I'm just thinking that most of the better X Men comics I remember reading are bleak, doomy and gloomier than a herd of goths the day after hot topic stopped carrying aquanet hair spray. The films should be doing that as well.
(We really should, yes.)
This is something of a continuation from what we were discussing about X-Men on the other thread.
It might be an unusual opinion, but I think there is a certain challenge regarding character development that the films face where the comics do not. In a film, it's difficult know convey *why" that dark and gloomy side exists, while also getting the better understanding of *how* that is being overcome, and *when* it works as pivotal circumstances in story line. You can't have a character stuck in wanting to destroy ALL of the homo-sapiens and then ten seconds later having some epiphany of why they want to save the world.
I think that's a problem with the way Magneto was characterised by Chris Claremont for about twenty years in the comics, rather than an inconsistency in the films. Claremont obviously always wanted the character to redeem himself and become one of the good guys, but as he quickly established himself as one of the better villains they had at the time (rather than the ranting nutcase he was written as during the '60s), Marvel have never been very keen on the idea of his reformation sticking. It's a terrible shame, as when you go through Claremont's early X Men stuff, he's obviously setting up Magneto as Xavier's successor, and it's a shame that didn't stick.
As Wayward says though, the biggest problem with the films is that they have to have a Hollywood ending on them, even if that vitiates some of the grimmer stuff in the storyline. Just compare the Days Of Future Past film (SPOILER: which ends with Wolverine rebooting reality so that the Sentinels never got commissioned as a full scale government programme in the first place) to the comics (SPOILER: where despite preventing Senator Kelly's assassination they're still no closer to preventing the threatened future dystopia happening five hundred odd issues later than they were in the early '80s). It's an incompatibility between the two media at heart: films are supposed to have a beginning a middle and an end, whereas any long running superhero comic won't change much permanently besides a character's costume, and anything that changes or advances a character or their world on more than a cosmetic level is bound to get dumped the next time the series gets a makeover.
On the level and looking for a square deal.