#becoming a batman villain the old fashioned way

[forevercloudnine]

I know I've been out of the loop, but how did it not cross my dash ONCE that not only did they bring back Riddler's daughter this last December, but they brought her back SPECIFICALLY by having her go on a date with Kate Kane????

[misrepresentedmorallygrey]

PROPAGANDA

Jason Todd

Jason is as someone else put it succinctly "a mass-murdering terrorist and tax-evader". He does evil, the story constantly condemns him as evil and sinful and thuggish and stupid and uneducated and overemotional. He does have a lower and more selective kill count than Luke Skywalker, John Wick, Disney Mulan, etc. So you got part of the fandom writing an annoying flood of fan fiction about him being a warm soft nice guy skipping through the daisies with his fam (hey have fun, guys). Then you got another side picking out the worst ex-canon comics for him (while they ignore the worst ex-canon comics for their own fave characters i.e. "my fave only did evil because of a mind-control potion, but Jason always chooses to be evil even though the story and the writer himself said he was crazy and broken and suffering from magic insanity")... and accuse him of being a cop (he is a cop-hating cop-killing terrorist murderer criminal thuggy thug thug constantly being hunted by law enforcement in a world bursting to the brim with actual copaganda while the heroes regularly cooperate with police—so many anti-fans are misusing the term copaganda because they hate this fictional character to the point they want to train people to be blind to actual copaganda). Jason is absolutely a villain—and he returned to his hometown when it was a battlefield with hundreds killed in the latest conflict, ruled over by a child-killing torture-enthusiast. War is always wrong and evil, and Jason was raised to be a soldier in that war—and when the promises of justice and safety never came true, he decided to seize power through murder. Jason is evil. He is inarguably a lesser evil than what usually plagues the town. Innocent people are alive because he got his hands dirty. He is such an asshole. People like him should not exist. He shot a 10-year-old in the chest, and nobody not even the 10-year-old cared the next day because it really wasn't a big deal. He was kidnapped by a billionaire with a taste for young boys, and it's literally not a big deal. His crimesagainst fashion are unforgivable tho.

Batman's adopted son and second Robin that got killed by the Joker and came bag to enact a revenge plan by becoming a Gotham drug lord. He had a duffel bag of 8 decapitated heads at some point and planted a bomb on the Batmobile and then got his throat slit by Batman to save the Joker. He stole his older adoptive brother's (first Robin) identity and blew up a high school but he forbade Gotham's drug rings from selling to children and actually became an anti-hero in Gotham and killed the people Batman wouldn't (rapists, drug lords, etc.). He attacked his little adoptive brother (third Robin) and beat him to a bloody pulp. He also slept with Batman's baby mama. He raised a fucked up Superman clone with kindness. He has lead teams of Outlaws on multiple occasions that love him. He's on good terms with many (not all) of Gotham's vigilantes.

Listen. I love the guy, I love him dearly, but I feel like people these days are trying to make him like completely justified in everything he did?? And like you can see where he’s coming from, sure, but my man did absolutely beat Tim Drake, a teen, half to death for the crime of being Robin. He’s morally gray! He had decapitated heads in duffle bags! Let my guy be morally gray please stop woobifying him

Jason Todd is regularly stripped of his autonomy in fandom to make him more palatable and “redeemable”. They attribute his legitimate trauma, annger, and pain driven actions to “pit madness” a side effect of the way he was resurrected. Not only that but so many people don’t even know what he actually does when he comes back, it’s like a shitty game of telephone where each person tells the next a slightly altered version of his return and at the end everyone thinks that Jason hates the kid who took up the Robin mantle after him and wants to kill him and that he is mad at Bruce for no reason and all Bruce needs to do is tell Jason that he is loved (despite Jason having a lot of evidence to the contrary) and everything will be all better. His values and beliefs and convictions are treated as invalid and his trauma is something he needs to just get over because it’s inconvenient and harmful to everyone else and doesn’t he know that everyone else was also traumatized by his death?

vigilante who kills people • traumatized as hell • has trouble differentiating between good deeds and selfishness • shot his little brother on the spine • tried to kill his other two brothers • operates under the belief that controlling evil is the only way to help innocents • has an immesurable love for the people of Gotham and really wants them to be happy and safe!! • please for the love of god fandom stop talking about him as if the bad things hes done are forgiveable AND as if the good things he's done don't matter

Gonna be honest even canon misinterprets him. There's no winning. All you need to know about DC universe is that multiple different writers have had a go at writing him and every time he is wildly different which is maybe why people interpret him very differently?? Canon interprets him in a he did everything wrong way a lot of times and fanon interprets him in a he did nothing wrong way because he is blorbo to many, when he is very much someone who did a lot of shit wrong but also had a lot going on, while thats still not an excuse for like, a lot of maiming and murder, and (usually) later in the timeline he is less trigger happy and has evened out from villain to morally grey, his whole "redemption" to being morally grey is usually up to fan interpretation whether or not they're chill with letting him keep murdering bad people or they say no murder in general, and whether or not bats is chill with the whole he keeps murdering people thing since he has a staunch no murder stance. Also!! a lot of people in fanon write in the whole pit insanity thing as a way to excuse a lot of the things he did while in his full on villain era, and like,,, i don't think that was canon??? like i straight up think the whole pit madness thing was made up but a lot of DC canon is wibbly wobbly already so its hard to say. hope this wasn't too word salady but i hope you understand that whenever you are consuming any piece of media, canon or fanon, with this man in it you have literally no idea what you are stumbling into you, you are playing fucking spin the wheel, which flavour of Jason Todd are we reading about today. I will say though, canon does objectively treat him like dogshit and only really brings him back every now and then as a punching bag for Batsy whenever they want to have edgy emo abusive dad bruce wayne because comic writers think found family is for chumps and so is being a good parent and actively resist it with every ounce of their soul :/ so I understand why fanon strays so far away, it's just that fanon also can't seem to agree on the degree of morally grey he is?? idk someone save Jason it's the worst custody battle of the century between canon and fanon.

Miguel O'Hara

he is dj internalized homophobia. he is so so sick in the head

[mediocrischorus]

Spoilers for Batman: Caped Crusader

God this show was beautiful. Obviously it's the same main team that made our beloved BTAS so we already knew things were going to do. The brought back the beautiful meld of 20s art, fashion, architecture, and mob scene while also allowing for the modern representation of women and POC in high esteemed position. All of the men still get what my family has joked of as the "linebacker build" with the occasional skinny man for flavor but the women get variety. Babs has the classic batman woman silhouette, Montoya has broad shoulders, Harley has hips, and Selina got an hourglass.

This show goes back to origin stories but reworks them in a way that made every character exciting, even for someone who probably knows an obnoxious amount about the universe. Some characters were reworked entirely like us getting a female Penguin with sons working under her. While some were more akin to their originals like Harvey Dent (more on him later).

Some characters that aren't seen are name dropped such as Harley mentioning that she studied under Dr. Crane, assuring us that there is still space in this universe for them. Honestly, going into this I was excited that these characters weren't going to be bogged down by the Joker. He's a fun character but there's so much focus on him that other characters, plot lines, and stories tend to get rushed so they can get back to their big money maker. Their decision to keep him out of the first season really helped provide focus for the story being told.

The show balanced its violence well to. I've noticed with a lot of action, especially those with a darker framework like the Batman universe, a lot of the violence kind of blurs together until the creators feel a need to keep one upping themselves to keep the story going and create a shock. I genuinely gasped when "Fire guy" fell. I've been trained that Batman always swoops in to save the villain so having him crash into the car after falling several stories held that shock that the grandiose Joker stunts lack.

I loved Barbra Gordon. Her first appearance I was like "there's Babs" even though they changed her look a bit the essence, the competence, and the caring were all there. I really think they did her justice and I hope she ends up being great representation.

I loved that Jim Gordon wasn't all powerful. A lot of Batman media portrays him as Batman's "guy on the inside" that helps cover things up. They portray him as though he runs Gotham. This Gordon answers to a mayor and has to fight through bureaucratic bs. Alternatively, other depictions try to make him a pathetic guy who is only around to flip on the Bat signal. This show doesn't do that either. They really show the work he is putting in to clean up the force. They show that he doesn't instantly trust Batman and that he tries to do the legal thing until he can't justify ending the good that Batman does.

Detective Montoya. There's a character that not everyone knows but deserves respect. I love them showing how competent she is instead of writing her off as the foolish detective that just gets fired. She is an amazing detective and she works hard to do the right thing. I hope they explore her becoming the Question especially since it doesn't seem like we're making room for Robin anytime soon.

Speaking of Robin, episode 8 hit me like a truck. Right off the bat (heh), name dropping "Dickie" and "Jase" and then showing me their old designs!? Then they go outside and we get a Tompkins name drop!? I love that Doc is giving to the community even if its not as a medical dr she deserved to be mentioned. When Steph was mentioned I started being entertained by wondering how many they can incorporate. When Carrie's name was mention I celebrated. Talk about doing an often forgotten character justice. While it sucks that with 4 of the infinite Robins appear by name in this episode implies that we will not be seeing them in a more major role I do appreciate some of the things that will come of this. I know the fandom loves the Robin's, I am a prime example, but I feel like there is so much love there that any mischaracterization would have been met harshly. This also means no active child endangerment. If they do decide later on to bring on some of the other sidekicks I hope they don't use the name Robin. I know that the name is iconic, so of course they're going to want to use it but without the Grayson backstory it doesn't make sense. This is a real pet peeve of mine, especially with AUs like The Robin King where Bruce named himself that without real reason. They have been doing well so far with renaming where they feel necessary or even skipping over rogue names so I have hope.

Words cannot express how much I have wanted a film representation of Onomatopoeia. The first time I saw him on a screen grab from the comics instantly grabbed my attention. I went down a research hole and I have just always thought he was a wonderful, eerie, and compelling rogue that you just never see. When he stepped in I celebrated. I wish we got more but hopefully we'll see him again and maybe next time we'll get to see some of his more macabre work.

The somehow gave as rich and poor Selina Kyle and I live for it. Recent depictions of Catwoman being a scrappy woman who grew up in poverty are cool but I've always felt like they were just a weak attempt at making her more compelling. The fact that she started as a socialite had always interested me. This telling gives us that while also having her live rough like more modern interpretations because of loosing her funds. It makes sense why she's so good at playing the heiress because she is one. She belongs at those parties.

Dent was wonderful in how subtle but impactful the changes were. He was skeezy from the start. He didn't have this golden child reputation that we tend to get from his backstories. Every interaction we saw throughout the series was painted with him being underhanded and working on the wrong side of the law at times even if it was for the greater good. This was great set up to the part that I really love which is that the melted side of his face becomes his conscience. Typically once his face is melted, things are framed to show the disfigured side to be a corrupting influence, the reason he's willing to commit monstrous acts. In this show it frames that side when he's showing true remorse. It is such a subtle thing but it really highlights that he was always filled with this anger. He was always capable of committing these crimes, but the red tape was stopping him. The disfigurement shows that he is still human.

Harley having a darker motley was teased a lot leading up to this show. We heard that they were exploring her back story without the Joker's influence and that got me excited. I was never a fan of that dynamic but I do understand how she was created and the purpose it served. Making her Asian American was a wonderful choice. She's still unquestionably Harley. I wish they would have brought up some of her gymnast history because I feel its too often overlooked. A lot of people think she got her acrobatics from being crazy. They even gave her a relevant conversation to just drop a little comment about that history but alas. I think she was very well done. They gave her the trademark positive attitude without making it over the top bubbly. They kept the clown motif but justified it by having her make comments on the benefits of humor. Her experiments were dark and twisted without being over the top. They made her queer without making it an afterthought to help move her away from the Joker. Also they gave her a real human body so kudos there.

I mentioned this in a separate post but I really love that Bruce Wayne's voice is the Batman voice and that Brucie is the fake voice. They don't go out of their way to clarify this but the fact that he speaks as batman whenever hes alone with Alfred outside of the Bat stuff he still uses that voice. When he gets concerned for Harvey you can hear his voice starting to slip down into the Batman register like he's struggling to keep up the act.

[musicalmoritz]

Joker: Folie à Deux Pro/Con List

I’ve seen a lot of hate for this movie but I personally really enjoyed it so I figured I’d give my own review in list format, because everything is better in list format. Full disclosure, just because I enjoyed this movie doesn’t necessarily mean I thought it was good. I will try to keep this spoiler free

Pros:

• Incredible performances from each actor, as usual Joaquin Phoenix steals the show. This was my first time seeing Gaga in a movie and I was pleasantly surprised by her acting, she made it easy to suspend my disbelief and forget I was watching a major pop star on screen

• The use of color is very creative, there’s one shot where a group of police officers open black umbrellas but when it switches to Arthur’s perspective, they’re all brightly colored

• They incorporated events from the first movie well and used them to provide clarification where it was needed

• Songs were integrated well into the plot and fit the aesthetic of the film

• The lighting was gorgeous and, once again, used very creatively. The contrast between warm and dim lighting added a lot to the film, imo it told the story all on its own. Maybe I’m just a nerd but I felt like I was being led by the lighting while I watched this, definitely my favorite part of the movie

• Harvey Dent is there and he’s sooooo cunty. Seriously if you Google “cunty” a picture of his face will pop up. There was a cool Two-Face Easter egg at the end

• It opens with an old-times cartoon skit. I thought this was very neat and fit the vibe of the franchise well

• It sets a good tone and succeeds at making an emotional impact, I was highly on edge during some scenes and others were so depressing that I’m still thinking about them

• Costuming was really cool, Gaga’s character wears some stunning looks and while I don’t usually care much for male fashion, some of the suits in this film manages to catch my eye

• The characters all feel very real and important, even the ones with minimal screen time. Arthur’s character arc felt like it came full circle, though I know some fans will disagree with me on that

• Sound effects were just as haunting as I remember them being in the first film, every gunshot made me wince

• It shares a title with a Fall Out Boy album

Cons:

• Violence absolutely has a place in film, and I thought the first one incorporated dark themes in a way that was both necessary and impactful. However, in this movie it often felt like it was used for shock value or, dare I say, torture porn. It’s pretty much just two hours of police brutality so if that’s triggering for you, I’d recommend sitting this one out. There is one scene in particular that shows immensely disturbing buildup to a rape scene. The actual act isn’t shown but they don’t need to do that because by then the entire audience is already thinking of taking a restroom break

• This was my main problem with the first film but I disliked how they handled themes of mental health. They came so close to getting it right addressing corrupt prison systems and the death penalty but ultimately it felt very…I don’t know how to put this. They tackle the subject of DID but they do this by perpetrating the harmful trope of “people with DID become murderers.” I don’t expect Batman villains to be perfect representations of mental illness but they still managed to disappoint me. And Harley isn’t even given a diagnosis despite having HPD in the comics (don’t quote me on that, I have not read every single Harley Quinn comic, this is just what I’ve heard). Her character is boiled down to being “crazy” with no real explanation for why she acts that way. In a film that tries to make a statement about mental health, it was disappointing

• Speaking of Harley, this is not Harley Quinn. It’s supposed to be, and she bears undeniable similarities to the comic character, but they take away everything that makes her character meaningful and relatable. I can’t get too much into this one without giving away spoilers but Harley fans, you’re not gonna like this one. She’s one of my favorite characters ever and honestly the only reason I saw this movie. I went in with low expectations and, once again, they still managed to disappoint me

• Harvey Dent also loses all of the elements that make his character sympathetic and therefore tragic in the comics. The only real similarities are the name, the appearance, the lawyer bit, and the fact that he’s cunty. I still hope to see girlboss edits of him tho

• Can I turn into CinemaSins for a minute here? Jk jk you can all lower your torches. But I will say that if the orange/blue color contrast annoys you, you’re gonna roll your eyes at this movie (it’s actually extremely subtle lol I’m just looking for things to nitpick)

• I’m a big fan of musicals but some of the song scenes felt…odd?? That might have been the intent so take this one loosely but some of them dragged on too long or felt weirdly placed. Again, that could’ve been what they were going for so this one is a bit subjective

• More of Todd Phillips self-insertive commentary about dark humor vs. cancel culture

Remember that these are just my takeaways from the movie, you can and should form your own opinions!! Overall I really liked it, there were just a few elements as listed above that threw me off. When big movies come out the public tends to develop a hive mind about how to perceive them, most people really hated this movie but like. It’s okay if you felt differently. It’s good if you felt differently, it’s so fun and sexy to be different guys plssssss give “bad” movies a chance it’s literally so much fun

[forest-of-stories]

Throwback Thursday, Fandom Edition: Holy Creative Nostalgia, Batman!

Last January marked twenty-five years since the premiere of Batman Beyond, which ran for three seasons on (what was then) the family programming block of (what was then) the WB.  Younger Sister and I caught as many episodes as we could at the time that they were airing, but I didn’t watch the entire show until my local cartoon-watching group screened it in 2014.  It mostly held up then, and I think it would mostly hold up now: the characters were compelling, the visual style was distinctive, and the storylines balanced the established Batman mythology with teenage angst in (what was then) a science-fiction future.  In one of my favorite episodes, a school counselor uses mind-control technology to manipulate students into Doing Crimes; in another, animal DNA splicing becomes the hottest new fashion trend.  And so on.  Batman Beyond introduced me to a lot of the tropes surrounding the teen superhero who has to balance school and romance and family with a secret crime-fighting life, and gave me some of my earliest opportunities to unpack and re-examine and reshape the associated archetypes of "hero" and "damsel in distress" and "mentor" and "villain," which I am still interested in doing to this day.

This post is less about the show itself, however, than about the way thirteen-year-old Nevanna folded it into the stories that she was already scribbling on every available scrap of paper, at every opportunity, often alongside one or two friends.  I had never heard the words “fanfiction” or “fandom” or “crossover,” but I delighted in pulling characters from every piece of media that I enjoyed and writing them into nonsensical scenarios.  And in the first half of 1999, most of those scenarios involved characters from Batman Beyond.

There are two primary reasons why these crossovers took the direction that they did, and the first is a lot less embarrassing than the second:

I almost certainly had a crush on the hero of the show, Terry McGinnis, and wouldn’t even admit it to myself.

I liked when stories had “cool girls” in them, but had a very narrow, 1990s-influenced idea of what made a female character “cool,” and it definitely didn’t involve waiting around for a boy or needing to be rescued.  Maybe I didn't think that Dana, Terry’s civilian girlfriend, met my standards for what he “deserved.”*  There were one or two ladies in the supporting cast who probably would have, but instead of pairing him with one of them, or creating what we’d now call a self-insert, or even exploring Dana’s character to give her more agency and interiority, I grabbed a “girl warrior” character from a book series that I was reading at the time, literally dropped her into Futuristic Gotham City, and went about establishing that she was absolutely, definitely Not Like Other Girls.

From there, I continued to run with any idea that floated into my head, unconstrained by the laws of time, space, pre-existing characterization, or narrative plausibility.  Should I also introduce characters from Discworld and The Adventures of Pete & Pete to Futuristic Gotham City? Sure, why not? Should I establish a connection with the Wayside School books, which already featured students named Terrence and Dana? Sure, why not? Should I send my central characters on a time- and dimension-hopping quest to “correct” some of the fictional events that annoyed me personally, with a detour to the Land of Oz, whose princess almost brainwashed Terry into marrying her? Sure, why not? Twenty-five years later, although I like to think that I have a better grasp of storytelling logic and have worked through some of my issues around gender roles and victimhood, I respect, and sometimes even envy, younger Nevanna’s “sure, why not?” approach to her writing, and am happy when I can approach a project with even a fraction of that attitude.

The X-Men introduced me to superhero comics, and I still probably have the strongest connection with that universe even if I haven’t followed recent continuity in years.  Still, Batman – in a variety of forms – gave me the first superhero media that I really loved.�� To date, that love hasn’t carried over into online fandom, no matter how many “Batfamily” posts about Crime-Fighting Found Family Shenanigans cross my Tumblr dashboard.**  Even though I’ve rewatched it in the years since it aired, I still associate Batman Beyond with my pre-Internet fannish life.  But if nothing else, through my drive to imagine new and improbable adventures for the characters and comment (in a very limited way) on its genre tropes, it was one of my childhood favorite shows that pointed me toward the world of transformative fandom that I didn’t even know existed.

*I don’t have any legitimate complaints about Dana as a character.  ”Superhero’s civilian girlfriend” is a pretty thankless narrative role, and one that invites deconstruction.  Catherynne M. Valente’s The Refrigerator Monologues is a personal favorite example, and I recommend seeking it out; even if you’re crying and raging along with the narrators, you’ll probably giggle at least once at the rant about her Batman stand-in. **The closest I’ve gotten is Young Justice, which I adore and you should all watch if you haven’t.  I truly love Crime-Fighting Found Family Shenanigans, even if some individual stories have pushed my buttons harder than others.

[denimbex1986]

'28 Days Later, the apocalyptic zombie film which gave Cillian Murphy his breakout role, opens and closes with two near-identical scenes. Both moments find Jim, played by Murphy, scared, injured and confused, the camera pressed hard to his face as he tries to decipher the situation in which he finds himself. These bookends, while framed in a similar fashion, present two very different people; the Jim blissfully unaware of the zombie apocalypse gripping his world, and the Jim who’s just pressed a man’s eyeballs out with his thumbs to save his only friends and companions. A man who did what had to be done.

Throughout his career, the latter is the Murphy we have become familiar with. In almost every role he takes on, Murphy has an inherent control over his environment. Whether he is a mob boss, Irish revolutionary, Gotham’s least Hippocratic psychiatrist, or a world-changing nuclear physicist, he is preternaturally competent, a stoic statue of proficiency, a man who does what’s needed. Jim isn’t any of those things when we first meet him, but he learns fast.

As we enter a summer in which Murphy is set to headline one of the biggest movies of the year, it is important to remember how anonymous he was when he was cast in Danny Boyle’s zombie thriller. Up to that point, the 26-year-old Cork-born actor had mostly bounced around British and Irish theater, before starring in Disco Pigs – a strange, dark little movie adapted from the Edna Walsh play he had also performed in. That said, it’s not hard to understand what Boyle and subsequent directors saw in the young actor. As if his piercing blue eyes and Roman bust of a face weren’t enough, Murphy has the kind of quiet, understated power that allows for both projection and unknowability.

“Cillian has this extraordinary empathetic ability to carry an audience into a thought process. He projects an intelligence that allows the audience to feel that they understand the character and see layers of meaning,” said Christopher Nolan to Rolling Stone earlier this year. It’s something that Nolan has exploited in different ways throughout their many collaborations. Hot off the success of 28 Days Later, Nolan brought Murphy in to test for the lead role in his new Batman trilogy – a role that would eventually go to Christian Bale. Regardless, Nolan wanted Murphy involved, instead casting him as one of Bale’s earliest nemeses, Dr. Jonathan Crane, or Scarecrow, a psychiatrist unafraid to explore unconventional modes of diagnosis and treatment. There’s something to be said about the fact that even as a comic book villain – a notoriously insecure profession – Murphy’s Scarecrow remains a thread that runs through the Nolan Batman trilogy, an adaptable, steady hand in a world of Jokers.

It’s a role Murphy takes on again and again throughout his career, that of the consummate professional, even as circumstances around him continue to heighten. A year after the release of Batman Begins, Murphy appeared in Ken Loach’s The Wind That Shakes The Barley, a story set a bit closer to home than Gotham City. In it, he plays Damien O’Donovan, a fictional Irish Republican Army soldier fighting for Irish independence in the 1920s. It’s a dense, historically-minded film in which the chaos and violence of the time is placed at the fore, and individual character, at times, is given short shrift.

Murphy’s O’Donovan is the exception – a young man believable as both the bookish, London-bound doctor and the ruthless military leader. It’s his moral anguish, and constant refusal to let it stand in the way of his goals, that give the film momentum and pathos even in the face of its moments of history book density.

Much of what he does in The Wind That Shakes The Barley can be seen as the blueprint for what, to this point, is perhaps Murphy’s most notable role. Thomas Shelby, the leader of the titular criminal enterprise at the center of Peaky Blinders, is defined by both internalized anguish and ruthless acumen. Like many a television anti-hero before and after, Shelby is haunted, by both the trauma he faced during the First World War and the violent lengths he must go to keep his family atop the pecking order in 1920s Birmingham. For much of the series, this trauma is beneath the surface, an anger that simmers from the corners of those wide eyes but never makes its way to the rest of the face. When it does escape that stoic stare, it is violent and terrifying, a drastic inversion of the control he so easily displays.

It’s this line of performance that makes his broken and shell-shocked turn in 2017’s Dunkirk all the more affecting. Nolan’s characteristic manipulation of time has us meet Murphy’s unnamed “shivering soldier” only after the events that have led him to near catatonia. When Mark Rylance’s civilian sailor and his son find Murphy he looks the part of a competent officer, one who should be raring for a fight, but instead his all frayed nerves, pure trauma with none of the facade that Murphy typically wears so well.

This brings us back to 28 Days Later. When we meet Jim he could not be more vulnerable. Stark naked, alone and afraid, he awakens unaware of the virus that has revaged the United Kingdom, and survives only thanks to a few straggling survivors, led by Naomie Harris’s headstrong and resourceful chemist Selena. Today, it’s not hard to picture Murphy as the knowing leader ushering the powerless through apocalyptic terror, but here he is all but ineffectual, a bicycle messenger who lost his whole family and nearly everyone he has ever met. “Help Selena! Wait, Selena!” yells Jim as he hobbles up the stairs away from the infected whose red eyes and snarled teeth close in on him. As the audience surrogate, Murphy spends much of 28 Days Later learning and adapting as best he can, but he is almost always one step behind the action, never in control.

That is, until the film’s climax, when his naivety and relative peacefulness is wrenched away by twisted humanity that threatens his only remaining companions. Caked in blood and straddling a would-be rapist, Jim is no longer wide-eyed, but hardened and callous. It’s in these final moments where we meet the Murphy who has graced our screens ever since: a man whose hope is always tempered by anguish, but who can be rellied upon to do what has to be done all the same.'

[allgremlinart]

Batman Comic + Animation Rec List

courtesy of me

These are just some of my personal recommendations. There are a lot of Batman comics and movies out there. A lot of them are good!! A lot of them are really bad too. So Ive selected some which I think would be good for new Batman fans/anyone wanting to get more into Batman.

I’m not gonna include a lot of stuff that I’ve already seen recommended a bunch (like year one, long halloween, etc) so its not an exhaustive/comprehensive list, but its a good place to start imo.

Batman: The Imposter

If you recently got into Batman after watching the new movie this comic will be great for you, as the tone and style are pretty reminiscent of Battinson. The art is gorgeous, its three issues so its not too long of a read, and it actually does some interesting things with Batman’s character/lore. Also if you’re a fan of autistic/nd Bruce this is the most canon representation you’ll get. 

CW: blood + violence, implied child abuse, awkward and forced heterosexual romance :/ 

Gothic

This was a five issue run from the 90′s. If you’re looking for a good old fashioned ooky-spooky Batman story this is for you. It’s just a nice standalone arc that's unsettling without using edge/shock value, and it nicely marries the gothic horror Batman elements with your classic gritty organized crime stuff. The main villain isn’t popular or recognizable at all, which is a shame, because they’re genuinely creepy. Bruce is suitably dramatic in this, as always. 

CW: blood + violence, gore, child abuse, brief homophobia, non-graphic SA, implied (? its really iffy and up to interpretation) CSA, church

Batman Zero Year (Secret City + Dark City)

Kind of a modern reinterpretation of Bruce’s first year as Batman. The art is good, I love how bright and maximalist it is without being overly campy, and its a good way to get familiar with a lot of different Batman characters. It's a longer read than the other ones on this list. While not inspiring The Batman very much visually, the movie certainly took story elements from it. 

CW: its pretty much just pg-13 comic book violence

Batman: Universe

Tired of the edge? Then read this delightful story about Batman being led into a situation that becomes increasingly above his pay-grade. Its fun, we get to see Batman being Batman (and also a cowboy), and you’ll get introduced to a lot of other DC locations + characters without really having to know everything about them.

CW: n/a

Batman VS Teenage Mutant Ninja Turtles

This movie was a trip. I loved it. I know nothing about the TMNT but they somehow fit so well with Batman, who knew. Good animation, good action scenes, funny, and good characterization. I loved Batgirl and Robin in this. I’d put this in the same vein as Lego Batman, just a bit more comic accurate.

CW: pg-13 comic book violence

Batman: The Animated Series

Yeah you’ve probably seen this recommended like a million times but that's cus its, like, arguably the definitive Batman. Tone oscillates from “campy-and-obviously-for-kids” to “serious-psychological-noir-thriller.” This Batman taught me what human trafficking, gentrification, and deforestation was and then was like “lol what if Batman fought a werewolf?” It’s good. Watch it. 

CW: n/a

Batman: Mask Of The Phantasm

God this movie is a classic. I almost screamed and cried and threw up when Robert Pattinson mentioned watching it. Just a fantastic noir Batman story. The animation is the same as BTAS (but with a higher budget) and the soundtrack goes crazy. 

CW: n/a

[britishassistant]

What happens if a new villain comes to town and starts tearing shit up? Like a new rival shows up, falls in love with yuu, and kidnaps them before enacting a huge take over the city scheme, will the NRC and RSA finally come together for the same goal? Or would it lead to chaotic in-fighting in their individual attempts to rescue the reporter and save the city/stop this jerk face from showing them up only for yuu to break out just so they can knock them all upside the head?

Thank you for the ask, dear anon!

“It’s so simple, love.” The villain coos, one hand cupping Yuu’s chin gently to tilt their face up, “Just accept my proposal, and we won’t need to have any nasty accidents where you and the tarmac down there have a...terminal disagreement.”

Yuu glances down at the drop from where they’ve been “tied” to the top of the skyscraper by the metal beams that the supervillain bent around their body like they were rubber. They think they can see a flock of pigeons flapping by below them. “That’s your idea of a threat? Really? Because I’ve heard worse over breakfast. Sorry, but I really don’t think we have the right chemistry to accept marriage to the likes of you.”

The villain pouts, leaning against the tip of the building as if they were a pair of people chatting on the streets far below, and not one hapless captive tied to an antenna and their captor floating with nary a second thought in midair. “Oh c’mon now love. Don’t make this more difficult than it has to be—you know that I could do far better with your Daddy’s little league than any of those second-rate bozos crowding around you.”

The reporter’s gaze sharpens, the corner of their mouth curling up in a snarl. “Don’t. Refer to them. Like that. They’re each seven times the supervillain you are, at least. Besides, I’d rather be turned into pancake mix on the pavement than do anything that could advance that man’s little projects.”

The villain tuts, coiffed hair ruffled by the breeze as he leans in far closer than Yuu is comfortable with. “Don’t play hard to get, love. So you’ve got Daddy issues, who doesn’t? It’s no reason to get in the way of progress. Maybe you’ll change your mind if I show you exactly what I can offer...”

Yuu recoils as the villain’s tongue forces its way into their mouth when their lips collide with all the force of a car crash, an invasive writhing thing that makes them gag at how far it pushes in as the villain hums greedily at their taste.

And one that the reporter swiftly brings their teeth down on.

Hard.

“FUCK! Ugh—you foul little bitch!!”

The backhand jars the reporter’s skull even as they brace for it, cutting the inside of their mouth and leaving them worried that if they try spitting out the blood gathering there, they’ll lose a tooth along with it.

The villain huffs, one hand carding through his ruffled hair. His tongue is already whole and unblemished, the last indents of their teeth healing as the reporter watches. “I didn’t want to do this, you know. I would’ve gladly taken you to the altar, and had you screaming in our wedding bed. I could’ve made you happy, if you’d just do what you’re told.”

Yuu sneers. “Frankly, I can’t imagine anything more boring.”

They take cold comfort in the fury that burns in the supervillain’s eyes at that.

“Fine. Fine.” The villain floats away, his eyes glowing that same bright red that melted through the wall to Yuu’s bedroom when they were first taken. “I was prepared to do this the nice way. I wanted to do this the nice way. But if you’re going to be such a little bitch about it, then I can always rely on the old fashioned method of succession.”

The laser beams swipe through the block of abandoned offices four stories below where the reporter is tied up.

The top of the building wavers, then begins to crumble forwards.

The villain says something else, probably something mocking and challenging them to get out of this mess because that’s the kind of cliche line that’s always used here, but Yuu can’t hear him over the whistle of the wind in their ears and the scream torn from their throat as they plummet.

They try frantically tug their arms free as their legs are pulled upwards by gravity, try their damndest to squirm free, but it’s no use, they’re not The Prefect right now, don’t even have the fedora on them, they’re Yuu, just Yuu, just helpless reporter Yuu, who can’t break steel beams with their pathetic powerless normal person strength, they’re going to die, they’re going to die, they’re going to die, they’re going to die, they’re going to die, they’re going to die, they’re going to die, they’re going to die, they’re going to die, oh Great Seven, they’re going to die—!

“KING'S ROAR!!!”

There’s a discombobulating moment of freefall as the metal and concrete around them disintegrates into sand.

Then a strong, wiry arm loops around their waist and they’re pinned to a carpet as their rapid descent gradually slows to a stop in midair.

“Need a lift?” They can’t see Snake Charmer’s eyebrows through the mask, but they get the feeling one of them is raised in a wry fashion as he smirks at them.

The reporter lets out a hysterical, shaky laugh that only narrowly escapes becoming a sob, trembling hands seizing onto the two supervillains like they’re lifelines. “Wh-what took y-you so long? Did you ge-get held up in traffic?”

King grumbles, flicking their temple gently as Water Boy laughs gleefully from where he’s steering the carpet. “You could show a little more gratitude, herbivore. Do you know how hard it was to evade all the goody-two-shoes on the way here to save your ass?”

Yuu’s about to reply, when they catch a movement above them out of the corner of their eye.

“INCOMING!!”

Water Boy jerks the flying carpet to the side just in time for the villain to plunge past them fist-first, close enough to see his teeth bared in a furious snarl.

“DRIVE!!” Snake Charmer screams at his lieutenant above the rushing wind as the villain rises back up to try his luck again. Water Boy presses the corners of the carpet forwards and they go into a rollercoaster dive that makes the reporter’s stomach roil in protest.

King unleashes his powers on the two buildings behind them, disintegrating the foundations in hopes that the tonnes of concrete and rebar would be enough to slow the flying brick chasing them. The villain just bursts through the obstacles with nary a broken sweat, and speeds up to the point where Water Boy has to turn the carpet upside down so they don’t get knocked out of the sky.

“Where the fuck is that computer junkie?!?” King yells at Snake Charmer as they draw dangerously close to the road below. “He was supposed to be here hours ago!!”

“How am I supposed to know?!” They can hear Snake Charmer’s heartbeat hammer in his chest from where he’s pinning them to the vehicle in the absence of a seatbelt. “It was the conman who was meant to give him the si—”

Yuu can barely scream a warning in time as the villain looms behind Leona’s head, eyes glowing red and ready.

A rush of flying metal harpies collide with the bastard’s face, effectively pinning him in midair as he struggles to destroy the thousands-strong swarm that obstructs his path to them.

“OPEN FIRE!!” Comes Hermes’ high-pitched cry as a blue beam shoots past them at the center of the robotic maelstrom.

A pair of red lasers rocket out to meet it, almost seeming as though it could push Ortho’s assault back—!

A white-hot streak of lightening descends from the formerly clear sky to where the villain was pinned, disrupting the red eye lasers and allowing Hermes’ beam to make contact.

There’s a hideous scream and the stench of burnt meat.

“We’re coming in too fast!!” Water Boy yells, tugging on the carpet’s tassels until they’re almost vertical. “Ja—I, I don’t know if we’ll slow down in time!!”

Yuu barely hears the curses the other two occupants spit, lunging to try and cover as much of them as they can with their body. Even if they crash, if Yuu can just absorb most of the shock of the landing—!

Small pinpricks of pain latch onto their scalp, their pajamas, the carpet and supervillains beneath them, hundreds of small beating appendages smacking them all in the face as the carpet’s rapid descent slows incrementally.

“Oh boys~?”

Four sets of strong hands seize the front of the carpet, their owners grunting as they attempt to force the carpet’s stop through sheer force. Of course, the continued existence of Newton’s Third Law combined with the reporter’s precarious shielding position means that though the carpet experiences sudden stop, Yuu keeps going at the same high speed that will ensure serious injury once they hit the tarmac.

Or it would do, if they didn’t collide with a solid chest and waiting pair of arms first.

The reporter finds themselves cradled in a nearly crushing grip, their catcher muttering “child of man, child of man,” into the top of their head and a warm thumb swipes over the rapidly darkening bruise on their cheek. The wind picks up around them alarmingly, whipping into a gale.

“Hey, hey, it’s okay, I’m okay.” Yuu reaches up to pat Tsunotaro’s head soothingly. “See? Just a few scrapes and a little scare. Give me an ice pack and a shower and I’ll be right as rain.”

Tsunotaro doesn’t look very convinced, but at least the wind drops to more of a strong breeze.

“Oi, let ‘em down, you dumb lizard.” King growls behind the reporter, the rings on his tail clattering as it swishes irritably. “We did all the work of saving them, you don’t get to take the rewards.”

Tsunotaro clutches them closer, getting that stubborn look in his eyes that makes Yuu want to groan in exasperation. “No.”

“Why you—!”

“Now, now children, the world works in mysterious ways.” Batman beams. “I’ve always found destiny draws those it finds most suitable together.”

The reporter rolls their eyes as King snarls in response to that remark and Snake Charmer mutters, “I didn’t know ‘destiny’ was what you called interfering old fools.”

“What was that?”

“Nothing.” Snake Charmer climbs off the carpet and straightens his headscarf. “What’s next?”

There’s a crash as the mass of robots pinning the singed villain about three blocks down the street begins to shift, however unwillingly.

“‘Kay, the ‘save the princess’ team barely cleared the parameters for their part of the mission.” Charon’s floating tablet drifts forward, the sounds of frantic tapping on a keyboard almost drowning out his voice. “Now it’s time for the ‘aggro’ and ‘debuff’ teams to move in, Tsuntaro-sshi, Royal-sshi.”

“Understood. I’ll leave the coordinating of the others to you, Charon.” Royal Flush looks up and raises an unimpressed eyebrow at the tall fae. “Well? Are you coming?”

Yuu could almost swear they hear a small grumble as Tsunotaro finally lets them down out of his grasp. He runs his thumb over their injured cheek one last time. “Sebek, Silver. Defend the reporter as you would me.”

“Yes, Tsunotaro-sama!” The two of them chorus.

Royal Flush shakes his head, then reaches out and squeezes Yuu’s hand once. “If anything happens, Three of Clovers and Howl-san will get you somewhere safe. But this shouldn’t take long.”

“Oi, don’t presume to give orders to my minion, Flush.” King growls, inserting himself bodily between the two of them. His mouth curls up in a smirk as he places a proprietary hand on top of their head. “Besides, I’ll be here, won’t I?”

Royal Flush and Tsunotaro narrow their eyes at him, but their attention is claimed by the sound of metal crashing down the street as the villain shrugs off the rubble, the burns on his arms and face healing rapidly as they watch. His eyes flicker over their motley group, before settling on Yuu with laser-precision.

It’s only the arrow that flies into his shoulder, combined with a second lightening bolt striking him from the blue that keeps that metaphor from becoming literal.

Yuu chokes a little at the pressure on their pajama shirt collar as they’re dragged out of the line of fire. From where they’re crouched behind a car, they can see Tsunotaro and Hermes throwing almost everything he’s got as the bastard, while Royal tries to close the distance without ending up attacked himself. They also catch a glimpse of who they think is Leviathan silently gliding closer through the alleys on the far side of the street.

But the villain just won’t stop getting back up. Despite the fact that anyone sane would’ve given up the moment the green flames were broken out, he keeps coming, no matter how many times he gets thrown back.

And he’s clearly getting closer to the reporter he so desperately wants to kill.

“Now what?” Yuu asks, barely able to hear themselves think over the worried growl rumbling from Jack’s chest.

Charon’s muttering to himself as more of his robots fly by overhead. “Need to pin down the rate of regen, if we can get that and surpass it so the ‘debuff’ team can do their thing before the second wave gets here, but what is it?”

The reporter blinks. Well, taking into account the insult, and the backhand...

“He was able to heal his tongue about...four, maybe five seconds after I’d bitten through it? That’s only a rough estimate though, it may’ve been shorter.” They murmur.

The area around them goes very quiet.

“B-bitten through...?” Water Boy asks, hand coming up to his own mouth with a wince.

Yuu scowls. “That creep put it in my mouth when I did not ask him to. Ugh, I would’ve gone for his balls too, but the metal didn’t let me lift my legs that far.”

They huff for a moment at the unfairness of it. Then, “King, stop grinning at me like that.”

“Like what herbivore?” His tone is the picture of innocence, even if the way he’s eying them is most decidedly not.

Snake Charmer ‘accidentally’ kicks him in the shin as the sound of frantic typing erupts from the tablet again. “Setting the Erinyes to follow up on Ortho’s and Tsunotaro-sshi’s attacks within a three point five second time frame...fwe he he he, let’s see how that mob likes this!”

With the clack of what sounds like an enter key, the robots above them begin divebombing the villain in sequence, deliberately targeting the parts of him injured by Tsunotaro and Hermes’ blows.

One of them sacrifices itself in a kamikaze dive that leaves a bleeding scratch on his arm.

The villain roars, the force of his fury almost knocking them over even with how far away their little group is crouched, turning the lasers on every robot within his line of sight.

Of course, this means he stops paying attention to the three supervillains who have been steadily making their way towards him.

“FAIREST ONE OF ALL!”

“IT’S A DEAL!”

“OFF WITH YOUR HEAD!”

The powers hit the villain one after another, his lasers sputtering out with a pained scream. The scratch on his arm doesn’t start healing. Neither does the gash he gets across his face when Poison Queen roundhouse kicks him away with those stilettos of his.

“Was that it?” Leviathan says, his careless facade somewhat ruined by the fact that he wobbles as he begins to levitate. “I must confess I don’t understand what all the tr-trouble was.”

A low whistle by their ear makes Yuu jump. “The bosses can be scary when they wanna be. Remind me never to piss off those three at once.”

The reporter look up to see Ace and Floyd standing behind them. “Ace, wha—where have you been?!”

Floyd giggles and Ace shoots them an evil grin as they chorus, “Sending out party invites~”

Yuu blinks and tries to puzzle out this cryptic phrase, but their attention is swiftly drawn back to the scene of the battle at the sound of manic, unhinged laughter.

“You think you’ve won? You think something like this will stop me?!” The villain cackles, eyes wild and beginning to grow red again despite the way his body tenses and the collar around his neck starts to buckle. “You think that second-rate half-hearted hacks like you can stop someone like me?!? I am your superior!! You all will bend the knee once I snap that ungrateful little bitch’s neck and take my rightful place as head of the League!!! I’ll decimate every last one of those pathetic, moronic heroes who pollute this city like a fungus!! And then, oh , and then I’ll make every last one of you who thought they could get away with this pitiable attempt to stop me—”

“Us? Here to stop you?” Poison Queen tilts his head. “Don’t be ridiculous. We’re supervillains.”

“Stopping the likes of you.” Leviathan proclaims triumphantly, “Is their job.”

The villain stops.

The villain turns.

Over half the top heroes of the Royal Sword Association lead here by the minions meet his gaze.

“Hello.” Niko Niko Neko says with a wide grin.

Yuu isn’t close enough to hear if the villain whimpers, but they almost wish they were.

Almost.

[maxwell-grant]

Jumping off from my previous question/suggestion, might I please ask if there are any superheroes you think would make fine Pulp Villains and any Supervillains you think would make convincing Pulp Heroes?

I'm gonna go ahead and remark that I'd personally suggest to anyone who's trying to create pulp characters inspired by superheroes (which would be probably about 90% of you who may want to do that sort of thing) to flip the script around a little. As in, don't try to create pulp analogues to the Justice League/Avengers upfront, but play around with some of the lesser-known icons and filter those through your idea of what “pulp” means (which is gonna be quite different than my own or anyone else’s). 

I’m not gonna really mention characters I’ve already talked about before like Vandal Savage or Namor, instead I’ll pick new ones and see what can be highlighted about them.

Regarding “Superheroes who could make fine/convincing Pulp Villains”, even though he’s a character I've read basically nothing on, Martian Manhunter definitely leaped out to me as an obvious option. He’s a Sci-Fi Superman who takes the first half of the name to an extreme that borders on comical, except he’s not a square-jawed white man, he’s a 1.000 year old green alien from Mars with shapeshifting powers who can look as monstrous as the artist desires. He’s the product of an advanced civilization and genetic modification, and on top of the Flying Brick powerset and shapeshifting, he also has incredibly powerful and extensive telepathic abilities, he can become invisible, phaze through matter, use telekinesis and other weird abilities. A lot of pulp stories closer to sci-fi were based around the idea of taking one of these abilities and extrapolating horrific consequences for them, and J’onn has those by the dozens. He also has an extremely mundane weakness that would allow him to be beaten by Macready with a blowtorch if that’s where the story ended.

He was also a law enforcement officer from Mars who became a police detective and it’s even right there in his name, and again, I have never read anything he’s in (I should probably pick the Orlando mini), I know he’s for all intents and purposes a generally nice man who tends to job a lot in crossovers and cartoons, but the idea of taking all those great vast and horrifying alien powers, combining all of them into a single character who also happens to be the last survivor of a doomed planet (and one who actually lived through it’s collapse), and then making that character a former cop trying to resume his work on Earth? 

That is a Pulp Supervillain begging to happen, and a particularly horrifying one at that. And hey, speaking of The Thing-

Now, Plastic Man’s potential for horror has already been explored quite a bit in some of the darker DC continuities like Injustice and DCeased, and it’s quite funny seeing a lot of these turn Plastic Man into The Thing because there were quite a handful of Wold Newton pages that ran with the idea that Macready from the original story was Doc Savage, and that the secret chemicals that Eel O’Brian was hit by that gave him his powers were actually samples of The Thing contained in one of Savage’s labs. Regardless, the idea of a former street crook suddenly gaining bizarre shapeshifting abilities that allow him to reign terror on his gangster associates could make for a great premise as a pulp crime story that veers into horror as the gangsters gradually figure out what is Eel O’Brian’s deal, and then the story can take a more tragic turn.

The thing about Jack Cole’s Plastic Man that modern takes on the character neglect is that, while Plas was a lively roguish anti-hero (arguably the first of it’s kind in comics), he’s still for intents and purposes “the straight man” (HA, right, Plastic Man being “straight”). He’s the relatively sane hero who plays off Woozy’s wackier misadventures and the imaginative madness that Jack Cole paints his adventures with, and it makes for an interesting contrast considering Plastic Man is already a weird character, having to ramp up the strangeness of the world around him so that he still remains the sane man. There are ways to twist this into something quite horrifying, even tragic for Plastic Man as he either struggles to maintain coherency, or embraces the shifting chaos the world’s spiraling into for better or worse (and definitely for the worse towards those on the receiving end of his vengeance, or even his humor).

Now, onto the flipside, regarding Supervillains that could become Pulp Heroes -

Normally I’d not mention the Batman villains here, because I already have a lot to talk about in regards to them as is, they comprise some of my favorite comic characters, but I pretty much have to make an exception for Two-Face in this topic, as not only a pretty obvious option but one with even case studies to prove it, as not only do we have The Black Bat, a 1930s costumed pulp hero with an identical origin story and several other conceptual overlaps with Batman, as well as The Whisperer, a young hotshot police commissioner who dresses up as a disfigured vigilante to kill criminals without consequence (and who’s somehow less of a maniacal asshole in his secret identity than in his regular one), but it turns out that there actually was a 1910s pulp hero called The Two-Faced Man:

Crewe was created by “Varick Vanardy,” the pseudonym of Frederic van Rensselaer Dey (Nick Carter, Doctor Quartz), and appeared in three short stories and two novels and short story collections from 1914 to 1919, beginning with “That Man Crew” (The Cavalier, Jan. 24, 1914). 

Crewe is “The Two-Faced Man.” 

He is in his forties and has gray hair and a “sharply cut and handsome profile—until one caught a view of the other side of his face and saw the almost hideous blemish that nearly covered it, and which graduated in corrugated irregularity from a delicate pink to repulsive purple.” 

Crewe is two-faced in another way. Crewe is a saloon owner in below Washington Square. But he has another identity: Birge Moreau, portraitist and socialite hanger-on. Crewe uses both his identities to solve crimes as an amateur detective.

The only person to know about both of Crewe’s identities is a police inspector who is also Crewe’s friend and who Crewe helps in pressing cases - The Encyclopedia of Pulp Heores by Jess Nevins

And speaking of obvious picks for Supervillains turned Pulp Heroes,

Assuming I even need to make a case for Kraven the Hunter other than just presenting this cropped panel from Squirrel Girl and in particular the art painted on the Kra-Van, or even just telling you to read Squirrel Girl and it’s take on “The Unhuntable Sergei” (I had no idea most of the people saying “Kraven’s arc in Squirrel Girl is as good if not better than Kraven’s Last Hunt” weren’t actually joking in the slightest and I speak as someone who has Kraven among their absolute favorite Marvel characters, it had no right being that good), I’m going to quote the brilliant Rogue’s Review from The Mindless Ones that lays down in painstaking detail why Kraven could make a killer protagonist in that horrifically over-the-top pulp fashion

One thing that strikes me writing this, is how well Kraven could hold his own comic. There’s always room for a book spotlighting a ruthless, hardcore, gentleman bastard, and Kraven’s raison d’etre makes him supremely versatile, so well suited to any genre, any environment. It’s odd that more writers haven’t jumped on the fact that in a universe where off-world travel is possible – indeed, common – a hunter like Kraven would have a field day. 

I can just imagine the opening scene – herds of weird cthuloid bat creatures grazing in the gloomy green nitrogen fields, bathed in lethal, bone splintering fog, when, suddenly, LIGHT! from above and an unholy bellowing: “CTHGRGN fthgrgnARAAAAAAAAAAAAAAAAAAHGN!”

They look up in fear and then they start to run – ploughing into and over each other, tentacles flailing, as from the space-ship’s docking bay Kraven silently plummets, barely dressed for the cold, a glowing knife smothered in elder signs jammed between his teeth. 

You should have seen him one night previous, sipping alien tokay around the Captain’s table with the other guests, discussing the morning’s hunt; and the way he insulted the Skrull dignitary by forgetting himself and accidentally sporting his favourite piece of formal wear: his boiling unstable dinner-jacket of many colours, fashioned from the hide of one of the Ambassador’s super kinsmen.

Whoops!

Midway through Kraven explaining how the best way to irreparably damage a symbiote is to wait until its bonded with you and then seriously maim yourself, the Skrull decided it might be a good idea to simmer down, while his beautiful Inhuman lover hung on every word.

The deeper I get into this the more convinced I am that the MU’s hunter-killer extraordinaire wouldn’t limit himself to bloody planet Earth. And neither would he limit himself to this dimension, or universe or timeline. The guy’d be just as at home leaping, sword raised, onto the back of a T-Rex in the Savage Land, as he would be ploughing through werewolves in the graveyards of Arkham or tracking a howling Demon across Mephistopheles’ realm. 

He’d work perfectly in all these environments because he has a damn good reason to be casting a bloody swathe through them: wherever there’s big game, you’ll find Kraven.

The next choice I guess is an oddball, but not that much of an oddball if you know already what is my main frame of reference towards Marvel

I don’t think people appreciate enough that the main reason Shuma-Gorath has anything resembling a fanbase has nothing whatsoever to do with the comics he was in, but entirely because, when Capcom designers had a list of Marvel characters to pick from to work on Marvel Super Heroes, they took a look at the diet Cthulhu and went “gimme THAT one”, and then went all-in in giving the alien squid monster a funky personality along with a great stage and music and animations and all that great fighting game character stuff, and now he’s maybe the most popular Dr Strange villain along with Dormammu and Mordo, despite having ZERO film appearences or major showings in comic sagas.

Capcom's designers redefined Shuma-Gorath from a nebulous cosmic evil into a comically smug cartoon bastard who can rant about devouring all dimensions and souls horrifically while also cracking poses and zingers like “How do you expect to win a fight with only two arms?” and having dinners with Dhalsim or hosting Japanese game shows in his endings, and it kills me that none of this ever made it’s way into any depictions of the character outside of MvC. 

So that’s kinda what I’d go with. I’d take Capcom’s Shuma-Gorath, depower him a bit obviously from his canonical power, and run with the premise of his MvC3 ending where he decides that, well, if he's the unlikely savior of this pathetic planet and these wretched human dogs like him so much, and he’s clearly having a much better time here among them than he ever had drifting among the stars cealessly consuming life, then maybe he can take a break from all that eldritch business and keep up hosting the Super Monster Awesome Hour and maybe fight whatever PITIFUL villains think can take HIS planet. I mean, he’ll probably still end up destroying the planet by the end, but why not give this hero business a try?

Just until he gets his full powers back of course. 

I mean you can’t deny he DOES look pretty good in that bowtie, surely The Great Shuma-Gorath wouldn’t be so unmerciful as to deny these vile wastes of flesh something good to look at in their brief and miserable lives.

[thevindicativevordan]

Any thoughts on Grant Morrison's Action Comics run? Beyond T shirt-and-jeans Superman being great.

That whole run reinvigorated my love of the character.

There have been numerous thoughtpieces about New 52 Superman, how he worked and how he didn't but these two entries really do a great job of summing up why Morrison's take on Superman was great. Morrison laid the foundation for a new generational Superman that DC completely fucked up and ran into the ground. I'll always be bitter about that, even if I had tapped out of reading the New 52 Superman books by the end due to how bad they got. Editorial and their idiotic mandates were what screwed over the potential of this take in my eyes.

Now I get that it wasn't to everyone's taste, but I cannot fathom how anyone could ever claim that Pre-Flashpoint Superman was better. If you liked Byrne's reboot better, your guy already got rebooted after Infinite Crisis. For someone like me who really enjoyed the Johns/Busiek era, that era's potential got spoiled after Johns & Busiek left, with New Krypton imploding and the awful Grounded taking it's place. When you get to the point where the best Superman book is the one starring Lex Luthor, it's time to reassess the franchise and figure out where the hell it went wrong.

Which is exactly what Morrison did. For this new Superman, Morrison mined all the best ideas of every Superman era to really give what I consider the ideal "base" for Superman. They also took pains to address common criticisms about Superman, working to correct his pop culture image. People have been complaining that Superman is "too perfect", "too unrelatable" for a long time, so Morrison addressed that. They gave Superman his balls back, and let him reacquire that Golden Age edge he had originally.

There are a lot of complaints you can make about Morrison's Superman, but I don't see how you could accuse this guy of being "flawless" or "bland". He definitely had a personality that you could describe, love him or hate him. Compassionate, but not a pushover. Clearly holding himself back, but unafraid to occasionally let loose. Flaws that were patently obvious, Clark had a temper here that could get him into trouble. There was a real showcase of anger here, of Superman being furious at the way people were treated by the rich and powerful, then doing something about it that I ate up.

I read this run just as I was coming into my teens and it hit perfectly for where I was in life. Did not want a Superman who would smile and tell me it gets better, I wanted a Superman who looked you in the eye and told you he felt that same anger, and then encouraged you to go out and do something about how you felt. That was what this run delivered in spades, and it expanded what I believed could be done with Superman.

While it totally blew my mind to see Superman acting this way the first time I read Morrison's Action Comics run, in retrospect it really isn't that different from how Superman has acted even under Byrne. One of the few traits I've seen carry across Superman incarnations in the comics is that he has a temper underneath that affable nature. "Don't tug on Superman's cape" as the old song goes. This run simply elevated that to the forefront of the character again, for the better in my eyes given I believe "Wrath" is Superman's Deadly Sin.

In fact, one of the strongest features of this run is that Superman gets actual character development over the course of the run, analogous to what Batman underwent in Morrison's Bat-Epic. While the Bat-Epic was merely Morrison re-canonizing Batman's entire history, and applying a retroactive character development storyline that culminated in Morrison's current Batman work, their Action Comics run had them attempt to craft something similar for Superman from scratch. What that meant was Morrison attempting to draw on the most important traits of every Superman era and incorporate those into this new take. So Superman had the Golden Age temper, compassion for the oppressed, and cockiness. The Silver Age supergenuis, proud scion of Krypton who cherished his Kryptonian nature, member of the Legion of Superheroes, and participant in stories that weren't afraid to get weird. Superman's wrestling with his place in the world, the importance of Clark Kent, and making journalism a key part of the character strike me as all being hallmarks of the Bronze Age. From Post-Crisis we got that Clark views himself as human and loves his adopted parents, considering them as equal to his birth ones.

One of the big frustrations for me with the endless origin stories for Superman, is that so many of them follow a predictable and stale formula where Clark puts on the suit and is essentially ready to go. Doesn't interfere with human affairs, is modest and humble, restrained in usage of his powers, it's like Clark has meta knowledge of what he "should" be, despite that he shouldn't have any foreknowledge of what a "superhero" should look like. He operates the same way at the start as he does in the modern day, and that's really boring to me. This Superman, because of the difference in powers and attitude, operated extremely different from his "present day" incarnation. Dangling Glenmorgan over the edge of a building isn't something a fully powered and mature Superman should do, but it works great to make his early days different and exciting to read about, it makes returning to that era something you can do different storytelling with. This run is the only time where I really cared that Superman is "supposed" to be the first superhero, because figuring out what that means here is a big part of how he develops.

We all know the common complaint that Superman is "too powerful" and that "nothing can hurt him" (funny how Thor never gets hit with those accusations), so Morrison made sure to show that this take on Superman could be beaten even if he could never be defeated. Events conspired to force Clark to use his brains as well as his powers to overcome the challenges in front of him.

Examples include him using his heat vision to fry Lex's equipment and escape the military, using his rocket ship to defeat Brainiac, and rallying the population of Metropolis to banish Vyndktvx. Not to say that Clark never used his brains before to win, but this run was very upfront and in your face about how important Clark's intellect is to triumphing over his foes. Can't take seriously the complaint that Superman is too overpowered when Morrison constantly showcased how even a very powerful Superman could get his shit wrecked by his Rogues.

Another example of Morrison addressing criticisms is Kryptonite. A lot of people poke fun at how convenient it is that pieces of Superman's homeworld follow him all the way to Earth. Isn't that a bit of an asspull? So Morrison made Kryptonite the power source of Superman's rocket, giving it a perfectly natural and believable reason both for it to end up on Earth, and for Lex & the military to get a hold of it since Pa Kent gave the military the rocket. That's still my preferred explanation for how Kryptonite ended up on Earth.

It also provides a better explanation for all the different Kryptonite variants. DC can handwave away the different types as a result of Lex experimenting or the different "forces" on Earth such as magic or the Speed Force or whatever creating the different variants. That to me is much more believable than Kryptonite travelling all across the galaxy yet still ending up on Earth somehow.

There have also been a lot of complaints about Superman's villains, and Morrison diligently set about reworking them. By far one of my favorite aspects of the run, was the villain revamps. Nimrod felt like a clean revamp of Terra-Man, making him into Superman's Kraven the Hunter struck me as a patently obvious route to go, wild no one has followed up on that or used him since. Metallo felt like a good synthesis of Johns take of him as an Anti-Superman weapon, and the sympathetic aspects of Corben's origin that are always there, I liked that Morrison didn't make him a total bastard before his transformation like Johns did. Brainiac got some sympathy added to him in that the collected worlds that were already marked for damnation, thus he was "saving" them in a fashion. Clay Ramses embodied toxicity as a wife-beater even before becoming Kryptonite Man, and I thought his backstory was a great way for Clark to still deal with "real" issues via a manner he could punch. Ramses is still the best take on Kryptonite Man. Vyndktvx felt like the greatest realization of the threat Mr. Mxyzptlk could pose should he decide to get serious since Whatever Happened to the Man of Tomorrow?, plus I'm a sucker for stories where superheroes fight the Devil. Drekken and Superdoom took the only interesting aspects of Doomsday (his ability to evolve and that he can kill Superman respectively), and were much more interesting characters.

And oh my God, speaking of Superdoom, that part of Morrison's Action run has aged like fine wine. I don't know if they caught wind of DC's plans for the character, or if they were just prescient, but everything that Superdoom is playing on is still sadly all too present. What Superdoom is as a character is a condemnation of what DC keeps doing with Superman: killing him off or making him evil.

When you realize what Superdoom (demand for a more violent and "realistic" Superman) and Vyn (WB/DC) stand in for, it makes the frustration Morrison is channeling much more palpable. Those two plotlines are all DC can think of to do with the character, returning to those again and again. Endlessly attempting to recapture the high of Batman and Doomsday beating the shit out of Supes in The Dark Knight Returns and Death of Superman. Overcoming these two obstacles is Superman's greatest challenge as conceived by Morrison, because both are out to corrupt and ruin the very idea of him. It's not just a physical death he faces, but a metaphysical one as well. Sadly it's a threat Superman just can't seem to lick in the real world, with more and more takes on "Evil Superman" coming.

Lois and Jimmy are great here, because Morrison actually made the investigative journalism aspect of Superman important. Lois is an active participant in the story, trying to break in to the base where Clark is being held by her father, competing with Clark for stories (I love how Morrison writes the banter between the two of them), and generally being classic Lois. Jimmy though benefitted from being positioned as a peer rather than as a kid in comparison to the two, something I wish the comics had carried forward. It looks like My Adventures With Superman is going with that interpretation at least, so I hope others do as well. Jimmy being Clark's roommate really adds to their bond, and I wish we had gotten more stories with that status quo.

Investigative reporter Clark Kent was so actively used here that it feels jarring reading other Superman runs where they tend to downplay and ignore it. Following Clark as he travels to different areas of Metropolis and actually interacts with people, instead of hovering above them as Superman, makes him feel human. Watching Clark actively pursue stories aimed at bettering peoples livelihoods, and seeing how those stories crossed with the superheroics, was one of my favorite aspects of the run. It's one unfortunately few other writers seem all that interested in, especially the New 52 writers who followed Morrison (I know editorial probably bears a lot of blame for that though).

Besides all that, this run was a lot of fun! The Legion of Superheroes showed up, their connection to Clark restored, and they got to play a big role in Clark's adventures! Krypto the Superdog! Martian colonies! Memorizing all of medicine, Superman performs a lifesaving operation! Lex using a "bullet train" to knock Clark out! 5-D imps! Rampaging robots from beyond! A Phantom Zone Halloween story! John Henry Irons suits up as Steel and kicks ass alongside Clark! Every Superman Rogue teams up to try to kill him, but Lex Luthor saves his life because that's a privilege he reserves for himself! Showcasing their trademark love for the Supermythos, Morrison took us on a tour of Superlore that demonstrated the depth and width of what could be done with Superman. Meanwhile the backups by Sholly Fisch excelled at giving us smaller, more human stories about Superman (the one where Clark meets Pa again via time travel "after" Pa has died always gives me a lump in my throat to read).

Ultimately this didn't get to be the foundation for the next generation of Superman stories as it deserved. Johns made New 52 Superman the scapegoat in Doomsday Clock for a lot of storytelling choices he did over in Justice League, something that pisses me off to no end. You want to tell me that this guy "didn't relate" to people, didn't inspire "hope"?

Like hell he didn't. This guy was Superman in every way that mattered and he deserved better than to be framed as the scapegoat for all the stupid decisions DC made about what to do with him. Greg Pak was able to do some great work with this version after Morrison, and just like how Gene Yang got a redemption work starring Superman, I hope to one day see Pak return to the character. Would love to read a Black Label Superman story by Pak that follows his take on young Superman.

All wasn't lost however. Against all odds, and Rebirth trying it's damndest to sweep everything under the rug, it looks like parts of this era have actually survived to the current Infinite Frontier era. With Morrison being heavily involved no less, both as an ideas guy and as an actual writer.

Superman & the Authority is explicitly Superman coming full circle back to the attitude displayed by his young counterpart under Morrison. Janin has outright said that the costume Clark wears here is reminiscent of the t-shirt and jeans era of Superman, and this book so far feels saturated with an energy level from Morrison I haven't seen in their work for hire since they left Action. Reaching old age and realizing he never really delivered on the high ideals of his beginnings, it's Superman putting together a team to hopefully succeed where he couldn't alone. Scathing in how it criticizes the superhero status quo, this has been extremely entertaining to read. Wish Morrison was writing 12 issues with this team, and that ultimately it will be up to PKJ to deliver on the potential is a drawback (although I've loved PKJ's Action run so far), but I'm glad to see DC finally treating Morrison and their ideas with more respect than was shown during Rebirth.

Jon meanwhile feels like an even more explicit attempt at redoing New 52 Superman. There's the updated new suit, designed to appeal to a new generation with it's streamlined look. Positioning Jon as a Superman who wants to tackle the "real" issues, with Taylor explicitly comparing him to Golden Age Superman which as I mentioned was an era Morrison tried to reincorporate into their reboot. There's the Legion of Superheroes connection which played an important role in Morrison's reboot. The rumors about Jon's sexuality are interesting, hinting that DC is willing to go outside the box with him in a way they never would with Clark. I'm excited to see what kind of Superman Jon ends up becoming, if he can deliver on the promise of the New 52 Superman all the better.

This run deserves to be remembered and to have the lessons it tried to teach respected. Probably my favorite mainline run on Superman, I hope more people come around to liking it as time goes on.

[docgold13]

So if she does become a villain it’s accurate to the comics. I guess that’s fair. I just don’t want another Zuko and Azula relationship. Also I have a question: why is Batman/Catwoman such a popular ship. Keep in mind I ship it too but I don’t know how to put it in words that they are soulmates.

I assume the first part of this ask is in reference to Shang-Chi. And yes I wouldn’t worry about her becoming like Azula… if anything, Chang’s sister (sorry I’m spacing on her name) is more like Zuko.

I feel the reason that Batman and Catwoman make for such an alluring ship is because Batman is incorruptible, steadfast in his dedication to order with one singular exception… that exception being Selina.

She is him, sublimates her past traumas in a similar fashion as he has… yet in a manner that doesn’t deny herself life’s pleasures. And somehow her charms slithered their way through Bruce’s defenses like a cat sneaking through a shadow.

There’s kind of a old storybook feeling to their romance… like a fable or myth. The gallant loyal knight and the nymph who stole his heart.

[purple-goo-writes]

BatBug adventures

Brucinette Brady bunch/Married by the dozen au Vigilante Edition. No miraculous Au! MAGIC STILL EXISTS THO.

So my rambles got long.. and I'm on mobile. Sorry.

Like the things that happen in ML happen later to match up with Batmans origins. Though everyone in ML are still their same ages but Marinette is an adult or young adult when she takes the mantle Ladybug.

Ladybug being a mantle passed down through her mother's family, as the head of the Cheng family and it's kinda a magical legacy aka the powers of creation and luck.

So in this au Gabriel kinda goes around the bend Mr. Freeze style except he is trying to use magic to bring his wife back. And runs basically an underground mafia in order to find a way to bring her back and develops a serum called Akuma that is supposed to unlock a person's magical potential/give them powers but he doesnt want to test it on himself.

So he uses the innocent people of Paris to test his magical serum turning them into instant villains.

Anyway like ML is a little darker, or a lot darker then canon.

Like Gabriel experiments on his own son turning him into a juggernaut kinda dark.

Wang Fu is Marinette's grandfather and trains her to take on the Ladybug mantle when she shows creation magic after the magic skips her mother, Sabine. So when a family friend of hers, Nino (in this he is her cousin Bridgette's boyfriend), is targeted by Hawkmoth and transformed into a monstrous Akuma. She becomes Ladybug after discovering her creation magic helps counteract the corrupted magic of the serum.

Anyway, Mari takes him down eventually.

Meets David Cain.

Instead of Cassandra being Lady Shiva's mother it's Marrinette.

And let me tell you when she finds out that David wishes to use Cassandra as a soldier and all the shit he has been teaching her behind Mari's back. Let's just say Mominette let's out a can of whoop ass on him.

Moves to Gotham to get away from all the shit that went down in Paris now that Gabriel and his mob is taken care of.

Reappears as Ladybird not long after Batman appears when she learns that someone got ahold of the Akuma formula and it's now circulating in the Underground.

So Her and Bats are currently at odds with each other due to Bats not liking a foriegn vigilante operating in his city.

So there is a bit of a faud/sexual tension thing going on between them as she tries to find the source of the new Akumas and he tries to capture her and get her out of his city.

Also Cassandra is like near Dicks age in this so she becomes Ladybird's sidekick Mantis.

Also adoption wars anyone? Like Bats still adopts Dick. he adopts Jason and Ladybird adopts Stephanie. Barbara still becomes Batgirl and then Oracle.

Marinette adopts Tim and Duke.

Stephanie becomes Spoiler then becomes Arachne after exposure to the Akuma formula leaves her with powers.

Duke still becomes signal but his costume is more insect then bat.

Tim probably becomes Monarch or Killer Bee.

Eventually Bats and LB end up doing the horizontal tango where they realize they know each other outside the suit. Because Marinette owns and runs her own fashion line, MDC and is crazy rich. And they are business partners lol.

The thing with Talia still happens. Aka the roofieing Bruce and having his baby.

But also Marinette falls preggers as well after a few too many romps in the sheets with Batsy.

So instead of Helena being a Selina/Bruce baby she is the Mari/Bruce baby in this. Cause while Selina and Bruce had a little bit of a fling going on, it didnt last long due to Ladybird coming into the scene.

And Marinette Dupain-Cheng becomes Marinette Wayne and the Nest is moved to join the Batcave.

And then Damian gets dropped off with Bruce when he is Ten like Canon except now he has a ten year old sister to compete with along with a slew of siblings.

And it's a healthier Batfam simply due to Marinette and her adopting like half of them.

Also bonus because I find it funny.

Marinette had a fling with Deathstroke (Slade Wilson) a while back and he fights Bats to see if the vigilante is worthy if Mari.

[frankendykes-monster]

Space Jam: A New Legacy is content to be content.

The original Space Jam was a calculated marketing exercise. Michael Jordan was the biggest sports star of the nineties, and Space Jam capitalised on Jordan’s brand potential while also allowing the athlete to refashion his own narrative into a family-friendly mythology. Space Jam packaged Jordan for a generation, smoothing the wrinkles out of his story by presenting a wholesome family man making an earnest transition from basketball to baseball.

It also helped Warner Bros. to figure out what to do with their Looney Tunes characters, which had largely laid dormant within the company’s intellectual property vaults. There had been a conscious effort to revitalised the company’s animation with shows like Tiny Toon Adventures and even Animaniacs, but those classic and beloved cartoons were a merchandising opportunity waiting to happen. So the logic of the original Space Jam was clear, it was an excuse to tie together two potentially profitable strands of intellectual property.

Space Jam itself was something of an afterthought. The movie struggles to reach its ninety-minute runtime. It often feels like the production team have to utilise every scrap of film to reach that target, with extended riffs focusing on Bill Murray and Michael Jordan on the golf course and with a lot of the improvisation from the voice cast included in the finished film. The movie’s ending comes out of nowhere, and Space Jam struggles to hit many of the basic plot beats of a scrappy sports movie.

The movie itself was immaterial to the success of Space Jam as a concept. After all, the film only grossed $250m at the global box office, enough to scrape into the end of year top ten behind The Nutty Professor and Jerry Maguire. However, the film’s real success lay in merchandising, with the film generating between $4bn and $6bn in licensing and merchandising. Key to this was the success of the six-time platinum-certified soundtrack which remains the ninth highest-grossing soundtrack of all-time.

In some to trace a lot of modern Hollywood back to the original Space Jam. So much of how companies package and release modern media feels like an extension of that approach, the reduction of the actual film itself to nothing more than “content” that exists as a larger pool of marketable material. After all, the unspoken assumption underlying AT&T’s disastrous decision to send all of their blockbusters to HBO Max was the understanding that HBO Max itself was often packaged free with company’s internet. Movies would no longer be their own things, but just perks to be packaged and sold as part of larger deals.

In the decades since the release of Space Jam, the industry has become increasingly focused on the idea of packaging and repackaging intellectual property. It has become increasingly common for films to showcase multiple intellectual properties housed at the same studios. Simple crossovers like Alien vs. Predators or The Avengers now seem positively humble when compared to the smorgasbord of brand synergy on display in projects like The Emoji Movie or Ralph Breaks the Internet.

Interestingly, as Disney have steadily securing their intellectual property portfolio with additions like Pixar and Lucasfilm and Marvel Studios and 20th Century Fox, Warner Bros. have becoming increasingly bullish about showcasing the depth and breadth of their bench. The LEGO Movie imagines a wide range of properties consolidated under one brand. Ready Player One depicted a pop culture user space lost in nostalgia for properties and trinkets. However, those movies also managed to tell their own stories, even as they grappled with the weight of brand synergy pushing down on top of them.

Space Jam: A New Legacy has no such delusions. It understands that it does not exist as a story or as a feature film. Instead, it has distilled cinema down to a content-delivery mechanism. The plot of the movie finds basketball star LeBron James sucked into the “Serververse” and forced to ally with the Looney Tunes in order to play a basketball game with the fate of the world in the balance. However, while the original Space Jam ran a brisk and unfocused ninety minutes, A New Legacy extends itself to almost two hours. There is always more content to repackage and sell, after all.

A New Legacy slathers its cynicism in nostalgia, directly appealing to a generation of audiences who have convinced themselves that Space Jam was a good movie and a beloved childhood classic. A New Legacy is built around the understanding that the original Space Jam walked so that it might run, counting on the audience’s nostalgia for the original film to excuse a lot of its indulgences. After all, it would be a betrayal of the franchise if A New Legacy wasn’t a crash and vulgar cash-in. In many ways, A New Legacy does what most sequels aspire to do, scaling the original film’s ambitions aggressively upwards.

As with the original Space Jam, there is layer of irony to distract from the film’s clear purpose. In the original Space Jam, the villainous Swackhammer planned to abduct the Looney Tunes and force them to play at his themeparks. The implication was that the characters did not want to be sold into corporate servitude, stripped of their own identity and rendered as crass tools of unchecked capitalism. The irony of Space Jam lay in the fact that the entire movie was a variant on Swackhammer’s themepark and the Looney Tunes were dancing to that theme anyway as Daffy puckers up and kisses the Warner Bros. stamp on his own ass.

In A New Legacy, a sentient algorithm – Al G. Rhythm – is cast as the movie’s primary antagonist. The film gestures broadly at a satirical criticism of the modern film industry, with Al G. Rhythm shaping and warping the future of movie-making by suggesting things like computer-generating movie stars and producing a constant array of recycled intellectual property. A New Legacy recognises the machinations of Al G. Rhythm as unsettling and horrifying, with throwaway jokes about the theft of ideas and the violation of privacy, but the villain largely serves as a smokescreen to let the movie have its cake and eat it.

After all, A New Legacy revels in Al G. Rhythm’s plans. LeBron James is turned into an animated figure and dumped into classic Looney Tunes shorts like Rabbit Season and The Rabbit of Seville. The film understands that while the audience might be afraid of the algorithm, they also yearn for it. After all, it isn’t Al G. Rhythm who structures A New Legacy so that the film spends an extended sequence touring the company’s beloved intellectual properties.

A New Legacy is really just an investors’ day presentation that celebrates the sheer amount of content that Warner Bros. own. It’s not too difficult to imagine the film screened investors before the Discovery deal, as proof of just how many viable franchising opportunities existed within the copyright of the company itself. It’s a weird and unsettling showcase, in large part because it feels like that warning from Jurassic Park. The studio were so obsessed with whether they could do a thing that they never stopped to consider whether they should.

The film’s middle section includes a whirlwind tour of the properties owned by Warner Bros. After Bugs “plays the hits” with James, the two set off on an adventure to recover the other Looney Tunes from other beloved Warner Bros. properties. Some of these advertisements make sense: Daffy and Porky are living in the world of Superman: The Animated Series, while Lola seems to have found the Wonder Woman from the Bloodlines animated films. Others make much less sense in a movie aimed at kids, like the Roadrunner and Wile E. Coyote hiding in Mad Max: Fury Road or Yosemite Sam living in Casablanca.

Of course, it’s debatable how much of A New Legacy is aimed at kids, as compared to the kids of the nineties. Its target market seems to be kids in the late nineties who never grew up, because they never had to. Elmer Fudd and Sylvester are hiding out in Austin Powers: The Spy Who Shagged Me. Granny and Speedy have taken refuge in the opening scenes of The Matrix. While the original Space Jam featured odd pop cultural shoutouts to things like Pulp Fiction, at least that was somewhat contemporaneous.

To be fair, there is no art driving these choices. Many of these references serve to point the audience towards established properties. It is a sentient recommendation algorithm for HBO Max and a handy way of stoking audience interest in upcoming projects like The Matrix 4 (December 2021) or Furiosa (June 2023). It is a helpful reminder that Superman: The Animated Series has been remastered in high definition to stream on HBO Max. Foghorn Leghorn even rides a dragon from Game of Thrones to remind viewers that the show is streaming on HBO Max and that there are prequels coming.

It’s all very bizarre, but also strangely lifeless. The climax of the film finds the inevitable basketball game played in front of a crowd of familiar pop culture icons drawn from a wide range of sources: King Kong, The Iron Giant, Batman ’66, The Wizard of Oz, The Mask and many more. It feels very much like a surreal power play, a company showcasing the depth of its own vaults at a turbulent time in the industry. It leads to weird moments, like Al G. Rhythm even quoting Training Day, perhaps the film’s most unlikely draw from the “Warner Bros. Intellectual Property Vault.”

The most revealing aspect of the movie is its central conflict, with Al G. Rhythm cynically manipulating LeBron’s son Dom. Dom is convinced that his father doesn’t understand him, that his father is unable to see that his skill lies in video game coding rather than old-fashioned basketball. Rhythm is able to create a schism between father and son, using Dom’s code and his anger to attack and undermine LeBron James and the Looney Tunes. It’s a very broad and very archetypal story. There are no points for realising that Dom eventually comes around to his father and accepts that Rhythm is a villain.

However, it signals an interesting shift in these sorts of narratives. Traditionally, these sorts of generational conflicts played out between fathers and sons, with fathers presented as antagonistic and sons presented as heroic. The original Star Wars saga is built around Luke Skywalker trying to wrestle and grapple with his father Darth Vader. In Superman II, the eponymous superhero is forced to confront Zod, a representative of his father’s generation and the old world. Even in Batman Begins, Bruce Wayne is set against his surrogate father figure Ra’s Al Ghul.

The metaphor driving these sorts of stories was fairly simple and straightforward. Every generation needs to come into their own and take control of their own agency within the world. Star Wars: Episode VI – Return of the Jedi ends with Darth Vader dead and Luke staring out into the wider universe. Times change, and each generation has an obligation to try to create a better world than the one left to them by their parents. In the conflict between parents and children, it has generally been children who have prevailed.

However, in recent years, the trend has swung back sharply. It’s notable that the villain in Star Wars: Episode VII – The Force Awakens is an errant child who doesn’t properly respect his parents, and that Star Wars: Episode IX – The Rise of Skywalker ends with order restored when the protagonist takes the name of the beloved heroes of the older films. Shows like Star Trek: Picard are built around the idea that kids need their older generation of parents to swoop in and tell them how to properly live their lives.

A New Legacy is an interesting illustration of this trend. The movie ends with a reconciliation between LeBron and Dom, but it is very clearly on LeBron’s terms. Dom is manipulated and misled by sinister forces, and his father has to save him while realigning his moral compass. Father knows best. It demonstrates how the underlying logic of these stories has shifted in recent years, perhaps reflecting the understanding that perhaps the older generation won’t surrender the floor gracefully.

As with Ready Player One, there’s a monstrous Peter Pan quality to A New Legacy. It is a film about how the culture doesn’t have to change. It can be recycled and repurposed forever and ever and ever. At the end of Space Jam, Michael Jordan and Bugs Bunny parted ways. There was an understanding that the two worlds existed apart from one another. However, A New Legacy ends with the collapse of these worlds into one another; the “Serververse” manifesting itself in the real world. As LeBron walks home, Bugs asks if he can move in.

Of course, with HBO Max subscription, the audience can take Bugs home anytime they want

[lady-literature]

A Miraculous DC Crossover

ALL RIGHT!!

I’ve been sucked into this unholy sub-fandom and I have thoughts okay? lots of them. Almost none are coherent and I don’t care. I have no plotline to write a fic but by the gods do I need to get out all my ideas.

Behold:

the Salttm

Lila, obviously. But she’s a petty nuisance at best, and an annoyingly competent akuma to fight at worst. manipulative, but not really dangerous ya feel?

Alya. which like, home girl probably doesn’t deserve but like,,, the drama??

CHLOE REDEMPTION YOU COWARDS

She and Marinette become surprisingly good friends (because I love that for both of them and you can pry it from me cold, dead hands)

Nettie-bug and Queenie

They pick on Adrien together

Mari’s friends Protection Squad That Don’t Take No Shit

Adrien

Chloe

NINO BITCH HE DESERVES MORE LOVE TBH

Alix?? Probably

Luka obvi

Felix (PV)?? Or does Marinette have enough emotionally constipated boys in her life?

(Answer: no. no she does not.)

Nath? He be a good fox tbh. creative and sneaky boi

Kagami!!! I love her

They’re all heroes because I say so.

Felix (Sparrow) is an honorary member even though he doesn’t have a miraculous

He handles PR and other background things along with Chloe

Joined up a few years back when Parisians were getting a bit too critical of the heroes

No Hawkmoth b/c fuck that guy

He existed, just not anymore. Bitch got yeeted

There’s other villains in town now. After Hawkmoth’s defeat other metas/supervillains looked at Paris and was just like, ‘free real estate?”

So now the Miraculous Team are Paris’ Actual Full-Time Hero TeamTM… yay.

Ladybug, Chat Noir, and Abielle (or like, Wasp/Yellow Jacket idk Chloe changes her name because ~identity stuff~) are the core three team. like, the wonder woman/batman/superman trio of the MTeam.

Nath is called Reynard Ambre b/c I love him

The public knows he exists but he’s never seen in battle and no pictures exist.

but there are plenty of instances where Paris knows he out mucking around because those akuma battles always get really weird.

Marinette be the guardian?

Guardian in training

Along with all the other holders b/c jesus. Give the girl a break.

Yeah. I like that Idea. All current holders are training to be guardians as well, but Mari’s going to step up as Guardian Supreme when Fu steps down.

Hero fashion!!!

The Miraculous Team is all decked out in their own merch like 24/7

Rarely is it thier own hero persona tho

Not because of like,,,, secrecy or anything. Just because they’re all nerds who love each other

Marinette is the lead producer of Miraculous Merchandise. It’s like,,, her BrandTM It was completely unintentional too

(Adrien and Chloe financially support her work tho. She designs, makes a prototype, and has her two blondes get others to replicate it)

Half of Paris is wearing her without knowing it

(Go MDC! get it girl!)

She totally makes Gotham inspired outfits because what else would she do????

Don’t get her wrong, most of Gotham’s fashion sense royally pisses her off but it’s fun and hey, supporting her fellow heroes ya know?

She wears a Robin hoodie after being officially acquainted with both Damian and Robin (separately of course)

Damian chokes on something, probably his own tongue.

It confuses Nettie. But then she thinks maybe he’s a fan too? She offers to make one for him but he steadfastly refuses much to his brothers’ amusement.

Might make a robin themed dress?? If so, she crosses paths with Robin when she does, thoroughly embarrassing her and almost sending poor Dami into a crisis.

Rogues Gallery

She makes a lot of designs off the rouges gallery because like, supporting people trying to get better??? also they’re some of the few who’s aesthetic aint shit?

She can’t make all of them because she ran out of time, so the rest get posited up on her Instagram and MDC blog (that’s run by Tikki mostly. She’s a great secretary and gets bored in Mari’s purse all the time)

Everyone is very flattered

Harley, if she ever finds it, immediately commission all pieces and wears them around Gotham don’t @ me

Daminette obvi

Marinette meets him and is just like ‘wow, you’re horrible. I want five’

Marinette, in the group chat later: so I met Kagami and Felix’s love child today

Kagami and Felix, seconds apart: I would never stoop so low

immediately after: Hey what the fuck? Rude

Nino: Nettie, dearest, sunshine, light of our collective lives and reason I breathe, what the fuck

Adrien: Kagami, my love, how could you? the Betrayal

Chloe: ew

Luka: Send pics or it didn’t happen

Nath: [insert the ‘right in front of my salad?’ meme]

Whenever they cross paths as Robin and Mari, he’ll just like,,, appear from nowhere hanging upside down spiderman style. Mari finds it endearing but she also wants him to stop scaring the shit out of her

Nicknames, because I have an unhealthy obsession with them, alright?

Misc Mari names: Bug, Bugaboo, Buginette, Madame President/Colonel (when the Team’s being cheeky), Princess, Marigold, Nettie (by like, Nino and Alix)

Jason calls her Pixie-pop

The bird boys call her Nightingale/Mockingbird in like, honor of her being a kickass civillian

Mari refers to them as ‘the flock’ (and bird-brains after getting to know them better)

Damian calls her: Starling, Habibti, ya qamar(my moon), malaki (angel), ya wardati(my flower) (b/c like, angel’s cute an all but I just think Damian’s way more dramatic than that tbh. he’d put thought into his nicknames)

Mari calls Damian: mon soleil (my sunshine) (because symmetry and also Mari thinks she’d hilarious), Birdie, petit oiseau/oisillon

I like the idea of Jagged being a native Gothamite tbh

it’s just so fun honestly???

He’s probably the reason the MTeam are in Gotham in the first place? maybe? anyway, the class is there, right? right. 

Kagami, Luka and Felix are all holding the fort down in Paris. Ain't no akumas but sometimes they need backup so when certain heroes need to disappear, Nath has Trixx set up an illusion of whichever one so they can slip away with the horse miraculous.

Mari’s the one who has to leave the most because she’s still Paris’ damage control, so like,,,,, ya know.

Mari doesn’t get left behind, at least not on the first day b/c come on people! She has plenty of friends in class watching out for her and a semi-competent teacher who does care even if she’s non-confrontational to a fault.

She does eventually become separated from the group. Half because of Lila and half because she’s always fucking late and got distracted.

She actually runs into one of the civilian batfam in the first place because the class was allowed an hour or so to wander around the shopping district or whatever to explore/buy things/get food. They just needed to return to the meetup spot at a certain time but Mari is like ten minutes away when it’s five minutes to the meetup

So she’s just… fucking booking it and completely takes out this trained vigilante without trying to.

Mari, as she’s groaning on the ground, tangled around a boy: By Kwamii, I thought my luck was supposed to be good Tikki.

That or like, the subway doors close before she can get on them and the rest of the class ends up ahead of her leaving her to get caught up on some bullshit in the next train or smth.

Oh, like. Of course it’s her train that gets held hostage. Wonderful.

(Later, Mari will rant at Tikki about her luck. A common conversation between the two tbh.)

This could be where she officially meets the Batfam as the Batfam. Or, like. A couple of em, at least.

Marinette getting serial adopted by the whole goddamn batfamily because i will die for this trope tbh i dont even care

The Robins nickname her Nightingale before they realize she’s Ladybug

They still call her that after but it’s not with the intention of making it her hero name anymore

Her and Alfred are def bros you don’t understand

Actually, Gina and Alfred are old friends. Mari totally knows Alfie before the bat fam and calls him Poppy/Pépé

which floors the batfam because what? Since when does that happen???

Alfred and Mari never, like, actually met in person before, but video chats exist and Gina def talks about the two to each other so it’s like they may as well know each other.

I also like the idea of Alfred being a former holder, probably the peacock. I would adore that

Just,,,, so many fun hero shenanigans

Yeah sure. The batfam are super detectives and have a history of figuring out people’s identities in no time at all. Whatever. Where’s the drama in that though? The showmanship?

Fuck canon, the Miraculous all have glamours because magic bitch and it plays fucking hell on the Batfam and all their shit

Every single Batfam member is simultaneously pulling their hair out because they don’t know who these heroes are???? Why can they figure them out?? Confusion???????

Miraculous team is just…. Straight up laughing at them. The poor dears.

That one gag where it’s a well-known secret that Mari has connections to every Parisian hero and is basically their own personal catering service/comfort place.

Also, it’s the worst kept secret in Paris that Mari is Multimouse

None of the MTeam have confirmed that rumour but they also don’t deny it.

they actually started the rumour. If all of Paris thinks Mari’s the mouse, a temporary hero, no one’s going to think she’s Ladybug/or that she’s an easy target to go after

chloe actually came up with that one

Mari meeting all of Damian’s ‘associates’ (ie pets)

She adores all of them and they her.

Especially GOLIATH, why isn’t he talked about more honestly???? He’s GREAT

She meets Goliath as Ladybug and Robin is just… so done with him??? You are supposed to be a fearsome beast and a professional why are you rolling over and expoSING YOUR STOMACH??? Meanwhile, Ladybug is just: Awww! Who’s a good boy? Who’s the best boy? You are! Look at how handsome you are! Cute widdle baby-

Miraculous Team hanging on the roof of their hotel kinda chilling

Maybe having a debate about doing some free-running/parkour?

Also maybe about whether or not they should be heroes while in Gotham

MT being like, why can’t we go and stop an armed robbery? we can help!

“Gotham already has very active heroes-”

“Vigilantes!”

“-whatever. I don’t want us stepping on any toes. This isn’t our terf and Batman’s known for being strict about Metas rolling around here.”

“We aren’t Metas though.”

“I don’t think he’ll enjoy splitting that particular hair, Nino. Just- not unless lives are at stake, okay? Emergencies only.”

“Yes, Colonel Ladybug.”

This debate most def gets crashed by batfam and confusion ensues upon both sides

batfam didn’t hear anything, they’re just really confused about these french kids hanging out on a roof in Gotham

Just.... yes. all of that. I have like, more but those are not organized or even remotely coherent. here you go! I might write for this but I already have other fics rn so... it wouldn’t be for a while. and as I said, I have no plot.

take this though, i guess. *throws confetti*

[immaturityofthomasastruc]

(Accidental 150 Follower Special) IOTA’s Top 10 Best (and By That, I Mean Personal Favorite) Episodes of Miraculous Ladybug

Alright, I already covered what I considered to be the worst Miraculous Ladybug episodes in two parts, and now it’s time to talk about the what I consider to be the best Miraculous Ladybug episodes before I talk about... him...

I’m only putting one rule in place for this list. I'm going to try and list episodes with good qualities other than “cool-looking Akuma and awesome fight scenes”, and focus on other details like character moments and story.

Other than that, let’s get started.

These are the Top 10 Best Episodes of Miraculous Ladybug (in my personal opinion because your opinion is also valid)

#10: Mr. Pigeon

While Marinette works on sketching a design for a hat for a fashion contest where the winning design will be worn by Adrien (a rare example where the “Marinette does a thing to impress Adrien” plot actually works), a birdwatcher who loves feeding pigeons in the park is told off by the only police officer in Paris, causing him to get akumatized into the titular Mr. Pigeon, who has control over all of the pigeons in the city.

And by God, does this episode have fun with the concept.

In addition to constantly mimicking pigeon cries, Mr. Pigeon's movements are just so entertaining to watch, only aided by the creative ways he controls the flocks of pigeons.

I'm not kidding when at one point, Mr. Pigeon traps Ladybug and Cat Noir in a cage, and threatens to have his pigeons crap on them unless they hand over their Miraculous. Yeah.

This is one of the episodes that really set the standards for how outlandish the Akumas in Miraculous Ladybug could get. It kind of reminds me of an episode of the original Ultraman, where the SSSP has to find a way to move an incredibly heavy monster using increasingly abnormal strategies, like inflating it with air so it'll float like a balloon. It's clear it isn't taking itself too seriously, so the audience shouldn't either.

Admittedly, Cat Noir's feather allergy feels shoehorned in, and is only included to increase conflict, and you would think it would come up when Mayura, a bird-themed supervillain appears in the third season. But then again, that's just a minor nitpick.

It's just a really fun episode, and I wish we could see Ladybug and Cat Noir fight Mr. Pigeon again that isn't used for a cheap gag.

#9: The Puppeteer

After being told by her mom that she can't have a Ladybug doll made by Marinette, young Manon is Akumatized into the Puppeteer. But obviously, you can't have our heroes beating up a five-year-old, so instead, the Puppeteer has the power to exact control over past Akuma victims as long as she has the doll made by Marinette. So Ladybug and Cat Noir have to face off against Lady Wifi, the Evillustrator, and Rogercop, before the Puppeteer gets her hands on the dolls Marinette made of the two heroes and take control of them as well.

It's still kind of funny to think about the fact that of all the Akumas to become a huge threat to Ladybug and Cat Noir, it's a little girl throwing a temper tantrum. And like with “Mr. Pigeon”, the episode has a lot of fun with the concept, best reflected in the voice acting. You can tell that Carrie Keranen is having so much fun this episode with the stuff she says as Lady Wifi.

The fact that someone who was actually a major threat to the heroes with how she was able to easily outsmart them and also came really close to getting their Miraculous is now acting like a little kid using phrases like “super duper sorry” is even more hilarious.

I'm still a little confused as why of all the past villains, it's Evillustrator and Rogercop that get to come back, and I wish they had gotten more to say, but it's still a treat to see Ladybug and Cat Noir fighting four villains at once, especially since this was before “Heroes Day”.

#8: Sapotis

Hawkmoth akumatizes Alya's little sisters into Sapotis (supposedly based off a folktale, but I can't find anything about it online), who have the power to multiply and easily overwhelm Ladybug and Cat Noir, forcing Ladybug to recruit Alya to become a third hero, Rena Rouge.

I've been a little negative about Alya in the past, but this episode gives her some major character growth. One of the biggest problems I had with her character in Season 1 is how often she tried to figure out Ladybug's identity... despite claiming to be a huge superhero fan, who should know why superheroes keep their identities a secret. Thankfully, this episode mostly puts an end to this idea.

The episode opens with Marinette giving Alya some reasons why Ladybug would keep her identity a secret, and it actually plays into the episode.

Putting aside the stupid Rent-A-Miraculous system introduced in this episode, the idea of keeping secrets and how necessary they can be sometimes is reflected after the battle where Alya is hesitant at first to give up her Miraculous, but eventually concedes and keeps her identity a secret from Marinette (who ironically knows, but that's not important).

Even without that, this episode still has a lot of action with the three heroes fighting their way through an army of Sapotis, with plenty of banter during said action. Hell, at one point, Cat Noir says “gotta catch 'em all”. I don't have a joke here, that's just brilliant.

Out of all the introductory hero episodes, this one easily sticks out among most of them.

(Don’t worry, I’m going to talk about Rena Rouge’s character design in a later post.)

#7: Guitar Villain

I said before in an earlier post that Jagged Stone is one of my favorite characters in Miraculous Ladybug, so it's obvious that the episode where he gets akumatized would be on this list.

After a disagreement with his manager about trying to mimic the popular singer XY (who ironically lacks a Y chromosome), Jagged is akumatized into Guitar Villain, a rock star with a pet dragon who forces everyone to listen to his Awesome Solo (yes, he names his attacks too) to dance uncontrollably.

Honestly, there's not much I can really say about this episode. It's Ladybug and Cat Noir fighting a rock star who flies around on a goddamn dragon. That's one of the coolest things I've ever seen! Even the way they defeat him (which I won’t give away) is a fun jab at rock stars.

Admittedly, the episode does border on grouchy old man territory sometimes by complaining about how bad today's music is with the way they portray XY as a whiny and egotistical coward, but after watching “Silencer”, you'll be glad everyone hates him.

Overall, it's a rockingly awesome episode.

#6: The Dark Owl

Mr. Damocles, the principal of Marinette and Adrien's school, is akumatized into the Dark Owl, a corrupted version of his favorite comic book superhero (who would later turn out to be real in the New York special, but I don't want to acknowledge that), who uses his high-tech gadgets to trap Ladybug and Cat Noir, putting them in one of their toughest binds yet.

I'm a huge fan of the Adam West Batman show, so you could probably guess why it's on this list. This episode really feels like an episode of that show with how goofy and over the top everything is. Obviously, this episode has a few Batman references thrown in (even an Incredibles reference at one point), and they're all hilarious.

I just love how complex Dark Owl's traps for Ladybug and Cat Noir are, and the fact that he actually manages to outsmart them at one point. Like seriously, have you ever heard of a death trap that involves drowning someone in whipped cream? That’s totally something you’d see the Joker setting up.

I don't really want to give away the ending (which is why this part is so short), because I think it's a really clever resolution that you should check out for yourself.

#5: Gorizilla

Hawkmoth akumatizes Adrien's bodyguard into Gorizilla, whose sole purpose is to protect Adrien. His motivation? To see if Adrien is actually Cat Noir or not. So Adrien has to avoid this gigantic gorilla's wrath with Marinette, all while trying to catch a movie his late mother was in.

See this? This is Adrienette done right. This is the kind of interaction I like when it comes to romance. Marinette and Adrien spend a few scenes with each other avoiding Adrien's crazy fanbase, and Marinette doesn't stammer half of her words. Even when she interacts with Adrien as Ladybug, she still remains confident, and Adrien trusts her judgment when it looks like he might fall. I don't just want Marinette and Adrien to cuddle with each other or declare their love for each other when they get their memories wiped. I want them to interact like human beings before they actually start a relationship, and this episode is a good example of it.

Adrien also gets some good focus with the way he views his relationship with his parents, as does Gabriel with his relationship with his son. Granted, he's taking a pretty huge gamble trying to kill Adrien to see if he's Cat Noir or not as opposed to just... taking off his ring while he sleeps. Can we at least admit he's trying?

I feel they could have done more with the King Kong homage (guess who I'm talking about?), but I can understand there wasn't enough time to focus on that. It's still an important episode to watch for plot and character growth that will barely be acknowledged in later episodes.

#4: Sandboy

tHe SaNdBoY hAs ChEcKeD iN. nOw NiGhTmArEs CaN bEgIn.

Now that we got that obvious joke out of the way, let's talk about one of the most creative episodes of the show.

Tikki and Plagg, Marinette and Adrien's Kwamis (the magical beings that power their Miraculous) take part in a ritual with the other Kwamis inside Master Fu's Miracle Box to contact Nooroo, Hawkmoth's Kwami, on his birthday and get an idea of where he is. Unfortunately, Hawkmoth chooses to akumatize someone during the ritual, leaving Marinette and Adrien helpless to fight back against Sandboy, an Akuma with the power to make their worst fears come true.

I said before in my worst list when talking about “Ladybug” that there was too much going on for one episode, what with Marinette's expulsion, the attempted Scarletmoth attack, and the fake Ladybug plotlines generally being rushed through. This episode is basically the opposite of that (ironically, they're both the penultimate episodes of their respective seasons).

The Kwami ritual and the Akuma attack are perfectly staged together so one affects the other. Not only do the Kwamis have to risk aborting their ritual to reach Nooroo in order to fight the Akuma, but Marinette and Adrien have to deal without fighting off Sandboy's nightmares on their own. Both plots balance each other out into a well-crafted story.

This is also one of the only episodes in the show where the Akuma of the week isn't the man focus. Here, we don't even see what happens to get the kid akumatized into Sandboy, and instead, Gabriel senses someone with negative emotions and akumatizes the kid offscreen. This works, because it doesn't distract from the main plot too much.

Even Marinette and Adrien's worst fears beautifully contrast each other, with both managing to be unsettling in different ways, even if they both have different tones. While Adrien's worst fear is being imprisoned in his own room (the fear only made worse with Plagg's absence), Marinette's worst fear is... the real star of the episode. Ladies and Gentlemen, I think you all know who I'm talking about.

You can tell the animators had a field day with animating Nightmare Adrien. Just look at the way he moves around and the faces he makes. It manages to be terrifying and hilarious at the same time. Bryce Papenbrook's performance only makes it better, cementing this as the highlight of the episode.

This episode also does a good job at foreshadowing the main plot for Season 3 with Hawkmoth finding out about the other Kwamis and by extension, more Miraculous.

It's got plot, comedy, good action, and Nightmare Adrien, so how can you turn this episode down?

And no, I'm not talking about Nightmare Ladybug, mainly because I'm tired of all the evil doppelgangers from the worst list.

#3: Startrain

Yes, believe it or not, I managed to find a Season 3 episode that wasn't complete garbage, and spoiler alert, this isn't the only one.

Marinette and Adrien's class goes on a field trip to London by taking the train, until the driver is akumatized into Startrain, who wants to escape to the one place that hasn't been corrupted by capitalism... SPACE! So Ladybug and Cat Noir have to defeat Startrain while also finding a way to bring everyone on the train back home.

I like how this episode plays with the usual Akuma of the week formula. Unlike every other Akuma they've fought, Cat Noir points out that if they beat Startrain, everyone will die, so they have to be more strategic in their approach. They don't even fight Startrain for most of the episode, as they have to make their way to the front of the train to confront the Akuma. The action in this episode is very creative and really takes advantage of zero gravity, only aided by the design of the futuristic train the episode takes place in.

The new hero introduced, Pegasus (AKA Max, another student in Marinette and Adrien's class), is also really cool, being very intelligent and helping out the heroes progress through the train even before he gets the Horse Miraculous. It makes sense that his intelligence would be used rather than just his powers in this situation.

There are even some good character moments too. For once, Master Fu does something smart and loans the Horse Miraculous (which has the power of teleportation) to Marinette so she can still go on the class trip, trusting her and actually letting her have a life. It was also nice to see Alya stick up for Marinette by keeping Lila from interrupting her nap with Adrien.

This episode is basically like a refreshing glass of water to enjoy during the garbage fire that was Season 3.

(I’m going to talk about Pegasus’ character design later on too, don’t worry)

#2: Silencer

Lukanette shippers, ASSEMBLE!

Music producer Bob Roth and his son XY hold a contest for young artists to show off their skills, and Kitty Section, a band composed of several recurring characters, decides to enter, with Marinette helping to design their costumes. But as soon as they submit their video, they find out that XY copied their style, naturally pissing the band off.

Marinette and the lead guitarist of Kitty Section, Luka, confront Bob Roth and XY, who threaten to ruin their careers by claiming that they ripped off XY. Seeing Marinette getting threatened is more than enough for Hawkmoth to akumatize Luka into Silencer, who naturally has the power to silence and mimic the voices of others.

I talked about Luka and his relationship with Marinette in an earlier post (specifically the one where Astruc claimed that the fandom growing to like Luka counted as character development), and I said that this was one of the few good episodes this season because of their interactions. This episode basically made me realize how much Luka cares for Marinette, and the episode gives plenty of time to show the two spending time together and growing closer. It's basically everything “Oni-Chan” should have been about, giving some depth to Luka and not portraying him as a crazy person like they did with Kagami in that episode.

Silencer is also one of the more creatively designed villains this season, and has a really creative approach to achieving his goals. While the ability to steal and imitate someone's voice seems mundane compared to control over the weather, or making nightmares come to life, it's used very effectively. Silencer basically tricks the police into arresting Bob Roth while imitating the mayor's voice, and he threatens to make his life a living hell by using the connections to the voices he's stolen. Even with the hand puppet gesture, it's still unsettling to have Silencer speak in all these voices, and it would make for a really interesting horror movie.

Even Ladybug and Cat Noir's interactions are back to their Season 1 levels of enjoyment. Even though Silencer took her voice, Ladybug just makes so many expressions that do a great job at describing her feelings, which naturally plays off Cat Noir's motormouth tendencies. Whenever Cat Noir jokes about Ladybug's condition, he is rightfully called out on it and is reprimanded in some way, my favorite being when Ladybug uses her yo-yo to hit Cat Noir on the head to shut him up. Even putting aside that, they still work well together this episode and really feel like equals. I also love their silent fist bump when Bob Roth is exposed.

Again, the episode still takes the time to go on about how unoriginal today's musicians are, and how they lack artistic creativity and all that crap. Look, given how ham-fisted the writing in this show can get, are you surprised the commentary isn't subtle?

Even putting aside how much this episode made me appreciate Lukanette, it still has a lot of great moments that aren't even related to the ship itself, which is a real testament to how this show can perfectly balance romance and story when it's done right. Now if only the show could try this much with Adrienette, then people wouldn't hate the main pairing of the show this much.

#1: The Collector

Taking place immediately after the Season 1 finale, Marinette meets Master Fu and discusses the book she found depicting past Miraculous users. Marinette theorizes that since the book was in the Agreste mansion, Gabriel could be Hawkmoth. And to the surprise of absolutely no one, she's right, and in order to draw off suspicion, Gabriel akumatizes himself into the Collector.

This episode has several good writing decisions for both sides, and the choices the characters make feel natural. Gabriel akumatizing himself is such a smart move, and so is what Marinette and Master Fu do with the book at the end. This episode does a great job setting up future plot threads and establishes Master Fu's character and the mystery associated with him.

The Collector is a visually stunning villain, and his powers are really creative, leading to a great fight with Ladybug and Cat Noir, who use a great strategy to outsmart him. I also love how over the top he is in order to make the heroes believe that he's working for Hawkmoth, all with a devious smile on his face.

This was also the episode that really got me into Miraculous Ladybug as a whole. I checked out the first season on a whim after it was mentioned in a Pan Pizza video, but it was during the hiatus between seasons, and I hadn't really started using Tumblr yet, so it mostly stayed off my radar. When Season 2 started however, I really got invested in the story, and the way this episode turned out was a big reason why. I wondered what it would be like when Adrien finds out his own father is Hawkmoth, and how the story would play out after the reveal.

Despite what it led up to, I still consider “The Collector” to be my favorite episode of Miraculous Ladybug.

Well, now that I talked about that, not it's time to talk about what I consider to be the worst episode of Miraculous Ladybug, “Felix”. God help me...

[geekgemsspooksandtoons]

My Spider-Man Ideas

Because I’m glad my good bro @kaijuguy19 asked me about this. I want to say and it’s not a secret I’m actually a big Spider-Man fan. And ever since last year. I wanted to make my own take on the character. And maybe I still will one day. But smaller maybe. But ever since this post I made. https://geekgemsspooksandtoons.tumblr.com/post/662905966119075840/to-be-honest-i-just-wanna-say-i-feel-like-maybe-i I think it’s best I just talk about it. 

In a way, I feel like this is what The Amazing Spider-Man series could’ve been maybe. Which is something I wanted to talk about. Despite some big criticisms towards that franchise. I don’t mind it’s place, and we can’t change history with it. And Spider-Man is in the MCU now.

This may not be all finished yet. Or put together much better. But this is practically my, “The Dark Knight” of the Spider-Man character. Yet also, I feel like maybe it’s best I don’t touch the Spider-Man franchise.

Because I feel like if fans, non fans, and whoever read this. They would honestly think, “GeekGem, please go back to The Mask franchise” because while I love Spider-Man, and the themes his character represent. Along with the many characters and stories. That have even inspired the likes of The Mask Rebirth strangely. But The Mask is maybe a series that is...maybe more suited for me...

I just wanted to say that I think people would be like, “Go back to The Mask franchise please. And never touch any Spider-Man related again” but I’m being way too harsh about myself. Now let’s begin. XD

Part 1.

I wanted to strangely make my own Spider-Man in a sense like Batman 1989. But I feel Spider-Man 2002 fills that hole. Including one of the old ideas that Peter has been Spider-Man for 5 years with no huge villains. But recently, it had gone to maybe his second year instead. Him being 19 and in college. With the origin not shown, but cleverly shown and told maybe akin to how Spectacular told it. And what I wanted Homecoming to do possibly. Or even something like that 2017 series. 

It mainly dealt with Quinten Beck’s Mysterio. And it was basically a more mature version of, “The Menace Of Mysterio” and basically, Mysterio’s first apperance. With Beck trying become a superhero by framing Spider-Man. But after he frames Spider-Man. He tries to showcase he’s even more of a hero by deciding to kill criminals. I remember a friend of mine understanding that he called him an evil(er) version of Neil Druckmann/Quentin Tarantino/Ken Levine.

Even though I was really gonna look into his story because comics had gone in more depth with him.

Other characters like Mary Jane, Gwen Stacy, Harry Osborn, Aunt May, and the employees at the Daily Bugle would be involved. With the main story of Peter recalling why he became Spider-Man in the first place. And with Mysterio practically being a foil to him. And there is the inclusion of Silver Stable being brought to take down Spider-Man. But her job has become more troubling with Mysterio. Yet I question if I still want her in this. 

Including it developed into something like the upcoming The Batman movie. With maybe Beck losing it more because the police hate the fact he’s begun killing criminals. But anyway, I wanna leave as it is. I just remembered the Silver Stable part. I wanna talk about the one I thought of the most. The one that I really wanted to do. Forgot to put Captain Stacy in this. Since I just wrote him down in part 2.

-

Part 2.

This idea is basically my The Dark Knight for Spider-Man. Like, literally. With the idea of using the Green Goblin, and really showcasing how dangerous the character is. And I really wanted to test the words, “With great power comes great responsibility”.

Think of this story if the Green Goblin replace the Joker in The Dark Knight. And you replace certain characters with Spider-Man characters. But if I recall, it’s mainly this idea of Goblin trying to teach Spider-Man the consequences of being a superhero. 

Going in line with his original version like he first appeared. This is Norman Osborn. But it’s never revealed until the end. And it’s kind of a mystery. And with Norman faking his death by a terrorist attack by the Green Goblin. With Norman before that, acting like an older and kind fatherly figure. When in reality, he’s a genuine horrible person hiding behind a persona. And with the Goblin persona, his abilities and all that. He uses the Green Goblin as an outlet to unleash who he truly is. Going with what how the 616 version of him is. There’s no split personality.

I will admit, the faking his own death thing might backfire on him if he wins. Maybe him with a back up plan that Norman was alive, and was taken hostage by the Goblin. With Norman making it look like that.

In a nutshell, the Green Goblin is practically who Norman is deep inside. And he tries to become the leader of organized crime. Until he meets Spider-Man. Where in this version, Green Goblin is like a cruel teacher, and he wants to really teach Spider-Man what it’s the huge consequences of being a superhero.

This dude is literally more like a boogeyman. He’s if Arkham Knight’s Scarecrow and Heath Ledger’s Joker were fused into one. But he‘s also basically if Ghostface was a supervillain with powers and gadgets. He has the glider, but he does other shit. Despite his original intention, he becomes Hell bent on making Spider-Man understand the responsibility of what he’s doing. 

With Green Goblin becoming more of a terrorist. That it becomes so bad. That Silver Stable is brought in likely by Captain George Stacy. That this problem with costumed people has gone too far. 

Goblin is killing members of the Wild Pack, police officers, and he’s just causing chaos to bring Spider-Man down. But when he figures out who Spider-Man is. It becomes even more personal.

At first, it seems like the story is gonna go the way of, “The Night Gwen Stacy Died”. And it’s scary because Gwen knows who Peter is, and is with him. But it’s different, with not Goblin taking an unconscious Gwen to the Brooklyn Bridge. It’s still the Brooklyn Bridge. But instead he kidnaps her, leaves her tied and gagged surrounded by a bunch of barrels that will explode. There’s no Spider-Man accidently killing Gwen with his webs. But instead...what happens is...much worse. To me personally.

Spider-Man saves Gwen, and stops the barrels from exploding. But it doesn’t go the route of, “What if Gwen Stacy had lived?” storyline. Instead, the Green Goblin’s plan wasn’t to kill Gwen. But something to destroy both her, and Peter mentally.

Instead, when Peter tries to go back to May’s house. Aunt May is literally killed by a bunch of hidden explosions. And during the same time or a little later. Captain George Stacy in his office is killed by similar hidden explosions. 

What happened is that because Goblin found out who Spider-Man was, and knew who he was dating. He felt like it was too easy to kill Gwen. But he wanted to do something possibly more extreme. Something that would still make Peter snap. But also destroy his relationship with Gwen.

He took the words from Spider-Man 2002, “The heart Osborn. First, we attack his heart” to literal heart. He kills Aunt May, and George Stacy in the most horrific way. Including destroying the home Peter grew up in. And after some time. Goblin literally calls Peter to pretty much rub it in that these are the consequences of him being Spider-Man. And that Gwen wasn’t the one he wanted to kill. With him possibly ending the conversation, talking about how it’s gonna end.

That it will end with one of them dying. But he doesn’t care. If Green Goblin kill Spider-Man, he wins. If Spider-Man kills Green Goblin, Spider-Man will be viewed maybe more as a menace. Because he likely killed Green Goblin out of pure rage. Which Goblin tried to create, he unleashes the anger that Peter tries to hold in. And with his mother figure killed in such a way, and a friend who was like a new father figure killed in a similar fashion. It’s literally a cruel test Goblin is trying to pull.

And in the end, during some stuff, with Spider-Man nearly killing Goblin like in the comics. But soon stopping himself when he learns that it was Norman all along. And it ends with Norman like the 2002 film and comics, accidently killing himself with the gilder. He never comes back, he’s truly dead.

On one point, Spider-Man stops himself from killing Goblin, and Norman kills himself instead. But the other point is something else instead. Norman is revealed to the the Green Goblin, putting Oscorp in a heap of shit, and people looking at Harry strangely. And despite comforting each other, but because of the horrible events.

Gwen decides that it’s maybe best to break up with Peter. Understanding her being with Peter seemed to have gotten her father killed. She doesn’t hate Peter. But she seems to hate Spider-Man. That persona, not Peter himself. 

-

Part 3. 

This was the most challenging one. Because I really wondered about the villains. There was Kraven with possibly a Kraven’s Last Hunt story. Hobgoblin because Peter would lose his shit at another Goblin. But also the idea of the symbiote suit being in the story. And during this whole development process from last year. Characters like Miles and Black Cat were involved. But I’m not sure now. With the idea that Miles may become a Spider-Man one day. And Black Cat being bothered by black suit Spider-Man.

Yet recently, despite it may feel overstuffed. But it’s not three villains. And it could be as long as it wants. 

This part is basically Spider-Man 2 fused with Spider-Man 3. With the big focus of the aftermath of Green Goblin's destruction upon New York City. And Peter’s grief with the loss of Aunt May, George Stacy, and Gwen deciding to leave him. Despite he fully understands and respects Gwen for leaving him. But it’s hard.

But also with Mary Jane truly becoming Peter’s true love. After the traumatic loss and Gwen leaving New York. I know and understand Gwen’s death was a huge part of changing Mary Jane as a person because they were friends with a friendly rivalry that I recall. I...wanted to make it less depressing. Despite May was the one replacing Gwen’s death. Because that seems maybe more powerful, it depends on how you see it. Mainly with the idea that May never did anything wrong, and it was such an easy kill for Goblin. It’s like Uncle Ben’s death all over again.

Yet again, the concept of part 3 is of Peter truly embracing being Spider-Man. And not letting his darkness take ahold of him after the death of the woman that raised him. With the symbiote bringing out repressed anger even more. And made worse after the death of Aunt May. 

But it’s Mary Jane that helps him overcome that darkness. And I wanna share this video that explains that more. Because I feel like that could’ve been an amazing plot point for The Amazing Spider-Man 3 if done right. 

The video is by Sevenwebheads. I loved this guy before he sadly left YouTube out of nowhere.

And with how I talked about this part. It being Spider-Man 2 fused with Spider-Man 3. The villains being Doc Ock, and Venom. And in a sense, Peter is his own villain. Because of the symbiote. 

It’s possible Doc Ock like his 2004 film version is maybe more sympathetic. And honestly more understandable as a villain than Norman Osborn. 

Quentin Beck/Mysterio is a man who is crushed by his ambitions, and being a foil to Peter’s belief about responsibility and being a superhero.

Silver Stable is a mercenary that’s more like a complex character. Yet gets into conflict with Spider-Man. Not really a villain.

The Green Goblin/Norman Osborn in this is pretty much the embodiment of pure evil. Practically enjoying what he is doing, and not caring what the consequences are. A total anti-thesis to everything Spider-Man represents. And would make other villains or anti heroes look at him like, “What the fuck is wrong with you!?”

With Doc Ock again, being more sympathetic, but still a villain. Akin to Spider-Man 2′s Alfred Molina. And Eddie Brock, who I think should have sprinkled throughout this three part story. 

With Venom and Eddie. I really like them both, I really do. But I wanted to do a version that would make sense. Instead of copying the 616 version or only the Ultimate version. Considering in a sense, the 616 Eddie isn’t much of a foil to Peter. Where the Ultimate version seems more like that in a sense.

I feel like the symbiote shouldn’t be an alien from outer space. Because that opens a whole can of worms. I seriously feel like the alien aspect doesn’t mesh with the more grounded take of Spider-Man. And it just at times makes me feel fine with the idea of Venom not being included in Spider-Man’s mythos. Despite how iconic he is.

So the symbiote’s origins would be more involved with science than from outer space. And with Eddie not only being a bit more complex. Yet he is also a foil to both Peter and Mary Jane. While you can understand him, he practically becomes more unhinged and possibly has some relations with Peter like in Ultimate and Spectacular. And when I think about, even using some elements from The Amazing Spider-Man 2 mobile game version of Eddie/Venom.

His character would be more in line with how Todd McFarlane and David Michelinie introduced the character. But while there is some dark comedy. It’s seriously more frightening. Another boogeyman in a sense like Green Goblin. With his first appearance being like in The Amazing Spider-Man issue 299. And Venom representing one of the many mistakes Spider-Man made. That being the birth of Venom and it bonding to Eddie Brock. Creating a villain that Peter feels responsible for.

I guess in a sense, I wanted to use three of Spider-Man biggest villains. Those being Green Goblin, Doc Ock, and Venom. With Mysterio and Silver Stable included. There is the idea of Carnage. Even though I liked the inclusion of Carnage in The Amazing Spider-Man 2 game. And Cletus is truly a foil to everything Peter is. I really wanted to showcase Venom as that. Still wondering about Black Cat because I love Felicia.

With this part. Considering how tough this whole trilogy is. This part is basically I guess, the light in the darkest hour. 

Where you have moments like a black suited Spider-Man nearly killing Doc Ock, and even before that, ripping off one of his arms, or maybe all of them. I’m not sure. But it’s nearly killing Doc Ock that truly makes Peter if his anger has truly gone too far. And an interaction with Mary Jane who is the biggest person who has been comforting him. Helping him through his grief, after everything that had happened with him. 

Peter chooses Mary Jane over keeping the symbiote. And because of his rejection of the symbiote, it bonds with Eddie. Who is practically a final test for Peter in this story. The dark reflection of what he could’ve became. A man despite you can feel for him. Eddie slowly became more sociopathic, became more irresponsible, and becoming more consumed with hate and anger.

The light rising above dark, and moving on with life. Because if we cling on to the past. We’ll be stuck there forever. And with Peter being a pessimist who has optimistic moments. This whole trilogy is like an endurance test of him as Spider-Man. 

I really wanted to bring to life the earlier stories of Spider-Man from Stan Lee and Steve Ditko. It’s basically a love letter to the character and his mythos. Focusing on some more darker elements like Peter’s anger issues, and other things. But also dealing with the many themes about the character. But it’s even more rough when you replace Spider-Man 2′s Doc Ock with Green Goblin. And you maybe place Doc Ock in Spider-Man 3. 

Even though I feel like Sam Raimi’s Spider-Man trilogy is maybe the perfect representation of the character. Despite all the criticisms towards Spider-Man 3. And other people’s nitpicks among many things. I feel like those films REALLY got Spider-Man right. Along with others like The Spectacular Spider-Man cartoon and others.

Think I’ve said enough. I’ll talk other stuff in the reblogs. But yeah...which I’ll say this in a reblog. Despite I don’t mind flawed films...I wished The Amazing Spider-Man franchise took a direction like this.