The trilogy of Spider-Man feature films are also set in New York, although it is neither an historically accurate representation, nor the comic book version, but a third cityscape which imaginatively borrows and builds on both of these precursors. Spider-Man and his everyman alter ego Peter Parker have always lived in New York City, albeit an alternate New York situated within the Marvel comic book universe.

In short, blockbuster intermediality is not only indicative of the economics of post-literary adaptation, but it also exemplifies a corporate strategy that aims for the strategic co-option of potentially unruly niche audiences. These superhero franchises – neither remakes nor adaptations in the familiar sense – are also paradigmatic byproducts of an adaptive management system that is possible through the appropriation of the economics of continuity and the co-option of online cultic networking. That is, its preferred spectators are often those opinionated and outspoken fan cultures whose familiarity with the texts is addressed and whose influence within a more dispersed film-going community is acknowledged, courted and potentially colonized.

Through a case study of The Avengers (2012) and other recently adapted Marvel Entertainment properties, it will be demonstrated that the reimagined, rebooted and serialized intermedial text is fundamentally fan oriented: a deliberately structured and marketed invitation to certain niche audiences to engage in comparative activities.

Spider man blue jeph loeb