Introduction

From starting out in producing a comic strip for a New York newspaper, Stan Lee birthed Marvel. Challenged by future head and creator of DC comics, Stan Lee found the drive to produce his own band of superheroes who had their own excursions and events. 

The development of the brand which developed from comic books soon spiralled toward visual aspects such as television programmes, first generation games for now least common platforms such as gameboy colour and gamecube, before breaking into the film industry and slowly gathering a larger following and popularity. 

Accessed: http://en.wikipedia.org/wiki/Game_Boy

Marvel is all focused on participation of the fanbase which is very important in terms of distirubtion, "hype", and involvement of fans. The following has significantly grown from a niche market surrounding the comics to the multimillion blockbuster films you seen today with a few links between that helped the development process. 

As a brand, Marvel has learnt to diversify, not just to create a wider audience and following, but to produce a lot of different texts to meet the needs and interests of the audience and to peak their interest. This has been significantly developed as the popularity has grown and stretched from Newspaper readers, to younger kids and beyond. 

My case study looks into the need to have role models in an imperfect society and the popularity within this, as well as the need to participate with the texts and give their input and take through fan websites. I've looked into the variety of cross platform texts that have been made available to fans as well as how these have grown the fanbase, showing the success in the process of creating various texts for various platforms to appeal to as many types of people as possible, in the US, UK and worldwide. 

Cross Platform Developments

X-Men Comics

Marvel Comics, original text of which all other cross platform and ‘secondary’ texts have derived from. Created by Marvel owner and creator ‘Stan Lee’. Aimed primarily at a male audience younger than 15 years old. Print Media based of which now is a dying form, so less popular apart from with ‘collectors’, aged 20+. A changing dynamic, however luckily spanned out into visual moving images to develop the audience and demographic targeted at. Originally created 75 years ago, since then has developed into texts compatible for TV and film, and more recently on cross platforms. The convergence of print media found them mainly in newspapers, however development in popularity created their own comic book companies (Wright, B, W, 2001)

Accessed through creativecommons.org, https://c1.staticflickr.com/9/8542/8697182433_0bee240469_z.jpg

Xmen Arcade

‘X-Men Arcade’, a game made for an Arcade environment for the playing of 6 people. Simple 2D graphics, developed in 1992 and produced by Konami. Simple characters with Comic book outfit styling as well as little gore for a younger audience, similar to modern day TV programmes on Disney XD such as ‘Ultimate Spiderman’. Developed from the comic books and styled closely too, produced for many cross platforms with strong links from the original print platform X-Men was produced for; PlayStation 1, Gamecube etc, multiplayer gameplay included and developed for the make the text multi platform and multi player.

Accessed through creativecommons.org, http://www.gamefaqs.com/arcade/575527-x-men-the-arcade-game/images/screen-18

Newer Game Releases

'X-Men Origins: Wolverine’, published by Activision, released in 2009, on Xbox 360, PlayStation 3, Windows, Wii, Nintendo DS and PSP, aimed at a male audience still, however at a more teenage age range. From developing a text around the ‘back story’ of the main character of X-Men, it creates more interest and insight within the characters and story development. From this still for instance, the colour themes and colour connotations imply dark themes such as violence, danger, death, warning etc. The camera angle of which also implies an imminent fight, supported from the stern face of the dark dressed figure. The hidden identity of the character in the foreground and lighter clothing implies he’s a ‘good’ character with a mysterious past, possibly implying he’s the main character. This still shows the sort of complex back stories which would appeal to older teenage audience. The multiplayer option as mentioned in the Arcade game, is now available on the platform Xbox 360, which has the Xbox Live option which enables gameplay across the world in a large amount of countries, and also releases extra game content for dedicated players.

Accessed through creativecommons.org, http://hdwallpappers.com/wolverine-x-men-origins-of-wolverine-wallpaper-2/

Superhero Identity

Gauntlett’s theory of identity lies within the choices of modern western societies, in which texts and products must be somewhat relatable to the audience in terms of identity and lifestyle, even if the preferred options tend to be obvious and conventional. (Gauntlett, 2002)

Within the creation of Marvel superheroes, stood the growing fanbase of young boys of which saw the heroes of the Marvel comic franchise as a source of inspiration. From 1961 where the first comic was born from the company, the characters within the rival company ‘DC comics’ were portraying strong patriotic characters in an attempt to produce significant role models for the growing fans. Despite this attempt, the evolution and development of characters from the creators within Marvel comics made an attempt to create more relatable and inspiring characters to try and help fans find and discover their identity. The theory of an ‘identity crisis’ within younger people is a very common occurrence, and so to create characters having similar problems, creates an inspirational role model in which the audience can relate to.

Accessed: creativecommons.org; http://jey2dworld.deviantart.com/art/JUSTICE-LEAGUE-OF-AMERICA-and-THE-AVENGERS-WIP-358004513

Technological Development of Marvel

From the first film to the most recent, technology has developed staggeringly over the years. With obvious audio technology developing and enhancing the viewing experience, the CGI technology has become more believable on screen.

In the first X-Men film, the character Mystique undertook an incredible change to her physical appearance which did not rely on Computer Generated Imagery, but between 8 and 15 hours of applicated make-up and prosthetics which took 5 hours to remove when filming with the actress’ face.

In one of the latest instalments to the series, in Canon with the previous trilogy, the sequels contain a character called Beast. He appears in the original films, as well as animated TV series, and comics, also has a long application process of make-up, however in X-Men: First Class, they rely on CGI to transform the actor into the blue bear like character, which possibly reflects a larger budget, and larger skillset due to the developed technology.

Accessed: creativecommons.org - http://www.starwars7news.com/2013/09/lucasfilm-shifting-video-game-assets.html

In relation between older texts and newer texts underneath the Marvel company title, the older comics obviously contain a larger demographic of characters of which weren’t popular enough to make the ‘cut’ in the modern films. However a strong link between the older characters and the new films have been portrayed as background characters such as ‘Jubilee’ and ‘Shadowcat’. This also creates a definitive link across the cross-platform texts which can be relatable. 

Context: Regulation/Institution

In 1961, Stanley Martin Lieber, closing in on 40, working for Management Company magazine. Writing corny lines for “Golfers anonymous”, not using his real name, signed them Stan Lee. A golf game between Martin Goodman and Jack Liebowitz (rival publisher of DC comics) told Stan Lee of a popular comic publication which had been a big hit consisting of “The Justice League” Characters i.e. Wonderwoman, Superman, Batman, Green Lantern. He gave Stan Lee a mandate to steal his idea and create a team of superheroes. This is where The Fantastic Four concept was created. (Marvel Comics, 2013)

The success of the first issue of The Fantastic Four, and first Marvel comic ever to be distributed in 1961, came from the distinct personalities Stan Lee had created within the characters with “The Thing” being described as “a heavy – not really a good guy” of whom could go rogue any second. This was a strong juxtaposition from the patriotic upstanding characters of the DC comics ‘Justice League’ such as the Green Lantern.

A main popular contender to the rival DC comics was X-Men, which again was not based on patriotic characters, but a “gang of ostracised mutant schoolchildren”. The Marvel comics creations are based on a variety of phantasmagoria dimensions of which are explored by both mutant/superhero characters as well as the more mortal choices.

“There are stories that can be told in the modern idiom that simply would not have been possible under the commercial and standards considerations of those formative years,”  said Marvel Senior VP - Executive Editor Tom Brevoort.(marvel.com, 2014)

Even after the growing success of the comic industry which sat in Stan Lee’s hands, the industry was still subject to cyclical downturns. What soon turned into a new decade, the 1970s saw in a new generation of creators. Being previous admirers of the growing franchise, they continued to develop the company as it changed hands from Goodman, however placing Lee in charge, giving Lee the scope he needed to pursue TV and Film deals to try and break from the precipitous industry he was currently involved in.

Themes and Creation

The Marvel X-men trilogy has a strong canon sequence, from which set the basis for many sequels and prequels to be developed such as X-Men: Origins, X-Men: Last Stand, and the latest venture, X-men: Days of Future past, all based on the stories created by Stan Lee, portrayed within the comics. The primary texts being the original comics, of which the secondary texts (films) were developed (Brooker,W., 2003)

Other secondary texts which also developed from the original comics, include animated TV series, apps, an online website as well as many multiplatform video games, enhancing the franchise and ghosting a wider demographic.

Accessed: creativecommons.org -
http://hapeedevil.deviantart.com/art/Juggernaut
-Vs-X-Men-327158237

The themes within the Marvel franchise, specifically the X-men series, are similar to that of The Matrix, where the films break codes and conventions surrounding power between individuals, suggesting a hierarchy, as well as racial supremecy, which in the case of the X-Men films, differentiates the people with special abilities from the “normal” humans. Furthermore in other texts from the Marvel company, such as the Iron-Man films/The Incredible Hulk and Blade, the characters are discriminated and prejudiced against because of their differences and special qualities, and so attempt to combat oppression, in the form of a villain. This is a significant note to make within texts which contain strong fantasy aspects.

An interesting theory from William G. Doty, is that race is often considered to not be a problem and to be somewhat ‘nonexistant’, and similar to the world of The Matrix, is hidden from the naked eye. The use and creation of such products which challenge, race, prejudice and discrimination, creates a theme within similar ‘superhero’ style films, and reminds audiences that the issues the characters are experiencing and relatable to real life situations (Doty, W.G. 2004)

Audience, Participatory Culture, Interactivity

Marvel has been popular for many years, with the promise of a number of film deals in the future coming into light, as well as continued animated TV series and more. Turning to a more serious nature of why films and franchises’ based on Superheroes are so popular, relates to the ‘social climate’ of the world in which the people/civilians are living in. When people are uncertain in the economical climate, and need reassuring, the ‘popularity’ of the superhero can be classified and associated with a sense of youth culture, freedom, and a ‘rise in spirituality’.

With the general idea that the public are ‘united’ due to the culture of Superheroes, the genre has therefore been taken in by a broader range of consumers, the audience developing from younger kids, mainly masculine to a niche audience of female teenagers, and so called ‘die hard’ fans who have followed the culture and theme from an early age, being the the 30+ age bracket (Oropeza, 2005).

The way in which audiences find popularity in films can be swayed by conformity, which a general masculine persuasion due to the strong masculine influence within the genre of films. Due to modern popularity, men feel compelled to see these films due to a male popularity fanbase. The female fanbase is weaker, but growing in popularity and revolves more around merchandise and alternative forms of distribution/involvement.

A variety of aspects within Marvel films appeal to these wider audiences for example:

-        Muscles/masculinity/role model for female i.e. Chris Evans in Captain America

A physical appearance that is aesthetically pleasing to the eye attracts a strong female fanbase, especially of an older audience due to popular celebrities taking on the roles with either humour, believable acting, or just pure muscle. This is a strong attribute that directors flaunt within Marvel films, such as Captain America to create wider distribution, as well as to reflect a positive male physique which could be appealing to a male audience.

-        Role model – strong/protective/patriotic – male audience

The strong masculine character who acts protective of the other character, who takes control and power over evil is a strong attribution that the male audience craves to represent. This could be a way of finding out their identity and finding comfort in something they’d like to think they’re related/similar to.

-        Action/super powers/ abilities – Kids

The focus on role models with in my Marvel case study doesn’t strive from individual accomplishment, but on the other hand the emergence of a cultural context within the moral high ground of the 'superhero genre' produced, strongly supports the broad participation in both the production and the distribution of the media texts. (Jenkins, 2009)
Even the villains which have been made more pronounced in recent years, have redeeming qualities of which kids could be inclined to see as a 'role' model. An example of this would be Loki in Avenger's Assemble who regrets his actions, learns from his mistakes, showing good

Accessed: creativecommons.org - http://crazyeli.com/
x-men.html

qualities that younger generations are expected to reflect in their behaviour. Both the villains and heroes are depicted as both to give the audience an active participation within the film to decide their morality and whom they believe more likely to take their word as truth. They are depicted as troubled and confused and need to overcome their own personal issues, making their characters more relatable to a wider audience. This is a key feature in Marvel films and has consistently been relied on for development of plot and a sturdy narrative structure. The cross platform derivative in the form of merchandise, gives the younger audience a chance to interact with the text by dressing up and reading books and relating to it in their own way.

Narrative Structure

The good guys and the bad guys base the plotlines in most of the superhero films, with the good guys obviously being superior. This complex is age old, spreading across other genres such as Western, with the classic western standoffs, as well as Sci-Fi, and even Romance/Rom-Com’s. Where all stories have conflict, that of the Superhero genre attempts to try and connect with the younger generation where the good guys always win, giving the positive impression of the moral highground owned by the superhero and creating a role model. The idea of a role model is a common recurrence in public discourse (Gauntlett, 2008). The name relates to ‘someone to look up to’, and someone of which you could base your character, and aspirations upon. In real life, there have been many newspaper articles and reports which have related real life celebrities as being role models, though not always positive ones, such as Victoria Beckham giving a positive impression relating to pregnancy, not always being the best intention toward teenage girls.

Reflective Post

Through my analysis of Marvel, specifically X-Men texts and cross platform developments, I have discovered that the wide variety of cross platforms have a selection of features which appeal to almost every audience, from younger under 10s with the morning showings of X-Men and Marvel animated TV series on channels such as CITV, to the older generations with a more serious twist of events in the more recent X-Men developments, being a lot more plot line focused and developed based on the original comic book series. This has supported my concept of participatory culture as there is no general bias due to factors such as gore and violence, enabling a wider audience to take part and consume a majority of the cross-platform texts which Marvel has to offer.  

Across my analysis, I have found out the birth of a new genre which derives across multiple platforms such as action, thriller, sci-fi and fantasy, encompassing them all into a new 'Superhero' genre. An example of this would be Avenger's Assemble, a Marvel text released in 2010 which encompasses the action fighting sequences, the sci-fi alien involvement, the shocking deaths and double crosses and the fantasy gadgets, technology and men with super powers! This has been further based on my theory of role models within the texts and case study of Marvel, producing a strong moral threshold for younger audiences, particularly under 12's. I have discovered that a number of films across genres, and texts across platforms hold a strong idea of creating role models and having strong moral values within their texts to appeal to a wider audience and to keep honest values within their texts.


Furthermore I have learnt of the development process, which has enabled the same characters and storylines to be portrayed across a wide variety of platforms. The strong development was based on the comics, being a popular print media, before spreading toward visual and audio media. Novel based texts such as the animated TV series were compiled and then developed into the blockbuster modern series of films which were adapted further from the big screen. From starting in an office in America making comic strip lines for cinemas, to what we see today is a very significant business development within our modern society. 


X-Men: Days of future past is due to come out shortly, showing the focus of my Marvel case study is to be based on the larger money making blockbuster films within the film industry. To be released on 22nd May 2014, this is due to be one of the biggest box office making films of 2014 due to its increasing following and popularity among fans. These films are what the future of the Marvel products will be focused on. Although the comics will still be in production on a smaller niche market scale, and games aimed at a primarily male audience aged 12 + across platforms such as Xbox 360, Xbox One, Playstation 3 etc. 
There have been firm plans in place to produce more popular RPG (role playing games) for a wider teen fanbase, as well as a slightly older 20+ demographic, with a further potential for cross cultural interaction.

Conclusion

Overall, the convergence of cross-platform texts has been the upshot to success of the Marvel franchise, spanning from the US, successfully to the UK and furthermore worldwide. The application of a variety of print and digital interactive media texts from this case study have seen very popular with the main target audience. Although initially limited to print media based around the Newspaper company the creator worked for, they quickly developed and grew toward digital media influences. With this, the audience grew also, starting from 30+ business men who read the newspaper shorts, to 15+ teenage kids who read the comics, and further to virtually anyone with the birth of their daytime TV programmes, blockbuster films across a variety of superheroes as well as merchandise and video game capabilities.

The development of technology has been a large asset to the Marvel case study, with TV and social interest developing across platforms such as Xbox 360/One, Nintendo (DS, Wii), and Playstation 3/4. This has broadcast the talent of the Marvel company toward a wider audience, across all ages, and has made the texts and products more accessible and efficient. With Marvel more frequently focusing on their successful texts, the X-Men trilogy, and beyond is tying in all future Marvel films to create a converged Marvel piece in order to appeal to a large audience of a variety of ages all at once.

Over my analysis, I have found that the the identities of Superheroes are based upon the choices within the stronger Western Society of which David Gauntlett theorised, stating that even if the choices were obvious and somewhat conventional, those were the ones that sold and made a popular following.
Looking into the history of Marvel texts for context on institutions, I found that Stanley Lieber (or Stan Lee), was keen on making his portrayed characters overly relatable in the way that the 'X-Men' are a group of outcast schoolchildren, of which all children at one point or another are bullied, therefore can make the link.
Bringing in genre to my analysis, the constant themes and creation of this fantasy genre are constantly breaking the boundaries of classic codes and conventions such as; power battles between characters, hierarchy and racial supremacy which in the case of the X-Men texts, in between the 'mutants' with abilities.

Overall, the process of analysis has shown the true cultures and themes representative within modern films, and the birth of new genres in the modern film industry. This also reflects the difficulty to classify films due to the mix of genres and characters, as well as repesented cultures within. This has shown how the popularity has grown over the years through development of technology and subsequently audience.

Bibliography

Brooker, W, (2003) "Canon" from Brooker, W, Using the Force: Creativity, Community and Star Wars Fans pp.101-113, UK: Continuum

Doty, W. G.  2004. The Deeper we go, the More Complex and Sophisticated the Franchise Seems, and the Busier we feel. In: Jacking in to the Matrix Franchise: Cultural Reception and Interpretation. Eds. M. Kapell & W. G. Doty. New York & London: Continuum Books.

Gauntlett. D., 2002, 'Media, Gender and Identity'; Routledge, accessed online: http://www.theoryhead.com/gender/extract.htm

Gauntlett, D., (2008), Media, Gender and Identity, second edition, p30, NY: Routledge.

Jenkins, H., (2009), ‘Confronting the Challenges of Participatory Culture: Media Education for the 21st Century’, MIT Press

Marvel Comics: The Untold Story, p2, Sean Howe, 2013, Harper Collins Publishers

Marvel.com, 2014 Marvel, accessed: 12 April 2014

Oropeza, B.J., (2005), ‘The Gospel According to Superheroes: Religion and Pop Culture’, p229, Peter Lang Publishing Inc, New York

Wright, B, W., 2001, Comic Book Nation: The Transformation of Youth Culture in America,  JHU Press