Is The Purge an example of the Bakhtinian carnivalesque?
So, as The Vision in the MCU, Paul Bettany has been thoroughly motion captured. Any other issues aside, his likeness could be used indefinitely, in a wide range of capacities. Meanwhile, there’s been talk that Wonder Man, another Marvel superhero, will eventually by introduced as played by Nathan Fillion.
In the comic plots, Vision possessed some portion of Wonder Man’s consciousness.
So, what if we were to eventually get a CGI rendering of Paul Bettany, but motion-controlled based on a performance by Nathan Fillion? Which performer would ‘own’ what part of that performance and how would it potentially impact our own impressions of those two actors and the characters they were portraying as independent/inter-related? How would the performers end up relating to one another? Would Fillion be playing Bettany just by looking like him, even if he were playing as Wonder Man?
Recently excised from the ‘What’s in a Name?’/’Identity Crisis’/??? subsection of Chapter 2. Clipped for being wordy, jargony, and too on-the-nose. The Derrida ref didn’t help, even though I’m a Derridean:
Superman is weird because he seems so cleanly iconic but has so many different names!
 Superman, in his mediated status as a current pop culture figure, is an example of psycho-socio-historical, imaginative, often explicitly narrativized discourse. But this is where naming becomes qualitatively distinct from categorization or even definition, for, despite all the complexity of that string of adjectives, what more contextualized material–such as feelings or prioritized memories that reinforce the trace of the character–do we call up for ourselves in the utterance of his name? ‘This looks like a job for Superman!’ Don’t you want to deepen your voice a bit as you say it?
“Some panels and pages [of some erotic comics, like the work of Molly Kiely and Colleen Coover] unfold like snapshots, gesturing at a larger hole that is unrepresented and perhaps unrepresentable.” -Lyndsay Brown, ‘Pornographic space-time and the potential of fantasy in comics and fan art’
My own question, then, isn’t whether unrepresentability is possible in the ways we communicate our narratives–especially our fictions–but how.
A footnote and accompanying media cut from the following, which is, itself, part of an upcoming piece on the Marvel Omniverse:
…if superhero film narratives are inspired by superhero comic narratives, the whole #itsallconnected ethos only adds the complication of replacing ageing human actors to the problematics of multiversal/time-travelling/title-hopping/otherwise-conveniently-present characters interacting with themselves, others, themselves-as-others, and others-as-themselves.
 A little tangentially: I still don’t get how Logan St. Claire is supposed to be a version of Quinn Mallory. Gender-swap, fine, but why would they have different last names if they’re ‘genetically identical’??? WTF???
Text (for context) and a deleted footnote (the fun part) from the methodology chapter of my dissertation, currently in development:
Superhero comic book culture itself recognizes its own media situation: the Marvel Comic Universe is sometimes, in fandom particularly, referred to as Earth-616, while the Cinematic Universe is conceived of as an ‘alternate dimension’—a variation rather than a derivation—known as Earth-199999.
 This is an intentional distinction on the part of the content creators, but the discursive situation is further complicated by other factors, such as business and politics. For instance, the Spider-Man and X-Men films do not exist in nor recognize the continuity of the Marvel Cinematic Universe–or each other, for that matter–yet they nevertheless stand in an identifiable proximity to the same Marvel Comic Universe that provided their origins and which, through the assignment of designation numbers, both recognizes them and reserves some potential for mounting future narrative mergers and crossovers featuring them. Their designations are as follows: the Spider-Man series beginning with 2002’s Spider-Man is denoted as ‘Earth-96283’, while the ‘reboot’ is known as ‘Earth-120703’, effectively validating the concomitant canonical existences of both: according to Marvel, both are Spider-Man. The X-Men series, beginning with 2000’s X-Men and extending into the Wolverine franchise constitutes Earth-10005 (though others, such as 2016’s Deadpool and 2017’s Logan, occupy Earth-TRN414; the new television show Legion, meanwhile, takes place in another X-Universe offshoot, Earth-TRN620). Interestingly, the Marvel Database (Marvel.wikia.com) lists the original X-Men film universe, Earth-10005, as ‘destroyed’, due, narratively-speaking, to the timeline-bending events of its ‘last’ film, Days of Future Past, itself a plotline culled from the 616 universe. But it doesn’t end there, the complexities of licensing have also given us, among others, Earths 121698 (beginning with 2005’s Fantastic Four film), 400083 (2003’s Hulk, as opposed to the iteration of the character that appears in the Marvel Cinematic Universe’s Avengers films, part of the aforementioned 199999), 92131 (cartoons such as X-Men: The Animated Series), 58627 and 58732 (the 1989 and 2004 Punisher films), and even 58470 and 58472 (the Howard the Duck film and its own subsequent comic book adaptation, respectively; ‘58471’, oddly, has no listing).
Our own material reality is designated as Earth-1218, but we also inhabit what Marvel calls the “Omniverse”, which itself comprises:
“every single universe, multiverse, dimension (alternate or pocket) and realm. This includes not only Marvel Comics, but also DC Comics, Image, Dark Horse, Archie, Harvey, and every universe ever mentioned or seen (and an infinite amount never mentioned or seen)…. The Omniverse is EVERY reality, including those published by all other companies. Even fan-fictions, cancelled works, mere thoughts created by people, and fictional universes yet to be published are considered part of the Omniverse, simply put the Omniverse is every version of every type of reality and existence imaginable.”
Ce ne sont pas Mark Gruenwald
Mark Greunwald (1953-1996) was a writer and editor of numerous Marvel titles, including Captain America, What If?, and most relevantly here, a number of editions of The Official Handbook of the Marvel Universe.
Mark Greunwald is the [psychoanalytic figure of] The Father of the Marvel Universe.
Grueny: Keepin’ it firmly away from The Real since at least ’78.