In comic books many publishers try to expand a certain title or story arcs into spinoffs and crossovers. While some of these are a whole a lot of fun (We would never have had the Avengers or Justice League) others can be downright frustrating, in that you have to buy comics you wouldn't have read on your own. What are the good things and bad things about comic book spinoffs and crossovers?
I think instead of looking at this issue in a Manichean way, whether it is good or bad, you could look at whether a crossover adds anything to the current story arc. If something is frustratingly bad then it could be because of poor integration or a "bad fit" for characters while good crossovers could be the opposite. I think by analyzing the quality of writing, art and the reasons why the crossover happened you can provide a deeper study of the practice rather than just a judgement of it. I think this article definitely has some great potential and is right on trend with not only our contemporary comic habits but also our movie watching habits as well. – DClarke10 years ago
When they become to confusing of the writer seems like they are just trying to make money off of something that shouldn't be there then it is bad
– Aim10 years ago
Pretty sure Deadpool has had a story arc with every single Marvel character, he is currently In Deadpool and Cable as of right now; but, he's has one with Spider-Man, Hawkeye, he killed the Avengers at one point, Deadpool Corps where he teamed with Lady Deadpool. Harley Quinn is currently with Power Girl in a series. There's so many crossovers and spin-offs happening! There's so much to talk about! – scoleman9 years ago
Comics are probably the best medium to tell spin-offs and crossovers because comics having fun and outlandish ideas is part of the fun of reading them. With that said, spin-offs can be both good and bad, depending on the character. Batgirl having her own comic series works because she already has a long and loyal fan following, so it makes sense for her to break off from Batman's comics. The reason Drax having his own series does not work is because he really works best when he is with the Guardians, otherwise he is kind of boring. – Aaron Hatch9 years ago
It will be interesting to see how crossovers and spinoffs are perceived differently by comic fans vs. film or TV shows. In the last decade, we have seen a growing number of films and TV shows that take this approach. While of course making profit is a major part of it, the success of such films may tell us a lot about demand on the part of the fans. – Arazoo Ferozan9 years ago
Angel, a spin off of Buffy the Vampire Slayer, was for a time on par with its sister property. But it did not last as long as Buffy or get as much attention from fans (as far as I can guess). What are the differences between the shows that has caused this division?
I wonder if one of the reasons Angel didn't last as long was because we already knew his character. We got to know him in the first 3 seasons of Buffy, so there was no need to spend time going over his history when Angel got his own show. – rachelyzara10 years ago
One was about high school and the other was about the work world. Buffy was about standing up for oneself and one's principles, while Angel was about learning how to selectively use and abandon one's principles, for better or for worse. – joubert10 years ago
I think it would be helpful to write about how interesting it is that a show with a female protagonist lasted longer and was more successful than one with a male protagonist. There's this statistic that states that female-lead shows/movies make less profit than male-lead shows. I would definitely have a gander at gender! – itschlofosho9 years ago
Ever since Caityln Jenner came out the world, we have seen a rise in stories being told about transgender people. This year, we'll see two feature films that concern being transgender (The Danish Girl and About Ray). Television too has gotten in on the trend which shows like I Am Cait and I Am Jazz. And before that we had Transparent on Hulu. What have been the conditions that have led to this rise in transgender storytelling?
These conditions are still very recent and I think it would be a good idea to mention how tabloid headlines mocked Caitlyn persistently during her transitional years...she could have stayed away from the public eye but maybe the public emphasized with her struggle once she was able to look and feel true to herself. – katrinafowler9 years ago
Oftentimes comic book historians will talk about the variety of eras in comic book history. For example the Silver Age is said to have taken place from 1950s to the 1970s. In this era comics began to turn into hardcore science fiction stories. Stan Lee starting creating comics during this period and many of his creations, like the Hulk and Fantastic Four, are scientifically based. What were the conditions (socially and culturally) that led to the creation of this era? Both Marvel and DC should be discussed.
This is a topic that includes so many aspects that it could lead to some interesting discussions. I think one important reason for the use of science was the end of WWII going into the Vietnam War. People in a short amount of time saw the use of science to destroy the world. People felt the real trauma and pain that could be caused through experimentation. Art tends to blossom after tragedy because people need to understand it in some form. This plays a critical point in the focus on science in comics. There are many interviews with Stan Lee where he discusses this is exact point that are easily found. The world had seen the use of an atomic weapon. These comics struggled with the idea that we could create our own demise and what do we do with that information?
– Celeste Reeb9 years ago
This could be a really interesting topic. I mean the science in most silver age comics is fairly inaccurate but the intent was great. Most comics were for children so introducing them to science and thinking about how the world around them works (even through pseudo-science) is really great. – Edward Haynes9 years ago
When critics and audiences criticize a female character they usually say "She's just a love interest." But what does that mean in the broad scheme of things? Is it possible to be a love interest and a fully realized character?
Perhaps it is the difference between "getting the girl," or someone who is "just there" to meet the needs of the protagonist. To me, a fully realized character is one that has many layers and feels like a real person (such as Peggy in Mad Men). A love interest would be someone that we may know about, but we do not truly know a lot about-- enough to make them real in our minds. – Nicole Wethington10 years ago
I think a good example of this can be found in Jo from Supernatural. Dean has plenty of love interests who never develop into REAL characters (such as that woman he had a kid with [see! I don't even know her name and she has been in multiple episodes]) but Jo is odd... on the borderline. I've never met someone who thought of her as a favourite character although she is in quite a few plot oriented episodes. We don't learn much about her so is that the problem with her popularity or is her backstory and personality just overshadowed by her and Dean's "potential" (which never gets actualized but adds a lot of romantic suspense). – Slaidey9 years ago
Brandon Sanderson discusses this in his lectures on character creations. He mentions that the problem a lot of new writers have is designing categories for people to fit into. In order to be a fully realized character, one has to create a character before placing them into a mold. If they are just designed to be the love interest, it can feel forced. – missmichelle9 years ago
Of all the Marvel solo films, Thor is often considered to be the weakest of the bunch. So much so that title character is often upstaged in his own movie. Thor 3, which will be entitled Thor: Ragnorok, is expected in November of 2017. What can the filmmakers improve upon to make Thor a strong contender?
Part of the reason Thor's films are considered weak is because he is a god, and he is more impervious than most of the other Avengers. It's the same problem when writing Superman: how to you write a character that is seminally invincible? The bigger reason the films are weaker is because how Loki has overshadowed Thor in popularity. Thor is simply not as fun when Loki is not on screen, and that is mainly because Loki is more witty and compelling. Loki practically chews the scenery. – Aaron Hatch9 years ago
Whoever takes this up should remember to use statistics when saying things like Thor is the weakest of the bunch? Weakest hero? That's relative. Weakest written? Some argue that honor (or dishonor) goes to the Hulk. So, we need proof with these things. Otherwise, interesting topic. – SpectreWriter9 years ago
I think something that could make Thor movies stronger contenders is some backstory, whether it be for Thor, the Warriors Three, Lady Sif, Loki, Jane, etc. We don't know a lot about any of the characters' pasts, so letting us know just what's been happening in the hundreds of years Thor and company have been alive could make them all more interesting. – VelvetRose9 years ago
I don't really know Jane too well and she seems like she's a very interesting person! It would be cool to learn more about her childhood, why she does what she does. I think you can learn a lot about someone with glimpses of their childhood. They did this for Loki and Thor, so maybe something for Jane? – itschlofosho9 years ago
Usually in cinema bigger girls and women are often cast into supporting comedic roles. They are often loud, blunt, and lazy. Even when they are cast in lead roles the story often involves their size in the some way. There have been exceptions though, for example Hairspray and possibly Spy due out this summer.
How is this trope utilized? Are any other forms of media that subvert this trope?
Rebel Wilson and Melissa McCarthy are two of the best comedic actresses we have these days, and they're consistently relegated to the Funny Fat Girl role. Or, if not Funny, then at the very least Vulgar. These days, the Vulgar Fat Girl seems to go hand-in-hand with the Funny Fat Girl—because a fat person's sexuality is hilarious, obviously. (Yes, that was sarcasm.) – Andie10 years ago
You could talk about how some say when a "funny fat girl" or man have lost weight due to the entertainment world expectations, they become less funny. Is this true and why is this something that occurs? – silvam10 years ago
Breaking the fourth wall refers to when a character addresses the audience directly. Comics, Films, and even books use this technique for a variety of reasons. Sometimes its used for humor purposes. Other times its used to comment on the work itself. Still, there are instances when this can be distracting to the audience and it prevents the story from moving forward.
How can a balance be maintained?
Some interesting sources might be: Annie Hall, House of Cards, Ferris Bueller's Day Off, Fight Club, Amélie, and The Wolf of Wall Street (film-wise). – Nicole Wethington10 years ago
I think the character Deadpool from Marvel has been an effective mode of breaking the 4th wall, and they have certainly used that for some great story arcs.
Plus I think this is what made a show like the Office work so well. The 4th wall never even existed. It was a fictional reality show about a fake-real life company. I think they mastered the 4th wall without having to break it. – G Anderson Lake10 years ago
There are other more subtle examples like Bitter Rice, at the beginning of the film, or Back to the Future, with Doc. It'd be interesting to look at the different ways you can break the fourth wall, how far you can go and how does it contribute to the whole effect of the film on the audience. Charlie Chaplin is also a good shout – Rachel Elfassy Bitoun10 years ago
A play that has a good example in breaking the fourth wall is Hamlet. There are several times throughout the play that Hamlet addresses the audience mid-scene. – ChelseaOtis10 years ago
In 2009 when Jennifer's Body was being advertised, the director and screenwriter claimed the film was a feminist horror. Unfortunately, it actually enraged many feminist viewers. What went wrong? Are there other examples of feminist horror?
Let's face it; one of the biggest factors why the movie was not good was because of Megan Fox herself. I'm sure she is a fine person in real life, but her acting is awful, and she fails to give her character any real personality. She is only there to have fan service, and that is what the whole film feels like. Plus the Ending was just stupid. – Aaron Hatch10 years ago
I had no idea that this was supposed to be a feminist film. I suppose that I can see this (sort of) in the power she exudes over men. However she is using the men's sexualization of her to her benefit--encouraging their objectification of her body (the opposite of feminism). The character of Jennifer is a feminist nightmare: the is the epitome of the high school slut cliche. We know nothing about her other than her promiscuous, flirtatious nature. She has no real depth. Instead of being a person, she is a sexual object. This film does nothing to help the feminist movement. If anything, it sets us back. – Nicole Wethington10 years ago
In 2022, only few people would say that movie "failed." It actually became a cult film and many critics have proved how "feminist" it actually is (not using that vocabulary, of course). – T. Palomino2 years ago
Disney has been unstoppable in recent years, not only do they own Marvel Studios and Pixar but they recently bought LucasFilm thus buying Star Wars. How may other studios combat their domination? Is there hope for a more diverse film landscape?
Interesting topic! I can't actually think of any kids' movies that aren't Disney. It'd be worth digging up some non-Disney examples to compare/contrast. – Jessica Marie Farrugia10 years ago
This is an absolutely terrifying topic. Terrifying in that it is a really good idea and extremely relevant. I hope someone writes this. It would be nice for the writer to explore the possible corrupt greed of this corporate entity over the sacrifice of art and distinct identity forms. – Starvix Draxon10 years ago
The original novel of Phantom of the Opera by Gaston Leroux was published in the 1880s and yet is still known by today's audiences. It has been turned into a silent horror film, a sound horror film, a romantic miniseries, and is most widely known as a musical. What about this story is so resonant? What have the many adaptations done to make the story relevant?
Great idea! I think it would be really interesting to hone this topic through discussion of the horror/romance dichotomy.. maybe it could even nod towards the much-anticipated adaptation of Beauty and the Beast? (A little off topic but the attraction to the not-so-charming Prince still stands..) – Jessica Marie Farrugia10 years ago
What are some need-to-know things a noobie like myself needs to know to be ready for The Force Awakens?A basic run down of important characters, themes, and the universe would be important.
Rule #1 Ignore Episodes I, II and III. If you remember that then you should be alright. – Michael Clancy10 years ago
Episode III had merits. I truely think it did, there were some good action bits, some interesting politics, good lines ("only Sith deal in absolutes!" is a very profound statement) just ignore Euan McGregor saying 'younglings'. – Francesca Turauskis10 years ago
I'd actually say that it'd be necessary to address the prequels; if this is meant to be a guide for people who have absolutely no knowledge of the Star Wars films, then to avoid confusion, it'd probably be best to talk about the history of the series as a whole, not cutting out the bits that some don't care for. That doesn't mean the writer has to endorse the prequels; it just means they ought to maintain their integrity and address all six movies in equal detail. – August Merz10 years ago
I don't think the prequels will be needed to go into much detail here, nor the expanded universe (comics and television shows). Of what we've seen from The Force Awakens so far, there is very little that is relatable to the prequels, I really think you only need to know about the original trilogy to be ready for, to understand fully The Force Awakens. That's not to say that the prequels should be left out entirely; they do offer some good back story/ historical context to the Star Wars universe. – Jamie10 years ago
The internet age allows fan to have direct conversations with the creators of their favorite television shows, comic books, or films. Is this a good thing? Should creators have a good relationship with their fans?
Typically, in a fandom community fans will feel the need to 'ship' or wish for two characters to be in a romantic relationship. Movie Studios even have picked up on this and themed merchandise for ship (i.e. Twilight and Team Edward or Jacob.) But why? What does a romantic relationship do or not do for a story? Why do some fans feel the need to protect their ship?
Of particular note could be Harry Potter, Twilight, and most recently the Avengers.
Could also be interesting to look at shipping in terms of sexuality as well. For example, the Cumberbatch Sherlock and Watson relationship has a very strong fanbase, as well as shipping between Beca and Chloe from Pitch Perfect, despite the fact that it's indicated (in Pitch Perfect at least) that the characters are opposite-gender attracted. – Hannah Spencer10 years ago
We've all heard of the big name producers such as Marvel's Kevin Feige and Jerry Bruckheimer. But what does producing a movie entail? What's the process? How much of a creative say do producers have?
Interesting. Are you going to list all the types of producers like executive and co-producers? It would be awesome if you include some examples of producers that had made some sort of impact on movies. – dthechadwick10 years ago
You could talk about how big name directors like Steven Spielberg use their name to sell the movie, by putting them in the producing role. Interesting to think that some producers names are used in the marketing, while others are not. – Aaron Hatch10 years ago
May be interested to see how TV producers stand up to film producers. Do TV producers nowadays have more clout? Where can Jerry Bruckheimer and Kevin Feige go next? – Thomas Munday10 years ago
I'm going to rock the boat and pose the question of do we even need producers? Do they have to much say on certain creative aspects? Can the producer actually harm the story they're producing instead of making it good, especially in the case of adaptation? Or are they a necessary part of film production? Just some thoughts to think about. – Travis Kane10 years ago
Thanks to the stigma about animated films being strictly for children, animation isn't always taken seriously by the marketing team. What are some ways you can market an animated film to ensure it is a success at the box office?
If you want to talk about more adult animated films, I would suggest looking and Hayao Miyazaki's films like Spirited Away and The Wind Rises. It's not that there in no adult animated films being released, it's just that they are over shadowed by Pixar and Dreamwork's movies. – Aaron Hatch10 years ago
Also take a look at "darker" claymation style movies like Corpse Bride or Nine or pretty much anything Time Burton is attached to. – Natalie Sheppard10 years ago
Japan's anime industry is known for producing dark and very adult shows. Perhaps we could learn a thing or two from Japan. – Travis Kane10 years ago
Not all fantasy is like Lord of the Rings or Harry Potter. The fantasy genre has many subgenres one of which is urban fantasy. This subgenre is usually attributed to books such as The Graveyard Book by Neil Gaiman, Fire and Hemlock by Diana Wynne Jones, and The Modern Faerie Tale series by Holly Black. What are the criteria for a book to be called an urban fantasy?
American Gods is probably urban fantasy. This genre is typically defined by an urban setting, small town America, the city, the suburbs, wherever, as long as it is in the real world. It is also often characterized by the supernatural such as werewolves, zombies, and vampires, though I think it is more complex than that. I recommend looking into A Short History of Fantasy. It is an excellent book. – Travis Kane10 years ago
The mortal instruments series and the Jim Butcher books both come under this title as well, dealing with supernatural elements and creatures within a city. – Tyler McPherson10 years ago
No big blockbuster is complete without a fully realized villain. But does the villain need an origin for his or her evil? Of particular interest would be the Star Wars prequels and Maleficent.
It could be interesting to analyze common themes of villains' "evil" between multiple movies. Are there common origins of "evil" between different villains (such as traumatic family events - as one potential example). Have they always been "evil," or is this "evil" something that developed over time? Are there differences in representations of male villains and female villains? Just some questions to consider while exploring the topic. – aileenmaeryan10 years ago
It would also be interesting to see this discussed in relation to villains. You have superhero villains , who often are given a back-story and then villains in movies like Die Hard or action movies like that. From their you could compare and contrast the necessity of each origin and, as Aileen said above, look into common themes. – Tyler McPherson10 years ago
In modern films, villains surely need an origin because fully realized villains are more valuable than villains crammed just for the sake of competition to the hero. You can analyze the various potential kinds of origins. One being traumatic family events, as aileenmaeryan put. Another can be the situations of growing up and yet another personal morals. Especially those villains who are likeable in their own right, like Joker or V will make a good read. You can also analyze the good cases like Megamind, who wasn't really evil at all but embraced evilness explicitly as a profession. – Abhimanyu Shekhar10 years ago
Comic book writer/film director Frank Miller is probably best known for 300, Sin City, and The Dark Knight Returns. His work usually concerns extremely violent male antiheroes. But what of his women? Are they strong characters or falsely empowered eye candy?
I would love to see this article featured in The Artifice. Perhaps it could focus on one of the three works you mentioned, and selecting a couple of female characters from there. I was thinking of Sin City. – Yama14410 years ago
Love this topic! I've read a few of the books from Sin City, so I'm interested to see what the writer has to say. You can even discuss how the women are depicted (i.e. dressed) to support your argument. – Amanda Dominguez-Chio10 years ago