Told through flashbacks, this history is inserted before the events of the 1984 Marvel Comics crossover event “Secret Wars”, where Deadpool apparently managed to get a hold of the costume first before rejecting it after realizing that it wants to “bond” (enter into an immersive parasitic relationship) with its host. “Deadpool: Back in Black” #1 reveals an untold tale regarding Deadpool’s purported history with a black alien symbiote which for many years served first as Spider-Man’s costume, and then Spider-Man’s nemesis, called Venom. It is unfortunate that a serious mental disease is used as a vehicle to give writers freedom to tackle subject matters that would otherwise not be possible when held to a stringent editorial direction (in 1989, American comic book writer John Byrne in “Sensational She-Hulk” had the characters address the reader without the need to explain why).īut in any event, as a result, Deadpool’s participation in any story usually takes on a satirical tone that is just as likely to poke fun at the narrative as easily as it would call out the idiosyncracies inherent in the American comic book industry. While Deadpool is part of the continuity shared by all of their mainstream properties, the character is given the ability to break the fourth wall in a humorous way, but attributed to schizophrenia. It's playing off of the canon and that gives you the freedom to do something else.The character “Deadpool” occupies a unique space in American comic book publisher Marvel’s rich portfolio of properties. The first 'Spider-Verse' was like that too. It's almost like a film school exercise where you're like, 'Okay, we were gonna do that but they did it first, so we're gonna have to do something different.' And often that makes you think of something you wouldn't have thought of otherwise, and it makes your thing better because you're having to come up with an off-speed pitch, and not do the obvious thing. “And everything else you just have to communicate as much as possible, make adjustments, and kind of treat what everybody else is doing as a sort of a provocation. You're collectively advancing this humongous mega-story, and you have total control over your little sliver of it,” Miller began. Miller echoed these sentiments while adding that, thanks to so much necessary collaboration, Spider-Man: Across the Spider-Verse (Part One) has turned out even better. And we are always trying to make sure we're not stepping on each others toes and telling different types of stories and different themes and all that stuff, because people want an original story that feels new and interesting. The writers and director are all buddies of ours, so we sort of have been in the loop as far as what's going on. she's been sort of our conduit to knowing exactly what's going on in the 'Spider-Verse' in various forms. Phil Lord explained the challenges that have emerged saying, "Amy Pascal, who was producer on 'Spider-Verse' and also on live-action 'Spider-Mans'. With so many story strands all playing out at once, it should come as little surprise to learn that crafting Spider-Man: Across the Spider-Verse (Part One) has been difficult. Miller’s creative partner, Phil Lord, then chimed in with a more jovial comment saying, "Everything's possible except for this one thing that everyone wants." There is no stopping the multiverse now, and with Spider-Man: No Way Home demonstrating the kind of success and crowd-pleasing moments that it can lead to in the MCU, on top of the likes of Venom, Morbius, and Kraven the Hunter due to launch Sony’s own shared multiverse, Spider-Man: Across the Spider-Verse (Part One) would be remiss not to add its own brand of multiversal shenanigans into the mix. Why would you think a Multiverse, in which many things are possible, that not related?" Speaking on a recent episode of the HappySadConfused podcast, Miller responded to the idea of the MCU and the Venom-Verse bleeding into the Spider-Verse with a pragmatic “why not?” With the sequel, Spider-Man: Across the Spider-Verse (Part One), on the way, writers and producers Chris Miller and Phil Lord have teased a potential crossover with the Marvel Cinematic Universe. The madness of the multiverse has now been unleashed on the comic book movie genre, and Spider-Man: Into the Spider-Verse led the way.
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