Marvel Cinematic Universe

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>niggas brining up Watchman like it's actually good or interesting

Things comicbook fans regard as good are usually a prototype for another genre and smashed to fit the mold. It's good because it's different, not because it's actually good. Watchman is basically Alan Moore doing a crime drama where a rogue capitalist tries to avert prevent WW3 because he's smart, a crazy guy has his own morals that he is willing to see through, and a massive cuck falls down before the new world order.

Moore had good artists and for the most part is able to not let his own morality and world view infect characters, sometimes. He's one of those writers I don't get the hype for him because he seemed to just like old myths and be British Commie (Angl*'s make me vomit and wish Arthur would come back from Avalon and kill them already).
Everything I read from him as either been a thinly veiled political dump, a halfway decent concept ruined by his writing, or just edgy shit that you'd like if you were a teenager.
Granted, Moore is a crazy fuck that doesn't even seem to understand why people find Rorschach a sympathetic character, and Watchmen itself being a deconstruction of the superhero genre means it probably couldn't exist without the decades of work before it building up the tropes. I simply point to its lasting legacy as a contrast to the bloated messes that Marvel/DC canon have become, and part of that I attribute to its short, self-contained storyline.

It's tough for anyone new to the medium to know how to start getting into American comics these days. Even if you pick up a book of your favorite hero, you're almost assuredly going to be in the middle of a story with no context, referencing events from stories you've never read. And God forbid you find yourself in a crossover, you'll be completely lost. That's before they do some major retcon that resets the status quo and removes any investment you might have had. No wonder comic books are in the state they're in despite the capeshit movie boom.

Bringing this back around to the topic at hand, the MCU is in a similar situation now, admittedly to a lesser extent, but the problem is getting worse. Consoomer faggots like Moviebob will claim that you don't actually have to watch everything to understand what's going on, and that's true to an extent, but that's not what Disney's marketing team wants you to believe. They put the pressure on the viewer to watch every single movie and TV show, regardless of quality, just so you stay in the loop. But with 32 movies and eight TV shows released so far, that's something like 100 hours of shit to watch if you're starting fresh, and that's a lot to ask of someone who just wants to watch a new movie. This will only get worse as more gets added to the pile.

I'm just here for the schadenfreude at this point. Slapping the Marvel logo on a movie isn't a guaranteed billion-dollar success anymore, and the Rat has too many debts to afford continued losses with the bloated budgets these movies demand. The whole Jonathan Majors debacle is assuredly throwing a major wrench in the works since they were building him up to be the new primary antagonist; turns out that hiring an aggressive woman-beater doesn't look good for a "family-friendly" company. The movies are going to look worse with dumber stories, the box office returns are going to continue to stagnate as audiences get bored and check out, and only the most diehard consoomers will continue to shill for them. The MCU is effectively dead now, and Disney only has itself to blame.
 
I kind of want to point out that Superheros as a Genre isn't bad.

My Hero Academia has slipped in it's last arc but it has enough good in it that it blows the shit out of anything in the west Superhero or not.

I simply point to its lasting legacy as a contrast to the bloated messes that Marvel/DC canon have become, and part of that I attribute to its short, self-contained storyline.
Some of the problem is that Marvel/DC saw how people considered Watchmen to be "deep" and have spent a great deal of time and effort to be considered "deep" themselves while not understanding that everything being a Deconstruction of the Genre basically spirals into a bunch of Navel Gazing and Fart Huffing bullshit. Which is why the early Marvel Movies worked, they didn't buy into any of that deconstruction shit, they let the Heroes actually be themselves.
 
My Hero Academia has slipped in it's last arc but it has enough good in it that it blows the shit out of anything in the west Superhero or not.
The funny thing is, despite the MHA manga becoming shit since a while, the finished spin-off MHA: Vigilantes is probably one of the best underdog superhero mangas you can find. Hell, it actually surpassed the main manga in terms of story & even the official Spider-Man: Fake Red manga that got axed after 20 chapters (still a great story tho).

Speaking of which, Marvel & DC had better mangas than comics. Deadpool Manga (great read btw) outsold everything that came out in it's month, this includes other Marvel comics, & that had a digital-only release on Viz. The One Operation Joker manga DC had about Joker fathering a Batman turned into a kid is peak comedy kino in DC's history.
 
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part of me finds it irritating that they continue to stick corporate poison in their mouths
that is why i started to hate the fandom menace. there business model is to shit on woke corporate media so they can profit on super chats and clicks.

any reasonable or logical person can see the woke and walk away. but the fans, that spent years of their lives over the ip, who now hate that ip being woke can't walk away because they invested too much of themselves into it (the sunk cost fallacy).

the fandom menace knows this about the fans and are taking advantage of the fans.
 
the fandom menace knows this about the fans and are taking advantage of the fans.
I honestly don't understand how anyone can follow The Fandom Menace anymore unless they're a complete corpo brained retard.

I was there. It was fun between 2017 and 2019. I can understand people maybe even having hope things would change.

But after The Rise of Skywalker, everyone should have gotten the hint and moved the fuck on. It's fucking pathetic to still be hung up on childrens properties that aren't catering to you, but to pay people money who say it? WTF is wrong with the past two generations?
 
is wrong with the past two generations?
Sunk cost fallacy. Anti-woke movements have been fighting for almost a decade now against this kind of stuff and nothing has changed. 2020 was the political equivalent to what you're talking about, and there's still plenty of people who stuck around to complain while the smarter people got off the ship before it went under.
 
The funny thing is, despite the MHA manga becoming shit since a while, the finished spin-off MHA: Vigilantes is probably one of the best underdog superhero mangas you can find. Hell, it actually surpassed the main manga in terms of story & even the official Spider-Man: Fake Red manga that got axed after 20 chapters (still a great story tho).
Agreed, MHA has dropped off a cliff but Vigilantes was a great ride and the only complaint I have is a longer epilogue with more interactions with Crawler and Popstep. Manga tend to drop the ball a lot in their endings, so any story that is fully completed and has a solid ending is a treasure.

American mainstream super hero comics on the other hand... fuck I got into them around the clone saga time, I cannot fathom what I would find if I just grabbed a random issue of Spiderman or Xmen. Even if it wasn't something pozzed, odds it would be thesame status quo or some random shit till the quo is forcefully restpred in a few months. Also the volume produced doesn't help. 12 issues a year that go at a snails pace is horrible for a meandering ongoing narrative that changes writers and artists frequently.

Some prolific writers do manage to create their little ending lile whoever mentioned Ennis with Punisher. The one I remember was Hulk when Peter David finished his run. As far as I'm concerned, that's the ending of the Hulk, but these moments are very rare and only have impact with writers that spend a very long time on a book.
 
As in Pete's a cuck now and they remarried or there is a new cuck character that married MJ? Also, is there a bull?
Kinda worse than that.
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From the same storyline, not in any particular order:
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TL;DR: Spider-Man worst enemy is Marvel Comics itself.
 
Holy fucking shit! Also, has Romita Jr had like 25 strokes or who is the incredibly shitty copycat? Poor Pete just can't avoid the character assassinations...
 
Agreed, MHA has dropped off a cliff but Vigilantes was a great ride and the only complaint I have is a longer epilogue with more interactions with Crawler and Popstep. Manga tend to drop the ball a lot in their endings, so any story that is fully completed and has a solid ending is a treasure.
I have a soft spot for Vigilantes that I don't really have for the mainline and while I agree that a longer epilogue would have been good it also would have been a chance to screw the pooch. I like what we got in the end and am honestly more likely to reread it than the mainline manga.
I am laughing pretty damn hard. All this needs now is the revelation that somehow the kids are actually Osborne's.
 
Is there a dedicated Marvel comics thread?

Within a week I discovered the new shit in Spider-Man and found out about the hilarious way they had to explain The Punishers character (while also emasculating him) because they think chuds don't "get it", so I'd be nice to laugh at the million other stupid things I'm sure is going on.
 
It's heartening to see so many Vigsbros in here.
Howdy, my Skycrawlers!

As in Pete's a cuck now and they remarried or there is a new cuck character that married MJ? Also, is there a bull?
The situation is MJ got stuck in another dimension with a mysterious guy called Paul, and when Pete managed to rescue her, 5 years had passed in that dimension and she had formed a family with Paul.
But as it turns out, they just found the kids in that dimension
And Paul is the son of the villain of the arc
And the kids weren't real, they were "chains" of the villain's spell to bind MJ to some prophecy shit, and when the spell completed, they ceased to exist
And the prophecy was that MJ had to die to resurrect some God or some shit, and Kamala Khan shapeshifted into MJ and got killed in her stead, undoing the prophecy

The funniest part was that there was a flashback panel of Paul looking sad, sitting on the edge of a bed, with MJ in the background, and he says "I'm sorry, I should have told you sooner"
Which led people to theorize he was impotent, or had no dick, or was a pooner

In the end the thing he "should have told her sooner" was that his dad was the villain, but still funny
 
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The situation is MJ got stuck in another dimension with a mysterious guy called Paul, and when Pete managed to rescue her, 5 years had passed in that dimension and she had formed a family with Paul.
But as it turns out, they just found the kids in that dimension
And Paul is the son of the villain of the arc
And the kids weren't real, they were "chains" of the villain's spell to bind MJ to some prophecy shit, and when the spell completed, they ceased to exist
And the prophecy was that MJ had to die to resurrect some God or some shit, and Kamala Khan shapeshifted into MJ and got killed in her stead, undoing the prophecy
This reads like a 5 year old's OC fanfic while high on sugar.
 
If they were serious about the mantel thing they would have made Spider-Girl a real thing and made everything about her instead of Miles
 
Why is the US comic industry so constrained to being almost nothing but superheros? Manga and subsequent anime is extremely diverse in genre, audience, themes, and presentation. The US by comparison seems to be locked to reused superheros. If an artist can just pick up paper (or tablet) and make their own serious comic, why is there no comic scene that isn't superheros in the US?
 
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Why is the US comic industry so constrained to being almost nothing but superheros? Manga and subsequent anime is extremely diverse in genre, audience, themes, and presentation. The US by comparison seems to be locked to reused superheros. If an artist can just pick up paper (or tablet) and make their own serious comic, why is there no comic scene that isn't superheros in the US?
there was some variety stuff in the early post-code era but a lot of the CCA guidelines were "everything that EC is doing (aka not capeshit) is forbidden because it's assraping Marvel and DC" so most of it was clearing the forest so capeshit could grow
 
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