classic spider man

Love At First Sight - Harry Styles One-Shot

There are many people who believe in true love. There are many people who believe in love at first sight. Y/N thinks of herself as one of those people. Maybe because she was a romantic at heart, maybe because she needed to something good to believe on when life got too hard. Either way, Y/N believed those things to be true and could only hope one of them would happen to her.

Until it did.

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So I’ve been reading the classic Amazing Spider-Man comics for about 2 or 3 years now on my Marvel Unlimited service, and over time I have grown more and more fond of Mary Jane Watson’s character. I just finished issue #259, and I am now completely amazed that this character is so commonly shrugged off as a cheap replacement for Gwen Stacy, and is regarded as the weaker character. I beg to differ. Unlike Gwen Stacy and other love interests, she has interesting flaws, a rich backstory, and much more history with Peter Parker, which in my opinion makes her the best love interest in the story.


When we first meet MJ, she is certainly this silly, over-the-top, stereotypically attractive and fun-loving person. And I think that this first impression may have been what doomed her reputation in the long run. But here’s the thing… It’s not who she is. This is merely how she wants other people to see her. At her core, Mary Jane is a broken person who uses her “fun-loving” personality as a coping mechanism, and avoids commitment and responsibility because of her past experiences with family.


Mary Jane grew up in a very unstable environment. Her father abandoned her, and her mother could barely take care of her. Her sister got married way too soon, and had two kids with a guy who didn’t know what he was getting into. MJ, deep down, is a helpless romantic who would love nothing more than to live a “happily ever after” story with a great husband. But she is so afraid and convinced that she will only wind up in the same situation her mother and sister were in. So she’s flaky. She loves Peter Parker, but refuses to admit it, and even originally rejects him when he proposes to her. They share this vaguely defined, complex relationship until she finally understands her problem, and marries Peter.


What I absolutely love about this relationship though is that Peter doesn’t just take a beating from her, either. That’s one thing the Sam Raimi movies entirely failed at, and that’s why the relationship is so frustrating to watch in the movies. Peter just seems to absolutely obsess over MJ, while MJ seems to not give a single shit about Peter and treats him like garbage until it’s convenient for her to date him. But this isn’t the case in the comics. In the comics, Peter doesn’t put up with any bullshit. If MJ can’t settle down, she’s not the woman he wants. And Mary Jane totally gets where he’s coming from, too. After she rejects his proposal, she doesn’t come “crawling back” to him. There isn’t some stupid cat and mouse game where one of them is always more interested than the other. It’s a very mature relationship where both of them are trying to find compromise, and are working out their own issues and discovering what they want in life.

Let’s talk about Gwen Stacy now. Look at every iteration of Gwen Stacy we’ve seen outside of her original appearances. In Ultimate Spider-Man, she’s this rebellious punk chick. In Spider-Gwen, she’s kind of a feisty female version of Peter who plays drums. In the Amazing Spider-Man movies, she’s a strong, brilliant science student. In Spider-Man 3, she’s a ditzy model type. Every single Gwen we’ve ever seen is totally different, and that’s because there’s almost nothing to use as reference.

Gwen Stacy had barely any chance to display her personality, her motivations, or just generally anything about her life outside of her brief conversations with Peter. I can’t even remember a single issue where we simply see them on a date. Most of the time, her appearances pick up where a date is ending, or are cut short with Peter running off to fight crime. Yes, Stan Lee did not approve of her getting killed off, but that doesn’t make her the better character. I would go as far as to call Gwen the “pretty face” character, and Mary Jane the one with any real chemistry with Peter. We simply don’t see enough about Gwen to really know what kind of girlfriend she was.


So to those of you still reading this oddly specific wall of text, I hope this helps change the general opinion that Mary Jane is some shallow generic hot girl who replaced Gwen. I can understand where this opinion comes from, but I find that it stems from the characters being altered and misinterpreted in many different adaptions and retellings. I would absolutely love for new Spider-Man movies to tell Mary Jane’s story more accurately than the Raimi movies did. I think there is a lot of potential in there for a very complex, original type of love story that happens to also be pretty iconic.

Spider-man #15-16: A return to form for Bendis

I have not been exactly….genial about Bendis’s Miles Morales run. While I love that the man created probably the most detailed origin story for the character, I hate that he misses opportunities to underly what makes Miles Morales special to begin with: his supporting characters. Bendis during his Miles Morales run has been met with meta-hindrances that forces the narrative down an unwanted tunnel in order to fill a  need. Because he is not exactly masterful at shifting his narrative to fit these in, a lot of Miles’ characterization that would have came without said hindrances gets shafted.

For example, when Cataclysm happened in the Ultimate Universe, Bendis had seemingly rushed Miles development in order to fill in for the oncoming prospect of Miles joining the newly formed Ultimates. He wildly introduced or re-introduced characters to the story again while forsaking Miles’ development as a character in which felt half-assed and even left an unsavory aesop to it all. Bendis also kept forsaking Miles’ development as a character for Peter’s resurrection, Secret Wars, the inevitable restructuring of the Marvel Universe that happened after Secret Wars, Civil War II, and more recently the crossover with Spider-Gwen. 

Miles Morales is underdeveloped as a character. And I am not even mentioning the out of place commentary that Bendis began to delve into about race and privilege, and his constant minimizing of Miles’ culture and how he can’t seem to write from a young black kid from Brooklyn’s perspective without the character sounding like a white boy.

Okay, I mentioned it, but whatever.

Spider-man #15-16 is a breathe of fresh air and a reminder as to what made Bendis’s Ultimate Spider-man run so great to begin with: Bendis focuses on the little things that make Spider-man “Spider-man. He understood that the Spider-bite was an allegory of puberty and a coming of age and that being a hero and managing responsibilities are hectic. Whether it is managing grades in school or worrying about the next super-villain, Spider-man was the codifier of ordinary person becoming a super hero. And Bendis missed a mark for half of his Miles run because he failed to create the same things he did for Peter before him.

But after what seems to be a long time, Spider-man gets human again and starts focusing on itself.

Rio Morales has always been a tertiary character whose only characterization is that she is Miles’ mom. So I am glad that she finally starts to get involved in these issues.

One of Bendis’ staples of writing these “super hero reveals his secret identity to loved ones” is that Bendis is of the philosophy that parents will never be okay that their kids are keeping this secret. “Oh, so you lied to me for all of these years and expect me to be okay with it?” He did the same thing in the original Ultimate Spider-man when Aunt May found out about Peter’s secret. I am also personally of the philosophy that if you are engaging in dangerous vigilante work, you might as well tell your significant other and let them in on the danger because not telling them could lead to a Gwen Stacey scenario or them being justifiably infuriated that you lied. Just tell them the truth if you love them.

This is culmination of Rio being left out of the loop. She feels disconnected from not just her son’s life, but her husband’s because a secret they deliberately kept from her leaving her to worry about just what in the fuck is going on with Miles. This is a nice bit of rare continuity from Bendis is appreciated because it gets right back on track to the subplot that has been brewing since before Civil War II that was derailed because of the aforementioned event.

This is the first time we have seen actual character from Rio outside of loving and doting mom. She is thrusted into the same position that you would expect a mom to react to hearing all of this. She is angry and this scene(that encapsulated the whole book, mind you) highlights Bendis’s strength of making the seeming mundane important and character building. A family disagreement usually is about something much greater in comic books. Bendis knows that deep down, punching people in the face and beating up bad guys is not what Spider-man is all-about. It is the internal strife of being a human and the responsibilities of those that make him the most popular super hero of our times. And it is nice to know that Bendis remembered as well.

What makes Miles stand out as Spider-man is these little discussions that he has with his family and friends. These little heart to heart remind us that Miles has people who care about him and has people he speaks to about shit. tThe scene also serves as a bit of fan service because this is the same park where Miles discussed his dad’s past with his father and also reconciled with his father. This parallel with Rio and Jefferson is much appreciated because even he was not initially okay with Miles being Spider-man. 

And this frustration that Miles has is encapsulated when he becomes Spider-man. He is disillusioned. He is angry. And he feels like he let his mom down. So he in classic Spider-man style goes on a tear.

He isn’t snarking. There are no quips. He is pissed and lost control of himself which is a nice call back to one of Miles’ greatest fears:losing control.

These issues highlighted a return to form for Bendis. Hopefully it won’t get derailed by the hellfire that is Secret Empire, but I doubt it.

Oh and also…

Ganke refers to himself as Ned and is the greatest pimp of all the time.

anonymous asked:

I have a question about old cartoons and their remakes, maybe you have an idea as someone who works as an animator now. It happens that remakes of a show are really, really bad... but why don´t they just take the old series and show them again? Copyright issues? Or do they think the new generation of children won´t like the old cartoons?

First things first, I gotta correct you: it SOMETIMES happens that remakes of a show are really, really bad.  Have you seen the new Voltron?  Or the 2002 He-Man cartoon?  How about Spectacular Spider-Man?  The recent Mickey Mouse cartoons?  Danger Mouse?  Maybe you’ve seen the promos for the new Duck Tales cartoon.  I could go on listing incredible remakes for hours.

The fact of the matter is, when a show is remade, the person directing the remake is often not the creator of the original show.  By necessity, their vision for the show is gonna differ from how it originally was.  Sometimes you get somebody in charge who just doesn’t understand it, and the remake is subpar.  But sometimes you get somebody who was a fan of the original, and they just GET it.  Those are the good ones.

As for why they don’t simply re-show the old series… Hmm.  Let me put it like this.

If the very first Godzilla movie were aired on television right now, how do you think it would be received?  Or, better yet, the very first Spider-Man cartoon series?  (please click this link here regarding that, btw)

These things have not aged well.  But the people who grew up with them have fond memories of them, and they want to share those memories with a younger generation whose standards for media consumption are vastly different than they were when the original series was shown.

In addition, when remaking an old story (and this goes for all media), oftentimes new elements are explored in the remakes that were either glossed over or, quite frankly, not adequately addressed in the original.  To boot, some of the original ideas in old series are… kinda stupid.  To illustrate, look at The Orb, from the 1973 Ghost Rider comics:

This is a man in an eyeball mask.  The eyeball mask shot lazers for no decently explained reason.  The Orb was a recurring and rather notable villain to Ghost Rider, one of the single most overpowered main characters in Marvel comic history.  The Orb was a stupid villain.

Similarly, the Vulture, a classic Spider-Man villain, is a man in a bird costume.  He was a bit… uh, stupid, as well, from his very concept.  So what did the Spectacular Spider-Man series do?  The writers revived his character by simultaneously playing it straight and parodying it, showing that they understood that in a modern context, this villain is a bit goofy, but is still enjoyable for what he is.

Just because something is from the original doesn’t make it better than any possible remake… and quite frankly, it doesn’t even make it good in the first place.  There’s nothing wrong with going back to an old idea, breathing new life into it, and adjusting pieces as you go along to make it more relevant to a modern time or even improving upon things that could have been better.  Whether or not the remake is good depends upon whether or not the creator of the remake knows what they’re doing.  And while sometimes they don’t, sometimes they very much do.

Sorry, fam, but you asked this question of a MASSIVE PROPONENT of franchise remakes.

“Don’t deceive with belief… Knowledge comes with death’s release.” 

Thank you for providing the soundtrack of my life. I can’t remember a time before your influence and it’s hard to even fathom a world without you in it. You are my Elvis… my Lennon… and I didn’t even fully realize that until you were gone. It’s been a hard week, but I take solace in the fact that your inspiration will live on as you transcend through the universe. Rest in Peace, Starman.

The hero Static debuted in comics in 1993, but is more well known for his animated series, Static Shock, that aired from 2000 to 2004. Static was originally created by Milestone Comics, a publisher distributed by DC comics with a distinct focus on minority representation. Although the Milestone universe is it’s own separate world it was, for a time, merged with the DC Universe proper. During that time Static served as a member of the Teen Titans and even worked as an intern at S.T.A.R. Labs.

Virgil Hawkins became Static after being doused in an experimental chemical while caught up in a gang war in the streets of his hometown, Dakota City. This granted him the power to control electromagnetism. Static is a hero modeled after classic Spider-Man, often struggling to balance his responsibilities as a superhero with his life as a teenager.