I’m gonna answer this in the form of what-ifs and personal theories and also based only on the Prime 3 pirates so here goes:
Since their real body is a limbless leech, I don’t think they could have utilized tools on their own. They were probably the weird alien fish equivalent of dolphins. UNTIL
Maybe a certain species of alien bird with no sense of boundaries was watching these little worm guys and seeing their potential. So they decided to show up and be like “hey u guys want limbs and also space travel?”
There’s definitely a pattern in the series of the Chozo being responsible for horrible disasters that kill a bunch of people. Like Metroids, you know because SOMEONE thought virtually-unkillable killing machines were just the dandiest solution to get rid of another unkillable killing machine. And also uplifting the Bryyonians and we all know how that went. So I think it would be perfectly in-character for them to also be responsible for the Space Pirates being a threat, (and also destroying their own Homeworld hey just like Bryyo) when they would have otherwise been harmless alien fish on a perfectly healthy planet.
I mean think about it, they spend their whole lives in the ocean with no arms and then suddenly someone shows up, sticks them on land, gives them hands and is like alright have fun with that sensory overload mate. And then they go crazy developing and dominating every inch of their planet’s surface for no other reason than NOW WE CAN. And then that one planet just isn’t enough, so they use their newfound legginess to make laughable attempts to conquer every other planet too!
I’ve never been much good at preparing for Valentine’s Day, and I usually kinda wing it every year with any sketches I hadn’t unveiled yet. And for once, I got ready on time! (in fact, I was ready before time so I shared this fanart on my Patreon because I needed someone to see it, hehehe…).
So I bring to you my newest fanart, and quite possibly the one I’m most proud of these days.
The title and little epigraphe for it are from a song that has been around for quite a while now, a song I adore with all my heart. A song I associate a lot with Sokka and Azula, especially once they’ve reached this very important point of their relationship, of course.
What point is that? Well… just what do you think Sokka might be holding? :’D
(Probably open it on a new tab because Tumblr’s ruined the resolution…)
I’ve had a few nasty weeks lately so I haven’t really had the chance to work on new art *sad sigh* BUT I had finished this one a few months ago, it’s meant to be part of my crazy art project, and this event was a great reason to post it.
Based on the scene from Gladiator’s 93rd chapter, where Sokka tries to dance with Azula and… well, let’s just say the result is mostly humorous because that’s how most things are when Sokka takes the lead xD I just love it when my favorite dorks are all smiles together…
Parts of this fought me and fought me hard. I expect I will do some major revising when I go through it again for AO3/FF-Net. Please tell me what works for you and what needs some tweaking!
were calling him “Champion”.
made Haggar’s position both easier and harder. Easier because it was normal for
the Druids to take successful gladiators and test out enhancements that could
be applied to Galra in leadership positions. Harder because now Prisoner
117-9875 was becoming famous since his defeat of Myzax. He was a regular in the
main arena and winning every match. Taking him out of rotation for extended
periods would attract attention, and she did not want Zarkon to take notice of
this alien until she understood the nature of his strange quintessence.
so I just need to prepare y’all, my sleep schedule is fucked up so I’m trying to stay up all night and all day to fix it. I’m gonna be rotating between various blogs and working out so we’ll see how this goes. I’ll probably get super weird around 9am.
In your opinion how would Superman fit into Marvel?
Conveniently, Marvel’s been trying to tell us themselves for years. The answer is “not well”.
I’m not talking about your Hyperions or Gladiators or latter-day Sentries; those guys are all cast in the Superman archetype, but none of them function in the same way or for the most part even really comment on him. Age of the Sentry on the other hand - and to a lesser extent the original Sentry miniseries - is an attempt at putting exactly the classic Superman in the Marvel Universe, and showing how ultimately the entire world would have to contort to serve his narrative. Superman could never be fully Superman in the Marvel Universe, because the Marvel Universe is built outwards from humanity’s first contact with the strange being a bunch of people screaming at a freak on fire in a tank, just as foundational as the DCU seeing the smiling guy in the cape for the first time. The heroes are all assholes in recovery and the people are all awful, and the narrative relies on that understanding so much as to render his influence relatively ineffectual; he fits fine in DC because DC was knowingly built around him, but here even if he inspired and uplifted people in his own book they’ll all still be shitheads everywhere else (i.e. the Captain America problem).
That’s pretty much the entire point of the Great Society arc in New Avengers: the rules the DCU and implicitly Superman operate on can’t be applied in full to how Marvel works. Yes, Superman/Sun God and his pals won’t ever give up on you and will always find a way to save the day, but that’s not enough to sway a bunch of hard-luck heroes from a world whose storytelling engine is built on failure, ego, and attempts to overcome personal inadequacy that will always set back to zero. The difference in short* is that the heroes in Marvel are desperate in a way Superman never can be, and they could never invest in him the trust his world is built on. If you build the story on Superman’s terms that just means a greater hurdle to overcome in making them better, but he has to share that world, and they aren’t all going to reconfigure to service him. The differences are too ingrained unless as with Sentry you rebuilt the entire universe for him.
The obvious answer then would be to retrofit him to fit the different universe, but Marvel’s been trying to do that for decades, and with most of those attempts you either get characters built around that contrast where they can’t really do anything else - like Hyperion, who serves his purpose well and is good for a oneshot or two but isn’t leading man material - or you get someone whose connection is ultimately ephemeral winking at the audience with no bearing on the story, like Gladiator. I’d only call two of the attempts real successes. You might know the first one.
I know I’ve harped on this more than once before, but try and tell me who I’m talking about here: there’s an orphaned nerd in glasses raised by elderly caretakers with the strength of ten men in a red and blue costume, who initially pursued a relationship with his pretty brunette coworker at his job at a great metropolitan newspaper where he trades on his connection to his alter ego, whose biggest enemy is a mad genius in green and purple. Everything’s the same (hell, his first use of his powers isn’t to sense danger or stick to anything, but to almost leap a tall building in a single bound) except that everything sucks and is completely different. He only has the (proportionate) strength of a bug rather than the alien power of a super man, he’s initially a dick, his boss hates him, his love interest only has eyes for his nerdy alter-ego, he’s the first Marvel hero who can’t either fly with relative convenience or leap miles at a time, and the death of his family is in fact totally his fault.** In much the same way as Martian Manhunter reads in concept like a 90s Vertigo/Wildstorm Superman pastiche 40 years early, Spider-Man comes off in the early days as the kind of monstrously cruel parody of the Superman ideal you’d see in the 80s from Pat Mills, every bit as much the logical endgame of MAD’s Superduperman as Watchmen. Maybe that’s the reason for Amazing Spider-Man #3′s infamous misprint where Doc Ock refers to the wall-crawler as Super-Man.
Still, Spider-Man undeniably grew far beyond whatever Superman comparisons might have initially been in place; while a lot of the details are the same, his personality and role in the world make it impossible to keep that going long-term. The other, more recent success not only goes a little more on-point, but actually does try and translate Superman’s narrative role to the Marvel Universe, to some really interesting results.
Starting out with Kevin Grevioux’s Adam: Legend of the Blue Marvel miniseries, Adam Brashear began as a very simple idea: what if Superman had appeared in the Marvel Universe in the period between Captain America vanishing and the start of the heroic age with the Fantastic Four (specifically in the 60s, Marvel’s most iconic and now largely unpopulated period), but was rejected by the world when he was exposed as a black man, the most powerful man on Earth ordered to step down by the President to keep white America from imploding. It was a solid story that struck a major chord with readers, and Al Ewing pushed it further when he brought him back in Mighty Avengers.
Ewing cracked the code of how to put the Superman archetype in the Marvel Universe: make his story about how that kind of character doesn’t fit in comfortably. Marvel gets all the checkmarks - he’s a flying strong nice man in a cape who fights for the little guy and goes on wild adventures, with his own equivalents to the Fortress of Solitude, the Phantom Zone and Kryptonite, even if his origin by nature of being Marvel of course involves radiation and an experiment gone wrong (and I don’t think it’s a coincidence his powers are connected to antimatter, i.e. the opposite of what makes up the Marvel Universe) - but he’s never fully accepted by the world, even in the present. He’s not part of the Avengers group shots because he’s too busy helping people all over the world for their bullshit squabbling, and even when he does play in their space he doesn’t fit in. He’s a little too unyielding in his principles, his head’s a little too far over everyone else in the room without ego or neuroticism to keep him grounded, he won’t let the kind of moral indiscretions Tony Stark has built his entire modern career on slide. He’s too self-righteous for the heroes, the government considers him a rabble rouser, the people barely notice he exists even though he saves them all every day without them knowing it.
He works both in his own right and as a Superman analogue because he literalizes every complaint about the character Marvel invites; he’s too old and old-fashioned, too powerful, too righteous, too good to be accepted under the Marvel model of the universe. He’s both great and good, his heroism is never in question to the reader, but the very nature of what he is can’t be accepted by the larger universe. Which lets you have a Superman-type character having cool adventures at the edges of that world without disrupting how that world works, or leaving him too locked into how Superman functions to develop his own character. For that, and for Al Ewing just writing the hell out of him, he’s the closest we’ve ever seen to successfully putting Superman in the Marvel Universe without majorly altering or breaking either of them, by admitting the incongruities and building his stories around them.
** There’s some Batman in there too early on between the animal motif, utility belt, intelligence, swinging from buildings and murdered father figure, though just the same inverted into a penniless, dateless loser with the same age and temperament as the teenage sidekick rather than the real hero.