Comic review of Doctor Strange in the Multiverse of Madness – The dreams of Marvel

When I was studying Journalism at the University of Zaragoza, I fell deeply in love with Edgar Allan Poe. I even remember skipping a few classes where you just had to brood like a parrot to throw up later on an exam that had little or nothing to do with real learning.

He was obsessed with the American author. She had the same relationship to him as he did to madness, for Poe wrote a lot and very well about it. He related it to the fact of facing reality with an exceptional perspective, one that was closer to dreams than to the unquestionable truth of existence.

“Science has not yet taught us whether or not madness is the highest of intelligence,” he wrote. Science as a representation of the tangible, the realm of the objective; madness as a manifestation of art or the sublimation of dreams, and intelligence as the materialization of our individual limits, the invisible borders.

If there is anyone in the movie industry who knows anything about madness, it is Sam Raimi. Marvel Studios was perfectly aware of who they were hiring to pick up the baton from Scott Derrickson.

That is why he has given him the greatest creative freedom that is remembered in the UCM since, perhaps, the first installment of Guardians of the Galaxy. However, on this occasion, he has done it with the main characters of his universe, not with a franchise unknown to the general public.

Doctor Strange in the Multiverse of Madness arrived yesterday at theaters with the shadow of Spider-Man: No Way Home hovering over the seats, like a premonitory crow of helpful cameos. There was a certain fear that, once again, the spectacle was above history. Definitely, it has not been like that.


Assessment of Doctor Strange in the Multiverse of Madness! no spoilers

The Multiverse is an abyss as deep as the madness that obsessed Edgar Allan Poe; At least conceptually speaking. Ask if not Jonathan Hickman how many years he was gestating it, how many seeds he had to sow before reaping the fruits of a deep, broad and complex narrative.

Phase 4 of the UCM has been preparing the arrival of the Multiverse from the first stone it threw on the road. the series of Scarlet Witch and the Vision —essential to understand the psychological process that Wanda Maximoff is going through and her terrible transformation— was a reboot for Marvel in many ways, particularly a tonal reboot.

We were in front of something new. At that beginning, comic book readers saw a historical parallel with the House of Ideas. A first decade of settlement in popular culture and a second that was interested in less superficial aspects, without losing sight of the fictional worlds and the previous development of the characters.

later it would come Lokiwhich would venture the existence of a Multiverse that would definitely explode in Spider-Man: No Way Home. By the time it was time to Doctor Strange in the Multiverse of Madnesswe already knew —more or less— what the rules of the game were. We were ready to play. And we wanted to do it with all the cards on the table.

Sam Raimi has taken the deck and has thrown it into infinity. He had a hell of a lot of fun making this movie, we have no doubt. As much or more as we have had fun watching it, discovering it, feeling it, immersing ourselves in the darkness it proposed, in all its beauty and madness.

Doctor Strange in the Multiverse of Madness is not only one of the best films Marvel Studios has ever produced, it is also one of the most authored superhero films in film history.. It is simultaneously a UCM film and a Sam Raimi work. That is precisely where the greatness of this film lies dormant.

Sam Raimi has been able to manage the presentation of a heroine as powerful as América Chávez, evolve the character of Stephen Strange, dynamite Wanda Maximoff’s mental health again, delve into the Multiverse, present concepts that will revolutionize the MCU, add cameos, include terror and give us an excellent film that talks about loss and personal acceptance.

As it did in its day with the emotional management of Tobey Maguire’s Spider-Man, Doctor Strange in the Multiverse of Madness He has combined moments of superheroic greatness with comic book fantasy and the significant human ailment of the heroes who traverse these worlds. Nothing has been left behind.

We have found a more nostalgic and sad Doctor Strange, more lonely and melancholy. But he has never lost his cynical character and his ironic dialogue. It is the first time that a superhero movie has asked its protagonist if he is really happy with his life..

Can a superhero be happy? Is an overpowered man who only has time to save the world doomed to unhappiness?

In this context, the presence of a lost and lost soul, but smiling and dreamy, like that of América Chávez, serves as a narrative anchor to give the Sorcerer Supreme a mission while he ruminates in his heart the spoils of having lost the love of his life. He seems like just another day at the office, but it turns out the office is about to explode.

Doctor Strange in the Multiverse of Madness is, perhaps, one of the best adaptations of cartoons to the big screen. Not only because of the plasticity of his images and the audiovisual fantasy that Sam Raimi displays, but also because of the way in which he has narrated the multiversal adventure and how he has managed all the stylistic resources.

There are many references in this film; surely more than we have been able to count. We are left with how nice it is to know that our universe has the same name and number as in the comics, and that what is to come with some of the characters presented may be a new dream come true.

Monsters, variants, fantasy worlds, impossible worlds, darkness, Wundagore Mountain, the Illuminati, hidden references and even an animated universe. Doctor Strange in the Multiverse of Madness has left nothing out and has made everything work with millimeter precision, without having to have extensive footage or lose sight of the narration.

Stephen Strange is now facing a very hopeful horizon. The magical opening that Sam Raimi has built is infinite. The post-credits scene advances an interesting follow-up, back to the panels. We would love for the filmmaker to continue in a future sequel, as we doubt there are hands more qualified than his to address the potential of the mystical arts in film.

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Marvel Studios has once again made the impossible possible. He has created a major work within his shared universe, but this time he has done it with a superlative stamp of authorship, in the same way that Chloé Zhao did before with The Eternals. The door has definitely been broken down. And we want to continue entering through it.

Science may not yet have been able to prove whether madness is the highest of intelligences. Edgar Allan Poe may never have fully understood the world in which he lived, perhaps that is why he died surrounded by mystery and tragedy.

But we are completely sure of one thing: if this is the madness that Marvel Studios has prepared for us; if this is the magic of dreams that makes the unreal real… We definitely want to continue dreaming.

“And in the deep darkness I remained a long time astonished, fearful… Dreaming dreams that no mortal has ever dared to dream.”

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