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Rachelle Kun
I've played some superhero games like the Batman: Arkham series and I've noticed that the pre-rendered cutscenes (to be distinguished from real-time cutscenes) are really good. So much good that I've wondered:
"Why don't they make an animated movie with the same level of graphics?"
I understand that there must be reason(s) that explain why making a movie that has the same level of graphics as those that can be witnessed in pre-rendered video game cutscenes is a bad idea. I wish to know some of those reasons.
I've also seen one response to such a comment that says it's extremely expensive and needs "200+ million" animators to make it into a movie. At this point, another user enters the discussion and says that the estimate of "200+ million" animators is just plain wrong. And so continues the back-and-forth argument.
Some animated 3D movies opt for a cartoony vibe that avoids excessive graphical realism. This can be done for many reasons. It's very prevalent in (but by no means limited to) children's movies. Let's use Shrek, Inside Out and Bee Movie as example, but I'm sure you know the list is quite extensive.
A great example here of stylistic choice are the Animatrix movies. This is a collection of short films related to the Matrix universe, with varying graphical styles, from realism to anime. Each movie stands on its own, and there's no reason why they should all have used the exact same graphics, let alone all needing to try for as much graphical realism as possible (which is what your question is trying to assert).
Movies like the linked Batman movies very much herald back to the age of the comic book. The graphics retain that thematic connection. There's also the connection to older animated series (e.g. Batman: The Animated Series) on top of the comic book connection.
In addition to Flater's answer, I feel it's worth emphasizing that Batman: Hush and Batman: Gotham by Gaslight are both direct-to-video productions - they are not intended for theatrical release, but are instead sold as DVDs or Blu-Rays. Direct-to-video productions don't make anywhere near as much money as theatrical releases: as of 4 January 2020, Gotham by Gaslight has made $4.6 million, and Hush has made $3.6 million.
Because of this, direct-to-video animations have to be made very cheaply in order to turn a profit. This means using traditional 2D animation, as cutting-edge 3D animation like in the Arkham games is extremely expensive, and anything less than cutting-edge will just look terrible.
2D animation is also far quicker to produce, and as a result, multiple productions can be released in a single year. DC have released at least 3 direct-to-video animations every year since 2009, and at least 5 every year since 2015. I don't know of any 3D animation studios that have that kind of production rate.
When people think of animated superhero movies, DC is typically the first that comes to mind. After the release of the critically acclaimed Batman: Mask of the Phantasm in 1993 and other direct-to-video hits like Batman Beyond: Return of the Joker, starting in 2007 Warner Bros. Animation created DC Studios Animation. The company has released adaptations of popular stand-alone stories like Batman: The Dark Knight Returns and All-Star Superman and from 2013 to 2020 had an entire interconnected universe of stories. The recent release of Legion of Superheroes marks the 47th animated film the company has released since 2007.
Meanwhile, Marvel is the most popular name in superhero films and live-action television thanks to the Marvel Cinematic Universe, yet when it comes to animated feature films, they have a much smaller number of releases and in the direct-to-video market have made less of an impact. While Marvel Animation certainly has released plenty of television series based on their characters, movies have been less of a priority. Here is why Marvel has made fewer animated films, but why they have one notable achievement that DC does not: Academy Awards.
Unlike DC which has been a subsidiary of Warner Bros. since the 1970s, Marvel was an independent company for years and had made deals licensing their characters to other studios. Warner Bros. had a direct animation company to produce animated films based on their DC Comics character. Marvel did not, and made deals with other parties and in the 90s and early 2000s with animated films were less of a priority and more focus was put on live-action films.
In 2004 Marvel Entertainment struck a deal with Lions Gate Entertainment to produce eight to 10 direct-to-video animated films. This was seen as vital as the next year Marvel Studios, the live-action film side of the company, was beginning their plans to produce their own films independently and using the animated films as a testing ground to expose heroes and concepts to audiences, primarily kids could help benefit their live-action feature films.
The collaboration produced eight films: Ultimate Avengers: The Movie and Ultimate Avengers 2: Rise of Black Panther in 2006, The Invincible Iron Man and Doctor Strange: Sorcerer Supreme in 2007, Next Avengers: Heroes of Tomorrow in 2008, Hulk Vs. in 2009, Planet Hulk in 2010, and Thor: Tales of Asgard in 2011. By this point, the contract was met and not renewed as Disney had purchased Marvel and would keep all productions in-house including any future animated films.
Disney purchased Marvel in 2009, and that gave Marvel a bigger audience than ever before with the resources of one of the most profitable studios on the planet. Warner Bros. had found great financial and critical success with direct-to-video animated projects, and one would assume that Disney would do the same for Marvel. In the 2000s, Disney invested heavily in the direct-to-video market with sequels to their popular films and even founded specific animation studios to handle these releases. While often criticized by fans for being cheap cash grabs, they did manage to turn a profit and some of the releases are even well-regarded today. However
In 2006, the new Disney CEO Bob Iger appointed Pixar head John Lasseter as the chief creative officer of Walt Disney Animation Studios following the company's acquisition of Pixar. One of Lasseter's first moves was to shut down the divisions that were responsible for creating direct-to-video Disney sequels as he had a notable disdain for them. This was three years before Disney bought Marvel, and by the time they did Disney was more interested in animated series based on the various Marvel heroes than direct-to-video releases
By this point, home video revenue was down and streaming seemed to be the new name of the game. Disney was focused mainly on Marvel live-action films, with animation being used for their television network Disney XD like Guardians of the Galaxy and Marvel Rising. Even recently in the age of streaming, Marvel's biggest animated project is What If..? which is a Disney+ series as opposed to a film. Yet there have been two high-profile animated films based on Marvel Comics that have broken out in a way that no DC animated film has.
While Marvel Animation may not have the highest profile direct-to-video animated films, the theatrical release side is another story. Marvel does have two high-profile animated films that have garnered great attention and have won the Academy Award for Best Animated Picture: 2014's Big Hero 6 and 2018's Spider-Man: Into the Spider-Verse. Big Hero 6 is produced by Walt Disney Animation but separates the characters and concept so far from the Marvel Universe that it becomes its own unique interpretation, very much like how Disney put their spin on classic fairy tales. Big Hero 6 is less a Marvel property and more of a Disney property.
Spider-Man: Into the Spider-Verse was produced by Sony Pictures Animation, separate from Disney and the rest of the Marvel franchise but fully embracing the rich Spider-Man property. The movie was so successful that it has a highly anticipated sequel, Spider-Man: Across the Spider-Verse, set for release on June 2, 2023. The third film, Spider-Man: Beyond the Spider-Verse is already set for release on March 29, 2024, with a female-led spin-off also in development.
While Marvel may not have the same output of animated projects that DC does, it is hard to argue that releases like Big Hero 6 and Spider-Man: Into the Spider-Verse have reached a far greater audience.
Betrayed by his fellow heroes, the Hulk is sent to a distant world where he will no longer be a threat. However, he lands on a planet where he is forced to fight in gladiator-like battles. The people there believe the Hulk to be a savior who will stop the oppression of the Red King. But Hulk wants no part of their fights. Will he save their world...or destroy it?
The Hulk grumbles then opens his eyes. He looks around to find himself in an empty spaceship. The displays power on and a holographic recording of the Illuminati comprised of Iron Man, Doctor Strange, Mister Fantastic, and Black Bolt appear before him. Hulk sees that his arms and legs are bound in some kind of machine. Iron Man apologizes but says that Bruce Banner is a force of destruction when angry and they had no choice. The Hulk roars in anger.
During the night on the planet Sakaar near a large rock monument a prophet prays to his god to send a warrior savior as the prophets have foretold. He knows that Sakaar is divided and will die soon. He then begins sprinkling sand into a pattern on a mat on the ground.
Hulk pounds away at the machines holding his legs until they break. He leaps forward at the image of Iron Man. While the armored hero continues to explain that the madder Hulk gets the stronger he is, and there is no limit to his rage.
Iron Man explains that they are sending him to a planet where there are no intelligent life-forms, just vegetation and game. Meanwhile, Hulk smashes the displays showing Iron Man and eventually punches a large dent in the side of the ship. The ship begins to go out of control. Iron Man says that Hulk will be alone with no one to hurt.
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