In the brogane au is Shiro friends with Matt? Does little Keith know little Pidge?
YEA YOU BET THEY DO. okay, here are some super self-indulgent (and long) brogane/childhood friends au headcanons:
shiro + matt
their parents are good friends and live quite close to each other, so they were pretty much bffs even before keith or pidge was born
probably had a lot of unnecessarily complicated friendship handshakes/fist bumps as kids and still indulges in it every once in a while as adults
Embarrassing Older Brother Squad™
bc he’s such a good big bro, shiro always attends keith’s little league baseball games. usually matt tags along, and they cheer obnoxiously loud when it’s keith’s turn to bat
(keith always makes a huge fuss afterwards, but he’s also never missed any of shiro’s football matches either)
were quite similar in size when they were young, but after they hit their late teens shiro pretty much becomes a tank and matt…does not. matt complains that he looks like shiro’s kid sidekick whenever they stand next to each other
every time shiro finds a new person to date, matt is always the first person he introduces them to for the token seal of approval, and vice versa
they used to hope that keith and pidge would marry each other one day so they could be in-laws, but immediately drop it once they find out about keith’s crush on lance to tease him about that instead
keith + pidge
when they were little kids keith initially didn’t like pidge bc she was a girl (ew) and younger than him (double ew). they eventually bond over their bitter personalities, love of really obscure sciences/conspiracy theories, and embarrassing older bros. now they’re almost as inseperable as matt and shiro
pidge skipped a couple grades of elementary school bc of how smart she is and occasionally gets picked on for ‘being a nerd’. keith always beats up anyone who tries
pidge: who do you think you are, my older brother
keith: no, matt can’t fight
Demonic Little Sibling Squad™ who plan the most elaborate pranks together to unleash hell on shiro and matt
whenever he gets into a fight with shiro or his parents, keith will ‘run away’ to pidge’s house to play video games. he usually comes back before dinner
once keith starts crushing on lance, he typically runs to lance’s house instead. after about the fifth time this happens, lance’s parents start packing little treats for keith to bring home to share w/ the rest of the shirogane family
A shit ton of superheroes:
*recruit underage kids to be their sidekicks and/or fight in their battles*
*brings peter parker to what he doesn't think will turn into a fight, designs him a safer suit just in case, tells him to keep his distance and web people up, sends him home the second he takes a hard hit*
i can't believe Actual Villain™ tony stank blackmailed poor innocent peter into being his Actual Child Slave™
The league discovered that Batman made files on all of them. Files in which were their secret identities, the way they could be defeated, and a all lot of personal details. And so they were…pretty mad at him. They felt like he betrayed their trust, while all he wanted to do was to make sure the World was safe. So the bat had to amend himself. He told all of them he was Bruce Wayne. And that’s the story of how a bunch of superheroes invaded your home.
They first went to see the Batcave, which left you enough time to try and relax. It wasn’t everyday that you met the biggest superheroes of the World. You already encountered Superman, who was in real life Clark Kent, your husband’s best friend. You also were friend with Wonder Woman, having actually quite a lot in common with Diana Price. And your eldest son was friend with The Flash sidekick, Kid Flash, even though you never actually met Barry Allen, you felt like Wally told you enough things about him that you knew you’d probably get along. But the rest…Well, you were just super stressed.
Of course, you knew all of them, extensively actually. You knew what they liked and didn’t like, their personality…Hum, you might have, MIGHT, read Bruce’s files on them. Curiosity. It was your biggest flaw.
People in Gotham:
Wow, what a weird year. Bruce Wayne came back and our city has a new vigilante.
People in Gotham:
Wow, Batman must have a lot of money. Like, probably as much as the richest man in Gotham
People in Gotham:
Batman's been missing for a few weeks, good thing Bruce Wayne went away on that mysterious business trip.
People in Gotham:
Hey, did you hear Bruce Wayne adopted some kid? Yeah, he's like an acrobat or something.
People in Gotham:
Wow, would you look at that, Batman has a kid sidekick now, and he's like, an acrobat or something.
People in Gotham:
Bruce Wayne's son moved out and is a police officer in Bludhaven now.
People in Gotham:
Oh also, Robin is apparently now a vigilante in Bludhaven named Nightwing. Weird
People in Gotham:
Wow, Bruce Wayne got a new kid, and we got a new Robin.
People in Gotham:
Oh no Jason Todd died. Bruce must be so upset. Hey, anyone seen Robin around?
People in Gotham:
Wow, Bruce got another new kid. Oh and did you guys hear about the new Robin?
People in Gotham:
No one's seen Bruce Wayne lately. Also, anyone else thinking this Batman is like, a different guy? I think it's Nightwing, since he hasn't been in Bludhaven. Oh, and did you know Dick Grayson moved back into the manor?
i had this dream about a legend of zelda au where link is a little older but zelda is much younger and she’s his kid sidekick/apprentice and he’s teaching her how to use a bow.. they find navi and shes like “STOP this is all wrong!!! youre supposed to be using a sword!!! and YOURE a princess!!!!!” and they just laugh at her
the following are NOT reasons why batkids are allowed to be child vigilantes:
-bruce is an abusive parent
-bright colors draw bulletfire
-sidekicks are convenient
-he enjoys putting children in danger
-child soldiers are cool and fun
actual reasons why batkids are allowed to be child vigilantes:
-in 1940 dc wanted a kid hero for their target audience to relate to, and it was a very successful move
-when comics got darker later, dead sidekicks made for easy manpain
trying to hold the very fact of kid sidekicks against bruce (and ollie, barry, etc) is so pointless. before even getting into comic verses theres certain things you just have to accept: people are taken seriously while fighting crime in costume, glasses can disguise superman, and sometimes kids take on armed criminals with limited combat experience. (usually theyre fine). just always keep in mind what the characters are responsible for and whats just the industry.
MariChat Week 2 Day 1: Kisses. Didn’t think I’d pass this up, did y’all? *flashes Certified MariChat Trash badge* FEATURING: The Sidekick!Adrien AU.
Twenty-one year old Marinette Dupain-Cheng walked the lamp lit streets of Paris on her way home from work. As she passed an alley, an engine revved. Headlights blazed to life and half blinded her. She shielded her eyes. “Chat Noir,” she cried, “what would Ladybug say if she caught you stalking civilian women in the dark?”
He pulled up beside her, the LED screen on his cat helmet’s visor set to a mischievous smirk. “You tell me.” He patted the seat behind him. “Need a ride? We can take the scenic route.”
“I’m tired, kitty. Aren’t you tired?”
“Oh, absolutely. The life of a trust fund baby is so exhausting.”
Marinette put her hands on her hips. The LED visor changed to sad kitten eyes. She laughed and slung her leg over his bike. “Fine,” she said. “I didn’t feel like walking anyway.”
tbh i can’t see the gotham rogues having kid sidekicks or henchmen or whatever but i could totally see them breaking in some new young rogue, even if they’re super passive aggressive and condescending towards the poor kid.
eddie and some of the others start hearing about this new up and coming rogue who’s been successful in pulling off a few bank heists in gotham and mostly avoiding batman. so they straight up kidnap the kid and when the kid’s coming round, probably tied to a chair in a basement somewhere, the kid’s like, “what the hell is happening? where am i?” and at first the rogues act all menacing like they’re going to torture or kill the kid, but then eddie pushes in a costume rack like, “you really need to work on your image. now, do you like the blue one or the purple one better?”
harley is way too overly friendly and makes the kid kind of nervous, one arm around the kid’s shoulder while she waves her gun around nonchalantly, “so if you ever run into any trouble, you should probably hide in the candy store off fleet street. trust me, bats never looks there!”
the rogues take the kid out for a night on the town and it’s only after the kid gets completely shitwrecked that they realize the kid probably shouldn’t have been allowed to drink. cue harvey and selina arguing over who has to take the kid home.
“Come on this way,” Nino shouted grabbing the frantic looking boy by the hand and practically dragging him towards a small storage closet across from the library. They ran, both conscious of the high pitched beeps signaling the final minute.
Nino through open the door to the closet and Chat Noir dove inside, slamming the door behind him just as a flash of brilliant green light burst out from the crack at the bottom of the door.
Nino slumped to the floor, his back pressed against the closet door and his breathing heavy. That had been close.
“You ok in their dude?” he asked between gasps.
“Yeah, thanks,” came the nervous reply from the other side of the door. The voice sounded softer somehow. Probably a result of the lack of transformation.
“Don’t worry, I promise I won’t try to look or anything,” Nino said, “you can trust me.”
“I know,” Chat Noir replied. Nino flushed with pleasure at the indisputable certainty in the heroes voice.
“Can I get you anything? Some water maybe,” he asked, tilting his head towards the door even though there was no way his companion could possibly see him.
“Get me some cheese,” a different voice whined.
“Plagg stop being a glutton for two seconds will you?”
“But I’m hungry!”
“Who is that?” Nino called curiously through the door.
“Oh… it’s… well it’s Plagg. He’s my kwami. It’s sort of a long story.”
“Is he like your superhero sidekick?” Nino asked excitedly.
“Sidekick?! I am an immortal demi-god I am no one’s sidekick,” the high pitched voice shot back at him, “without me there would be no Chat Noir. If anything the kid is my sidekick.”
“Oh,” Nino replied soaking up the information. Alya was going to be so jealous.
“Now bring me some cheese, puny mortal, before I perish from starvation! preferably some well aged Camembert.”
“Plagg!” the boy who was Chat Noir groaned, clearly embarrassed by the demi-gods demanding attitude.
Nino couldn’t help but smile. How cool was this guy that he could be so chill towards an immortal being that grants you super powers?
“It’s too bad my boy Adrien isn’t here,” he laughed as he pulled out his bag and began rummaging through it, “I swear he is obsessed with that stuff.”
“Wouldn’t that be nice,” the strange creature replied with a sly tone, “I bet your friend wouldn’t be stupid enough to leave all of his delicious camembert locked away in his bookbag instead of carrying it around in his pocket where it belongs.”
“Plagg I swear to God-” Chat Noir growled, and Nino couldn’t hold back a small choked laugh.
“Hey,” he cried triumphantly pulling out a small snack bag his mother had once again snuck into his satchel, “it’s not camembert, but I do have some Brie and-”
Before he could finish the sentence a small black blur shot out through the door and landed on his knee.
“Hand it over kiddo!” the tiny catlike creature purred, tail twitching in anticipation.
Wordlessly Nino held out the small container full of grapes, crackers, and of course the coveted cheese.
“So,” Nino called to Chat Noir as he watched the little god happily nibble on his treat, “does this happen often?”
“Does what happen often?” he called back.
“Getting stranded without your powers?”
“Sadly more often than I would like,” he admitted, “its pretty rare that I am not the first one to use my powers but I can’t exactly just ditch My Lady in the middle of a battle. It’s a bit rough but I’ll take a few close calls if it means I keep the people I care about safe.”
Nino grinned again. God this guy was cool.
He wondered if anyone had ever given much thought to this particular dilemma Chat Noir faced. So much attention was given to Ladybug because of her amazing powers. Not that he thought she didn’t deserve the attention, but Nino had always felt that a lot of his friends undervalued how important Chat Noir was to the dynamic duo. Where others saw weakness- namely Chloe and Kim- he saw sacrifice. After all, how disastrous would it be if Ladybug ever fell under the influence of an akuma? Nino spent enough time hero chasing with Alya to know that most of hits Chat took were for the sake of his partner. Perhaps it was his devil may care attitude, or perhaps it was that unspoken knowledge that his powers were actually pretty terrifying, but not a lot of people seemed to give Chat Noir the kind of appreciation he deserved.
“You know,” Nino said careful, “no offence to Ladybug, but you’re my favorite.”
“Really?” he replied sounding more than a little awed.
“Yeah. I mean it’s a lot easier to be the hero when you get all the praise and the cool finishing move. It’s a lot harder to be the person who’s job it is to soak up the damage, you know?”
“Thanks. I… it’s really nice to hear you say that.”
“How old are you anyways? I mean if I’m allowed to ask.”
“I just turned 16.”
“Dude! You’re my age, that’s crazy!” Nino said with a chuckle. “How do you do it? How can you stand going out there every day knowing that any second you could be fighting another monster? Doesn’t it get exhausting?”
“Sometimes. But it’s worth it. If it means I am protecting people like you, it will always be worth it.”
Nino felt his cheeks go scarlet. “Wow man… thanks.”
“I mean it,” Chat Noir said, his voice barely audible through the door, “you help make this fight worth fighting. You are brave and loyal, and don’t need superpowers to be one of the most heroic people I’ve ever met.”
Nino’s breath caught. “I… jeez… what am I supposed to say to that?” he joked weakly, “Chat Noir is calling me a hero.”
He heard a small scoffing sound from the little being still perched on his leg gobbling up the last of the cheese. “You’re little blogger friend was right. You two really are one of those obnoxious lovey-dovey couples.”
“How did you- she was talking about-”
“I swear to God Plagg, you are not getting another bite of camembert for the rest of the month.”
Let me reiterate something I said before: I actually don’t want to be right about any of these fandoms being dead. It always makes me sad when people lose passion for something, and something worthwhile goes unread or unseen.
The Pulp Heroes (the Shadow, Doc Savage, etc.)
The Shadow was the first and most famous of the larger than life magazine heroes, mostly published by Street & Smith, who came out during the Great Depression. They weren’t superheroes, exactly…but they were too uncanny, too bigger than life, their adventures too bizarre and fantastical, to be typical adventurers or detective heroes in the usual sense…they were in the same ballpark as Tarzan or Zorro, a kind of “transitional fossil” between grounded detective and adventure characters, and the later far out superheroes.
I realized the reach these novels had in their own time when I heard this amazing story about none other than jazz great Thelonious Monk: he was obsessed with Doc Savage magazine. When he performed, the jazz man sometimes had a Doc Savage magazine rolled up in his coat. I have a hard time imagining that!
The reason the pulp heroes went away and stopped having pop cultural cache is simple: the audience for it went away. You have to remember that pulp hero stories were always a composite genre, meant to appeal to two audiences simultaneously: kids, who loved action and fantasy and heroism, and working class men, who also love action, but who also loved lurid mystery and gore. To appeal to working class men, there were always way more hints of blood, gunplay, dread/terror, and sex, but because kids also read these, it was all very subdued. If you realize that pulp heroes were meant to appeal to these two very different audiences with conflicting desires, the question isn’t why the pulp heroes went away, but rather, why they lasted as long as they did.
What took the kid audience away from the hero pulps could be summarized in two words: superhero comics. Sales on pulps fell every year when they had to compete with comics, and the history of the pulp heroes in the 1940s is defined by their reaction to the challenge of comics, a little like the history of movies when they had to compete with television.
There were three big reactions to comics in the 1940s from the pulp magazines:
They dissed comics. This reminds me of the 50s movies that called television “the idiot’s lantern.” The best example of this I can find is the Doc Savage mystery, The Whisker of Hercules. By all accounts, Doc Savage author Lester Dent hated, hated, hated comic superheroes, particularly Superman, who exaggerated the traits of his own heroes beyond what he felt an audience would believe. Whisker of Hercules is a novel where Doc finds criminals who who take a potion that turns them into Superman, gives them superstrength, the ability to leap tall buildings in a single bound, and the ability to move at superspeed, but in the end, they are ultimately bested by Doc Savage, who outsmarts them and reveals the Whisker of Hercules ages them to death. Lester Dent, you see, felt superhero comics were a passing fad without staying power.
They created characters that were both in pulp magazines and in comics as well. An example of this would be Ka-Zar and Sheena, who was in both comics and pulp magazines simultaneously. Today, we’d call them “multimedia properties.”
They created far-out pulp heroes that were aimed at a kid audience to lure kids back to magazines. The best example of this is Edmond Hamilton’s Captain Future, which was a pulp hero who was extremely kid-friendly, with robot sidekicks and a cute mouse pet, and a base on the Moon.
While the kids who read pulp heroes were lured away by comics, the working class men were pulled away by a new invention: the “men’s adventure” paperback novel, which could have explicit sex and violence. James Bond (Casino Royale was first published in 1954) was more typical of the paperback heroes, as was gun-toting Mack Bolan the Executioner, a special forces guy who came back from Vietnam to find his family killed by the mafia, and who declares war on the mob with his special forces training and arsenal of firearms (he also directly inspired a certain Marvel Comics character you might be familiar with).
Just like almost all pop music is either Beatles or Stones inspired, nearly all men’s adventure heroes are some variation of either James Bond or Mack Bolan. This leads us to today, where men’s adventure novels are either porn, or gun porn. If you’ve read this blog long enough, you can probably guess which one I like better.
Here’s another thing to consider when wondering why the pulp heroes went away. The Shadow, Doc Savage, the Spider, are really only a few years older than the superheroes. They were not separated by a geologic age, the way many histories lead you to believe: they came out in the same decade as each other. Doc Savage came out in 1933, and Superman came out in 1938, which is not really that much time difference at all. The difference may be that there is a publishing company (DC Comics) that views Superman and Batman as essential to their identity and that keeps them alive for that reason, whereas no company does that for the pulp characters. In fact, there was even some dispute early this century as to whether the Street & Smith characters fell into the public domain.
Original Battlestar Galactica
I used to post old cosplay pics, and my gosh, were there ever a lot of OBSG
images. The actor who played Boomer was a regular at early science fiction
conventions (there was a time when it was considered unusual for celebrities to visit conventions), and when a new BSG show was announced in 2003 (believe it or not, there was once a time that a hard reboot of an old scifi property was rare), it led to one of the all-time biggest nerdrages in nerd history.
I hesitate to say this, but part of the reason that Star Trek and the
Next Generation are discovered decades later by new fans is because they really
are good shows, and OBSG is…well, it’s a challenge for a new person, with fresh eyes, to see just what got everyone so excited in 1978. The reason why
BSG was a big deal is clear: most people who are fans of it are fans because
they watched the show when they were children, so it’s imprinted in their minds
(rather like 90s kids and “Saved by the Bell” or “Power Rangers”). OSBG fandom isn’t growing for the same reason that “Saved by the Bell” fans aren’t growing: it’s a product of hormones and nostalgia, you “had to be there” to get it.
To me, this explains perfectly why people went ballistic when a BSG reboot was announced back in the stone age, 2002. For one, the concept of a reboot was so new that I remember I heard people wonder if this means their favorite characters from the original were dead now. More importantly, though, this is a fandom with a few core people who remember BSG from when they were kids, and therefore have strong feelings about why it works and doesn’t work.
Here’s a test to determine if a fandom is dead: if a movie adaptation royally screws everything about it up, would people get angry and yelly and passionate? Remember how people got death threats over the M. Knight Shyamalan Last Airbender? Well, in the case of Prince Valiant, I don’t think anybody would actually care. This is surprising, because for years, when people thought of comics, they thought of Prince Valiant: he was emblematic of an entire medium. Years before the prestige of Maus, Persepolis, and the “graphic novel,” it was the one comic that was classy, that adults were alright reading.
Why is it no longer popular? Well, copy and paste everything I said on Dick Tracy about newspaper comics here. But also, if you ever run into someone who really loved Prince Valiant back in the day, ask them why they liked it. The answer should be incredibly telling. Most likely, they’ll tell you they loved the beautiful art, that they loved the great style of Hal Foster’s godlike pen. They loved the sweep of the story and the epic feel.
Here’s what they won’t say if you ask them: they probably won’t say they liked the characters. (I can’t think of one adjective to describe Prince Valiant’s personality - he totally fails the RedLetterMedia test). They won’t remember any moment that made them cry or made them feel a rush of triumph.
I swear, it is not my intention to be a hater and drink some haterade. That’s really not in my nature, because I am a positive person. The whole point of this blog is for me to share cool old stuff I love - negativity has no place here. But there’s a dishonesty, a willful obtuseness, in trying to understand why Prince Valiant stopped being a phenomenon, and not realizing that Prince Valiant is beautiful looking, but it doesn’t give us the things about stories that “stick to our ribs” and make it stand the test of time: great characters and memorable, earned moments. Praising a comic for having beautiful art is like praising a movie for the great special effects. You don’t want the one thing people to remember about your hero to be a haircut.
John Carter of Mars
The fandom for John Carter of Mars is a little like Barsoom itself without the Atmosphere Factory and water pumped from the depths of Omean: dead.
To the modern eye, one of the weirdest parts of Carl Sagan’s Cosmos series is the 3 minute digression in the episode on Mars where Sagan starts talking about how he was the hugest John Carter of Mars fanboy ever, and how he dreamed of rescuing beautiful women in gallant swordfights on thoatback, with his fanboy narration intercut with shots of Frazetta and Michael Whelan cover art. This really happened. And this was typical of the kind of passion that John Carter of Mars inspired that you don’t see much of today. It’s so easy to blame the tanking of the movie adaptation, but the movie failing was a symptom, not a cause, of the fact there was no hungry audience to receive it.
Sagan was a huge John Carter fan: his car had a “BARSOOM” vanity license plate, and he wasn’t alone: without hesitation, I would say that Edgar Rice Burroughs was the most important and influential scifi writer of the first few decades of the 20th Century, so important that everyone defined themselves as either Burroughs-like (Leigh Brackett, for instance) or rejected the tropes ERB created (see: Stanley G. Weinbaum). John Carter of Mars didn’t inspire Star Wars. Instead, he inspired the things that inspired Star Wars (e.g. Flash Gordon). Edgar Rice Burroughs, not Faulkner, not Hemmingway, was the best selling novelist of the 1920s.
Remember the last time I did this, and I was sincerely baffled why the Tripods novels have not had a revival? Well, when I got to John Carter of Mars, the answer came to me: the reason is that this work was so influential, so ubiquitous, that it has been strip-mined of creative power by imitators to the point that very little about it seems original anymore. Tripods, if it came out now, would just look like a Hunger Games rip-off despite the fact that if anything, it’s the other way around. The problem with John Carter of Mars is exactly the same: remember how the response to the trailer to the film adaptation was that this was Avatar Goes to Attack of the Clones? When, actually, Avatar and others got a lot from the Barsoom books. In other words, because John Carter was influential enough to create cliches, paradoxically, it is now seen as cliche.
The Ghostbusters reboot had a big, big problem: it’s a remake of a movie that’s an untouchable classic, like Back to the Future. Any remake would inevitably be compared to the original and suffer in the comparison. Well, here’s one movie you could probably remake with a gender swap hero: Highlander.
It’s not Back to the Future, Jaws, or Terminator; this isn’t a movie people can quote every line from. People know of Highlander, sure…people know things like the Queen song, “there can be only one,” electric swordfighting, etc, but people don’t actually care that much. People won’t go ballistic. Highlander is a remaker’s dream: it has enough name recognition to get sold and made, but it doesn’t have a legion of nitpicking nerd fans to second guess everything and treat the original like gospel.
Highlander used to be kind of a big deal: it had not one but two tv shows, and it had three movie sequels. Just like “Wild Wild West” was steampunk a couple decades before that term existed, Highlander was “urban fantasy” before that term existed. Because of the themes of urban fantasy and tragic romance, it always had a strong female fandom, and there’s no understanding Highlander without understanding that it was kind of the Supernatural of its day: theoretically, with its swordfighting and cool powers, it was trying to appeal to boys…but ended up building up a way bigger female audience instead.
Posterity is really never kind to any fantasy property who’s audience is
primarily women. Who, today, talks a lot about Gargoyles or Beauty and the
Beast, for example, to pick two properties that used to have a strong fandom? The last one (B&B) is pretty amazing because it was created by two people immensely relevant to
the zeitgeist of today: Ron Perlman (the Beast himself), and the show’s head writer and producer, a fellow by the name of George R.R. Martin. It could be just plain chauvinism over a “girl thing.” I don’t deny that plays a role, more likely, it could just be that scifi fans are immensely nerdy in a way fantasy fans
aren’t, so they keep alive their favorite scifi artifacts. That, I think, is why we’re still talking about Terminator and not Highlander: Tolkien fans who write in Dwarf runes are a freakish exception. In general, fantasy fans are way less hardcore than scifi fans.
Magnus, Robot Fighter
Ever talk to any old gay nerds? They will usually tell you they realized they were hella gay because of three men: Robert Conrad in “Wild Wild West,” Ultra Boy from Legion of Super-Heroes, and Magnus, Robot Fighter.
Russ Manning’s Magnus, Robot Fighter may be one of the great subterranean sources of pop culture. Matt Groening admits that the aesthetics of this comic inspired a lot of Futurama. Magnus, Robot Fighter was such a nostalgia totem in the minds of the Baby Boom generation, on the level of the Mars Attacks! cards, that George Lucas, who was always very hands-off with supplementary material, personally requested Russ Manning come out of retirement to do the Star Wars daily comics.
Magnus, Robot Fighter is an interesting example of how comics only have cache and longevity long-term if they can successfully convert into other media formats. Comics are important, but comics are ephemeral. Superman is the king of comic characters, sure, but most people know about him because he made the leap from comics to radio, screen, and television.
Magnus is all the more heartbreaking because he almost made the jump to a medium with durability - video games. Under circumstances too complex to relate here, Acclaim bought out all the Gold Key comic characters, and Magnus was generally considered to be the crown jewel of the lot. Because Magnus was too important an IP to screw up, and the development team was so inexperienced, Acclaim instead decided to make their first Gold Key game adaptation one of the minor guys, so if they blew it, no biggie: Turok, Dinosaur Hunter.
The rest is history: Acclaim was so busy making sequels to the surprise hit Turok, Dinosaur Hunter they never got around to giving Magnus, Robot Fighter a game.
Part three is coming, so stay tuned. Believe it or not, I actually have a fandom from the past ten years on here! Can you think of any dead fandoms?
Everyone bitching about “ooh, Tony Stark brought a 15-year-old to a deadly battle”:
1. Spider-Man is stronger, faster and more agile than almost any of the older heroes. If he’s already out stopping bad guys and semi-trucks with his spider-strength, he’s in very little danger in a fight between the supposed “good guys.”
2. And if you say he WAS in danger, then that means you think Cap was always planning for this to be a deadly fight and that Cap meant to hurt and kill his former teammates. Really, you think that??
3. It wasn’t supposed to be a “battle.” It was a negotiation with friends.
4. Tony specifically brought Peter to “web ‘em up” if they got feisty. Tony was given JUST 48 HOURS by Ross to bring them in safely, or Ross will send his kill squads after Team Cap. Tony is DESPERATE to save his friends’ lives. Bringing Peter and his webs is the ONLY thing he can think of that will safely apprehend a bunch of super-powered pals without hurting them.
5. Tony created a super-suit for Peter that will help PROTECT him and will help him deploy his powers safely. If you don’t think Peter Parker wouldn’t have been out on the streets in his onesie fighting crime ANYWAY, with or without the suit, you don’t know Peter Parker.
6. Note Peter’s absolute joy and glee in Berlin in his video at the beginning of “Homecoming.” This kid didn’t need to be “blackmailed” or “coerced” into going to Berlin to help the Avengers and bring in some rogues. He would have given everything he has to be able to go – he had the freakin’ time of his life!
7. If you reject Peter being brought to “a battle” (that wasn’t intended to be a battle…) then you must also reject Wanda being in the same battle, since you’re so quick to call her a “kid” due to Steve’s one reference (even though we don’t know how old she is) and even though she has JUST proved she can’t fully control her powers, which led to 11 Actual Deaths of Innocent People (11 more than Peter Parker has ever caused).
8. If you reject Peter being brought to “a battle,” then you must object to and reject the entire trope of the kid superhero or sidekick in comics and onscreen, which is what Peter Parker is the main representative of. Kid superheroes or sidekicks are and have always been immensely popular in movies, TV and in comics. Bucky Barnes himself was once a kid sidekick that Steve Rogers brought to battles in World War II. No one’s second-guessing that! There’s Batman’s Robin, Superman’s Superboy and Jimmy Olsen, the Teenage Mutant Ninja Turtles, the Sailor Moon girls, Spider-Girl and Spider Gwen, Impulse/Kid Flash, Deadpool’s Negasonic Teenage Warhead, the Teen Titans, and on and on and on. These characters are stand-ins for the young viewers and readers who want to imagine themselves in the adventures along with their favorite heroes. There’s a reason Spider-Man is Marvel’s most popular hero: because he IS a kid and kids identify with him. Go write letters to Marvel – and go back a few years (like 80 or so) if you disagree with the kid-hero trope.
tl;dr: If you stupidly keep repeating that Tony Stark dragged this kid into a deadly battle, then miss me with your increasingly desperate reaaaching to make Tony a bad guy. He’s not. Tony Stark is as much a hero as Steve Rogers is, and probably more so once you look at everything he’s had to overcome. He’s not endangering Peter; he’s HELPING him take full control of his powers and he’s PROTECTING this kid who would be out on the streets anyway, fighting crime and bringing bad guys to justice.