#PETER PARKER IS AN OUTCAST

[booksandpaperss]

normally I’m not an AU hater. normally I LOVE AUs.

however. Steve the hair Harrington is NOT Spider-Man 😭

[ikol-loki]

they may never make bider-man canon but its a massive missed opportunity by marvel to not say that spidey swings both ways

[the-oucast]

Can't believe y/n sometimes like THAT IS NOT ME I WOULDN'T DO THAT���😭😭

•not mine credit to the original poster •

me staring at my ceiling after y/n does the most FLABBERGASTING thing ever

[miguelsslvt]

friends- chase atlantic

nerd! ex! miguel o’hara x popular! reader college au

word count: 1335

TW: mild smut under cut, overstimulation, smoking, drvg use, manipulative friends.

A/N: so basically, this is my interpretation of a scenario that happened in the nerd! miguel lore!! obviously this isn't 'canon', this is just my interpretation of the wonderful storyline by @nymphomatique !! always go check her out, her stories are honestly the best <33 hope you all enjoy and welcome to the club!!^^

'he's not good for you y/n!' 'he's a freak y/n!' 'he's such a weirdo compared to you y/n!' 'get rid of him y/n!' 'get rid of his ass y/n!'

that's all your 'friends' ever said to you about miguel o'hara. they hated your relationship with him. he was a nerd sure, but all your 'best friends' were adamant that he was no good for you. or your name, for that matter

he was a bit of an outcast and nerd, sure, he used to sit alone at lunch, he would get bullied by the football team, he never got invited to parties, and don't even get started on his glasses.

but, no matter what, you wanted him. you had a reputation of popularity and cockiness sure, but you wanted to introverted freak nonetheless. he was just so.. sweet. and no matter what, you wanted him.

eventually you listened to your friends, cutting off everything you had with miguel so you could stop hearing the constant nagging of 'when are you gonna get rid of him?'

miguel being miguel, he was heartbroken. he cried for days, while you were enjoying your free time partying or sleeping with randomers.

a few weeks swings by, and parker's usual summer party is just tonight. he has one every year, and without a doubt they're the best parties of the whole school year. you were obviously first invite, and you happily agreed. but what you didn't expect, was the conversation in chemistry class that parker and his other 'popular' football friends were saying.

'yeah i invited that o'hara kid, it's gonna be so funny!' peter said, as one of the boys joined in. 'i say we throw him into the pool!' he said, as you chimed in. 'don't be dicks you think you're all so cool and popular bullying a kid? grow up.' you snapped.

peter smirked. 'aw, is little y/n getting possessive over her little ex fuck toy? i swear if you two are gonna fuck in my bed-' 'even if we do i'm sure it'll be better then having another night with your 2 incher. at least he knows where the clit is.' you replied snarkily, the boys laughing as peter went red in the face in anger.

'you're such a slut!' he snapped, you smiled. 'yeah well at least i didn't fuck mandy simpson in the back of english lit last semester.' you said, as peter was livid. he turned around, as you and your friends laughed.

the party arrived, and you wore your favourite black tight dress. it was a spaghetti strap, paired with gold hoop earrings, a gold necklace and some black strap heels. you packed a black and gold bikini just in case the boys decided their usual 2am pool dip.

you grabbed a bottle of vodka, pouring 50% in, mixing it with some coca cola. you noticed the usual hockey boys sniffing some sort of substance you didn't really care, you then saw the pick me girls all over peter and his friends. your friends were smoking back in the garden, beside the pool. you decided to walk over to them.

'hey girl! you want a smoke?' gracie asked, as you smiled and lit a cigarette, smoking it with your friends.

'hey, is that.. o'hara?' kate said, pointing to a corner. you turned around quickly, seeing the boy you oh so fondly missed (but you would never tell anyone that).

he looked more ripped. he had been going to the gym, you noticed that when you stalked his instagram story last week. he wore a pair of black jeans, and a polo shirt that was a little too tight for him. his hair was slicked back, and his glasses were a little crooked as usual.

'what a nerd, who invited him?' grace whispered. 'i heard peter invited him just to take the piss outta him. a little far fetched if you ask me.' maddy said, as abbie chimed in. 'well after making y/n look like an absolute freak for dating him, i'm sure the nicest thing o'hara could do is at least look popular so y/n doesn't look like a complete moron.'

'say that again?' you swung your head to abbie, who immediately shut her mouth. 'you can't talk abbie. i swear you fucked hobie brown during spring break?' you replied, as your friends laughed, abbie nodding. 'i deserved that.'

a few hours rolled by, and you were.. tipsy. your friends were either dancing, drinking or making out with one of the hockey dudes. you however, was searching for miguel. and when you found him, your heart boiled.

'cmon o'hara! we so kindly invited you to our party, why don't you just take a little swim with us?!' peter said, pinning miguel up to a wall. miguel was a shaking mess. you sighed, walking up to peter. 'hands off him.' you said, sternly.

'cmon y/n, you two ain't even together anymore. let's just show this little freak what parties are really about hm?' peter replied, as you smacked him swiftly, causing peter to lose his grip on miguel.

'WHAT THE FUCK?!' he snapped. 'touch my boy again, and i'll fucking end your career. you hear me?! one snapchat story and you could lose everything parker, you hear me?! now fuck off, enjoy your little party, and leave me and MY man alone!' you yelled, as peter's friends were awe-struck. they knew you were mouthy, but jeez.

'stupid bitch!' peter yelled, before walking away. tears welled miguel's eyes, as y/n grabbed his hand, taking him into her car.

she started the car, as the two were silent on the way home. 'w..where are we going?' miguel asked. 'my dorm.' you said in reply. '..i'm not your boy y'know. not anymore.' miguel mumbled. that made you raise a brow. 'i'm sorry, what?'

'you said i was 'yours' earlier, a-and..' tears fell down miguel's face. 'i'm not. n-not adfter y-you dumped me.' he said, as you sighed.

'..you're supposed to be smart, o'hara. why the fuck can't you see why i dumped you?' you said, as miguel looked away. 'i do know. i- i know it's because your friends said so. th-they didn't want you to be unpopular and weird.' he said.

'..i'm.. fuck man.' you mumbled, sighing. 'you know me, miguel. you know i hate saying this. but.. i'm sorry.' you said, that made his heart stop. you're.. sorry?

'i do want you. i've always fucking wanted you. but my friends they.. they just- they were in my ear for so long i-' 'tell me.' he cut you off. 'what?' you asked. 'what were we? we weren't exactly together, b-but we weren't not? i.. all i know is that we weren't just friends.' miguel stated.

he had a point. technically speaking, you two were just fuck buddies. 'we.. we were just fuck buddies.' you said honestly. 'and i stopped that because of my.. stupid fucking friends.' you parked outside the dorm. 'and y'know? i don't give two shits what anyone thinks about us.' you said, looking at miguel. he wiped his tears.

'do-does that make us.. something again?' he asked. '..get out.' you stated, as you got out the car, grabbing his hand and dragging him into the dorm.

---------------------------------------

'm..mistress p-please..' he begged, his legs shaking. you had been sucking him off for about an hour now, not stopping. it was his nth orgasm, and he couldn't feel anything.tears were streaming down his face, but you weren't done. not yet.

'let your mistress please you, yeah baby? i've been neglecting you for so long..' you cooed, stroking his cock as his eyes rolled back. you tutted. 'aww, so sensitive.. is my little dweeb tapping out before even touching mistress?' you teased, as he shook his head.

'n..no.. w-want to feel y-you mistress.. p-lease..' he whimpered, as you let go, moving to sit on his lap.

'trust me baby, we aren't stopping until i say so.'

[twilightkitkat]

Everyone knows that the MCU is interconnected to set up crossovers and grand finales to arcs, right?

Imagine this: after the events of No Way Home, Peter is living alone. He has nobody who remembers him outside of his Spiderman persona, and the world has forgotten his existence. He's working a shitty job and living in a shitty apartment and is completely isolated from the world.

At the same time, Wade and Logan have started living together after saving the world. They both understand each other in ways that nobody else does. They relate to each other's pain. They begin taking jobs and missions together and learning to truly live instead of just survive.

At this moment, their character arcs moved in opposite directions. Peter went from having it all—friends, family, fame, respect—to having nothing. Meanwhile, Wade and Logan went from having nothing—Wade had lost his sense of purpose in life and girlfriend while Logan had lost the X-men and was outcasted by society—to finally having each other. They are creating their home just as Peter lost his.

But despite this, not everything is going well. Maybe Logan and Wade are struggling due to miscommunication and their insecurities. Maybe a new villain comes along and puts external stress on them. Maybe the timeline is still unstable and they need to keep doing maintenance work to restore it. The point is, there is a stressor.

It is then that their stories intersect.

Wade, who is the only current character known to break the fourth wall. Who would look at Spiderman and know that he's Peter Parker despite him being erased.

Peter, who is completely isolated in a world that has forgotten him. Who sees everything he wanted dangled in front of him each time he passes a billboard with Stark Industries or a group of friends laughing or a parent and their child. Who is desperate for any sense of belonging and feels the loneliness eating away at him.

Wade would run into him while Spiderman was on patrol. He'd be sitting on a building, staring off into the distance forlornly. He'd recognize the loneliness in him and strike up a conversation.

And Peter would nearly cry when Wade offered to buy him a sandwich. For the first time in God knows how long, he felt like someone actually cared about him behind the mask.

And so they started talking. Peter ran into Wade and they'd wave at each other and talk. Wade would get to know Peter as the person and not the hero.

And Wade would know a little too much. Would remember details a little too well. Took to him like an old buddy who he had known for years. (And really, it was the case. Deadpool and Spiderman were old friends... just not in this universe.)

And Peter would latch onto the first person who showed him kindness, even if they're loud and morally questionable and a mercenary. He finally had a friend again. Someone he could just talk to.

And then the conflict in Wade's own life spirals and reaches a head. And for one reason or another, he winds up trapped at Peter's apartment, bloodied and injured.

He'd fought with Logan earlier that day and he was too far. So he showed up at Peter's expecting to get patched up a little and let his healing factor do the work.

...Except he doesn't heal. Something was gravely wrong. He felt hot and dizzy and the wound was beginning to get infected. And Wade busted his phone in the skirmish he got into, so he couldn't communicate with anyone.

(And so he doesn't see the messages from Logan. Demanding where he was, if he was okay, apologizing for earlier and asking him to come back.)

He ends up drifting in and out of consciousness for days, barely on the edge of life. Peter is worried as hell and is trying his best to take care of him despite his tight budget. Neither could go to a hospital because of their mutant status and illegal activities.

Wade is barely conscious enough to talk, let alone tell him his emergency contacts.

And so the days pass until a week has gone by and Logan hasn't heard a word from Wade. And he's freaking the fuck out. Because even if Wade was pissed, he still came back a few hours later so they could talk it out. They never dealt well with separation, especially Logan.

He's been cornering every vaguely shady person on the streets to see if they knew where Wade was. He'd torn up villain bases near their area. Had even fucking considered putting up missing posters because of how desperate he was.

Until he finally gets a lead.

And so, when Peter hears knocking at his door, he goes to answer.

Only to get pinned against the wall by Logan, claws threatening to puncture his neck. A snarl on his lips and a feral look in his eyes, bloodthirsty and on the verge of snapping.

And Peter tries to stutter out words but it's hard when his windpipe is being crushed. This was completely unexpected.

He didn't do anything to piss someone off that badly, right? And how did someone trace his Spiderman identity back to Peter Parker when he'd been so careful?

More importantly—

A shuffling sound came from the couch in the living room.

Wade. Wade was still here.

Peter renewed his struggle, a fierce glare in his eyes. Even if nobody would miss him, he'd make sure nobody could harm his only friend.

"What time is it?" Wade mumbled roughly, sitting up and stretching his sore muscles. He still felt feverish and had a sore throat, but at least he wasn't on Death's Door anymore.

Logan's head snapped in Wade's direction like a bloodhound following a trail. He'd clearly heard him.

Without warning, he threw Peter to the side, who clutched at his throat as he was slammed against the wall.

He was going for Wade. Shit.

He knew Wade had enemies, considering he was a mercenary, but he didn't realize the type of ballpark he was playing in. And Peter knew Wade's healing factor was infinitely stronger than his own... except it wasn't working.

Was he the one responsible for Wade's vulnerable state? Did this man weaken him on purpose so he could take him out?

Peter stumbled to his feet, muscles tensing as he darted out to stop Logan, who seemed hellbent on approaching Wade. But Logan turned the corner just before he could reach him.

He saw Logan register Wade's presence, eyes locking onto him with a single-minded, piercing focus that was blinding in its intensity.

"Hey!" he tried calling out, but Logan wasn't paying attention. Didn't seem to be aware of his surroundings, only looking at Wade with an indescribable mixture of emotions. There were the obvious emotions like anger, but if Peter didn't know any better he'd say the man was looking at Wade with something akin to pure relief, awe, and fear.

Wade glanced over at the man and his eyes widened. "Logan...? Honey badger, you came for me?" His voice was sleep-heavy and the words came out choked.

Wade had been calling the name 'Logan' in his sleep almost every night. When Peter would try to quiet him by brushing his sweat-stuck hair away from his forehead, Wade would latch onto his wrist and wouldn't let go until he cracked open his eyes and saw it wasn't who he wanted.

Peter wanted to ask who Logan was. Who was so important to him that he kept whispering his name when he tossed and turned at night, that he mistook Peter for him and looked disappointed when he realized it was just him (and ouch, sometimes that stung).

But he'd assumed it was someone from Wade's past. Like MJ was to him. Someone important but long gone.

And so when Wade called this man Logan, Peter thought it was him mistaking someone for Logan in a sickness-induced delirium. It wouldn't be the first time.

But Logan stared at him, fists still clenched where his claws protruded through his knuckles. He looked at Wade, searchingly, like his face had the answers to his questions.

And once Wade uttered that name, he launched himself at Wade.

Peter cried out as he tried to catch Logan to stop him from hurting or killing Wade, but he was so much faster than him. He'd crossed the room in the blink of an eye.

Peter looked up, terrified, to see a completely unexpected sight.

The man was clinging to Wade, clutching at him like his life depended on it, shivers wracking his body. And Wade clung to him tighter, threading his fingers through his hair, murmuring softly.

...Huh?

[markrosewater]

As someone who only recently got properly into Magic this year my stance on the recent UB Standard legality is that so long as the mechanics are good, fun to play, and work well with the other Standard legal sets then I don't particularly care if Final Fantasy is legal.

But.

There is something about the Marvel Universe being Standard Legal that feels off. Final Fantasy shares many aesthetic and gameplay similarities to Magic that make it slide into the general ecosystem better from a Look/Feel perspective. Meanwhile, as much of a Spider-Man fan as I am, it is going to be incredibly weird seeing Peter Parker or Miles Morales face off against the critters of Bloomburrow, even more than Thunder Junction or Duskmourn do.

I will attend the Final Fantasy and Spider-Man prereleases because I love playing Magic and I am interested in both sets, but I cannot shake the feeling that this decision makes the overall play experience strange, especially since SIX Standard sets of a year is way overdoing it (maybe 3 In-Universe sets and 1 UB set would be a better balance?)

I understand the decision from a logical standpoint but the emotional reaction to Magic losing some of its Qualia is something that I can't ignore

I have read many of the responses to my request for emotional responses yesterday (I will continue reading - there are just a lot of people sharing). A common through line is the feeling of loss, that the decisions we’ve been making are taking things away from them.

So, I wanted to take a moment to talk about something that I believe Universes Beyond is adding to the game. I’m not talking about value to other people that aren’t you, but something that is upside to the enfranchised players that are the backbone of the game.

As I’m head designer, my focus is on mechanics and the core gameplay experience of playing the game. Universes Beyond has been a bolt of energy for the design of the game.

Because so many of you are sharing personal stories, I’ll use my own experiences as a way to illustrate my point.

One day, when I was seven or eight, I woke up and went downstairs to see that my Dad had bought me a comic book and left it out on the counter for me as a surprise. It was Spider-Man.

I must have read that comic ten times. It was the start of a life long love of comic books. I’m not quite sure why the superhero genre, in particular, spoke to me so strongly, but it did.

As a teenager I was a bit of an outcast, and when I stumbled upon the X-Men, it felt like a story that was core to my lived experience. I too was an outsider, but out there were people like me and if I could find those people, we could bond over our similarities.

I enjoy designing Magic. I mean really, really enjoy designing Magic. I don’t throw around the term “dream job” lightly. It is truly a lifelong passion. I spend so much time writing about it because it is something that brings me so much joy, and there is a desire to share that joy with others, my found family that shares my similarities.

Designing Marvel cards has been electrifying. I have spent years mastering the art of Magic design. Getting to combine that with my love of Marvel characters has been inspirational. It has inspired to make designs I would have never thought of.

It has pushed me in directions I couldn’t have predicted and resulted in designs that tickle both my inner Mel and Vorthoses.

And it hasn’t just affected my own designs. I have given more notes on card designs than I have in my twenty nine years at Wizards.

For example, the amount of back and forth with Aaron who designed the five Secret Lair cards we recently revealed at New York ComicCon was exhaustive. He and I have long bonded over our shared love of Marvel, so getting to translate that into Magic with him has been amazing.

And each Universes Beyond product we’re making has people as equally passionate about that property.

My point is from purely a design perspective, Universes Beyond has had huge dividends. It has inspired us to make fresh new designs. It has sparked creativity. We are making awesome card designs, mechanics, themes, and sets, things that most likely wouldn’t have come into existence otherwise.

The passion that beloved characters and worlds has inspired in us is translated into amazing Magic design, something that will make the act of playing Magic better for anyone who enjoys the nuts and bolts of the raw gameplay of Magic.

[badgalsasuke]

So Kishimoto has talked about how he referenced Raimi's Spider-man movies in the Naruto manga and we all realized he was talking about the iconic upside down kiss that inspired the panel of Sasuke looking at Naruto under the rain

If you've read Naruto and watched Raimi's Spider-man trilogy then you would not be surprised that Kishimoto likes PeterMJ, after all Raimi used several romantic tropes that Kishimoto also likes and implemented in his own work.

So I've decided to make this post drawing the similarities between both couples.

Both relationships are the core of their respective stories. Kishimoto states that without Sasuke there is no Naruto, and the story would be over in ten chapters. In Raimi's Spider-man, the first thing Peter Parker tells us is that his story revolves around a girl, Mary Jane Watson.

2. Compassion for the outcast: Both Naruto and Peter Parker start their series as outcast losers who are made fun of by their peers and subjected to their cruelty. Mary Jane is the first person we see show compassion towards Peter with no ulterior motive; she demands for the bus to stop after Peter had been chasing them for blocks begging them to stop. Similarly, Sasuke is also the first person (as in a peer, not a father figure) in the manga to show compassion to Naruto; their team had been ordered to not share food with Naruto after he broke some rules of a test, otherwise they'd be all failed and their careers as ninjas would end. Sasuke didn't care about this and still fed him anyway after seeing how hungry he was.

3. Both MJ and Sasuke are Peter and Naruto's driving forces. In the spider-man movie when Aunt May is at the hospital, Peter and MJ share a very heartfelt conversation where Peter says the following:

The great thing about Mj is… when you look in her eyes and she’s looking back in yours everything feels not quite normal because you feel stronger and weaker at the same time, you feel excited and at the same time terrified. The truth is you don’t know what you feel except you know what kind of man you wanna be, is if you’ve reached the unreachable and you weren’t ready for it.

In Naruto ch. 319 we see Naruto training a new technique but failing during the day. Then, at night he sees a shooting star, takes his hand to his heart and thinks about Sasuke, that's when he decides to get up and continue training all night, the next day he's finally been succesful in his new technique and Kakashi acknowledges his driving force is Sasuke. Sasuke inspires and moves Naruto to become the ninja he wants to be.

Other examples of MJ and Sasuke being the driving forces of the MC are in Spider-man 2 Peter loses his powers when he thinks Mary Jane no longer loves him and wants nothing to do with him, but after she asks him to meet him in a café and confesses she wants to kiss him because she believes she still loves him, he regains his powers immediately and is able to detect with his re-gained spidersense Doc Ock has just thrown a car at them.

And in Naruto's ch. 647-648 we see a defeated and exhausted Naruto losing hope on winning the war they're fighting, then Sasuke jumps in and without needing to give a grand speech and simply saying "That's all you got? I'm just getting started" is able to move Naruto and encourage him to keep fighting to the point when Naruto shares his chakra with everybody else they all see his thoughts and sense his feelings on how important Sasuke is for him.

Hehe Naruto is crazy for Sasuke. This is such an insane thing to do lmfao.

4. Going berserk for their loved ones. In the first Spider-man movie Peter is being defeated by the Green Goblin and he tells Peter: "Had you not been so selfish, you're little girlfriend's death would've been quick and painless but now that you've really pissed me off I'm gonna finish her nice and slow. MJ and I... we're gonna have a hell of a time". After this, Peter Parker became furious and almost beat the Green Goblin to death. Then, in Spider-man 2, Doc Ock attacks Peter and MJ then tells Peter to find Spider-man otherwise he'll peel the flesh off MJ's bones, Peter Parker who had lost his powers, once again becomes furious.

In Naruto's case, in ch. 27 we see how Haku almost kills Sasuke but Naruto believed he had managed to kill him so for the first time in his life, he unleashes the Kyuubi powers and almost kills Haku. Then again, in ch. 291 Naruto unleashes 4 tails of the kyuubi after Orochimaru calls Sasuke "My Sasuke-kun".

5. Miscommunication between the main character and their loved one. Throughout the Spider-Man trilogy we see Peter and MJ struggle to communicate with each other. Peter in particular, is unable to tell Mary Jane he loves her because he's also Spider-man and he believes that'd put her in danger, but he never explains to MJ the situation so she's left not knowing if Peter loves her for certain or not and she also doesn't understand all this back and forth he puts her through.

Kishimoto is a sucker for the miscommunication trope, he loves that shit and in his manga that's basically what's moving the plot forward. Throughout the entire manga Naruto is discovering what his true feelings for Sasuke are but he's never truly clear whenever he tries to explain them to Sasuke, hence why the latter is constantly asking Naruto why is he doing everything he does for him, basically going "what are we?" lol

[mrmanbat]

Broski- Tim totally got the Peter Parker treatment.

He was a cool(-ish) dude who was (mostly) well liked and did (fairly) well in social interactions. Sure he had some school haters but most of them disliked him bc he was an egotistical asshole- not bc he was a nerd. (Tbf this wasn’t as obvious nor as integral to Tim as it was to Peter) 

Writers took Peter and Tim, saw that they were smart, and just ran with it making them antisocial outcast nerds. And then that became the new standard for the characters.

Like this isn’t as prevalent with Tim but yk what I’m getting at right? (I’m lowkey just rambling)

[hobiebrownismygod]

Alright, I know a lot of people are headcanoning Gwen as trans, but what if her Peter was actually the trans one?

Gwen's entire story is a trans allegory. I'm pretty sure a lot of people in the ATSV fandom have already established this, but I'm just gonna go over it again in my own perspective.

Peter Parker was Gwen's best friend, and the two of them were so close that Peter and his aunt May would often eat dinner with Gwen and her dad, Captain Stacey and close enough for Captain Stacy to feel a very deep connection towards him.

I couldn't find a gif, but this scene showed Gwen, Peter, May and Captain Stacy eating dinner together MULTIPLE times, one of those times being Gwen's birthday and another time being Halloween. They are obviously very close family friends.

One could go as far as to say that their closeness could mean that Captain Stacy may have seen Peter as a son to him. Him dying had a huge impact on both Gwen's and Captain Stacy's mental health, which shows that Captain Stacy had as deep of a connection to Peter as Gwen did.

Losing Peter was like losing a son. Later in the movie, Captain Stacy finds out that Gwen is actually Spider-woman. The person who he believed killed his son.

Get it?

He found out his daughter killed his son and doesn't want anything to do with her after that. Exactly like how some fathers feel when they find out their son is transgender. Because they lost their son. Does that make sense?

This seems to be the reason as to why a lot of people are headcanoning Gwen as trans, which is honestly a pretty valid headcanon to make, except-hear me out- what it wasn't Gwen who was trans? What if it was Peter?

This Peter looks very different from all the other Peters we see. Its not just him being slightly scrawnier thats different, but its also a lot of his facial structure. He looks more feminine. Now don't come for me for saying this, but he looks like he could definitely be a passing trans man.

It would explain why he was getting bullied by "Ned" at school and why he felt the need to become something more (The Lizard). He says he wants to be more like Gwen, like Spider-woman. What if he said that because he too felt like an outcast? He told Gwen that he didn't think Spider-woman was a bad guy, despite Captain Stacy constantly preaching that she was. Spider-woman is a vigilante, who isn't at all liked by the police. She's an outcast. A trans male thats being heavily bullied would relate to that. He would've related to being singled out because he's different.

It would explain Gwen's "Protect trans kids" poster in her room.

It would also explain Captain Stacy's trans flag pin on his uniform.

Peter Parker was trans and Gwen and her father supported him and protected him. But it wasn't enough to prevent him from becoming the Lizard.

Hopefully this all made sense! Once again, I'm not saying anything against the Gwen Stacy being trans headcanon, I'm just providing another perspective on the situation <3

[elijahs-dumps]

The Infantilization of Wylan Van Eck (within the soc fandom)

Hi! This is my first tumbler post ever, which is like super scary I wont lie. But I've had this project I've been working on since October and I'd love to share it with people, so here goes nothing!

Infantilization or to infantilize someone means to treat them as a child or in a way that denies their maturity in age or experience, and it qualifies as a form of mental abuse. 

This treatment is common in fandoms, although it obviously isn't done in a hateful way on purpose. It’s often directed towards characters who are more innocent, more kind, or more anxious than the other characters within the universe. Or, sometimes these characters are literally just the youngest of the group. Some examples of this include, Entrapta from She-Ra and the Princesses and Power, Varian from Rapunzel’s Tangled Adventure, Number Five from The Umbrella Academy, Hunter from The Owl House, Little Cato from Final Space, and even Peter Parker from the MCU.

However, most of the traits found in characters that are infantilized are also traits found in neurodivergent people. These traits include, missing social cues, being easily excitable or restless, often feeling anxious hyper fixating on something (usually related to science or math), being an outcast from the rest of the group in some way, and so on and so forth. Therefore, infantilization within fandoms is pretty problematic on its own. People (usually online) think that characters with these traits should be babied or pitied or demeaned in some way, even though neurodivergent consumers usually relate to these characters because of those same traits. 

Some evidence of Wylan being infantilized can include; the fact he's only referred to as cute or synonyms to that, while the other Crows or their actors are often sexualized more. People saying or implying he's smaller, weaker, or even younger than the others. And of course, people saying Kaz and Wylan are father and son... which is something I'll come back to later.

Why Wylan?

To better understand why exactly Wylan is receiving this treatment exclusively from the fans, we need to fully analyze the Six of Crows duology, which is exactly what I did!

When we are first introduced to Wylan in chapter seven (Matthias’ POV) of the Six of Crows, we see him sitting at the table and doodling while occasionally chewing on his thumbnail. He doesn't speak until Inej voices her doubts in Wylan’s demolition abilities. Jesper says Wylan “barely knows his trade”, and Kaz mentions that Wylan is “new to the scene”. Matthias also makes a comment about how Wylan “looks like he’s about twelve”. When Jesper and Inej continue to complain about Wylan being their demo man, Kaz tells them that Wylan is doubling as their insurance policy because Wylan is Jan Van Eck’s son, the rich merchant who’s paying Kaz and his chosen crew 40 million kruge in exchange for breaking Bo Yul-Bayur out of the Ice Court. This immediately makes everyone in the room think less of Wylan because of his privileged past.

This introduction sets up Wylan to the readers. His reserved body language, along with his inexperience and Matthias’ comment about his young appearance gives the impression that Wylan is more childish than the other Crows.

In the next chapter (Jesper’s POV) as the Crows react to the reveal of Wylan’s identity, Kaz tells Wylan that he’s “passable at demo, but excellent at hostage”. Jesper calls Wylan a “baby merch” and insists that Kaz leave him behind, less he slows the crew down. Wylan is annoyed that Kaz and Jpeser are talking about him as if he isn't in the room. Then, Kaz tells Wylan that the only reason he hasn't been mugged or jumped in the three months since he left his father’s house is because Kaz placed him under Dregs protection. In fact, Jesper even says that Kaz has been “coddling Wylan”. Jesper proceeds to call Wylan useless as he and Nina belittle Wylan for living in the Barrel “by choice”. This is also where the nickname “merchling” comes from. When the group continues to go back and forth over Wylan’s skills, Kaz repeats that he’s only bringing Wylan along because he doesn’t want to leave their hostage alone in Ketterdam. This makes Wylan the only Crow that wasn’t hired for their abilities, Wylan’s passable demo skills are simply a bonus. It’s a way for Kaz to keep the crew small and avoid splitting the money even further. 

This entire exchange and interaction between our six main characters lays out the groundwork for the dynamic between Wylan and the other Crows for the majority of the first book. Everyone else in the room believes Wylan is just another spoiled rich kid. They make fun of him for his lack of street smarts, and the money he was born into. Wylan never really fights back too much when it comes to comments from the others, which just reinforces the idea that he came from a cushy lifestyle where he never had to learn how to defend himself verbally. Wylan’s inexperience and innocence is often mistaken for stupidity by the characters, and therefore the readers. 

Kaz saying, “Always hit where the mark isn’t looking.” Only for Wylan to reply with, “Who's Mark?” is a great example of this. (Still chapter eight, Jesper’s POV.)

In chapter nine (Kaz’s POV) we see how Kaz views Wylan in his inner monologue. He says Wylan seems out of his depth, and even though he’s only a year younger than Kaz (making Wylan sixteen)  he still looks like a child. Kaz describes Wylan as a silk eared puppy in a room full of fighting dogs. This pushes the concept that Wylan is more childlike than the others further onto the audience. 

Additionally, in chapter eleven (Jesper’s POV), we see Jesper quite literally call Wylan “kid” during the attack at the docks, even though they’re also only one year apart. And in chapter fifteen, Matthias refers to Wylan as “the soft one” within his own inner monologue.

Since Wylan doesn't have his own point of view chapters in the first book, the reader’s entire understanding of this character is formed through the eyes of the other Crows. So, what we’re hearing about Wylan in the first book might not be entirely accurate, which is something people often forget. Part of the reason why the fandom treats Wylan the way they do is because of the way the Crows describe and talk to him throughout the entire series, The reader learns to rely on the others’ opinions on Wylan in order to learn more about him. 

All of the evidence I have shown so far, and even some smaller things I haven't included, plants a certain mentality in the reader; Wylan doesn't have the same knowledge as the other Crows, so he must be weak and gullible. Weakness and gullibility are often traits associated with the “younger-one-of-the-group” trope, or the “Kid Trope”. So, since Wylan is displaying behaviors that we as media consumers have grown used to attaching to characters who are literal children, Wylan must be a child, or at least be treated like one. 

However, the Crows don’t treat Wylan this way because they truly believe Wylan acts like a small child, because he doesn’t. Wylan’s behavior is perfectly normal, it simply sticks out in contrast to the harsh environments all the others have been exposed to. They treat him this way throughout the book as a sort of condescending joke, they belittle him for the stereotypes surrounding his upbringing and little else.

Still, like I said, the Crows’ mindset on Wylan is all the reader is exposed to for the entire first book, so the reader will subconsciously assume Wylan must be doing something to earn this odd treatment from the others. Sometimes readers don’t understand that it is not Wylan’s wealthy and sheltered background that makes him different, it’s the fact that the others are all criminals, murderers, soldiers, and convicts. Wylan is the only “normal” Crow on a very surface level, so his innocence is bound to stick out more.

As the first book continues, we see that there’s more to Wylan’s past than he lets on. We see first hand how smart and capable Wylan truly is, as his character grows with the story. It begins in the fight at the docks in chapter eleven, where Wylan uses his own flash bombs to help Jesper out.  In chapter thirteen, Wylan openly questions and even challenges Kaz after he throws Oomen overboard, which shows great courage on Wylan’s part. This pattern of questioning Kaz when no one else really does is a common theme when it comes to Wylan. We also see Wylan explain who Pekka Rollins is to Matthias in chapter fifteen. This shows that he’s not completely incompetent, and is at least somewhat aware of what goes on in the Barrel. Then, in chapter seventeen (Jesper’s POV), Wylan expresses his natural curiosity and desire for knowledge about anything, from the mechanics of the Ice Court moat to the design of Jesper’s guns. All of this builds to chapter twenty-two, where the Crows are attacked on the ice by Grisha who were sent by the Shu, dosed on parem. Wylan does a lot of heavy lifting in this fight with his bombs, and everyone is impressed. Jesper even makes a comment about how Wylan’s “earned his keep” now. 

Small moments like this that showcase Wylan’s natural resourcefulness and strength are crucial to communicating with the readers that the Crows were wrong about Wylan in the beginning. As Wylan’s true nature begins to develop further throughout the first book, we slowly see the Crows and their attitude towards Wylan change. It becomes more positive. In the future, when Wylan makes an ignorant comment, the others don’t poke fun at him as much. They’ll tell him to be quiet at most.

By the final climax of Six of Crows, chapter forty-six (Kaz’s POV), we find out Wylan cannot read. Jan Van Eck is open about his hatred and mistreatment of his son. When Jesper jumps to Wylan’s defense, he goes as far as to say Wylan is smarter than most of the others put together. Jesper is in love with Wylan at this point in the story, so his words might be a little exaggerated. But there’s still truth to them. This entire scene serves as evidence that Jesper and the other Crows have realized Wylan’s intelligence and worth, so they don’t even think twice when they find out Wylan can’t read or write. 

If all the Crows’ preconceived notions about Wylan were proven wrong before the end of the first book, then why does the fandom still view Wylan in such a problematic way? 

Blame Booktok

This is all mainly tied to modern day book consumption, and the obsession with “tropes”. Online reading communities such as “Booktok” or “Bookstagram” have normalized interpreting even the most complex characters through simple archetypes. This is something all six crows are a victim of, in fact, most characters within all kinds of media are. 

A good example of this within Six of Crows is Kaz Brekker himself. Kaz, within “Booktok”, is often lumped together with several other male YA love interests in books, like Aaron Warner or Cardan Greenbriar . They all usually share very few qualities, like having violent tendencies, being extremely protective of their loved ones, and acting cold or mysterious towards others. Regardless of the fact that all these characters are so complex and different, from their relationship dynamics, to their morals, to their backstories,  readers still often view them as one in the same because of videos online pointing out very minute similarities. A broader example I would use is the way the Hunger Games series was often marketed and discussed as if the love triangle between Peeta, Gale, and Katniss was the main focus of the story. But really it was just a subplot to a more serious and heavy narrative.

People will often focus too much on singular tropes because it makes books easily identifiable and marketable in this new era of self-publishing and online purchasing. It’s easier to judge a book by its cover if you have a broad sense of what might be inside based on the small character details or scenarios other readers liked from it. But what does that have to do with Wylan? 

Well, because people often talk about books or even whole genres on a surface level, they also discuss characters on a surface level. This lazy form of consumption is what often leads to mischaracterization. People can obviously understand complex characters like Wylan, so it’s not a question of intelligence. Fans online are just used to discussing things within books fandoms in such a simple way and viewing a character through the lens of one trope. They’ll put the character in a box, and Wylan just so happens to check all the boxes for a character who would be infantilized. Even though there are interesting things about Wylan besides his “innocence”, people are less inclined to talk about it. In short, viewing Wylan as just another character who falls under the category of a simple stereotype is easier than including and discussing his nuances. 

So who is at fault?

When it comes to talking about a more harmful fandom behavior, like infantilization, it’s important to keep an open mind. Sometimes, it’s the creator’s fault for writing a character in a problematic way, not the fandom’s fault for interpreting it that way. So, is Leigh Bardugo at fault here for writing Wylan in this light? Or is it the fandom’s fault for not looking past the obvious parts of a character? 

I don’t think it was Leigh Bardugo’s fault. If you take the second book, Crooked Kingdom, into account then you can clearly see that the way Wylan is disrespected in the first book is something he’s dealt with his whole life, especially from his father. Wylan has been taught to believe that his reading disability makes him useless as an heir, and as a human being all together. This is one of the reasons why we never see Wylan truly snap back in an aggressive way in Six of Crows when the others insult and belittle him. A big part of Wylan thinks that the others are right about him being useless. Obviously, Wylan couldn’t have had his own POV chapters in Six of Crows, because then that would spoil his father’s true motives. However, I think the fact we didn't get to see his point of view in the first book serves another purpose. Wylan’s low self-esteem is definitely a major thing he needs to overcome in his personal story within Crooked Kingdom. So for the readers to fully understand this, we needed to view Wylan from an outside perspective. First, we get to view him as the other Crows do, as someone sheltered and weak who’s in way over his head. Then, we get to see why Wylan is the way he is. I think this sort of reverse style of character writing is really interesting and more fun to read. But still, not every reader accepted Wylan just because the Crows started to warm up to him. So by extension, this is also why Wylan is one of the most hated Crows. Nevertheless, I think the way Leigh Bardugo chose to write Wylan is inevitable for the story and vital to his character! It wouldn't feel the same if we didn't get to see how the others viewed him first. 

The fault lies with the fandom when it comes to Wylan’s infantilization. But, are people online really just lazy when it comes to discussing characters, or is something bigger at play here? I think it’s both. People do misinterpret Wylan’s strong and resilient character because of laziness and the normalization of oversimplification and overconsumption within the book community. But this treatment is also rooted in subconscious ableism. To better explain what subconscious ableism truly is, I’ll be taking a deeper look at a specific dynamic.

Kaz and Wylan (are not father and son)

Despite these two characters only having a one year age gap, the fandom often views Kaz and Wylan’s relationship as one similar to a father and son dynamic. Which is understandable to a certain degree. Kaz is the very first person Wylan ever told about his reading disability. Kaz had Wylan placed under Dregs protection the minute Wylan set foot in the Barrel, which may have been for Kaz’s own selfish reason, but it still kept Wylan safe for a while. There are a couple scenes in the books where Kaz will give Wylan advice about life in general, or about having a disability, not just about being a criminal. We see Kaz take getting Wylan justice for his mother and stealing back Wylan’s inheritance very seriously. Wylan even starts to pick up some of Kaz’s mannerisms and facial expressions. All of these could be viewed as things a father and son would do, despite how small the actual age gap is. However, the fandom seems to take this relationship to the extreme, from fan fiction and fan art, to getting the characters’ actors involved. 

It’s somewhat because of very minute subconscious ableism. People naturally view Wylan as younger because of his demeanor, but also because of his disability. The opposite is true for Kaz. His physical disability makes people naturally view him as older than seventeen in their minds. This is due to long standing ableist tropes within the media. People with mental disabilities are often depicted as stupider in some way, so they need to be babied or coddled. While people with physical disabilities are often depicted as very ill, or very old. 

This might seem far fetched, but it’s true. And it’s quite obvious if you look closely enough at anything from books, to movies, to TV, to games! These are just some of the harmful stereotypes we see in our world every day, 

How to fix this issue

Now, of course people aren’t just going to stop misinterpreting characters or stop viewing them through small scale tropes all together. But keeping yourself educated and aware is a good way to stop promoting these harmful stereotypes. Listen to the voices that are being affected in these situations! In this case, it’s people with mental or physical disabilities. Be sure to take into account what they have to say on matters like this one. Allow yourself to take the criticism and learn from their experiences or feelings. It’s important to be empathetic and kind to one another, and acknowledge that sometimes we do problematic things without intending to. When talking about characters with disabilities, it’s important to remember what they represent, and the fact that you can't always say whatever you want just because the characters are fictional. 

As always, if you’re ever unsure about whether something you feel or think is harmful towards a certain community, never be afraid to ask questions and do your research!

[the-archetype-of-civilization]

Some ATSV things that I love.

-SPOILERS AHEAD-

Gwen's world is gorgeous and the fact that it helps to convey emotions so well is awesome.

I can't say for certain, but the part where Lizard Parker's hand is sticking out of the rubble is similar to Green Goblin's hand sticking out when he died in ITSV. Funnily enough, that's when both Peters died.

Spot goes through a similar arc as Miles: they both have these abilities that they awkwardly try to utilize, fail often, and end up hurting themselves in the process. The difference is that Miles had a mentor and friends to help him through his trauma and loneliness and channel his powers for good. Spot had no one and, although he had a much easier grasp of his abilities and was far quicker to adapt to them than Miles, he channels his powers with hatred.

Uncle Aaron caring for Rio and Miles in Earth 42 after Jeff's death says more about him than he thinks.

Miles is such a tragic character in some of the less obvious but still hurtful ways: he's actively giving up his pursuit of art in exchange for science just so he can see his friends, he has no IRL friends, his Spider friends were not allowed and/or chose not to see him when they had the ability to, he's outcasted by the Spider Society actively, they KNEW he was an anomaly and chose not to tell him, him becoming Spider-Man was by chance, he learned his dad was "fated" to die, and he inadvertently caused Spot's creation (though, that was mainly Spot's own fault to be fair). It sucks, but he still keeps going because he's gonna "do his own thing." Absolute chad. I love the Spider peeps, even Miles' friend squad, but, respectfully, fuck 'em (minus Hobie, for obvious punk reasons).

This prevailing theme of "you can't just ignore your problems, you need to face them" is so good, and it's apparent through Gwen. She flat out says "I don't know how to fix this" when she reveals herself to her dad and just goes on a whole separate adventure, escaping her world and her problems, just ignoring it. And she's finally forced to confront her problems and herself when she's kicked out of the Spider Society, saying the same exact thing when she finds her dad again.

Gwen didn't kill Peter and she says as much to her dad, but I'm sure she feels guilty about it and that's probably why she tries to ignore it and not talk about it, denying that part of herself and further adding to the "denying her problems" and, by extension, herself.

This may be a personal thing, but it's interesting that characters seem more expressive and open about their feelings when the mask is on, rather than when they're off. They're more comfortable when they're hiding behind a mask, and are more guarded and insecure about themselves when the mask is off. Again, this might just be pure personal speculation.

Another great theme I love is that not everyone knows what they're doing, and that's okay. Kids, teens, adults. "No one has a personal handbook." And that's awesome and something that everyone needs to hear. And even the people that think they know what they're doing, don't (Miguel, Jess).

Following that, I love that it leads into "trusting yourself" and why Miles rejecting what everyone is saying how his story should go and doing his own thing hits so hard. He doesn't know if what he's doing is right, but he wants to do the right thing and he's going to fight hard to do it. Gwen has trouble realizing this because of another point I'm gonna bring up after, but she starts to understand that at the end as well. Same for Peter when he doubts he'll be a good father for Mayday. Do right for yourself through others. And, in a way, that works for Miguel as well in trying to do right by the multiverse (needs of the many vs. needs of the few), but it became twisted from trauma to the point of zealotry and a bad habit.

Gwen's mentors (Miguel and Jess, most likely) twisted her view of what the right thing to do is. She's learning from them what THEY think is the right thing to do, rather than trusting herself. She fell into a crowd that, indirectly, used her at her most vulnerable moment when she was the most doubtful about herself to become their asset. It's cruel, but she learned from it after she was kicked out. And it also shows that Peter really WAS a good mentor to Miles in comparison.

Miles inherits the Spider-Man trait better than any other Spidey in the Society. "What's important is not standing by while allowing someone to suffer or die because you do nothing. If you don't get that, then you don't know the first thing about being Spider-Man." He does this without a second thought and INSTINCTUALLY. The fact that everyone CHOOSES to sacrifice is bonkers, a sacrifice is only viable when there's no other option when taking action. Miles LEARNED from his inaction in the first movie, now he's practically teaching everyone by example.

I don't agree with everyone saying that he needs to sacrifice to be a true Spider-Man, when this movie and ITSV before it is a critique of the Spider-Man mythos: that a Spider-Man is only a true hero until they have lost someone dear to them. Miles is an anomaly, and I feel like this only adds to him being the outlier if he goes BEYOND the curse and is able to save both his dad and the multiverse. If Raimi's Spider-Man could do it, so can he. And Gwen's dad is now alive and well, too! Not everything is set in stone, even Lyla said as much: "That's what the model says..."

Rio's speech to Miles is some of the most heartwarming, genuine, motherly writing I've seen in a long time and is a top highlight in the movie for me. And I think this is what kept Miles going through his escape from the Spider Society, standing firm against everyone saying he didn't belong and that he was going to get home safe and sound like she wanted.

"Meanwhile, the cakes take a ride..."

Also, the super long quiet moment after Gwen leaves and Rio is there to console him is such a nice breather. Allowing the film to soak and the characters to breathe is awesome, just seeing Miles react to seeing his friend leave with simple silence against the NY ambience is such under utilized filmmaking. LET FILMS BREATHE AND TAKE THEIR TIME.

Miguel's twisted view isn't without merit and I understand where he's coming from. He's taking these steps because he was forced to have this narrow-minded view of saving the world and what it means to be Spider-Man because of the trauma he experienced, that you NEED to sacrifice in order to save everyone else. His steps to do it are messed up and bordering antagonistic (especially when Miles is in the picture), but he's doing it for the right reasons (he watched an entire universe become erased because of his selfishness). But it's the wrong execution. He's a better written villain with understandable motives than Thanos, in my eyes.

And I really love that Miguel was willing to talk down Miles about what was at stake, to reason with him and empathize with him about the cost of his choices and where it lead him ("Trust me, I know") before he...jumped to an ultimatum.

The music fucking slaps, and I don't just mean in terms of melody and sound and all that. It tells a story as well without the movie, it has its themes perfectly interwoven (like a web heheh) together and creates a thematically rich soundtrack. Pemberton can create so many moods in one track effortlessly it's insane, all the way from heartwarming, to terrifying, to brutal, to epic, to heroic, to fun. Top marks.

"I'm gonna take everything from you, like you took everything from me. See you back home...Spider-Man" is terrifyingly delivered and a chilling line.

I don't need to say anything more about Hobie than anyone else has, but I severely misjudged him like Miles did and I love being proven wrong. Especially with the discussion about him being more brotherly towards him. I also liked that he saluted Mayday and knows how to handle a baby, looking out for the kids and all like he does.

Addendum, seeing Miguel being able to handle a baby as well is heartwarming and heartbreaking for obvious reasons.

The part where Hobie uses his legs to block Miles from going almost feels like he's trying to warn Miles not to go any further, that it's not gonna end well. Gotta love Hobie, man.

Peter's little speech to Miles is really nice, and something everyone needs a reminder of, too. "Bad things are gonna happen, but good things happen, too." It's short, simple, and sweet. Although, in the context of it basically being "yeah, your dad is gonna die, but something good will come from it, too," that's pretty messed up.

Seeing Miles' borderline evil smirk when he starts sapping Miguel's electricity is wild.

In relation to that, Miles has grown up so much. You can see that he's been able to calm himself down more and have better control of his abilities. You can especially see it when he's facing 42 Miles: his eyes relax, he steadies his breathing, and he has complete focus. That's when his powers come out. I love watching my boy work.

Side note to that last part about 42 Miles, our Miles clearly learned from Peter when he tore his gloved finger to use his powers: "Watch the hands, not the mouth."

Miles' "good bye" to Gwen is so sad, but you can hear he's grown from it. From them. He sounds so heavy hearted and disappointed. Again, I need to reiterate to his friend squad, really uncool, guys.

When they were going through every Spider person's captain death tally and there was Hobie's, his reply ("Yeah, what of it?") is heartbreaking.

In ITSV as well, but I love how they animate hugs in this movie. And I love how often it happens, too. They're quick and tight, but look and probably feel as warm as they look. It's a very affection heavy movie.

"The 'Spider Verse'...huh. That's...stupid" is such a dickhead thing to say, but it's so hilarious. It feels like something that would only be utterable in a comic book setting. It works.

That twist at the end is expertly crafted and I've talked about it in another post, and that cliffhanger (although painful to us viewers) is a perfect way to cap off that it's the beginning of the end and that all of the players are set, the pieces are in place. An Empire Strikes Back equivalent but in glorious comic book form, tone and all.

Anyway, movie good. I probably have more to say and maybe I'll make another post when I think more about this movie (I inevitably will). But yeah, I had to get this out of my head. Thanks.

Also, side note, Spider-Cat and Pter Ptarker should be named Peter Purrker and Petyrannosaurus Prex. Thanks for coming to my TED Talk.

Edit: I'm sorry, I keep updating this post thinking that it's the last and then I think about something else that I love and have to put it in. This movie is brain rot.

Edit 2: I made another post because I can't help myself.

[skarchomp]

taking into account the sliding timescale, at this point, peter parker would have been a social outcast nerd in high school in like the late 2000s at most. what manga was he really into

[amazing-spider-man-book-club]

Amazing Fantasy #15 (1962)

Published: August 1962

Containing: "Spider-Man!", "There are Martians Among Us!", "Man in The Mummy Case!", "The Bell-Ringer!"

Introducing: Peter Parker/Spider-Man, Ben Parker, May Parker, Flash Thompson, Liz Allen (unnamed), Mr. Warren (unnamed), Crusher Hogan, Sally Avril (unnamed), Seymour O'Reilly (unnamed), Maxie Shiffman (unnamed), The Burgler, Officer Baxter Bigelow (unnamed)

Synopsis: Peter Parker, social outcast, becomes vindictive and egotistical following being bitten by a radioactive spider and gaining spider-like abilities. After a brief stint in show business, his Uncle Ben is murdered by a burgler that Peter did nothing to stop earlier.

Read alongside us here:

@frankendykes-monster : One thing I don't want to do with this blog is discuss the in's and out's of how we got here because I feel like that'd be boring to most people beyond some anecdotals, but as we continue farther along the "behind the scenes" of The Amazing Spider-Man will become harder to ignore. That said:

Amazing Fantasy #15 is the only comic named "Amazing Fantasy". The series started out as Amazing Adventures, and was a typical Marvel horror/science fiction series being headlined by a Jack Kirby story followed by multiple stories by any number of freelancers (Dick Ayers, Don Heck, Larry Lieber, Joe Sinnott, etc.). With #7 the series is renamed as Amazing Adult Fantasy and becomes a 100% Steve Ditko showcase, but Spider-Man marks an intended shift towards replacing the line with superheroes; August 1962 is also the month where Ant-Man becomes the main feature in Tales to Astonish and Thor is introduced in Journey into Mystery. Truly, the "Marvel Age" of comics was upon us.

As a two-part story that only takes up 12 pages, "Spider-Man!" gets an incredible amount of work done. It's arguably the most superfluous issue of the entire Ditko/Lee run to return to if only because unlike so many other superheroes, Spider-Man's origin is a very "don't fix what isn't broken". Fans of Spider-Man (2002) or Spectacular Spider-Man especially will notice that's there not much here that they aren't already aware of, though most of the characters introduced here play no important role for the duration of the run, and will only be retroactively made more important by future creative talent down the line.

One thing that will become apparent throughout the run, however, is that this "source text" incarnation of Peter is a vindictive jackass starting out. In this issue we see proclamations that the rest of the world can walk off a cliff, and his disinterest in stopping the burgler is nothing more than an expression of that attitude. Being nice costs nothing, but being rude and egotistical doesn't either (or does it...considering your family member might be murdered later on...)

Stan Lee's narration seems prophetic in retrospect given that his aggrandizing prose makes it out that Spider-Man is nothing more than completely destined to become one of the biggest characters in pop culture. The juxtaposition of it with the slouching demurred pose of Peter on the title page and the context which it finds itself at the story's end just highlights that something big is on the way.

Amazing Fantasy #15, despite the text note that Lee provides at the end of the issue, would be the final one published as it was cancelled to make room in Marvel's distribution line up for a revival of Two-Gun Kid three months later. Several Spider-Man stories that were already done would end up on the shelf until The Amazing Spider-Man #1 is published. It heightens the tragedy of this story in a way that makes it compliment the twist-ending pulp horror that Ditko's output entirely consisted of. In this issue alone, Peter's fame going to his head and it biting him in the ass isn't out of place compared to anything that would have happened in Tales From The Crypt a decade earlier.

I have to wonder how much of this issue is a rush job because the early Spider-Man stories we will be discussing over the next several weeks are not the highlight of Ditko's career to out it nicely. There's not a lot of room for large panels that have a nice balance of negative space like what one would expect from Ditko in the early 1960's. Spider-Man's original costume was meant to be black (blue serving as a highlight) and the spider symbol on his back being blue. Didn't stick. For contrast take a look at the title page for two of the other stories in this issue.

@duel1971 : A good amount of ground ground gets covered in this relatively short origin story. We see Peter as a wallflower, a masked wrestler, an inventor, and most importantly as a loving son. These are all facets of the gem that is Peter Parker. He comes across as a relatable everyman because the details of his civilian life are filled in with care. Our first look at peter at home establishes there is a core of love in his home life, that he feels safe there away from the world that doesn’t fully understand him. Peter doesn’t quite transform into a superhero in Amazing Fantasy #15, but we learn the things that drive him: love for his family, and anger that it has been broken.

[amageish]

So, Nico Minoru's in Spider-Man Freshman Year... Let's talk about it.

About a year ago, Marvel spilled some details about the upcoming animated Spider-Man series, Spider-Man Freshman Year. There was a lot of discussion about it, what it was, what it wasn't, and whether what it is is better or worse then what people wanted it to be.

A couple weeks ago, a trademark filing indicated that the show was scheduled for Winter 2024. In an era where companies are killing announced and nearly-finished projects, I was honestly thinking the show was on thin ice... but since it seems to still exist, I want to talk about something that I feel has gotten surprisingly little discussion in all the discourse about the show: the inclusion of Nico Minoru, of the Runaways, as Peter Parker's best friend.

Now, from a Peter-centered perspective, I think this choice makes sense in a very specific way? If you flash back to the original 60s Spider-Man comics, which the show seems to be trying to invoke aesthetically from the little we've seen, Peter Parker had a female close friend who was representative of 1960s youth counter-culture: Mary Jane.

The degree to which Stan Lee's own values undercut MJ's counter-culturism is something that people could/do entire academic essays about, but suffice it to say that she was meant to appeal to the zeitgeist of the era and the character's spirit certainly got through to viewers. Like, there is a reason that she the OTP for Peter for so many people, even if Lee at the time had intended to keep the focus on Peter's more traditionally conservative romance with Gwen Stacy.

Nico Minoru slots into this classic pre-MJ-as-the-love-interest MJ role very well, in my opinion at least? In her 2000s comics, she was cast as a edgy goth social outcast who made her own clothes and did her own thing... In her 2010s MCU show, she was cast again as an outcast, but with a certain amount of doomerpilled depression that she outgrows as the show goes on... In the 2020s game Midnight Suns, Nico is still a devoted goth, but also draws from queer youth culture and has a certain semi-ironic peppiness to her (she calls the player "friendo" constantly - she's just like me fr).

So, honestly, I think picking Nico Minoru for Spider-Man's best friend is a really clever move that slots her into this historical role of the foil to Peter Parker - fun choice!

However, from a Nico-centered perspective, I have a lot of questions about what this version of the character will be like practically... The biggest one being: Why is Nico in New York? One of the core concepts of the Runaways as a team is that they are a response to the oft-asked question "Why is New York always under threat? Why are there no superheroes having to save LA?". While the West Coast Avengers do, y'know, exist, the Runaways introduces another answer to this question: Supervillains cannot operate in LA without permission of the Pride, a LA-based supervillain mafia who made a pact with a demon from Limbo and require a cut of all crime committed in the city. The titular Runaways are the children of these villains, who choose to reject their parent's lifestyle and go on the run rather then be complicit in their villainy.

So... How did Nico get in New York and end up enrolling in a New York high school? That's a big change for her and I hope the explanation is satisfying.

Nico and her team also don't usually appear as traditional costumed heroes with secret identities, at least not for prolonged periods of time. They've used several codenames and several costumes, but it's always bit a touch comedic - Nico goes by "Sister Grimm" because they decide they need nicknames to be superheroes as somewhat-cringy-teens while she later uses "The Gloom" partially at the encouragement of her girlfriend, but she's still largely just... Nico. It's worth noting that both Midnight Suns and Marvel Snap break naming conventions to call her by her first/last name instead of an alias - something Snap mostly does with big-deal characters like Jean Grey and Kitty Pryde, with even other characters more known by their real name like Emma Frost and Danielle Moonstar being called by their hero names instead...

So, I'm curious if Nico will be using her powers to fight crime and, if she is, what codename/costume she has... On top of that, I wonder if Peter Parker will know that Nico is a blood witch and if Nico will know that Peter Parker is Spider-Man - or if they mutually uncover that across the events of the series... Doctor Strange is also set to be in this show - will he be a mentor for her as a budding witch, perhaps even more then he is a mentor for Peter? There's a lot of possibilities there too.

Finally, there's the big question of Nico Minoru's queerness. Now, there's basically two lists of Marvel queers - the characters written as queer by the writers and artists at Marvel and the characters Marvel corporate have actually approved as being queer and stamped with a big rainbow stamp of approval. This is what separates your "did a gay kiss once" characters from your "paraded out every June" characters...

Nico is in the latter category and is potentially one of the most corporate-approved queer characters there are. This girl is BISEXUAL and Marvel is uncharacteristically interested in making sure you know it. She got a Pride variant cover kissing her girlfriend when Pearlmutter was still at the company. Her MCU show is full of gay kisses and has not one but TWO fantasy gay wedding sequences (it also got removed from Disney+ earlier this year, funny that).

Now, uh, America Chavez is basically the face of Sapphic Marvel in the comics and her queerness got reduced to a Pride pin in her movie, so I'm not sure if Nico's bisexuality will be acknowledged in the show given that precedent... but I sure hope it does!!! It'd be cute if Karolina pops in too, helping her girlfriend out with whatever antics she gets into... She wasn't in the initial revealed character line-up, but I could also see them waiting to reveal her and hoping to get hype specifically from shippers who haven't thought about the pairing in a few years since the Runaways TV show ended.

ANYWAY. That was a lot of thoughts, but I'm just very curious what's going to happen here... I love Nico and am eager to see her in this show, but it also just feels like such an unconventional choice... to the point where I am apparently thinking about it this hard a year later.

[ghostflowerdreams]

Witch Films

It’s October! The month in which I watch even more horror movies than usual. Each year I tend to have a theme to help narrow down what to watch. So far I’ve done Zombie Films, Werewolf Films, Vampire Films, Slasher Films, Ghost Films and Lovecraftian Horror. This year's theme will focus on witches, though I'm surprised I haven't already done this.

I think this is my shortest list yet. I expected to find more films featuring a witch or witches, but it seems there aren’t as many as I thought. With fewer actual horror titles available, I had to include some lighter options to add a bit of length to the list.

Hocus Pocus (1993) – an American fantasy comedy film directed by Kenny Ortega from a screenplay by Mick Garris and Neil Cuthbert, and a story by David Kirschner and Garris. The film stars Omri Katz, Thora Birch, Vinessa Shaw, Bette Midler, Sarah Jessica Parker, Kathy Najimy and Sean Murray.

After moving to Salem, Massachusetts, teenager Max Dennison explores an abandoned house with his sister, Dani, and their new friend, Allison. Skeptical of a spooky legend Allison shares, Max unwittingly brings back a trio of wicked witches on Halloween night. Now, with the help of a mysterious cat, the kids must seize the witches' spellbook to prevent them from achieving immortality and unleashing chaos on the town.

Halloweentown (1998) – an American fantasy comedy film directed by Duwayne Dunham. The first installment in Halloweentown series, it stars Debbie Reynolds, Kimberly J. Brown, Joey Zimmerman, and Judith Hoag.

The story follows 13-year-old Marnie Piper, who uncovers her family's magical heritage after following her grandmother to a hidden world where it’s Halloween every day. In this magical place, Marnie encounters witches, vampires and monsters who live peacefully, separate from the mortal world. But as she learns more about her own powers, Marnie faces a choice: embrace her destiny and protect Halloweentown from a looming threat, or risk losing her connection to this magical world forever.

Kiki's Delivery Service (1989) – a Japanese animated fantasy film written, produced, and directed by Hayao Miyazaki, based on the 1985 novel of the same name by Eiko Kadono.

At thirteen, young witch Kiki sets off, as tradition dictates, to find her place in the world and hone her skills. With her loyal cat, Jiji, she settles in a seaside town and starts a delivery service to help the townsfolk. But as Kiki navigates her new life, she encounters challenges that test her independence, resilience, and the magic within herself.

The Craft (1996) – an American teen supernatural horror film directed by Andrew Fleming from a screenplay by Peter Filardi and Fleming and a story by Filardi. The film stars Robin Tunney, Fairuza Balk, Neve Campbell, and Rachel True.

When new girl Sarah transfers to a Los Angeles high school, she’s drawn to a group of outcast girls rumored to practice witchcraft. Together, they form a powerful coven, casting spells to transform their lives. But as their magic intensifies, so does its darker side, and Sarah soon learns that power always comes at a price.

The Witch (2015) – An period horror film written and directed by Robert Eggers in his feature directorial debut. It stars Anya Taylor-Joy in her feature film debut, alongside Ralph Ineson, Kate Dickie, Harvey Scrimshaw, Ellie Grainger, and Lucas Dawson.

Set in 1630s New England, a devout Puritan family finds themselves exiled from their community, struggling to survive in isolation near a foreboding forest. As their crops fail and livestock perish, unsettling events begin to plague them, fostering paranoia and mistrust. When their youngest child goes missing, the family’s faith is put to the ultimate test, and dark secrets come to light, suggesting that something sinister may be lurking in the woods.

Sleepy Hollow (1999) – a gothic supernatural horror film directed by Tim Burton. It is a film adaptation loosely based on Washington Irving's 1820 short story "The Legend of Sleepy Hollow", and stars Johnny Depp and Christina Ricci, with Miranda Richardson, Michael Gambon, Casper Van Dien, Christopher Lee, and Jeffrey Jones in supporting roles.

New York detective Ichabod Crane is sent to the small, eerie village of Sleepy Hollow to investigate a series of brutal decapitations. He’s a skeptic of the supernatural, but the villagers believe the killer is the Headless Horseman, a vengeful spirit from local legend. As Crane delves deeper, he uncovers dark secrets, mysterious rituals, and a sinister plot that threatens both his life and his beliefs. With each discovery, he’s forced to question what’s real—and what might be lurking beyond reason.

The Witches (1990) – a dark fantasy film directed by Nicolas Roeg from a screenplay by Allan Scott, based on the 1983 novel of the same name by Roald Dahl. The film stars Anjelica Huston and Mai Zetterling.

There's also another adaptation of the novel, The Witches (also known as Roald Dahl's The Witches), a 2020 dark fantasy comedy horror film co-produced and directed by Robert Zemeckis, who co-wrote the screenplay with Kenya Barris and Guillermo del Toro, based on the novel. The film stars Anne Hathaway, Octavia Spencer, Stanley Tucci, Kristin Chenoweth, and Jahzir Bruno.

The story follows a young boy who encounters a group of witches led by the Grand High Witch, who despise children and plot to eliminate them using a magical potion that transforms them into mice. When the boy and his grandmother stumble upon their nefarious plan, they must outsmart the witches and find a way to stop them before it's too late.

The Blair Witch Project (1999) – an American found footage supernatural psychological horror film written, directed, and edited by Daniel Myrick and Eduardo Sánchez.

Three student filmmakers venture into the woods near Burkittsville, Maryland, to create a documentary, about the terrifying legend of the Blair Witch. What begins as a simple project quickly turns harrowing as strange, unsettling events draw them deeper into the forest—and into a nightmare from which they can’t escape.

You Won't Be Alone (2022) – a Macedonian dark fantasy horror drama film written and directed by Goran Stolevski. It is an international co-production of Australia, the United Kingdom, Macedonia and Serbia in the Macedonian language, and marks Stolevski's feature film directorial debut. It stars Sara Klimoska, Alice Englert, Carloto Cotta, and Noomi Rapace as some of Nevena's forms, alongside Anamaria Marinca as Maria.

Set in 19th-century Macedonia, the story revolves around a young mute girl named Nevena, who is raised in isolation by her mother, Maria, a witch. After being transformed into a shapeshifting creature, Nevena embarks on a journey to explore the world through the experiences of others, discovering the joys and sorrows of humanity.

I Married a Witch (1942) – an American romantic comedy fantasy film, directed by René Clair. The screenplay is by Robert Pirosh and Marc Connelly and uncredited other writers, including Dalton Trumbo, is based on the 1941 novel The Passionate Witch by Thorne Smith, who died before he could finish it; it was completed by Norman H. Matson. The film stars Veronica Lake, Fredric March, Robert Benchley, Susan Hayward and Cecil Kellaway.

A mischievous witch named Jennifer and her grumpy warlock father, Daniel, are accidentally freed from centuries of captivity and set out to take revenge on the descendants of the Puritan who condemned them. Together, they set their sights on Wallace Wooley, the unwitting descendant. Jennifer plots to enchant him and ruin his upcoming marriage, with Daniel adding his own brand of chaos. But things go hilariously awry when Jennifer finds herself falling for him instead.

Suspiria (1977) – an Italian epic supernatural horror film directed by Dario Argento, who co-wrote the screenplay with Daria Nicolodi, partially based on Thomas De Quincey's 1845 essay Suspiria de Profundis. It stars Jessica Harper, Stefania Casini, Flavio Bucci, Miguel Bosé, Alida Valli, Udo Kier, and Joan Bennett, in her final film role.

There's also Suspiria (2018) film, directed by Luca Guadagnino and written by David Kajganich, draws inspiration from Dario Argento’s iconic 1977 Italian film of the same name. It was described by Guadagnino as an "homage" to the 1977 film rather than a direct remake, reimagining the story in Berlin in 1977. It stars Dakota Johnson, Tilda Swinton, Mia Goth, and Chloë Grace Moretz, the film also includes a cameo by Jessica Harper, the lead actress from the original Suspiria.

The story follows a young American dancer named Suzy Bannion who arrives at a prestigious ballet academy in Freiburg, Germany, only to discover that the school harbors dark secrets. As unsettling events and strange occurrences disturb her surroundings, Suzy becomes entangled in a sinister mystery lurking within the academy’s walls.

[eobarried]

ok let’s talk about miguel o’hara because it needs to be done. i want to clarify that this is not a hate post or anti-miguel in any sense, but it is a critical analysis of his character and role in the spiderverse. if you don’t feel like you can read this right now, i suggest you like it/save it for later and read it when you feel like you can with an open mind

especially for anyone who’s a miguel enjoyer (i consider myself one as well) because if you really love his character, it’s important to understand why his character was created and what a great narrative tool it is! anyway-

miguel o’hara is, allegorically, a bigot. 

now - let’s unpack and clarify that. miguel is allegorically a bigot - his character is used to represent a certain, specific type of bigotry we see in real life. notice how i’m saying “bigot” and not “racist” - because despite the memes, i don’t think miguel’s hatred of miles is rooted in antiblackness. i think it’s rooted in something a little more complicated, which is why i’m using the term bigotry. but this can be a little confusing, so let’s start from the beginning. or, at least, the most important part.

the canon.

i want you to really think about the word used here - canon. hearing that word should break the fourth wall for you, just like hearing “he’s got hammerspace!” should have earlier in the movie - or discussions different characters have surrounding their distinct art styles. it’s meant to break the fourth wall and draw attention to itself. specifically, the use of the word canon here is meant for us to take a step back from the in-universe events (treating the characters as “real” people and looking at events logically) and instead think of the spiderman story and mythos.

spiderman, as a story, has been told over and over again. we, as an audience, are deeply familiar with this story, as we’ve seen it as a live-action blockbuster in no less than three separate franchises. that’s not even mentioning all the cartoon adaptations, and of course the comic runs. adhering to a specific formula surrounding the story makes sense. when someone walks into a spiderman movie, they have certain... expectations. that no matter what version of spiderman this is, that they follow certain story beats and adhere to certain rules as they follow along in their journey. miguel, when explaining this to miles, focuses on said story beats (which i’ll get to in a second), but there’s something that’s way more important than specific plot points that we need to address here.

and that’s theme. 

theme (if you’re not an english literature person), is basically something you take away from the story. it’s usually a moral, idea, or concept that can be applied to the world around you, and helps you learn more about yourself, society, culture, or history. all stories have themes - usually they have multiple. so let’s get into it.

the original spiderman comic was notable in several ways. the thing that made spiderman so popular and successful is that he was the first (notable) teenage superhero that wasn’t a part of a greater team. spiderman wasn’t a sidekick that was written in to appeal to an audience of children. he was a teenager himself - but he was no less competent or strong than the (mostly adult) villains he fought. 

and not only was spiderman a kid - he was the kid. he was a nerd. he was an older white teen, yes - but he represented the type of person who would go out and buy a comic book more than any other hero at the time. before he became spiderman, peter parker was just kind of a geek. at the time (the 60s) this still identified him as an outcast. peter was socially awkward, not good with girls, he didn’t have many friends, and he was bullied consistently. the only thing he was good at was science, basically. we can connect peter’s original portrayal to many legitimately marginalized groups - specifically those that might be autistic and impacted by ableism. to those kids reading that comic, they saw a hero that represented them.

and how does peter represent them? what does spiderman teach these children by reading these comics? the original spiderman is the story of a man who, by chance, was granted the opportunity for greatness - to become an integral part of his community. spiderman uses his skills (both those granted to him by the spider, but also those that he inherently has, such as his skills with science and engineering), in order to prove his worth and merit. it’s lonely, the road he has to walk - he can’t tell his friends and family who he is, lest they become victims like uncle ben - or lest they betray him. he can only rely on himself and his own knowledge in order to protect his community. the themes we draw from spiderman are this: luck can strike at any time, but you need to use your own strength and intelligence to pull yourself up afterwards, no matter how hard things get. no matter how many people you lose.

that’s what miguel believes spiderman is about. this original spiderman story is that of the american dream. of a youth who is ostracized by society (for whatever reason), but is still able to use their own merit to overcome the obstacles placed in front of them and the grief and pain they face on their path to greatness. it’s a hard and lonely path, but miguel values anyone who has the bravery to face it.

so why does he hate miles?

because he didn’t do it alone. because miles doesn’t believe in the traditional american dream.

if you want to read more about that, check out my analysis comparing spider-society and visions academy over here (it’s not as in-depth as i would like it to be, but it gets the job done) but basically: miles believes that every person deserves greatness. he states it very clearly when talking to his dad about how he won the lottery to go to visions: he just got lucky. he feels as if he took an opportunity away from someone else. why is it just given to him, when anyone else at brooklyn middle is just as deserving of an amazing education? when these resources should be put to use to uplift his whole community, not just miles alone?

miles brings that same energy as a spider-person. he’s not just an anomaly because his spider was from a different dimension. he’s an anomaly because he had a mentor. not only a mentor - he had a whole clan of spider-people there for him. while peter b parker and the crew weren’t always very good allies for miles, they still wanted him to succeed. each spider-person was an outcast - not in the same way as miles, but they were eager to describe what miles needed to master in order to keep himself safe as a crime-fighter. although they weren’t always supportive, it wasn’t because they were “gatekeeping” - it’s because they were worried miles might hurt himself. to them, he hadn’t put in the work on his own, and because he hadn’t proven himself as a spider-person in isolation, they thought there was no way he could be successful as a spider-person during a very high-risk mission.

however, miles proves them wrong. it’s true that miles has to pull upon his own inner strength, but he also pulls on wisdom from those that mentored him - his father, his uncle aaron, peter parker, and peter b parker. as well as love and support from his community. miles became spiderman - but not in isolation. he had help, and support, and love - always - that helped him succeed.

because spiderman - in all universes - represents success in america. in the original comics, spiderman is able to overcome his status as an outcast in order to help his city. he now has great power - a potential allegory related to wealth and social or political status. he uses that power in order to protect the community he loves (nyc) as they can’t all protect themselves.

now let’s bring it back. miguel. right.

miguel has already made his mark as a spiderman. although we know he broke canon, it wasn’t related to him becoming spiderman. we can assume that miguel still went through serious struggle and trauma to get to where he’s at. and now, through thematic analysis, we know that becoming spiderman represents success in america.

so, miguel’s dislike of miles, thematically, connects to how older generations may believe that younger generations “have it too easy” or “don’t put in the same effort.” it’s the (mainly capitalistic) ideal that in order to succeed, it has to be in isolation, without outside help. we can infer that miguel is not only upset that miles didn’t do things “canonically” - but that he is afforded success that miguel doesn’t think he deserves. miguel believes that in order to succeed in america, one needs to do it on their own, and suffer in order to succeed. no “hand-outs,” no support, no community outreach. it’s a very rigid capitalistic standard - which is why i called it “bigoted.” miguel is still a marginalized figure - and it’s important that miguel is the one stating the viewpoint, not a white spiderman. because this isn’t a white vs black storyline. miguel’s dislike of miles is specifically a sort of generational, inter-community bigotry.

for someone who hasn’t experienced it - think of it like hazing. you join a new sports team. the senior players say “you carry the equipment out and clean everything after the game.” you ask “why? can’t we all just do it together? aren’t we supposed to be a team?” and they say “no. you’re the new guys. hard work builds character. deal with it.”

alright. so we took a look at canon through a meta-story lens. now let’s pull it back even further.

so, miguel’s ideology. he adheres firmly to canon, a series of events that cannot (or, should not), change. if we apply that to our lives, that sounds a lot like predestination. destiny. fate. let’s call it predestination for now - you’ll see why in a minute.

now, a belief in predestination makes sense. it can bring a lot of people comfort, thinking that horrible events are out of their hands, and often times it can be harmless to believe in predestination in these instances. for example: someone who blames themselves for not being able to say goodbye to a loved one who died suddenly. if this person believes in predestination, it might ease some of their pain and guilt to know that there was nothing they could do - that it was the will of some higher power that their loved one is gone, and that there was nothing they could do to prevent it. some individuals might find comfort in knowing that they are not to blame for the work of the universe.

however, predestination can also be malicious. thinking that things are the will of the universe, or the will of god... that’s been used for some pretty fucked up stuff in the past. in a more moderate (and topical) example - royalty. many kings used the concept of predestination to explain why they deserved the crown. their bloodline was chosen by god himself - that’s why they’re powerful (compare to spider-people and their success. if they are also predestined for their spider-bite, doesn’t that make them akin to monarchs?)

in more nefarious examples, predestination can be used to subjugate and oppress others. predestination was used in ancient indian society in order to justify the caste system - utilizing the hindu concept of karma to justify why certain members of society were mistreated and oppressed. in a more american sense, predestination was often used as a way to justify both slavery and segregation. originally, slavers tried to justify that god wanted black individuals to serve as slaves because it was his will. later, when divine intervention fell out of fashion, they attempted to use eugenics to justify that black individuals were simply born inferior - that it was just science, and that there was nothing they could do about it.

that’s the other reason it’s called canon. the original usage of the word was to refer to the books of the bible that the church recognized as legitimate. it ties back to faith and religion. 

now, religion, faith, and even the belief in fate itself - are not inherently bad. miguel’s belief in predestination doesn’t make him a bad or bigoted person inherently. however, the way he forces other to believe and adhere to it is. it’s very likely that miguel became so attached to the canon in order to justify why his wife and daughter died - in order to remove his own accountability for their passing and instead place the blame on some higher power. this belief snowballed out of control, however - and now influences his jealousy and distaste for miles and his way of life.

because forcing a canon - a story - on miles, is wrong. when miguel tells miles that his father must die, that he has to adhere to canon - that’s a horrible thing to say to a young black boy. to tell him that in order to be successful as a marginalized individual (to be spiderman) that he has to lose the last black male role model he has? it’s heinous! it’s akin to telling miles that in order to succeed, he has to cut ties with part of his culture. which does happen to young marginalized people in america. they are told that in order to be successful, they have to leave their culture, community, and support system behind.

it’s especially sinister when looking at it from the point of view of storytelling. when looking at it from that angle, miguel is basically telling miles that in order for his story - the story of a young black boy - to be profitable, he has to go through even more trauma and loss. it’s similar to what his guidance counselor mentions when discussing how miles should write his college entrance essay - that he should lie, and emphasize that he struggles while growing up, and that his support system was unstable. it’s the traditional story of a struggling black boy - which i discuss more here when talking about earth 42 miles and his inclusion in the spiderverse.

miguel’s bigotry is centrally tried to his idea of what american society expects of marginalized individuals who were able to achieve their dreams despite it all. a story of pain and struggle. one where they were able to - only through their own strength and intelligence, and maybe with a little bit of luck - pull themselves up, and quietly work towards their own success.

miguel’s belief in the american dream and predestination not only influences his treatment of miles, but also his creation of spider-society. now, let me be frank: miguel, in this franchise, is not supposed to represent someone who created systematic oppression. he’s simply one of the people who believed in bigoted ideals and allowed those ideals to influence his decisions. because when miguel created spider-society, it basically became an elitist isolation chamber. spider-society is located in a huge tower on miguela’s earth. the tower is so tall and imposing on the utopian landscape, there’s no way that miguel is able to properly support his own community as spiderman - he’s not worried about what happens to his own community. especially once we learn that a good portion of them live underground, where miguel can’t even see them. even if he wasn’t occupied with anomalies at all times, there’s no way he could even connect with nueva york around him.

the same can be said of all the spider-people in headquarters. they’re not even in their home dimensions. how can they possibly support their communities when they have isolated themselves as far away as they could literally be? it parallels how successful individuals often treat their communities in reality - what do wealthy people usually do at the first sign of their wealth? they build a huge mansion to get away from it all. many times in our capitalist society, wealthy and successful people abandon the communities they should be supporting. 

miguel represents that. he is a successful, powerful person, who decided to focus only on other successful, powerful people like him. marginalized people who achieved the american dream on their own. people who, instead of uplifting others, instead tear down those who don’t fit into their “mold.” who are successful in their own right, but don’t hold the same ideals and values that they do. who aren’t the model example of marginalized success in the eyes of the (white) american “audience.” 

miguel is a product of a great problem within society. while he partakes and perpetuates bigotry, that doesn’t mean that he’s irredeemable. the narrative shows that miguel is a broken man. if we think about to the end credits scene from itsv, where he calls his dimensional travel bracelet a “goober” - he wasn’t always so hateful. he wasn’t always like this. he can un-learn his bigotry and he isn’t completely lost. the way that he discusses his ideas - it’s clear that he knows that there are flaws in them, just as other spider-people consistently point out. he can be changed and improved - just like our real leaders and role models can be changed and improved. miguel is not without saving - but it’s important to remember that he does need to be saved.