Since its inception in 2007, the Marvel Cinematic Universe (MCU) has spanned 17 major motion pictures, collectively grossing $13 billion. Because of its critical reception, the MCU is the most successful film franchise of all time. But, with this success comes a more insidious effect on both the quantity and quality of film produced.

The “action film” has existed for over a century, dating back to 1903 with “The Great Train Robbery.” Its common derivative, the “superhero film,” first hit the silver screen in 1920 with “The Mark of Zorro,” and its cultural impact has continued to affect how film is seen and made today. Nowadays, superhero movies have completely taken over the box office, with 2017 alone seeing eight major superhero films.

Each of the three most successful superhero films thus far — “Thor: Ragnarok”, “Wonder Woman”, “Guardians of the Galaxy Vol. 2” — cost over $148 million to produce, with “Guardians of the Galaxy” hitting $200 million. The rate at which they are produced leaves a very short turn-around for these films to recoup the millions spent. In the past, there would be a summer and winter blockbuster which would serve as the peak film of the season; but now, major pictures are coming out so often that few ever seem to capture the public’s attention.

Almost as soon as a blockbuster film is released, another is quick to follow suit. This month alone, rival distributors Disney and Warner Bros. have two multimillion dollar movies, “Thor: Ragnarok” and “Justice League” respectively, releasing within days of each other. The box office will soon see the two ferociously vying for the top spot, but because neither are allowed enough time to situate themselves, they never reach the highs that earlier films achieved. 2018 will be even worse with as many as 40 blockbusters releasing, 20 of which will occur a week apart.

With cinema attendance dropping and ticket prices rising, the box office lays in a precarious place. Movies never seem to lead to a mass pilgrimage to the local theater in the ways they used to. In 2009 when James Cameron’s “Avatar” came out, it revolutionized cinema and the box-office, making it still the most lucrative film ever made with a $2 billion worldwide gross. Despite making millions of dollars on their opening weekend, recent films bank their success largely on the rising ticket prices.

From a purely economic point of view, the fame of the superhero films comes with a series of downfalls that have the potential to cause the “blockbuster burst.” The problem cannot be entirely attributed to the superhero genre, as action movies in general are often followed by a barrage of disappointing sequels, but their role in redefining the cultural tastes should not be understated.

In addition to issues regarding the quantity at which they are produced, superhero films have experienced a dismal drop in quality.

No one expects — or even really wants — artistic ingenuity to come out of each and every superhero film, but a level of respect for the audience would be nice. Superheros are rooted very strongly in formulaic storytelling methods, but comic book superhero stories are often far more interesting than their cinematic counterparts because of one key difference: the stakes matter.

Superhero films began as underdog stories and tales from those who surmounted great odds to save the day. The underdog has all but disappeared from superhero film, replaced with another that masquerades as the underdog. Despite walking, talking, and looking like the underdog, the modern superhero no longer faces the stakes that underdogs used to battle. Spider-man may be the nerd-next-door but in saving the face of the planet from imminent destruction, there is no doubt in anyone’s mind that he will absolutely succeed — and most likely get the girl.

Audiences have nothing to lose in these films because they know that no matter what happens in the story, there will always be the next ensemble movie in the future. Plot becomes irrelevant in a story that has been told far too often. Instead of providing the variation audiences need in order to stay interested in these types of movies, studios provide audiences with the tropes that worked once five years ago.

As Hypable reviewer Aaron Locke noted, “Marvel could have made romantic comedies starring Captain America, coming-of-age stories with Spider-Man, impassioned war dramas with Iron Man, or high-wire thrillers with Black Widow. Instead, they have committed to creating and recreating end of the world scenarios every single time.”

Superhero films have so much potential, if only producers were willing to take risks with the storytelling. Ingenuity would turn tired stories into those worth watching again. The purpose of superheros in society has always been to provide hope and inspiration for a people, and now more than ever we could use some of that.

If their quality were to improve to something of cinematic and artistic merit, or some semblance of that, superhero films could be the kick that the box office needs in order to save their plummeting attendance numbers and dismal quarters.