In the ’90s, a glut in the comic book industry contributed to a lasting decline in the… In the ’90s, a glut in the comic book industry contributed to a lasting decline in the profitability of comics, and that trend continues today. Could the same fate await the comic book film?

The popularity of Marvel’s ‘X-Men’ and ‘Spider-Man’ at the beginning of the decade gave the genre new life. Their popularity led to the adaptation of properties like ‘Daredevil,’ ‘The Hulk’ and ‘Fantastic Four’ — misguided films that’s successful opening weekends were marred by massive second-week sales declines from negative word-of-mouth and reviews.

‘ With the mainstream, record-breaking success of recent movies like ‘Iron Man’ and ‘The Dark Knight,’ however, the genre regained some of its legitimacy, and the number of comic book movies entering production is higher than ever — a probable sign that this is a bubble that might burst if studios don’t exercise tact.

The appeal of adapting a comic book property is obvious. Most surviving mainstream characters like Spider-Man or Superman have captured the imaginations of fans for decades. Their canons are rich with stories told in a visual medium, so half of the work is already done. The danger, however, is entrusting these properties to studios and directors who clearly believe that they need not have a vision to complement the source material.

Take, for example, the ‘Spider-Man 3’ misstep. After the critical and financial success of the first sequel, this installment suffered from the interference of a studio prioritizing dollars over sense. The first two ‘Spider-Man’ movies emulated the styles of ’60s and ’70s Spider-Man, understood as the Silver and Bronze age of comics. They used the popular villains, humor and storylines of this era, such as ‘Green Goblin’ and 1967’s popular ‘Spider-Man No More’ storyline, a thematic and visual reference for ‘Spider-Man 2.’

At the insistence of Avi Arad, producer for Marvel Studios, ‘Spider-Man 3’ included Venom, a popular villain not introduced until the late ’80s. Without considering the repercussions of mix and matching characters with clashing thematic backgrounds, the character was out of place in the film and earned negative reaction from fans and critics.

Compare this type of faux pas — the same kind as Brett Ratner disintegrating Professor X in the near-unwatchable ‘X-Men: The Last Stand’ — with movies like ‘Iron Man’ and ‘The Dark Knight.’ Batman’s latest outing set new records and earned critical acclaim as a film that redefined what a comic book story could be. ‘Iron Man’ went almost in the opposite direction, embracing the action, humor and slight camp of its print origins.

The comic book movie is a genre still struggling for legitimacy — critics are often surprised when movies like ‘The Dark Knight’ exceed their expectations, despite the popularity of adult-oriented comic books in the United States. Though film and comics are both forms of visual storytelling, today’s comic fan still bears the stigma of a perpetual man-child.

In any case, when studios greenlight comic book movies with money as their only concern, it is bad for both the genre and the studio manipulating it. If the market clogs with mediocre or uninspired adaptations, fan backlash might make the bubble burst and effectively end the trend of comic book movies, both good and bad.

Marvel is developing several new superhero movies, based on properties like The Avengers, Thor and Captain America. And while they seem to be developing with the same sensibility that guided the success of ‘Iron Man,’ the studio is also considering a Venom spin-off movie starring Topher Grace. He’s one of Spider-Man’s best-known villains, but as we’ve seen before with so many poorly conceived comic book films, some ideas only look good on paper.