When considering Marvel comics, and even the animated series based on them, among the various constants is the persistence of versions and adaptations of a number of key villains over time. These are characters that exist because they give meaning to the struggle or the search for the main characters. This is something that the Marvel Cinematic Universe has yet to develop.
This idea was proposed in camera in handduring the discussion Thor: Love and Thunder, and invites you to ponder the following question: Why do villains travel little in the Marvel Cinematic Universe? The main antagonists of series and films are usually forced to disappear in the same production in which they were presented, missing the opportunity to write parallel stories about them, to give their stories more depth.
So the Marvel Cinematic Universe is missing out on an opportunity to be able to nuance its stories and enrich stories beyond the positive stories, such as those of Captain America, Thor, or Iron Man. While it is logical that creative efforts and resources be directed towards this type of figure, due to their position in the audience and their commercial and narrative potential, it can be convenient to balance the balance a bit and give some of the villains that are introduced more prominence. sphere.
oh wait… most are dead
Yes, many villains in the Marvel Cinematic Universe are dead. This is part of the narrative structure presented in related studies. Superhero adversaries are an excuse to build your story by simplifying the options that bad guys can have (and which, in the case of comics and animated series, they usually have). The result is a series of stories with little counterweight.
The spectacular nature remains, and the results in terms of box office and Marvel Cinematic Universe talk continue to be positive. But this does not mean that everything inside the narrative is good and in order, or that this is the only possible way of development. In most cases, the protagonists of these stories usually face a new adversary, episode after episode, movie after movie, losing the context of the rivalry that was created before.
The foregoing is explained by the initial idea of the villain and the idea of the hero present in each case. For example, Is it possible that Malekith the Accursed crossed paths with the Guardians of the Galaxy? In the Marvel Cinematic Universe, which adapts stories and allows licenses, this could happen. But the character did not go beyond Thor, dark world.
Even in this case, which is one of the most questionable films in the narrative, a tour of the villain can help keep part of his story and connect it to other events and superheroes without having to start with a different origin story or abruptly introduce an antagonist to kickstart a new one. movie or series. Names can be added to the previous case Quentin Beck (Secret), Ronan the Accuser, Brock Rumlow (Skull) and Aldrich Killianin a range that may be greater.
The contrast between film, television and comics
In this context, the notion of a hero that originated in the Marvel Cinematic Universe is key. In individual productions aimed at the development of a particular character, it is normal that the end result lies with the main character on his shoulders. Thor takes out his hammer. Black Panther defeats Erik Killmonger. Doctor Strange defeats Kaecilius. Therefore, the question naturally arises: defeat is impossible?
Even what happened in Avengers: Infinity WarToday it is almost anecdotal. In this film, more than ever in the Marvel Cinematic Universe, you can see a series of broken heroes experiencing failure and pain. Isn’t this search possible in other cases? Heroes never lose? It even works as a message to the audience: life is more about disappointments and defeats than glory and success.
If the rate is not so strong, the opposition of one and the other in some cases may not be decisive. This is something that happens repeatedly in the animated adaptations and in the comics. The main feature of villains is that they always come back. This is his return to the late game, the saturation of the confrontation, because the hero’s opponent becomes a mirror for him; the struggle is not only against oneself, but also for the idea of morality, justice, ethics and other values.
Opportunity for the Marvel Cinematic Universe
When considering the structure of this narrative, one of the most frequent criticisms is that its villains are often poorly constructed. There are potholes in the antagonist’s story that diminish his powers, minimize his quest, and therefore condition his career in the Marvel Cinematic Universe. Part of the issue of perspective, summarized in the previous paragraph. But the recognition of this shortcoming is, in fact, the opportunity to correct it.
The current context of this story is large and confusing. Resuming different roles. A few classic characters step aside. There seems to be a clear interest in exploring the history of more mundane superheroes like Daredevil, while opening up gaps between universes, galaxies and mythologies, but not knowing what the next key event might be or who the main villain of this phase is. ., no doubt about Kang the Conqueror or the role played by characters such as Zemo or US agent in possible adaptation Thunderbolts.
While this is a more complex topic, and these are just a few of the ideas that can be offered in this regard, continuing to explore this type of character and others that may be represented could help bring the Marvel Cinematic Universe out of the monotony it usually falls out of the formula, which is only contradicted by some of the author’s statements. The paradox is that these films, like Doctor Strange in the Multiverse of Madness or Thor: Love and Thunder, they are not entirely convincing to the audience. Perhaps because he had long been accustomed to such proposals.
