Superhero Comics Are Being Hurt by the Movies They Inspire

San Diego Comic-Con revealed a lot of big news, particularly as it pertains to Marvel. With the announcement of Robert Downey Jr. stepping in to play Doctor Doom in the next Avengers movie, here’s a question: what the heck is this going to do to the comics?

The relationship between superhero comics and their expanded media hasn’t ever been even-sided. At best, movies, shows, and games draw upon (and properly credit) the source material in satisfying ways that don’t feel like a more expensive retread. But too often these days, it can feel like comics and characters are introduced with the hope that they come to live-action or animation in two or three years.

It’s a problem that extends beyond the Big Two, but they operate in this space the most. In DC’s case, it usually releases a tie-in comic set in the movie’s universe, or just make a character look more like their silver screen counterpart. These are fine compromises, since they theoretically invite movie viewers to check out comics and don’t interfere with the mainline books too much.

And then you have Marvel, which basically dove headfirst into the synergy game and never really got out. If there’s a big movie on the horizon, you can bet there’ll be a miniseries, comic book arc, or full-on event with a similar premise. Think Civil War II, the later Spider-Verse comics, and whatever’s store for Doctor Doom in 2025: all done to catch the attention of non-fans or remind readers of the big movie that’s coming out in the spring or summer. (As if they could ever really forget.)

Bigger changes happen on a character level: Spider-Gwen’s now a full-timer in the main Marvel universe, and she’ll soon headline a TVA comic. Ms. Marvel is a mutant, while the X-Men have left Krakoa behind and returned to the “hated and feared” mission statement that’ll drive their movie. Hell, Marvel willingly burned Marvel vs. Capcom and the Fantastic Four to spite Fox.

Some moves make sense, or were executed well enough to make you forget the intent. But at their worst, they remind you how exhausting it can be for corporations to prioritize brand uniformity during their big transmedia pushes. Alternate universe takes on these characters can only do so much in livening up Marvel or DC when the publishers treat comics as test kitchens for future movies or games that can then intersect with the comics when needed. And it can lead to diminished returns to see a character or comic run with a neat hook and know in the back of your mind they’re a creator’s pet project for the big screen.

What’s interesting to see is who DC and Marvel choose to loosen that brand synergy grip on. For whatever reason, Marvel seems to be perfectly fine with letting Venom be whatever the hell he wants: in the comics, he’s about to be in the Venom War event while Tom Hardy’s doing queer-coded slapstick in the movies, and one of his two video game versions is a completely different person. Meanwhile, DC has been content with letting Todd Phillips center Joker and Harley Quinn in a pair of prestige movies that don’t have interest in bringing much over from the comics. That both publishers let this happen with characters so closely linked with their individual golden geese says something, but it’s unclear what. Either they’re willing to make exceptions when possible, or maybe they just figure these two characters are effectively bulletproof for whatever reason.

Earlier in the summer, I rewatched old episodes of X-Men: Evolution and Avengers: Earth’s Mightiest Heroes, and it felt like a breath of fresh air. Before superheroes became such a big outfit, shows like these didn’t have to worry about aligning with the movies. Sure, they borrowed storylines and designs from the comics, but they were healthier without cinematic universes breathing down their necks. Again, much of this is a Marvel issue: after Spectacular Spider-Man ended, much of its animated output during the 2010s did its best to match the MCU, either from the jump or later down the line. Those shows had their fans, but they were arguably hamstrung compared to their predecessor shows, and it says something that X-Men ’97 and newer DC series like Batman: Caped Crusader and My Adventures with Superman excel when doing their own thing.

Disney and WB want audiences to have a clear idea of who their superheroes are and what they’re about across all mediums. Desirable as that sounds, the synergy emphasis can’t help but make these characters feel smaller or like toys in a larger corporate game. It isn’t just that there needs to be more of a focus on telling good stories; having the two mediums blend together like this both hurts and further devalues comics. And considering how off-balance the comics-movie dynamic already is, pushing these characters and worlds onto a singular endgame just increases the chances of the entire transmedia house coming down.

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