Is there an issue? Send a MessageReason:
None
Deleted line(s) 7 (click to see context) :
!!Comic Books
Deleted line(s) 16 (click to see context) :
!!Films
Deleted line(s) 26 (click to see context) :
!!Video Games
Deleted line(s) 31 (click to see context) :
!!Western Animation
Is there an issue? Send a MessageReason:
None
Changed line(s) 27 (click to see context) from:
* ''VideoGame/SpiderManPS4'', much like the MCU movie, reconstructs Spider-Man's relationship with the public. Yes, he has his haters and J. Jonah Jameson is still trying his best to defame him but for every person who hates Spider-Man there's a person who sees him as a hero and is inspired by him.
to:
* ''VideoGame/SpiderManPS4'', much like the [[Film/SpiderManHomecoming MCU movie, movie]], reconstructs Spider-Man's relationship with the public. Yes, he has his haters and J. Jonah Jameson is still trying his best to defame him but for every person who hates Spider-Man there's a person who sees him as a hero and is inspired by him.
Is there an issue? Send a MessageReason:
None
Added DiffLines:
[[folder:Video Games]]
!!Video Games
* ''VideoGame/SpiderManPS4'', much like the MCU movie, reconstructs Spider-Man's relationship with the public. Yes, he has his haters and J. Jonah Jameson is still trying his best to defame him but for every person who hates Spider-Man there's a person who sees him as a hero and is inspired by him.
[[/folder]]
!!Video Games
* ''VideoGame/SpiderManPS4'', much like the MCU movie, reconstructs Spider-Man's relationship with the public. Yes, he has his haters and J. Jonah Jameson is still trying his best to defame him but for every person who hates Spider-Man there's a person who sees him as a hero and is inspired by him.
[[/folder]]
Is there an issue? Send a MessageReason:
None
Changed line(s) 18 (click to see context) from:
** ''Film/CaptainAmericaTheFirstAvenger'' is a reconstruction of [[UsefulNotes/TheGoldenAgeOfComicBooks Golden Age]] Captain America comics, and [[TheCape do-gooder superheroes]] in general. It specifically addresses common quibbles with the character (PatrioticFervor, InvincibleHero, UnfortunateImplications, etc.) and tries to breathe new life into the concept. It's particularly prominent with the CaptainPatriotic trope: the whole image of an invincible American superman bitch-slapping Hitler that the character is usually [[{{Flanderization}} flanderized]] into is explained as a propaganda stunt, hated by the "real" Captain America, who has much more depth.
to:
** ''Film/CaptainAmericaTheFirstAvenger'' is a reconstruction of [[UsefulNotes/TheGoldenAgeOfComicBooks Golden Age]] [[Characters/MCUSteveRogers Captain America America]] comics, and [[TheCape do-gooder superheroes]] in general. It specifically addresses common quibbles with the character (PatrioticFervor, InvincibleHero, UnfortunateImplications, etc.) and tries to breathe new life into the concept. It's particularly prominent with the CaptainPatriotic trope: the whole image of an invincible American superman bitch-slapping Hitler that the character is usually [[{{Flanderization}} flanderized]] into is explained as a propaganda stunt, hated by the "real" Captain America, who has much more depth.
Changed line(s) 21 (click to see context) from:
** ''Film/SpiderManHomecoming'' reconstructs Spider-Man's interaction with New York, whereas in the comics often makes Spider-Man a subject of disdain thanks to the Daily Bugle. Here Peter is a local superhero in a vibrant New York whose troubles come from wanting to become something more than just a local hero and attempting to stop a weapons deal only to find himself out of his depth and unintentionally being a Spider Menace. However, he still saves the day at the end, and is beginning to achieve fame once more.
to:
** ''Film/SpiderManHomecoming'' reconstructs Spider-Man's [[Characters/MCUPeterParker Spider-Man's]] interaction with New York, whereas in the comics often makes Spider-Man a subject of disdain thanks to the Daily Bugle. Here Peter is a local superhero in a vibrant New York whose troubles come from wanting to become something more than just a local hero and attempting to stop a weapons deal only to find himself out of his depth and unintentionally being a Spider Menace. However, he still saves the day at the end, and is beginning to achieve fame once more.
Is there an issue? Send a MessageReason:
None
Changed line(s) 4 (click to see context) from:
to:
[[foldercontrol]]
[[folder:Comic Books]]
[[folder:Comic Books]]
Changed line(s) 11 (click to see context) from:
to:
[[/folder]]
[[folder: Films]]
[[folder: Films]]
Changed line(s) 19 (click to see context) from:
to:
[[/folder]]
[[folder:Western Animation]]
[[folder:Western Animation]]
Added DiffLines:
[[/folder]]
Is there an issue? Send a MessageReason:
Grant Morrison came out as non-binary, and uses "they/them" pronouns
Changed line(s) 7 (click to see context) from:
* ''ComicBook/AstonishingXMen'': After Creator/GrantMorrison did everything in his power to tear apart the status quo of the X-Men books, Creator/JossWhedon took it upon himself to stitch it back together by returning the team to their superhero roots and back to beating up weird sci-fi and alien bad guys.
to:
* ''ComicBook/AstonishingXMen'': After Creator/GrantMorrison did everything in his their power to tear apart the status quo of the X-Men books, Creator/JossWhedon took it upon himself to stitch it back together by returning the team to their superhero roots and back to beating up weird sci-fi and alien bad guys.
Is there an issue? Send a MessageReason:
None
Added DiffLines:
!!Western Animation
* ''WesternAnimation/TheSpectacularSpiderMan'': This show reconstructs the SecretIdentity. While Peter’s double life as Spider-Man puts strains on his relationships with the people he cares about, as Captain Stacy has noted, keeping his identity secret is the only way he can keep them safe from the supervillains and other criminals he fights.
Is there an issue? Send a MessageReason:
None
Changed line(s) 2 (click to see context) from:
to:
{{Reconstruction}} in this franchise.
----
----
Is there an issue? Send a MessageReason:
None
Changed line(s) 5 (click to see context) from:
* ''ComicBook/AstonishingXMen'': After Creator/GrantMorrison did everything in his power to tear apart the status quo of the X-Men books, Joss Whedon took it upon himself to stitch it back together by returning the team to their superhero roots and back to beating up weird sci-fi and alien bad guys.
to:
* ''ComicBook/AstonishingXMen'': After Creator/GrantMorrison did everything in his power to tear apart the status quo of the X-Men books, Joss Whedon Creator/JossWhedon took it upon himself to stitch it back together by returning the team to their superhero roots and back to beating up weird sci-fi and alien bad guys.
Is there an issue? Send a MessageReason:
None
Changed line(s) 4 (click to see context) from:
* ''ComicBook/{{Annihilation}}'': For the Cosmic side of the Marvel Universe.
to:
Is there an issue? Send a MessageReason:
None
Changed line(s) 8,9 (click to see context) from:
* Creator/JonathanHickman's ''[[ComicBook/JonathanHickmansXMen X-Men]]'' does this with ever-prominent FantasticRacism themes that is embedded in the DNA of property. For a long time, it's been part of the series that humans hate and fear mutants, and while it was the basis of many great stories in their heyday, it made less sense as time went on due to real world progress. Here, the story goes to lengths to explain, examine and justify why each and all sides would feel this way in the modern world. Notably, it brings a heaping dose of GrayAndGreyMorality into the mix, making the mutants less sympathetic while making the humans more sympathetic, [[BothSidesHaveAPoint without actually favoring either side]]. It also factors in the presence of mutates, or non-mutant superpowered beings such as the ComicBook/FantasticFour or ComicBook/SpiderMan. The narrative addresses the differences between them and mutants, even if superficial, and why the mutants getting hit with FantasticRacism but not the mutates leads to them being part of the issue as well, as mutates are on the outside of mutant culture and in the same boat as baseline humans. All in all, it sets out to refit the themes of the old into today, while progressing them forward.
to:
* Creator/JonathanHickman's ''[[ComicBook/JonathanHickmansXMen ''[[ComicBook/XMen2019 X-Men]]'' does this with ever-prominent FantasticRacism themes that is embedded in the DNA of property. For a long time, it's been part of the series that humans hate and fear mutants, and while it was the basis of many great stories in their heyday, it made less sense as time went on due to real world progress. Here, the story goes to lengths to explain, examine and justify why each and all sides would feel this way in the modern world. Notably, it brings a heaping dose of GrayAndGreyMorality into the mix, making the mutants less sympathetic while making the humans more sympathetic, [[BothSidesHaveAPoint without actually favoring either side]]. It also factors in the presence of mutates, or non-mutant superpowered beings such as the ComicBook/FantasticFour or ComicBook/SpiderMan. The narrative addresses the differences between them and mutants, even if superficial, and why the mutants getting hit with FantasticRacism but not the mutates leads to them being part of the issue as well, as mutates are on the outside of mutant culture and in the same boat as baseline humans. All in all, it sets out to refit the themes of the old into today, while progressing them forward.
Is there an issue? Send a MessageReason:
None
Deleted line(s) 17,19 (click to see context) :
!!Western Animation
* ''WesternAnimation/IronManArmoredAdventures'' offers an interesting take on the teenage superhero genre in the fact the hero really couldn't care any less about school or fitting in, claiming it's a waste of time and instead stating that his work as a hero is more important. He then proceeds to cheat on his tests and homework in order to pass, since him being a hero gives him the latitude to do so, and high school is meaningless and doesn't matter once you graduate.
Is there an issue? Send a MessageReason:
None
Changed line(s) 1 (click to see context) from:
!!Franchise/MarvelUniverse
to:
!!Comic Books
Changed line(s) 6 (click to see context) from:
* Creator/JonathanHickman's ''[[ComicBook/JonathanHickmansXMen X-Men]]'' does this with ever-prominent FantasticRacism themes that is embedded in the DNA of property. For a long time, it's been part of the series that humans hate and fear mutants, and while it was the basis of many great stories in their heyday, it made less sense as time went on due to real world progress. Here, the story goes to lengths to explain, examine and justify why each and all sides would feel this way in the modern world. Notably, it brings a heaping dose of GrayAndGreyMorality into the mix, making the mutants less sympathetic while making the humans more sympathetic, [[BothSidesHaveAPoint without actually favoring either side]]. It also factors in the presence of mutates, or non-mutant superpowered beings such as the ComicBook/FantasticFour or ComicBook/SpiderMan. The narrative addresses the differences between them and mutants, even if superficial, and why the mutants getting hit with FantasticRacism but not the mutates leads to them being part of the issue as well, as mutates are on the outside of mutant culture and in the same boat as baseline humans. All in all, it sets out to refit the themes of the old into today, while progressing them forward.
to:
* Creator/JonathanHickman's ''[[ComicBook/JonathanHickmansXMen X-Men]]'' does this with ever-prominent FantasticRacism themes that is embedded in the DNA of property. For a long time, it's been part of the series that humans hate and fear mutants, and while it was the basis of many great stories in their heyday, it made less sense as time went on due to real world progress. Here, the story goes to lengths to explain, examine and justify why each and all sides would feel this way in the modern world. Notably, it brings a heaping dose of GrayAndGreyMorality into the mix, making the mutants less sympathetic while making the humans more sympathetic, [[BothSidesHaveAPoint without actually favoring either side]]. It also factors in the presence of mutates, or non-mutant superpowered beings such as the ComicBook/FantasticFour or ComicBook/SpiderMan. The narrative addresses the differences between them and mutants, even if superficial, and why the mutants getting hit with FantasticRacism but not the mutates leads to them being part of the issue as well, as mutates are on the outside of mutant culture and in the same boat as baseline humans. All in all, it sets out to refit the themes of the old into today, while progressing them forward.forward.
!!Films
* The Franchise/MarvelCinematicUniverse is essentially a reconstruction of not only Marvel characters but of the superhero genre in general, giving the characters and stories more realistic/fleshed-out styling while still not losing the idealism, mysticism, and fun of superhero comics. No matter what challenges the protagonists face, in the end they're still bigger-than-life heroes going on adventures and fighting villains. It also defies many of the common criticisms/deconstructions that superhero comics face. For example, the darker implications of ThouShallNotKill are averted by having the superheroes be ''willing'' to kill but only if absolutely necessary, preserving their moral codes while preventing "Why doesn't Batman just kill the Joker?" situations.
** ''Film/CaptainAmericaTheFirstAvenger'' is a reconstruction of [[UsefulNotes/TheGoldenAgeOfComicBooks Golden Age]] Captain America comics, and [[TheCape do-gooder superheroes]] in general. It specifically addresses common quibbles with the character (PatrioticFervor, InvincibleHero, UnfortunateImplications, etc.) and tries to breathe new life into the concept. It's particularly prominent with the CaptainPatriotic trope: the whole image of an invincible American superman bitch-slapping Hitler that the character is usually [[{{Flanderization}} flanderized]] into is explained as a propaganda stunt, hated by the "real" Captain America, who has much more depth.
** ''Film/IronMan3'' reconstructs how grandiose villains with a thing for theatrics and terror can be adapted to operate in the real world. [[spoiler: The Mandarin, the flashy BigBad adapted from the source material, is actually a fictional character played by an actor, Trevor Slattery, made to distract the public from the real villain, Aldrich Killian, who instead takes advantage of anonymity to perform his manipulative deeds. However, [[BrokenBase after this went over very badly with the fans]], the short film ''Film/AllHailTheKing'' [[AuthorsSavingThrow reconstructed the Mandarin further]] ([[TheGhost without showing him just yet]]) by revealing that he actually ''does'' exist and leads the Ten Rings, and Killian merely stole his name without realizing the consequences. And then ''Film/ShangChiAndTheLegendOfTheTenRings'' reveals said Mandarin, although a very reimagined version.]]
** As noted by Ralph Garman, the [[Franchise/MarvelCinematicUniverse MCU]] also reconstructs the superhero costume, notably [[AvertedTrope averting]] MovieSuperheroesWearBlack. While none of the outfits are actual spandex, and most make plenty of concessions to practicality, they also tend to be very colorful, and as faithful as possible to their comic-book origins - the Winter Soldier even retains his NinetiesHair. The Falcon was a rare case where [[MovieSuperheroesWearBlack an MCU hero was stuck in a drab grey version of his costume]] - until Film/AvengersAgeOfUltron, when his outfit was revamped to feature more of his signature red.
** ''Film/SpiderManHomecoming'' reconstructs Spider-Man's interaction with New York, whereas in the comics often makes Spider-Man a subject of disdain thanks to the Daily Bugle. Here Peter is a local superhero in a vibrant New York whose troubles come from wanting to become something more than just a local hero and attempting to stop a weapons deal only to find himself out of his depth and unintentionally being a Spider Menace. However, he still saves the day at the end, and is beginning to achieve fame once more.
** The MCU in general reconstructs the old-fashioned BlackAndWhiteMorality of the comics, but special mention goes to ''Film/AvengersInfinityWar'' and ''Film/AvengersEndgame''. In ''Infinity War'', although the Avengers are generally good and try to stop Thanos from killing off half the universe, they're ultimately not perfect: not only are they still divided after the events of ''Civil War'' and struggling to patch their wounds up, they make crucial blunders at some really bad times, specifically when [[spoiler: Peter Quill attacks Thanos he's been rendered into a sleep-induced coma, causing him to wake up and shake the heroes at Titan off, and when Thor goes for Thanos' chest and not his head, which allows Thanos to barely muster enough strength to snap away half of all lives in the universe.]] On the other hand, although Thanos is absolutely wrong in wanting to wipe out half the universe, he genuinely believes [[UtopiaJustifiesTheMeans it's necessary and right, if terrible]], he shows sincere respect for the heroes trying to stop him, never goes back on his word, and shows his love towards his daughter Gamora, and as a result of this, he wins. In ''Endgame'', however, the Avengers get their chance to reverse what Thanos did and bring everyone back, and when push comes to shove, they ultimately rise above their flaws and fully repair their [[Film/CaptainAmericaCivilWar broken wounds with each other]], [[spoiler: but when a past version of Thanos finds out what they're up to, he completely jumps off the slope and decide to destroy the ''entire'' universe and rebuild it from the ground up. Because of this, the Avengers not only destroy him for good, but successfully bring back everyone his future self killed off five years ago.]]
!!Western Animation
* ''WesternAnimation/IronManArmoredAdventures'' offers an interesting take on the teenage superhero genre in the fact the hero really couldn't care any less about school or fitting in, claiming it's a waste of time and instead stating that his work as a hero is more important. He then proceeds to cheat on his tests and homework in order to pass, since him being a hero gives him the latitude to do so, and high school is meaningless and doesn't matter once you graduate.
----
!!Films
* The Franchise/MarvelCinematicUniverse is essentially a reconstruction of not only Marvel characters but of the superhero genre in general, giving the characters and stories more realistic/fleshed-out styling while still not losing the idealism, mysticism, and fun of superhero comics. No matter what challenges the protagonists face, in the end they're still bigger-than-life heroes going on adventures and fighting villains. It also defies many of the common criticisms/deconstructions that superhero comics face. For example, the darker implications of ThouShallNotKill are averted by having the superheroes be ''willing'' to kill but only if absolutely necessary, preserving their moral codes while preventing "Why doesn't Batman just kill the Joker?" situations.
** ''Film/CaptainAmericaTheFirstAvenger'' is a reconstruction of [[UsefulNotes/TheGoldenAgeOfComicBooks Golden Age]] Captain America comics, and [[TheCape do-gooder superheroes]] in general. It specifically addresses common quibbles with the character (PatrioticFervor, InvincibleHero, UnfortunateImplications, etc.) and tries to breathe new life into the concept. It's particularly prominent with the CaptainPatriotic trope: the whole image of an invincible American superman bitch-slapping Hitler that the character is usually [[{{Flanderization}} flanderized]] into is explained as a propaganda stunt, hated by the "real" Captain America, who has much more depth.
** ''Film/IronMan3'' reconstructs how grandiose villains with a thing for theatrics and terror can be adapted to operate in the real world. [[spoiler: The Mandarin, the flashy BigBad adapted from the source material, is actually a fictional character played by an actor, Trevor Slattery, made to distract the public from the real villain, Aldrich Killian, who instead takes advantage of anonymity to perform his manipulative deeds. However, [[BrokenBase after this went over very badly with the fans]], the short film ''Film/AllHailTheKing'' [[AuthorsSavingThrow reconstructed the Mandarin further]] ([[TheGhost without showing him just yet]]) by revealing that he actually ''does'' exist and leads the Ten Rings, and Killian merely stole his name without realizing the consequences. And then ''Film/ShangChiAndTheLegendOfTheTenRings'' reveals said Mandarin, although a very reimagined version.]]
** As noted by Ralph Garman, the [[Franchise/MarvelCinematicUniverse MCU]] also reconstructs the superhero costume, notably [[AvertedTrope averting]] MovieSuperheroesWearBlack. While none of the outfits are actual spandex, and most make plenty of concessions to practicality, they also tend to be very colorful, and as faithful as possible to their comic-book origins - the Winter Soldier even retains his NinetiesHair. The Falcon was a rare case where [[MovieSuperheroesWearBlack an MCU hero was stuck in a drab grey version of his costume]] - until Film/AvengersAgeOfUltron, when his outfit was revamped to feature more of his signature red.
** ''Film/SpiderManHomecoming'' reconstructs Spider-Man's interaction with New York, whereas in the comics often makes Spider-Man a subject of disdain thanks to the Daily Bugle. Here Peter is a local superhero in a vibrant New York whose troubles come from wanting to become something more than just a local hero and attempting to stop a weapons deal only to find himself out of his depth and unintentionally being a Spider Menace. However, he still saves the day at the end, and is beginning to achieve fame once more.
** The MCU in general reconstructs the old-fashioned BlackAndWhiteMorality of the comics, but special mention goes to ''Film/AvengersInfinityWar'' and ''Film/AvengersEndgame''. In ''Infinity War'', although the Avengers are generally good and try to stop Thanos from killing off half the universe, they're ultimately not perfect: not only are they still divided after the events of ''Civil War'' and struggling to patch their wounds up, they make crucial blunders at some really bad times, specifically when [[spoiler: Peter Quill attacks Thanos he's been rendered into a sleep-induced coma, causing him to wake up and shake the heroes at Titan off, and when Thor goes for Thanos' chest and not his head, which allows Thanos to barely muster enough strength to snap away half of all lives in the universe.]] On the other hand, although Thanos is absolutely wrong in wanting to wipe out half the universe, he genuinely believes [[UtopiaJustifiesTheMeans it's necessary and right, if terrible]], he shows sincere respect for the heroes trying to stop him, never goes back on his word, and shows his love towards his daughter Gamora, and as a result of this, he wins. In ''Endgame'', however, the Avengers get their chance to reverse what Thanos did and bring everyone back, and when push comes to shove, they ultimately rise above their flaws and fully repair their [[Film/CaptainAmericaCivilWar broken wounds with each other]], [[spoiler: but when a past version of Thanos finds out what they're up to, he completely jumps off the slope and decide to destroy the ''entire'' universe and rebuild it from the ground up. Because of this, the Avengers not only destroy him for good, but successfully bring back everyone his future self killed off five years ago.]]
!!Western Animation
* ''WesternAnimation/IronManArmoredAdventures'' offers an interesting take on the teenage superhero genre in the fact the hero really couldn't care any less about school or fitting in, claiming it's a waste of time and instead stating that his work as a hero is more important. He then proceeds to cheat on his tests and homework in order to pass, since him being a hero gives him the latitude to do so, and high school is meaningless and doesn't matter once you graduate.
----
Is there an issue? Send a MessageReason:
None
Added DiffLines:
* ''ComicBook/AstonishingXMen'': After Creator/GrantMorrison did everything in his power to tear apart the status quo of the X-Men books, Joss Whedon took it upon himself to stitch it back together by returning the team to their superhero roots and back to beating up weird sci-fi and alien bad guys.
Is there an issue? Send a MessageReason:
None
Added DiffLines:
* ''ComicBook/{{Annihilation}}'': For the Cosmic side of the Marvel Universe.
Is there an issue? Send a MessageReason:
None
Added DiffLines:
!!Franchise/MarvelUniverse
* ''ComicBook/TheSuperiorFoesOfSpiderMan'' reconstructs AmusingInjuries; the characters always have to deal with the long-term consequences of their injuries and behavior, but not only does this not prevent the initial incident from being funny, but the comic also plays the consequences for humor (for example, Speed Demon injures his leg in issue 5 and has to spend the next several issues wearing a cast. The gang solves this by [[WorstAid strapping his injured leg into a roller skate so he can move around for the big heist]]).
* ''ComicBook/TheUltimates'': The team was initially a deconstruction of the way The Avengers would be if they existed in the real world. The most notable thing about them is that they would be a military operation run by the US, not independent superheroes doing whatever they want. That, however, turned out to be their status at the end of the second arc.
* Creator/JonathanHickman's ''[[ComicBook/JonathanHickmansXMen X-Men]]'' does this with ever-prominent FantasticRacism themes that is embedded in the DNA of property. For a long time, it's been part of the series that humans hate and fear mutants, and while it was the basis of many great stories in their heyday, it made less sense as time went on due to real world progress. Here, the story goes to lengths to explain, examine and justify why each and all sides would feel this way in the modern world. Notably, it brings a heaping dose of GrayAndGreyMorality into the mix, making the mutants less sympathetic while making the humans more sympathetic, [[BothSidesHaveAPoint without actually favoring either side]]. It also factors in the presence of mutates, or non-mutant superpowered beings such as the ComicBook/FantasticFour or ComicBook/SpiderMan. The narrative addresses the differences between them and mutants, even if superficial, and why the mutants getting hit with FantasticRacism but not the mutates leads to them being part of the issue as well, as mutates are on the outside of mutant culture and in the same boat as baseline humans. All in all, it sets out to refit the themes of the old into today, while progressing them forward.
* ''ComicBook/TheSuperiorFoesOfSpiderMan'' reconstructs AmusingInjuries; the characters always have to deal with the long-term consequences of their injuries and behavior, but not only does this not prevent the initial incident from being funny, but the comic also plays the consequences for humor (for example, Speed Demon injures his leg in issue 5 and has to spend the next several issues wearing a cast. The gang solves this by [[WorstAid strapping his injured leg into a roller skate so he can move around for the big heist]]).
* ''ComicBook/TheUltimates'': The team was initially a deconstruction of the way The Avengers would be if they existed in the real world. The most notable thing about them is that they would be a military operation run by the US, not independent superheroes doing whatever they want. That, however, turned out to be their status at the end of the second arc.
* Creator/JonathanHickman's ''[[ComicBook/JonathanHickmansXMen X-Men]]'' does this with ever-prominent FantasticRacism themes that is embedded in the DNA of property. For a long time, it's been part of the series that humans hate and fear mutants, and while it was the basis of many great stories in their heyday, it made less sense as time went on due to real world progress. Here, the story goes to lengths to explain, examine and justify why each and all sides would feel this way in the modern world. Notably, it brings a heaping dose of GrayAndGreyMorality into the mix, making the mutants less sympathetic while making the humans more sympathetic, [[BothSidesHaveAPoint without actually favoring either side]]. It also factors in the presence of mutates, or non-mutant superpowered beings such as the ComicBook/FantasticFour or ComicBook/SpiderMan. The narrative addresses the differences between them and mutants, even if superficial, and why the mutants getting hit with FantasticRacism but not the mutates leads to them being part of the issue as well, as mutates are on the outside of mutant culture and in the same boat as baseline humans. All in all, it sets out to refit the themes of the old into today, while progressing them forward.
