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hellzyeahwebwielingessays · 4 years

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Lets debunk the BS from this. Up top a lot of this BS comes from Bob Chipman/MovieBob who is the guy who if you recall said:

- Superheroes like Superman (and thus by extension Spider-Man who marry civilians were jerks for putting their spouses through the same stuff soldiers’ spouses go through

- Spider-Man appeals best to teens (even though he provably doesn’t since most people get into him before their teens and he appealed to college students in his heyday)

- The Spider-Marriage was nothing more than a forced publicity stunt

- Sins Past is worse than OMD

- Spider-Man is about passive aggressive power

- And the best one, ever since OMD Peter and MJ had become ‘more interesting’

That all being said lets dive into this:

Someone asked the panel what a queer reading would add to the character of Miles…Jesus…that’s just the greatest sign of hope for this podcast isn’t it? Shoot me now…

Miles was not 3 dimensional when he was created. Even if you disagree it is nonsense to say that Peter wasn’t three dimensional when he was first created. Just look at how much Stan explored Peter’s psychology in this singular panel from ASM #50

Look at that. Peter Parker pulled between the two sides of his life. Making a judgement of someone. But then calling out his own judgement of them and acknowledging maybe he’s in the wrong.

This was 1967!

That isn’t three dimensional?

Additionally other people would disagree that Peter wasn’t three dimensional early on.

And even if you disagree with that it’s nonsense to say he hasn’t SINCE become three dimensional or that retaining his origin story (which Miles broadly uses as the basis for his story in every version of his character) somehow holds him back from being three dimensional. If nothing else Peter was at least multifaceted for the time period.

Spider-Man wasn’t an example of stories about a 15 year old made for 7 year olds. Spider-Man was intended to be a senior in AF #15 and the stories were written by Stan for at worst an older audience but at best basically just for him.

Stan Lee confirmed that AF #15 was written not as a one off but as something that if successful COULD become an on-going series.

Its BS to say Peter makes no sense as a character because he makes sense about as much as any character within the confines of the superhero genre can. MILES doesn’t somehow make more sense whatsoever.

No. Spider-Man wasn’t merely a thrown together ‘hey here is a teenage superhero story with a downer ending’ it was a story about selfishness, responsibility and appealed via it’s relative normalcy and lack of idealization of the superhero protagonist.

The psychology and thematic idea of his exclusive powers (invisibility+venom blast) is the same…how? How is disappearing and repelling people the same thing? They keep saying that in the podcast as though it’s obvious and it’s really not

Great Power=Great responsibility isn’t Peter’s catch phrase it’s the philosophy underpinning everything he does

‘The young end millennials have been thrown under the bus by society so the optimism is reserved for the young end millenials like Miles and Gwen’ oh but also ‘you need 5-10 years added to each character to have this make sense and also Spide-Ham doesn’t quit fit’…So…the theory doesn’t make sense then does it. Also, what optimism is there for teen millenials in the late 2010s? We are all shit scared Global warming needs to be fixed within the next 10-20 years. The young end millenials will not be in much of a position to do that. Maybe not the high-end millenials either. The power rests in older Gen Xers or even older generations. So this ‘generational’ theory is bullshit. Yeah, Miles as the next generation maybe makes sense but not when you apply real world concepts of who the different generations are. Especially considering that’s made up bullshit anyway.

‘Blah blah blah for most of my life I’ve been uninterested in Spider-Man because I’ve believed him to be WHITE MALE teenaged wish fulfilment.’…*internally groans*…oh boy…this woman is one of those types huh. Frankly I, and I would advocate others too, take a salt shaker with them whenever they hear someone say something like this. But more importantly Spider-Man is seriously NOT what she describes. For starters Peter was a senior in high school when he began and shouldered adult responsibilities when his father died. That’s wish fulfilment? That’s a BURDEN. The reason that spoke to so many people was because he was just different and because his imperfections made him more relatable. The whiteness idea is also bullshit since he was intentionally or otherwise subtextually Jewish and has spoken to countless people of all colours across the generations. He very particularly has a HUGE following among African Americans which was partially what prompted the creation of Miles Morals in the first place! Shit, the showrunner for the 1994 Spider-Man cartoon was black for God’s sake. Many of the head honcho creators for ITSV were people of colour who were clearly MASSIVE Spider-Man fans!

‘As a woman Spider-Man didn’t resonate with me’. Spider-Man is male. And he acts in ways a male would in the context of the situations. But the character as a whole, in his deepest themes and concepts, is a universal character. He does and has spoken to people across race, gender, sex, sexuality, class, culture and generations. Spider-Girl, Mayday Parker, was her father’s daughter and far more similar than different to him. She spoke to male and female readers. Peter Parker himself has had female fans since his inception. There is no end of female fans here on tumblr or in other online spaces that are the proof of this, to say nothing of old letters pages.

Miles feels more like a real kid and fits together better than most other versions of Peter Parker?...how? I don’t like USM the comic but hwo the fuck do you take that, Spec Spidey, the 1994 cartoon and the Raimi movies (that MovieBob adores btw) and say ‘it doesn’t fit together properly like Miles’. Dude, Comic Book Miles Morales is a teenager in New York who goes to a bordering school for scientifically gifted kids and yet is supposed to be an everyman. That fits together well? He risked his life before being motivated to do so which is how most 13 year old woudn’t have acted. Then he feels guilty about Peter dying but his BFF explains it’s not his fault and he accepts this but then goes on to become Spider-Man anyway. And somehow this equates to guilt+responsibility. THAT’s better put together? His character got web-shooters two different ways by the same writer and the guy he was a legacy to was resurrected within like 3 years of Miles’ debut. That’s well put together? This makes more sense and is more believable than a kid who’s Dad dies because he didn’t use his gifts altruistically, so he spends his whole life striving to use them altruistically?

Blah blah blah MovieBob spewing more shit about how Peter is a teenage wish fulfilment power fantasy even though he clearly isn’t from a modern POV and REALLY wasn’t in the early 1960s.

By extension arguing Peter is an adult male’s retroactive teenaged wish fulfilment fantasy of working stuff out is so plainly wrong. Peter Parker in the early 1960s didn’t have everything figured out. The whole world was against him totally unfairly. He needed Aunt May or the Human Torch at times to give him pep talks. His social life was barely existent! You wanna see a middle aged man’s retroactive young wish fulfilment fantasy? Go read Brand New Day, which MovieBob claims was superior to the pre-OMD era. What is the wish fulfilment here? That attractive young women like him? Is that it? That one thing vs. all the horrible shit beating Peter down?

Bob claims there was a lot more Steve Ditko in the early issues of his run compared to Stan Lee because Peter was very angry. First of all Ditko was such a private person claiming he was definitely angry and that the anger was all him is a MASSIVE speculation. Especially considering Stan wrote Spidey as angry plenty after Ditko left. More importantly, Peter wasn’t angry in the early Ditko issues except for maybe issue #8. He had his moments sure, but it wasn’t at all consistent. He wasn’t raging out or smashing shit like he did later in Ditko’s run. He was more anxious and neurotic in those early issues which is comparatively closer to how Stan and Romita handled Peter in their earliest issues together. Peter and the whole world of Spidey got angrier towards the end of Ditko’s run. You know when Stan was letting Steve plot stuff more and more…It’s almost like Bob is full of shit or something

Bob tries to claim by the time ITSV was being written the kinks in Miles’ character had been worked out in the comics. Nah fam. If anything they’d been exacerbated. In reality it was the ITSV writers who took the wonky early Miles character and worked out those kinks themselves, creating an overall superior rendition of the character. A viewpoint I am not alone in.

‘The Prowler has never been a particularly noteworthy villain in the comics’ That’s because he’s not a villain. He was kind of a villain in his debut but he very quickly became an ally to Spidey

The panel then get into a very pretentious discussion about how ITSV preaches you arne’t stapled to your origin, you are not your trauma. That claiming that is pretentious ala Zack Snyder. But like…isn’t that the POINT of super hero origins? That they contextualize everything about the heroes thereafter? Isn’t carrying his trauma with everything they do practically the point of Batman and Spider-Man’s origins; you know the 2 most popular heroes? Uncle Ben’s death IS stapled to Spider-Man because it underlines everything he ever does. Shit it doesn’t even make sense when applied to Miles in ITSV. He does what he does because his Spider-Man died and then so did his uncle. There is even a whole scene in his dorm room where each Spider-Hero relays the grief that shaped their own lives. I’m not saying you need death and tragedy to be Spider-Man. But that’s neither a bad thing nor something that ISN’T applicable to Peter nor ITSV Miles. Aren’t these idiots supposed to be film buffs? How do you screw up such a basic reading like that?

One of the pundits claimed the movie preaches acting heroically in spite of your tragedies not because of them. Again though…that’ not Spider-Man. Peter is a hero specifically because his uncle died. Miles endeavours to become Spider-Man because his Peter died. His Uncle Aaron’s death further fuels him and allows him to make to final leap of faith. Yes, Peter B. continues to be a hero in spite of his failings but it is only his experiences with Miles that make that possible.

‘They don’t need the tragedies to be heroic they are already heroic in their own right. Look, I don’t disagree with that more broadly. Mayday Parker didn’t need tragedy to be a hero. But in terms of the specific characters in this movie? That’s clearly not true:

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This whole ‘in spite of tragedy’ shit is so pre-Marvel DC comics it hurts. Heroes who just innately do the right thing because it is the right thing to do is a dated and archaic invention Spidey and the other Marvel heroes were reacting against.

‘Spider-Man Noir detracted from the film’s message of diversity because he was a brooding WHITE MAN who prowled the night to enact fist based justice!!!!’ Do I even need to say anything to that? First of all literally every hero in the movie enacts fist based justice. Why does Noir operating at night make him worse than Peter B? Why does him being male make that worse than Peni or Gwen? Why does him being white make that worse than Miles or Peni? And as for detracting from the message of diversity, shockingly diversity can be found within the same ethnic or gender group. You know white/male people aren’t a monolith and all that. Plus creatively you want PERSONALITY diversity more than anything else. In this movie in particular you want shorthand conceptual differences too. ‘Spider-Man but an anime mech girl’ ‘Spider-Man but a noir character’. ‘Spider-Man but a cartoon pig’. This is how asinine this disgusting modern day mentality is.

Wow…MovieBob defending Noir from the asinine comment. I’m genuinely surprised. Too bad he doesn’t use the most obvious defence of ‘that is obviously a ridiculous statement to make you moron’

The next topic of discussion was related to Marvel moving away from Gwen as Spider-Man’s dead girlfriend. I spoke a lot about Bob’s ice cold take on that in this post.

He claims they introduced Spider-Gwen because the idea would be taboo and thus would get people talking. HA! Spider-Gwen was done as just a general idea not something to spark controversy. It wouldn’t even BE controversial. Marvel brought back a version of Gwen within 2 years of her death. They brought her back again 15 years after her death. They brought her back again 22 years after her death along with other versions who melted because it was the Clone Saga. During and after all those times they had AUs of Gwen in What If, Age of Apocalypse, Spider-Man Loves Mary Jane and other such stuff. An explicitly AU of Gwen Stacy in 2014 was one of the most aggressively uncontroversial things you could do.

Gwen’s ballet shoes differentiate her from every other Spider-Man ever. I mean yes in terms of being a dancer I suppose but in terms of being dedicated and studious, training hard and earning immense physical control? There have been plenty of versions of Spider-Man pre-2018 who are like that.

The only way you can make Spider-Gwen work going forward is by not tying it to her death in the canon? Boy…too God damn bad her debut and origin is entirely built upon that. Her origin in the comics and in the movies is built upon a role reversal because it is Peter who dies to motivate her. Film audiences would’ve still grasped that role reversal because it was only 4 years ago Emma Stone’s highly popular rendition of the character died. And that was in the last pre-MCU Spider-Man movie to boot!

‘The only Iron Man story anyone cared about was Demon in a Bottle’ Actually they only cared about that story and Armor Wars. But yeah, the MCU version is lesser for neither having his alcoholism nor a crippling heart condition. The mere fact people became complacent about that doesn’t mean it wasn’t reductive.

‘These are fictional characters they need to grow and change with the times to remain popular’ Gwen Stacy sucked shit in the 1960s-1970s and was then killed off and defined by her death. Somehow she still wound up becoming a fan favourite by the 90s and 21st century. Spider-Gwen sucks as a character but not in concept. I never had a problem with the concept. But the idea that she needed to exist to keep Gwen popular is bullshit because Gwen had somehow become immensely popular in spite of being a nothing character. And that even presumes anyone needed to perform maintenance on Gwen to keep her popular. No we didn’t. She was an irrelevant character beyond her death. It’s like saying we need to change Uncle Ben or Bruce’s parents to keep them popular.

Gwen’s affect on Peter Parker was important for awhile but we aren’t that society anymore. It’s not a fucking societal concern! Putting aside how a 2014 movie did Gwen’s death just a few years before ITSV, Gwen’s death is about a universal human experience. Death, grief, moving on. Oh, I see. This halfwit mistakenly believes Gwen is an example of women in the refrigerator.

Gwen died because Peter had this perfect lovely girlfriend and everything was too great for him and they didn’t know how to write beyond that. An oversimplification. Gwen died because they needed to shake things up for sales in general. Because Conway shipped Peter with MJ. And a 20 year old Spidey in 1973 really was too young to be killed off. Oh and you know she was written like shit. Yeah that’s the part no one ever talks about. Gwen is played up as this underserving victim of a character but she sucked shit.

It’s almost the 2020s! So fucking what? People still lose loved ones in the 2020s? I’m not even saying Spider-Gwen should have died in ITSV or revolved around her counterpart dying. I’m saying this dumbass is wrong for bringing it up as though killing Gwen off is dated on principle. But this is the same moron who unironically said ‘I never connected to Spider-Man because he is a teenaged white male wish fulfilment fantasy’. I’m sure she got top marks in her gender studies class

‘sOme PpL nEEd 2 gEt oVa iTTTTTTT’ I genuinely wish this person would wake up mute someday.

‘We could do a whole movie about Spider-Gwen’. I don’t respect where this opinion is coming from but I don’t necesarilly disag- ‘Get Seanen Maguire to write it’…nevermind. This gets even worse when you consider Maguire had only been writing Gwen for literally 3 issues at the time this podcast was released. Of the back of three issues you are declaring this writer qualified to write an entire movie about the character? Not even Jason Latour who created her. I smell someone who just jumped on the bandwagon or worse is blinded by agenda and ideology.

‘Gwen could’ve done with 5 more minutes’ It’s not her movie! It’s Miles’ movie and secondarily Peter B’s movie because he is Miles mentor. It is through their mutual relationship that Miles learns to be Spider-Man and Peter learns to be Spider-Man again.

It never made sense for an 80 year old woman to be raising a 16 year old boy! Aunt May in the 1960s wasn’t in her 80s. She just looked that way because, duh, standards of health were different back then. A 40 year old now looks much younger and in better health than someone who potentially might’ve been born in the 19th century circa 1962! A working class woman no less…With chronic health problems! Even if she was in her mid-late 50s her looking like that was totally believable in context! And her raising Peter was also entirely believable depending upon how old Ben and May were when Richard and Mary were born. It’s not beyond possibility at all that there was 15-20 years separating Ben and his younger brother, meaning if Peter was born when Richard was 25, Ben and May would’ve been in their 40s. Thus by the time Peter was 15 they’d be in their 50s or 60s.

These idiots keep treating Peter from Miles’ universe as a bona fide version of 616 Peter when it’s blindingly obvious he’s supposed to be an idealized rendition of the character. A version intended to be a juxtaposition to the version we all know walking into the movie.

Peter B. Parker having a more traditional version of Aunt May as opposed to a more proactive and involved version has left him with a sense of giving up. Er…no. It’s pretty obvious Peter B. Parker is the Spider-Man we know and love who normally doesn’t give up but one string of failures after another has brought him to his lowest. But he rises back up again. Look Peter is supposed to be a representation of human beings. Human beings need people and need emotional support. When you lose those people and are alone you can go to a very dark place. That’s Peter B’s story. If Aunt May had been more involved but everything else went wrong (including her death) he’d have still wound up in the dark place he went to. Blonde Peter might’ve weathered May’s death better in theory but he had OTHER stuff in his life to keep him afloat. Peter B lost most everything. What horseshit it is to argue if Aunt May was different he’d have not given up.

There was no purpose for Aunt May being as old as she was or on the cusp of death in the original comics. Er…yeah there was. She was that old because it made her more vulnerable and thus accentuated the loss of her husband and the need for Peter to be her support network. It also internally justified why she was so frail and unwell. Old people usually have health problems. Duh! But then Bob admits there is a reason for those decisions. So he is contradicting himself.

Bob presumes Blonde Peter told Aunt May his secret even though there is no evidence in the movie to support that idea.

Kids today aren’t resentful of their grandparents like older generations were, that’s why Aunt May is played differently now. Um…Peter was never resentful of Aunt May in the first place. He sincerely loved her and felt he needed to pay her back for all she’d done for him.

‘Kids today have cool grandparents because 50% of them would have been hippies.’ Hippies aren’t cool. And never were. They were pretentious losers that hid behind causes as an excuse to do drugs and have lots of sex. Over half a century later the world they claimed to fight for and want to build has yet to materialise and in fact is in a lot of ways far worse off than it was before their generation rose to the seats of power. The hippy generation are part of the baby boomer generation that are so thoroughly mocked today. The people in power who’ve fucked up the job and housing market for consequent generations. These idiots literally spouted a dumbass theory earlier on about how first wave millenials have been thrown under the bus. Who do you think did that? The baby boomers, many of whom used to be hippies! And NONE of this demands Aunt May has to be different. I have no problem with her being different in ITSV. But the idea of someone who used to be a hippy being doting? Being a worry wart? Why the Hell is that a dated concept?

These idiots clearly view the world aggressively through an identitarian and group weighted lens as opposed to how the world really is. I.e. 7 billion+ individuals

There was a weird amount of focus upon gangsters in the Spec Spidey cartoon considering it was for kids. Not really, the show was reverential of the original comics. The original comics (which were for children) had lots of gangsters

To the people who bitch and moan about getting another Spider-Man it doesn’t take away from the one you had before. No one was complaining about Miles as another Spider-Man in this movie. People weren’t claiming it ruins the Raimi movies or something. People resent it in the comics because it waters down the brand and makes Spider-Man himself less special when he is an ONGOING character. It’d be one thing maybe if the torch was passed from person to person. But nowadays it’s literally all of them co-existing.

Blah blah bah symbolism of a young black boy fighting a big WHITE business MAN. Blah blah blah this is the type of bad guy Miles would fight in real life blah blah blah…Jesus Christ… these people really just buy that type of Kool-aid in bulk don’t they? As if Miles, were he ‘real’ wouldn’t fight anyone who’s doing bad things. FFS they just got done talking about Tombstone from the Spec cartoon. Tombstone is an African American! And he’s in this fucking movie. He’s not some weird fantastical guy, he’s a regular gangster who happens to be albino. That’s it. Miles fights him in this fucking movie! Miles first major adversary in the comics was the Prowler who was another African American. Miles wouldn’t JUST fight ‘evil white businessMEN’

‘As far as I know about Doc Ock from Superior Spider-Man, which is excellent’ Wow. So, as would be obvious with anyone with a working brain and some prior knowledge of Otto, Superior is garbage. And saying you are basing your assessments of Otto on Superior is like saying you have never known about the character

Doc Ock is in so many Spidey stories as a scientific assistant to other people because the Green Goblin is always either dead or completely untrustworthy. Bob really just said that huh? This is further proof Bob has read precious little Spider-Man material. Doc Ock is NOBODY’s assistant. Even in Secret Wars he had to be threatened into compliance by Doom himself when Ultron was his attack dog. Doc Ock isn’t recruited by other people for his genius, he is the mover and shaker. He recruits other people and is the man in charge. And who the fuck is looking to get the help of Norman Osborn because he’s a scientist? Not to mention Norman is untrustworthy, oh but Otto?????????? The guy who tried to nuke NYC???????? WTF is Bob talking about?

Since we are in the ‘age of heroes’ (whatever THAT means?) it is impossible for Spider-Man to not be mentored by some other hero. Er…yeah it is? This is obviously a defence of MCU Spider-Man and it holds no water. First of all DC and Marvel have had young heroes show up when there are a plethora of heroes around they’ve not had mentors. Second of all it’s entirely possible for Peter to not WANT a mentor and it’d be entirely believable that the other heroes might not see themselves as mentors or might mistrust him.

The Spider-Heroes take their grief and turn it into action. WHOA WHOA WHOA! Didn’t these guys say earlier that the movie preaches the heroes are more than their trauma? That they aren’t stapled to their origins? That they move on from it? What’s this change of tune all of a sudden?

Miles Dad was probably made into a cop to avoid having a difficult discussion about how the police would react to a black super hero or a black Spider-Man. Yeah, or it’s because you know…his Dad worked in law enforcement in the comics so you know…faithfulness. Also the police don’t discriminate against black heroes in the MCU except Luke Cage. Also, also not every fucking cop is racist. Also, also, also how would they know Miles is black his costume covers his whole body!

Miles Dad was super authoritarian. Dude. He didn’t like vigilantes and he followed basic rules like stopping not abusing police sirens. That’s hardly akin to being a jackbooted fascist.

Miles would’ve had a different relationship with authority and the police if his Dad hadn’t been a cop. Er…no not necessarily. First of all being the son of a cop doesn’t mean he’d have not experienced institutionalized racism from the police. Second of all even if he had experienced that he could still believe in justice and taking down obviously evil and dangerous people like Kingpin.

They never touched upon institutional racism from the police in Luke Cage which was for adults. Er, yes they did. The rapper in the later episodes of season 1 (the Bulletproof Love guy) stated he wasn’t going to call the police. The police were stopping and searching black men in their hunt for Cage. Black people wore shirts with holes in them in order to protect Cage and defy the cops. The rap mentioned how nobody was interested in protecting their neighbourhood.

Nobody wants the tell a superhero story about institutional racism within the authorities. Isn’t that literally Luke Cage’s origin? Didn’t Black Panther mention that earlier in the year ITSV was released.

I’m going to disagree that Miles fighting Kingpin was unnecessary because of the cultural connotations we talked about….God…You couldn’t just say ‘the main hero obviously has to defeat the main villain. Duh!’…

Dan Slott is a dang genius! As if you needed more proof these people are unqualified to talk about Spider-Man…

Spider-Verse’s (the comic’s) fan service is what happens when you get Spider-Man fans to do the story vs. ITSV. Nah fam. ITSV is what happens when you get real fans who are talented vs. Spider-Verse is what happens when you get a real fan who fundamentally misunderstands the characters and is a hack

There is no real Peter Parker. Who cares! The real Peter Parker is the original because he is the one everyone else is derivative of and therefore based upon. And fans AND creators and Marvel itself clearly care about that because they sure as fuck didn’t kill him off so Miles could replace him. They killed off the secondary and surplus Ultimate Peter Parker. Treating the original version as the true one doesn’t invalidate any other versions because they can still be great characters unto themselves. But given how disgustingly SJW this whole podcast has been I am unsurprised they go in for this participation trophy form of analysis where everything is equal all the time.

It also doesn’t invalidate the idea of Spider-Man being anyone. Spider-Man CAN be anyone. But not everyone can be Peter Parker. If we are going to say otherwise the praise these jackoffs lauded onto Miles for how his specific identity was explored is invalidated. Peter is Peter. Miles is Miles. They can both be Spider-Heroes worthy of the mantle.

Because Miles is a POC people who don’t look like Peter can believe they can be Spider-Man. I’m not arguing against Miles but seriously, that was the case before Miles existed. The showrunner of Spider-Man 1994 was an African American and he related to Peter Parker in the 1960s. Poc can relate to Spider-Man regardless of skin colour.

The original comic book version of Spider-Man isn’t the true one just because he is the original. Er….yeah. It seriously does precisely BECAUSE he is the version all the other ones are derivative of. Hence he’s from the PRIME universe. Shit the Spider-Verse comic book the movie takes mild inspiration from literally says that. Granted it then contradicts itself but the point still stands. Because he is the original one he IS the true one because without him the others would not exist. He is the canonical one!

The true 616 Spider-Man will never be in any adaptation because there is too much continuity…Yeah…so? How does that make him not the original one in the broad context though when you compare every version?

Continuity is the killer of enjoyment when it comes to movies. No, this podcast is the killer of enjoyment. And btw, maybe ask all the people who went to see Infinity War earlier in the year ITSV was released and ask them if continuity ruined that movie for them. This is such a lazy, myopic attitude.

If continuity is used to exclude people it is bad. Good job nobody was ever saying ITSV shouldn’t exist because Miles isn’t Peter then

Infinity War is a fine movie even if you do not know who everybody is. No it isn’t. Infinity War is wholly inaccessible if you do not know who everyone is because it’s throwing dozens of characters at you with little-no context provided.

Black Panther is better than Infinity War, this proves continuity is bad. No. Black Panther not having to have it’s story wrapped up in everything else in the wider universe was what helped make it better. FFS, Winter Soldier is better than Avengers 2012 and that still relies upon plenty of continuity. Civil War is better than Thor the Dark World and the latter has way less continuity than the former. It’s not about having continuity it’s about how you use it. Black Panther was world building in it’s own corner. It wasn’t plugged in so directly to the wider universe the way Homecoming or FFH was. THAT’s what made it good but that’s not a continuity issue that’s a world building issue.

Continuity is toxic when you use it to claim a long running fantasy series didn’t satisfy you. Uh huh, hey do you wanna ask all the people who hated Game of Thrones’ final season that?

Oh, and one of the pundits, the one who bleeted on about Spidey as a ‘tEEnAgE WHITE mAle wish fUlLfiLmEnt fantasy!’ is a Hollywood actress. Now her views make waaaaaaaaaay too much sense

In conclusion…Sigh…For a podcast called School of Movies I think these guys need to go back to kindergarten.

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aliciagodseyomaha · 4 years

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Alicia Godsey Omaha | 7 Easy Party Ideas For Kids

Alicia Godsey Omaha – It seems, these days, some parents have a way of getting carried away when it comes to planning a special party for their child. Sometimes, however, simpler is better, especially when it comes to saving a little money and lots of precious time. Furthermore, most children are happy just being with their friends, enjoying birthday cake, and – of course – opening presents!

Alicia Godsey Omaha – A number of ideas can be easily executed with just a little effort and not a lot of money. Consider these simple party ideas next time you’re planning a birthday party for your child.

1. Jungle/Safari Party/Alicia Godsey Omaha – Easily held in the backyard or at a nearby park, a Jungle Party is ideal for children who love animals. Decorations might consist of your child’s favorite stuffed animals or even the inflatable kind. Balloons in jungle colors – like shades of green, brown, and tan – and palm fronds or other greenery also make great decorations. Games might include Pin the Tail on the Tiger (elephant, giraffe, etc.), a safari/scavenger hunt, and even the Barrel of Monkeys game. Craft projects can include making animal masks or a simple lesson on drawing a favorite jungle animal. Food can be simple as well, like animal crackers, trail mix, peanut butter sandwiches, and “jungle” juice.

2. Circus Party / Alicia Godsey Omaha– What kid doesn’t love the circus? Also best when held outside but suitable to a large recreation room or finished basement as well, a circus party is colorful, fun, and ideal for a girl or a boy. As with the safari party, decorations are simple and can include balloons, streamers, animal or circus posters, stuffed animals, paper clown faces and hats, and other similar items. Games might include jumping rope, ring toss, pin the nose on the clown, and learning to juggle. And kids can put on their own clown make-up or have a friend or adult help! Serve circus or carnival type food like hot dogs, popcorn, peanuts, and soft drinks, all inexpensive to buy and easy to prepare.

3. Doll Tea Party / Alicia Godsey Omaha – This one, of course, is most suited to young ladies. A doll tea party generally includes a formal sit-down lunch with food suitable for kid’s taste buds. Set up the dining room table or smaller table with fancy paper plates, fresh flowers, and enough room for the girls and their dolls (have the guests bring doll chairs or “sassy seats” if they have them). Serve small tea sandwiches like white bread with peanut butter or strawberry jelly, cheese and crackers, fruit kabobs, and small desserts. Some little girls might like tea but many don’t. Instead, serve apple or some other kind of fruit juice. Encourage guests to wear their best party dresses and hats. For activities, make paper dolls, decorate photo frames (have smocks to protect their dresses), or decorate cookies that can be enjoyed later for dessert.

4. Superhero Party / Alicia Godsey Omaha- Little boys (and some little girls) love superheroes and organizing a party around their favorite(s) needn’t be too difficult. Start by choosing the hero or heroes and designing a color palette around him. For example, if Spiderman is the hero of choice, make sure all the decorations – like balloons and streamers – are blue and red. Batman? Go with yellow and black. For more decorations, choose iconic items that are peculiar to the character. For example, make skyscrapers out of construction paper for Superman and webs of yarn for Spidey. It’s usually not too hard to find inexpensive superhero plates and cups as well. Food might include “power juice”, “energy bars” (not the real ones!), “vitamins” for super strength (Skittles or M&Ms), and super-sized cupcakes or a superhero cake. Purchase some inexpensive t-shirts at the craft store along with some fabric markers and make shirts with the hero’s insignia on front and do some face painting as well (webs, bats, etc).

5. Spa Party / Alicia Godsey Omaha– This one is popular with late elementary and middle school girls and expense can be kept to a minimum if you plan accordingly. This can be an overnighter or just a few hours long. Decorations needn’t be over the top and can be any color. Tea lights are appropriate and soft music should be playing in the background. On the invitation, guests should be asked to bring a comfortable robe and slippers for the “spa”. It’s best to organize this party in stations so no one is waiting too long for their spa service, and if you can enlist the help of some older girls or adults to man each station, it would be helpful. Ideas for stations include facials/masks, mani- or pedicures, and make-up application. Party favors might include a product from each station as well as other beauty products like a loofah or body lotion. Serve mostly healthy snacks like smoothies and cheese and crackers or veggies and dip but do have some junk food on hand for a little indulgence. If there’s extra time, watch a PG-rated chick flick!

6. Casino Party / Alicia Godsey Omaha – Casino parties aren’t just for adults. Kids love them, too! Organize your basement or other large space into various game “booths” where kids can make the rounds again and again, playing card games (simple poker or blackjack), spinning the roulette wheel (you can make one out of cardboard or buy a cheap one at a toy store), or taking part in other simple games of chance. Decide on a pre-determined amount of chips for each win and let the kids spend their chips on prizes at the end of the party. Decorations can include playing cards, giant dice, balloons, streamers, and fancy casino signs. You can serve snacks and “drinks” (maybe Shirley Temples) at each game table or set up a buffet for all-night snacking. After everyone is done playing, enjoy some dancing and save time for cake and presents!

7. Beach Party / Alicia Godsey Omaha- Whether you live near the water or hundreds of miles from the coast, you can still provide a fun beach atmosphere for your child’s party with a little ingenuity. Obviously, this party is best held outside, where kids can spread out on their towels on a make-believe beach, enjoy a game of Frisbee or beach volleyball, and frolic with their friends in a small pool or other water feature like a water slide (the inexpensive kind you buy at the toy store). Decorate in ocean colors of blue and green and include sea shells and other beach-related items as part of the décor. Kids can go “fishing” for prizes, make sand art, and color their own surf boards (you can buy cardboard ones online or at a party store). Serve fruit smoothies and light beach fare like burgers and hot dogs. Send your guests home with small sand buckets full of beach- or water-related items. More Best Tips Alicia Godsey Omaha

#Party Tips #first birthday party #Dinner Party Tips #Alicia godsey omaha #Aliciagodseyomaha #Party Ideas For Kids #7 Easy Party Ideas

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gokinjeespot · 4 years

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off the rack #1303

Monday, March 2, 2020

This is a public service announcement. You will be ticketed for parking on the street during a parking ban even though the snow has already been cleared from the roads. We got a ticket parked in front of our house last week because we couldn't get into our driveway after the grader left a big snow bank at the end of it. I hope to spare anyone from being dinged with what I think is an unfair fine.

Amazing Spider-Man: Daily Bugle #2 - Mat Johnson (writer) Mack Chater (art pages 1-12) Francesco Mobili (art pages 13-20) Dono Sanchez-Almara, Protobunker & Peter Pantazis (colours) VC's Joe Caramagna (letters). I can't read the rest of this 5-issue mini. The art really bothered me this issue. It was hard to tell what was going on the first few pages and then seeing Peter Parker in civvies looking almost exactly like the bad guy confused me further. There are interesting mysteries about Spidey's webbing and a Wilson Fisk involvement with an explosion, but this story probably won't matter in the grand scheme of things, so I don't think I'll miss anything if I bail out here.

Punisher Soviet #4 - Garth Ennis (writer) Jacen Burrows (pencils) Guillermo Ortego (inks) Nolan Woodard (colours) Rob Steen (letters). Frank and Valery go after Konstantin by kidnapping his trophy wife. She's amenable to divorce by Punisher. Thank Garth for improving my mood.

Basketful of Heads #5 - Joe Hill (writer) Leomacs (art) Riccardo La Bella (additional pencils) Dave Stewart (colours) Deron Bennett (letters). Everything leading up to this issue has been circumstantial. Now the villain tells the complete story. I'm rooting for June to survive this mess.

Year of the Villain: Hell Arisen #3 - James Tynion IV (writer) Steve Epting & Javier Fernandez (art) Nick Filardi (colours) Travis Lanham (letters). Heh, it's the Joker who helps Lex beat the Batman Who Laughs. It looks like next issue's pulse pounding conclusion will be Lex and his super villains versus the Batman Who Laughs and his infected super heroes. It's been a while since the Main Man has been in a comic that I've read.

Avengers #31 - Jason Aaron (writer) Gerardo Zaffino, Geraldo Borges, Szymon Kudranski, Oscar Bazaldua, Robert Gill & Mattia De Iulis (art) Rachelle Rosenberg & Mattia De Iulis (colours) VC's Joe Caramagna (letters). I haven't seen Tony Stark in a while so I assumed he was dead. Nope. He was zapped a million years into the past by the master manipulator Mephisto. The devil tries to get Tony's soul. This is a wonderful full issue of Iron Man and if Jason wrote an Iron Man book, I'd read it.

Amethyst #1 - Amy Reeder (story & art) Gabriela Downie (letters). I remember reading the original Amethyst book when it hit the racks in 1983 with the Ernie Colon art. It was fun and weird with a plucky heroine. This new Wonder Comics book has the appeal of having art by Amy Reeder who wowed me with her work on Madame Xanadu and Rocket Girl. Here she is writing as well and the art and story is tight and concise. This is a nice substitute for the dearly departed Naomi book.

Avengers of the Wastelands #2 - Ed Brisson (writer) Jonas Scharf (art) Neeraj Menon (colours) VC's Cory Petit (letters). It's the origin of Captain America of the Wastelands. His name is Grant. I think this is a great way to change tried and true Marvel characters to make them fresh and new. Having them fight an evil Doctor Doom is nice and simple. Four Avengers may become five but they have to contend with a super villain first.

Suicide Squad #3 - Tom Taylor (writer) Bruno Redondo (art) Adriano Lucas (colours) Wes Abbott (letters). The new Squad's first mission under Lok's leadership does not go according to plan. Neither are these super villains what they seem. This is why I read Tom Taylor books. Forget about any new Crises and DCeased and pick up this most excellent comic book for some straight up action and skulduggery.

Kill Lock #3 - Livio Ramondelli (story & art) Tom B. Long (letters). I get why the calligraphy font is used in the Wraith's word balloons but man, is it hard to read. This issue explains why The Kid is innocent and shouldn't be branded. The four droids find the one who can lead them to the Kill Lock's off switch but she betrays them. This universe of sentient robots is pretty cool.

Jessica Jones: Blind Spot #4 - Kelly Thompson (writer) Mattia De Iulis (art) VC's Cory Petit (letters). Each issue has started off with Jessica held captive by the bad guy. The end of this issue reveals who that is and how she was killed and resurrected. I am looking forward to the conclusion to see how she defeats the villain.

Batman Superman #7 - Joshua Williamson (writer) Nick Derington (art) Dave McCaig (colours) John J. Hill (letters). A new story starts here. Part 1 of "The Kandor Compromise" pits the World's Finest duo against Ra's Al Ghul and General Zod. One of the bad guys is working with the good guys. I got bored of the fight between Superman and Rogol Zaar so what happened to the city of Kandor was a surprise to me. I'm interested to see the final fate of the shrunken city.

Giant-Size X-Men: Jean Grey and Emma Frost #1 - Jonathan Hickman (writer) Russell Dauterman (art) Matthew Wilson (colours) VC's Clayton Cowles (letters). This mostly wordless $4.99 US one-shot will be a quick read but I read it twice just to soak in the beautiful art. The story starts with the discovery Storm's body and ends with a problem after Ororo is resurrected. This leads into a story where Jean, Emma, Logan and Scott will have to save Storm again.

Leviathan Dawn #1- Brian Michael Bendis (writer) Alex Maleev (art) Josh Reed (letters). Leviathan succeeded in shutting down every spy agency and the leader has been revealed to be an ex-spy named Mark Shaw. The good guys are still trying to fight back but they're going to need help. Time for Kingsley Jacobs to start up Check Mate again. I like the players he's gathered. I'm looking forward to watching this game unfold.

Finger Guns #1 - Justin Richards (writer) Val Halvorson (art) Rebecca Nalty (colours) Taylor Esposito (letters). And now for something completely different. This new urban fantasy introduces two teenagers with a weird power. Wes discovers that when he shoots people with his left hand he can make them angry. Sadie can calm people down when she uses her right finger gun. They meet by accident at the mall and try to get a handle on their newfound powers. It's a cool concept and I wonder where these kids are going to end up.

Fantastic Four: Grimm Noir #1 - Gerry Duggan (writer) Ron Garney (art) Matt Milla (colours) VC's Joe Caramagna (letters). This one's all about Ben's bad dreams. I thought the bad guy was Nightmare but it's another one of those mystical villains that generally mess with Doctor Strange. I expected some sort of Mickey Spillane type story but there's no murder, just a pretty dame needing rescue. It's a nice character study of the ever lovin' blue-eyed Thing.

Detective Comics #1020 - Peter J. Tomasi (writer) Brad Walker (pencils) Andrew Hennessy (inks) Brad Anderson (colours) Rob Leigh (letters). Two-Face is back and he's more bipolar than ever. This is what I like to see, an old villain presented in a slightly new way. We still have the scarred coin dictating how Harvey acts but there's a new twist with a cult of fanatics and the Church of the Two Strikes. I love how the first page hints at the return of the Court of Owls too.

Falcon & Winter Soldier #1 - Derek Landy (writer) Federico Vicentini (art) Matt Milla (colours) VC's Joe Caramagna (letters). This 5-issue team-up starts off with a heavily armed and armoured hit squad attacking Bucky Barnes in his home. The Winter Soldier emerges unscathed and hops his motorcycle to find out who sent the killers. Meanwhile Sam Wilson is searching for a missing vet. The two meet at a government agency office where all the staff are dead. Wanting to know who's doing all the killing has got me interested in reading the rest but when a preppy killer shows up and kicks both of the heroes asses I decided to put this mini on my "must read" list. The kid's name is the Natural. Picture a blonde Damian Wayne in a pair of Chuck Taylors.

The Amazing Spider-Man #40 - Nick Spencer (writer) Iban Coello & Ze Carlos (art) Brian Reber & Peter Pantazis (colours) VC's Joe Caramagna (letters). The fight between Spider-Man and Chance had to do with a bet that Chance could get one of Spidey's web shooters. What bothered me was how easily that was done and Spider-Man's lack of urgency to get it back. There's a couple of foreshadowing scenes that will keep me reading however. One involves the Clairvoyant device and the other is who Norah Winters is working with.

X-Men #7 - Jonathan Hickman (writer) Leinil Francis Yu (art) Sunny Gho (colours) VC's Clayton Cowles (letters). This issue is dedicated to a new Mutant Ritual called the Crucible. It's a lot shorter than calling it the Arena of Death and Rebirth. It shows how mutants who have lost their powers can get them back. But first we have to endure a deep philosophical discussion between Cyclops and Nightcrawler. It's a real snoozer if you're an action fan.

Action Comics #1020 - Brian Michael Bendis (writer) John Romita Jr. (pencils) Klaus Janson (inks) Brad Anderson (colours) Dave Sharpe (letters). I wish they would stop with the deceiving covers. It looks like Superman is trying to come between Lex Luthor and Leviathan but what actually happens inside is Superman fighting Lex and the Legion of Doom. If it weren't for Young Justice helping out I would have found this issue boring.

X-Men/Fantastic Four #2 - Chip Zdarsky (writer) Terry Dodson (pencils) Rachel Dodson, Karl Story & Ransom Getty (inks) Laura Martin (colours) VC's Joe Caramagna (letters). There's a lot of heroes accusing heroes of shenanigans concerning the disappearance of Franklin and Valeria. They are actually guests of Doctor Doom. Victor wants to reverse what Reed did to his son and I want to know why. With the X-Men converging on Doom Island, good old Doc Doom is prepared for an attack.

X-Force #8 - Benjamin Percy (writer) Bazaldua (art) Guru-eFX (colours) VC's Joe Caramagna (letters). Why did Oscar Bazaldua stop using his first name in the credits? Domino and Colossus attack the flesh factory making assassins using Neena's DNA. The organisation funding the flesh factory has a mysterious benefactor and I'm hanging around to find out who that is. I wish they would change either Sage or Jubilee's costume. I keep getting them confused.

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eddycurrents · 5 years

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For the week of 15 May 2019

Quick Bits:

Age of X-Man: Next Gen #4 hurtles towards the end as Glob, Armor, and Rockslide attempt to track down Anole before he does something stupid. Everything’s really starting to fall together in these minis as the lie of the world starts to unravel. It’s also interesting how Ed Brisson portrays the cultists fighting back against the “no love” edict as just as deluded and indoctrinated by X-Man’s change of reality.

| Published by Marvel

Aquaman #48 begins Arthur’s quest to recover his past in the first part of “Mother Shark”, with one hell of a twist for an ending cliffhanger. The high level of the quality of art on this series continues as Viktor Bogdanovic and his Greg Capullo-inspired style (with Jonathan Glapion and Daniel Henriques providing additional inks) join Kelly Sue DeConnick, Sunny Gho, and Clayton Cowles.

| Published by DC Comics

Batman #71 is part two of “The Fall and the Fallen” from Tom King, Mikel Janín, Jorge Fornés, Jordie Bellaire, and Clayton Cowles. With the heavy reliance on dream sequences and simulations lately, it certainly makes me wonder who’s gaslighting who, whether anything in the story is real or if King is just playing us. Great art, though.

| Published by DC Comics

Bloodborne #12 concludes “A Song of Crows” from Aleš Kot, Piotr Kowalski, Brad Simpson, and Aditya Bidikar. This arc has been even more surreal than the first, embracing that odd mix of depression and existentialism that seems to permeate the franchise. This is going to take a few more readings to really sink in.

| Published by Titan

Calamity Kate #3 gives us a look into the disastrous relationship between Kate and Sandra. Though the accuracy of events might be a bit nebulous, given some missing time and an appearance that not everything is happening as we see it, this paints Sandra as a particularly resentful, hateful person. Also, another clue in Kate’s rival. Great action art from Corin Howell and Valentina Pinto, with an interestingly designed tentacle monster.

| Published by Dark Horse

Daredevil #5 is the gut punch. As great as everything that Chip Zdarsky, Marco Checchetto, Sunny Gho, and Clayton Cowles have delivered in the first four issues (and seriously it’s some of the best Daredevil since Miller and Mazzucchelli), this one tops it. A reckless, dangerous Daredevil, a hazard to himself and everyone around him, having it dawn on him what he’s been doing. And all of the Catholic guilt, shame, and judgement, not just on himself, but on the revelation that he’s seemingly oblivious that all of his friends have also been in his situation.

| Published by Marvel

Fairlady #2 is another great issue from Brian Schirmer, Claudia Balboni, Marissa Louise, and David Bowman. The blend of fantasy and police procedural is seamless, presenting a completely believable world, building up bits of supporting characters and elaborating on the setting as the story unfolds. Also a great shift into a kind of storybook art style from Balboni and Louise during one of the flashback sequences.

| Published by Image

Guardians of the Galaxy #5 sees the other shoe drop. Donny Cates, Geoff Shaw, David Curiel, and Cory Petit deliver an excellent set-up for the finale of the “Final Gauntlet” here as Hela makes her move and we find out what the game actually was. Also, more hints about Rocket that don’t seem pleasant.

| Published by Marvel

Immortal Hulk #17 goes hard for thriller first before leaning back into horror as Bushwacker stalks Banner through the “abandoned” lab. Very interesting new “rules” that Al Ewing is laying out as what makes up a Hulk keeps consistently changing.

| Published by Marvel

Joe Golem: Occult Detective - The Conjurors #1 picks up with our dead hero being nibbled by fish, and it’s just downhill from there for Molly, Simon Church, and all of existence due to Dr. Cocteau’s meddling. Great art from Peter Bergting and Michelle Madsen.

| Published by Dark Horse

Justice League #24 is the penultimate chapter of “The Sixth Dimension” and amidst the dire situations, heroic sacrifices, and stunning betrayals, there’s a great opening sequence about the little disappointments that Superman feels when he lets someone down. It’s like Catholic guilt amplified immensely, but it raises some interesting questions about how superheroes deal with depression. Or not deal with it, as it were. Great work from Scott Snyder, Jorge Jimenez, Alejandro Sánchez, and Tom Napolitano.

| Published by DC Comics

Little Bird #3 is another incredible instalment in this story, with some interesting revelations about Little Bird and Gabriel, from Darcy Van Poelgeest, Ian Bertram, Matt Hollingsworth, and Aditya Bidikar. The artwork from Bertram and Hollingsworth is mind-bendingly awesome.

| Published by Image

Livewire #6 continues the PSEP arc from Vita Ayala, Kano, and Saida Temofonte as Amanda discovers more about the organization and gets introduced firsthand to the academy bully enforcer. The art from Kano, from the characters through the layouts, is next level.

| Published by Valiant

Naomi #5 explains everything. Mostly. Sure, there are still questions, and there’s likely a huge battle coming for the final issue, but we get a full-fledged explanation as Naomi tells her newly-learned origin story to Annabelle. And it’s brilliant. Wonderful parallels to other tales and a hint at implications for the DC Universe as a whole. Also, drop dead gorgeous artwork. Seriously some of the best ever to grace the comics page. Brian Michael Bendis, David F. Walker, Jamal Campbell, and Wes Abbott provide another excellent issue here. Highly, highly recommended.

| Published by DC Comics / Wonder Comics

Oblivion Song #15 is one hell of a page turner. Robert Kirkman, Lorenzo De Felici, Annalisa Leoni, and Rus Wooton barely give us a chance to breathe in this one as the Faceless Men attack, both those who’ve chosen to stay in Oblivion and the exploration teams jaunting back and forth from Earth. Great tension.

| Published by Image / Skybound

Pearl #9 is another visually stunning issue from Michael Gaydos. Seriously just look at this beauty.

| Published by DC Comics / Jinxworld

Sabrina the Teenage Witch #2 throws even more chaos Sabrina’s way as it seems like everything in Greendale is something supernatural or paranormal or straight out of weird science. Kelly Thompson is delivering some great humour, while the art from Veronica and Andy Fish remains perfect for anything and everything in Archie’s world.

| Published by Archie

Superman #11 swings back around to Zod after Superman unceremoniously left him being beaten by Rogol Zaar as this arm of “The Unity Saga” continues, delving further into the battle consuming Jor-El at the moment, but not really explaining anything. This is chaos, but it looks pretty.

| Published by DC Comics

Teenage Mutant Ninja Turtles: Shredder in Hell #3 is worth it just for the glorious artwork from Mateus Santolouco and Marcelo Costa. The monster designs are incredible and the red, surreal glow of the colours just give life to the strange and deadly nature of this hellscape.

| Published by IDW

Transformers #5 suggests that there’s a whole lot more going on under the surface of Cybertron and the mystery of the death of Brainstorm that we thought. More interesting things going on with Rubble too, as he gets kind of lost while Bumblebee’s off doing other stuff.

| Published by IDW

Uncanny X-Men #18 adds again to the body count as things continue to fall apart. The nihilism, darkness, and depression in this series has really been getting to me these past few issues. With announcements for House of X and Powers of X, this is starting to feel like a “throw the X-Men down a hole before rebooting” type of story. I’m still not sure if I like it, since it’s putting me in a sour mood.

| Published by Marvel

War of the Realms #4 drills down on Freyja’s defence of the Black Bifrost, intent on taking away its use from Malekith. All of the art on this series has been phenomenal, but Russell Dauterman and Matthew Wilson somehow take it up another notch. This is epic.

| Published by Marvel

War of the Realms: Giant-Man #1 kicks off another front in the War as Freyja tasks Ant-Man, Giant-Man, Goliath, and Atlas to infiltrate the Frost Giants’ bastion on Earth and get revenge, from Leah Williams, Marco Castiello, Rachelle Rosenberg, and Joe Sabino. Very nice bits of humour and wonderful artwork.

| Published by Marvel

War of the Realms: Spider-Man & The League of Realms #1 opens up another front as Spider-Man leads the members of the League of Realms into New Heven territory, from Sean Ryan, Nico Leon, Carlos Lopez, and Joe Caramagna. It’s great to see more Ryan-penned Spider-Man, even if he only ever seems to get to write the event tie-ins. He’s got a great handle on Spidey, effortlessly displaying that humour and humanity of the character every time.

| Published by Marvel

War of the Realms: Strikeforce - The War Avengers #1 is the second Strikeforce one-shot elaborating on encounters spinning out of War of the Realms #3. This one focuses on Captain Marvel’s motley crew of Avengers as they try to strike at the heart of Malekith in Britain from Dennis Hallum, Kim Jacinto, Ario Anindito, Java Tartaglia, Felipe Sobreiro, and Joe Sabino. Some nice Deadpool humour and art in what is one of the more bonkers tie-ins.

| Published by Marvel

Other Highlights: Age of X-Man: Marvelous X-Men #4, Amazing Spider-Man #21, American Carnage #7, Battlestar Galactica Classic #4, Bettie Page #5, Black Badge #10, Black Widow #5, Cinema Purgatorio #18, Farmhand #8, Firefly #6, Gideon Falls #13, Go Go Power Rangers #20, High Level #4, Infinity 8 #12, Ironheart #6, James Bond 007 #7, Kaijumax - Season 4 #6, Kick-Ass #14, KISS: The End #2, Last Stop on the Red Line #1, Life & Death of Toyo Harada #3, Low #22, Lucifer #8, Lumberjanes #62, Marvel Action: Spider-Man #4, Morning in America #3, Old Man Quill #5, Orphan Age #2, Planet of the Nerds #2, Port of Earth #10, Princeless - Book 8: Princesses #2, Spider-Man: Life Story #3, Star Wars #66, Star Wars: Age of Rebellion - Lando Calrissian #1, Star Wars: Tie Fighter #2, Teen Titans #30, Xena: Warrior Princess #2

Recommended Collections: Batgirl - Volume 5: Art of the Crime, Bitter Root - Volume 1: Family Business, GI Joe: A Real American Hero - Volume 22, The Horror of Collier County, Immortal Hulk - Volume 3: Hulk in Hell, Jeepers Creepers - Volume 1: Trail of the Beast, Justice League Odyssey - Volume 1: The Ghost Sector, MCMLXXV, Mister Miracle, Outer Darkness - Volume 1, Outpost Zero - Volume 2, RuinWorld: Eye for an Eye, Star Wars: Age of Republic - Heroes, Star Wars: Han Solo - Imperial Cadet, The Whispering Dark

d. emerson eddy wishes there were more hours in the day in order to write about everything.

#This Week in Comics

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hellzyeahthewebwieldingavenger · 6 years

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This post is full of misinformed, misinterpreted and out of context shit.

· There is NO hard canonical timeline for Peter’s ages for when he began acting as a hero. At best sources stating he was 15 upon getting his powers and ASm #400’s backup strip claiming that he was 16 the night he caught the burglar is how you can arrive at the conclusion he aged into being 16 by the time he began acting as a hero. But it’s vague as fuck and both 15 and 16 are retcons. Originally Peter was written to be a senior in the Ditko run. However it makes more sense if Peter was 15 both when he got his powers and when he began acting as a hero as Mysterio (debuting in ASM #13) claimed in ASM #24 that he’s hated Spider-Man for years implying at least 2 years elapsed between that issue and his debut

· Spider-Man circa the time this post was written was not 30 years old. He was actually older than that if you do the math properly. Do not be fooled by Learning to Crawl’s assertion he was merely 28 circa 2014 he was actually 30 years old circa OMD in 2007. So no he has egregiously more than 14 years worth of experience.

· The list of characters Peter’s been active longer than is highly flawed due to the inclusion of Captain America, the Guardians and Jessica Jones.

Whilst the essential sentiment is accurate it’s misleading because Jessica Jones first appearance was not when she canonically began to be active in the silver age (the 1960s). Captain America of course was active in WWII and then put on ice until the early days of the Marvel Age where the F4 debuted meaning he was most experienced by like decades ahead of Spider-Man. And the Guardians debut date listed is in reference to the ORIGINAL Guardians of the Galaxy. These Guardians were not Gamora, Star-Lord, Groot, etc. These were a group of heroes from the far future of an alternate marvel universe.

So great research there.

· The post states that 5 years real time = 1 year for the MU. Actually it’s 4 OR 5 and more commonly 4

· Yes Spider-Man was indeed widely disliked by most heroes but the OP idiotically claims it was because he was a jerk.

No. It was because Jameson slandered his name. Spider-Man’s jerkish behaviour was the result of three major factors.

Firstly it was the fact that many heroes outright disrespected him. for instance the Avengers not only insulted him verbally and antagonized him but they had the audacity to try and test his worthiness to join their team after only recently accepting former criminals Quicksilver, Scarlet Witch and Hawkeye onto their team. As a reminder the former two were affiliated with mutant terrorist Magneto and the latter with Communist spy Black Widow. None of them were ever tested, the Maximoffs just wrote a letter asking to join and that was it.

Secondly in the Silver and Bronze age ALL heroes in Marvel were jerks to one another. It was a conscious effort to differentiate themselves from DC. It isn’t something to be taken too seriously.

Thirdly Peter was well beyond most other heroes straining under immense pressures which would serve to make ANYONE uptight. These were pressures most other heroes simply never dealt with.

· The OP claims Peter picked fights to prove how tough and manly he was. This is not only ignorant of 1960s societal standards for the time but is also an overly comdemnatory reading of the character

See these for more on that

https://hellzyeahthewebwieldingavenger.tumblr.com/post/163322233001/in-a-recent-exchange-i-had-with-somebody-they

https://hellzyeahthewebwieldingavenger.tumblr.com/post/168252199132/fyeahspiderverse-ask-me-ask-me-ask#notes

This poster takes an oversimplified and highly pretentious sociological approach to the character that is ignorant of the character’s proper in context psychology or how many real life people would think, feel or act.

Noticably (and this is much later on in the post) she talks about the character revelling in violence when MOST superheroes are just like that and more poignantly the ‘revelling’ involved is a character harming objectively evil people the overwhelming majority of the time.

He gets brutal in the course of a brutal life dealing with brutal people doing horribly brutal things.

Does he lose his temper from time to time?

Yeah...but EVERY PERSON ON EARTH DOES THAT...and most people on Earth are not coping with the insane levels of personal stress being placed upon Spider-Man.

The OP I am willing to bet does not deal with anything CLOSE to the amount of horrible experiences and stresses Spider-Man himself does.

· The OP paints Peter is a disgustingly negative light. Listing how he is oudmouthed, proud, independent, stubborn, touchy, cocky, judgmental, and he has one hell of a temper that he typically can barely keep under control. He has a firm sense of justice, of what’s right and what’s wrong, and if he’s made up his mind, he will not budge.

This is BS because not only are there numerous instances of Peter having his mind changed but Peter being ‘touchy’ is usually owed a fuckton more to the situations he finds himself in and the stresses he’s coping with. FFS Peter for the first 18 years of his life has no friends and was bullied and ostracised. OF COURSE HE’D BE TOUCHY!

Similarly his’ barely controllable temper’ was a feature more during the silver and bronze age when writing standards for many superheroes was very different from what it’d later evolve into and the character was a lot younger too.

YES Peter has had moments where his temper breaks in later stories but they were situational.

But what’s gross about the OP is that she lists of all this stuff as part of Peter’s personality and then lists nothing else.

Nothing else.

Peter’s kindness?

Peter’s sense of loyalty?

Peter’s sense of you know...responsibility?

Peter’s sheer decency?

Peter’s ‘never say die’ attitude?

Peter’s sense of humour?

Peter’s fondness for learning?

Peter NOT being as judgemental as the OP is grossly pretending he is considering he never once held Flash Thompson once assaulting his girlfriend, Betty cheating on her husband or many other bad things his friends have done against them?

Which showcases an incredibly forgiving nature to the character.

· The OP claims Spider-Man REVELS in violence and loves fighting.

No Spider-Man loves blowing off steam with action which MOST superheroes do. It’s not a Peter thing it’s a genre convention thing and needs to be properly looked at WITHIN THE CONTEXT OF THE GENRE CONVENTIONS of the series and Marvel in general.

Does Spider-Man love beating up bad guys?

I think he certainly gets a certain thrill out of it, but he rarely seriously injures them unless the situation is serious or else he’s been pushed hard.

In the 1980s the violence Peter was witnessing in various street crimes actually served to seriously affect him and he wanted to quit.

Shit he’s wanted to quit COUNTLESS times and it’s his sense of responsibility that keeps him in the game.

That is NOT someone who just ‘loves’ fighting or ‘revels’ in violence.

· “He punches first and asks questions much, much later. ”

Again bullshit. Not only have there been instances where Spidey has asked questions first but this interpretation of Spider-Man is extremely flawed not only because it doesn’t properly contextualize genre conventions of the superhero genre (Daredevil and Batman are as ‘guilty’ of this as Spider-Man) but also because 99% of the crimes Spider-Man ‘punches first’ he catches red handed in the middle of the act.

He doesn’t need to ask questions if he sees someone in a ski mask with a gun holding up someone screaming in an alleyway.

He doesn’t need to ask questions when he sees what is obviously a bank robbery in progress.

He doesn’t need to ask questions first if the Rhino is rampaging in Times Square.

It’s OBVIOUS what is happening so his immediate intervention is neccesarry.

· The OP claims Spidey “goes out every night LOOKING for people to beat to a bloody pulp. It’s like his therapy, where he works out his many anger issues (I could write a whole essay on where those come from).”

First of all the OP couldn’t write a whole essay on where Spider-Man’s anger issues come from since she patently misunderstands Spider-Man.

Secondly beating up criminals isn’t Spider-Man’s ‘therepy’ it’s Spider-Man’s way of helping people by reducing the crime rate and protecting innocent civilians.

See ASm #50 where he retires briefly and crime rates spike.

See ASm #500 where he chooses to not prevent his younger self from becoming Spider-Man due to how many people wouldn’t be saved by him.

See EVERY SPIDER-MAN STORY EVER!

Spider-Man doesn’t go out every night looking to beat people to a bloody pulp.

I’m a Liberal and even I think that’s overliberalized bullshit.

If you actually pay attention Spider-Man rarely draws blood when going out on patrol let alone causes any serious physical trauma whatsoever.

More importantly going out on patrol looking for ‘people to beat up’ isn’t his fucking hobby. That’s him using his powers to help people by fighting crime...like the kind that got his Uncle Ben killed perhaps. Fucking idiot.

· “He is not afraid of the unsuperpowered criminals he hunts down because they literally CANNOT LAY A FINGER ON HIM AND HE KNOWS IT AND ALWAYS HAS.”

Yeah.

Remember all those times ‘unsuperpowered criminals’ like the Kingpin or the Enforcers or the Foreigner or Captain fucking America never hit him once?

· “The criminals are terrified of HIM. ”

Some are, some are not.

He isn’t Batman, it’s more they know they have little chance of avoiding capture if Spider-Man’s there. They aren’t actually afraid of him in the way the term ‘terrified’ implies.

They are afraid of him the way they are afraid of Superman. They know Superman isn’t going to hurt them much if at all but they know they’re in for jail if they cross him.

· “He is unstoppable when he’s angry.”

Is that why Daredevil was able to defeat him in the Death of Jean DeWolff when he was angry?

· OP uses Peter complaining how normal crooks are boring as an example of Spider-Man inherent personality and as an example to again paint him in a negative light.

This is BS because the issue is premeditated upon building up his pride before Doc Ock kicks his ass and humbles him.

He rarely if ever displays that kind of attitude towards regular criminals again.

This is also a TEENAGER displaying TEENAGE pride. There is nothing damning about that.

Oh but the character must’ve just inherently been that forever more obviously.

· OP uses Untold Tales #13 as an example of how ‘toxically violent’ Spider-Man is.

Again ignores context.

Spider-Man is a teenager who recently lost his Dad who’s school peer who was his own age violently died very recently and so he was grieving and lashing out.

I knew kids who were children of divorce who lashed out.

That was cause for understanding by my teachers and fellow students.

Peter was dealing with worse but he’s painted negatively and as though this is something inherent to him in this very extenuating circumstance. And he’s comdened by the OP for it. Gross.

Also the OP pretends Spider-Man almost killed the villain in question. He didn’t there is no indication of that. Spidey used too much force after he’d already won but he was never implied to be inflicting any really serious physical trauma.

· The most disgusting thing in the post so far, OP tries to pretend there is a problematic and inherent ‘pattern’ of Peter’s violence by citing how Peter almost killed Norman Osborn after Gwen died.

First of all there was no pattern because Peter didn’t almost kill the Untold Tales villain.

Second of all Peter was DELIBERATELY trying to muder the Green Goblin.

Third of all both instances involve Peter grieving.

Fourth of all the GG incident was when his almost fiancée had just been MURDERED before his eyes by the target of his anger.

Literally ANYONE would’ve felt the same way Peter did.

The OP treats people becoming violently angry against objectively evil people when they have or are very seriously threatening to do horrific things (like murdering innocent people, particularly those Spider-Man has an emotional investment in) as ‘problematic’.

It’s problematic in so far as we shouldn’t ALLOW people in society to go around doing that.

It isn’t problematic in so far as it speaks to inherent negative traits within those people who want to or actually do do those things.

Because let’s not lie to ourselves here.

If someone murdered someone you loved...you’d be angry. You’d want to hurt them. And if they were right in front of you shortly after they’d murdered your loved one and you could you’d inflict pain upon them.

Real talk every parent ever would agree if they’re child was hurt or god forbid abused or murdered they’d want to kill the person who did that.

And the OP disgustingly ignores how Peter DIDN’T kill the Goblin and acknowledged how he almost crossed a serious line having already gone too far.

· OP brings up ANOTHER instance where Spider-Man gets angry and violent to again unsubtley imply it’s so problematic.

Yes in this instance Spider-Man used force unnecessarily whilst angry.

He however inflicted no lasting damage and the person he used it on had just murdered an innocent man who had a family.

· “ASM #177, where, as you can see, he’s downright contemptuous of other people’s attempts to harm him”

Contemptuous was an interpretation of the OP, not something hardcore without a doubt the emotion Spider-Man was going with.

Frankly in the panels showcased i’d say Spidey was more surprised and mocking towards the guy who was again...a huge asshole.

He believed it was his friend Harry who was from Peter’s POV betraying his friendship, had tried to harma dn murder him, Aunt May, Flash and MJ in the past, had hospitalized MJ and at that PARTICULAR moment in the story was wasting Peter’s time as Aunt May’s life was hanging in the balance.

So yes Spider-Man mocked him and hit him.

Shockingly you are allowed to hit people sometimes FFS.

Oh and btw the issue number wasn’t even correct.

· OP uses ASM #189 to further support their case. This is one example where I WOULD agree that the panels legitimately support the agenda they are trying to push.

The problem is that the panels are also OOC.

Spider-Man had never to my recollection ever acted this was towards a doctor before and only particular situations had served to spur him to act this way.

This was part of the Marv Wolfman run where to be brutally honest there was more than a little OOC writing of many characters and an over all regressive approach to Spider-man in particular.

He’s MORE rash and MORE aggressive and MORE of a jerk than he’d been in a long ass time even under Stan Lee’s tenure.

And this made sense because Wolfman pretentiously regarded himself as a Ditko ‘purist’ who believed Spider-Man should never have left high school. And so he wrote Spider-Man in a regressive way to the point where often times, like in the referenced panel from ASM #189 he acted in ways that didn’t make sense for a 22 year old written for 1979 standards vs a teenager written for 1963 standards.

Further proof can be observed in how his writing for Mary jane in her rejection of Peter’s proposal played as though she never developed from the silver age onwards.

· “ASM #193 – this is VERY 616 Peter. He’s frustrated with his personal life, so he decides to take it out (violently) on a bad guy:”

Again...Wolfman’s run, but in this case he is not doing anything particularly wrong within the genre and societal conventions of the time.

Genre conventions dictated that in superhero comic book land hitting criminals is 100% okay because they are bad guys.

Therefore since Spider-Man does that anyway, venting his frustrations into something productive is also okay.

Societal conventions dictated that this was the late 1970s and early 1980s...in New York.

70s and 80s New York was ROUGH and had problems with street crime that got more violent into the 1980s, at least according to the media.

You know how in the Daredevil Netflix show they said because of the Battle of New York Hell’s Kitchen had gone downhill?

That was because they were trying to justify modern day Hell’s Kitchen resembling the kind of dark crime ridden place it was in the 70s and 80s at the height of Daredevil’s popularity.

NYC was ROUGH and that was attributed a lot to crime and so a crime fighter like Spider-Man getting rough would’ve been regarded as fine as would him doing it to vent anger.

The angrier he gets the more criminals he beats up meaning the more go to jail meaning the streets are safer. So all the better.

That was the logic of the time period.

Remember this was the decade that spawned DIRTY HARRY!

This was a decade where Vietnam wrapped up in abject failure and Watergate broke out. People were fucking angry and disillusioned.

And to add further context Marv Wolfman wrote Superman in the 1980s post-crisis era as getting rough with criminals too because Wolfman was a child of the era where both superheroes and crime/gangster stories involved that sort of mentality. His Superman was the Golden Age one who got rough a lot and it was seen as fine because criminals were bad and therefore deserved it.

Now bear all that shit in mind when reading ASM #189...where Spider-Man in hunting down a dangerous super villain who could endure blows from him and whom he’d need to find and stop anyway...whilst he’s coping with Aunt May being in a nursing home, his relationship with MJ whom he is in love with disintegrating, his relationship with Betty also disintegrating and having just taken a punch to the jaw from Ned Leeds his old rival.

YOU CANNOT REMOVE SHIT FROM THE CONTEXT OF THE TIMES THEY WERE CREATED IN!

· More of OP being a disgenuous jerk by pretending Spider-Man losing his temper in confronting the man who murdered Uncle Ben is problematic.

“…notice how a mask seems pretty unnecessary here, despite the fact that his opponent is armed. Peter doesn’t even hesitate. He is out for blood.”

A) The Burglar was not initially unarmed he lost his gun in the scuffle depicted in the panels from the OP

B) Real talk...who WOULDN’T lose their temper confronting the guy who MURDERED THEIR DAD to the point where they’d come close to seriously injuring them?

C) Peter believed Aunt May had recently DIED and that it was at least partially his fault

D) The OP conveniently neglects that the Burglar was threatening Spider-Man with a gun a panel before Peter attacked him and that Spider-Man doesn’t have his powers in this instance. In other words shortly after his mother figure’s death an unarmed and helpless Peter Parker was confronted by an armed known killer who killed his father figure in cold blood and was threatening his life. And he’s ‘problematic’ for assaulting him angrily and threatening to kill him. Can you spell ‘self’defence’?

OP is also disingenuous because she paints Spider-Man’s rage and scary demanor as the fault of the Burglar’s death when it was just the Burglar working himself up.

Spider-Man made it explicitly clear he was NOT going to kill or maim the Burglar but the Burglar was just too worked up and had a heart attack.

· OP brings up Spec v2 #10 where Spider-Man is beating the shit out of Doc Ock....but conveniently doesn’t include the panels prior to that incident where Doc Ock pointlessly murdered an innocent police officer violently and then threatened to murder someone everyday for a year...after he nearly deliberately instigated a war between Israel and Palestine! I am NOT making that up Doc Ock nearly set off a war between Israel and Palestine just to force Spider-Man into revealing his secret identity

FFS is Spider-man REALLY this violence revelling brute for punching the shit out of him for that!

Doc Ock took an innocent life, threatened to take more and was willing to risk MILLIONS of people dying in a war that could’ve lasted years because of his own stupid ego and obsession.

Like fuck dude WAR CRIMINALS have been executed for less than that but SPIDER-MAN is a violence addict because he punched Doc Ock a bit and humiliated him?

Look real talk Spidey making Doc Ock ‘ask him nicely’ was OOC (the OP doesn’t seem to realize such a thing could ever possibly happen) but even if it wasn’t it doesn’t prove the OP’s point because the CONTEXT OF THE SITUATION MATTERS.

· “ASM #522, where he loses his temper and throws Wolverine out of a window:”

Yes.

First thing in the morning after he’s been woken up abruptly by the worrying and mind boggling news that his wife has been sleeping with Tony Stark the guy who’s been insulting him on and off for awhile and who is now very directly insulting his pride and his beloved, long suffering wife (who’s lived through hell for him and has saved his life a million times too).

And he does the equivalent of punching the guy.

How ‘problematic’ and ‘toxic’ that must be.

Gimme a break.

Also remember Spider-Man doesn’t normally randomly punch people, even those who insult him despite the bullshit picture the OP is trying to paint.

· “ASM #539, the first issue in the “Back in Black” arc where Aunt May is shot on Kingpin’s orders, and Peter PUNCHES, INTIMIDATES, AND THREATENS HIS WAY THROUGH THE UNDERWORLD trying to figure out who was responsible. I would recommend reading this arc for a good look at Peter when he’s beyond furious”

OP disingenuously pretending that Peter when he is beyond furious is Spider-Man’s default setting as opposed to Spider-Man under extenuating and/or exceptional circumstances.

You know like when someone has shot his mother who is now dying and might pose a threat to yet more of his friends and family!

Like FUCK how are you so dense as to not properly contextualize shit.

· “Notice, again, the lack of a mask. Peter’s not even slightly frightened by the thought of diving into a room FULL of criminals armed with machine guns where he’s outnumbered by what looks like about 7 to 1.”

OP seemingly conveniently ignoring that in Back In Black (the story being referenced here) Spider-Man identity was public so it doesn’t matter that he didn’t have his mask

· “I find these panels more telling than Peter vs. Norman in #122 – in that one, Peter lost his temper momentarily but quickly snapped out of it and realized he didn’t have it in him to commit murder. Here, he’s completely cool. He genuinely plans to murder Kingpin. He’s thought about it. He wants to do it. He will do it without a moment’s hesitation if the need arises, if that’s what it takes to protect his family – that’s what 616 Peter does. He protects everyone around him. He takes the punishment they cannot.”

I find this part the most mind boggling of all because the OP’s statements here are not untrue but also make no sense in her characterization of Peter as toxic.

· “I could keep going with this all day, because this is who he is in the comics, but I’ll stop there. ”

Again no.

This is who Peter is at TIMES in the comics under certain circumstances and at particular points in his history. That isn’t what he is like at his regular default setting when horrible or seriously stressful or emotionally triggering things are not happening to him.

He ISN’T like this for instance in the Digger arc of JMS’ run.

He ISN’T like this in ASM #301

He ISN’T like this in ASM #41

He ISN’T like this in the Kid Who Collected Spider-Man

· “Does this angry, vengeful man who REVELS in violence really seem like he’s scared of, I don’t know, ANYONE? Don’t let the jokes fool you. Peter’s not someone you want to make angry. He is terrifying when he’s angry.”

Again OP speaks bullshit because

a) Peter doesn’t revel in violence. That’d inply real enjoyment. He at worst vents using it

b) Peter isn’t scared of anyone huh?

Sister let me introduce you to Spider-Man’s ex...and her new man.

Their shipper name...is Venom....

#Spider-Man #Venom #Eddie Brock #Green Goblin #Doctor Octopus #Peter Parker #MCu #marvel cinematic universe

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almohamady-blog · 5 years

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MCU: Most Defining Scenes of The Original 6 Avengers

We’re in the endgame now. The Avengers movie we’ve been waiting, theorizing about, obsessing over and anticipating more than any other movie for quite some time is finally coming to theaters this week. Avengers: Endgame has been marketed as the culmination of over a decade of Marvel films revolving around the core six who kicked this whole thing off. The original six Avengers also just happen to be some of the few heroes left after Thanos’ snap. Since it's distinctly possible we’ll be saying some goodbyes to the heroes at the center of this franchise phenomenon, let’s take a trip down memory lane to the moments in the MCU that were instrumental in defining the climax we’ll soon be witnessing. Avengers Assemble!

I Am Iron Man

Iron Man kicked off the MCU back in 2008 with an unforgettable bang from Robert Downey Jr’s Tony Stark when he broke the superhero cardinal rule: announcing your identity… oh, and on live television. It was already a different kind of origin story about a billionaire playboy’s journey into creating his own tech to undo the damage his weapons company had created. The final moment of the film showed the new Marvel universe wouldn’t be playing the same game as Superman or Batman and making a mark of its own.

I Told You, I Don’t Want To Join Your Super Secret Boyband

After Samuel L. Jackson’s Nick Fury makes his first appearance during the post-credit scene for Iron Man, the Avengers ringleader came back for the sequel to give Tony Stark a bit of an intervention on his recklessness midway through the film. He brings along Black Widow too on her first-ever appearance in the MCU. It’s a funny scene that has Fury calling Stark out for what he’s doing wrong and helping him out on his hero work. While Stark is great at playing it off, he probably needed a dose of S.H.I.E.L.D. on his side at that moment before he had the Avengers.

If He Be Worthy

Chris Hemsworth’s Thor has certainly come a long way since having bleached eyebrows and Natalie Portman’s Jane on his arm in his 2011 origin story. The quirky action flick introduced audiences to the complicated relationship between brothers Thor and Loki, culminating in the scene where Thor stands up to his brother (who's controlling The Destroyer) by sacrificing himself in order to save the people on Earth. While he takes a pretty bad hit, it earns him the right to his iconic hammer from Odin. At the same time, it angers Loki further which later kicks off the events of The Avengers.

Peggy, I’m Gonna Need A Raincheck On That Dance

This scene gets me every. single. time. It’s the moment when Cap must force down the plane in order to save everyone while on the line with Peggy Carter. It’s also the scene that signals Steve Rogers’ ultimate sacrifice to become a hero, which he ends up needing to live with nearly 70 years later when he is dug out of some ice. As Cap’s journey continues, the past that could have been haunting him and his relationship with Peggy is an important one (even alluded to in an Endgametrailer).

I’m In The Middle Of An Interrogation

It’s crazy to imagine that just a few years ago in 2012, a showcase of female badassery such as Black Widow’s at the beginning of The Avengers was something new to be introduced on screen. Since we have Rey in Star Wars, Wonder Woman, Captain Marvel and so on, but I distinctly remember the way Scarlett Johansson lights up this scene, in particular, feel special. It was the start of an era for action flicks and this defining scene was certainly part of it. From her snark and the skilled choreography, this is the moment when we were all sold on Black Widow.

That’s My Secret Cap, I’m Always Angry

Aside from the snap, this might just be the most iconic moment in the MCU to date. As Captain America, Iron Man, Thor, Black Widow and Hawkeye deal with the chaos attacking New York, Bruce Banner later rides up on a motorcycle to help. While the character’s fear of losing control to the “other guy” is brought up throughout the film, here he embraces it with the above line and completes the Avengers team once he Hulks out. That iconic shot of the six of them in a circle taking on the alien army showed the power of the MCU as the team was successfully brought together.

I’m Not Going To Fight You, You’re My Friend

Skipping to Captain America: Winter Soldier, Steve Rogers grapples with his past in a big way when he ends up in a showdown fight with his ol’ pal Bucky (a.k.a. Winter Soldier) in the finale of the film. A brainwashed Bucky is beating Cap up real good, but he refuses to fight with his best friend, even trying to jog his memory to help him remember. It’s a clever work of irony that the one piece of his past he can have is the person he is at odds with. While the relationship between them never seems to feel like the ‘40s, an ounce of Bucky does come through when he saves Cap from drowning.

Did You Bring Auntie Nat?

The MCU has always struggled a bit to give Hawkeye a story arc for the audience to care about, especially when he wasn’t given a movie of his own prior and his abilities are objectively less impressive than his fellow members. Avengers: Age of Ultron helped turned that around when it was revealed that Hawkeye has a family of his own living out somewhere in a safe house set up by Fury. His wife (Linda Cardellini) and kids surprise the other Avengers when they turn up to the house and Natasha have a cute banter with them. The scene helped to humanize Clint and get us more interested in his double life.

We’re Still Friends, Right?

Fans were divided into Team Cap and Team Iron Man in the event film Captain America: Civil War that had a bit of the old and new team of heroes fighting against each other based on principle. It will be hard to soon forget the airport battle that had Spider-Man, Ant-Man and Black Panther being featured in the mix, along with most of the original Avengers punching it out in a dynamic we’re not used to. Black Widow and Hawkeye going head-to-head were really fun, along with Cap and Spidey, but when Rhodey got hurt, it took a turn for the serious.

I Can Do This All Day

Civil War went for another unexpected match-up of hero versus hero when Iron Man and Captain America ended up getting into a heated fist fight over what should be done with Bucky, who is revealed to be the killer of Stark’s parents but is still Cap’s old bestie. It was a heartbreaking moment to watch as the heroes who once worked side-by-side were violently going at each other until Cap pins Iron Man on the floor and walks away with Bucky as he yells “That shield doesn’t belong to you. You don’t deserve it. My father made that shield.”

Are You Thor? The God of Hammers?

After Thor: Ragnarok delivered a completely different (and welcome) side of Odinson thanks to Taika Waititi’s direction, the third Thor film also upgraded his powers as well to someone much more powerful than a big hunk with a hammer. After Hela rips out his eye and looks to be doing quite well for herself in taking over Asgard, Thor is able to see a vision of his father, who tells him that the hammer isn’t the source of his power, but a way to wield it. To “Immigrant Song,” Thor comes out with this thunderous powers and with some help from Hulk and the gang, takes down her army. His newfound powers come in handy for Thanos, but aren't quite enough…

You Should Have Gone For The Head

This scene brings us up to speed to the jaw-dropping events of Infinity War where the Avengers actually fail to stop Thanos from possessing all the Infinity Stones and wiping out half of all life in the universe. The scene when the core Avengers have to watch as heroes all around them turn to dust and they are powerless to stop it is truly one we won’t soon forget, especially since it’s so untypical for them to not save the day. The ending was a complete shock at the end of the movie, especially when they were so close to victory. It showed the Avengers are flawed and not at a place of unity. What’s next for the Avengers? We’ll know soon when Endgame hits theaters on April 26. What are your favorite moments in the MCU so far? Let us know in the comments below! Read the full article

#Avengers #MCU

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mrmichaelchadler · 5 years

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In the '90s, Batman was at its best in Mask of the Phantasm

Before Christopher Nolan’s trilogy, the only movie that took Batman seriously was a cartoon.

Originally a direct-to-video release, Warner Bros. Animation rushed “Batman: Mask of the Phantasm” into theaters 25 years ago next month. Created by the Emmy award-winning team behind “Batman: The Animated Series,” this feature-length animated film was thrown into theaters during the 1993 Christmas season alongside heavyweights like “Schindler’s List” and “Philadelphia.” Of course, “Mask of the Phantasm” flopped.

Even as Roger Ebert and Gene Siskel praised its 1994 home video release, “Mask of the Phantasm” existed as an overlooked stop-gap between Tim Burton and Joel Schumacher’s live action entries, 1992’s “Batman Returns” and 1995’s “Batman Forever.” However, “Mask of the Phantasm” did what Burton and Schumacher couldn’t—it gave us a reason to care about Batman. Until the ‘00s, “Mask of the Phantasm” was the only Batman movie that made Batman the subject of its film, not an accessory.

Directed by Eric Radomski and Bruce W. Timm from a story penned by “The Animated Series” vet Alan Burnett, “Mask of the Phantasm” shows The Dark Knight investigating another masked vigilante named the Phantasm. The new presence appears in a cloud of smoke, with a blade for a fist, attacking Gotham City mobsters. At the same time, Wayne’s old flame, Andrea Beaumont (voiced by Dana Delaney), has returned. Could she be the Phantasm?

Through film noir-style flashbacks, “Mask of the Phantasm” presents a vulnerable Bruce Wayne (voiced by Kevin Conroy) reckoning with his past while facing a violent future as Batman.

While other Batman movies flirt with Wayne’s haunted past, this is the main focus of “Mask of the Phantasm.” Not only did Wayne lose his parents at a young age, he also lost the love of his life, his only semblance of normalcy, in Beaumont. The audience is finally given displays of his anger, guilt and disappointment. In the midst of making another challenging decision, Wayne stares at his parents’ portrait in his manor, wondering if he’ll reconnect with Beaumont. In flashbacks, Wayne visits his parents’ grave, seeking advice about his love for Beaumont, and later asking permission to become Batman.

The movie also shows Wayne’s difficult transition into a superhero. A man who brazenly fights crime, be it in a ski mask or blue sweatshirt, becomes Batman. After these sequences, we see Wayne bloody, bandaged and bruised, which felt like a first at the time. Even after he has become the famed vigilante, Wayne perks himself atop a skyscraper as Batman. While in costume, Wayne is preoccupied with the past as he spies on Beaumont going on a date with councilman Arthur Reeves (voiced by Hart Bochner). The rain pours as Batman grimaces, focusing his binoculars on Reeves and Beaumont sharing a romantic moment. Those types of details were never delivered in live-action Batman movies until “Batman Begins.”

Unlike every live-action Batman movie, “Mask of the Phantasm” runs under 80 minutes. Rather than stretching out a movie over two hours, it excels as a lesson in tight storytelling. As Siskel noted in his review, “Every image counts.” Each scene moves the story along at a rapid pace. There are no lulls. Just as soon as the Phantasm is introduced, taking out crime boss Chuckie Sol, the film moves to Reeves yelling for Batman’s head, then Wayne hearing of Beaumont’s return.

Ebert added that “Mask of the Phantasm” worked well because “animation can do some things live-action can’t.” An obvious statement, but it’s spot-on and still applicable to modern day comic-book movies. Here, Wayne climbs the grill of an 18-wheeler and throws spiked bombs at its tires. The truck flips, creating an impressive sequence that countless action movies have duplicated with success and failure. Later, Wayne confronts a gang of punks, jumping towards one motorcycle-riding baddie and landing a punch. It’s an acrobatic stunt modern CGI still can’t replicate as naturally.

In contrast, Burton and Schumacher’s Batman movies are two-hour-long time capsules of each director’s style. “Batman” is dark, and then Jack Nicholson appears as The Joker, jamming some Prince. “Batman Returns” is full of Burton’s quirks (leather, prosthetics, an appearance by Paul Reubens) and not much else. Burton’s films are both more interested in their villains—Joker & Penguin/Catwoman—than the hero himself.

Schumacher’s aren’t really interested in anything at all. The director lit scenes with neon pinks, greens and blues, shot action at canted angles, and overstuffed his casts with big names playing meaningless parts (hello, Drew Barrymore, Debi Mazar, Alicia Silverstone, Vivica A. Fox and Elle Macpherson). Two decades later, even Schumacher admitted that “Batman & Robin” was a toy commercial.

In comparison, “Mask of the Phantasm” doesn’t feel like a product of the ‘90s. Instead, half of the movie feels like it’s set in the 1940s. The creators credited “Citizen Kane” as inspiration for the film’s flashbacks. You can find more examples of that classic feel in “Mask of the Phantasm”’s score, architecture and automobile design, and mobsters using Tommy guns. Even Mark Hamill’s performance as Joker is exaggerated with one-liners like, “So, what’s an old-timer want with a two-timer like me?” and “Very cute, but I can blow smoke too, toots!” More than anything, Batman’s chief occupation, in the early comics and here in the film, is that of a private eye.

12 years after “Mask of the Phantasm,” Christopher Nolan solved the live-action Batman dilemma with his trilogy, creating three box-office hits that were dark and had stakes. But by 2016, Batman was back to a supporting role, huffing and puffing in “Batman v Superman: Dawn of Justice,” “Justice League,” and appearing out of nowhere in “Suicide Squad.” Nowadays, Batman is better served in LEGO movies.

While Batman himself may be in a transitional phase in American entertainment, DC and Warner Bros. Animation were ahead of the curve with “Mask of the Phantasm.” Since that release, the DC animated universe has continued to impress with direct-to-video titles such as “Superman: Doomsday,” “Batman: Under the Red Hood,” and “Justice League: Crisis on Two Earths,” to name a few. But with the influx of movies in theaters and on demand, what isn’t playing on 3,000 screens can be easily ignored.

There is some reason to hope, though. Besides “The LEGO Batman Movie”’s success, DC released another animated movie this summer with “Teen Titans Go! To the Movies.” While “Teen Titans Go!” wasn’t a box-office smash, it grossed more than $51 million worldwide, recouping its $10 million budget. “Mask of thePhantasm” couldn’t make its $6 million budget back. Like Marvel’s “Deadpool” and Guardians of the Galaxy,” “Teen Titans Go!” is also full of non-stop humor and gags that make more sense to adults (Nicolas Cage as Superman is a nice touch for geeks who wanted “Superman Lives”). But, here comes Marvel quick to respond with the upcoming “Spider-Man: Into the Spider-Verse,” headlined by Miles Morales (voiced by Sameik Moore), a half-Puerto Rican and half-African-American teenager with Spidey sense.

Unlike “Mask of the Phantasm,” “Spider-Man: Into the Spider-Verse” is backed by an unrushed promotional campaign, and an awareness that anything can be done with animated storytelling. Marvel knows it can add elements like Spider-Ham (John Mulaney), an older Peter Parker (Jake Johnson), and Daredevil villain Kingpin (Liev Schreiber). Sure, it’s a gamble, but “Into the Spider-Verse” will come closer to its source than any live-action adaptation possibly could because it’s drawn just like the comic books. Already, fans are salivating at the prospect of seeing a cartoon Spidey as its trailer has nearly 30 million hits on YouTube.

The likely success of “Spider-Verse” could lead to a number of other high-profile animated projects: Jeph Loeb and Tim Sale’s Superman For All Seasons would be a perfect feature-length animated film; Martian Manhunter is the type of character whose story would get botched by CGI. And why would anyone try to make a live-action Watchmen again, when you could make that an excellent animated miniseries? With “Mask of the Phantasm,” DC seemingly knew how well its characters were served by feature-length cartoons. Now, 25 years later, it looks like DC and Warner Bros. Animation are once again chasing Marvel.

Like Bruce Wayne, DC is constantly reckoning with its past mistakes, trying to force a new future. If DC’s next move is to rush an animated feature out to theaters, no matter how great it is, it might take another 25 years for audiences to come around. With regards to “Mask of the Phantasm,” it’s a shame it took so long, because in the ‘90s, it was the only Batman movie that mattered.

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gokinjeespot · 6 years

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off the rack #1201

Monday, February 19, 2018

Happy Family Day Folks and Gung Hay Fat Choy too. Looks like the Jee Gang will not be gathering for the traditional Chinese New Year family dinner for the Year of the Dog. That's fine with me since a lot of the kids are now living away from home and won't be there anyways. There are two new dogs in the family now. Niece Sam just returned from 4 years in Japan with her dog and niece Tara just got a puppy up in Thunder Bay. Both Cas and Jane are very chill it seems.

I'm even more semi-retired now as I am only working half days on Tuesday and Wednesday. It still means I get to see some of my favourite people when they come in to pick up their books on Wednesday. I will miss the Saturday folks and hope that I can get back to working that day again.

Avengers #679 - Al Ewing, Jim Zub & Mark Waid (writers) Kim Jacinto (art) David Curiel (colours) VC's Cory Petit (letters). No Surrender part 6. They should have featured Rogue on the cover since she narrates most of this issue. Ah wish they wouldn't use her southern accent for Rogue's inner monologues. It makes mah face cringe. Meanwhile, Logan shows up in Peru.

Sideways #1 - Dan Didio & Justin Jordan (writers) Kenneth Rocafort (art) Dan Brown (colours) Carlos M. Mangual (letters). Another New Age of Heroes hits the racks for DC with teenager Derek who can somehow manipulate rifts in space to instantly travel anywhere. He kind of looks like a young Peter Parker and his costume looks like a Captain Boomerang hand-me-down with a full face mask. There's not much of an origin story since we're supposed to know what happened by reading the Dark Nights Metal comic books. I stopped reading those but I was still okay understanding stuff since this is just Derek getting the hang of his super powers. I like his cosplaying friend Ernie and the big bad creature that shows up on the last page so I'll give the next issue a look-see.

Kick-Ass #1 - Mark Millar (writer) John Romita Jr. (pencils) Peter Steigerwald (digital inks & colours) John Workman (letters). A little change in publisher and a major change in lead character. Nerdy Dave Lizewski is replaced by someone who already knows how to kick ass and I like them already. This is one of those lemons and lemonade life lessons. I like the softer look to the art too and I credit the guy finishing John Romita Jr. pencils for that.

Action Comics #997 - Dan Jurgens (writer) Brett Booth (pencils) Norm Rapmund (inks) Andrew Dalhouse (colours) Rob Leigh (letters). Booster Shot part 5. If you take the time travel element out of the Superman versus General Zod and his family fight it's pretty good all out action. Meanwhile back on Earth, Lois is still trying to rescue her dad. This is the issue where the bad guys get the upper hand leading to the possibility that the good guy are going to lose. Let's see how Dan Jurgens figures out a way for the bad guys to lose instead.

Weapon X #14 - Greg Pak (writer) Yildiray Cinar (art) Frank D'Armata (colours) VC's Joe Caramagna (letters). Nuke-Clear War part 3. I like how this team will do anything to win. Domino and Warparth need to get a room. What Lady Deathstrike and Sabretooth have cooking keeps the intrigue going. Wonder what the next mission will be?

Detective Comics #974 - James Tynion IV (writer) Philippe Briones (art) Allen Passalaqua (colours) Sal Cipriano (letters). It's so long Clayface, for now at least. A major villain from Batman's Rogues Gallery won't stay gone for long. The aftermath of Fall of the Batmen leads into a story featuring Batwoman. I'm a fan of Kate so I am very interested in what happens next.

Skybourne #5 - Frank Cho (writer & artist) Marcio Menyz (colours) Ed Dukeshire (letters). We had to wait 18 months for this 5-issue mini to tell its story but I am a sucker for anything that Frank Cho draws. I had a flashback to reading his Liberty Meadows strips because one of the characters looked exactly like Brandy. This is one collection that I will recommend the heck out of when it hits the racks.

Amazing Spider-Man Annual #42 - Dan Slott (writer) Cory Smith (pencils) Terry Pallot (inks) Brian Reber (colours) VC's Joe Caramagna (letters). This story is pure nostalgic Spider-Man. We've got Betty Brant snooping around an old news story that her ex-husband Ned Leeds was looking into. This puts her in danger because certain underworld members don't want the secret to be revealed. Cue the appearance of old Spidey villains the Enforcers. Add in a cameo appearance by the current New York City mayor Wilson Fisk, so you don't think this is a reprint from the 1960s, and the classic Spider-Man saves the day ending and you can give this book to any kid who isn't glued to their mobile devices to read. I learned something new from the title of this story too. "Bury the Ledes" might look like a typo but it's a newspaper term they used to mean "a lead in a story" instead of the heavy element lead. I think that's just dumb. They should have called this story "Bury the Leeds" since Ned is dead, but is he really? Read this annual to find out. The backup story by Broadway playwright David Hine (Marcus To (art) Ian Herring (colours)) is a silly surprise all about Peter Parker's Spidey sense. This could explain the old Parker Luck.

Batman #40 - Tom King (writer) Joelle Jones (art) Jordie Bellaire (colours) Clayton Cowles (letters). Super Friends part 4. What a great end to Batman and Wonder Woman's epic odyssey in another dimension. It's a powerful story of love. Back when I was a rabid X-Men fan I thought that Chris Claremont (writer) John Byrne (pencils) and Terry Austin (inks) was the best creative team for that book and I didn't want that to change ever. I wish the same thing for this current Batman creative team but I know it will change eventually. I will love it while it lasts though.

Captain America #698 - Mark Waid (writer) Chris Samnee (art) Matthew Wilson (colours) VC's Joe Caramagna (letters). Out of Time part 1. The last we saw, Cap was flash frozen again. This is where he gets thawed out. When this happens is another story. This is tantamount to Cap dying again. It's a convenient way to have Cap fighting a new tyrant but how the heck is he going to get back to the present? Ugh, I hate time travel.

Star Wars: Darth Vader #11 - Charles Soule (writer) Giuseppe Camuncoli (pencils) Daniele Orlandini (inks) David Curiel (colours) VC's Joe Caramagna (letters). While on a mission to find Force sensitives, Vader is attacked by bounty hunters. Lots of action this issue. I am really impressed with the art. Giuseppe Camuncoli has come a long way since he was drawing Spider-Man. What Vader will do when he finds out who hired the bounty hunters makes me want to read the next issue.

Old Man Hawkeye #2 - Ethan Sacks (writer) Marco Checchetto (art) Andres Mossa (colours) VC's Joe Caramagna (letters). I'm having a lot of fun seeing these future versions of Marvel heroes and villains. The writing is very clever. I love the club run by the Orb called Eye Candy. A fine establishment indeed.

Marvel 2 In One #3 - Chip Zdarsky (writer) Valerio Schiti (art) Frank Martin (colours) VC's Joe Caramagna (letters). This issue's guest star is the Prince of Power. If Herc should ever get his own book again Chip should write it. Plenty of dramedy here. We've got Doctor Doom and the Mad Thinker for drama and Herc for comedy. I like how there's a good reason why Ben and Johnny have to find Reed and Sue and the new recruit they get to help. This book is a sleeper hit in my opinion.

C��~i�

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