![]() With its fourth feature, Thor(Branagh, 2011), Marvel Studios began to experiment with superhero film standards. The first three films of the Marvel Cinematic Universe (MCU), Iron Man (Favreau, 2008), The Incredible Hulk(Letterier, 2008) and Iron Man 2(Favreau, 2010), were fairly conventional superhero fare, although I argue that Iron Man perfected conventional superhero storytelling. Playing with genre inspirations within superhero films was another. But the shared universe model was merely the most obvious of Marvel’s innovations. The success of the comic book film genre over the past decade or so is due, in large part, to filmmakers tinkering with the format to create something fresh out of what could easily have gone stale.įew would argue that Marvel Studios revolutionized the comic book film genre specifically, and blockbusters in general, when it combined several superhero series into one, shared team-up film in If every comic book film played exactly like Spider-Man(Raimi, 2002) or The Dark Knight (Nolan, 2008), then the genre would certainly experience diminishing returns. It’s worth pointing out, however, that the studios and filmmakers responsible for the enduring success of comic book films have survived because they have not let the genre stagnate. It’s quaint to think of film bloggers in 2011 foretelling the imminent implosion of the genre when, seven years later, mega-successes such as Black Panther (Coogler, 2018) and Avengers: Infinity War (The Russo Brothers, 2018) demonstrate that audiences are still very interested in such films. ![]() The basis of superhero fatigue is the idea that audiences will grow tired of the neverending glut of big-budget comic book films, and will stop seeing them en masse. Discussions of the mythical “superhero fatigue” were in full swing in the summer of 2011, and the concept has been raised every time a superhero film is considered a critical or commercial disappointment.
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