Is there an issue? Send a MessageReason:
None
Changed line(s) 34 (click to see context) from:
* The 2015 ''ComicBook/ContestOfChampions'' is this to ''ComicBook/AvengersArena''. They are both based on the "''Literature/BattleRoyale'' with superheroes" premise, AnyoneCanDie rule, and both cash on what is popular at the time (Arena on the popularity of ''Hunger Games'' movies and Contest on the success of the video game of the same name). However, when Arena was DarkerAndEdgier, treated its characters as CListFodder (the writer was outright surprised anyone cared about them at all when he received complaints about this) and gleefully kills fan-favorites for shock value and to push one of his OriginalGeneration characters, largely seen as a bunch of [[CreatorsPet Creator's Pets]], Contest is CrazyAwesome with only one new character, bringing up obscure characters to cherish them, had actually resurrected several dead ones, and most of those killed were ExpendableAlternateUniverse versions of popular characters. Both series set up as the BigBad a quirky classic villain who manages to pull it off with the help of new [[TheDragon dragons]]. Only in Arena that's Arcade, who openly abandons his quirky shticks to go on trying too hard to prove he is a real threat and his dragon is a new character, who provides him with powerful tech and disappears from the story, while in Contest it's Collector and Grandmaster, who are so powerful their quirks are the only advantage against them and need to prove nothing and their respective dragons are established characters (Maestro and [[spoiler: Punisher 2099]]), whom they use to rein kidnapped heroes in [[spoiler: and who form an alliance to turn against them]]. Arena follows the Battle Royale formula to the letter, whenever it makes sense or not and openly ignores continuity, past characterization and any questions why nobody is looking for kidnapped heroes (in fact they had to bring a different writer to answer that one), while Contest comes in with a strong explanation of how the whole thing can be set up without anyone finding out ([[spoiler: which actually fails as people do find out, something that never happened in Arena]]) and never goes further than basic premise in similarities with Battle Royale, instead establishing its own rules [[spoiler: and ditching the premise entirely after the first 6 issues]].
to:
* The 2015 ''ComicBook/ContestOfChampions'' is this to ''ComicBook/AvengersArena''. They are both based on the "''Literature/BattleRoyale'' with superheroes" premise, AnyoneCanDie rule, and both cash on what is popular at the time (Arena on the popularity of ''Hunger Games'' movies and Contest on the success of the video game of the same name). However, when Arena was DarkerAndEdgier, treated its characters as CListFodder (the writer was outright surprised anyone cared about them at all when he received complaints about this) and gleefully kills fan-favorites for shock value and to push one of his OriginalGeneration characters, largely seen as a bunch of [[CreatorsPet Creator's Pets]], Contest is CrazyAwesome pure awesome with only one new character, bringing up obscure characters to cherish them, had actually resurrected several dead ones, and most of those killed were ExpendableAlternateUniverse versions of popular characters. Both series set up as the BigBad a quirky classic villain who manages to pull it off with the help of new [[TheDragon dragons]]. Only in Arena that's Arcade, who openly abandons his quirky shticks to go on trying too hard to prove he is a real threat and his dragon is a new character, who provides him with powerful tech and disappears from the story, while in Contest it's Collector and Grandmaster, who are so powerful their quirks are the only advantage against them and need to prove nothing and their respective dragons are established characters (Maestro and [[spoiler: Punisher 2099]]), whom they use to rein kidnapped heroes in [[spoiler: and who form an alliance to turn against them]]. Arena follows the Battle Royale formula to the letter, whenever it makes sense or not and openly ignores continuity, past characterization and any questions why nobody is looking for kidnapped heroes (in fact they had to bring a different writer to answer that one), while Contest comes in with a strong explanation of how the whole thing can be set up without anyone finding out ([[spoiler: which actually fails as people do find out, something that never happened in Arena]]) and never goes further than basic premise in similarities with Battle Royale, instead establishing its own rules [[spoiler: and ditching the premise entirely after the first 6 issues]].
Is there an issue? Send a MessageReason:
None
Changed line(s) 19 (click to see context) from:
** Superman and Franchise/SpiderMan are both iconic urban superheroes known for their distinctive [[PrimaryColorChampion red and blue costumes]], and for wearing glasses and working at newspapers in their civilian identities; both of them also have [[CorruptCorporateExecutive evil corporate CEOs]] as their archenemies. Both of them are also raised by elderly guardians (Pa and Ma Kent & Uncle Ben and Aunt May) due to their biological parents being deceased. Both have their father figure often die to teach them a lesson about their powers, for Superman Pa's death teaches that even he can't save everyone, and for Spider-Man, Uncle Ben teaches that with great power ComesGreatResponsibility. But Superman is known for his raw strength and his brawny physique, and he's often thematically associated with the heavens due to his [[FlyingBrick flight powers]] and [[HumanAliens alien heritage]]. Spider-Man, on the other hand, is known for his agility and his wiry physique, and most depictions emphasize his closeness to the Earth due to his [[WorkingClassHero humble background]] and [[AnimalThemedSuperBeing insect motif]]. The Daily Planet is also traditionally portrayed sympathetically, with its reporters being crusading idealists driven to protect the truth, while the Daily Bugle is cast in a more morally ambiguous light, with J. Jonah Jameson's editorials [[HeroWithBadPublicity ruining Spidey's reputation]]. Finally both often play the role of TheHeart of their respective universes, but Superman usually benefits from being seen as the BigGood and having a HundredPercentAdorationRating from the general public while Spider-Man typically is the HeroWithBadPublicity.
to:
** Superman and Franchise/SpiderMan are both iconic urban superheroes known for their distinctive [[PrimaryColorChampion red and blue costumes]], and for wearing glasses and working at newspapers in their civilian identities; both of them also have [[CorruptCorporateExecutive evil corporate CEOs]] as their archenemies. Both of them are also raised by elderly guardians (Pa and Ma Kent & Uncle Ben and Aunt May) due to their biological parents being deceased. Both have their father figure often die to teach them a lesson about their powers, for Superman Pa's death teaches that even he can't save everyone, and for Spider-Man, Uncle Ben teaches that with great power ComesGreatResponsibility. But Superman is known for his raw strength and his brawny physique, and he's often thematically associated with the heavens due to his [[FlyingBrick flight powers]] and [[HumanAliens alien heritage]]. Spider-Man, on the other hand, is known for his agility and his wiry physique, and most depictions emphasize his closeness to the Earth due to his [[WorkingClassHero humble background]] and [[AnimalThemedSuperBeing insect motif]]. The Daily Planet is also traditionally portrayed sympathetically, with its reporters being crusading idealists driven to protect the truth, while the Daily Bugle is cast in a more morally ambiguous light, with J. Jonah Jameson's editorials [[HeroWithBadPublicity ruining Spidey's reputation]]. Finally Finally, both often play the role of TheHeart of their respective universes, but Superman usually benefits from being seen as the BigGood and having a HundredPercentAdorationRating from the general public while Spider-Man typically is the HeroWithBadPublicity.
Changed line(s) 26 (click to see context) from:
** His run on ''ComicBook/{{Supreme}}'' is the opposite to his Marvelman -- in both cases Moore takes the character of a FlyingBrick based on Superman, who was also the epitome of the [[TheAgesOfSuperheroComics age]] during which he was created, with all its flaws, and molds him into the complete opposite, while making him more complex and interesting than he was before. The difference lies in tone - while Moore turns Marvelman towards DarkerAndEdgier waters, while breaking apart many traditional tropes of UsefulNotes/{{the Silver Age|of Comic Books}}, Supreme under his guidance took the path towards LighterAndSofter territory and paid tribute to the same tropes Marvelman tore apart.
to:
** His run on ''ComicBook/{{Supreme}}'' is the opposite to his Marvelman -- in both cases cases, Moore takes the character of a FlyingBrick based on Superman, who was also the epitome of the [[TheAgesOfSuperheroComics age]] during which he was created, with all its flaws, and molds him into the complete opposite, while making him more complex and interesting than he was before. The difference lies in tone - while Moore turns Marvelman towards DarkerAndEdgier waters, while breaking apart many traditional tropes of UsefulNotes/{{the Silver Age|of Comic Books}}, Supreme under his guidance took the path towards LighterAndSofter territory and paid tribute to the same tropes Marvelman tore apart.
Changed line(s) 34 (click to see context) from:
* The 2015 ''ComicBook/ContestOfChampions'' is this to ''ComicBook/AvengersArena''. They are both based on the "''Literature/BattleRoyale'' with superheroes" premise, AnyoneCanDie rule, and both cash on what is popular at the time (Arena on the popularity of ''Hunger Games'' movies and Contest on the success of the video game of the same name). However, when Arena was DarkerAndEdgier, treated its characters as CListFodder (the writer was outright surprised anyone cared about them at all when he received complaints about this) and gleefully kills fan-favorites for shock value and to push one of his OriginalGeneration characters, largely seen as a bunch of [[CreatorsPet Creator's Pets]], Contest is CrazyAwesome with only one new character, bringing up obscure characters to cherish them, had actually resurrected several dead ones, and most of those killed were ExpendableAlternateUniverse versions of popular characters. Both series set up as the BigBad a quirky classic villain who manages to pull it off with the help of new [[TheDragon dragons]]. Only in Arena that's Arcade, who openly abandons his quirky shticks to go on trying too hard to prove he is a real threat and his dragon is a new character, who provides him with powerful tech and disappears from the story, while in Contest it's Collector and Grandmaster, who are so powerful their quirks are the only advantage against them and need to prove nothing and their respective dragons are established characters (Maestro and [[spoiler: Punisher 2099]]), whom they use to rein kidnapped heroes in [[spoiler: and who form an alliance to turn against them]]. Arena follows theBattle Royale formula to the letter, whenever it makes sense or not and openly ignores continuity, past characterization and any questions why nobody is looking for kidnapped heroes (in fact they had to bring a different writer to answer that one), while Contest comes in with a strong explanation of how the whole thing can be set up without anyone finding out ([[spoiler: which actually fails as people do find out, something that never happened in Arena]]) and never goes further than basic premise in similarities with Battle Royale, instead establishing its own rules [[spoiler: and ditching the premise entirely after the first 6 issues]].
to:
* The 2015 ''ComicBook/ContestOfChampions'' is this to ''ComicBook/AvengersArena''. They are both based on the "''Literature/BattleRoyale'' with superheroes" premise, AnyoneCanDie rule, and both cash on what is popular at the time (Arena on the popularity of ''Hunger Games'' movies and Contest on the success of the video game of the same name). However, when Arena was DarkerAndEdgier, treated its characters as CListFodder (the writer was outright surprised anyone cared about them at all when he received complaints about this) and gleefully kills fan-favorites for shock value and to push one of his OriginalGeneration characters, largely seen as a bunch of [[CreatorsPet Creator's Pets]], Contest is CrazyAwesome with only one new character, bringing up obscure characters to cherish them, had actually resurrected several dead ones, and most of those killed were ExpendableAlternateUniverse versions of popular characters. Both series set up as the BigBad a quirky classic villain who manages to pull it off with the help of new [[TheDragon dragons]]. Only in Arena that's Arcade, who openly abandons his quirky shticks to go on trying too hard to prove he is a real threat and his dragon is a new character, who provides him with powerful tech and disappears from the story, while in Contest it's Collector and Grandmaster, who are so powerful their quirks are the only advantage against them and need to prove nothing and their respective dragons are established characters (Maestro and [[spoiler: Punisher 2099]]), whom they use to rein kidnapped heroes in [[spoiler: and who form an alliance to turn against them]]. Arena follows theBattle the Battle Royale formula to the letter, whenever it makes sense or not and openly ignores continuity, past characterization and any questions why nobody is looking for kidnapped heroes (in fact they had to bring a different writer to answer that one), while Contest comes in with a strong explanation of how the whole thing can be set up without anyone finding out ([[spoiler: which actually fails as people do find out, something that never happened in Arena]]) and never goes further than basic premise in similarities with Battle Royale, instead establishing its own rules [[spoiler: and ditching the premise entirely after the first 6 issues]].
Changed line(s) 50 (click to see context) from:
*** Of course, it's not uncommon for other writers who worked on ''Thor'' to try to follow Kirby and make a thematic opposite with ''New Gods''. Walt Simmonson's run on ''Thor'' told a tale of brave heroes fighting [[WarIsGlorious glorious, just war]]. His run on ''Orion'' questioned [[WarIsHell whenever any war can really be called just]].
to:
*** Of course, it's not uncommon for other writers who worked on ''Thor'' to try to follow Kirby and make a thematic opposite with ''New Gods''. Walt Simmonson's Simonson's run on ''Thor'' told a tale of brave heroes fighting [[WarIsGlorious glorious, just war]]. His run on ''Orion'' questioned [[WarIsHell whenever any war can really be called just]].
Changed line(s) 73 (click to see context) from:
* The Franchise/TheDCU is like the Franchise/MarvelUniverse, due to both being long-running comic book continuities, but the way they do things is a lot different: DC reboots their main universe every few years to streamline continuity while Marvel keeps the same one with constant updates; DC heroes tend to be more clean-cut and heroic while the Marvel heroes tend to act within morally grey areas; DC places a larger emphasis on legacy and passings-of-the-torch while Marvel has more independent superheroes who grow up to stand alongside the last generation. While this might make it sound like Marvel is the DarkerAndEdgier to DC's LighterAndSofter, in reality, they both have moments of lighter and darker content. The main difference is that while Marvel works to make its world and characters feel realistic, DC emphasizes the relationship and history between heroes to drive its arcs.
to:
* The Franchise/TheDCU is like similar to the Franchise/MarvelUniverse, due to both being long-running comic book continuities, but the way they do things is a lot different: DC reboots their main universe every few years to streamline continuity while Marvel keeps the same one with constant updates; DC heroes tend to be more clean-cut and heroic while the Marvel heroes tend to act within morally grey areas; DC places a larger emphasis on legacy and passings-of-the-torch while Marvel has more independent superheroes who grow up to stand alongside the last generation. While this might make it sound like Marvel is the DarkerAndEdgier to DC's LighterAndSofter, in reality, they both have moments of lighter and darker content. The main difference is that while Marvel works to make its world and characters feel realistic, DC emphasizes the relationship and history between heroes to drive its arcs.
Changed line(s) 75 (click to see context) from:
* The controversial ''ComicBook/SupermanTruth'' received one in the form of a story with the same name in ''ComicBook/BrianMichaelBendisSuperman''. Both featured Superman's identity being outed -- but in the latter, Clark himself was the one who went public, he ''wasn't'' depowered, the world accepted the truth a lot better than it did in the original, and his friends didn't turn their backs on him[[note]]Granted, Perry White ''did'' fire Clark, but that was because for the insurance issues the ''Planet'' now faced and and in the exact same conversation, he rehired him with Clark using an alias for writing and Superman himself as a mascot[[/note]]. In the former, Lois outed Clark, Clark was blackmailed, he lost most of his powers, and he became a HeroWithBadPublicity who was hated by most everyone.
to:
* The controversial ''ComicBook/SupermanTruth'' received one in the form of a story with the same name in ''ComicBook/BrianMichaelBendisSuperman''. Both featured Superman's identity being outed -- but in the latter, Clark himself was the one who went public, he ''wasn't'' depowered, the world accepted the truth a lot better than it did in the original, and his friends didn't turn their backs on him[[note]]Granted, Perry White ''did'' fire Clark, but that was because for the insurance issues the ''Planet'' now faced and and in the exact same conversation, he rehired him with Clark using an alias for writing and Superman himself as a mascot[[/note]]. In the former, Lois outed Clark, Clark was blackmailed, he lost most of his powers, and he became a HeroWithBadPublicity who was hated by most almost everyone.
Is there an issue? Send a MessageReason:
None
Changed line(s) 30 (click to see context) from:
* ''ComicBook/AllNewWolverine'' is this to previous ComicBook/{{X 23}} and Franchise/{{Wolverine}} stories with Laura doing everything she can to both overcome her own past and issues stemming from it and avoid pitfalls Logan often stumbles on, like his tendency to be a deadbeat parent. ''Enemy of the State II'' and ''Old Woman Laura'' in particular are the exact opposite of Creator/MarkMillar stories ''Enemy of the State'' and ''ComicBook/OldManLogan''.
to:
* ''ComicBook/AllNewWolverine'' is this to previous ComicBook/{{X 23}} and Franchise/{{Wolverine}} ComicBook/{{Wolverine}} stories with Laura doing everything she can to both overcome her own past and issues stemming from it and avoid pitfalls Logan often stumbles on, like his tendency to be a deadbeat parent. ''Enemy of the State II'' and ''Old Woman Laura'' in particular are the exact opposite of Creator/MarkMillar stories ''Enemy of the State'' and ''ComicBook/OldManLogan''.
Is there an issue? Send a MessageReason:
None
Changed line(s) 75 (click to see context) from:
* The controversial ''ComicBook/SupermanTruth'' received one in the form of a story with the same name in ''ComicBook/BrianMichaelBendisSuperman''. Both featured Superman's identity being outed -- but in the latter, Clark himself was the one who went public, he ''wasn't'' depowered, the world accepted the truth a lot better than it did in the original, and his friends didn't turn their backs on him[[note]]Granted, Perry White ''did'' fire Clark, but that was because for the insurance issues the ''Planet'' now face and and in the exact same conversation, he rehired him with Clark using an alias for writing and Superman himself as a mascot[[/note]]. In the former, Lois outed Clark, Clark was blackmailed, he lost most of his powers, and he became a HeroWithBadPublicity who was hated by most everyone.
to:
* The controversial ''ComicBook/SupermanTruth'' received one in the form of a story with the same name in ''ComicBook/BrianMichaelBendisSuperman''. Both featured Superman's identity being outed -- but in the latter, Clark himself was the one who went public, he ''wasn't'' depowered, the world accepted the truth a lot better than it did in the original, and his friends didn't turn their backs on him[[note]]Granted, Perry White ''did'' fire Clark, but that was because for the insurance issues the ''Planet'' now face faced and and in the exact same conversation, he rehired him with Clark using an alias for writing and Superman himself as a mascot[[/note]]. In the former, Lois outed Clark, Clark was blackmailed, he lost most of his powers, and he became a HeroWithBadPublicity who was hated by most everyone.
Is there an issue? Send a MessageReason:
None
Added DiffLines:
* The controversial ''ComicBook/SupermanTruth'' received one in the form of a story with the same name in ''ComicBook/BrianMichaelBendisSuperman''. Both featured Superman's identity being outed -- but in the latter, Clark himself was the one who went public, he ''wasn't'' depowered, the world accepted the truth a lot better than it did in the original, and his friends didn't turn their backs on him[[note]]Granted, Perry White ''did'' fire Clark, but that was because for the insurance issues the ''Planet'' now face and and in the exact same conversation, he rehired him with Clark using an alias for writing and Superman himself as a mascot[[/note]]. In the former, Lois outed Clark, Clark was blackmailed, he lost most of his powers, and he became a HeroWithBadPublicity who was hated by most everyone.
Is there an issue? Send a MessageReason:
None
Added DiffLines:
** Marvel like DC are the two longest comic book universes but the way they do things are different such as the DC heroes try not to commit morally questionable acts most of the time unless they have to while the Marvel heroes decide to commit morally questionable acts to save the ones they care about or the world. Most of the villains stay as straight-up bad guys most of the time while the villains in the DC universe try to change their ways and even become [[AntiHero anti-heroes]] at times.
Is there an issue? Send a MessageReason:
None
Added DiffLines:
* The Franchise/TheDCU is like the Franchise/MarvelUniverse, due to both being long-running comic book continuities, but the way they do things is a lot different: DC reboots their main universe every few years to streamline continuity while Marvel keeps the same one with constant updates; DC heroes tend to be more clean-cut and heroic while the Marvel heroes tend to act within morally grey areas; DC places a larger emphasis on legacy and passings-of-the-torch while Marvel has more independent superheroes who grow up to stand alongside the last generation. While this might make it sound like Marvel is the DarkerAndEdgier to DC's LighterAndSofter, in reality, they both have moments of lighter and darker content. The main difference is that while Marvel works to make its world and characters feel realistic, DC emphasizes the relationship and history between heroes to drive its arcs.
Is there an issue? Send a MessageReason:
Added Eltingville Club example
Added DiffLines:
* Having created ''The Eltingville Club'' as a TakeThat to obsessive and antisocial fanboys emblematic of tropes like FanDumb, NerdRage, SeriousBusiness and ComedicSociopathy, Evan Dorkin created an one-issue "mirror image" with ''The Northwest Comix Collective'', making fun of the type of people who would hate the Eltingville nerds - pretentious hacks and wannabe AlternativeComics creators who justify their sloth and heavy drug intake by claiming TrueArtIsIncomprehensible, and are not above commiting fraud and plagiarism to get their comics off the ground. Each character of the Northwest Comix Collective is analogous to an Eltingville character, and it's emphasized how they're NotSoDifferent - they're all unable to get girls to hang out with them, and, despite their talk, the Northwest gang is just as obsessed with superheroes, except they can't stop talking about how much they ''[[FanHater hate]]'' them.
Is there an issue? Send a MessageReason:
None
Added DiffLines:
* Creator/MarkMillar wrote ''ComicBook/{{Huck}}'' after [[https://web.archive.org/web/20160728140240/https://www.gamesradar.com/mark-millar-how-man-steel-traumatised-create-huck/ watching]] ''Film/ManOfSteel'' and being utterly horrified by its violent depiction of ComicBook/{{Superman}} [[spoiler:as somebody who kills his enemies]]. Deciding that [[MyGodWhatHaveIDone his own career]] played no small part in the rise of DarkerAndEdgier superheroes, he decided to create something considerably more lighthearted and idealistic.
Is there an issue? Send a MessageReason:
None
Deleted line(s) 70 (click to see context) :
* The concept of Brian K. Vaughan's ''ComicBook/{{Saga}}'' is ''Franchise/StarWars'' told from the point of view of civilians trying to avoid the war rather than heroes or villains fighting in it.
Is there an issue? Send a MessageReason:
None
Deleted line(s) 58 (click to see context) :
* ''ComicBook/{{Saga}}'' is the antithesis to ''Franchise/StarWars'' and other SpaceOpera with BlackAndWhiteMorality, as it is told from the point of view of civilians trying to avoid the (ultimately pointless) galaxy-spaning war rather than heroes or villains fighting in it.
Is there an issue? Send a MessageReason:
None
Changed line(s) 32 (click to see context) from:
* The creators of ''ComicBook/{{Cerebus}}'' and ''ComicBook/{{Bone}}'' got into an infamous feud during the books' runs. It makes sense, then, that their books can be considered antithesis to each other - both are black and white fantasy stories, incredibly long-running, and feature a [[GenreRefugee title character that'd belong in a much more lighthearted book]]. However, ''Bone'' is a wholesome comic, with the hero being a goofy, kind-hearted guy and his world a classic HighFantasy culture, while ''Cerebus'' features a SociopathicHero in a violent dystopia full of corruption, and is known for its [[CerebusSyndrome descent into seriousness]].
to:
* The creators of ''ComicBook/{{Cerebus}}'' and ''ComicBook/{{Bone}}'' got into an infamous feud during the books' runs. It makes sense, then, that their books can be considered antithesis to each other - both are black and white fantasy stories, incredibly long-running, and feature a [[GenreRefugee title character that'd belong in a much more lighthearted book]]. However, ''Bone'' is a wholesome comic, with the hero being a goofy, kind-hearted guy and his world a classic HighFantasy culture, while ''Cerebus'' features a SociopathicHero in a violent dystopia full of corruption, and is known for its [[CerebusSyndrome descent into seriousness]]. In addition ''Bone'' is unapologetically a FeministFantasy, and ''Cerebus''...isn't.
Is there an issue? Send a MessageReason:
None
Added DiffLines:
* ''ComicBook/{{Saga}}'' is the antithesis to ''Franchise/StarWars'' and other SpaceOpera with BlackAndWhiteMorality, as it is told from the point of view of civilians trying to avoid the (ultimately pointless) galaxy-spaning war rather than heroes or villains fighting in it.
Is there an issue? Send a MessageReason:
None
Changed line(s) 65 (click to see context) from:
** Ellis must love this trope -- when Creator/KurtBusiek and Creator/AlexRoss created ''ComicBook/{{Marvels}}'', a [[{{Deconstruction}} deconstructing]] but still idealistic portrayal of the Franchise/MarvelUniverse, Ellis wrote ''Ruins'' -- a depressing AlternateUniverse where everything that could go wrong did, worse than you can imagine -- that is generally seen as [[FanNickname Marvels' Evil Twin]]. When Busiek made a sequel to ''Marvels'', Ellis responded with ''Ghost Boxes'' -- a compilation of alternate Universes where the ComicBook/XMen failed to stop the threat from his ''Astonishing X-Men'' series, each more depressing than the previous one.
to:
** Ellis must love this trope -- when Creator/KurtBusiek and Creator/AlexRoss created ''ComicBook/{{Marvels}}'', a [[{{Deconstruction}} deconstructing]] but still idealistic portrayal of the Franchise/MarvelUniverse, Ellis wrote ''Ruins'' ''ComicBook/{{Ruins}}'' -- a depressing AlternateUniverse where everything that could go wrong did, worse than you can imagine -- that is generally seen as [[FanNickname Marvels' Evil Twin]]. When Busiek made a sequel to ''Marvels'', Ellis responded with ''Ghost Boxes'' -- a compilation of alternate Universes where the ComicBook/XMen failed to stop the threat from his ''Astonishing X-Men'' series, each more depressing than the previous one.
Is there an issue? Send a MessageReason:
None
Changed line(s) 46 (click to see context) from:
* Creator/RobLiefeld's ''ComicBook/HeroesRebornAvengers'' was a DarkerAndEdgier revamp of the Avengers that epitomized the Dark Age of Comics. It was immediately followed by ''ComicBook/KurtBusieksAvengers'', which was a LighterAndSofter reconstruction of superheroes that helped bring an end to the Dark Age.
to:
* Creator/RobLiefeld's ''ComicBook/HeroesRebornAvengers'' ''ComicBook/HeroesRebornTheAvengers'' was a DarkerAndEdgier revamp of the Avengers that epitomized the Dark Age of Comics. It was immediately followed by ''ComicBook/KurtBusieksAvengers'', which was a LighterAndSofter reconstruction of superheroes that helped bring an end to the Dark Age.
Is there an issue? Send a MessageReason:
None
Changed line(s) 46 (click to see context) from:
* Creator/RobLiefeld's ''ComicBook/HeroesReborn'' was a DarkerAndEdgier revamp of the Avengers that epitomized the Dark Age of Comics. It was immediately followed by Kurt Busiek's epic run on the Avengers, which was a LighterAndSofter reconstruction of superheroes that helped bring an end to the Dark Age.
to:
* Creator/RobLiefeld's ''ComicBook/HeroesReborn'' ''ComicBook/HeroesRebornAvengers'' was a DarkerAndEdgier revamp of the Avengers that epitomized the Dark Age of Comics. It was immediately followed by Kurt Busiek's epic run on the Avengers, ''ComicBook/KurtBusieksAvengers'', which was a LighterAndSofter reconstruction of superheroes that helped bring an end to the Dark Age.
Is there an issue? Send a MessageReason:
None
Changed line(s) 33 (click to see context) from:
* The ''ComicBook/Champions2016'' storyline "Beat the Devil" is this to ''ComicBook/OneMoreDay''. Both stories share a basic premise that could be awful if done poorly (Franchise/SpiderMan making a DealWithTheDevil) but while One More Day did everything possible to make Peter's actions ''[[DesignatedHero completely unjustifiable]]'' (due to a WriterRevolt), and ended with a BittersweetEnding where everyone involved got {{Mind Wipe}}d, Beat the Devil frames {{ComicBook/Miles|Morales}}' actions in the most sympathetic possible light: Miles made his decision under duress, unlike Peter who had a whole day, didn't know he was making a mistake, unlike Peter who was definitively told so by everyone including the very person he was trying to save, and while Peter forgot he made his deal, Miles got to see the consequences of his hasty decision and has to live with the guilt. In One More Day, ComicBook/{{Mephisto}} is [[VillainsNeverLie completely above-board the whole time]] and doesn't screw over Peter, but in Beat the Devil [[JackassGenie does screw over Miles]] by neglecting to mention how the deal will ensure [[ForWantOfANail a girl he had saved will be dead in the new timeline]]. Mephisto got off easy for One More Day, but by the end of Champions Vol 3, it's clear his actions in Beat the Devil have only [[FireForgedFriends made the team's resolve that much stronger]] and they collectively tell him to buzz off.
to:
* The ''ComicBook/Champions2016'' storyline "Beat the Devil" is this to ''ComicBook/OneMoreDay''. Both stories share a basic premise that could be awful if done poorly (Franchise/SpiderMan making a DealWithTheDevil) but while One More Day did everything possible to make Peter's actions ''[[DesignatedHero completely unjustifiable]]'' (due to a WriterRevolt), and ended with a BittersweetEnding where everyone involved got {{Mind Wipe}}d, Beat the Devil frames {{ComicBook/Miles|Morales}}' actions in the most sympathetic possible light: Miles made his decision under duress, unlike Peter who had a whole day, didn't know he was making a mistake, unlike Peter who was definitively told so by everyone including the very person he was trying to save, and while Peter forgot he made his deal, Miles got to see the consequences of his hasty decision and has to live with the guilt. In One More Day, ComicBook/{{Mephisto}} is [[VillainsNeverLie completely above-board the whole time]] and doesn't screw over Peter, but in Beat the Devil [[JackassGenie does screw over Miles]] by neglecting to mention how the deal will ensure [[ForWantOfANail a girl he had saved will be dead in the new timeline]]. Mephisto got off easy for One More Day, but by the end of Champions Vol 3, it's clear his actions in Beat the Devil have only [[FireForgedFriends made the team's resolve that much stronger]] and they collectively tell him to buzz off. And as if to underscore the similarity, the words that seal the deal are the same in both books: "[[WhamLine Do it]]".
Is there an issue? Send a MessageReason:
None
Changed line(s) 11,12 (click to see context) from:
* ''ComicBook/InfiniteCrisis'' villain Superboy Prime has one in the titular protagonist of ''ComicBook/TheUnbelievableGwenpool''. Both share origin stories of being teenage fans of superhero comics from our world who [[AscendedFanboy enters their favorite Universe and gets superpowers]], only to be disappointed that things do not work out as they imagined. The difference lies on how they react and what kinds of fans they represent. Prime represents lifelong fans who become bitter with how much Franchise/TheDCU has changed. He wants to brutally force it back to the way it once was and as he goes along, he stops caring how many he kills since he doesn't consider them real anyway. On the other hand, Gwen represents news fans who are aware of the Franchise/MarvelUniverse's many problems and love the franchise despite them. While she starts thinking she can do whatever she wants since none of it is real, she is quickly humbled and comes to care for others like real people. Prime embraces villainy as a alternative of being forgotten, while a FaceHeelTurn is the only things that terrifies Gwen more than ComicBookLimbo. Finally, Prime was a huge fan of Superman before coming to hate him, while Gwen named herself after Deadpool JustForPun and doesn't event read his comics.
* While they share the same modus operandi of supergenius using PoweredArmor, ComicBook/{{Ironheart}} is this to ComicBook/IronMan. Tony was raised in privilege as a son of a billionaire, but stranded relationship with his father lead him to become a cold businessman and a playboy, wasting his genius until events that lead to him becoming Iron Man opened his eyes on the harm he has caused and turned him into TheAtoner. Since then he's been laser-focused on his goal of making Earth a better place but is also dealing with the guilt that makes it that, while he makes friends easily, he rarely lets anyone really close and tend to push those who did away. Riri tends to be better with technology than people so she is hard to approach initially, but fiercely loyal to people who manage to do so anyway. Her isolation makes her blame herself for not developing better relationships with people she already lost, especially her caring stepfather, motivating her to become a hero and make a world a better place - an act that opens her so many opportunities she gets overwhelmed as any teenager would and often finds herself unable to commit to just one goal.
* While they share the same modus operandi of supergenius using PoweredArmor, ComicBook/{{Ironheart}} is this to ComicBook/IronMan. Tony was raised in privilege as a son of a billionaire, but stranded relationship with his father lead him to become a cold businessman and a playboy, wasting his genius until events that lead to him becoming Iron Man opened his eyes on the harm he has caused and turned him into TheAtoner. Since then he's been laser-focused on his goal of making Earth a better place but is also dealing with the guilt that makes it that, while he makes friends easily, he rarely lets anyone really close and tend to push those who did away. Riri tends to be better with technology than people so she is hard to approach initially, but fiercely loyal to people who manage to do so anyway. Her isolation makes her blame herself for not developing better relationships with people she already lost, especially her caring stepfather, motivating her to become a hero and make a world a better place - an act that opens her so many opportunities she gets overwhelmed as any teenager would and often finds herself unable to commit to just one goal.
to:
* ''ComicBook/InfiniteCrisis'' villain Superboy Prime has one in the titular protagonist of ''ComicBook/TheUnbelievableGwenpool''. Both share origin stories of being teenage fans of superhero comics from our world who [[AscendedFanboy enters their favorite Universe and gets superpowers]], only to be disappointed that things do not work out as they imagined. The difference lies on how they react and what kinds of fans they represent. Prime represents lifelong fans who become bitter with how much Franchise/TheDCU has changed. He wants to brutally force it back to the way it once was and as he goes along, he stops caring how many he kills since he doesn't consider them real anyway. On the other hand, Gwen represents news fans who are aware of the Franchise/MarvelUniverse's many problems and love the franchise despite them. While she starts thinking she can do whatever she wants since none of it is real, she is quickly humbled and comes to care for others like real people. Prime embraces villainy as a alternative of being forgotten, while a FaceHeelTurn is the only things that terrifies Gwen more than ComicBookLimbo. Finally, Prime was a huge fan of Superman before coming to hate him, while Gwen named herself after Deadpool JustForPun and doesn't event even read his comics.
* While they share the same modus operandi of supergenius using PoweredArmor, ComicBook/{{Ironheart}} is this to ComicBook/IronMan. Tony was raised in privilege as a son of a billionaire, but stranded relationship with his father lead him to become a cold businessman and a playboy, wasting his genius until events that lead to him becoming Iron Man opened his eyes on the harm he has caused and turned him into TheAtoner. Since then he's been laser-focused on his goal of making Earth a better place but is also dealing with the guilt that makes it that, while he makes friends easily, he rarely lets anyone really close and tend to push those who did away. Riri tends to be better with technology than people so she is hard to approach initially, but fiercely loyal to people who manage to do so anyway. Her isolation makes her blame herself for not developing better relationships with people she already lost, especially her caring stepfather, motivating her to become a hero and make a world a better place - an act that opens her so many opportunities she gets overwhelmed as any teenager would and often finds herself unable to commit to just one goal.
* While they share the same modus operandi of supergenius using PoweredArmor, ComicBook/{{Ironheart}} is this to ComicBook/IronMan. Tony was raised in privilege as a son of a billionaire, but stranded relationship with his father lead him to become a cold businessman and a playboy, wasting his genius until events that lead to him becoming Iron Man opened his eyes on the harm he has caused and turned him into TheAtoner. Since then he's been laser-focused on his goal of making Earth a better place but is also dealing with the guilt that makes it that, while he makes friends easily, he rarely lets anyone really close and tend to push those who did away. Riri tends to be better with technology than people so she is hard to approach initially, but fiercely loyal to people who manage to do so anyway. Her isolation makes her blame herself for not developing better relationships with people she already lost, especially her caring stepfather, motivating her to become a hero and make a world a better place - an act that opens her so many opportunities she gets overwhelmed as any teenager would and often finds herself unable to commit to just one goal.
* The ''ComicBook/Champions2016'' storyline "Beat the Devil" is this to ''ComicBook/OneMoreDay''. Both stories share a basic premise that could be awful if done poorly (Franchise/SpiderMan making a DealWithTheDevil) but while One More Day did everything possible to make Peter's actions ''[[DesignatedHero completely unjustifiable]]'' (due to a WriterRevolt), and ended with a BittersweetEnding where everyone involved got {{Mind Wipe}}d, Beat the Devil frames {{ComicBook/Miles|Morales}}' actions in the most sympathetic possible light: Miles made his decision under duress, unlike Peter who had a whole day, didn't know he was making a mistake, unlike Peter who was definitively told so by everyone including the very person he was trying to save, and while Peter forgot he made his deal, Miles got to see the consequences of his hasty decision and has to live with the guilt. In One More Day, ComicBook/{{Mephisto}} is [[VillainsNeverLie completely above-board the whole time]] and doesn't screw over Peter, but in Beat the Devil [[JackassGenie does screw over Miles]] by neglecting to mention how the deal will ensure [[ForWantOfANail a girl he had saved will be dead in the new timeline]]. Mephisto got off easy for One More Day, but by the end of Champions Vol 3, it's clear his actions in Beat the Devil have only [[FireForgedFriends made the team's resolve that much stronger]] and they collectively tell him to buzz off.
* ComicBook/MarvelNoir and ComicBook/Marvel1602 can be considered this to ComicBook/Marvel2099, Marvel 1602 especially. Marvel 2099 thrust the heroes of the Marvel universe into the far future, treated the present-day stories as canonical and important to the overarching metanarrative, and had a cyberpunk motif and themes. The Noir and 1602 [[TheVerse Verses]] are both set in a distant past (around Prohibition era and the age of exploration, respectively). They have more of a Steampunk ([[ShapedLikeItself or perhaps noir]]) feel to them, and don't treat the current-day stories as canon (except in the case of 1602... [[StableTimeLoop it's complicated.]]) Marvel Noir shares 2099's pessimistic atmosphere, but unlike it, doesn't have the heroes sharing a single, cohesive world, whereas Marvel 1602 is set in a single [[TheVerse 'verse]] and is much more optimistic, so they can also be this to each other.
Deleted line(s) 62 (click to see context) :
* ComicBook/MarvelNoir and ComicBook/Marvel1602 can be considered this to ComicBook/Marvel2099, Marvel 1602 especially. Marvel 2099 thrust the heroes of the Marvel universe into the far future, treated the present-day stories as canonical and important to the overarching metanarrative, and had a cyberpunk motif and themes. The Noir and 1602 [[TheVerse Verses]] are both set in a distant past (around Prohibition era and the age of exploration, respectively). They have more of a Steampunk (or perhaps noir) feel to them, and don't treat the current-day stories as canon (except in the case of 1602... [[StableTimeLoop it's complicated.)]] Marvel Noir shares 2099's pessimistic atmosphere, but unlike it, doesn't have the heroes sharing a single, cohesive world, whereas Marvel 1602 is set in a single [[TheVerse 'verse]] and is much more optimistic.
Is there an issue? Send a MessageReason:
None
Changed line(s) 18 (click to see context) from:
** The Franchise/{{X-Men}} can also serve as an antithesis to Superman. To wit, both properties are about specimens of superpowered races whose abilities manifested themselves during puberty and how the use of their powers affect their relationships with ordinary humans. However, the executions of this core premise heavily diverge from there. Superman is traditionally depicted as being well-respected by humanity ([[ComicBook/LexLuthor with some notable exceptions]]), while the X-Men are [[HeroWithBadPublicity hated and feared]] [[FantasticRacism by humanity]] ''despite'' their abilities. Superman is often depicted as the LastOfHisKind of an alien species on Earth, while the X-Men are {{Mutants}}, an Earth-born species who ''protect'' their kind from extinction.
to:
** The Franchise/{{X-Men}} Franchise/XMen can also serve as an antithesis to Superman. To wit, both properties are about specimens of superpowered races whose abilities manifested themselves during puberty and how the use of their powers affect their relationships with ordinary humans. However, the executions of this core premise heavily diverge from there. Superman is traditionally depicted as being well-respected by humanity ([[ComicBook/LexLuthor with some notable exceptions]]), while the X-Men are [[HeroWithBadPublicity ''[[HeroWithBadPublicity hated and feared]] feared]]'' [[FantasticRacism by humanity]] ''despite'' because of their abilities. Superman is often depicted as the LastOfHisKind of an alien species on Earth, while the X-Men are {{Mutants}}, an Earth-born species who ''protect'' their kind from extinction.
Changed line(s) 20 (click to see context) from:
*** Likewise, compare and contrast Superman and Spider-Man's respective Superman's nemeses, ComicBook/LexLuthor and ComicBook/NormanOsborn. Luthor is also typically portrayed as a humanist scientific genius [[BadassNormal who can hold his own against superheroes with nothing but wits and gadgetry]]. By contrast, Osborn is usually portrayed as just a shrewd businessman who attempts to use science to transcend his human limitations, and ends up adopting a monstrous alter ego cloaked in supernatural trappings.
to:
*** Likewise, compare and contrast Superman and Spider-Man's respective Superman's nemeses, ComicBook/LexLuthor and ComicBook/NormanOsborn. Luthor is also typically portrayed as a humanist scientific genius [[BadassNormal who can hold his own against superheroes with nothing but wits and gadgetry]]. By contrast, Osborn is usually portrayed as just a shrewd businessman who attempts to use science to transcend his human limitations, and ends up adopting a monstrous alter ego cloaked in supernatural trappings.
Changed line(s) 48,49 (click to see context) from:
** Creator/JackKirby's ''ComicBook/NewGods'' is one for his run on ''ComicBook/TheMightyThor''. While they both are a SpaceOpera that has powerful gods living among humans and fighting epic cosmic battles. But Thor is based on ''Myth/NorseMythology'' and contains more tropes you might find in {{Fantasy}} genre and presents a [[BlackAndWhiteMorality rather clear conflict]] between good and evil with epic battles, New Gods take most inspirations from works of Erich von Däniken, steers more towards ScienceFiction, presents a conflict of OrderVersusChaos with LawfulEvil BigBad who, while mighty, preffers to work in more insidious ways and the story questions whether he can be beaten without his enemy becoming as bad as him.
*** Of course, it's not uncommon for other writers who worked on ''Thor'' to try to follow Kirby and make thematical opposite with ''New Gods''. Walt Simmonson's run on ''Thor'' told a tale of brave heroes fighting [[WarIsGlorious glorious, just war]]. His run on ''Orion'' questioned [[WarIsHell whenever any war can really be called just]].
*** Of course, it's not uncommon for other writers who worked on ''Thor'' to try to follow Kirby and make thematical opposite with ''New Gods''. Walt Simmonson's run on ''Thor'' told a tale of brave heroes fighting [[WarIsGlorious glorious, just war]]. His run on ''Orion'' questioned [[WarIsHell whenever any war can really be called just]].
to:
** Creator/JackKirby's ''ComicBook/NewGods'' is one for his run on ''ComicBook/TheMightyThor''. While they both are a SpaceOpera that has powerful gods living among humans and fighting epic cosmic battles. But battles, their premises diverge considerably from there. Thor is based on ''Myth/NorseMythology'' and contains more tropes you might find in the {{Fantasy}} genre and presents a [[BlackAndWhiteMorality rather clear conflict]] between good and evil with epic battles, New Gods take most inspirations from works of Erich von Däniken, steers more towards ScienceFiction, presents a conflict of OrderVersusChaos with LawfulEvil BigBad who, while mighty, preffers prefers to work in more insidious ways and the story questions whether [[HeWhoFightsMonsters he can be beaten without his enemy becoming as bad as him.
him]].
*** Of course, it's not uncommon for other writers who worked on ''Thor'' to try to follow Kirby and makethematical a thematic opposite with ''New Gods''. Walt Simmonson's run on ''Thor'' told a tale of brave heroes fighting [[WarIsGlorious glorious, just war]]. His run on ''Orion'' questioned [[WarIsHell whenever any war can really be called just]].
*** Of course, it's not uncommon for other writers who worked on ''Thor'' to try to follow Kirby and make
Is there an issue? Send a MessageReason:
None
Added DiffLines:
* ''ComicBook/AllStarSuperman'' is one to ''ComicBook/AllStarBatmanAndRobinTheBoyWonder'' in a sense. One is hopeful and idealistic, the other is dark and cynical. One has a hero who treats everyone with respect or, at worst, disappointment; the other's treats everyone as inferior and always tries to intimidate. One regrets treating his sidekick cruelly (while he was being affected by something inverting his personality), the other has no qualms about abusing a child (while he's completely himself). One sticks to a character's singular mythos; the other brings in the rest of the DC Universe. One is at the end of the character's life; the other is shortly after the start of its protagonist's career. Both also act as prequels to their [[Creator/GrantMorrison respective]] [[Creator/FrankMiller writers']] self-created continuities. And on a meta level: One series is iconic and beloved; the other is iconic for all the wrong reasons. It becomes blatantly obvious in each series's [[SignatureScene Signature Scenes]]; the latter's is the [[DesignatedHero "hero"]] verbally abusing a child, while the former's is the [[AllLovingHero hero]] saving a suicidal teenager.
Is there an issue? Send a MessageReason:
None
Changed line(s) 18,20 (click to see context) from:
** The Franchise/{{XMen}} can also serve as an antithesis to Superman. To wit, both properties are about specimens of superpowered races whose abilities manifested themselves during puberty and how the use of their powers affect their relationships with ordinary humans. However, the executions of this core premise heavily diverge from there. Superman is traditionally depicted as being well-respected by humanity ([[ComicBook/LexLuthor with some notable exceptions]]), while the X-Men are [[HeroWithBadPublicity hated and feared]] [[FantasticRacism by humanity]] ''despite'' their abilities. Superman is often depicted as the LastOfHisKind of an alien species on Earth, while the X-Men are {{Mutants}}, an Earth-born species who ''protect'' their kind from extinction.
** Superman and Franchise/SpiderMan are both iconic urban superheroes known for their distinctive [[PrimaryColorChampion red and blue costumes]], and for wearing glasses and working at newspapers in their civilian identities; both of them also have [[CorruptCorporateExecutive evil corporate CEOs]] as their archenemies. Both of them are also raised by elderly guardians (Pa and Ma Kent & Uncle Ben and Aunt May) due to their biological parents being deceased. Both have their father figure often die to teach them a lesson about their powers, for Superman Pa's death teaches that even he can't save everyone, and for Spider-Man, Uncle Ben teaches that with GreatPowerComesGreatResponsibility. But Superman is known for his raw strength and his brawny physique, and he's often thematically associated with the heavens due to his [[FlyingBrick flight powers]] and [[HumanAliens alien heritage]]. Spider-Man, on the other hand, is known for his agility and his wiry physique, and most depictions emphasize his closeness to the Earth due to his [[WorkingClassHero humble background]] and [[AnimalThemedSuperBeing insect motif]]. The Daily Planet is also traditionally portrayed sympathetically, with its reporters being crusading idealists driven to protect the truth, while the Daily Bugle is cast in a more morally ambiguous light, with J. Jonah Jameson's editorials [[HeroWithBadPublicity ruining Spidey's reputation]]. Finally both often play the role of TheHeart of their respective universes, but Superman usually benefits from being seen as the BigGood and having a HundredPercentAdorationRating from the general public while Spider-Man typically is the HeroWithBadPublicity.
*** Superman's nemesis ComicBook/LexLuthor is also typically portrayed as a humanist scientific genius [[BadassNormal who can hold his own against superheroes with nothing but wits and gadgetry]]; by contrast, Spider-Man's nemesis ComicBook/NormanOsborn is usually portrayed as just a shrewd businessman who attempts to use science to transcend his human limitations, and ends up adopting a monstrous alter ego cloaked in supernatural trappings.
** Superman and Franchise/SpiderMan are both iconic urban superheroes known for their distinctive [[PrimaryColorChampion red and blue costumes]], and for wearing glasses and working at newspapers in their civilian identities; both of them also have [[CorruptCorporateExecutive evil corporate CEOs]] as their archenemies. Both of them are also raised by elderly guardians (Pa and Ma Kent & Uncle Ben and Aunt May) due to their biological parents being deceased. Both have their father figure often die to teach them a lesson about their powers, for Superman Pa's death teaches that even he can't save everyone, and for Spider-Man, Uncle Ben teaches that with GreatPowerComesGreatResponsibility. But Superman is known for his raw strength and his brawny physique, and he's often thematically associated with the heavens due to his [[FlyingBrick flight powers]] and [[HumanAliens alien heritage]]. Spider-Man, on the other hand, is known for his agility and his wiry physique, and most depictions emphasize his closeness to the Earth due to his [[WorkingClassHero humble background]] and [[AnimalThemedSuperBeing insect motif]]. The Daily Planet is also traditionally portrayed sympathetically, with its reporters being crusading idealists driven to protect the truth, while the Daily Bugle is cast in a more morally ambiguous light, with J. Jonah Jameson's editorials [[HeroWithBadPublicity ruining Spidey's reputation]]. Finally both often play the role of TheHeart of their respective universes, but Superman usually benefits from being seen as the BigGood and having a HundredPercentAdorationRating from the general public while Spider-Man typically is the HeroWithBadPublicity.
*** Superman's nemesis ComicBook/LexLuthor is also typically portrayed as a humanist scientific genius [[BadassNormal who can hold his own against superheroes with nothing but wits and gadgetry]]; by contrast, Spider-Man's nemesis ComicBook/NormanOsborn is usually portrayed as just a shrewd businessman who attempts to use science to transcend his human limitations, and ends up adopting a monstrous alter ego cloaked in supernatural trappings.
to:
** The Franchise/{{XMen}} Franchise/{{X-Men}} can also serve as an antithesis to Superman. To wit, both properties are about specimens of superpowered races whose abilities manifested themselves during puberty and how the use of their powers affect their relationships with ordinary humans. However, the executions of this core premise heavily diverge from there. Superman is traditionally depicted as being well-respected by humanity ([[ComicBook/LexLuthor with some notable exceptions]]), while the X-Men are [[HeroWithBadPublicity hated and feared]] [[FantasticRacism by humanity]] ''despite'' their abilities. Superman is often depicted as the LastOfHisKind of an alien species on Earth, while the X-Men are {{Mutants}}, an Earth-born species who ''protect'' their kind from extinction.
** Superman and Franchise/SpiderMan are both iconic urban superheroes known for their distinctive [[PrimaryColorChampion red and blue costumes]], and for wearing glasses and working at newspapers in their civilian identities; both of them also have [[CorruptCorporateExecutive evil corporate CEOs]] as their archenemies. Both of them are also raised by elderly guardians (Pa and Ma Kent & Uncle Ben and Aunt May) due to their biological parents being deceased. Both have their father figure often die to teach them a lesson about their powers, for Superman Pa's death teaches that even he can't save everyone, and for Spider-Man, Uncle Ben teaches that withGreatPowerComesGreatResponsibility.great power ComesGreatResponsibility. But Superman is known for his raw strength and his brawny physique, and he's often thematically associated with the heavens due to his [[FlyingBrick flight powers]] and [[HumanAliens alien heritage]]. Spider-Man, on the other hand, is known for his agility and his wiry physique, and most depictions emphasize his closeness to the Earth due to his [[WorkingClassHero humble background]] and [[AnimalThemedSuperBeing insect motif]]. The Daily Planet is also traditionally portrayed sympathetically, with its reporters being crusading idealists driven to protect the truth, while the Daily Bugle is cast in a more morally ambiguous light, with J. Jonah Jameson's editorials [[HeroWithBadPublicity ruining Spidey's reputation]]. Finally both often play the role of TheHeart of their respective universes, but Superman usually benefits from being seen as the BigGood and having a HundredPercentAdorationRating from the general public while Spider-Man typically is the HeroWithBadPublicity.
*** Likewise, compare and contrast Superman and Spider-Man's respective Superman'snemesis nemeses, ComicBook/LexLuthor and ComicBook/NormanOsborn. Luthor is also typically portrayed as a humanist scientific genius [[BadassNormal who can hold his own against superheroes with nothing but wits and gadgetry]]; by gadgetry]]. By contrast, Spider-Man's nemesis ComicBook/NormanOsborn Osborn is usually portrayed as just a shrewd businessman who attempts to use science to transcend his human limitations, and ends up adopting a monstrous alter ego cloaked in supernatural trappings.
** Superman and Franchise/SpiderMan are both iconic urban superheroes known for their distinctive [[PrimaryColorChampion red and blue costumes]], and for wearing glasses and working at newspapers in their civilian identities; both of them also have [[CorruptCorporateExecutive evil corporate CEOs]] as their archenemies. Both of them are also raised by elderly guardians (Pa and Ma Kent & Uncle Ben and Aunt May) due to their biological parents being deceased. Both have their father figure often die to teach them a lesson about their powers, for Superman Pa's death teaches that even he can't save everyone, and for Spider-Man, Uncle Ben teaches that with
*** Likewise, compare and contrast Superman and Spider-Man's respective Superman's
Is there an issue? Send a MessageReason:
None
Changed line(s) 19,20 (click to see context) from:
** Superman and Franchise/SpiderMan are both iconic urban superheroes known for their distinctive [[PrimaryColorChampion red and blue costumes]], and for wearing glasses and working at newspapers in their civilian identities; both of them also have [[CorruptCorporateExecutive evil corporate CEOs]] as their archenemies. Both of them are also raised by elderly guardians (Pa and Ma Kent & Uncle Ben and Aunt May) due to their biological parents being deceased. Both have their father figure often die to teach them a lesson about their powers, for Superman Pa's death teaches that even he can't save everyone, and for Spider-Man, Uncle Ben teaches that with GreatPowerComesGreatResponsibility. But Superman is known for his raw strength and his brawny physique, and he's often thematically associated with the heavens due to his [[FlyingBrick flight powers]] and [[HumanAliens alien heritage]]. Spider-Man, on the other hand, is known for his agility and his wiry physique, and most depictions emphasize his closeness to the Earth due to his [[WorkingClassHero humble background]] and [[AnimalThemedSuperBeing insect motif]]. The Daily Planet is also traditionally portrayed sympathetically, with its reporters being crusading idealists driven to protect the truth, while the Daily Bugle is cast in a more morally ambiguous light, with J. Jonah Jameson's editorials [[HeroWithBadPublicity ruining Spidey's reputation]]. Finally Superman usually benefits from being seen as the BigGood and having a OneHundredPercentHeroismRating from the general public while Spider-Man typically is the HeroWithBadPublicity.
** Superman's nemesis ComicBook/LexLuthor is also typically portrayed as a humanist scientific genius [[BadassNormal who can hold his own against superheroes with nothing but wits and gadgetry]]; by contrast, Spider-Man's nemesis ComicBook/NormanOsborn is usually portrayed as just a shrewd businessman who attempts to use science to transcend his human limitations, and ends up adopting a monstrous alter ego cloaked in supernatural trappings.
** Superman's nemesis ComicBook/LexLuthor is also typically portrayed as a humanist scientific genius [[BadassNormal who can hold his own against superheroes with nothing but wits and gadgetry]]; by contrast, Spider-Man's nemesis ComicBook/NormanOsborn is usually portrayed as just a shrewd businessman who attempts to use science to transcend his human limitations, and ends up adopting a monstrous alter ego cloaked in supernatural trappings.
to:
** Superman and Franchise/SpiderMan are both iconic urban superheroes known for their distinctive [[PrimaryColorChampion red and blue costumes]], and for wearing glasses and working at newspapers in their civilian identities; both of them also have [[CorruptCorporateExecutive evil corporate CEOs]] as their archenemies. Both of them are also raised by elderly guardians (Pa and Ma Kent & Uncle Ben and Aunt May) due to their biological parents being deceased. Both have their father figure often die to teach them a lesson about their powers, for Superman Pa's death teaches that even he can't save everyone, and for Spider-Man, Uncle Ben teaches that with GreatPowerComesGreatResponsibility. But Superman is known for his raw strength and his brawny physique, and he's often thematically associated with the heavens due to his [[FlyingBrick flight powers]] and [[HumanAliens alien heritage]]. Spider-Man, on the other hand, is known for his agility and his wiry physique, and most depictions emphasize his closeness to the Earth due to his [[WorkingClassHero humble background]] and [[AnimalThemedSuperBeing insect motif]]. The Daily Planet is also traditionally portrayed sympathetically, with its reporters being crusading idealists driven to protect the truth, while the Daily Bugle is cast in a more morally ambiguous light, with J. Jonah Jameson's editorials [[HeroWithBadPublicity ruining Spidey's reputation]]. Finally both often play the role of TheHeart of their respective universes, but Superman usually benefits from being seen as the BigGood and having a OneHundredPercentHeroismRating HundredPercentAdorationRating from the general public while Spider-Man typically is the HeroWithBadPublicity.
** *** Superman's nemesis ComicBook/LexLuthor is also typically portrayed as a humanist scientific genius [[BadassNormal who can hold his own against superheroes with nothing but wits and gadgetry]]; by contrast, Spider-Man's nemesis ComicBook/NormanOsborn is usually portrayed as just a shrewd businessman who attempts to use science to transcend his human limitations, and ends up adopting a monstrous alter ego cloaked in supernatural trappings.
Is there an issue? Send a MessageReason:
None
Changed line(s) 19 (click to see context) from:
** Superman and Franchise/SpiderMan are both iconic urban superheroes known for their distinctive [[PrimaryColorChampion red and blue costumes]], and for wearing glasses and working at newspapers in their civilian identities; both of them also have [[CorruptCorporateExecutive evil corporate CEOs]] as their archenemies. Both of them are also raised by elderly guardians (Pa and Ma Kent & Uncle Ben and Aunt May) due to their biological parents being deceased. Both have their father figure often die to teach them a lesson about their powers, for Superman Pa's death teaches that even he can't save everyone, and for Spider-Man, Uncle Ben teaches that his GreatPower comes with GreatResponsibility. But Superman is known for his raw strength and his brawny physique, and he's often thematically associated with the heavens due to his [[FlyingBrick flight powers]] and [[HumanAliens alien heritage]]. Spider-Man, on the other hand, is known for his agility and his wiry physique, and most depictions emphasize his closeness to the Earth due to his [[WorkingClassHero humble background]] and [[AnimalThemedSuperBeing insect motif]]. The Daily Planet is also traditionally portrayed sympathetically, with its reporters being crusading idealists driven to protect the truth, while the Daily Bugle is cast in a more morally ambiguous light, with J. Jonah Jameson's editorials [[HeroWithBadPublicity ruining Spidey's reputation]]. Superman's nemesis ComicBook/LexLuthor is also typically portrayed as a humanist scientific genius [[BadassNormal who can hold his own against superheroes with nothing but wits and gadgetry]]; by contrast, Spider-Man's nemesis ComicBook/NormanOsborn is usually portrayed as just a shrewd businessman who attempts to use science to transcend his human limitations, and ends up adopting a monstrous alter ego cloaked in supernatural trappings. Finally Superman usually benefits from being seen as the BigGood and having a 100%HeroismRating from the general public while Spider-Man typically is the HeroWithBadPublicity.
to:
** Superman and Franchise/SpiderMan are both iconic urban superheroes known for their distinctive [[PrimaryColorChampion red and blue costumes]], and for wearing glasses and working at newspapers in their civilian identities; both of them also have [[CorruptCorporateExecutive evil corporate CEOs]] as their archenemies. Both of them are also raised by elderly guardians (Pa and Ma Kent & Uncle Ben and Aunt May) due to their biological parents being deceased. Both have their father figure often die to teach them a lesson about their powers, for Superman Pa's death teaches that even he can't save everyone, and for Spider-Man, Uncle Ben teaches that his GreatPower comes with GreatResponsibility.GreatPowerComesGreatResponsibility. But Superman is known for his raw strength and his brawny physique, and he's often thematically associated with the heavens due to his [[FlyingBrick flight powers]] and [[HumanAliens alien heritage]]. Spider-Man, on the other hand, is known for his agility and his wiry physique, and most depictions emphasize his closeness to the Earth due to his [[WorkingClassHero humble background]] and [[AnimalThemedSuperBeing insect motif]]. The Daily Planet is also traditionally portrayed sympathetically, with its reporters being crusading idealists driven to protect the truth, while the Daily Bugle is cast in a more morally ambiguous light, with J. Jonah Jameson's editorials [[HeroWithBadPublicity ruining Spidey's reputation]]. Finally Superman usually benefits from being seen as the BigGood and having a OneHundredPercentHeroismRating from the general public while Spider-Man typically is the HeroWithBadPublicity.
** Superman's nemesis ComicBook/LexLuthor is also typically portrayed as a humanist scientific genius [[BadassNormal who can hold his own against superheroes with nothing but wits and gadgetry]]; by contrast, Spider-Man's nemesis ComicBook/NormanOsborn is usually portrayed as just a shrewd businessman who attempts to use science to transcend his human limitations, and ends up adopting a monstrous alter ego cloaked in supernatural trappings.Finally Superman usually benefits from being seen as the BigGood and having a 100%HeroismRating from the general public while Spider-Man typically is the HeroWithBadPublicity.
** Superman's nemesis ComicBook/LexLuthor is also typically portrayed as a humanist scientific genius [[BadassNormal who can hold his own against superheroes with nothing but wits and gadgetry]]; by contrast, Spider-Man's nemesis ComicBook/NormanOsborn is usually portrayed as just a shrewd businessman who attempts to use science to transcend his human limitations, and ends up adopting a monstrous alter ego cloaked in supernatural trappings.
Is there an issue? Send a MessageReason:
None
Changed line(s) 19 (click to see context) from:
** Superman and Franchise/SpiderMan are both iconic urban superheroes known for their distinctive [[PrimaryColorChampion red and blue costumes]], and for wearing glasses and working at newspapers in their civilian identities; both of them also have [[CorruptCorporateExecutive evil corporate CEOs]] as their archenemies. But Superman is known for his raw strength and his brawny physique, and he's often thematically associated with the heavens due to his [[FlyingBrick flight powers]] and [[HumanAliens alien heritage]]. Spider-Man, on the other hand, is known for his agility and his wiry physique, and most depictions emphasize his closeness to the Earth due to his [[WorkingClassHero humble background]] and [[AnimalThemedSuperBeing insect motif]]. The Daily Planet is also traditionally portrayed sympathetically, with its reporters being crusading idealists driven to protect the truth, while the Daily Bugle is cast in a more morally ambiguous light, with J. Jonah Jameson's editorials [[HeroWithBadPublicity ruining Spidey's reputation]]. Superman's nemesis ComicBook/LexLuthor is also typically portrayed as a humanist scientific genius [[BadassNormal who can hold his own against superheroes with nothing but wits and gadgetry]]; by contrast, Spider-Man's nemesis ComicBook/NormanOsborn is usually portrayed as just a shrewd businessman who attempts to use science to transcend his human limitations, and ends up adopting a monstrous alter ego cloaked in supernatural trappings.
to:
** Superman and Franchise/SpiderMan are both iconic urban superheroes known for their distinctive [[PrimaryColorChampion red and blue costumes]], and for wearing glasses and working at newspapers in their civilian identities; both of them also have [[CorruptCorporateExecutive evil corporate CEOs]] as their archenemies. Both of them are also raised by elderly guardians (Pa and Ma Kent & Uncle Ben and Aunt May) due to their biological parents being deceased. Both have their father figure often die to teach them a lesson about their powers, for Superman Pa's death teaches that even he can't save everyone, and for Spider-Man, Uncle Ben teaches that his GreatPower comes with GreatResponsibility. But Superman is known for his raw strength and his brawny physique, and he's often thematically associated with the heavens due to his [[FlyingBrick flight powers]] and [[HumanAliens alien heritage]]. Spider-Man, on the other hand, is known for his agility and his wiry physique, and most depictions emphasize his closeness to the Earth due to his [[WorkingClassHero humble background]] and [[AnimalThemedSuperBeing insect motif]]. The Daily Planet is also traditionally portrayed sympathetically, with its reporters being crusading idealists driven to protect the truth, while the Daily Bugle is cast in a more morally ambiguous light, with J. Jonah Jameson's editorials [[HeroWithBadPublicity ruining Spidey's reputation]]. Superman's nemesis ComicBook/LexLuthor is also typically portrayed as a humanist scientific genius [[BadassNormal who can hold his own against superheroes with nothing but wits and gadgetry]]; by contrast, Spider-Man's nemesis ComicBook/NormanOsborn is usually portrayed as just a shrewd businessman who attempts to use science to transcend his human limitations, and ends up adopting a monstrous alter ego cloaked in supernatural trappings. Finally Superman usually benefits from being seen as the BigGood and having a 100%HeroismRating from the general public while Spider-Man typically is the HeroWithBadPublicity.
Is there an issue? Send a MessageReason:
None
Changed line(s) 17 (click to see context) from:
** Superman and the ComicBook/FantasticFour are polar opposites in almost every way. Superman is traditionally portrayed as a borderline-demigod with a vast array of powerful abilities, but he has to cope with the inherent heartbreak of being [[LastOfHisKind the last member of a dying alien race]]; as such, [[IWorkAlone he typically fights alone]] when he's not with the Franchise/{{Justice League|OfAmerica}}, and he lost most of his family when he was too young to remember them. He's also famous for [[ClarkKenting keeping his secret identity so well-hidden]] that not even his love interest and his nemesis know who he really is. In contrast, the ComicBook/FantasticFour have worked as a group since the beginning, they each have one specific superpower, they're a lovably {{dysfunctional family}} in addition to a superhero team, and they don't have secret identities at all; in fact, they're all world-renowned celebrities. Interestingly, their origin stories are also mirror images of one another: Superman's story begins with him crashing to Earth in a rocket ship and getting superpowers from Earth's sun, while the Four's story begins with them flying into space in a rocket ship and getting superpowers from cosmic radiation.
to:
** Superman and the ComicBook/FantasticFour Franchise/FantasticFour are polar opposites in almost every way. Superman is traditionally portrayed as [[SuperpowerLottery a borderline-demigod with a vast array of powerful abilities, abilities]], but he has to cope with the inherent heartbreak of being [[LastOfHisKind the last member of a dying alien race]]; as such, [[IWorkAlone he typically fights alone]] when he's not with the Franchise/{{Justice League|OfAmerica}}, and he lost most of his family when he was too young to remember them. He's also famous for [[ClarkKenting keeping his secret identity so well-hidden]] that not even his love interest and his nemesis know who he really is. In contrast, the ComicBook/FantasticFour have worked as a group since the beginning, they each have one specific superpower, they're a lovably {{dysfunctional family}} in addition to a superhero team, and they don't have secret identities at all; in fact, they're all world-renowned celebrities. Interestingly, their origin stories are also mirror images of one another: Superman's story begins with him crashing to Earth in a rocket ship and getting superpowers from Earth's sun, while the Four's story begins with them flying into space in a rocket ship and getting superpowers from cosmic radiation.radiation.
** The Franchise/{{XMen}} can also serve as an antithesis to Superman. To wit, both properties are about specimens of superpowered races whose abilities manifested themselves during puberty and how the use of their powers affect their relationships with ordinary humans. However, the executions of this core premise heavily diverge from there. Superman is traditionally depicted as being well-respected by humanity ([[ComicBook/LexLuthor with some notable exceptions]]), while the X-Men are [[HeroWithBadPublicity hated and feared]] [[FantasticRacism by humanity]] ''despite'' their abilities. Superman is often depicted as the LastOfHisKind of an alien species on Earth, while the X-Men are {{Mutants}}, an Earth-born species who ''protect'' their kind from extinction.
** The Franchise/{{XMen}} can also serve as an antithesis to Superman. To wit, both properties are about specimens of superpowered races whose abilities manifested themselves during puberty and how the use of their powers affect their relationships with ordinary humans. However, the executions of this core premise heavily diverge from there. Superman is traditionally depicted as being well-respected by humanity ([[ComicBook/LexLuthor with some notable exceptions]]), while the X-Men are [[HeroWithBadPublicity hated and feared]] [[FantasticRacism by humanity]] ''despite'' their abilities. Superman is often depicted as the LastOfHisKind of an alien species on Earth, while the X-Men are {{Mutants}}, an Earth-born species who ''protect'' their kind from extinction.
Is there an issue? Send a MessageReason:
None
Changed line(s) 8 (click to see context) from:
** Another Marvel antithesis to Batman is ComicBook/IronMan. Both are billionaire playboys with [[BadassNormal no inherent superpowers]] that lost their parents to tragedy, and both are founding members and prominent figures of their universe's main SuperTeam (the Franchise/{{Justice League|OfAmerica}} for Batman, ComicBook/TheAvengers for Iron Man). That said, they heavily diverge from there. Batman primarily relies on fancy gadgets in addition to various vehicles and tools, but relies on his own agility over brute force. Iron Man wears PoweredArmor that does much of the fighting in conjunction with him, and rarely is he without it. Batman has a SecretIdentity that he fights to maintain and keep from the public, while Iron Man is completely public and a renown celebrity. Batman adheres almost religiously to ThouShaltNotKill, whereas Iron Man not only freely kills but ThereIsNoKillLikeOverkill is his ''preferred'' method. Batman [[TheTeetotaler abstains from alcohol and addictive material]], while Iron Man [[TheAlcoholic famously struggles with alcoholism]]. Batman's RoguesGallery consists of various criminals and lawless individuals, Iron Man's rogues are more comparable to what an industrial billionaire would have. Batman famously [[DarkIsNotEvil wears a black and grey suit]], while Iron Man [[PrimaryColorChampion wears red and gold armor]]. Finally, Batman considers Bruce Wayne to be his alter ego and Batman to be his ''true'' self, while Iron Man and Tony Stark are one and the same.
to:
** Another Marvel antithesis to Batman is ComicBook/IronMan. Both are billionaire playboys with [[BadassNormal no inherent superpowers]] that lost their parents to tragedy, and both are founding members and prominent figures of their universe's main SuperTeam (the Franchise/{{Justice League|OfAmerica}} for Batman, ComicBook/TheAvengers for Iron Man). Furthermore, both count mystically empowered, Eastern-born warlords as prominent enemies (ComicBook/RasAlGhul for Batman, the Mandarin for Iron Man). That said, they heavily diverge from there. Batman primarily relies on fancy gadgets in addition to various vehicles and tools, but relies on his own agility over brute force. Iron Man wears PoweredArmor that does much of the fighting in conjunction with him, and rarely is he without it. Batman has a SecretIdentity that he fights to maintain and keep from the public, while Iron Man is completely public and a renown celebrity. Batman adheres almost religiously to ThouShaltNotKill, whereas Iron Man not only freely kills but ThereIsNoKillLikeOverkill is his ''preferred'' method. Batman [[TheTeetotaler abstains from alcohol and addictive material]], while Iron Man [[TheAlcoholic famously struggles with alcoholism]]. Batman's RoguesGallery consists of various criminals and lawless individuals, Iron Man's rogues are more comparable to what an industrial billionaire would have. Batman famously [[DarkIsNotEvil wears a black and grey suit]], while Iron Man [[PrimaryColorChampion wears red and gold armor]]. Finally, Batman considers Bruce Wayne to be his alter ego and Batman to be his ''true'' self, while Iron Man and Tony Stark are one and the same.
Is there an issue? Send a MessageReason:
None
Added DiffLines:
* The concept of Brian K. Vaughan's ''ComicBook/{{Saga}}'' is ''Franchise/StarWars'' told from the point of view of civilians trying to avoid the war rather than heroes or villains fighting in it.
Is there an issue? Send a MessageReason:
None
Changed line(s) 7 (click to see context) from:
*** Following this vein of logic, compare and contrast Batman and Spider-Man's respective [[{{Archenemy}} Archenemies]], ComicBook/TheJoker and ComicBook/NormanOsborn. Aside from their aforementioned similar purple and green color schemes and propensity for insanity, both frequently harm the hero's loved ones, often times ForTheEvulz (The Joker [[ComicBook/ADeathInTheFamily killing Jason Todd]] and [[ComicBook/TheKillingJoke crippling Barbara Gordon]], The Green Goblin [[ComicBook/TheNightGwenStacyDied killing Gwen Stacy]]). In addition, both of their origin stories involve exposure to dangerous chemicals (the Joker [[ChemicalWasteCanDoAnything falling into a vat of chemicals]], the Green Goblin being exposed to a PsychoSerum [[ProfessorGuineaPig of his own creation]]). But here's the fluke: Whereas the Joker's true name and life ''before'' his accident has been [[ThatManIsDead lost to history]], with [[MultipleChoicePast various theories being postulated]], the Green Goblin has had a consistent secret identity - Norman Osborn, a corrupt industrialist[[note]]Interestingly, Osborn's Green Goblin persona was derived from the monster from his childhood nightmares. [[Franchise/{{Batman}} Sound familiar]]? [[/note]]. In addition, the Joker persona has consumed the man before the accident, while Osborn and the Goblin [[JekyllAndHyde are portrayed as two different personalities]], often times at conflict with each other. There's also an inversion in status befitting of the heroes -- The Joker is a crimelord who doesn't have [[VillainousUnderdog nearly as many resources as Batman]] and gets by through his wits and insanity, while Osborn is a multi-millionaire industrialist with vast resources and connections, making him an overdog to the working-class Spider-Man. Furthermore, DC has traditionally left it ambiguous on whether the Joker knows Batman's identity, while Marvel has made it clear that the Goblin knows that Peter Parker is Spider-Man.
to:
*** Following this vein of logic, compare and contrast Batman and Spider-Man's respective [[{{Archenemy}} Archenemies]], ComicBook/TheJoker and ComicBook/NormanOsborn. Aside from their aforementioned similar purple and green color schemes and propensity for insanity, both frequently harm the hero's loved ones, often times ForTheEvulz (The Joker [[ComicBook/ADeathInTheFamily killing Jason Todd]] and [[ComicBook/TheKillingJoke crippling Barbara Gordon]], The Green Goblin [[ComicBook/TheNightGwenStacyDied killing Gwen Stacy]]). In addition, both of their origin stories involve exposure to dangerous chemicals (the Joker [[ChemicalWasteCanDoAnything [[ToxicWasteCanDoAnything falling into a vat of chemicals]], the Green Goblin being exposed to a PsychoSerum [[ProfessorGuineaPig of his own creation]]). But here's the fluke: Whereas the Joker's true name and life ''before'' his accident has been [[ThatManIsDead lost to history]], with [[MultipleChoicePast various theories being postulated]], the Green Goblin has had a consistent secret identity - Norman Osborn, a corrupt industrialist[[note]]Interestingly, Osborn's Green Goblin persona was derived from the monster from his childhood nightmares. [[Franchise/{{Batman}} Sound familiar]]? [[/note]]. In addition, the Joker persona has consumed the man before the accident, while Osborn and the Goblin [[JekyllAndHyde are portrayed as two different personalities]], often times at conflict with each other. There's also an inversion in status befitting of the heroes -- The Joker is a crimelord who doesn't have [[VillainousUnderdog nearly as many resources as Batman]] and gets by through his wits and insanity, while Osborn is a multi-millionaire industrialist with vast resources and connections, making him an overdog to the working-class Spider-Man. Furthermore, DC has traditionally left it ambiguous on whether the Joker knows Batman's identity, while Marvel has made it clear that the Goblin knows that Peter Parker is Spider-Man.
Is there an issue? Send a MessageReason:
Fixing punctuation, grammar, & phrasing issues
Changed line(s) 30 (click to see context) from:
* The creators of ''ComicBook/{{Cerebus}}'' and ''ComicBook/{{Bone}}'' got into an infamous feud during the books' runs. It makes sense, then, that their books can be considered antithesis to each other - both are black and white fantasy stories, incredibly long-running, and feature a title character that [[GenreRefugee he'd belong in a much more lighthearted book]]. But, ''Bone'' is a wholesome comic, with the hero being a goofy, kind-hearted guy, and the fantasy world is a classic HighFantasy culture, while Cerebus features a SociopathicHero, living in a violent dystopia full of corruption, and is known for its [[CerebusSyndrome descent into seriousness]].
to:
* The creators of ''ComicBook/{{Cerebus}}'' and ''ComicBook/{{Bone}}'' got into an infamous feud during the books' runs. It makes sense, then, that their books can be considered antithesis to each other - both are black and white fantasy stories, incredibly long-running, and feature a [[GenreRefugee title character that [[GenreRefugee he'd that'd belong in a much more lighthearted book]]. But, However, ''Bone'' is a wholesome comic, with the hero being a goofy, kind-hearted guy, guy and the fantasy his world is a classic HighFantasy culture, while Cerebus ''Cerebus'' features a SociopathicHero, living SociopathicHero in a violent dystopia full of corruption, and is known for its [[CerebusSyndrome descent into seriousness]].
Is there an issue? Send a MessageReason:
None
Changed line(s) 7 (click to see context) from:
*** Following this vein of logic, compare and contrast Batman and Spider-Man's respective [[{{Archenemy}} Archenemies]], ComicBook/TheJoker and ComicBook/NormanOsborn. Aside from their aforementioned similar purple and green color schemes and propensity for insanity, both frequently harm the hero's loved ones, often times ForTheEvulz (The Joker [[ComicBook/ADeathInTheFamily killing Jason Todd]] and [[ComicBook/TheKillingJoke crippling Barbara Gordon]], The Green Goblin [[ComicBook/TheNightGwenStacyDied killing Gwen Stacy]]). In addition, both of their origin stories involve exposure to dangerous chemicals (the Joker falling into a vat of chemicals, the Green Goblin being exposed to a PsychoSerum of his own creation). But here's the fluke: Whereas the Joker's true name and life ''before'' his accident has been [[ThatManIsDead lost to history]], with [[MultipleChoicePast various theories being postulated]], the Green Goblin has had a consistent secret identity - Norman Osborn, a corrupt industrialist[[note]]Interestingly, Osborn's Green Goblin persona was derived from the monster from his childhood nightmares. [[Franchise/{{Batman}} Sound familiar]]? [[/note]]. In addition, the Joker persona has consumed the man before the accident, while Osborn and the Goblin [[JekyllAndHyde are portrayed as two different personalities]], often times at conflict with each other. There's also an inversion in status befitting of the heroes -- The Joker is a crimelord who doesn't have [[VillainousUnderdog nearly as many resources as Batman]] and gets by through his wits and insanity, while Osborn is a multi-millionaire industrialist with vast resources and connections, making him an overdog to the working-class Spider-Man. Furthermore, DC has traditionally left it ambiguous on whether the Joker knows Batman's identity, while Marvel has made it clear that the Goblin knows that Peter Parker is Spider-Man.
to:
*** Following this vein of logic, compare and contrast Batman and Spider-Man's respective [[{{Archenemy}} Archenemies]], ComicBook/TheJoker and ComicBook/NormanOsborn. Aside from their aforementioned similar purple and green color schemes and propensity for insanity, both frequently harm the hero's loved ones, often times ForTheEvulz (The Joker [[ComicBook/ADeathInTheFamily killing Jason Todd]] and [[ComicBook/TheKillingJoke crippling Barbara Gordon]], The Green Goblin [[ComicBook/TheNightGwenStacyDied killing Gwen Stacy]]). In addition, both of their origin stories involve exposure to dangerous chemicals (the Joker [[ChemicalWasteCanDoAnything falling into a vat of chemicals, chemicals]], the Green Goblin being exposed to a PsychoSerum [[ProfessorGuineaPig of his own creation).creation]]). But here's the fluke: Whereas the Joker's true name and life ''before'' his accident has been [[ThatManIsDead lost to history]], with [[MultipleChoicePast various theories being postulated]], the Green Goblin has had a consistent secret identity - Norman Osborn, a corrupt industrialist[[note]]Interestingly, Osborn's Green Goblin persona was derived from the monster from his childhood nightmares. [[Franchise/{{Batman}} Sound familiar]]? [[/note]]. In addition, the Joker persona has consumed the man before the accident, while Osborn and the Goblin [[JekyllAndHyde are portrayed as two different personalities]], often times at conflict with each other. There's also an inversion in status befitting of the heroes -- The Joker is a crimelord who doesn't have [[VillainousUnderdog nearly as many resources as Batman]] and gets by through his wits and insanity, while Osborn is a multi-millionaire industrialist with vast resources and connections, making him an overdog to the working-class Spider-Man. Furthermore, DC has traditionally left it ambiguous on whether the Joker knows Batman's identity, while Marvel has made it clear that the Goblin knows that Peter Parker is Spider-Man.
Changed line(s) 16 (click to see context) from:
** Another [[UsefulNotes/TheGoldenAgeOfComicBooks Golden Age]] antithesis to Superman is ComicBook/CaptainAmerica. Both are [[PrimaryColorChampion red and blue-wearing]] superheroes with [[TheCape idealistic]] [[{{Eagleland}} attitudes of America]] who grew up in poverty and grew up to serve as the traditional {{Big Good}}s of their respective universes. In addition, both heroes' {{ArchEnemies}} are [[BaldOfEvil bald villains]] who seek to TakeOverTheWorld (ComicBook/LexLuthor for Supes, ComicBook/RedSkull for Cap). However, one interesting contrast is how they embody opposite sides of the NatureVersusNurture debate: whereas Superman is an extraterrestrial whose abilities were innate and manifested themselves when he arrived on Earth (i.e., Nature), Captain America was born an ordinary human who, as an adult, was given a SuperSerum by the U.S. military that enhanced his peak abilities (i.e., Nurture). In addition, Superman has traditionally no need for physical weapons, instead using his aforementioned Kryptonian powers, while Captain America's WeaponOfChoice is his [[LuckilyMyShieldWillProtectMe trademark shield]]. While Superman is an alien who often feels alone on Earth as the LastOfHisKind, Captain America sometimes feels out of his time, being a World War II veteran in modern society. Superman's {{Archenemy}} ComicBook/LexLuthor is often portrayed as an American capitalist who uses his [[ScrewTheRulesIHaveMoney wealth]] and [[VillainWithGoodPublicity influence]], while Captain America's {{Archenemy}} the ComicBook/RedSkull is a literal Nazi [[EvenEvilHasStandards reviled by all but like-minded individuals]].
to:
** Another [[UsefulNotes/TheGoldenAgeOfComicBooks Golden Age]] antithesis to Superman is ComicBook/CaptainAmerica. Both are [[PrimaryColorChampion red and blue-wearing]] superheroes with [[TheCape idealistic]] [[{{Eagleland}} attitudes of America]] who grew up in poverty and grew up to serve as the traditional {{Big Good}}s of their respective universes. In addition, both heroes' {{ArchEnemies}} are [[BaldOfEvil bald villains]] who seek to TakeOverTheWorld (ComicBook/LexLuthor for Supes, ComicBook/RedSkull for Cap). However, one interesting contrast is how they embody opposite sides of the NatureVersusNurture debate: whereas Superman is an extraterrestrial whose abilities were innate and manifested themselves when he arrived on Earth (i.e., Nature), Captain America was born an ordinary human who, as an adult, was given a SuperSerum by the U.S. military that enhanced his peak abilities (i.e., Nurture). In addition, Superman [[FlyingBrick has traditionally no need for physical weapons, weapons]], instead using his aforementioned Kryptonian powers, while Captain America's WeaponOfChoice is his [[LuckilyMyShieldWillProtectMe trademark shield]]. While Superman is an alien who often feels alone on Earth as the LastOfHisKind, Captain America sometimes feels [[FishOutOfTemporalWater out of his time, time]], being a World War II veteran in modern society. Superman's {{Archenemy}} ComicBook/LexLuthor is often portrayed as an American capitalist who uses his [[ScrewTheRulesIHaveMoney wealth]] and [[VillainWithGoodPublicity influence]], while Captain America's {{Archenemy}} the ComicBook/RedSkull is a literal Nazi [[EvenEvilHasStandards reviled by all but like-minded individuals]].
