I’ve noticed once or twice among the pulp hero’s a dude with a crystal ball mysterio helmet in a dark suit. I can’t help but notice that what the Orb look is baller, it’s really distinct from other pulp characters he’s getting grouped with. What’s this guys deal and why is he so different from other pulp dudes?
(Meme on the left by Questionposting)
Ethel Knapp, twenty, stood in her furnished room and peered at the gas jet. For ten minutes she had been peering at it, trying to summon the courage necessary to turn it on—without a lighted match above it. She had no money. She had come to Great City from her home in Ohio to work. She had no work. She had no way of returning to her mother and father. But she did have a way of saving herself from further hunger and humiliation.
The gas jet.
She raised her hand toward it. Startled, she paused. A faint rustling sound came into the room. Looking down, she saw an envelope creeping under the door. She took it up, bewildered, and opened it. Inside lay money— currency held together by a band of silver paper—banknotes totalling $200!
“I can’t bear to see suffering, Angel. I can no more help trying to alleviate it than I can help breathing. If there were any other way of taking money from those who hoard it, and giving it to those who desperately need it—if there were any other way than stealing, I’d take that way. But there isn’t.” - The Sinister Sphere
This is The Moon Man. Moon Man was created by C. Frederick Davies and appeared in 38 stories from 1933 to 1937 and was a cross between The Shadow and Robin Hood, a black-clad urban avenger with a unique costume who stole from the rich to provide for the poor and was viciously hunted by law enforcement and the criminal underworld for it, not helped by the fact that his true identity is that of Stephen Tatcher, the 25-year-old police sergeant and son of the police chief, engaged to the daughter of his worst enemy, a lieutenant constantly trying to get Moon Man in the electric chair.
There's three main things that set The Moon Man apart from the other costumed pulp heroes and Shadow imitators from his day: Number one is that, despite looking a lot like Mysterio, he actually had much more in common with Spider-Man than even The Spider himself, in that he was mostly an ordinary schlub driven to help others who had to constantly pull off precarious balancing acts to keep his job and his secret and his life. 2nd being that he is a far more socially conscious character than pretty much all of his contemporaries, dealing with economic inequality, white collar crime, and grey areas where business practices and law enforcement intermingle with criminality to trample the lower class. He's a Depression-era Robin Hood and the stories are dead serious about it.
And third is that The Moon Man is no gentleman thief or dark avenger: He does none of this for the sake of personal fulfillment or revenge, he isn't tabling fights with gangsters to occasionally do an afterschool special or make a half-hearted gesture at social commentary, this is just what he does as a baseline. He is far less preoccupied with fighting crime than he is saving people in bad circumstances, and the stories are highly preoccupied with the people he saves, and the circumstances that The Moon Man is saving them from. For a weird guy in a creepy mask who goes around in a black coat with a gun in hand, he's an unexpectadly compassionate and soft-hearted (even mopey at times) character.
A chuckle came from the silver‐headed man. “You’ve distributed the money, Angel?”
“Yeah. Got it out right away. And it certainly was badly needed, boss.”
“I know… You realize why I selected Martin Richmond as a victim, Angel?”
“I’ve got an idea he ain’t all he seems to be.”
“Not quite that,” answered the voice that came from the silver head. “He’s quite respectable, you know. Social position, wealth, all that. But there’s one thing I don’t like about him, Angel. He’s made millions by playing the market short, forcing prices down.”
“Nothin’ wrong in that, is there?”, Dargan asked.
“Not according to our standards, Angel; but the fact remains that short‐selling had contributed to the suffering of those we are trying to help. I’ve taken little enough from Richmond’s kind, Angel. I must have more— later."
Dargan peered. “I don’t quite get you, boss. You’re takin’ an awful chance—and you don’t keep any of the money for yourself.”
A chuckle came from the silver globe. “I don’t want the money for myself. I want it for those who are perishing for want of the barest necessities of life. What would you do if you saw a child about to be crushed under a truck? You’d snatch her away, even at the risk of your own life."
“Don’t think I’m questioning you, boss.” Dargan hastened to explain. “I’m with you all the way, and you know it"
"Yes, Angel,” said the Moon Man gently, “I know it. You’re the only man in the world I trust. You know what it is to suffer; that’s why you’re with me”.
The Moon Man lacked much in terms of budget or resources, partially because all of his money went to people in need, and he was under constant threat from the law and underworld alike, each more bloodthirsty than the other in how badly they wanted to mount his Argus helmet on a platter (he didn't even make the helmet himself, he mail-ordered it under his detective arch-enemy’s name). His father is a police chief with a weak heart, which adds an extra pressure to Stephen's secret in that it being revealed will not only lead to his father being fired, but likely dying from shock.
He picks hide-outs with creaky stairs as his main line of defense against intruders, his only line of defense is a gun, he pined over the love of a stubborn lady who initially detested his alter-ego, but eventually learned his secret and grew into a stronger person and even partner as they got engaged. And he only has one other ally he can trust:
He’d gone bad in the ring. A weakened arm made further fighting impossible. He found it just as impossible to find work. He’d drifted downward and outward; he’d become a bum, sleeping in alleys, begging food. Until, mysteriously a message had come to him from the Moon Man.
Some day Ned Dargan was going to fight again. Some day he was going to get into the ring, knock some palooka for a row, and become champ. And if he ever did, he’d have the Moon Man to thank for it…
His main sidekick from the start, scarred ex-boxer Ned Dargan, was rescued by Moon Man from homelessness and starvation, and he was frequently named “Angel” as it was Dargan’s job to distribute the money, the narrative often filling the reader on the background of the recipients to make them not just anonymous victims, but real people with problems readers in the Depression era would have likely identified with. When we first meet them, Dargan tells him about a steamfitter with a sick daughter who needs money to pay for his kid's treatment, and a pair of kids with a recently deceased mother whose uncles can't afford to take them in and who will go to an orphanage without help, and The Moon Man promises money for all of them.
The main issue with the stories is that they do get a bit repetitive, but they're also fairly short and quick to read, and the strength of the concept, the assertive characters, the compassion, and the class dynamics that usually remain subtext in these kinds of stories, here becomes much of the text itself.
The Moon Man had a remarkable amount of continuity and consistency for a pulp hero, and only picked up more and more enemies that would constantly frame and target him with no additional allies. In fact, circa the end of the run, both his fiancé Sue as well as Angel are well acquainted with the Moon Man’s secret identity by this point and constantly beg Stephen Thatcher to give up his double life, warning him of increasing danger from both the cops and the mob, and in the last story, Blackjack Jury, he's pressured to give up his identity for good by the two and by how precariously his father's job hangs on him being able to capture Moon Man. The story and the character's run ends without revealing what decision he took.
Steve Thatcher lowered his head as though stubbornly to butt an obstacle. A wild scheme— his! He knew it. But, also, he knew the world— cruel and relentless—and he could not stand by and do nothing to save those who were suffering. The mere thought of letting others perish, while nothing was done to save them, was unendurable.
Beyond the written law was a higher one to which Steve Thatcher had dedicated himself—the law of humanity.
And if he were caught? Would he find leniency at the hands of Gil McEwen and Chief Thatcher? No. He was certain of that. Even if McEwen and the chief might wish to deal kindly with him, they would be unable to. The Moon Man now was a public enemy—his fate was in the hands of the multitude. Steve Thatcher would be dealt with like any common crook—if he were caught.
He remembered Ernest Miller’s daughter, who must go to Arizona or die; he remembered Frank Lauder, who must be cared for; he remembered Bill and Betty Anderson, who must have help.
“It’s got to be done!” he said through closed teeth. “Damn it, it’s got to be done!”
He walked swiftly through the night - The Sinister Sphere
The Moon Man is public domain and has seen some usage in modern pulp stories, but (as far as I can find) never really with the same bite that makes these stories appealing, and it's not difficult to see why the character, despite a fairly respectable run and a striking costume, remained mostly obscure. He certainly wouldn't have had any kind of 50s paperback revival without being heavily edited or rewritten entirely just in case somebody was maybe trying to trojan horse any commie talk somewhere, in a character whose main mission statement was addressing economic inequality and getting in trouble with the police over it. And nowadays, with Mysterio being so popular and "Moon Man" taking on a wholly different noxious meaning online, The Moon Man would require a slight overhaul of costume and a complete overhaul of his name, and unfortunately that entails almost making him a different character
The Moon Man stories were adapted into a short comics run circa 1940-42 where they completely overhauled his costume and changed the names, titling him The Raven, but otherwise kept the stories mostly the same. I don't have much of anything to say about him, but there is one additional bit of strangeness that followed The Moon Man's largely unsuccessful transition to comics: The Moon Man was never published in Brazil, but there was a Brazilian superhero in 1962 (which still predates Mysterio) with the exact same name and headpiece. Created by artist Gedeone Malagola who, upon being denied the opportunity to publish his own Phantom stories, simply erased the character’s head, added a cape and used a penny to draw a translucent globe for a head, creating a new hero in turn named Homem-Lua (Moon Man). The character lasted for a couple of years as a back-up on fellow superhero Black Ray’s magazine, before it’s end.
The only detail given about his past is that he was born in Brazil, initially operating near his headquarters in São Paulo before becoming a globetrotter. He lacks explicit superpowers, but is feared by criminals around the world and considered to be an immortal who’s been active for over a century, as many supporting characters in the stories claimed that their grandparents had met the hero. A master of technology who flew around in a personalized jet and was able to call upon the aid of indigenous tribes around the world, who believed him to bear the mark of a godlike entity or be said an incarnation of said entity (as a plot point it's as racist as you'd expect, but also gets a bit funny when you consider how the most famous of moon-themed superheroes this side of Japan, Moon Knight, would pan out 15 years later)
He's mostly a fairly cut-n-dry Phantom clone with some oddities here and there, namely: In one adventure, despite the character being supposedly a human, it was said that all who gaze on his face would die. He was never unmasked in the entirety of his run, and he had no compunctions about executing his villains, whether it was by burying them under a stone idol, breaking dams and letting them drown in the ensuing floods, exploding them, or outright sinking daggers into their chests. It's a very stark contrast to the pulp Moon Man, who preferred to avoid conflict entirely and would only use his gun as a last resort. Ultimately, they bear no official connection, but the strangeness of sharing the exact same name and trademark headgear. It's as if one ends where the other begins.
In some ways, I'd argue the original Moon Man is the purest wish fulfillment pulp hero of The Great Depression, because although eventually he'd take on more bizarre villains, the bulk of his stories are about this regular guy who goes around patching up wounds left by the Depression in a case-by-case basis and (barely) outfoxing and surviving repeated attacks from the powers that be only because he hides his true face from the world. He has no extraordinary abilities or resources, but he makes do as best he can with a ticking time bomb hanging above him.
As unfortunate as the character's present circumstances may be I absolutely think he's got what it takes to be striking and memorable and resonant in ways a lot of his fellow costume avengers aren't, and hey, the guy's public domain, so, if anyone wants to take a shot at reviving him or simply plopping him into a story, add another weird chapter to his history, nothing's stopping you. I simply have to believe there's an audience out there who may fall in love with a well-meaning bleeding heart trying his best who, with nothing but theatrics and smarts and a fishbowl helmet for a head, is driven to fight capitalism instead of Spider-Man.
With a strange, uncanny knowledge the Moon Man selected his victims. Those victims had climbed roughshod to power; some within the law, and others outside the pale. And the Moon Man called on them with a very definite and grim plan— for he walked in the eternal danger of a double menace.
If the silent figure had any face at all, it was the face of the man in the moon!
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Were Marika and Radagon always the same being from the beginning or they were separate people who got fused later on?
Oh boy, I've almost missed this ask in the tidal wave of Sephi spam from THOSE TWO LITTLE PRICKS!!!!!!, but yes thank you for the question! My theory on the matter is:
This for me ties into a couple of things: 1) the idea that when something bad happens with a (demi)god, they are likely to develop an alter as defence mechanism that I mostly base on the theory that Trina and their purple 'sleep' flame happened as response to Miquella being scorched by Frenzy (more here: ( x )) and 2) theme of 'astral projections' that have transcendental knowledge compared with the 'rest of the person' which is more plain!
Recently I've also discussed theme of "if you want to defeat the thing, become the thing" like with dragons, but I decided to discard the idea that Marika willingly inflicted curse of the giants onto herself! But existence of Radagon is exactly what I think happened with Marika - a curse of the giants!
I think that "they say Marika has slain the Fell God" is taken at face value here, they 'say' it because it happened very long time ago and there are almost no witnesses left rather than a rumour! Sure, I still "await for the return of my Lord" (for the one who will precisely re-translate Japanese script), but I am happy with this for now! Yet, 'their flames will never die' refers to Marika having taken up that curse in the moment she killed the Fell God! This is why she was able to pass the curse mark onto the last Fire Giant that survived: because now the curse was her, taken from the Fell God by slaying him.
But, although she was able to get rid of the flame by giving it to the Fire Giant, the impact already left its side-effect on her very being! I still need DLC to confirm or deny whether Trina exists for 'unhappy reason' as I can't tell whether more info on them was cut due to time limitations or rewriting, I am just using it as an extra backup for now! Regardless, it is safe to say that since Fire Giants are all male and Marika was a female, it caused the conflict and so Radagon turned in to exist as male. So yeah kill gods carefully of you'll get cursed with dysphoria idk I am bad at philosophical conclusions
^ I also think that the curse left its mark on Marika genetically, and her children would show traces of it from time to time! Radahn is the biggest evidence of it in my eyes! He started to learn gravitational magic so he could still ride Leonard, which means that he was growing massive even before learning it! Other demigods have no problem staying very human-sized so I think his massive size is not an effect of his massive power, but traces of Giants' 'genes' showing!
I am also considering the ideas that 1) Morgott might have had a fire of his own as result of it, that he sealed into blade, since unlike with Mohg his fire doesn't link to interacting with Formless Mother 2) Rykard might have had natural affinity towards fires as side-effect of such 'genes', that only made his research of fire sorcery easier, and it simply was coincidental that fire reflects heresy
3) Maybe the third eye imagery that is only so far seen in Godwyn's Prince of Death form and Trina's side of Miquella is the secret less obvious effect, that only manifests after something bad happens to them? Since the cyclopic eye is the mark of the Fell God! Again, I need information on Trina first, but so far this works! So yeah. 'Evil eye'.
(Screenshot of Godwyn's model from Zullie's video: ( x ))
I also take the script occasionally from this ( x ) document, but yeah. In Japanese, it is a bit more blatant that he is her other self literally, not metaphorically! She also uses 'omae', a pretty derogatory way to refer to someone. She looks down on this side of herself, which is interesting, but also why? And why Radagon disagreed with her idea to scatter the Elden Ring and let the history sort itself?
This is what made me think of how the separation aspect of them played out! I believe that they are able to exist within the same body, as we can clearly see through the cutscene, but also to split. The thing is? There are precedents of it in the game as well! Sellen and Dung Eater both are under the situation where their real bodies, and real selves are in imprisonment and are suffering without being aware of their astral projections. Their astral projections, however? They are quite aware of where their bodies are and what is going on, but can think independently. The 'body' and the 'mind' are able to exist in separation in The Lands Between. Let's also not forget the case of powerful illusions like the ones of Rennala and Mohg, who are basically the auto-receivers that were set to kick your ass lol x) It is also my idea on why it is named The Lands Between to begin with: because this is where physical and mental blend together, to the point both are equally tangible and perceivable!
Basically? When Marika and Radagon are split, it is very much like this. He would be her 'physical body', living and thinking on his own, not aware of Marika's opinions and plans, whereas Marika would be same as those astral projections that told Tarnished 'oh by the way my actual body is imprisoned in this or that location'. Knowing more and planning more, being aware of what the 'body' thinks and experiences without the reverse being true, however, being limited until the 'body' is returned to the owner. So that's why Radagon would not think and feel exactly the same as Marika: not only he was able to live his own life, but also he understands less than the "transcendental" part which makes astral projections. Marika maybe had the plan to scatter the Ring and let it all sort itself out, so the conflict would let only someone capable of levelling with her lost Godwyn to raise at the top and come and replace her. She generally thinks very far ahead, as the 'higher self' that she is, which Radagon can't do and he just studies and understands the things as they are.
So yeah.. In the conclusion, I think it was the curse of the Giants but specifically the side-effect of slaying the Fell God, yet she sealed the curse she inherited from the act in the last survivor too late and her 'genes' already got traces of it! Radagon is valid but by all laws that strangely split people in the Lands Between he is her "lesser" half that thinks on more grounded plane. We could, again, see from Sellen and Dung Eater that 'body' and 'astral projection' are able to fuse back into one entity, yet Radagon and Marika are still in the conflict?
I like to think it came from Marika herself despising this more "human" side of herself.. Sure, she is not alien to human flaws herself, as someone that set many unfair laws in motion just because of her fears and set the world into war from her grief, but you can't just SAY that hahah; She wants to be perfect, invulnerable, all-powerful, and Radagon is just "not that", not yet. I am pretty sure a big part of it is Marika's very pragmatic view on relationship, whereas Radagon *gasp* had the nerve to truly love Rennala! She only can truly become one with him when his flaws and vulnerabilities are eradicated and he is the same cold, calculating, clever, machiavellian entity as herself, literally just her but male. And, well... this hasn't been this way so far, so in turn, the two are at the conflict. He thinks of the other people and the world, and doesn't believe it is right to betray the Greater Will and the mortals born under it like that, when she decides to just let the world suffer and burn. Ironically, her "lowly" half had more sympathy and reason than her "dignified" half, after all.
This is all very interesting to think about, but so far a lot of this lingers on the conclusions I still need to confirm or deny via DLC! Anyways it was interesting to think about and put together!
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