If we have to die, then it's best to do that – in spite of your reaching a very large age – the world of dance for your melody. Stan Lee died in the manner of Charles the Great. Marvel Cinematic Universe now holds on to a popular culture to compare with the dominance of the Holy Roman Empire of Europe in the ninth century. Carlemagne died at 72. Stan Lee has reached 95. So, in one sense, the emperor died more successfully than the Frankish giant.
The top triumph took a while. To live as a pupil of Marvel in his golden age – in the early sixties to the mid 1970s – he was part of a subculture that lost control and passed to the mainstream. The feeling of cult membership was more pronounced if you lived on this side of the Atlantic. Marvel made sporadic efforts to re-release in the United Kingdom. (In 1976, she even started and initially mistakenly named the title Captain of Britain.) Some versions are printed in black and white. Some stories were cut into smaller ones to adapt to those who were erected on a triple Tiger i Beano. But real juice is found in American sources that are hard to find.
Writing at a time when all the popular cultures of all the eras flow in the constant flow of infinite channels, it is difficult to communicate how much it seemed to those comic strips. They seemed unsuccessful and inexplicable as if some mystic kabals were controlling their distribution. One stubborn rumor claims that American comic books have been shipped as ballast in navigation in the ocean. All we knew was that each time and then, without warning, a stack appeared in the darker paths of the press. This Spider Man they can give it all year before. This Luke Cage Maybe they arrived in just a few months. Smelling American.
The cultural distance between the United States and Western Europe was immensely higher than today. We've shown ourselves to barely probable (border false, now looks) advertisements for tastes and technologies that belonged to other planets. We've gotten out in the very size of Marvel Universe. And we warmed up on the drafted version of Stan Lee, then publisher Marvel, who appeared sporadically in his organs.
Reading American comics in an uneven way, it was difficult to keep track of current soap operas
Like Alfred Hitchcock, he developed a personality that contributed to the deception of art. Brkovi bršljani, extravagant hair, he attached an informal patois that you did not get from middle-aged men east of Martha's Vineiard. The publisher had phrases. "Nuff said" he finished any argument. His columns closed with "Excel". We were interested in liberated civilians who embraced "candy" and "nylon" from stupid stupid stupid ones. Some references have been lost on us. It took me many years to figure out why Spiro Agnew, the vice-president whose predatory shame preceded Ricardo Nixon, was such a figure that led to Stan. This ambiguity only added attraction.
We also dealt with two newspapers characterizing Marvel's victory in the 1960s: embrace everyday weakness and the creation of a wider universe that covered all the titles. Reading American comics in an uneven way, it was difficult to track current soap operas, but it remained clear that Peter Parker, the alter ego of the Spider-Man, had an inner life that Alf Tupper did not get (working glass in the Victor) or Union Jack Jackson (British Marine in Hotspur). He had a weak aunt. He had several girls. He was mistreated at school and then at school Daili Bugle. "Monsieur Parker, c'mon moi," as Flaubert did not say.
It was the second innovation that was most useful in acquiring Marvel's current domination. The publishing house placed "Team-Ups" in which, say, Spider-Man and Namor Submarine would avoid that Armageddon for a month. Dr. Doom was most often a Fantastic Four antagonist, but he also had cracks with Black Panther and Iron Man. The heroes gathered as Avengers and Defenders.
The most successful franchise
It's surprising that Marvel took the office for so long. The two big ambassadors of DC Empire – Batman and Superman – triumphed in earlier franchises, but it was not until 2002 that Spider-Man Sam Ramy managed to throw him out for Marvel. Six years later, Jon Favreau Steel man launched the Marvel Cinematic Universe. Episodes of Captain America, Thor i Avengers then. After investing more than $ 15 billion, the series is now the most successful franchise of all time. Helps the characters to be strong. It helps more – in a era dominated by sequels and spin-offs-they inhabit a fictitious universe that seems destined to expand as long as it is the real universe. It will soon be a little bit more than MCU movies to be seen on your local cinema. Even Karlmagne could not have imagined that.