#because of the Established History that vampires have of Existing in the marvel universe as People with Rights and Communities nd stuff lol

[spider-man-2o99]

I JUST REALIZED YOUR MIGUEL DRAWING WITH HIM SAYING “i becamed… a vampire” IS CANON NOW! (ignoring reality) that’s exactly what he told gwen when they first met that’s why she’s introducing him as one to everyone else

dbjkbdjCKBJKDBJCDBCJCDJKJKDBCB GOD.,,, miguel voice okay shes like 16 what is the least-traumatic way to phrase the events that transpired when i got Spidered for someone who is both a Stranger and an Infant. uh . shock. okay. so, heyyy, tell me, gwen, have you ever, uh. ever heard of Those Feratu-

[aubrey-plaza]

I've seen a lot of fic rec lists lately given everything happening. Do you have any recommendations to get us through the lock down? p.s. I love everything you write.

omg thanks anon!!

I know these are scary times so have here a quick and dirty list of my fave fics starting with Staubrey and then just... veering offcourse. They’re all femslash except the one I marked with an asterisk but yeah. 

as always, I’m not gonna rec my own fics on my this list bc that’s cheating but if you wanna read them pls click this link and that ends the self promo for today lmao

 recs under the cut!

Stacie x Aubrey

Snowbound  

by ACamp_toner / @stepintotherevolve​ (22.171, complete, rated E)

summary: The Bellas go on a ski trip and Staubrey happens

notes: this has amazing smut and features just enough jealousy to spark these two idiots into a meaningful talk. there’s also side bechloe and a healthy dose of humour.  

The Howl

by @tiny-maus-boots​ (30.739, wip/currently being written, AU)

summary: Stacie's pack is forcing her into a corner but Fate has other plans for her - if she doesn't die first.

notes: werewolf!Stacie and vampire!Aubrey who meet on a full moon and fuck. there’s more to it and a great backstory that’s being wonderfully developed (trust me, I’ve been told of the plans and I’m ri-ve-ted). also has some amazing soft moments and a fab spark of heat.  

Prelude in Lydian Mode

by knappster / @ss-staubrey​ (5972, complete)

summary: Remember tonight... for it is the beginning of always.

notes: I will rec this fic til the day I die. It’s such a lovely brand of staubrey and a perfect example of the idiots to lovers trope.  

and the songbirds are singing (like they know the score)

by angelranger (2326, complete)

summary: It came as a slight surprise to Stacie that Aubrey, the same Aubrey who had grown up in a strict and dysfunctional household, was just so good with her daughter.

Bella seemed to unearth a side of Aubrey that was just so unbelievably soft, a side Stacie is almost positive even Aubrey didn’t know existed. But there she is, sat on the carpeted floor in front of the coffee table, sat right next to Bella, drawing outlines for the four year old to colour in.

notes: oh god i love a good, soft bella fic and this one hits all the right notes. it’s sweet and lovely and features singing Bella to sleep which is like. my weakness. go leave some more love on this deserved fic!

Sansa x Margaery

The Crackpots and These Women

by Netgirl_y2k (8089, complete, WEST WING AU)

summary: "You're in charge of press relations," Yara told Margaery, gesturing to Sansa. "Relate.”

summary: yeah you read that fuckin right that’s a West Wing AU. My love for this mashup has no bounds. It’s so perfectly coy, the way I imagine adult Sansa and Margaery would be, combined with the hopeful tinge of WW, and the pining of a somewhat open ended yet hopeful finish. If you like either of these universes, read this.  

Kind Regards

by MsCFH / @hell-much (9835, complete, explicit, part of a series!)

summary: Margaery Tyrell is determined on setting foot in the Northern market of Westeros by establishing a collaboration between the Tyrell Corporation and Stark Incorporated.

The only problem? The likewise gorgeous and stubborn Deputy Managing Director Sansa Stark.

summary: holy hell this fic is amazing. they hate each other SO MUCH. the author has a vibe setting skill that makes me want to weep. the smut is off the charts hot like there are literally no words. go read it and then read the series bc it’s *that good*. please go get your church lady fan before reading because you WILL need it.  

EXTRA NOTE: same author is writing a post-s6 canon compliant fic where Marg is actually still alive and if you’re looking for a full weekend activity, go ahead and binge this one (it’s a wip but is still being updated)

lay all your love on me

by 1once (9498, complete, show-compliant)

summary: It has been eight years since her demise.

But for the world of her, she cannot figure out why. For what? Why was she alive?

notes: i will say just one thing: flower. magic. okay, i’ll say more things. this fic is the redemption show!marg deserved combined with the fun supernatural magicky aspect of flower magic that’s just so in character. reading this fic feels the way a warm cup of tea in your hands on a cold winter’s day does.  

til you come back home

by heart_nouveau (7978, complete, AU - modern setting)

summary: “Using one-night stands to distract myself from my crush on my roommate counts, right?”

-

Margaery Tyrell is an ambitious law student who needs a perfect grade point average if she wants to stay at the top of her class - and she is not going to throw that away by falling for her very attractive, very sweet roommate, one Sansa Stark.

notes: margaery is a moron with feelings aka my favourite type of character.  

Birds of Prey’s Dinah x Helena

Siren Call

by ThanksForListening (3300, complete, part 2 of a series) 

summary: "It always happened in the quiet moments. The early hours of the morning, when the leftover energy from a mission hadn’t quite disappeared yet. The sleepless nights, when memories clawed their way into her mind and wouldn’t let go until her screams released them. The lazy afternoons, when the radio played softly and melodies she’d almost forgotten danced around her lips. It was only when the world went still that Dinah felt her watching.

She didn’t remember the first time she noticed it. The staring. Maybe it was because Helena was always watching everything and everyone around them that Dinah didn’t realize how frequently that attention fell on her. How it felt different. Helena looked at the world with suspicion and anger and indifference, but not her. She looked at her with something much softer, something she hadn’t found a name for just yet. No word in her arsenal was deep enough or strong enough to describe it.

Whatever it was, she could feel it now.”

notes: gahhhhh this fic. “What do you see,” she finally asked, “when you look at me?” is a line that I’m gonna think about until the day I die. this is the second fic in a series and you can read it as a standalone but the first fic is also fuckin amazing

after the afterparty

by novoaa1 (1181, complete, set right after the movie ends)

summary: The Canary had let loose a delighted snort at that, as if she found the whole thing somehow laughable.

(Which it wasn’t, to be clear—laughable, that is.)

“Are y'all seeing this shit?” she’d turned to ask the rest of them, earning a giddy squeal from Harley and a bemused scoff from Montoya even whilst Helena remained stock still in place, dutifully blinding herself with one hand. “Absolutely adorable.”

“Shut up,” Helena had hissed back more out of instinct than anything else, though her tone was markedly devoid of any real anger.

(And if Helena had felt her cheeks flush ever so slightly beneath her palm at the Canary’s glib assertion, she certainly didn’t let on.)

Or: Sionis falls. The rest of them remain.

notes: just. read it.  

knew your love (before i kissed you)

by z0ejake / @zxyjxy (58.263, wip / currently being written, rated E for the last chapter)

summary: Surviving the massacre of your entire family at the age of eight is a pretty impressive feat. Training for fifteen years in Sicily until you can kill a man with one hand and a hairpin is also a pretty impressive feat. Returning to the city where your family was cut down and killing every single person involved in their deaths is maybe the most impressive feat. Somehow, it's never been enough for Helena.

notes: bro this fic is a masterpiece and zoe is a genius. features absolute moron feral dumb jock helena and my favourite version of dinah: patient and endeared and a little teasing.  

the war is over (and we are beginning)

by ace_verity (12.573, 5/5, complete)

summary: The thing is, Helena has no idea what comes after.

The past fifteen years, she’s had a singular goal. She's never given any thought to what she’d do once she killed the men who murdered her family in front of her.

Maybe, Helena realizes, she never actually thought she’d make it this far.

—

In which Helena Bertinelli joins a team, buys a cactus, beats up criminals, goes to church, bakes bread, and falls in love.

(Not necessarily in that order.)

notes: this fic is beautiful and perfectly explores a lost Helena. I also love the way Renee is written in this and the whole vibe of the story is just *chefs kiss*

cheap shampoo

by OfElvesAndAliens (1609, complete)

summary: The thing is, Helena is a rigidly focused kind of gal, iron rage forged into skilled precision. Dinah has also noticed it in the little things, like the way she frowns a bit when she's doing something as trivial as writing, her penmanship always neat and firm. That same tiny furrow of her brow is showing up again while she's methodically whisking some eggs in a bowl.

Dinah finds it cute. Fucking sue her.

notes: oh god but i love a bedsharing fic and this one? feeding and post-mission and just winding down together??? ohhhh my god

two extra random goodies just for fun:

Lamplighter

by the_years_between_us (116.915, wip, rated E)

show/ship: The Fall, Stella Gibson/Reed Smith

summary: Stella gets a call from Reed directly following the final episode of The Fall S3.

notes: this is one of only a handful of wips that I’m keeping up with and reading constantly. It’s written like goddamn poetry and I love an older ship with more baggage, because the emotions here run so much higher with their shared history and the tentative steps they’re trying to take. Also, given the source material, this is almost cathartic to read.  

Nothing to Lose*

by tielan (8013, complete, rated E)

fandom/ship: Marvel Cinematic Universe, Maria Hill/Steve Rogers

summary: “It’s one of the traditional rituals of manhood,” Natasha observes as they’re sparring. “Kill a man, fuck a woman.”

notes: listen. i know. okay? i know this seems like a crackship. but I love it SO MUCH and this author writes so well that I’ve been fully converted. ~something some of you have told me I do for you~ so go read this fic, and then read the others, and then fall in love and join me in this lonely ship. You won’t regret it.  

I’ll be writing while in isolation so if you have any Dinah/Helena or Stacie/Aubrey prompts, shoot ‘em my way!

and also hit me up for anything, as always. 

peace and love, and stay safe everybody!

[gothamdetected-a]

multiverse.

i know what you’re thinking. sim are you absolutely fucking insane, don’t even TRY to tackle this one. you’re right i am insane. and yes i am still going to try and tackle a meta about DC multiverses HOWEVER, to give myself on shred of sanity on this treacherous journey, i will say that this is mainly going to be about the multiverse from a bruce perspective. this ride is a batman focused train i’m afraid. also i want to state that this is by no means a perfect explanation – i’m a) trying to keep it simple and b) still am lost on parts of the timeline myself so. its what i can offer.

ok so, originally NCP, or the national comics publication (who will one day become DC), wrote their golden age heroes on an earth now designated as earth-2. in the 30s, just before the war, comic books absolutely exploded as a media format, and a bunch of companies all jumped the gun on creating superheroes. many of DCs most endearing and recognisable heroes were created all the way back then, however many of them also are not quite who you will recognise as the character today. hal jordan wasn’t green lantern, but was instead a man called alan scott, jay garrick was the flash instead of barry allen etc etc. don’t worry though! batman is still batman, and has been bruce wayne since 1939. earth-2 batman, as he will come to be known, is a bright kind of guy found on technicolour pages with a cute lil robin by his side – there is a reason for this. the war. literally NCP said we cant be sending out dark and gritty comics to people dying in trenches so time to make it colourful and faintly ridiculous, and bruce wayne is a surprisingly optimistic guy for a man who watched his parents be slaughtered in front of him.

of course, by the 60s, NCP (who are also sort of known as NPP and really known by your average joe as superman-dc, based on their most successful comic runs) had realised their timelines were getting a bit squiggly for their golden age heroes, and most of them had been replaced out by their silver age counterparts anyway. so between 1961 and 1963, NCP start creating another “earth”, officially designated earth-1, which would become their main planet for all kinds of superhero shenanigans. the justice society of america becomes the justice league of america, and when you think of batman, you’re probably thinking of earth-1 batman. at least pre crisis. and, once they get taste for building whole new earths, we also get earth-3 (1964), or “opposite world”, where the good guys are bad guys, and batman is owlman and instead of the jla we have the crime syndicate of america.  

so sim, what other earths did dc come up with? well, i literally refuse to list them all because it was a multiverse and they did not slow down, but the ones that are most important to me are earth-5 where the only hero to live on this planet is bruce wayne/batman, and earth-89 where lois marries bruce instead of clark ahAHAHHAA. but i can tell you that pre-crisis there are 91 designated earths, and basically it could have gone on forever. there was an earth-c minus, earth-124.1, an earth where everyone was reptiles, honestly it was a MESS. and therein lies the problem.

now i’ve just used the term “pre-crisis”. what’s that, sim? maybe you’re not very familiar with comics, or with the recent dctv version of said comics, and so i will endeavour to explain one of the most brain numbing storylines that spans DC. also known as a retcon. see all these earths with their own histories and heroes and well everything really was becoming very inconvenient and meant a lot of world jumping and who can interact with who and everything was getting like spaghetti because they couldn’t calm down on the earth-building. so DC (who are officially DC at this point, 1977 babeyy), specifically a guy called marv wolfman (coolest name ever) who was sick of so many earths, comes up with the bright idea that will later form into a comic run called crisis on infinite earths (1985-1986). it was a serious crossover event, really considered by many to be the first of its kind. it sold extremely well, boosting dc’s flagging sales against it’s biggest rival, marvel. and as for the plot, it’s a bit convoluted but essentially some bloke turns up and starts to destroy all these worlds, and it becomes a race between the heroes and villains as to who can save/conquer the remaining earths that are left. although there are crises before and after this specific run, pre-crisis basically always refers to this particular crisis event, as it really shaped DC for the next 30 years.

for a while the retcon does an okay job of keeping the number of earths low. there’s still some earths that are considered non-continuous floating around, but mainly there’s just earth-1, which is now a merger of the most important “earths” that existed pre-crisis, and a way for all of DCs heroes to now be in one place and interact with each other. other earths at this point include;

earth-23 (1986) – a small pocket dimension

earth-17 (1990) – we don’t talk about this. honestly spare yourself and. don’t look. its horrific.

earth-27 (1990) – a historically divergent planet with a hero actually called vegetable man.

earth-85 (1987) – a hodgepodge of post-crisis characters live here, chillin

earth-988 (1990) – superboy is the only hero in this universe

the antimatter universe – all of pre-crisis’ earth-3 villains, including owlman, get shoved here for later use when dc need a couple of villains to come back.

and for a while all is well. then comes DC elseworlds (1989). which. you know. i love. it gave me victorian batman. pirate batman. caveman batman. vampire batman. frankenstein batman. terrorist batman fighting against russian!superman. they even gave me marvel crossovers, with captain america meeting batman. it was a glorious time. technically elseworlds is not considered canon, ran outside of canon as a way for writers to explore those wacky kind of worlds lost to the crisis, which is dumb because some of the plot lines are both hilarious and incredible. but the numbers started to get ridiculous again. most elseworlds are named after the year that the plot takes place in, so we get earth-1889, earth-1938 etc, but even more of them just seem to have random designations. i think by the time they reached earth-5050 they sort of knew that theyd fucked up again. we’ve had zero hour, we’ve got hypertime and kingdom come, and besides, its been a while since they had a good crossover, so by the time 2005 rolls around its time for crisis pt 2 (because dc love to use the word crisis for crossovers) or as it’s officially known infinite crisis. infinite crisis has an even more confusing plot involving a bunch of slightly nuts versions of characters escaping a pocket dimension, earths being created and then merged, and a rogue ai which batman made and then has to destroy because his own creation becomes too powerful etc etc. the only good thing to come out of it was earth-0, or bizarro world, because bizarro & batzarro are my babies. don’t worry though, this new set of earths won’t last long either, as in 2008 DC conclude their trilogy of crises with final crisis that featured one of the most important events in batman’s history – darkseid “killing” him. yes the quotations are important. i’ll leave you to infer what they mean.

so 3 crises later and everything is still just as messy as they’ve ever been and there’s 60 years worth of comic history being tangled about, and marvel had already established a very successful reboot in 2000, and anything marvel do, we can do better, so DC do their first, full and proper reboot. unlike retcons before it, which is where they retroactively try to fix what people already know and simplify timelines & earths, this is like someone shaking the etch-a-sketch and starting fresh. back in infinite crisis an arbitrary number was assigned to how many “earths” there could be – 52. and so in 2011, DC go hey that’s neat and create what becomes known as the new- or nu-52. heroes are given shiny new backstories, everything is streamlined and wonderful, sales rise, DC has a clean slate to build off again.

ha.

yeah that doesn’t happen.

this reboot, also known as flashpoint, due to it being spawned from another big ol’ crossover of the same name, shows barry allen trapped in an alternate universe where everything is not quite right – his mother is alive, superman is nowhere to be found and he doesn’t have his powers. worst of all thomas wayne is batman. yeah, batman’s dad is batman. thanks DC, i hate it. reverse-flash has tried to change history and stop the jla from ever being formed – le gasp. barry goes to fix it, merges three universes together – earth-0, which isn’t a bizarro world but now the “main" earth, also called new earth or prime earth (DC), earth-13 (vertigo) and earth-50 (wildstorm), but also causes 10 years to be “lost” to these characters. there are now 52 brand spanking new earths, each sitting in their own universe as part of the multiverse. no one remembers anything except barry. even for a reboot and convergence of DC’s franchises, it’s messy as fuck. and it goes to shit very very quickly. people don’t really like n-52. DC have cancelled everything, certain characters such as cassandra cain-wayne are fucking ERASED from existence, no one likes the new costume designs, its an absolute shit show and the plots get very confusing very quickly.

so what do DC do?

they reboot again. sigh.

only 5 years after the mess of nu-52, they produce DC rebirth, a new relaunch of all their famous runs. brainiac does some magic and collects a bunch of worlds together and magically we’re all going to forget the last 5 years of comic hell. it is a reboot to retcon flashpoint as though that never happened. yes, DC are actually retconning their own reboots. talk about sweeping it under the carpet. technically “rebirth” only ran for a year as a promotional thing for the reboot, before joining with the larger, now-singular DC universe, however everyone still calls it rebirth because if we don’t give these things names it will get even more fucking confusing than it already is. rebirth also still has 52 universes making up the DC multiverse, just to make things even more simple and easy to understand (DC what is it with 52. why 52.) although lots of the earths in this multiverse have been re-designated – eg. pre-crisis earth-31 was home to an aged batman who fakes his death to go train a bunch of new vigilantes (the dark knight returns), and now 31 is an apocalyptic wasteland or some shite. a lot of these earths were re-designated during the flashpoint/nu-52 era, and even though rebirth was supposed to erase that, DC have decided never mind we’ll keep it. there’s also 7 mysteriously undesignated earths – ooh spooky, they definitely won’t feature in the next major crossover. also for a multiverse with 52 universes, they sure do have more than 52 : there’s the microverse, a bunch of universes collectively called “the sphere of the gods” where apokalips and like, literal heaven & hell exist, an innerverse???, dreamworld, limbo, DC are taking the piss they only said there were 52 earths but that means they can make as many other shitty dimensions and pocket-universes as they please apparently. don’t even get me started on the source wall. for the most part the writers just. don’t acknowledge this and stick to the main prime earth. for the most part. thanks for throwing thomas wayne as batman back into the mix, rebirth.

so that’s the last of it, right sim? eh, almost. it should have been the last of it, really. and then geoff johns couldn't keep his mouth shut and produced possibly the worst comic in recent history, if not ever, doomsday clock. now doomsday clock is a nightmare for an impossibly long list of reasons that i won’t get into here because this isn’t a rant about why i think doomsday clock is the worst thing to ever happen to dc (although that’s a catchy title i should use that some day) - no, the reason i bring up doomsday clock is because. oh my god even saying this makes me sad. doomsday clock proves that the pre-crisis universes still exist and are still out there. somewhere. canonically. sim why is that sad i thought you liked everything pre-52. it’s sad because it means at any point now, DC could bring them back, ruin their own legacy, make everything even more confusing than it already is. i love pre-52 stuff but you gotta leave it alone. currently doomsday clock has only established that these universes exist as a way to honour every era of superman, because DC didn’t want to completly erase some of the incredible work and storylines put into him as a character. fine, fair enough. but it does leave the possibility that they will try and return to them too. comic book writers love doing funky story lines like that. they think they need to write something that’s never been done before and instead of coming up with something actually unique, they just poke around in the multiverse WHICH IS HOW WE ENDED UP WITH THIS AS A PROBLEM IN THE FIRST PLACE.

ahem.

hopefully this helped clarify some stuff for people, especially those folks who aren’t big comic fans/expereience dc through the DCEU or DCTV, when encountering rpers who say they base their characterisation off of, for example pre-n52/flashpoint comics, like myself.

oh, and thank you for coming to my ted sim talk.

[bigskydreaming]

Boredom Buster Question: what not mainstream comics hero do you think would be suited to integrating into the big two? Like, do you think Night Rider (they count but Hassle doesn’t) would work as an entity in DC comics? Or what about Tru from Tru Calling, do you think she’d work as a vigilante in marvel? Or any other of that type, the scifi/action/adventure shows. Aside from the obvious, like Mutant X or Heroes being integrated into the X Men. (Tho maybe Heroes wok better as Inhumans?)

Ooooh too many! I could definitely see Firebreather in the Marvel U, esp considering he started out as a Young Avengers pitch that Marvel passed on and then ended up at Image. And he’d be a good fit tonally. 

Aspen, from Fathom, and literally all that world-building, could easily be transplanted right into the Marvel U and emerge as like, a rival underwater species/nation Namor is unfamiliar with until they come up from the depths similar to the way the Black did in the Fathom comic. Like, the writing for that series and a lot else of it was Not Good, but I loved the worldbuilding and ideas, and I do think they’d fit Marvel well. 

Similarly, this is kinda cheating since due to being a Wildstorm character he’s technically DC, even though I haven’t seen him anywhere there since that World’s End crossover event, but Backlash was long one of my favorite Wildstorm characters and I always thought he would fit Marvel better than DC. Leave out his Kherubim heritage as unnecessary and he could easily be a Weapon X project. 

Dynamo 5 from Image and their entire concept could easily make for a good family of DC heroes.

So could the whole Noble family to be honest.

A number of Rising Stars characters could fit well in either Marvel or DC - I’d go with Pyre, Chandra, and Ravenshadow for sure.....I’m thinking Marvel. Maybe throw in Matthew Bright as well, and Sanctuary.

The Wicked + The Divine’s ending pissed me off, so the characters who deserved better from that should end up in the Marvel Universe instead, specifically Baal, Nergal and Sekhmet. But also Inanna too for no other reason than I love him.

As far as TV shows go:

LOL well you know me and my long-standing Scott McCall as DC hero Lone Wolf, teenage protégé of Mari McCabe, Danny as Poison Ivy’s, with Kira in there somewhere as Foxfire. 

Max from Dark Angel and her siblings could be a book about escaped teens from a rival government facility/project of Weapon X’s.

Magnus Bane from Shadowhunters casts a “Save Me From This Hell” spell, fueled by the mystical essence of Deserving Better, and winds up in the Marvel universe, ousts Dr. Strange as the Sorcerer Supreme, and regularly has spell duels with Ilyana not because she wants his job, but because they both find their sparring matches wildly entertaining. Except they don’t consider them sparring matches because if there’s not even a chance of either of them winding up even a LITTLE dead, its like what’s even the point, y’know? They’re not novices.

Tbh, I’ve never really been all that keen on Adam Strange, but his concept isn’t that far off from Farscape’s, so replace him and his book from any point in the DC universe with Crichton and the crew of Moya, and I’m good.

You could easily drop the entire town of Haven and that entire premise right smack in Maine in the DC universe, and voila.

Shawn Farrell from The 4400 I could see in the DC universe, not sure why I feel he’d be a better fit there than Marvel, I just do.

Marvel has too many vampires and not enough werewolves. That needs fixing, so drop Wolf Lake and all its inhabitants somewhere on the West Coast.

Zeke Stone from Brimstone could fit into DC as a bounty hunter working for Neron.

Ben Hawkins and Brother Justin Crowe from Carnivale could be figures from the history of the DC Earth, their battle between light and dark having happened in the 1930s Depression era there.

The W.I.T.C.H. girls could be a team in the Marvel Universe, with all their villains like Prince Phobos, Cedric and Nerissa there as well, but could also just as easily battle established Marvel villains like Diablo.

Ben 10 could easily be a DC character.

And then because I will never ever be over the bankruptcy of Crossgen and the cancellation of all of their titles and so many lost and wasted characters and because I will always be pissed at Marvel for doing nothing with any of those characters despite having ALL OF THEM thanks to Disney purchasing the whole damn company just to get the one book, Abadazad, which they never did anything with either.....I would put every last one of my faves from that company in the DC universe and they would be sooooo gooooood there.

Giselle Villard and all the Guild Spirits from Mystic would be BFFs with Zatanna, and keep her enemies Animora and Darrow.

Samandahl Rey, Roiya Sintor and Zaniati Oribatta from Sigil would be off on Sam’s ship The Bitterluck, involved in some interplanetary war somewhere in DC space like with the Thanagarians.

Sephie from Meridian would be....I have no idea actually, because Earth just doesn’t work for her, not without her sky pirates, so put all of them on some random planet in DC space inexplicably populated with ‘might as well be Earth humans.’

Simon Archard and Emma Bishop from Ruse would be based out of London, occasionally being consulted by various other DC heroes like Batman, who Emma would piss off just by existing, and Constantine, who would piss off Simon just by existing.

Have Capricia, Tug, Verityn, Zephyre and the twins Gammid and Galvan from Crux be ancient Atlanteans here as well, who end up discovered in stasis by Arthur and have to adjust to the present day, as well as face threats from their past/present day like Aristophanes who end up a danger to modern day Atlantis. 

Cassie from Route 666 would be criss-crossing the US doing Supernatural better than the Winchesters could ever.

Solusandra and Lindy from Solus are running around the universe scaring the shit out of the New Gods just by virtue of them having no idea who or what Solusandra is or what she’s really capable of.

The First could all be various New Gods: Pyrem, Trenin, Yala, Persha, etc would be from New Genesis, while Ingra, Braag, Tulity, Gannish and Seahn would be from Apokolips.

And lastly, Charon from Negation would be the mysterious threat from the Anti-matter universe who kidnaps various DC heroes to test them and the potential threat his armies face in the DC universe....among them, the various Negation characters like Obregon Kaine, Evinlea, Javi, Iress, Corrin, Matua, Mercer Drake, Westin and Shassa.

[mrsspidermanmaryjanewatsonparker]

Let’s debunk this shit.

First off...why should we, on the topic of Spider-Man, actually place stock by the guy who has in the past argued Sins Past is as, if not more, bad than One More Day when anyone with an ounce of knowledge of how writing craft works would realize this is abjectly false. As a story the flaws in Sins Past amount to it inserting something into the past that doesn’t fit at all. One More Day by contrast not only does this but needs to violently ignore 45 yrs of established characterization to even function and even then it fails since it needs to contradict its own narrative.

  Oh and you know MovieBob is the guy who said ‘That Spec cartoon wasn’t as good as people make it out to be. People like it more for what it could be than what it was.’...WTF was he even watching.

 But let’s dive into some more specifics of Bob’s argument.

 “OMD ‘needed’ to happen.”

 This is objectively untrue.

 Let’s give the benefit of the doubt and say what Bob meant wasn’t so much that Spider-Man needed to make a deal with the Devil but rather it was necessary to get rid of Spider-Man’s marriage.

 I can’t bring myself to do a 3000 word essay on why the latter alone is idiotic, sexist, myopic and utterly false but here is a cliffnotes version.

 There are 2 fundamental problems with Bob’s line of thinking.

 The 1st is that to end the marriage you needed to outright alter Spider-Man’s history via a soft DC style continuity reboot thus creating in a literal sense an alternate universe version of Spider-Man who’d just never been married in the first place.

 Put simply Spider-Man’s marital status could’ve been ended in universe through numerous methods that avoided that. He could’ve gotten divorced. The US government as some kind of petty revenge upon Spider-Man turning on the Registration Act could’ve legally annulled his marriage along with certain other legal aspects of his life. There could’ve been a reveal that due to a legal loophole nobody realized at the time technically speaking Peter and MJ had never been married in the first place despite believing they were.

 None of this would’ve fixed the most egregious contrivance of OMD and OMIT, that by simply never having been married magically this = Peter and MJ would break up. You still need to justify THAT separately which OMD didn’t even attempt to do. OMD in isolation erases their marriage but it doesn’t explain or justify why doing this would mean they are now no longer in a relationship. OMIT tried and miserably failed to do that because once again it required the abject ignoring of decades of established (and logical) characterization.

  But what should we expect from the guy who in another video once said Superman would be a jerk if he married Lois Lane because of the stress and dangers it’d expose her to, specifically comparing it to real life people who’s jobs offer comparable examples. ‘Superman would never put Lois Lane through that’ said Bob (though I am paraphrasing I admit.

  Why?

  If REAL people do that then why WOULDN’T Superman OR Spider-Man do so?

 It’s a line of thought which amounts to Bob saying those people shouldn’t have marital relationships. And that is gross.

 The 2nd problem with Bob’s ‘it needed to happen’ assertion is the notion that CREATIVELY it was necessary for the health of Spider-Man.

 Let’s ignore how creatively (and financially) Superman has been on the up and up since 2016 when he got his marriage BACK.

 Instead let’s consider for a moment...why?

 Why CREATIVLY does Spider-Man need to not be married to work? Why does he need to be single for his long term creative/financial health?

 There is no answer because the truth is he isn’t. Spider-Man’s love life is relevant only in so far as the series follows his life and not being asexual romance is a part of that. At which point if you are arguing for his long term creative health he needs to be able to swap out the women he’s going to be romantically/sexually involved with why then does that not also apply to literally every other character connected to every other part of his life?

 It doesn’t.

 It’s a bullshit argument born of an ignorant lack of questioning. It’s born of “Well it’s got to be this way because it’s always been this way and it’s worked that way.” Ignoring how it doesn’t and how you know...Marvel comics itself exists off the back of saying ���Maybe it doesn’t have to just be this way. I don’t like that way in fact, I like the idea of trying it this other way.”

 Spider-Man being single keeps Spider-Man stunted and in a state of doomed to failure. It literally renders his love life redundant because every reader (and this applied before 1987 when he got married, but applies a thousand times more now) knows his romances will never amount to anything and that they are glorified Bond girls. And I’ll be honest the substance (such as there is) in the Bond movies NEVER lies with the Bond girls with the sole exceptions of those few movies where they tease you with the idea that he has deeper feelings for them.

 Then you have the fact that marriage as a part of most people’s lives and a responsibility is outright tailor made for the character who’s core concept is entwined around the interconnected idea of responsibility and being a (relatively) normal person. It’s not different to him graduating from High school or moving out of Aunt May’s house or getting a job.

 But let’s look at the franchise in the wake of OMD creatively and financially has it been doing better than before?

 LOL NOPE!

 In 2016 we had the Power Play arc. This arc was THE Spider-Man event of the year. It tied into the previous Spider event of 2015, Renew Your Vows by introducing the incredibly powerful villain Regent who’s powers were that he had the powers of EVERY other hero virtually and in RYV took over all of NYC following killing the X-Men and Avengers on his own. It guest starred fan favourite Miles Morales, the first substantial appearance of the character in Amazing Spider-Man since his migration into the 616 universe. It also guest starred lead character of the MCU and (then) Marvel comics poster boy Iron Man fresh from his hyped up run under Bendis, the biggest name in comics of the previous 20 years. It also teased the appearance of the newest team of Avengers, a brand that has been huge since 2012 for obvious reasons. Oh and it featured the return of another fan favourite Mary Jane who was once more being used to tease the possibility of her and Spider-Man’s romantic reunion which had been a surefire way of raising hype for a story since 2008 onwards. Oh and it was clearly a tie-in to the international blockbuster and critically acclaimed movie, Captain America: Civil War.

 And of course you had much promotion from the Marvel hype machine, Dan Slott interviews and the usual variant cover artificial sales inflation gimmick that had become common to Marvel.

 Safe to say that this story was a big, big deal and sure to sell well right?

 Well....it actually sold less than a barely promoted, run-of-the-mill ASM arc from 2005 by J. Michael Straczynski that featured in the first issue Tony Stark sitting on a chair sans armour and beyond that no guest stars....oh and there were no variant covers....and btw Spider-Man was married in it

  . ...Oh....

  But hey what about some OTHER Spider-Man stories since OMD. Haven’t THEY been creatively enriching?

 I mean we had classics like:

 The Lizard ruins the interesting humanizing aspects of his character when he becomes a cannibalistic monster who eats his own son and maybe rapes someone

 Black Cat’s characterization gets flushed down the toilet so she can be an indulgent juvenile sexual fantasy for Joe Kelly who believes Spider-Man is fundamentally a man child Black Cat’s characterization gets shot to shit again by her ripping off Catwoman by becoming a gangster, something she has never held aspiration for before and seems to want to get involved in now for no reason at all beyond being angry that Spider-Man imprisoned her and exposed her identity that wasn’t even secret in the first place

 Dan Slott who likes Doc Ock more than he likes Peter Parker decides to say screw it and make Doc Ock Spider-Man thus invalidating the entire reason he was hired, which is to write about Peter Parker. He proceeds to make Doc Ock a villain sue and cause readers to wonder if he’s this smart and this dangerous he lost so many times in the past at all? Also he tries to rape Mary Jane in issue 2 and then succeeds in maybe raping Spider-Man himself in the same issue and definitely succeeds in raping the only dwarf character in Spider-Man’s canon.

 Spider-Man becomes like Iron Man thus invalidating the entire point of his character and reasons people like to read about him.

 A mystery surrounding the Green Goblin’s identity that turns out to be the twist that he was Norman Osborn all along meaning this was a pointless mystery the whole time.

 Ben Reilly finally comes back after 20 years but doesn’t act even a little bit like the character people knew and loved causing people to wish he’d stayed dead

  Betty Brant is physically assaulted and Spider-Man tracks down the assailant but when he finds him lets him go (thus enabling him to assault other innocent women) because Aunt May guilt tripped him by saying he was a jerk at age 15 for allowing her, a 50+ year old adult and his parental guardian, to cope with Uncle Ben’s death alone on the night of his death.

  Fan favourite Mayday Parker has her character now defined by the death of her father invalidating the entire point of her character which was the ongoing relationship between herself and her Dad

  Every spider person ever fights a bunch of one note cosmic vampires across alternate niverses who are variant action figures of another one note cosmic vampire villain. The story is utterly reparative and makes Spider-Man play second fiddle to all the other characters cramming for panel time.

 I could go on but I won’t.

 To count the creative successful and enriching Slott and the post-OMD Spider-Man stories is a far easier task than to count the ones which are for the most part mediocre-God forsakenly terrible and miss the whole point of the various characters involved (most of all you know SPIDER-MAN himself!) because the latter is the norm post-OMD.

 Tellingly both volume 1 and volume 2 of Renew Your Vows a book BUILT around the concept of a married Spider-Man have (when judged appropriately given their out of continuity status) garnered perfectly respectable sales (especially in volume 1) prior to their recent time skip (an ill advised move regardless of what the series was about) and critical acclaim. And critical acclaim from people besides Marvel/Spider-Man sycophants like CBR who have vested financial interests in positively reviewing the stories.

 In fact there is a very strong argument in favour of Slott being the single most creatively damaging Spider-Man writer in history. The list of things that need to be FIXED because of his idiocy and incompetence is vast.

 Moving on to Bob’s other points:

 “Peter and MJ being together was a dumb stunt when the did it in the first place”

 If Bob had you know READ the stories leading into the wedding he’d know

 a) That relationship and marriage was being built up since 1984 albeit with the initial intention being Peter stranded at the altar.

 b) A stunt isn’t rendered invalid merely because it is a stunt. A Stunt can make sense and with the build up the wedding had this was one such example

 “The marriage generated very few decent stories that wouldn’t have worked just as well without it”

 Here is a list of a FEW decent or above stories which in some significant way make use of the Spider marriage between 1987-2007

 Kraven’s Last Hunt

 Venom

 ASM #400

 Revenge of the Green Goblin

 A Death in the Family

 ASM volume 2 #49-50

 ASM volume 2 #51-54

 Sensational Spider-Man volume 2 #32

 Sensational Spider-Man Annual 2007, the only Eisner nominated Spider-Man story ever

 Spider-Man unlimited volume 3 #2 Story 2: Making Contributions

 Eleven Angry Men and One angry Woman

 Parallel lives

 Spider-Man: the Final Adventure

 Web of Death

 Revelations the end of the Clone Saga

  Spectacular Spider-Man #241

  Spectacular Spider-Man #242-245

 ASM vol 2 #39

  Ultimate Spider-Man Anthology book: Five Minutes

  I Heart Marvel Web of Romance #1

  Spectacular Spider-Man #199-200

  Spectacular Spider-Man #250

  The Tombstone arc

  Peter Parker Spider-Man volume 2 #14

 Marvel Knights Spider-Man #1-12

  Hmmm...it’s almost like Bob sucks at mathematics and story evaluation or something. Then again he did say there was no problem with Luke Skywalker in Last Jedi so you know...I should know better.

  Oh and btw the whole ‘those would’ve worked JUST as well without the marriage’ argument is a double edged sword since there are literally less than 20 Spider-Man stories post-OMD that WOULDN’T have worked with a married Spider-Man and only one of them is good...and only if you also take entirely in isolation of Spider-Man’s wider history. Every other story with tweaks could work AS if not MORE effectively with a married Spider-Man.

  If the argument is there should be no elements in a story that do not actively contribute to it then shit....why should Spider-Man’s SINGLE status be in a book? Why should Aunt May, Jameson or shitton else be multiple stories across the decades of Spider-Man? Hell by this logic Aunt May or Betty Brant are superfluous to ASM annual #1 which inspired part of Spider-Man 2.

   “The Spider Marriage left the franchise spinning it’s wheel for a very long time.”

 This is another lie. After Peter and MJ got married there was precious little wheel spinning. Almost immediately we jumped into ongoing stories involving Betty Brant, Joe Robertson, Peter going to school again, MJ and Peter’s finances taking a hit when MJ lost her job, Jameson being impersonated by Chameleon, Black Cat dating Flash, Peter’s parents returning and THEN you got the Clone Saga FFS.

  Following that we got Norman Osborn running the Daily Bugle followed by the true wheel spinning garbage of the Mackie/Byrne run which was bad BECAUSE they axed the marriage. Following that when JMS took over his wheel spun for maybe 5 months tops? The rest of the time he reconstructed Peter and MJ and Aunt May’s characters, thrust forward with his Spider totem storyline and then began the slow build up to OMD starting with Peter becoming and Avenger.

  There were few months were NOTHING was really happening and the number of issues where that was the case owed much more to the fact that the writers needed to pad out FOUR monthly titles each month!

 “By contrast BND and Slott’s run has been good”

 By objective writing standards this is a fallacy and Bob is offering no proof to this. He just says ‘it’s been good’. Except Bob’s word isn’t proof unto itself despite how much he must like to think so.

 “Peter and MJ are more interesting now”

  This is the proof Bob is not a...I don’t want to say he isn’t true fan. I rarely use that term. It’s more that he...isn’t an informed fan.

 Anyone who knows any legit shit about Spider-Man could tell you Spider-Man is far from more interesting now than he was prior to BND.

  Pre-OMD Spider-Man was the sum of 45 years of experiences. A 30ish average guy who’d been through Hell and a lot of battles and survived them and coped with that pain. He was a competent hero and a flawed human being who was just trying to look out for the little guy and take care of his family.

  MJ meanwhile was a woman who’d also lived through Hell but demonstrated sheer steel by surviving it in spite of having no powers to fall back on. She’d gone from a carefree party animal who was seemingly selfish, to a hero in her own right who had an endless well of inner strength.

  In contrast post-OMD Peter Parker is a man-child fuck up who illegally invades foreign nations with his giant G.I. Joe action figures whilst often playing second fiddle in his own fucking book to whatever guest stars want to steal the limelight. And he’s not believable anymore. He isn’t a grounded guy who copes with the shit thrown at him. He’s the guy who just shrugs off being killed, having his body stolen and his life upended by his enemy and then losing a year of his life.

  That isn’t more interesting unless you are arguing being a Saturday morning cartoon character is inherently more interesting than being....welll actually inherently more interesting than being a certain character Stan Lee and Steve Ditko invented in 1962.

  Which Bob plainly isn’t arguing because he’s also listing MJ as ‘more interesting’....how?

  MJ isn’t even IN the book regularly any more so HOW could she be more interesting. Worse when she WAS in the book she had 2 roles. Ship tease the fans by being Peter’s friend and confidant (i.e. something she used to do BEFORE BND) or being a blind idiot in Superior which is NOT more interesting.

 So what the fuck is he talking about?

 I don’t know WHAT he’s talking about. But when you make a statement like: ‘on balance this story that eviscerated and betrayed everything about who Spider-Man is and invalidates his motivation from now on because he sold out in the biggest way possible, was on balance worth it because we got t see Doc Ock as Spider-Man try to rape people�� I certainly from WHERE he is talking from.

  And the sun don’t shine there son.

[recentanimenews]

Anime in America Podcast: Full Episode 6 Transcript

  We may not be able to go to the movies right now, but at least we can live vicariously through anime history in the latest episode of Crunchyroll's Anime in America podcast. Read on for the full episode 6 transcript! 

  The Anime in America series is available on crunchyroll.com, animeinamerica.com, and wherever you listen to podcasts. 

  EPISODE 6: AT THE MOVIES: EVENTUALLY

Guest: Jerry Beck

  Disclaimer: The following program contains language not suitable for all ages. Discretion advised.

  [Lofi music]

  There is one name you HAVE to talk about when it comes to anime. A foundational influence on the entire medium and an enervating force in the animation market. A man without whom we may not even have the anime we know and love today.

  It’s not Tezuka, but good guess.

  When it comes to the world of animation, and honestly most media, all roads lead back to Walt Disney. The man who all the animators in Japan’s growing post-war industry were trying to emulate. Most prominent among them, the legendary manga author and Japanese national treasure Osamu Tezuka who truly lived up to Walt’s legacy both by popularizing the medium of animation and establishing many regrettable business practices still felt in the modern industry. 

  Disney’s beloved animated features were the envy of every studio on both sides of the Pacific and the pursuit of that special magic Walt brought to the silver screen was what kicked off the race to bring Japanese animation to America. So, I guess…we can start there.

  [Lofi music]

  In the ‘50s Toei Animation was basically the only major animation studio in Japan and had the stated intent of becoming “The Disney of the East.” Toei’s first 3 films, Hakujaden, Shonen Sautobi Sasuke, and Saiyuki were all released near the end of that decade and all stuck very closely to the Disney formula, retelling traditional folktales with colorful animation, plenty of cute animals, and, in the case of Saiyuki, musical interludes.

  Back home in the U.S., Disney was deep in a run of blockbuster releases with titles like Cinderella, Alice in Wonderland, Peter Pan, and, umm [cough] Song of the South. Just about every major studio was trying to figure out how to steal some of that thunder. Metro-Goldwyn Mayer was one such studio who considered Disney their rivals at the box office. If you wanna know how that turned out for MGM, uh, Disney acquired their parent company Fox in March 2019.

  It was never much of a rivalry to begin with. MGM put out a behind the scenes docu series called The MGM Parade aping Disney’s “The Magical World of Disney” series in 1955 and decided to close their animation department in 1957, the heads of which, a Mr. William Hanna and Joseph Barbera, would depart along with most of the staff to form the very successful Hanna-Barbera Productions. 

  So, what do you do when you want to compete with a company like Disney in animated features but don’t want to go to the trouble of producing any animated features? MGM became the first company to license and release a Japanese anime in the United States, premiering Toei’s Shonen Sarutobi Sasuke, retitled Magic Boy, in theaters in July 8th, 1961, winning a close race against Global Pictures and American International by only two months ahead their releases of Toei’s two other films, Hakujaden, retitled Panda and the Magic Serpent, and Saiyuki, retitled Alakhazam the Great.

  They didn’t do too great, which probably explains why between those three movies released in 1961 and Hayao Miyazaki’s debut in American cinemas in 1986, only 3 other anime made it to theaters in the U.S. 

  Not even Tezuka’s magic could break open the box office for anime in the ‘70s. His production company, Mushi Production, had two films, A Thousand and One Nights and Cleopatra: Queen of Sex that were both released early in the decade and flopped. In the case of the latter, Xanadu Productions’s attempt to sell the erotic historical drama as a porno probably didn’t help.

  The rest of the following two decades saw plenty of anime films being released in the West but only for direct to video releases with major Japanese studios leaning hard into this new market. Many U.S. distributors were now exploiting Japanese studios to animate their own cartoons, so many of the same era took on a sort of Western bend. Toei Animation in particular released a number of films during that period that seem pretty focused on replicating that Disney formula even more closely, using Western history and folktales as source material. Some of my favorite examples are The World of Hans Christian Andersen (originally Anderson Monogatari), Les Miserables (originally Jean Valjean Monogatari), 30,000 Miles Under the Sea (yes, miles), Animal Treasure Island, and even Puss n’ Boots (who became Toei’s logo) during the ‘70s.

  [Music from “Toei Logo History” plays]

  In 1986, Hayao Miyazaki finally appeared in the American scene. If you haven’t heard of him… how the fuck not? How is that possible? I don’t, I don’t understand. Often referred to as the Walt Disney of Japan, Miyazaki is the primary creative force of what would become the internationally renowned Studio Ghibli which we’ll get into a bit later. Their first film Nausicaa of the Valley of the Wind was created before the studio even had a name, wowing American audiences with its beautiful art and epic story involving environmentalist themes... kind of. Well not really, actually. Manson International and Showmen Inc. got their hands on the movie and cut it up so bad you couldn’t really call it a Miyazaki work anymore. I mean, they didn’t, they changed everything. They changed the title to Warriors of the Wind, [Clip from 1985 commercial for Warriors of the Wind] renaming Nausicaa to “Princess Zandra” and doing their best to make it an action movie while cutting out any of the environmental themes at the core of the narrative by cutting out a whole 22 minutes of the film. Then they drew up a He-Man ass poster with a whole squad of dudes and a pegasus that were not even in the movie.

  [Lofi music]

  Enter Streamline Pictures.

  Co-founded by Jerry Beck and Carl Macek. Each already working to spread the good word of anime, the two were disappointed in early dubs and brought a new philosophy to the localization game with Streamline. 

  Do. Not. Mess. With. It. Don’t do that. For your own good. 

  Beck: We were quite proud of them, because we had a theory on how to do this, which was to use the original music and effects tracks, not cut anything, uh and to do the dubs as accurately and as correctly as we possibly could, with the best actors we could get. Our model was the Warriors of the Wind, meaning we were going to be everything that movie wasn’t. We were going to be the opposite of Warriors of the Wind. 

  That was the man, Jerry Beck himself. The formula was simple, arguably a lot less work than completely changing a movie to shoe-horn it into some western film archetype, the two-man company began visiting Japanese studios… or rather their Los Angeles offices since every major Japanese studio had one of those in the 1980’s, and asking for dubbing and distribution rights.

  Both passionate anime fans, the two had a ton of knowledge of emerging anime titles and an interest in bringing many of them over which larger studios would have passed up for dumb reasons like “profitability.”

  Beck: We literally made a checklist that we got all the films. We wanted Fist of the Northstar, we wanted Wicked City, we wanted Vampire Hunter D, we wanted Castle of Cagliostro, we wanted- you know, we wanted Lensmen, but I’m not sure why, I actually know why at the time, but that’s such an odd film. So, but we ended up getting them all.

  After handling the theatrical screenings of the Mangum Dub of Castle in the Sky, Macek secured a deal with Japanese publisher Tokuma Shoten to dub future titles, including My Neighbor Totoro and Kiki’s Delivery Service. After that they went on a tear, where they were basically the only company in the game theatrically releasing anime from 1985 to 1995, averaging almost 2 movies a year in a period where non-Streamline anime films could be counted on one hand with room to spare. 

  I cannot emphasize enough how much Streamline did for anime in America. They even helped the medium properly break into American television in the early ‘90s alongside Central Park Media by contributing to Syfy’s anime block which aired Dominion Tank Police, Robot Carnival, Project A-Ko, Vampire Hunter D, and another film brought to the U.S. by Streamline which could be considered their greatest achievement.

  Akira. Or AH-ki-ra [first syllable stress], if you’re a purist.

  Beck: Marvel Comics was printing an adaptation of Akira and we knew about the film [Requiem from Akira plays]. And at that point, that was like, of course like ‘88 or so, you know there were already bootleg VHS copies for sale at comic book conventions and stuff. But we looked at it and went “oh my God, this is like state of the art, you know? This is really a big deal for film.” And I don’t even think we had seen it on the big screen or anything, we just knew we wanted it, if it was gettable. And the good news was that the Akira Committee was kinda desperately wanted it to be shown in America, and they had gone to Paramount, Universal, Fox, everywhere, trying to get somebody to pick up Akira, and nobody would because it was too violent. The idea of that kind of thing being shown in America was, you know, unthinkable. So we were like “we’ll do it!” 

  Akira was a cultural and technological achievement in animation. It set a new record number of colors used in an animated feature at 327, 50 of which were unique colors created specifically for the movie. You could fill a mega size box of Crayons with colors that only exist thanks to Akira, which is insane. The film consisted of 160,000 frames, clocking in at almost 3 times the average for an animated feature of that same length. It was also the most expensive anime film ever produced at the time with a budget of 1.1 billion Japanese Yen. As Jerry said, it was also intensely violent, considered graphic in Japan and especially in America which still considered animation almost wholly a realm of children’s entertainment. The Akira Committee was desperate to get it in American theaters. And obviously, there were difficulties. 

  After being collectively shot down by Hollywood, the Akira Committee was approached by the small and unproven Streamline with a unique offer: if the Akira Committee could put up the cost to dub and distribute, Streamline would give them 100% of the profits up to a cap before beginning to collect their own percentage.

  And it was not easy. Jerry had to negotiate for months with an agent from the committee who basically watched their operation at work to make sure they knew what they were doing. Then Streamline was given an opportunity to prove themselves by hosting a screening of the film in the Spreckles theater at ComicCon. Only once they pulled that off did the committee ink the deal, but with one demand. They were adamant about getting a quality dub and wanted someone who had, at the very least, been nominated for an Academy Award to manage it. At the very least. Carl Macek had one of his associates search around and eventually they landed on Sheldon Renan, who had previously received recognition from the Motion Pictures Association of America for a documentary short just to fit the bill. 

  [Akira versus Kaneda, english dub clip]

  And it was a hit. Screenings pulled in profits on par with or even exceeding critically acclaimed live action foreign films. Streamline established their reputation in the industry on the success of Akira, and the next step was home video, which turned into another battle for Streamline as one of the principles of the committee, Kodansha, was intent on selling out the rights to a large distributor based on Akira’s success in theaters. Still they were turned down and once again, despite not even being a home video distributor, Streamline made an offer.

  Beck: We said to them, you know, we’re gonna get you the reviews, you’re going to get reviews in every town. We got Siskel and Ebert, they reviewed it; we got it on Entertainment Tonight, we got it everywhere. And so we were doing all this stuff, the idea though, the goal, was to get all this coverage and then they would go, they would instead of going to movie studios they would go to the home video people and try to convince them to put it out on home video. No home video distributor wanted it. Nobody. Because there was nowhere, we found out later, there was no place in a video store, then, for them to put it. They couldn’t put it in the kids’ cartoon section, the idea of putting it in science fiction, I don’t know why that didn’t work, that should’ve worked, but they probably had Heavy Metal there, but they for some reason that was not a thing that- they didn’t, there was nowhere to put what we call “anime” in a video store at that time. They did say to us “you gotta have a bunch of them. Five, six, seven, and we’ll create a shelf, we’ll put a shelf in our stores.” This is what Blockbuster said, this is what Suncoast said. So we ended up, we ended up, what we did was we got the vid- they couldn’t sell the video rights, so WE got the video rights, even though we weren’t a video company! And so we ended up putting out Akira on VHS. We couldn’t sell it in video stores. So we ended up- and there was no Ebay or Amazon, that didn’t exist, so we actually went to comic book stores and obviously it was the perfect thing to do, because Akira was a comic book, it was manga, and Marvel was printing it. And we ended up selling them to comic book stores and we- it worked. It was exclusive to comic book stores, it was the only place you could get it. Oh my God, we sold… thousands. 

  Streamline hung up its hat with the release of Space Adventure Cobra in 1995 but many of their partners who handled the theatrical distribution like Tara Releasing and Fathom Events continued without them. Just as TV anime was headed toward its own watershed moment, the field for anime movies broadened in the second half of the ‘90s. Manga Entertainment brought over Ghost in the Shell with Palm Pictures in 1996. VIZ Media broke into films by capitalizing on Ranma ½’s growing popularity with the release of Ranma ½ the Movie: Big Trouble in Nekonron China alongside CBS theatrical in 1998. 

  And then the big one came. 4Kids partnered with Kids WB and dropped Pokemon: The First Movie in 1999. And to call it a smash hit for anime movies would be an understatement. [Pokemon: The First Movie, trailer 1 plays] I saw it. Because my dad bought the VHS from one of those dudes that sold bootlegs in the Kroger parking lot. The one he hand recorded himself. You remember those? We had ‘em. 

  The movie hit $10.1 million in the box office on its opening day, which was a Wednesday, by the way. Over its opening weekend it would climb to $31 million and eventually cap out at $85 million at the box office which has remained the record anime movie in the United States for 20 years. For a moment in time it even claimed the best opening weekend for an animated feature full stop until Toy Story 2 dropped two weeks later. [Pokemon Bumper - 2000] Plastic-faced newscasters began referring to its opening weekend as “Pokeflu,” since so many kids mysteriously called in sick from school the same day.

  “Pokemania Comes to America - 1999, ABC News”: Pokemon is now in full mania! And others may follow suit, when a new Pokemon movie hit theaters this fall, spurring even more… Pokemania.

  "’Pokémania’: 1999 MSNBC Pokémon News Report”: School officials are finding that Pokemon cards are responsible for fist fights and the constant trading is not only distracting kids from classwork, but turning the playground into a black market. 

  And ya know what? Given recent events, Pokeflu sounds very racist. But that’s what they called it. 

  Anime was still a few years off from its Oscar grab and even today hasn’t fully reached acceptance as a respected form of media, but the Pokemon movie proved there was lots and lots of money to be made from anime if you played your cards right. Although it’s difficult to tell if that's what 4Kids and Warner Bros did. Each subsequent Pokemon movie pulled in roughly half what the previous managed. Pokemon: The Movie 2000 scored a total box office of $43 million and Pokemon 3: The Movie grabbed $17 million before the whole thing fell off a cliff. Pokemon 4Ever pulled in only $1.7 million and Pokemon Heroes didn’t even crack $1 million. Mind you, this still gives Pokemon the 1st, 2nd, 6th, and 19th highest box offices of anime films in the U.S., so, you know, what do I know?

  Pokemon’s explosive success at the box office inspired other attempts to grab some of that Disney demographic. Fox was the first to jump after the 1999 success of the first Pokemon movie with Digimon: The Movie which I’m definitely gonna talk about in a little bit. 4Kids itself also tried to recapture that Pokemon magic as the franchise was showing diminishing returns with Yu-Gi-Oh! The Movie: Pyramid of Light.

  Unfortunately the Pokemon movies were also a return to form for crazed American producers with scissors. 4Kids onigiri erasure in Pokemon TV series is notorious on its own, but its former president Norman Grossfeld also feared the Pokemon: The Movie movie would do poorly as written. Casting Mewtwo as a sympathetic antagonist confused and angered the profit-minded execs who produced content for children despite probably never having children of their own. They cut out the prologue describing Mewtwo’s past as the victim of genetic experiments and made edits to portray him as a generic villain and Mew as… like some kinda savior, messiah-type thing?

  [Lofi music]

  Fox, in its desperation to compete with the success of Warner Brothers’s Pokemon looked to Digimon, spawning the creation of the cinematic chimera Digimon: The Movie. You see, there wasn’t actually a movie called Digimon: The Movie in Japan, but several short Digimon films titled Digimon Adventure, Digimon Adventure:... um… Children’s War Game?, and Digimon Adventure 02: Digimon Hurricane Landing!!.

  The first two had been directed by the acclaimed Mamoru Hosoda and the last by Shigeyasu Yamauchi. I really want to emphasize these were three different movies utilizing different art styles and creative processes with the last one even focusing on an almost entirely different cast of characters. So, like Harmony Gold before them, they took a knife to all three features, leaving more than 40 minutes on the cutting room floor to create a bizarrely paced, three-arc, Digimon feature before slapping on a mostly ska soundtrack and Angela Anaconda short in the beginning [Angela Anaconda part of the Digimon Movie]. The movie premiered in 2000 and was panned by critics but walked away with a $9.6 million box office, making it the 9th most successful anime film in the States, so I’m sure the producers cried all the way to the bank while the rest uh… learned that evil pays.

  Yu-Gi-Oh! The Movie: Pyramid of Light came later in 2004 and might be an even more bizarre feature than Digimon, since 4Kids produced the movie rather than just chopping it up after the fact. In fact, it might be the first anime film to be screened in the United States before Japan, releasing in August while Japan didn’t get the theatrical release until November. Somehow the Japanese version was still a full 14 minutes longer than the U.S. release. It’s not really clear whether Studio Gallop made the film whole cloth and 4Kids cut it down, as was their usual practice, or if they added some extra content after the fact that 4Kids didn’t want for the American audience. I guess we’ll never know.

  Since it was produced for the U.S., we did get the bonus of having all the cards appear like the actual game complete with english text, even if it sometimes appeared upside-down. Pyramid of Light also had ska music unfortunately. Umm… the 2000s was a, it was a big time for ska. Once again the movie was panned, finding a place in Rotten Tomatoes’s 100 worst reviewed films of the 2000s, but became the 4th most successful anime film in the U.S. ever, with a $19.8 million box office.

  But that is enough about box office for now. Now we can talk about home video releases.

  [Lofi music]

  If you’ve ever tried to catch an anime film in theaters, you’ve probably noticed that even today they usually have extremely limited showings. At Streamline’s peak, they weren’t the only company localizing anime films, they were just the only ones making a push to put them in theaters. Other publishers were going for the straight to video route, but there was one serious hang-up. Blockbuster just didn’t give a shit. 

  Streamline’s own Akira release had limited theatrical showings, meaning they were leaning heavily into home video and the movie really beat the odds, finding success in the two markets mom and pop video stores and comic shops. Bootleg fansubs of Akira had been in circulation for months before the film’s official release, so Streamline sweetened the deal by including actual original animation cels with the VHS which seems less an intelligent marketing gimmick and more of a giveaway of cultural artifacts in retrospect. Those people are probably very wealthy, now. It was probably also unnecessary. Akira’s home video success was a moment in anime history in many ways, but it was also an exception. 

  The direct to video market would never find the same success in comic shops that Akira had. You could find anime in privately owned video stories but even then they were being crowded out by mainstream outlets like Blockbuster who were much less interested in putting anime on their shelves, especially of the famously violent variety like Akira. For anime to get its foot in the door, it would need a new face that was not only child friendly but also insanely popular. I know I just talked about Pokemon’s breakout success, but its home video wouldn’t hit the shelves until 2000. Instead, the man who would help open Blockbusters’s blue and gold doors for other anime in the late ‘90s was one of its creators who most famously hates home video. Hayao Miyazaki.

  Miyazaki was already making the rounds in the U.S. via World Pictures and Streamline dubs of a few of his films which was probably fine by him, as he seems to resent the idea of people  watching his movies in any setting other than a theater, but Ghibli producer Toshio Suzuki had his sights set on dominating the animation industry and Disney just happened to be in the market for international films. Former Head of Disney Home Video International Division and current CEO of Herbalife Nutrition Michael O Johnson inked a deal with Ghibli in 1996 granting global distribution rights to their entire library of films. 

  This was thanks in large part to the effort of Disney’s Steve Alpert who went so far as to film a mini-documentary in Disney studios to basically show Eisner and his fellow suits that every single person they employed to draw moving pictures was already a diehard fan of Miyazaki’s work. Alpert himself would jump ship to Ghibli to work alongside Suzuki battling his former employer at every turn to make sure they kept their promise about not cutting Ghibli films.

  Probably expecting Ghibli’s next film to be another Totoro or Kiki, Disney was shocked to see limbs flying off people's bodies in Princess Mononoke and pushed the distribution under their Miramax label to distance themselves from its morally objectionable content, which I can only assume came from a place of deep ignorance of both their own company’s history and the work of their HR department. Also the notion that um… just producing the same thing under a different wing of your company makes you any less morally objectionable… is also morally objectionable. 

  Unfortunately the Harvey Weinstein-lead Miramax was dead set on changing everything about Mononoke that it possibly could. And with Ghibli holding onto an iron-clad contract giving them final say, this transformed into all-out warfare with Miramax trying to weasel in every change they could and Alpert flying over the Pacific to nip that shit in the bud, only ending after Weinstein himself was twice humiliated in public. And to that I say: Good. First in a now iconic story wherein Suzuki presents him with a unsharpened prop sword at a meeting full of Disney and Miramax suits while shouting “Mononoke-hime NO CUT,” and then when Miyazaki and crew left in the middle of their own post-premiere party to carefully consider the suggestion Weinstein had been shouting at Alpert to chop 40 minutes off the movies runtime or they’d “never work in this town again.” And then several years later, the entire entertainment industry said “no, YOU’LL never work in this town again!” 

  Although Streamline had been following our modern era’s best practice of not messing with the source material for about a decade, Ghibli’s “no cuts” policy was one of the first pushes in that direction to come from Japan and doubtless helped to normalize the practice… eventually. As I said before, 4Kids and Fox raked in millions spinning out heavily edited films but Buena Vista bending the knee to Ghibli’s demands, the lasting cultural impact of Ghibli movies, and an increasingly saturated market of TV anime untouched by an editor’s razor eventually pushed the industry in the right direction. After all, no edited anime movies ever have been nominated for Oscars, but more on that later.

  Despite being a global hit, Princess Mononoke didn’t really take off in the way Disney had hoped, only pulling in $2.3 million in its first eight weeks. But it recovered in… that’s right, home video releases! Boom. Got ‘em. They also started churning out actual VHS releases for other Ghibli titles like Kiki’s Delivery Service and My Neighbor Totoro and then, when Streamline’s rights expired, Disney produced their own lavish dubs for DVD re-releases featuring a star-studded cast with voices like Dakota Fanning, Kirsten Dunst, Patrick Stewart, and uh, Shia LeBeouf. What?! Blockbuster was finally persuaded to start moving in anime content when Disney’s Buena Vista came knocking and the doors were officially open for more anime content.

  Ghibli was way ahead of its time in many ways and rights management was no exception. Or at least Miyazaki’s insistence on the purity of a theater-only movie-viewing experience had some unintended benefits. A mere two years before 4Kids would pull off the heist of the century screwing Shogakukan and Nintendo out of millions in profits in their deal of the explosively popular Pokemon franchise, Ghibli would deny Disney digital rights to their works in their contract. Disney was fine with that, the prevailing belief among executives being that those rights were basically useless. Ha-ha! Imagine that.

  Disney wasn’t interested in digital and if Disney, the most powerful media rights holder in the world, wasn’t going to push into that new sphere of distribution, then it was doomed to failure. Which, looking at the titanic size of Netflix who recently acquired streaming rights to the Ghibli Films worldwide minus Japan and the U.S. and is now staring down the barrel of Disney’s own competing streaming service Disney+ and Warner’s HBO Max, is kinda funny in retrospect.

  [Lofi music]

  Buena Vista might’ve helped Ghibli in another way though. Let's talk about when anime won an Oscar. No one’s quite sure how it happened, really. Not that Spirited Away didn’t deserve it. It definitely did. It’s a good movie. It’s just, uh, this was the first and only of Miyazaki’s works to have even been nominated. Ever. In fact, no anime films before Spirited Away in 2003 received a nomination for best animated film in the Academy Awards, and only The Tale of Princess Kaguya has been nominated since. Maybe the stars aligned, maybe it’s because Spirited Away’s stiffest competition in the 75th Academy Awards was Lilo & Stitch and Ice Age [Spirited Away Wins Animated Feature: 2003 Oscars], maybe it's because Spirited Away carried extra credibility by being released in the U.S. under the auspices of Disney. Whatever the cause, anime, via Ghibli, had grabbed a piece of critical acclaim in the American entertainment industry that seemed otherwise determined to ignore it.

  Not that Hollywood hadn’t noticed anime long ago. Two of America’s most celebrated directors, Christopher Nolan and Darren Aronofsky, have both committed what can charitably be described as borrowing from a certain Japanese director by the name of Satoshi Kon to build their respective, uh repertoires. Aranofsky heavily borrowed story, themes, and imagery from Kon’s Perfect Blue in his film Black Swan and even recreated the bath scene from Perfect Blue in his Requiem for a Dream. Guess which two of those three movies were nominated for Oscars? Nolan’s Inception collected four Oscars in 2010 which contained several scenes that anime fans got a sneak preview of 3 years before in the limited screening of Kon’s 2007 Paprika. And also in that one uh, Donald Duck comic strip. 

  Uh, look, I’m not trying to roast anybody or anything like that. Maybe Aronofsky. But you just can’t talk about Spirited Away grabbing an Oscar without giving mention to not just anime films, but foreign films in general which Hollywood seems to find value in but only when filtered through one of its own creators. So what does this get us? It gets us Scarlett Johansenn playing a woman named Motoko Kusanagi and an Oldboy remake that completely misses the point. 

  Trust me when I say the only good adaptations by Hollywood are Doug Liman’s Edge of Tomorrow and the Wachowski sisters’s Speed Racer. You heard it here. If you want a new Ghost in the Shell movie just open your wallet, call Mamoru Oshii, and ask him to make another one. Stop with this weird shit. 

  Although many films were in uncertain licensing situations until GKIDs started recollecting them, the works of visionary directors like Mamoru Hosoda, Satoshi Kon, and Isao Takahata have managed to find their way to American theaters over the years without edits and a minimal delay that recently has been reduced down to less than a year. Not quite simulcasting, but given none of them have had a real breakout hit, it’s long strides to think that fans have had consistent opportunities to watch their movies in theaters over the years and purchase them in home video.

  [Lofi music.]

  Since Miyazaki’s most recent retirement, Ghibli underwent a sort of identity crisis on what to make of their studio or even if they would continue making films at all. During this period many of their creators left to join other studios, some of them even forming their own Studio Ponoc itself dedicated to continuing Ghibli’s traditions of movie making. Ghibli itself was just kinda there until very recently, when the aforementioned GKIDs secured the rights to Ghibli within the U.S. and entered into a deal to stream the entire Ghibli library on HBO Max. Ghibli also recently announced that it's nearing the release of TWO new films, Miyazaki’s own How Do You Live? and the studio’s first entirely CG feature film Earwig and the Witch, by Miyazaki’s son, Goro. 

  And I know what you’re thinking. I thought the same thing until I saw the images and I will just say I’m definitely gonna go see it.

  And y’know what? That’s great for Disney, but Ghibli’s downtime created an existential dread within the anime industry and fandom, because there wasn’t any other big name director to replace Miyazaki in the collective consciousness of America as “THE anime director,” or as Mother’s Basement on YouTube would say “the new Miyazaki,” until only recently...

  Makoto Shinkai has been directing anime movies, arguably the SAME anime movie, since 1998 and has been a well known quantity in the fandom since his 2002 film Voices of a Distant Star. But something changed in 2016. His movies are almost always about young people in love separated by time, space, circumstance, or supernatural circumstance, but each iteration has refined his technique until one finally reached critical mass. Your Name became the most successful Japanese film of any kind in multiple countries, including China, and Japan’s second most successful anime film domestically behind Spirited Away. Didn’t even crack the top 10 in the U.S., though.

  And no Oscar.

  That said, Your Name was a resounding success in the United States, now surpassed by Shinkai’s newest film Weathering with You last year. Each pulling in $5 million in the box office is no small feat for anime films. Appearing more frequently in mainstream outlets may be slowly growing Shinkai into a household name which, matched with his own formula for successful films, could be the beginning of another single director legacy that will pull the industry up with it.

  Now although we’ve seen less explosive releases since the children-focused anime movies around the turn of the millenia, it’s hard to describe our past decade of the 2010s as anything but a stateside renaissance for anime film. While the collective box office brought in by anime in the U.S. during the 2000s completely dwarfs that of the ‘90s, there weren’t all that many more films making it over. The real difference in the marketing and theater availability after Pokemon provided a proof of concept. Although there’s been roughly 50% more anime films coming out per year in Japan in the 2010s than the 2000s, the yearly average with theatrical releases in the states more than doubled between the decades.

  And while TV anime are slowly being consolidated into a few select streaming services, more distribution companies have entered the industry to put anime films in theaters. Nowadays GKIDs, Fathom Events, and Eleven Arts have an almost monthly churn of screenings that actually top the daily box offices… on their Wednesday showings. Wednesday. Still, given the movies are airing in limited theaters and showings, the numbers are very good. Just last year Dragon Ball Super: Broly had the 3rd most successful box office for an anime film in the U.S. at $30 million.

  Sounds like we’re in a pretty good place. Well, it’s all- I mean, it’s all relative. We have doubled the number of movies we license every year since last decade, but American theater-goers still only get the opportunity to watch maybe half of the anime films that come out every year in Japan. Meanwhile, there are an average of over 200 TV anime produced every year and, with rare exceptions, every single one is licensed and distributed in the United States across a number of streaming services. Next up, we’re going to talk about anime on TV and how it's grown into one of the largest, fastest, and most sophisticated localization industries in the world.

  Bye!

  [Lofi music]

  Thank you for listening to Anime in America, presented by Crunchyroll. If you enjoyed this, please go to Crunchyroll.com/animeinamerica to start your 14-day free trial or just log on for some free, ad-supported anime. 

  Special thanks to Jerry Beck. You can find more of Jerry’s work over on cartoonresearch.com along with the history of Streamline Pictures written by Fred Patten, one of the co-founders. 

  This episode is hosted by me, Yedoye Travis, and you can find me on Instagram at ProfessorDoye or Twitter @YedoyeOT. This episode is researched and written by Peter Fobian, edited by Chris Lightbody, and produced by me, Braith Miller, Peter Fobian and Jesse Gouldsbury. 

By: news+feed@crunchyroll.com

[theconservativebrief]

It’s hard for a supervillain to shine when their greatest enemy, the superhero who defines them and vice-versa, has been recently vaporized by an Infinity Gauntlet-wearing mad titan. But if there’s any Spider-Man villain that can stand alone, it’s Venom, the squid-ink-colored inverse of Peter Parker.

Venom is hitting theaters this weekend without Parker, who was last seen getting dusted away, along with half of humanity, by Thanos in Avengers: Infinity War. It’s fans’ first opportunity to see the iconic character come to life since his ignominious debut in 2007’s Spider-Man 3, and it presents a chance for Sony to perhaps absolve itself of some of the grievances leveled at that film. It’s also an opportunity to get to know the beloved symbiote and its host, Eddie Brock (played by Tom Hardy), on their own terms and not defined by Peter Parker.

From his beginnings as an editorial solution to the puzzling logistics of superhero uniform maintenance, to his weird alien and vampiric associations, to what he says about the future of Sony’s Spider-Man universe, Venom as a character represents a lot more than just the opposite of his most famous adversary.

Given Venom’s current status as one of Spider-Man’s most iconic foes, the character’s origin story is, fittingly, a hilarious combination of chance and pragmatism.

In 1982, Marvel asked readers to send in ideas for its comics, and a fan named Randy Schueller wanted to give Spider-Man a new black costume made of unstable molecules. Marvel ended up paying Scheuller $220 for the basic idea, and one year later Spidey appeared in a black costume.

But according to artist John Byrne, the fledgling idea that would eventually become Venom began much earlier, as a solution to a simple problem concerning superhero costumes. It happens in movies, television shows, and in comic books: Superheroes have a huge fight and their precious uniforms emerge as torn up as the heroes wearing them. But in the next installment, those uniforms are back and good as new.

Byrne, who was working with writer Chris Claremont on Iron Fist at the time, noticed this illogical pattern.

“I didn’t much like the notion of Danny Rand [a.k.a. Iron Fist] sitting in a corner with a needle and thread,” Byrne writes on his official website. “So … I suggested that the outfit was made of some kind of biological material that ‘healed’ instead of having to be patched. We never got around to using that in Iron Fist, and years later, after Spider-Man got his alien costume in Secret Wars, Roger Stern asked if he could use the notion, and added the idea that the suit was some kind of symbiote.”

The idea of a symbiote comes from the symbiotic relationships we see in nature — when two organisms (e.g., clown fish and anemones) form a bond that benefits both. Venom being symbiote began with the kernel of an idea from Byrne that Stern then implemented; eventually, writer David Michelinie and artist Todd McFarlane took the reins and created Venom as a fully fleshed-out character, along with a proper, plural noun and alien race known as the Symbiotes.

Derived from the meaning of their name, the Symbiotes need a host to bond with and give that host superpowers (Venom has super strength, agility, and shape-shifting abilities) in exchange for life force, usually in the form of adrenaline. When people refer to Venom, they’re referring to the specific, villainous Symbiote that initially bonded with Spider-Man (who took on a black appearance as a result), as well as the character that is the result of the Venom Symbiote and its post-Spider-Man hosts, the most notable one being Eddie Brock.

Venom explains his moral code. Venom

While Venom has had multiple hosts in comics over the years, the one that we (and the Symbiote) keep coming back to is a man known as Eddie Brock.

Part of that is due to the similarities Brock shares with Peter Parker: Brock was a journalist, like Parker, and blames Spider-Man for his career failings. Brock thought he had cracked a big murder case, but it turns out his source (the murderer) was a false confessor. When Spider-Man revealed the real murderer, Brock lost his job and had to write for gossipy tabloids (which inspires the name “Venom”), and blamed Spider-Man for his downward spiral.

Brock’s story and his connection to Spider-Man are intriguing in that they doesn’t fit the typical supervillain/superhero mold. Spider-Man saving the day unintentionally ended up ruining Brock’s career, and Brock mistakenly sees this all (including his own oversight of being too trusting) as Spider-Man’s fault. It’s a sort of inverse symbiosis, a bond that’s mutually damaging to both adversaries who, at least in the beginning, ostensibly have the same sense of morality.

But the other major reason that Venom became such a phenomenon is that the character functions as something of an antihero — or perhaps an antivillain.

The ’90s era of comic books was punctuated by a fascination with “edgy” characters who weren’t all good or all evil. Venom’s co-creator McFarlane, who first gained acclaim working on Spider-Man, would go on to create Spawn, a comic book about a demonic vigilante that was wildly popular in the ’90s.

Characters that straddled the line between good and evil — heroes who had destructive urges or a history of killing (think: Wolverine and the Punisher) and conscientious villains (think: Magneto or even Deadpool) — became beloved. And Brock’s Venom fit this mold of moral ambiguity.

As Venom became one of Spider-Man’s most fearsome foes, writers also explored Brock’s line of morality. In 1993’s Venom: Lethal Protector, written by Michelinie and drawn by main artist Mark Bagley, Venom serves as a vigilante of sorts and protects the poor and homeless people in San Francisco. (The movie is loosely based on this comic.):

Venom saving the day in Venom: Lethal Protector. Marvel

The logic works: Brock was inspired by Watergate and wanted to use his journalism for good, fighting crime and weeding out corruption, before a series of unfortunate events took him down a path he couldn’t pull himself out of. But just because an alien symbiote has bonded with you, bestowed you with immense power, and tempts you with your darkest desires doesn’t mean that you should abandon everything you stand for — just some things.

Venom: Lethal Protector also pits Venom against other, more vicious symbiotes with less humanity, allowing writers to establish a moral spectrum that ends up casting Venom in a more positive light.

Perhaps the most important character in establishing Venom’s heroic baseline is called Carnage, the result of the offspring of the Venom Symbiote bonding with Brock’s jail cellmate, Cletus Kasady. Carnage is more violent, more murderous, and more sadistic than Venom (though Carnage gets to play a hero in the crossover event called Axis) and in existing, shows how human Venom can be.

In comic book history, Spider-Man and Venom have worked together to defeat Carnage to save humanity — the old “the enemy of my enemy is my friend” strategy. But while they do occasionally team up in instances like this, it usually isn’t very long before Venom returns to his usual terror-inducing self and he and Spider-Man are archenemies once again.

One of the big questions surrounding the most recently rebooted version of Spider-Man is whether — and how — Sony plans to make a universe around the character following the historic deal between Sony and Marvel to share his rights. While Sony and Marvel have a deal in place for Spider-Man, they haven’t, according to Variety, hammered out a deal for the other Spider-Man characters to which Sony owns the rights, though both studios are reportedly open to it.

Since the first appearance of Tom Holland’s Spider-Man in Captain America: Civil War, the character has been interacting with the Marvel Cinematic Universe, in both his solo venture Spider-Man: Homecoming and this year’s Avengers: Infinity War, which sealed onscreen Spidey’s fate — for the time being, at least.

Further, in the comic books, Spider-Man has usually appeared either alongside the Avengers or worked on his own, meaning that Sony doesn’t have a built-in superhero team it can pull from the way Marvel has. (Recall, if you will, that the Marvel Cinematic Universe as we know it is the result of Marvel having sold off its most recognizable characters and having to go all-in on the nascent Avengers, who were much less well-known a decade ago than Spider-Man, the X-Men, and the Fantastic Four.) And the more intriguing characters in Spidey’s world have — until recently with the rise of Silk and Spider-Gwen — usually been villains like Venom, Doctor Octopus, or the Green Goblin.

So if Venom does well, Sony can conceivably build out its Spider-Man universe with other solo movies about related characters, like Silk, or even an esoteric villain like Kraven the Hunter. We already know that a film starring Jared Leto as the vampire Morbius is on the way; there’s potentially a wealth of other Spider-Man-adjacent character movies in the Sony pipeline.

But a bad showing by Venom at the box office might give Sony executives pause. Sony has seen firsthand the effect of diminishing returns on Spider-Man, with the disappointment of Andrew Garfield’s Spider-Man, and implemented a change in installing Holland as its new web-slinger. Should Venom underwhelm, its not difficult to see Sony reacting in a similar way and going back to the drawing board once again.

But even if that turns out to be the case — and given the rough critical reception Venom has drawn so far, it might very well be — that won’t take away from the character’s rich and oft-amusing history.

Original Source -> Venom, Spider-Man’s symbiote supervillain, explained

via The Conservative Brief