Chapter 382: Lessons from the Other Side

 People's expectations for superhero movies are actually quite simple.

Boundless imagination, dazzling action scenes, these are the reasons why audiences pay for tickets. If you add some passable logic and non-stop action from beginning to end, everyone is satisfied—like the past "Avengers". If you can add some philosophical thought amidst exciting scenes and gripping pacing, you get a masterpiece like "The Dark Knight".

Murphy was very clear about what needed to be avoided. It was essential to steer clear of the narrative brutality of the "Avengers" while discussing the profound topics of "The Dark Knight", as seen in the past film "Batman v Superman: Dawn of Justice". For those hoping to see "The Dark Knight", "Dawn of Justice" failed to deliver in terms of philosophical depth; for those expecting "The Avengers", the over an hour of drama in "Dawn of Justice" felt excessively lengthy.

Furthermore, since this film was meant to kickstart the entire Justice League universe, it inevitably had to involve other superheroes, especially the other two of the big three of the Justice League—Batman and Wonder Woman. The method of their introduction also required careful consideration.

Similarly, the extensive use of obscure Easter eggs in "Batman v Superman: Dawn of Justice" was a classic negative example.

Long sequences of cool shots and randomly distributed lines plagued that movie from start to finish. DC comic fans would whistle excitedly at the beginning of the movie as Lex Luthor reveals he knows Superman's identity, while ordinary viewers would be utterly confused; the various scenes Bruce Wayne dreams about, DC comic fans would scream out that these were foreshadowing "Flashpoint", "Injustice", and "The Dark Knight Returns", the big "Ω" on the ground being the supervillain Darkseid, ordinary viewers again confused; seeing the founders of the Justice League make their appearance in a video, DC fans would tear up "no Martian Manhunter but there's Cyborg, where's Green Lantern?", while ordinary viewers would remain perplexed; by the end of the movie, DC fans, excited by Lex Luthor's "bell tolling" warning, would eagerly anticipate "Justice League: War", while ordinary viewers likely had already fled the theater in bewilderment.

Only with the fans' encyclopedic "common knowledge", seeing parallel universes and time travel as basics for understanding the American comic world, could one keep up with the film's bizarre pacing. These carefully designed segments became an unspoken secret between the director and other DC comic fans, excitedly whispering among themselves, imagining the endless possibilities within the DC universe, while the bewildered expressions of the audience became a perfect backdrop for flaunting their knowledge and dedication.

Clearly, such Easter eggs not only fail to appeal to those unfamiliar with the background, but they also significantly increase their viewing obstacles. And when the movie's story is so thin and the pacing so dull, for ordinary viewers, those two-plus hours are nothing short of torture.

For ordinary viewers with little knowledge of DC comics, the film is almost unanimously considered a flop, and this negative opinion, exacerbated by the boasting of a few delusional DC fans, ultimately fermented into "contempt"—"I've heard of audiences picking movies, but never movies picking audiences."

A commercial film being so harsh on its audience is indeed unacceptable, with many die-hard fans stating they would even pay to watch Batman "do nothing for two hours on the big screen".

Indeed, Murphy believes Superman also has such adorable fans, but he also believes that DC and Warner Bros. are very aware that relying solely on such fans cannot withstand the overwhelming force of Marvel and the Avengers universe.

Relying solely on comic fans is absolutely insufficient to support a blockbuster film. For a typical market-oriented film, even with a unique style, it must actively adapt to market demands.

Besides completing the new "Superman" script, Murphy also had to set a comprehensive Justice League movie universe plan for DC Comics, which required him, not being a comic fan, to look into and study Justice League comics, including the big three.

However, all comics are just the basis for adaptation, not the key.

Speaking of the Justice League, people's most profound impressions undoubtedly include Superman Clark Kent, Batman Bruce Wayne, and Wonder Woman Diana Prince of the big three, who, by Murphy's standards, are not as famous as the members of the Avengers.

The main reason for this is that Marvel Studios' more popular approach to creating superhero movies has a broader reach, more accessible to fans and casual viewers alike.

But from the history of comics, to a certain extent, the Avengers are just a replica of the Justice League.

In 1960, DC Comics grouped their heroes into one team, "The Justice League". Inspired by this, Marvel Comics launched their own hero team, "The Avengers" in 1963. Both teams gathered the top

 talents of their respective companies, the elite of the elite.

The significance of this not only allowed heroes like Superman and Batman to fight side-by-side but also ensured that the stories produced by the same company maintained continuity within a certain range. Events were not just happening in one person's story; everyone in the same world could be affected. This is the concept of a "universe".

Warner Bros. and DC Comics wanted to bring "The Justice League" to the silver screen, and Murphy had the challenging task of unifying the superheroes under one worldview.

A unified universe presented a greater challenge for film production, not due to special effects—as CG becomes increasingly omnipotent, producing various magical powers of superheroes is not a problem.

The challenge lies in how to make the audience accept this universe where gods, aliens, and humans coexist, and to balance their powers broadly. Each movie's setting must not contradict each other, and the more fantastical characters of the DC universe make it difficult to create a unified worldview.

Marvel's film series trajectory was very clear: film individual character stories first, then the superhero team "The Avengers", ensuring uniform settings for each movie, planting interconnected foreshadows, and forming a unified worldview. From there, they gradually brought other heroes to the big screen.

At that time, DC, starting later, lacked a clear strategic planning, leading to sporadic releases like Christopher Nolan's "Batman" series. Although successful, they were released every three to four years and had a self-contained worldview, not matching Marvel's careful and expansive approach.

Now, however, with DC and Marvel starting almost simultaneously, it is entirely possible to adopt a step-by-step strategy, gradually building its own universe, accumulating audience and market insights, and then launching a grand finale.

This is undoubtedly the least risky and most secure method, and a major component of Murphy's plan.

Although the contract with Warner Bros. only explicitly stipulated directing the first film as the series' opener, Murphy made no secret that joining this series was for the substantial compensation. But having taken on the job, whether out of a sense of responsibility or for the sake of reputation, Murphy would do his best to make this new Superman movie a success, setting a solid foundation for the entire series.

After the script entered the content writing stage, DC Comics' CEO Diego Harris brought two editors to Stanton Studio to ensure timely communication between both parties.

Murphy also understood the importance of communication for a film's success and would not arrogantly write or change things on a whim. Extensive adaptations were discussed in calm and thorough negotiations between both sides, aiming for the most ideal results.

This communication also turned most of Murphy's adaptations into tangible plans on paper. In this reboot, many of Superman's classic settings would be boldly subverted, and new elements and visual aesthetics would breathe new life into this seasoned superhero.

Firstly, the change in Superman's image: Murphy would remove the perpetually worn red underpants outside, and Superman's originally bright blue battle suit would also change to a dark blue, and the sky in his appearances would no longer be clear blue but cloud-covered.

This setting was just one of Murphy's detailed adjustments to create a more realistic Superman. This time, Superman's attire could be described as "the least bright in history". In conversations with Diego Harris, he had made it clear that the audience could see Superman's inner struggles. He was no longer a god to be looked up to; the audience would embark on adventures with him, and his outfit was an external manifestation of his character.

Additionally, Murphy, along with the script, sketched several concept art drafts. Given the film's theme leaning towards darkening, the use of a dark color palette was inevitable, which had always been his style.

Murphy was well aware that this darkening style had its advantages and disadvantages for the film. A non-vibrant, somber narrative style would display a sense of tragedy and solemnity, starkly different from other lighthearted, humorous popcorn movies, inevitably losing some of the audience.

But the "Superman" series had already been led into a dead end by "Superman Returns", to say it was on the verge of complete deterioration was not an exaggeration. Without a massive overhaul, the series' movies were likely only headed for failure.

Therefore, Murphy was even clearer that using a dark tone could give superhero movies a completely different vitality. The darker tones of Superman's battle suit, no longer wearing underpants outside, would make the rebooted Superman appear more battle-ready and complex, washing away the blandness of Bryan Singer's "Superman Returns".

Finally, and crucially, Murphy formally proposed bringing Wonder Woman, Gal Gadot, into this film.

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