How the four 'John Wick' films revolutionized action filmmaking

‘John Wick’ is a science fiction story, according to an ancient fan theory that has been around for a long time. Other evidence suggests that, at the very least, the world of John Wick is a parallel universe. This is in addition to the fact that it is highly improbable that the complicated action sequences in the film would actually take place in the real world. As a matter of course, there is the incredible resilience of the adversaries, who are able to bear one shot after another without flinching, which transforms them into metahumans. On the other hand, we hardly ever come across “normal” individuals; the only people we meet are murderers who live in isolation within their own society, complete with their own structures, traditions, and even their own currency. There is a parallel reality that we are in.

It is a theory that does not take itself too seriously (it is obvious what imaginary universe John Wick offers and why “normal” people do not feature in the movie), but it does serve to assist us in comprehending the resources that he has utilized in order to transform the series into the widely regarded epic that it is today. It goes without saying that, putting aside its obvious strengths in terms of action, there is just nothing similar being produced in Hollywood at the moment. However, from the perspective of world-building, what kind of lessons has ‘John Wick’ acquired from science fiction?

To begin, there is the significance that the epic places on maintaining a coherent mythos over its entirety. What is necessary is not only to identify what we see, but also what we do not see, the background that supports that universe that we see. This is something that every author of science fiction and fantasy is aware of. Because of the meticulous attention to detail that went into the writing of the ‘John Wick’ script, we are aware that each time a coin or marker is traded, there is a predetermined significance associated with it. When a series has been announced, it has not been a “John Wick: Origins,” but rather it will deal with the roots of the Continental. This is a pure example of lore construction, and it is so relevant that it has been announced.

This treatment of the setting, which is so typical of fantasy authors, who are aware that they are required to provide the essential explanations in order for the viewer (or reader) to be able to identify with a world that is not only three-dimensional but also distinct from their own, has an effect not just on the settings. The same goes for the characters. The running gag that the mere mention of John Wick’s name is enough for people to know exactly who we are talking about and why it is a poor idea to drive a car is not only funny but also cool. This is because of the reason that the running gag is so funny. A lore of imaginary worlds can also be constructed by this method. It is a speedy method of providing the planet with a history and incorporating it into the setting of this universe, even if we do not know the specifics of the past.

This is the open universe of John Wick.
Fantasy in general and science fiction in particular are both very good at doing something, and that is bastardizing the ingredients that make up their respective genres. They should be mixed without complications. Whether you are working on a divorce drama or a serious mafia film, it is essential to keep your feet firmly planted on the ground in order to successfully create a universe that is consistent and believable. Do not give in to the temptation of narrative stifling or extravagance; humans are individuals, not movie characters. Do not let yourself be taken away by this desire.

Fantasy and science fiction, on the other hand, do not have any constraints; this is the reason why “Star Wars” is able to have a science fiction setting that also incorporates aspects of medieval fantasy and touches of the Western genre. Moreover, everything is able to function properly because the rules are Lucas’s, and his knowledge is well-established, which ensures that there is coherence. As a result of the fact that “John Wick” is aware that we are not in a realistic film about hitmen, it plays with a variety of different concepts. The most obvious ones are the western ones, both in terms of the plot (the solitary hero, the refuge that everyone respects) and physically (the first scene of “John Wick 4” is a horse pursuit in the middle of a desert).

The films based on the John Wick franchise take it even farther and go so far as to bastardize the very basis of the franchise, which is martial arts. Is it possible that we could combine a judo practitioner with a kung fu practitioner, another with a muay thai practitioner, a sumo wrestler, and a karate practitioner? You are aware of the outcome: the action is invigorating and novel, and everything stems from the absence of bias when combining thoughts, which is something that it takes from genres that are not extremely realistic.

In the fourth installment of the series, which is the most blatantly epic and grandiose of the entire franchise, all of these elements come together to form all of these elements. There are mafia bosses that are comparable to the final bosses in a fighting video game from the eighties, and there is a conclusion that combines traditional violence, which is almost romantic, with the savagery that is typical of the series. In addition, we are provided with a peek of the workings and the hierarchies of the High Table, which is a secret organization that ultimately controls everything. That is to say, the thing takes on the characteristics of an urban space opera, which occasionally plays ‘Dune’ (the classes, monsters, deserts, and chufa mysticism) and occasionally plays ‘Final Fight’. Alternately, how to appear to be nothing while appearing to be everything.

We have arrived at a certain epic of self-knowledge based not on the character, but on the world that has created him. This leads us not only to icons like Frankenstein (what is John Wick but a human collage of the best assassins on the planet), but also to the narrative dynamics of those space operas that we just mentioned. From what was an old-fashioned revenge story in the first film, we have reach this point. Without the use of laser beams, science fiction, and the development of lore through the utilization of resources that have been trained a thousand times in the imagination of a lifetime

How the four ‘John Wick’ films revolutionized action filmmaking

By ki0nk

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