superheroes in general

anonymous asked:

anyway talk to me about Steve Trevor

you don’t have to ask me twice lol pull up a seat yall let’s talk about my son for a minute

this beautiful bastard:

(and i say this as someone who has never thought chris pine was anything more than average-looking)

so first of all, let’s talk about steve’s entrance. he’s on a doomed plane that crashes in the ocean, and then he’s rescued little-mermaid-stylez and dragged onto the themyscira beach by diana. he doesn’t have any time to orient himself or try to figure out where exactly he is and who exactly he’s with, before suddenly the germans are there and the amazons are swinging out like a bunch of super hot lesbian tarzans. so what is steve’s response to all of this tomfoolery?? he immediately joins the badass lesbian army and tries to help, even shielding diana–a complete and total stranger–with his own body. he doesn’t think “hey why are all these women in tasteful body armor fighting?? where are the men??” he thinks “ok these are soldiers fighting the bad guys and i’m gonna do whatever i can to help.”

and honestly that’s steve in a nutshell? he just wants to do whatever he can to help, whether that’s by spying and collecting intel for the allied forces, or by sneaking behind enemy lines to try and stop millions more from dying, or by lifting a giant sheet of metal so his superhero girlfriend can rocket launch herself through a tower. he’s flexible. 

also like look at steve’s friends, and the way he treats his friends?? we have etta, who is admittedly more of an employee than a friend but he still treats her like his equal, and she’s clearly not afraid to speak her mind around him which tells us that they have an easy and open relationship. then there’s charlie, the alcoholic suffering from ptsd whom steve respects and supports in his recovery. then there’s sameer, a north african moc whom again, steve respects and admires the talent of. and then there’s my dude chief!!! an actual native american!!! whom steve respects and cares about greatly!! steve cares about people, proven time and time again both by how he treats the individuals around him and how ready he is to literally die if he thinks it might save others.

and then ofc there’s the way he treats diana, the real pickle on the Best Damn Sandwich that is steve trevor. he doesn’t just treat diana like she’s some tourist that he’s grudgingly dragging around the western front (cough whedon cough). he respects and admires diana and then, later, he loves her, and he makes sure that she knows that. he makes sure that she knows how amazing and inspirational she is, how important she is. “i can save today, but you can save the world” is such a good line because steve is literally acknowledging that she can do what no one else can, and that’s a good thing.

so often we see leading males who are intimidated by their female counterparts if they sense they might be stronger than them. they crack a joke about how the woman “got lucky” or are quick to point out something they can do that the woman can’t. “you’re pretty good–for a girl” nonsense. 

steve does none of that, and in fact, does the opposite. outside of themyscira, steve is diana’s biggest fan, her number one supporter, the guy holding her flower while she throws down–and then jumping in if he thinks he can help her. 

he lets her lead, consistently, once he realizes that she can. ofc at first he’s a little hesitant to let her just march through no man’s land, but the moment he sees her deflect those first bullets, he turns into her cheerleader. ofc he’s a little hesitant to believe that one mythological god could be behind the greatest war that had ever existed, but once again, the moment ares turns up, steve is ready to assist diana in whatever way he can. including sacrificing himself to save the day, while she goes on to save the future.

there were so many opportunities for him to make some crude comment about her costume, or about themyscira only having women, or about her “inexperience with men” etc (cough whedon cough) but steve is nothing but a gentleman throughout, always following diana’s lead in that as well. he’s uncomfortable when she sees him naked, but when he realizes she’s fine, he just goes with it, without making any crude jokes or invitations. on the boat, he’s embarrassed about sleeping next to her lol and then in england, he wants her to change her clothes not because he doesn’t approve of them, but because he knows they would stand out too much when they need to blend in. even when he does ask about the lack of men on the island, it’s clearly just curiosity, and once again he’s awkward about it, not wanting to be too forward or rude. he respects diana’s boundaries from the moment that he meets her.

look at the way he looks at her:

awe-struck. steve always had faith in people, even as he also recognized the bad in others too. he could have given up on stopping the war after his plane crashed, but he didn’t even hesitate before jumping back onto the front lines. even though he genuinely believed he was going to die. he didn’t hesitate before climbing into that bomb-laden plane, even though he knew he was going to die. because at the end of the day, steve always believed that the world could be saved, and that maybe he could help that happen. 

and then he met diana, and he knew that she could. 

when he had to tell her that humanity wasn’t all good, or all bad, but instead a mix of grays, you could see he didn’t want to admit it. not because he didn’t believe it was true, but because he didn’t want to break diana’s heart. he didn’t want to be the reason she lost faith. but he still told her the truth, because (even though he’s literally a spy and lies a lot lol) to steve, the truth is what matters. truth, and faith, and doing what’s best, even if it’s not the best thing for him.

when diana said she was giving up on mankind, and that they didn’t deserve her, he didn’t try to make her stay. he said “maybe it’s not about what people deserve, maybe it’s about doing what you believe in,” because that was the thought that got him through the war. but when diana still wasn’t willing, he turned and went back to fight on his own, because even though it hurt him, even though he wanted to stay with her, he knew that was the right thing. 

his last words were reassuring diana that she could save the world, and that he loved her. and these were his last thoughts:

“He wasn’t afraid. But he was wistful. He wanted to show Diana the beautiful parts of this world. To share it with her.”

to share it with her. because steve loved diana as an equal. he wanted more time to share with her. it would have been easy to just let the plane get away, or let someone else take the fall, but that isn’t who steve is. steve would always do what he could to help. sometimes that meant fighting alongside a bunch of amazons on a beach. sometimes it meant buying wonderwoman ice cream. and sometimes it meant getting in a plane to die, because if he didn’t, other people would die instead.

the reason that wondertrev works so beautifully is because diana and steve are, at their core, the same. they both believe in goodness, and love. they both believe in helping. when diana’s ears are still ringing and she can’t even hear what he’s saying, and she looks ready to pass out, the first thing she says is “i can do it, let me do it.” she’s so ready and willing to do whatever he needs, and steve just smiles because he understands, because he’s like that too. steve’s faith is what reignited diana’s own belief, at the end, and at the end, steve died believing in her.

DC : let’s give the fans a movie with a female superhero, feminism, excellent fighting sequences, stunning photography, solid acting, and a pretty damn good movie about superheroes in general.

Marvel : let’s give the fans another remake of Spiderman, and wait other two years to release our first movie with a woman as lead character.

Superman Starter Pack

First and most importantly, before we go into petty commercial concerns, let’s remember the meaning of this day. Because friends, this is no ordinary day: this is Miracle Monday, the anniversary of Superman triumphing over no less than the biblical prince of darkness himself (or at least a respectable substitute), and it was so awesome that even though it was expunged from humanity’s collective consciousness, they still instinctively recognized the third Monday of May as a day of good cheer to be celebrated in Superman’s honor from now until the end of time.

I know I write plenty about Superman on here, but with as much as a pain as comics can be to get into, I’m sure at least some of those I’m lucky enough to have follow me haven’t been able to find an easy in for the character. Or maybe a follower-of-a-follower or friend-of-a-friend is looking for a reasonable place to start. So in the spirit of the season, I’ll toss on the (admittedly already pretty massive) pile of recommended starting points on Superman: ten stories in a recommended - but by no means strict - order that should, as a whole, give you a pretty decent idea of what Superman’s deal is and why you should care, all of which you should be able to find pretty easily on Comixology or a local bookstore/comic book shop. I’ll probably do a companion to this in September for Batman Day.

1. Superman: Birthright

What it’s about: It’s his origin. He gets rocketed to Earth from the doomed planet Krypton, he gets raised by farmers, he puts on tights to fight crime, he meets Lois Lane and Lex Luthor, he deals with Kryptonite, all the standard-issue Superman business.

Why you should read it: It does all that stuff better than anyone else. He’s had a few different takes on his origins over the years due to a series of reboots, another of those tellings is even further down the list, but the first major modern one pretty much hit the nail on the head first try. It toes the tricky line of humanizing him without making you forget that hey, he’s Superman, it’s high-action fun without skimping on the character, and if there’s any one story that does the best job of conveying why you should look at an invincible man-god all but beyond sin or death with no major inciting incident in his background as a likable, relatable character, this is it. Add in some of the best Lane and Luthor material out there, and it’s a no-brainer.

Further recommendations if you liked it: About a decade before writing Birthright, its author Mark Waid worked with Alex Ross on what ended up one of DC’s biggest comics ever, Kingdom Come, the story of a brutal near-future of out-of-control superheroes that ultimately narrowed down to being about Superman above all else, and one of his most popular and influential stories of all time at that. Years after Birthright he created Irredeemable, the story of a Superman pastiche named Plutonian gone murderously rogue and how he reached his breaking point, illustrating a lot of what makes Superman special by way of contrast.

(Since Superman’s had so many notable homage/analogue/pastiche/rip-off/whatever-you-want-to-call-it characters compared to other superheroes, often in very good stories, there’ll be a number of those stories on this list.)

2. Superman: Up, Up and Away

What: Ever seen Superman Returns? That, but good. Clark Kent’s been living and loving a normal life as a reporter and husband after a cosmic dust-up in one of DC’s event comics took Superman off the board for a year, but mounting threats demand his return to save Metropolis again, if he still can.

Why: If you’d rather skip the origin, this is as a good a place as you’ll find to jump onboard. Clark and Lois both get some solid characterization, a number of classic villains have solid screentime, there’s some interesting Kryptonian mythology sticking its head in without being too intrusive, a great overarching threat to Metropolis, and it captures how Superman’s powers work in a visceral sense better than almost anything else. If you just want a classic, pick-it-up-and-go Fun Superman Story, this is where to go.

Recommendations: If you liked this, you’ll probably be inclined to enjoy the rest of co-writer Geoff Johns’ run on Action Comics, including most popularly Legion of Superheroes and Brainiac, both with artist Gary Frank. Another series tapping into that classic Superman feeling pretty well - regardless of whether you enjoyed the original show or not - is Smallville: Season 11, showing the adventures of that series’ young Clark Kent once he finally becomes Superman. Currently, Peter Tomasi and Patrick Gleason’s run on the main Superman title under the banner of DC Rebirth is maintaining that feeling itself, properly introducing Jon Kent, Lois and Clark’s 10-year-old-son, as Superboy in what seems to be a permanent addition to the cast and mythology (though there’s some continuity hiccups there, even as they’re mostly kept to the background - for the first 20 issues Superman is a refugee from a previous continuity, don’t ask).

3. Superman: Secret Identity

What: He’s Clark Kent, an aspiring writer from a farm town in Kansas. Problem is he’s only named after the other guy, an ordinary teenager who’s put up with crap his whole life for being named after a comic book character in an ordinary world. But when he suddenly finds himself far closer to his namesake than he ever would have imagined, it becomes the journey of his life to find how to really be a Superman.

Why: The best ‘realistic’ Superman story by a long shot, this doesn’t sideline its heart in favor of pseudo-science justifications for what he can do, or the sociopolitical impact of his existence. He has the powers, he wears the costume to save people (though he never directly reveals himself to the world), and in-between he lives his life and learns what it means to be a good man. It’s quiet and sweet and deeply human, and probably one of the two or three best Superman comics period.

Recommendations: Superman: American Alien is probably as close as there’s been to taking this kind of approach to the ‘real’ Superman, showing seemingly minor and unconnected snippets from his life, from childhood to his early days in the costume, and how they unconsciously shaped him into the man he becomes. If you like the low-key, pastoral aesthetic, you might enjoy Superman for All Seasons, or the current title Supergirl: Being Super. If you’d like more of writer Kurt Busiek’s work, his much-beloved series Astro City - focusing on a different perspective in the superhero-stuffed metropolis in every story - opens with A Dream of Flying, set from the point of view of the Superman-like Samaritan, telling of his quiet sorrow of never being to fly simply for its own sake in a world of dangers demanding his attention.

4. Of Thee I Sing

What: Gotham hitman Tommy Monaghan heads to the roof of Noonan’s bar for a smoke. Superman happens to be there at the time. They talk.

Why: A lot of people call this the best Superman story of the 90s, and they’re not wrong. Writer Garth Ennis doesn’t make any bones about hating the superhero genre in general (as evidenced by their treatment in the rest of Hitman), but he has a sincere soft spot for Superman as an ideal of what we - and specifically Americans - are supposed to be, and he pours it all out here in a story of what it means for Superman to fail, and why he remains Superman regardless. It sells the idea that an unrepentant killer - even one only targeting ‘bad guys’ like Tommy - would unabashedly consider Superman his hero, and that’s no small feat.

Recommendations: If you read Hitman #34 and love it but don’t intend to check out the rest of the series (why? It’s amazing), go ahead and read JLA/Hitman, a coda to the book showing the one time Tommy got caught up in the Justice League’s orbit, and what happens when Superman learns the truth about his profession, culminating in a scene that sums up What Superman Is All About better than maybe any other story. If you appreciated the idea of a classically decent Superman in an indecent world, you might enjoy Al Ewing’s novel Gods of Manhattan (the middle of a loose pulp adventure trilogy with El Sombra and Pax Omega, which I’ve discussed in the past), starring Doc Savage and Superman analogue Doc Thunder warring with a fascistic new vigilante in a far different New York City.

5. Superman: Camelot Falls

What: On top of a number of other threats hitting Superman from all sides, he receives a prophecy from the wizard Arion, warning of a devastating future when mankind is faced with its ultimate threat; a threat it will be too weak to overcome due to Superman’s protection over the years, but will still only just barely survive without him. Will he abandon humanity to a new age of darkness, or try and fight fate to save them knowing it could lead to their ultimate extinction?

Why: From the writer of Secret Identity and co-writer of Up, Up and Away!, this is probably the best crack at the often-attempted “Would having Superman be around actually be a good thing for humanity in the long term?” story. Beyond having the courtesy of wrapping that idea up in a really solid adventure rather than having everyone solemnly ruminate for the better part of a year, it comes at it from an angle that doesn’t feel like cheating either logically or in terms of the characters, and it’s an extremely underrated gem.

Recommendations: For the same idea tackled in a very different way, there’s the much better-known Superman: Red Son, showing the hero he would have become growing up in the Soviet Union rather than the United States; going after similar ideas is the heartfelt Superman: Peace on Earth. The rest of Kurt Busiek’s time on the main Superman title was great too, even if this stood easily as the centerpiece; his other trades were Back In Action, Redemption, The Third Kryptonian, and Shadows Linger. Speaking of underrated gems, Gail Simone’s run on Action Comics from around the same time with John Byrne was also great, collected in Strange Attractors. And since the story opens with an excellent one-shot centered around his marriage to Lois, I have to recommend From Krypton With Love if you can track it down in Superman 80-Page Giant #2, and Thom Zahler’s fun Lois-and-Clark style webcomic Love and Capes.

6. Superman Adventures

What: A spinoff of Superman: The Animated Series, this quietly chugged along throughout the latter half of the 90s as the best of the Superman books at the time.

Why: Much as stories defining his character and world are important, the bread and butter of Superman is just regular old fun comics, and there’s no better place to go than here for fans of any and all ages. Almost all of its 66 issues were at least pretty fun, but by far most notable were two runs in particular - Scott McCloud, the guy who would go on to literally write the book on the entire medium in Understanding Comics, handled the first year, and Mark Millar prior to his breakout success wrote a number of incredibly charming and sincere Superman stories here, including arguably the best Luthor story in How Much Can One Man Hate?, and a full comic on every page in 22 Stories In A Single Bound.

Recommendations: Superman has an embarrassment of riches when it comes to runs of just plain fun comics. For the youngest in your family, Superman Family Adventures might just be what you’re looking for. Supergirl: Cosmic Adventures in the Eighth Grade would fit on your shelf very well next to Superman Adventures. Superman: Secret Origin, while not the absolute best take on his early days, has some real charm and would be an ideal introduction for younger readers that won’t talk down to them in the slightest, and that you’ll probably like yourself (especially since it seems to be the ‘canon’ Superman origin again). If you’re interested in something retro, The Superman Chronicles cover his earliest stories from the 30s and 40s, and Showcase Presents: Superman collects many of his most classic adventures from the height of his popularity in the 50s and 60s. Age of the Sentry and Alan Moore’s Supreme would also work well. For slightly older kids (i.e. middle school), they might get a kick out of Mark Millar and Lenil Yu’s Superior, or What’s So Funny About Truth, Justice, and the American Way? And finally, for just plain fun Superman runs, I can’t ignore the last year of Joe Casey’s much-overlooked time on The Adventures of Superman.

7. Superman vs. Lex Luthor

What: Exactly what it says on the tin: a collection of 12 Luthor stories from his first appearance to the early 21st century.

Why: Well, he’s Superman’s biggest enemy, that’s why, and even on his own is one of the best villains of all time. Thankfully, this is an exceptionally well-curated collection of his greatest hits; pouring through this should give you more than a good idea of what makes him tick.

Recommendations: While he has a number of great showings in Superman-centric comics, his two biggest solo acts outside of this would be Brian Azzarello and Lee Bermejo’s Luthor (originally titled Lex Luthor: Man of Steel) and Paul Cornell’s run on Action Comics, where Lex took over the book for about a year. Also, one of Superman’s best writers, Elliot S! Maggin, contributed a few stories here - he’s best known for his brilliant Superman novels Last Son of Krypton and the aforementioned Miracle Monday, and he wrote a number of other great tales I picked some highlights from in another article.

8. Grant Morrison’s Action Comics

What: Spanning years, it begins in a different version of Superman’s early days, where an as-yet-flightless Clark Kent in a t-shirt and jeans challenged corrupt politicians, grappling with the public’s reaction to its first superhero even as his first true menace approaches from the stars. Showing his growth over time into the hero he becomes, he slowly realizes that his life has been subtly influenced by an unseen but all-powerful threat, one that in the climax will set Superman’s greatest enemies’ against him in a battle not just for his life, but for all of reality.

Why: The New 52 period for Superman was a controversial one at best, and I’d be the last to deny it went down ill-advised roads and made outright bone-stupid decisions. But I hope if nothing else this run is evaluated in the long run the way it deserves; while the first arc is framed as something of a Superman origin story, it becomes clear quickly that this is about his life as a whole, and his journey from a cocksure young champion of the oppressed in way over his head, to a self-questioning godling unsure of the limits of his responsibilities as his powers increase, and finally an assured, unstoppable Superman fighting on the grandest cosmic scale possible against the same old bullies. It gives him a true character arc without undermining his essential Superman-ness, and by the end it’s a contender for the title of the biggest Superman story of all.

Recommendations: Outside of this, Greg Pak’s runs on Action Comics and Batman/Superman, and Tom Taylor/Robson Rocha’s 3-issue Batman/Superman stint, as well as Scott Snyder, Jim Lee and Dustin Nguyen’s blockbuster mini Superman Unchained, are the best of the New 52 era. If you’re looking for more wild cosmic Superman adventure stories, Grant Morrison’s Superman Beyond is a beautiful two-part adventure (it ties in to his event comic Final Crisis but largely works standalone), and Joe Casey’s Mr. Majestic was a largely great set of often trippy cosmic-scale adventure comics with its Superman-esque lead. For something a little more gonzo, maybe try the hilariously bizarre Coming of the Supermen by Neal Adams. And while his role in it is relatively minor, if we’re talking cosmic Superman-related epics, Jack Kirby’s Fourth World has to be mentioned - it’ll soon be reissued in omnibus format to coincide with the Justice League movie, since many of its concepts made it in there.

9. Superman: Whatever Happened to the Man of Tomorrow?

What: More than just the title story, DC issued a collection of all three of Watchmen writer Alan Moore’s Superman stories: For The Man Who Has Everything, where Superman finds himself trapped in his idea of his ideal life while Batman, Wonder Woman and Robin are in deadly danger in the real world, Jungle Line, where a deliriously ill and seemingly terminal Superman finds help in the most unexpected place, and Whatever Happened to the Man of Tomorrow?, Moore’s version of the final Superman story.

Why: Dark Superman stories are a tricky tightrope to walk - go too far and you invalidate the core his world is built around - but Moore’s pretty dang good at his job. Whatever Happened you should wait to read until you’ve checked out some Superman stories from the 1960s first since it’s very much meant as a contrast to those, but For The Man Who Has Everything is an interesting look at Superman’s basic alienation (especially in regards to his characterization in that period of his publication history) with a gangbuster final fight, and Jungle Line is a phenomenal Superman horror story that uncovers some of his rawest, most deeply buried fears.

Recommendations: There are precious few other dark Superman stories that can be considered any real successes outside a few mentioned among other recommendations; the closest I can think of is Superman: For Tomorrow, which poses some interesting questions framed by gorgeous art, but has a reach tremendously exceeding its grasp. Among similar characters though, there are some real winners; Moore’s own time on Miracleman was one of the first and still one of the most effective looks at what it would mean for a Superman-like being to exist in the real world, and the seminal novel Superfolks, while in many ways of its time, was tremendously and deservedly influential on generations of creators. Moore had another crack at the end of a Superman-like figure in his Majestic one-shot, and the Change or Die arc of Warren Ellis’ run on Stormwatch (all of which is worth reading) presented a powerful, bittersweet look at a superman’s attempt at truly changing the world for the better.

10. All-Star Superman

What: Superman rescues the first manned mission to the sun, sabotaged by Lex Luthor. His powers have reached greater heights than ever from the solar overexposure, but it’s more than his cells can handle: he’s dying, and Lex has won at last. This is what Superman does with his last year of life.

Why: I put this at the bottom since it works better the more you like Superman, but if you’re only going to read one story on this list, this one has to be it. It’s one of the best superhero stories period, and it’s everything that’s wistful and playful and sad and magical and wonderful about Superman in one book.

Recommendations: If you’re interested in the other great “Death of Superman” story, skip the 90s book and go to co-creator Jerry Siegel and Curt Swan’s 60s ‘Imaginary Story’, also one of the best Superman stories ever, and particularly one of Luthor’s best showings. If you got a kick out of the utopian ‘Superman fixes everything’ feel of a lot of it, try The Amazing Story of Superman-Red and Superman-Blue! The current Supergirl title by Steve Orlando seems to be trying to operate on a pretty similar wavelength, and is definitely the best thing coming out of the Superman family of books right now. The recent Adventures of Superman anthology series has a number of creators try and do their own ‘definitive’ Superman stories, often to great results. And Avengers 34.1 starring Hyperion by Al Ewing and Dale Keown taps into All-Star’s sense of an elevated alien perspective paired with a deep well of humanity to different but still moving results.

Lawful Good (superAU)

Fandom: RWBY
Paring: Ladybug (Ruby/Blake)
Words: 3085
Description: Ruby Rose is a superhero in the City of Vale, and recent student to Beacon University. Only problem is, her sister’s roommate is also the girl that Ruby is always having to rescue. Hopefully she can keep that part a secret from the overly investigative law student. 

You can blame @relatablepicsofblakebelladonna for the AU. I’m a sucker for Superhero stuff (see here for my other ruby and blake-centric platonic super hero fic shameless self promotion yay). See their page for more info on this one though. Hopefully i did it justice. 


The world blurred as she ran, the edges of her vision fading away. She could still see though, everything in front of her seemed to be standing still as she moved around the people, even outrunning vehicles. She was unstoppable, a force of nature, the wind itself incarnate; and she was late.

Keep reading

Man of Steel changed the way I look at movies, not just superhero movies, but movies in general. It gave me the Superman I’d wanted to see since childhood. A Superman that I not only related to, but could really look up to. He wasn’t just a grinning boy scout with little character depth, he was a Superman.
In a movie that had heart and soul. A movie with pain and love, dark and light. A villain that really felt scary and I couldn’t predict how it was going to end.

And it gave me hope. Not just in my personal life, as I’ve discussed before, but it gave me hope in art. Movies as art. Superhero movies didn’t need to be high-saturated, popcorn movies with nice, neat, closed plots. They could be big, epic, meaningful artistic narratives! Something that reflected how important the mythology of superheroes is to the fans.

And then Batman V Superman came out and enriched everything that Man of Steel established. It built on the foundations and not only gave us a universe where Batman and Wonder Woman can fight alongside Superman, but it gave us some understanding of WHY these heroes do what they do and why they are teaming up. We saw Wonder Woman get slowly dragged back into heroism, and we knew why. She didn’t just suddenly, inexplicably drop out of nowhere onto the roof of a jet and start beating up another hero with absolutely no explanation. She hesitated, she fought her instincts and tried to be impartial, but the hero in her wouldn’t let her. And let’s not get into the extraordinary depth of character and development of Batman in this movie. Because that’s an essay into itself.
And then we saw the sacrifice of the hero who started all this. Whose sacrifice inspired these weathered, wary heroes into action again.
What a beautiful way to end a movie but start another! The dovetailing of this writing is genius.

After this we got Suicide Squad. A bit of a frantic, hectic, off-kilter movie about villains. It did a lot for world building, but most importantly it showed us what kind of people our heroes have faced before, and will face again. It showed us how strong and capable the villains can be, and this added so much to this universe that it is an invaluable movie.

Now, we have Wonder Woman! Adding more exposition to Diana’s motives in the modern day, this beautifully layered movie provided us with the first Wonder Woman movie, and yet but another incredible chapter to the DCEU. Never losing track of the themes and ideals of the shared universe, but maintaining its own unique voice, this movie delivered the finest superhero origin movie to date. While I still personally feel that it shares the stage with Man of Steel in terms of quality, it stands out on its own merits, because it is the first Wonder Woman movie, the first Wonder Woman origin story on the big screen and the first time a superhero movie has had such widespread, universal appeal.
It still considered the sense of realism established in the previous movies, showing the reality of war, a hero that will put the needs of others above her own and it kept a sense of doubt and confusion in the face of responsibility.

These movies have all been amazing in their own ways, and stand out as their own entities whilst keeping the universe cohesive. No other franchise has done this yet.

And it’s far from over.

This November, we get to see another huge milestone as Justice League hits the big screen. And I for one can not wait to see how this builds on what we’ve seen so far, and what will be built upon it.

It is a phenomenal time to be a DC fan, but it’s also a great time to be a movie fan and a superhero fan, too.

Bring it on.

anonymous asked:

Hello ! Can I have prompts about a character with power to copy the superpowers of others people ? Thank you in advance !

“Wow, that’s a cool ability you have there. Mind if I do that too?”

“It’s so unfair that you get to have basically every power under the sun. Do you get to keep them?”

“Now I get to literally fight fire with fire! How exciting.”

“What you can do, I can do better.”

2

The thing that I love about The Flash and about superhero shows, in general, is that it’s not about having superpowers that makes you a superhero. You don’t have to be The Flash and have super speed to do the right thing. You can be a great reporter or you can be a cop, like Joe West, and still fight for the things that matter.

here’s a thing, though. as far as more neutral criticism/commentary

i think peter’s relationship with tony/the avengers will always be (or at least currently is) muddied by a couple of things: 1) mcu’s general aversion to genuine emotion that doesn’t lead directly to jokes, constantly, but that’s not the main topic of this particular rant, 2) the fact that, considering the wider mcu, it’s very hard to place the portrayal of this relationship in terms of whether or not it does/should adhere to the usual superhero genre conventions

see, peter’s arc follows the very typical pattern of “teen has Big Dreams, gets powers, helps out locally before being invited to be an actual avenger” (see for instance kamala khan). there’s that dose of “the Adults aren’t listening! i have to do this on my own!” (see: young avengers). their age and general inexperience and the highly questionable nature of the mere possibility that they may be allowed to fight in wars when they’re objectively not even old enough to fully understand what they’re consenting to… those are all things that make you go “mmmmmyeah lol we don’t talk about that” when you’re reading a standard teen superhero comic

homecoming (aside from mcu’s everpresent tonal problem when it comes to developing genuine relationships between people) does well in that context. it wasn’t made for the critical adult so much as it was made for the twelve year old in their spider-man costume dreaming that tony stark would find them one day and pull them into this world of superheroes. it takes peter’s side and perspective (as it should). when all the bells and whistles in his suit become inconvenient as he’s trying to catch bad guys, i daresay a casual audience member is more prone to get frustrated at tony stark for having included the bells and whistles than they are to remember that peter’s only having that problem because he hacked into the suit and broke all the ground rules tony laid out for him exactly because he knew peter would be overwhelmed. when peter’s begging tony if he can please keep that suit, it makes you sad that tony takes it away and then peter goes back home to cry about how he lost “the stark internship” because he thought that “if he tried really hard then tony would let him have something more but then he screwed up” (not an exact quote but he does express that sentiment to aunt may). like. it’s really heartbreaking

and yes, i think the movie does mostly a good job balancing out the two perspectives on that conflict, tony and peter’s. you see peter neglecting school and friends and missing decathlon and missing quizzes and ditching detention and lying to aunt may and all of that while he has that suit, but then tony takes it away and gives him The Lecture about how he shouldn’t have that suit if he was going to be nothing without it, and that’s when peter goes back to his life, spends more time with ned, picks up his grades, invites liz to homecoming – and when the moment comes and he has to make the choice between standing by and doing the right, heroic thing, he goes out and fights regardless and it’s tony’s words that he remembers when he’s extremely overwhelmed

then you have a guy like happy hogan, right. and in the context of a typical Teen Hero story, happy is That Guy. he’s That adult who’s simultaneously aggravating and comedic in his total incompetence. there’s always That Guy in those stories that take the super-teen’s perspective! That Guy who doesn’t listen to the kids for whatever petty reason and now the kids can’t reach iron man so I GUESS the city will have to be saved by a fifteen-year-old in his spider-themed pajamas and his best friend who’s sitting in the computer lab at high school during the homecoming dance. happy embodies that straight-forward plot necessity that’s a Typical Superhero Thing. i’m actually entirely convinced there has to be a whole TV tropes entry for that specific role

and like that’s fine! TONAL BULLSHIT ASIDE (honestly you don’t even know how much i hated the whole thing where happy was interrupted while he thanked and apologized to peter), you get the (attempted) moment trying to show that happy is a good guy after all and he cares for peter and he’s nervous about his own job and, assuming that sort of moment to be successful (which it kind of isn’t because again why does the mcu have to turn everything into a joke) then what you’re left with is the idea that both tony and peter (and pepper if you extend this all the way back to im3), for all of their smarts and independence and grievances, simply have too much heart to resent happy for his many and numerous slips. that’s important closure if you don’t want the audience to hate or question the emotional weight of a character that was brought in specifically as an annoying comedic inconvenience

THE THING IS, THOUGH: peter parker wasn’t introduced in this movie. peter was introduced in a movie that, according to the russos and m&m themselves, intended to question the foundation of basic superhero conventions. they poke at all those “lol we don’t talk about that” Superhero things, like collateral damage and loss of civilian life and whether or not superheroes “invite” threats and the international consequences of what definitely looks like military interventionism if you take away the Superhero goggles. peter’s presence in the avengers in this context (which will most likely be part of the context of the next avengers movies) is highly highly highly questionable, ESPECIALLY in light of homecoming, which emphasizes peter’s vulnerabilities as a teenager. i know there are attempted in-universe explanations for tony’s decision to bring peter into cap 3, but none of them make real sense and none of them will ever be realistically acceptable. simply because there’s a brutal – a BRUTAL – clash in genre expectations happening there. you physically can’t watch that peter recruitment scene in cap 3, plus literally everything that has to do with his presence in that airport battle, without saying “you know what? this is a Superhero Movie ™” (unless of course you’re willing to swear off and harshly judge everyone, and i do mean everyone on BOTH sides, who was involved in the airport fight in any capacity)

(and sidebar: i do think there’s a greatness, in a meta level, that tony served as a kind of a gateway and channel to Classic Superhero Nonsense in cap 3 – i’m reminded of the commentary where the russos said that the music playing during tony’s suit up sequence in the helicopter was intentionally composed to sound like the most Superhero ™ track in the whole movie – and that makes me emotional specifically because tony *is* so attached to the general Superhero Ideal – he *is* the only avenger who was shown signing kid’s iron man toys and keeping iron man drawings and artwork, he came up with the “earth’s mightiest heroes” catch phrase (and “friendly neighborhood spider man” too for that matter), he gave the team a building after fighting alongside them once, he literally could not help but reveal he was iron man, etc. the russos said in the cap 3 commentary that in an ensemble movie, it was important for them to bring in a little of the spark of every franchise and make it part of each character, and all technical shit aside, i think it’s cute and heartwarming that tony’s character was able to bring in that strand of uncomplicated, child-friendly superhero stuff – tony stark is, after all, the single avenger who had a legitimate kid sidekick in his own movie and that’s fantastic imo)

ANYWAY what i’m saying is there’s an inevitable clash in genre expectations going on between peter and the avengers because as of cap 3, avengers stuff seems to be tearing at genre conventions while peter’s story sort of needs at least one of those conventions, in a BIG way, in order to stand on its own as something that’s actually enjoyable and not 7392739 levels of disturbing. if you take away the Superhero Goggles while watching homecoming then that’s…. yikes….. especially on the happy hogan front, imo, since tony is shown to be keeping track of peter, while happy, the assigned mediator, does a pretty crappy job at getting back to peter and answering distress calls. but even like in general, the idea of tony wanting to recruit peter to the avengers because he was able to fight a murderer wearing giant wings while wearing his spider pajamas is…. so insane and irresponsible. and if you dissect that it’s probably going to kill a lot of what’s enjoyable in the premise of a casual and lighthearted coming-of-age teen-hero story, which is what homecoming is

(oh and make no mistake – as i mentioned before, the mcu’s aversion to displaying emotional genuineness without making fun of itself DOES take something away from the build up and power of tony and peter’s interactions, imo, every single one of them that’s not the ferry argument – and personally i feel like that in turn hurts the general idea of peter as someone with ties with the avengers)

all of that being said, i did genuinely enjoy the movie (and context plays a big part here – it IS pretty damn enjoyable to see anything at all that has to do with the development of tony and peter’s relationship after a full year of post-cap 3 fandom bullshit) but ha BOY expect The Discourse. it’s going to happen. it’s absolutely going to happen because it’s entirely too easy (if not… almost inevitable?) to question the general premise of “adults providing means and tools for teen heroes” when you’ve got the wider post-cap 3 mcu universe practically begging you to by putting in check the very nature of and outlook on the typical self-governed superhero team

I shouldn’t care so much about critical consensus, but this is beautiful and I might actually cry.