Category: DJF

Source: The Conversation – UK – By Harsh Trivedi, Associate Teacher, School of Languages and Cultures, University of Sheffield

The multiverse has become an essential part of pop culture. The Marvel Cinematic Universe (MCU) brought this shared universe style of storytelling to global prominence with Iron Man (2008), where a post-credit scene hinted at a larger interconnected universe.

Over time, this expanded into a cinematic multiverse, particularly with the 2016 film Doctor Strange. Films like Spider-Man: No Way Home (2021) and Doctor Strange: Multiverse of Madness (2022) introduced audiences to parallel universes where different versions of the same character coexist. The multiverse has also been embraced by other films, like Everything Everywhere All At Once (2022), which won multiple Academy Awards and Stree 2, which became the highest-grossing Bollywood film of all time in September 2024.

This style of storytelling has deep literary roots. I believe the first person to master the fictional multiverse was the 19th-century French novelist, Honoré de Balzac, in his monumental work La Comédie Humaine (The Human Comedy, 1829-1847).

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In the 1920s, German physicist Werner Heisenberg challenged Newtonian physics, positing that particles can simultaneously occupy multiple states – he called this the Uncertainty Principle. Later, in the 1950s, American physicist Hugh Everett proposed the Many Worlds Interpretation, suggesting that all possible outcomes of a quantum event occur, each in a separate parallel universe.

While this theory was developed in physics, the term “multiverse” was introduced into literature by British science fiction writer Michael Moorcock. In The Eternal Champion (1970), he envisioned characters existing in parallel worlds with multiple avatars.

However, Balzac’s La Comédie Humaine, written over a century earlier, already contained the seeds of multiverse storytelling. Comprising nearly 100 novels and short stories, it features thousands of characters who reappear across different works, creating a shared universe that allows for complex narrative interconnections.

Balzac’s innovation was not merely in these recurring characters, but in the thematic and conceptual unity he established across his fictional universe.

This cohesion is built through his “typology” of characters. Balzac’s “types” are characters who embody universal traits while retaining their individual personalities – making them instantly recognisable across different stories.

In his preface to Une Ténébreuse Affaire (An Historical Mystery, 1841), Balzac defends his use of types: “A type … is a character who summarises in himself certain characteristic traits of all those who more or less resemble him; he is the model of the genre.”

Hungarian philosopher Georg Lukács expanded on this idea, stating that Balzac’s types represent a synthesis of the individual and the universal. These characters are universal enough to represent broader societal forces, while remaining distinct individuals within their own narratives.

This balance between the universal and individual is a cornerstone of multiverse storytelling. For instance, the climax of Spider-Man: No Way Home highlights the interplay between the universal and individual aspects of characters, as seen when three versions of Spider-Man (Toby Maguire, Andrew Garfield, Tom Holland) from parallel universes unite. Garfield’s Spider-Man finds redemption by saving MJ (Holland’s Spider-Man’s love interest), a moment that mirrors his own tragic loss of Gwen – emphasising both their shared trauma and divergent fates.

In much the same way, Balzac’s recurring characters evolve across La Comédie Humaine, reflecting different facets of their personalities and situations. Although not planned as a shared universe from the beginning – Balzac retrofitted earlier works to fit this framework – the coherence of his fictional world is remarkable.

Mobilising the multiverse

The French philosopher Alain wrote that Balzac’s literary universe can sometimes feel like a “crossroads where characters from La Comédie Humaine meet, greet each other, and pass”. This creates a sense of disjointedness, due to its lack of strict chronological order, allowing readers to enter Balzac’s universe from any of the nearly 100 novels or short stories.

Balzac addressed these concerns in his prefaces. He engaged in a meta-discourse similar to the post-credit scenes in modern Marvel films, where future plot-lines and character arcs are hinted at.

Balzac’s use of prefaces as a space to preempt criticism and engage with his readers anticipates the dialogue between creators and fans in the MCU. Just as Marvel balances creative vision with fan demands, Balzac used his prefaces to address concerns from his readers about the trajectories of beloved characters.

One of many such instances occurs in the preface to Pierrette (1840), where Balzac reveals that Maxime de Trailles, a notorious bachelor who ruins many women’s lives in La Comédie Humaine, is finally getting married. Despite criticisms from readers who wanted De Trailles to meet a tragic and painful end, Balzac defends his decision, humorously remarking: “What do you want me to do? That devil Maxime is in good health.”

Both Balzac and Marvel deal with the challenge of catering to a wide and diverse audience. The multiverse model, however, offers a solution to the limitations of a shared universe. While Balzac struggled with the impossibility of creating a completely coherent world – La Comédie Humaine was unfinished at his death – the multiverse allows modern creators to explore multiple realities and satisfy diverse audience expectations without making irreversible narrative choices.

In 2019, Marvel faced a backlash to the film Captain Marvel from conservative fans, for casting a female actor in a lead role – and then, in 2022, another backlash for casting a Muslim Pakistani actress as Ms. Marvel. Rather than directly addressing the criticism, which could have alienated both conservative and liberal audiences, Marvel used the multiverse to cater to a wide range of expectations.

Across the Spider-Verse (2023) is a prime example. This animated film features over 600 versions of Spider-Man, from the “traditional” white Spider-Man to black, Indian and even animal versions of the character (notably Peter “Porker”, the Spider-Pig). In doing so, Marvel catered to diverse global markets without committing to a single interpretation.

Balzac’s La Comédie Humaine laid the groundwork for modern multiverse storytelling. This approach allowed him to explore different dimensions of his characters across various stories. His visionary storytelling anticipated the fluidity and complexity found in today’s shared cinematic universes, demonstrating his enduring influence on narrative structures.

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Harsh Trivedi does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.

– ref. How 19th-century French novelist Balzac mastered the multiverse long before Marvel – https://theconversation.com/how-19th-century-french-novelist-balzac-mastered-the-multiverse-long-before-marvel-239764