Comic book characters are coming back in a big way, but at what cost? A convergence of cutting-edge special-effects technology, Hollywood's desperate forays into new media and Seth Cohen's abiding interest in the genre have made comic book-based movies a popular box-office mainstay for several years now. While some might applaud the revitalization of what had become a waning genre, a closer look at these films raises concerns about their ultimate effect on these classic stories.The first two such films to revive the once-thriving comic book movie were the enormously successful Spider-Man and X-Men films. Although neither movie was particularly popular with critics or die-hards (who focused on the films' "accuracy" regarding the original source), fans flocked to the sleek CGI, entry-level plots and the attractive actors who made the films accessible to average movie-goers. Both comic book geeks and critics were impressed with the second installment in each series, both of which presented darker plotlines and little details pulled from the classic comic book canon.

After witnessing these stunning successes, movie-makers rushed to flood theaters with more comic book flicks. Daredevil and The Hulk appeared in record time, and while both fared well monetarily, they scored low with fans and critics. Beyond simply departing from comic book consistency, they were uneven movies which boasted little beyond impressive visual effects. Much of their box office earnings stemmed from their predecessors' inertia, and neither enjoyed nearly the same DVD and post-theater syndication of X-Men and Spider-Man. Fantastic Four met a similar fate, drawing viewers with stars Jessica Alba and Julian McMahon, but driving away comic book devotees.

There have been some all-around flops, of course. Garbage such as Catwoman, Elektra and The Punisher barely made ends meet; anyone foolish enough to pay to see these films ended up wishing they hadn't. These movies failed to even attain cult status, having strayed so far from their source materials that only their titles related them to their inspirations.

The anti-hero movies, often inspired by indie comics and graphic novels, have proven to be some of the best in terms of both decent moviemaking and in source loyalty. Most famously, Hellboy and Sin City failed to cause box-office frenzy but triumphed in creating a loyal fan base and in boosting the sales of their respective comic book series. Hype has been boiling over the sequels to these films, which should explore more of the same lurid subject matter. These sorts of comic book renditions may never generate the same money as flashier, brighter movies, but they certainly are the most beneficial for the comic book industry itself-a trait Spider-Man and X-Men have yet to develop.

Batman Begins was a bit of an anomaly, albeit a pleasant one. Although it featured a more mainstream character with a very mainstream cast, its director, Christopher Nolan, crafted an extremely well-made movie using a combination of Batman-lore and new material. While it broke from both the comic book tradition and the preceding four (and progressively more terrible) Batman movies, it proved quite lucrative for its producers and for DC Comics, the publishers of the Batman comic series. Batman Begins ultimately showed that, with good direction and writing, everyone can win with a solid comic book character. I eagerly await another Nolan-Batman venture, to see if it can obtain the same second wind as its only cash rivals, Spider-Man and X-Men.

With these trends in mind, a cursory look at the upcoming comic book movies should reveal their potential. X3 is due in May, but with original director Bryan Singer gone, it's difficult to tell if the movie will stray further into Hollywood inaccuracy by appealing to its audience's interest in an attractive cast. Superman Returns will hit theaters in June, with a somewhat unknown cast. This bodes well for the movie's comic loyalty, but poorly for its box-office earnings.

Most promising, and along the lines of Hellboy and Sin City, is V for Vendetta, a graphic novel-based piece appearing later this month. Its edgier, darker look should distance it from the generally downward spiral of comic book movies that threatens to destroy their base of inspiration, rather than bring them new life.