Posted on Monday, April 1st, 2019 by Siddhant Adlakha

(Welcome to Road to Endgame, where we revisit all 22 movies of the Marvel Cinematic Universe and ask, “How did we get here?” In this edition: The Avengers changed studio filmmaking, though not before ticking off The Pentagon.)

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The Avengers is as close as you can get to a quintessential blockbuster experience. Few films before or since have resulted in such widespread global celebration, something even the film’s third sequel, Avengers: Endgame, may or may not match. Only time will tell, but time has been kind to Marvel’s first culmination, despite the series overall fabric favouring entertainment over meaning in the realm of political outlook.

The film changed the way movies were made and watched, affecting everything from industry goals to the mainstream visibility of fandom and “nerd culture.” Its lasting legacy isn’t just the sprawling Marvel Cinematic Universe, which drops its twenty-second entry into theatres soon – its impact can also be felt in almost every other studio’s failed shared-universes. It stands to reason that Marvel was ahead of the creative curve even before its purchase by Disney in 2009. Kevin Feige & co. have been doing it right before anyone else was doing it at all.

While this plan understandably seemed in doubt during its buildup, Marvel Studios marked its arrival with unprecedented financial success, crystalizing on-screen during one specific moment…

That Shot

You know the one. You remember seeing the Avengers assemble for first time, as the camera circles around them and Alan Silvestri’s musical theme reaches its crescendo. You may even remember cheering or applauding.

The film was shot in a narrower (“taller”) aspect ratio — 1.85:1, compared to the other films’ 2.39 and 2.35 — to accommodate the eight-foot-tall Hulk in group shots where in the team occupied the entire frame. Run a quick search on YouTube, and you’re likely to find dozens of videos capturing live audience reactions to this climactic scene, from all over the globe and in more languages than you knew the film was even dubbed into.

What’s more, this now-iconic shot is sandwiched between two other major moments, each of which hits similar highs in quick succession. On one side, the Hulk’s “I’m always angry” and his transformation before punching an enormous Leviathan. On the other, Captain America’s order of “Hulk? Smash!” after which the Hulk lets loose on alien invaders. It was clear from this one-two-three punch, and the ensuing rapturous response, that the Marvel party wasn’t going to stop.

What’s sometimes forgotten, however, is that this sequence arrives nearly two hours into the film.

The Avengers is one of the rare MCU films where the action beats feel entirely like extensions of story and character. The whole film is built around this rousing sequence, answering the looming question asked by both the film, and by the audience: after a six-year buildup, can these disparate elements come together to become greater than the sum of their parts? The answer was a resounding “Yes,” and what followed was Marvel’s victory lap, an explosive payoff to an entire movie’s worth of character dynamics and interwoven themes (a feat that was replicated in Avengers: Age of Ultron).

The Avengers is also the first Marvel movie that takes place on an Earth significantly different from our own. The settings in prior entries felt distinctly familiar, from caves to factories to tiny towns. Here, the pretense that Marvel’s superheroes exist in a “realistic” universe was finally done away with. The world of The Avengers is, unequivocally, the future of the series’ fantasy World War II, where Nazi factions used an Infinity Stone to build weapons of mass destruction (Unfortunately, this through-line also results in its own complications, since the mal-formed politics of Captain America: The First Avengercarry over as well).

In prior films, superheroes were unique elements in otherwise normal surroundings. In The Avengers, nearly an hour of the film takes place on an floating, invisible aircraft carrier transporting magically-powered weapons, the same weapons Captain America once tried to get out of the hands of H.Y.D.R.A. (Red Skull’s Diet Nazis). This is a world where some far-off, unseen villain in space grants Loki mystical objects — we now know all about Thanos’ plan — and it’s a world where shadowy international councils have become necessary, now that monsters roam the streets and Gods fly through the skies.

However, the film isn’t as far removed from “real world” concerns as this setting suggests. If anything, The Avengers is about fantasy clashing with reality to see which one wins out.

There is Only the War

Late into the film’s final act, after the Avengers have nearly fallen to alien invaders, the World Council makes an enormous decision. It chooses to sacrifice millions of lives in order to save billions, sending a nuclear warhead straight for New York. It’s the kind of dark turn you’d expect from a story like Watchmen, Alan Moore and Dave Gibbons’ 1986 comic classic that transplanted superheroes into a supposedly “realistic” setting. But the major difference between Watchmen and The Avengers — and thus, the difference in their outcomes — is the function of their characters.

Watchmen sees our worst selves — violent, egomaniacal, detached — being granted untold powers. The fantasy of The Avengers however, isn’t just that superheroes exist in concept, but rather, that these specific kinds of people exist. People like Iron Man (Robert Downey Jr.), Thor (Chris Hemsworth), Captain America (Chris Evans), Hawkeye (Jeremy Renner), Black Widow (Scarlett Johansson) and The Hulk (Mark Ruffalo), who are willing to put everything on the line, going above-and-beyond to save everyone they can.

The dilemma Captain America faced during World War IIbecomes a dilemma for all the Avengers to overcome. No matter the scenario, they aren’t willing to trade lives. Not in this film, not in Avengers: Age of Ultron, and not in Avengers: Infinity War. While this unwillingness to compromise is put to the test in future films, it’s presented in The Avengers as a bright alternative to the darkest parts of our reality, where men in the shadows order airstrikes without care for collateral damage, all for “the greater good.”

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In depicting U.S. fighter planes being ordered to attack Manhattan, the film not only aligns The World Council’s methods with that of H.Y.D.R.A. in Captain America:The First Avenger, but with the spectre of global terrorism in a post-9/11 word. A bold conflation, at least on the surface, though one muddled by the fact thatthis film, like Iron Manand Iron Man 2before it (and Captain America: The Winter Soldier and Captain Marvel since), sought U.S. military funding.

The Avengers was almost government propaganda, and it still retains some of this DNA.

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Contents.Gameplay As with other -based arcade games from the same time, the gameplay consists of overlaid over pre-recorded animated footage of high-speed chases. The player controls the cross-hair to steer their car toward the correct directions according to the green arrows flashing and beeping beside it, while controlling the gas pedal, brake and booster whenever they light up.The game has nine stages. Upon successfully completing a level, the player is graded on the reaction time. Different difficulty levels can be selected. In Normal Mode, pop-up icons and audio tones signal when to turn left or right, brake, hit turbo, or hit other cars.

In Hard Mode, there are no on-screen icons to guide the player. Plot The story of Road Blaster is inspired by revenge such as, and takes place in a wasteland in the late 1990s United States (in the future at the time of the game's release). The player assumes the role of a vigilante who drives a customized sports car in order to get revenge on a biker gang responsible for his wife's death on their honeymoon. After recovering from his own injuries, he upgrades his car and goes on a rampage through nine areas.

His goal is to seek out the gang's female boss and complete his vengeance.Development Road Blaster uses animation provided by the studio. It was animated under the guidance of Yoshinobu Inano, who also directed or key-animated such films such as,.

It was animated using 15,000 to produce over 30 minutes of animation. Game director, who previously worked on, later directed the arcade version of, where the car from Road Blaster can be seen inside the Lee brothers' garage at the start of the game.Releases Road Blaster was originally released in 1985 as a -based arcade game. Various ports were released throughout, including versions for the, (both in format), (in Mega LD format), and (prototyped as Turbo Blaster). However, only the Sega CD and Mega LD versions were released outside Japan, under the titles Road Avenger and Road Prosecutor, respectively.

The titles were possibly changed to avoid confusion with the similarly titled arcade game by, which was ported to the around the same time. Road Blaster was also released for the and for and in 2011, exclusively in Japan. Cobra Command and Road Blaster were ported to by Revolutionary Concepts in 2010 and 2011, respectively.Other variations included one-shot reproductions for cassette players such as 's which was a limited interactive port of the Road Blaster arcade game. The Sega Saturn and PlayStation ports were compilations of Road Blaster and another laserdisc arcade game developed by the same team titled Thunder Storm (known outside Japan as ). An unofficial port was also released in 2011.

However, the game relies heavily on the MSU1 Media Enhancement Chip, a somewhat new chip which allows 4GB of additional storage space, full motion video playback and stereo PCM audio. In early 2018, another unofficial port was released for the, with an OCS and an AGA versions released, both based on the Mega CD version. Reception ReceptionAggregate scoresAggregatorScoreSega CD: 90%iOS: 78%Review scoresPublicationScoreArcade:Sega CD:LaserActive:Sega CD:Mega CD: 32 / 40Saturn: 25 / 40PS1: 23 / 40Sega CD: 383 / 400Sega CD: 5 / 5iOS: 8 / 10Sega CD: 86%iOS: 7 / 10AwardPublicationAwardGold Awardreviewers gave the Sega CD version of the game 4 out of 5 stars in 1993. Noted it has greater interaction compared to and, and praised the 'non-stop control of the vehicle,' graphics, smooth animation, and 'andrenaline rush' experience. Praised the highly detailed animation and stereo CD sound, and called it a 'masterpiece' that is 'like participating in an intense, action-packed,.'

On release, gave the Mega CD version a score of 32 out of 40, while rated it at 86%. Later scored the Sega Saturn version a 25 out of 40, and the PlayStation version a 23 out of 40.

The iOS port was released to generally favourable reviews, including the scores of 8 out of 10 from and 7 out of 10 from. Novelization A of the game was announced in 2009. The project was officially authorized by G-Mode of Japan (the rights holder to most of Data East's catalog) to be written by Mary Margaret Park.References. Yoshihisa Kishimoto. Retrieved 2009-09-04. Retrieved 2015-11-12.

^ GameFan, volume 1, issue 3 (January 1993), pages 11 & 26-27. ^.

Retrieved 2015-11-12. Retrieved 2015-11-12.

Retrieved 2015-11-12. ^. Retrieved 2015-05-21. ^.

Retrieved 2015-05-21. ^ GamePro, issue 45 (April 1993), pages 52-53. ^ Buchanan, Levi (2010-08-12). Retrieved 2015-05-21. Retrieved 2015-05-21.

Retrieved 2015-05-21. Retrieved 2015-05-21. Retrieved 2015-05-21.

Retrieved 2015-05-21. Retrieved 2018-03-28. Retrieved 2015-11-12.

Archived from on December 11, 2014. Retrieved 2015-11-12.

Archived from on December 11, 2014. Retrieved 2015-11-12. Archived from on December 10, 2014. Retrieved 2015-11-12.

^ Lesser, Hartley; Lesser, Patricia & Lesser, Kirk (July 1993). 'The Role of Computers'. Dragon (195): 5764.

^ NEW GAMES CROSS REVIEW: サンダーストーム&ロードブラスター. Weekly Famicom TsNo.358. 27 October 1995. ^. Retrieved 2015-05-21. Electronic Games, volume 1, issue 9 (June 1993), page 84.

^. Retrieved 2015-05-21.

Retrieved 2015-11-12. Retrieved 2015-05-21. Retrieved 2015-05-21.External links. at the. at Arcade-History.

at Dragon's Lair Project.