Running Head: ESSAY

Theme Park Films? The Marvel Cinematic Universe and Transmedia Storytelling

[Name of the Student]

[Name of the Institute]

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Table of Contents

Introduction ..................................................................................................................................... 3
Discussion ....................................................................................................................................... 3
Conclusion ...................................................................................................................................... 7
References ....................................................................................................................................... 8
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Theme Park Films? The Marvel Cinematic Universe and Transmedia Storytelling

Introduction

This essay will analyse the transmedia storytelling’s practice in relation with the famous

franchise of media that is officially termed as the “Marvel Cinematic Universe (MCU)”.

“Transmedia narrative” is considered as a phrase that is knows as storytelling wat involving

different media platforms, like television, movies, series, interactive websites and comic books,

and every composition is related to the others composition in the events, characters, natural laws,

objects and values, forming a fictional universe (Graves, 2017). This essay will reflect on the

way theories and concepts of “transmedia storytelling” assist the individuals to know the

opinions and current debates in “Marvel Cinematic Universe (MCU)”. At the end of the essay an

opinion will be provided about the authenticity of the filmmakers in targeting the way to make

the films of marvel which is used recently by Marvel Studio.

Discussion

Fictional universe of the Marvel was categorised by Jenkins into “radical intertextuality”

for their “being mono-medium compositions” amongst the films and comic book (Jenkins,

2003). It was argued that “the Marvel Cinematic Universe” is a multimodal not only cinematic,

which interconnected fictional world that contains television serials, feature films, tie-in comic

books and short films, hence, it is not constituted on mono-medium compositions. Even this was

not in the knowledge of Henry Jenkins, with accordance to his statement, “the Marvel Cinematic

Universe is a transmedia narrative” (Jenkins, 2003).

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The “Marvel Cinematic Universe (MCU)”, Part of an Unconfirmed Universe / World of

History was founded in 2008 by Marvel Studios based on its character from Marvel Comics with

the advent of great Iron Man films (Graves, 2017). Many have entered this unconfirmed universe

in the past eight years. At that point, the “Marvel Cinematic Universe (MCU)” had become the

world's $ 9 billion film network with the highest sales worldwide and founded “Harry Potter,

James Bond, Lord of the Rings or Star Wars” (regardless of this) more than ever (Scott, 2017).

As Box Office Mojo has indicated, the New York comic community has earned $ 623

million from its “Marvel movie Avengers (2012)” and another $ 459 million from “Avengers:

The Age Ultron (2015)” and these are just two of the few films that have successfully worked on

film budgets in recent years, and many others that are in development or design that rely heavily

on fate and the crowd to travel the world (Cliff, 2017).

“The Marvel Cinematic Universe” is working on planned stages, which means that the

producers of Marvel Studios will create a calendar with current president Kevin Feige about the

episodes of the films they are likely to make and break them down into smaller sets and stories.

There are now three levels with a period of three to four years (O'Meara and Bevan, 2018). The

founding phase started with “Iron Man (2008)” and ended with Avengers in 2012. Then this

phase introduced Avengers as a reunion and as the only superhero in solo films, “such as The

Incredible Hulk (2008), Iron Man 2 (2010), Thor (2011) and Captain America: The First

Avenger (2011). Even though they are part of the Avengers, Natasha Romanoff (Black Widow)

and Clint Barton (Hawkeye)” They did not have their own films, but were described as

supporting characters in “Iron Man 2 (2010) and Thor (2011)” (O'Meara and Bevan, 2018).

There are four years in the film world and it all depends on whether you get individual

films. Regardless, there is a lot going on in Marvel at this time and whether one of their films has
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been fixed or not, they may be better known. With Marvel now owned by Walt Disney Studios

(Pyo et al., 2019), a highly effective parenting organisation, they are only more likely to reach an

agreement and begin a third phase. That would lead to twenty-two major hero plans in the eleven

years from 2008 to 2019 (Pyo et al., 2019). The cost of producing twelve pre-released films

ranged from $ 130 to $ 250 million (Pyo et al., 2019).

That should make the difference between the various unverified Marvel universes. These

relationships are called code names. Marvel's first and longest context, which covers her amazing

comics in depth, is called Marvel Universe, the code Earth-616 (Davies, 2016). The last universe

was a good restart of the comic book past from 2000 to 2009; the two kept changing (Davies,

2016).

The MCU is primarily based on the first universe, Earth-616, and its effects can take a

look at an adaptation or hyperlink, which is certain, but it shouldn't undermine and normally

distinguish how Marvel separates two universes regardless of the “The universe they just settled

in. Apparently, this diversity was commonplace given the diverse concept of entertainment and

film (Moon, 2016). Regardless of the end of the MCU title, it also contains “cinematic” material,

but comics - “Marvel Transmedia Universe “have become more appropriately named, he argues

William Proctor. These parties have no universe other than the MCU itself. Marvel Studios is

part of the MCU and has not been selected and accepted that anything outside of the universe

should be considered unacceptable (Moon, 2016).

In addition to the premiere and the upcoming part of the film, there are various TV shows

that are part of the “Marvel Cinematic Universe”. “Agents Marvel or S.H.I.E.L.D. debuted in

2013 and ended its third season”. The system will return at a fourth rate in fall 2016. Carter,

Marvel's agent, was released for the first time in 2015 and ended with the next season in May
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2016. Both systems are broadcast by ABC's Disney Company, almost the same as Marvel

Studios (Graves, 2017). Daredevil by Marvel and Jessica Jones by Marvel have been available in

the renowned Goose Help Netflix since 2015. The Marvel Defenders are on the rise, coming up

less than usual arrangements that would follow some of his TV / Netflix characters, “such as

Daredevil, Jessica Jones, Luke Cage and Iron Fist; How the Avengers video clips gathered their

people from different MCUs” (Moon, 2016).

In addition to this arrangement, Marvel produces short films, also known as “Marvel

One-Shots”, for 4 to 14 minutes, which were awarded as award-winning content in films by

Marvel, for example on Blu-ray. These “one-shots” expand knowledge of the MCU and achieve

fewer sensitivities that could be of interest to institutional enthusiasts (Pyo et al., 2019). The

equivalent is to tie the comics from the “Marvel Cinematic Universe”. Twenty-one have been

fired so far and each has 1-4 numbers. In general, not only do these parties improve the aspects

of the movie and TV / Netflix setup by explaining a bit of sensitivity, but they often give insights

into the following content, almost as much as a (secret) trailer would do (Scott, 2017).

Unlike trailers, however, it is not just a matter of filmic changes to the library structure,

but also additions to the story with public but unclear information. At this point, these payers are

trying to keep their strategic distance from meaningless surpluses. It should be noted that six of

the twenty-one comic titles are common adaptations that have more public scenes, but their

underlying story depends on the films' first show (O'Meara and Bevan, 2018). These are usually

repetitive works that neglect Henry Jenkins' criteria for limiting redundancy and, apart from the

additional elements that add to the whole, are not part of transmedia stories (Jenkins, 2003).

However, many of the other studios try to attack the concepts of Marvel Studio, which in

my opinion is not right as this concept of the fictional story was the initiative of Marvel Studio.
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The attack on the concepts is illegal, however, the main competitor of Marvel, “DC (Detective

Comics)”, utilises their own concepts of fictional universe and compete good to some extent. For

other filmmakers it was totally wrong to copy the concepts of Marvel (Davies, 2016).

Conclusion

After the analysis of the essay, I could be concluded that this essay point out the

“transmedia narrative characteristics of the Marvel Cinematic Universe”. The essay

demonstrated the way Marvel created a common fictional world depending on their personal

comic book world. Consequently, it is not considered just as an adaption, but a world of the

fictional stories which did not depend on others and doing business in their own way. When

building the MCU, Marvel dealt with his own sophistication that he had used for a long time -

related characters, articles, and occasions. They created a free continuum that from that moment

acted as a system and led to various follow-up parts, all of which are points of reference in an

equally unconfirmed world. Marvel participates in personality development by portraying most

superheroes in her independent films to prepare for actions in hybrids where individuals from

superhuman groups need nothing else. Marvel is spoken in the film industry, the television

industry, in magazines and in comics. They use each of these media milestones to give their

stories an abstract perspective, which is also a typical transmedia practice.

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References

Box Office Mojo. Available: http://www.boxofficemojo.com/

Cliff, C.R., 2017. Transmedia storytellng strategy: how and why producers use transmedia

storytelling for competitive advantage (Doctoral dissertation, Queensland University of

Technology).

Davies, J.P., 2016. The “Marvel Cinematic Universe (MCU)”: The Evolution of Transmedial to

Spherical Modes of Production.

GRAVES, M., 2017. The Marvel one-shots and transmedia storytelling. Make Ours Marvel:

Media Convergence and a Comics Universe, p.234.

Jenkins, Henry (2003). “Transmedia Storytelling.” MIT Technology Review.

https://www.technologyreview.com/s/401760/transmedia-storytelling/ (Accessed: Feb 29,

2016)

Moon, M.R., 2016. Thought We Wouldn't Notice, but We Did': An Analysis of Critical

Transmedia Literacy Among Consumers of the Marvel Cinematic Universe (Doctoral

dissertation).

O'Meara, R. and Bevan, A., 2018. Transmedia Theory’s Author Discourse and Its

Limitations. M/C Journal, 21(1).

Pyo, J.Y., Jang, M.G. and Yoon, T.J., 2019. East Asian Perspective in Transmedia Storytelling|

Dynamics Between Agents in the New Webtoon Ecosystem in Korea: Responses to

Waves of Transmedia and Transnationalism. International Journal of

Communication, 13, p.18.

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Scott, S., 2017. Modeling the Marvel everyfan: Agent Coulson and/as transmedia fan

culture. Palabra Clave, 20(4), pp.1042-1072.