towards the end, and this proves Max isn’t all that crazy. However, her introduction allows her to offer her side of the story and it paints Max as a hero who becomes unhinged at times. Mortimer creates a situation where you will be forced to pick who you believe, which makes this narrative unique.
Skylan Brooks as Hamster in Archenemy
The performances are good overall, and Manganiello shines in this role as Max Fist, the fallen hero from Chromion. It’s made clear that this alternate reality does exist, but Manganiello’s performance will make you doubt his sanity at times. He walks a fine line between an intimidating tough guy and an insane drunk who enjoys telling stories to make himself feel better. Mortimer directs Archenemy very well, certain moments are gripping and suspenseful. He keeps it engaging from start to finish, and the vibrant cinematography showcased is a great addition. This is his third feature film, and while not his best, he delivers a solid superhero film.
Archenemy might feel like a retread for those who are familiar with this story angle, but it’s still an engaging film overall. Certain aspects aren’t that fleshed out as I’d hope they were but it’s not enough to write off the entire film. It will be interesting to see if this film garners a cult following down the road similar to other one-off superhero films that have come and gone.
Writer Saif Ahmed and artist Fabiana Mascolo’s “Yasmeen” has been one of the most effective and important comics of the past year, if not the past decade. This fifth issue in this 6-issue mini-series continues its exploration of trauma, idealogical divides, and socio-political issues in a way that is actually therapeutic. With a beautiful script and some of the series’ best art, this is yet another outstanding installment for “Yasmeen.”
“Yasmeen’s father tags along with the Iraqi army as they prepare for battle in hope to rescue Yasmeen from her new owner. While in 2016, Yasmeen’s mother has a surprise for her daughter who decided to put on hijab again.”
Writing & Plot
With this being a 6-issue mini, it’s only sensible that “Yasmeen” #5 begin to establish a sense of closure for both the protagonist and the people who’s lives she as impacted. Saif Ahmed’s script for this issue is full of comfort and warmth, while still offering commentary on the sobering tragedy that has befallen Yasmeen, her family, and the things that have happened to her new friends. I’ll admit that the high school subplot that involved a friend of Yasmeen’s being drugged and having nude photos shared around school at the time felt a little pigeonholed – it was solidly written, it just felt like it was in the wrong book. However, upon reading what this issue followed up that particular plot with, it I was sold. Yasmeen uses her platform and experience to teach her peers to not be ashamed of the traumatizing events that they are victims of and to remember that the assailants are always the only ones to blame. This being said, Ahmed does not fall into the disturbing trope of a woman becoming stronger through her sexual trauma. He instead demonstrates an understanding of having a character move on with her experience, and use it to help others. Yasmeen’s dealing with her own enslavement is handled with a sensitive but hopeful resolution for her and some of her family that also narratively feels well-plaved and natural. In terms of the boring technical stuff behind the writing, as always Ahmed delivers with smart pacing and believable, naturalistic dialogue that fits each character. This is yet another emotionally effective and resonant chapter in this outstanding series, and I can’t wait to see how Saif Ahmed chooses to end this story.
Art Direction
Fabiana Mascolo’s gorgeous and character-centric visuals reach a series-peak in “Yasmeen” #5. Her ever-present eye for the subtleties of human emotion are explored in their greatest capacity in this chapter, and her visual direction is a large part in this. Mascolo uses irregular panels and splash pages with a focus on key emotional moments. There are a couple particular scenes that will stay ingrained in my mind due to the attention they are given in the book. Of course Mascolo’s detail in her facial animations is stellar, as is her detail and design in settings and even clothing (which is given a lot of focus in this issue). Her colors are, as always, a feast for the eyes, as her use of bright shades in her palette. This series has been gifted with an artist that is able to bring a tonally appropriate aesthetic with gorgeous colors and excellent character drawing that pull the reader into the storyu with ease.
“Yasmeen” #5 is possibly the smartest issue of this series yet, with thoughtful examination of the issues that have been prevalent in this series from issue #1 but now also offering commentary on problems we see in the Western world on a daily basis. Saif Ahmed’s script validates the different trauma of individuals and uses it to come to a greater understanding and empathy for victims without needless pity. Fabiana Mascolo creates arguably her best work on this series thus far, with brilliant focus on intimate character moments through not just her pencils and color choice, but also her new use of panel direction. Be sure to pick up this issue when it hits your local comic shop on 12/23!
Mega Man: Fully Charged #5, available now from Boom! Studios is a thrilling issue where the conflict between Mega Man and Namagem comes to fruition in a stunning way.
After the setup of the previous issue, Mega Man: Fully Charged #5 picks up at the beginning of Mega Man and Namagem’s confrontation. Both are stronger than they have ever been, and A.J. Marchisello keeps the dialogue engaging and relevant throughout the battle, so we aren’t presented with 23 pages of action. The dialogue reminds us of why they are fighting, what’s at stake, and how complex the two robotic brothers’ relationship is, making each moment a page-turner. Marchisello also ends the issue on a phenomenal cliffhanger that will leave readers desperate to get their hands on the series’ next and final issue.
Stefano Simeone shines brightest when drawing action scenes, and Mega Man: Fully Charged #5 allows him to do that for nearly every page. It creates a visual spectacle that is sure to wow and amaze readers. The fight takes Mega Man and Namagem all over Silicon City, and the background of the many skyscrapers provides for some gorgeous panels. Not to mention the breathtaking perspective featured in some parts of the issue, which makes the fight incredibly memorable. Many of the characters overlap the panel borders, which brings the action to life and makes the comic book an experience to read.
Mega Man: Fully Charged #5 was colored by Igor Monti and had color assistance from Sabrina Del Grosso. Throughout the series, Monti’s work has created some spectacular art that makes the series remembered fondly by fans for many years to come. This issue features some of his best work, with the always gorgeous Silicon City as the background setting and the lights of the two fighters illuminating each panel. The blue of Mega Man and the orange of Namagem are complementary colors, and Monti takes advantage of this in his panel compositions. For instance, the setting sun also provides blue and orange colors, and one panel has Mega Man highlighted against an orange tint, and Namagem highlighted against a blue tint. The result is both characters popping out on the page and an image that looks like it should be framed and hung in a museum.
Ed Dukeshire complements Mega Man: Fully Charged #5 with his unique and stylized lettering. Not only do sound effects have a digital look to them, but the effects change slightly depending on the actions in a given panel. It is a great way to make the lettering feel a part of the world, and it ends up helping the reader become immersed in the intense conflict.
Mega Man: Fully Charged #5 is an issue you do not want to miss. The series is not one to be missed, for that matter. The blue bomber everyone loves is portrayed in a new way, and the series has been building up to what I am sure will be an astonishing final issue. With the wonderful work of Marchisello, Simeone, Monti, and Dukeshire in this issue, I’m not sure how anyone could look down on this series poorly.
Nottingham #1 begins a grimdark depiction of Robin Hood from Mad Cave Studios. Writer David Hazan and artist Shane Connery Volk showcase a dour atmosphere throughout the issue, something that colorist Luca Romano and letterer Joamette Gil heighten with their roles. The issue will be available to pre-order on December 29th with a slated release on March 6th, 2021.
The Grimdark Of Nottingham #1
Hazan sets a mood for Nottingham #1 where the reader roots for the least despicable character. Throughout the issue, the reader sees the brutality on all sides of a political conflict. The Merry Men sing tunes of charity as they commit heinous murder, even as victims beg for their lives. The sheriff Blackthorne is hardly a step up, threatening Maid Marian and not seeming to be very popular even among his own men. That leaves Robin Hood, who can act kindly while hiding in plain sight. Even then, though, he is as ruthless as everyone else in this series, more willing to assassinate than fight. He’s just the most professional of the bunch by tying up loose ends to see his goal through.
Three Acts Atmosphere
Volk’s art has a very clever use with three-act structures within Nottingham #1 to convey small moments in sequence. The first pages demonstrate the character traits of the Merry Men and how they operate. In the first depiction, one of the Merry Men shows himself to be extremely ruthless and sadistic by mercilessly stabbing a helpless victim. That introduction gives the reader a good idea on what the mood is. The brutality of the act distracts readers to the point where they assume this Merry Man speaks for the rest. Within another segment on the next page comes a reversal: Another Merry Man employs a less brutal but still deadly kill. When the reader learns that this later Merry Man is Robin Hood, it sets up a heavy contrast between him and his followers. Just how his cloak flows in the shadows makes him more akin to a phantom which makes him twice as threatening in practice.
Romano’s coloring provides a glimpse into the plot’s activities: Bright lights evoke information sources. This leads either directly towards the Sheriff’s brutal interrogations or Robin revealing himself from a Merry Men mask. As for the lettering, Gil smartly reuses SFX to link moments in the readers’ minds and help develop characters and themes. The only confusing piece of lettering in Nottingham #1 is when a flash of lightning strikes over the sheriff and Merry Man clashing swords, and what comes is a simple “shing!” sound when you would expect an explosive “boom!” It’s just a minor distraction, though.
Give Nottingham #1 A Try
Nottingham #1 has the makings of an interesting grimdark fantasy with morally questionable characters and a mood to match. Right now things are just beginning, so only time will tell where this all leads.
What do you all think? Is this just going to be another attempt at an edgier Robin Hood like Russel Crowe’s movie? Or is there something about this depiction you just can’t let go of? Leave your thoughts in the comments.
Quarantine tensions rise in the horror film Darkness In Tenement 45, starring Nicole Tompkins as a teenage girl battling inner demons while living with her aunt during a biological scare. Cinematographer Carissa Dorson (Funny or Die) used her lens to amplify a dreadful sense of isolation.
Darkness In Tenement 45 (or DT45), writer/director Nicole Groton sets her film in New York City in 1953, as the Cold War is white-hot. Enemies of the US unleash a biological attack that forces everyone inside. Joanna, played by Tompkins (Resident Evil 3, The Grey Matter Archives), is under the rule of her tyrannical aunt Martha played by Casey Kramer (LethalWeapon). Headstrong Joanna and several other tenement-dwelling New Yorkers grapple with surviving “the infection” that permeates outside.
PopAxiom spoke with Carissa Dorson (on set during a lunch break) about becoming a cinematographer, Sketchy Times with Lilly Singh, and making Darkness In Tenement 45.
Visual Stories
Carissa’s love for filmmaking started in high school, where she took class projects to a new level. “In high school, I made some documentaries for class projects. It made me love editing. That’s where I first got the spark and became interested in filmmaking.”
“I just decided to do them,” she says about the documentaries. “We had options for other types of presentations, but I made a documentary. Even in English class, I would make videos to show the class.”
Naturally, Carissa “decided to apply to film school at Florida State (FSU) based on that experience. It was a great experience at FSU with a lot of small classes and hands-on learning.”
“I found that I loved being behind the camera even more than editing,” she explains her evolution toward cinematography. “I fell in love with telling a story through visuals.”
About Darkness In Tenement 45
“I’ve known Niki [director Nicole Groton], Simone [Lapidus], and Crystal [Collins] from film school,” Carissa explains how Tenement came into her orbit. “A lot of the people involved in Darkness In Tenement 45 were alumnus from film school. So, Niki, the director, was actually in my class. I’d always been interested in the stories she wanted to tell. For many years before the movie, I knew about this script.”
Carissa’s spent a lot of time making comedies, but DT45 offered a new genre and set of challenges to tackle. “I was interested in this story that took place in one location with these characters who are holed up in a building because of the biological threat outside.”
“Because the movie takes place in one location,” she delves into the challenge of making Darkness in Tenement 45, “that was definitely a challenge. How do you keep the visuals interesting?”
Making Darkness in Tenement 45 featured “an ensemble cast shooting in close-quarters with a fast-moving schedule. It was a challenge. We made it work by preparing A LOT. It was also an opportunity to play around and make the lighting more stylized.”
“I shoot a lot of comedy,” she says, “and I love comedy, but this was an opportunity to go a little further with the visuals.”
As an experienced comedy cinematographer, how does Carissa compare and contrast the genre? “I use a lot of wide-angle shots in comedy, but I also used a lot of wide-angles in Tenement to create this fish-eye look. I think stylized shots are used a lot in both.”
“In comedy,” she continues, “more often you let the performances play out, and you don’t want to take away from that. That’s why comedy is a little more naturalistic.”
What’s Carissa’s favorite time to shoot? “I love sunrise. You can’t beat that. Or sunset. I typically try to avoid the middle of the day because it’s the least flattering.”
Making Darkness In Tenement 45
For Darkness in Tenement 45, Carissa played around a lot in darkness or light sources not involving the sun. “A lot of it took place at night, and the windows on our set were boarded up, so we couldn’t motive light from outside the windows.”
Where did Carissa find the light? “We used a lot of candlelight and lanterns. That presented a challenge because we didn’t want a warm, fuzzy feeling for this movie. We wanted a green, sickly feeling to go with the tension and sadness that everyone is feeling in the movie.”
On-set tricks and post-production joined forces to create the moody look of Darkness in Tenement 45. “We dialed in the color temperature on the camera and did a little extra work in post to make it look green even though it’s coming from candlelight.”
Stanley Kubrick’s 1975 film Barry Lyndon is famous for using a lot of natural light creatively. “I looked at some stills from the movie for reference. We wanted to try that approach.”
“We couldn’t have every single candle lit in every shot,” Carissa says with a laugh, “because our budget wasn’t that big. We had to save our candles for the best shots.”
To achieve the look of Darkness in Tenement 45, Carissa says the team used “these great Panavision lenses. We were able to let in a lot of light and let the candles light the characters.”
Sketchy Times
Carissa’s other recent project was for the Peacock series Sketchy Times with Lily Singh. “She’s a super-star.”
It’s all about relationships in the film and TV industry. “When I moved to LA, I got involved with shooting sketch comedy for College Humor, Funny or Die, and other digital platforms. I had this background where I was connected within the comedy community. A producer I worked with recommended me to Lily.”
“The project was perfect for me,” she says, despite the struggle of shooting during a pandemic. “I’d been shooting sketch comedy for so long. We shot in her house during the quarantine. The show’s style and trying to get her house to turn her house into various locations was fun work. We had a small crew because of COVID guidelines. This scrappy, throwing things together is what I’m used to.”
From her YouTube show to her film to her late-night talk show, Lily is known for playing various characters. “Each sketch had a different style. So, we did like a Drake music video parody that felt like a rap video. We did a parody of Love Island, which had a reality TV vibe. We had a support-group scene that was kind of blue and moody.”
“Lily plays every single character,” she reveals. “We had a body double that we were working with who was great. Sometimes we used mannequins in the background as ‘extras.’
Wrapping Up
Who is part of Carissa’s creative DNA? “I admire a lot of current cinematographers like Natasha Breir, who did Honey Boy. She’s done a lot of other indie films like Gloria Bell. That’s the type of movie that I love to shoot, and she did it beautifully. I also love Eric Steelberg, who does all of Jason Reitman’s films like Young Adults and Tully. His style is naturalistic, but beautiful, and doesn’t draw too much attention, which is perfect.”
“Remakes are hard because I love the originals,” Carissa says when asked about a dream remake, reboot, or reimagining. “I’m a fan of 80s and 90s films like Penny Marshall movies. I’d love to make any of those. I want to remake one of those big-budget feel-good films that make you laugh and cry.”
DT45 is available for rent on your favorite digital platform. Asked about what’s coming next, Carissa says, “I can’t talk about any projects yet.” Clarissa’s planning a photo book too! Learn more here.
Is Darkness in Tenement 45 on your watch list?
Thanks to Carissa Dorson and Impact24 PR
for making this interview possible.
KING IN BLACK: GWENOM VS CARNAGE #3 is due to hit your local comic shop in March, but thanks to Marvel Comics, Monkeys Fighting Robots has the privilege of revealing the cover and solicit text for you today!
The comic is by writer Seanan McGuire and artist Flaviano, with a cover by Ken Lashley.
About the issue: AMP VS. AMP, SYMBIOTE VS. SYMBIOTE, FRIEND VS. FRIEND!
Unwittingly pulled into her bandmate Gwen Stacy’s interdimensional adventures and the Marvel Universe, MARY JANE WATSON of Earth-65 has bonded to a symbiote and become a new and deadly iteration of CARNAGE!
As dragons rain from the sky and New York finds itself on the precipice of the abyss, it’s up to Gwen Stacy to rid MJ of the symbiotic spiders that have infected her and get them both home — while saving any civilians MJ endangers along the way!
The issue will be the conclusion to the three-part miniseries.
Check out the KING IN BLACK: GWENOM VS CARNAGE #3 cover below:
Are you looking forward to this Gwen Stacy/Mary Jane Watson symbiote showdown?? Sound off in the comments!
BREAKLANDS Season Two #2 (of 5) hits ComiXology on December 22, but thanks to the publisher, Monkeys Fighting Robots has an exclusive five-page preview for our readers.
The book is written by Justin Jordan, with art by Tyasseta, Sarah Stern drops the color, and you will read Rachel Deering’s letter work.
About BREAKLANDS Season Two: Breaklands is back! Kasa has rescued her brother, but that just means now she’s being pursued by Skypirates, land bound criminals, and the God King Rask.
It’s Mad Max meets Akira in a genre mashing, expectation smashing new hit series from Justin Jordan, creator of Luther Strode, Spread, and Reaver, joined in mayhem by newcomer artist Tysaseta, colorist Sarah Stern and letter Rachel Deering. Breaklands Season Two is the follow up to last year’s smash hit debut!
Enjoy the five-page preview below!
Part of the ComiXology Originals line of exclusive content, BREAKLANDS Season Two is available December 22 from ComiXology at no additional cost for members of Amazon Prime, Kindle Unlimited, and comiXology Unlimited. They will also be available for purchase on Kindle and ComiXology.
STONE STAR Season Two #2 (of 5) hits ComiXology on December 22, but thanks to the publisher, Monkeys Fighting Robots has an exclusive five-page preview for our readers.
The book is written by Jum Zub, with art by Max Dunbar, Espen Grundetjerm drops the color, and you will read Marshall Dillon’s letter work.
About STONE STAR Season Two: The nomadic space station called Stone Star brings gladiatorial entertainment to ports across the galaxy. Inside this gargantuan vessel of tournaments and temptations, foragers and fighters struggle to survive. A young warrior named Dail has been drawn into the ring and is trying to prove himself in the Grand Arena, but there are forces on the station determined to see him destroyed as revenge for his father’s fighting legacy.
Stone Star is an action-adventure spectacle bursting with colorful characters and pulse-pounding action! Grab your weapons, gritters, and join the fray!
Enjoy the five-page preview below!
Part of the ComiXology Originals line of exclusive content, STONE STAR Season Two is available December 22 from ComiXology at no additional cost for members of Amazon Prime, Kindle Unlimited, and comiXology Unlimited. They will also be available for purchase on Kindle and ComiXology.
The world loves superheroes. People live alternative lives, the lives that they could only dream of through their favorite superheroes. When Thor swings his hammer to protect the planet from an incoming outwardly doom, we live his life vicariously. When Black Widow takes on the monstrosity of human beings with her killer moves and skills, we see ourselves in her. Superheroes have made our lives much more interesting than what it used to be prior to their arrival.
And one real-life superhero who gifted us with a hoard of others and made our lives exciting as ever is the late Stan Lee. Stan Lee’s superheroes are human beings shrouded in flaws, weakness and kindness alike. They save the planet from perils, and while they are at that, they come to terms with human follies. And here lies the genius of this man who changed the world of comics and redefined the cinemas forever.
In the article that we have here today, we shall take a look at how Stan Lee’s superheroes breathed life into the Marvel Cinematic Universe which changed the comic book industry and charted a new course for the cinemas.
The MCU Made Superheroes Look Cool:
Before the MCU, we were only accustomed to witnessing geeky and nerdy people assume the shape of a superhero and take on the villains to serve prompt justice to humanity. However, with the MCU, the narrative changed, and superheroes became cool for us. With Robert Downey Jr. donning the suit of Iron Man, the MCU entered a phase where superheroes were smart, chic, accessible and cool.
The MCU, with brilliant one-liners and trendy clothes, made our superheroes more than just cerebral characters. Initially, characters like Batman and Spider-Man would only have intense lines to churn out on screen. And to be fair, they did have a massive fan following. But since 2008, with the entry of Iron Man, the MCU came into being and marked a phase for the comic book industry and the cinemas alike, that was never before imagined. Iron Man changed the shape of the MCU and cemented the foundation of superheroes in pop culture.
The MCU Brought in the Concept of Representation in the Cinemas:
Black Panther released in 2018 and proved that the world wants to see more representation on screen. It is not just the right thing to do, but it is what is gladly accepted by the fandom. In fact, Black Panther was not only accepted well by the audience, it turned out to become the highest-grossing superhero movie of all time in the United States of America. People flocked to the theatres to witness the vigor and might of the character and enjoyed themselves with the people of Wakanda.
Marvel has always been a forerunner of change and representation when it comes to the movies. With the launch of the Marvel Cinematic Universe, the matter of representation reached new heights. The MCU cast Tessa Thompson as Valkyrie, a character who was originally white in the comics. It also cast Brie Larson as Captain Marvel and proved to the world that female superheroes do not have to dress skimpily to grab eyeballs. With Captain Marvel, romantic plots were sidelined, and the movies started focusing on the woman’s skills and character development. Over the period of time, the MCU has only emerged as an example that the rest of Hollywood must follow when it comes to representation.
The MCU Made Science Cool Again:
With the MCU, the audience’s love for science received a thrust and proved that it is okay to love science and technology. If the audiences had to make a choice between listening to Peter Parker talking about particle physics and watching Thor swing his hammers to fight villains, they would probably pick the latter with the exception of a few. However, the MCU changed the narrative and juxtaposed science and action in a way that one could never have fathomed. From Shuri’s technological inventions to Iron Man’s scientific alter ego, the MCU has seen science take the central stage and save the planet from impending doom.
The MCU has had such an impact on the world that some Canada online gambling sites use the themes of Marvel characters to draw the attention of their customers. Several events are hosted every year to celebrate these characters and their contribution to the cinemas. The MCU has made science accessible and interesting, and young kids have started showing an increased interest in the subject so that they can fight the villains like their favorite superheroes.
Summing It Up:
The Marvel Cinematic Universe is nothing short of a phenomenon. It had revolutionized not just the world of cinemas but also comic books. Young people indulging in comic books have started reading and interpreting the characters in more than one ways, and this has helped add more layers and dimensions to the characters. With the end of a phase of the MCU, fans are now waiting with bated breath for another phase to kickstart.
