Tony S Superhero Story

In Tony’s youth, he loved to swim with dolphins and fantasized about visiting a magical place called the Water Kingdom in the deep waters of the ocean. The dolphins taught Tony the martial art of waterbending that allowed him to control and bend water. Tony’s passion for dolphins, waterbending and the Water Kingdom continued into his teen years. Even though Tony was a talented waterbender, he felt confused about his identity, specifically as a gay teenager. Tony was targeted by a bully for being gay. Due to his insecurities, the traumas of being bullied and his inability to heal, Tony succumbed to depression and despair. Tony attempted suicide by drowning. He survived his drowning attempt, but lost his ability to waterbend. At his lowest point, Tony sought support from a Magical Healer who helped him heal. Newly empowered, Tony began his superhero quest, using water magic to reignite his passion for dolphins and to find the Water Kingdom. Will Tony be able to use his water magic to swim again with the dolphins and visit the Water Kingdom?

Few scholars nursed on the literary canon would dispute that knowledge of Western literature benefits readers and writers of the superhero genre. This analysis of superhero comics as Romance literature shows that the reverse is true--knowledge of the superhero romance has something to teach critics of traditional literature. Establishing the comic genre as a cousin to Arthurian myth, Spenser, and Shakespeare, it uses comics to inform readings of The Faerie Queene, The Tempest, Malory's Morte and more, while employing authors like Ben Johnson to help explain comics by Alan Moore, Jack Kirby, and Grant Morrison and characters like Iron Man, the Hulk, the X-Men, and the Justice League. Scholars of comics, medieval and Renaissance literature alike will find it appealing.

Many writers suffer from the depressing misconception that popularity and critical acclaim are mutually exclusive. Encouragingly, from 2000-2012, 20 superhero movies scored above 70 percent on Rotten Tomatoes and 17 of them grossed more than $200 million at the box office. Hopefully, the enclosed reviews of four great superhero movies and two of the genre’s most notorious disasters will help you identify ways to distinguish your writing, sharpen your skills, and broaden the appeal of your work. EXCERPT FROM THE BOOK The Amazing Spider-Man 1. To the extent that you cover a superhero origin story, I’d recommend focusing on things and approaches we haven’t seen much of before. I think it would have helped to either spend less time covering the origin story or make it more different than Spider-Man 1. That said, I thought ASM’s approach to the death of Uncle Ben was smoother and more thematically effective–when Peter has the opportunity to stop the robber, there’s a plausible and immediate threat to bystanders. Peter declines and Ben gets killed seconds thereafter. This makes Peter’s motivation for a life-changing decision (becoming a superhero) more plausible. In contrast, in Spider-Man 1, Peter gets torn up because he doesn’t get involved in a relatively minor situation with a police officer present, with only a faint connection between Peter Parker letting the robber go and the robber killing a civilian. 1.1. Peter plays a more active role acquiring superpowers. He was only in the laboratory because he stole an ID and figured out how to thwart a keypad. I think the scene develops him more than just getting lucky at the science fair in Spider-Man 1. (Likewise, he makes his own webslingers instead of getting them from the spider-bite). 2. Beware the idiot ball – make sure there are believable consequences to actions. Peter Parker displayed his superpowers in public so many times that I think his classmates would have to be idiots not to notice something was amiss. (For example, the NBA-caliber dunk? Or breaking a goalpost with a football? Or lifting enormous Flash Thompson by the neck?) When characters make decisions, there should be consequences. For example, if the character is reckless with his powers, maybe other characters come closer to figuring out what’s going on. Or at least start asking difficult questions. 3. Speaking of consequences, I thought the crane scene was kind of cute. (Peter saves a construction worker’s kid and the construction worker later pulls in favors at the climax to help Spider-Man). It helps build a contrast between Spider-Man’s decidedly limited means and, say, the lavishly-funded Avengers or X-Men. I think it’s also a more subtle and effective way of showing he’s more of an everyman hero than we saw in previous Spider-Man movies (e.g. subway passengers throwing themselves between Dr. Octopus and a crippled Spidey felt sort of hokey to me). Buy the Book to Read More!

Comic books and superhero stories mirror essential societal values and beliefs. We can be Superman, Batman, Wonder Woman, Spider-Man, Black Panther or Rocket Raccoon through our everyday choices. We can't fly, fix hyper drives or hear human heartbeats a mile away, but we can think about what Matt Murdock would do in a conflict, how Superman would respond to natural disasters and how Captain America would handle humanitarian crises. This book analyzes the impact of dozens of comics by examining the noble personalities, traits and actions of the main characters. Chapters detail how superheroes, comic books and other pop culture phenomena offer more than pure entertainment, and how we can better model ourselves after our favorite heroes. Through our good deeds, quick thinking and positive choices, we can become more like superheroes than we ever imagined.

Read along with Marvel! Discover how Marvel's most popular characters became the Super Heroes they are today! Featuring Black Panther, Captain Marvel, Iron Man, Captain America, and Hulk, this World of Reading Level 1 reader bind up includes five origin adventure stories!

The Marvel Cinematic ​Universe (MCU) is the most expansive and widely viewed fictional narrative in the history of cinema. In 2009, Disney purchased Marvel Entertainment for $4 billion, including its subsidiary film production company, Marvel Studios. Since then, the MCU—the collection of multimedia Marvel Studios products that share a single fictional storyline—has grown from two feature films to thirty interconnected movies, nine streaming Disney+ series, a half dozen short films, and more than thirty print titles. By 2022, eight of the twenty-five highest grossing films of all time are MCU movies. The MCU is a deeply political universe. Intentionally or not, the MCU sends fans scores of messages about a wide range of subjects related to government, public policy, and society. Some are overt, like the contentious debate about government and accountability at the heart of Captain America: Civil War. More often, however, the politics of the MCU are subtle, like the changing role of women from supporting characters (like Black Widow in Iron Man 2) to leading heroes (like Black Widow in Black Widow). The MCU is not only a product of contemporary politics, but many of its stories seem to be direct responses to the problems of the day. Racial injustice, environmental catastrophe, and political misinformation are not just contemporary social ills, they are also key thematic elements of recent MCU blockbusters. In The Politics of the Marvel Cinematic Universe, more than twenty-five leading scholars examine these complex themes. Part one explores how political issues are depicted in the origin stories; part two examines how the MCU depicts classic political themes like government and power; and part three explores questions of diversity and representation in the MCU. The volume’s various chapters examine a wide range of topics: Black Panther and the “racial contract,” Captain America and the political philosophy of James Madison, Dr. Strange and colonial imperialism, S.H.I.E.L.D. and civil-military relations, Spider-Man and environmentalism, and Captain Marvel and second-wave feminism. The Politics of the Marvel Cinematic Universe is the first book to look expansively at politics in the MCU and ask the question, “What lessons are this entertainment juggernaut teaching audiences about politics, society, power, gender, and inequality?”

What do the comic book figures Static, Hardware, and Icon all have in common? Black Superheroes, Milestone Comics, and Their Fans gives an answer that goes far beyond “tights and capes,” an answer that lies within the mission Milestone Media, Inc., assumed in comic book culture. Milestone was the brainchild of four young black creators who wanted to part from the mainstream and do their stories their own way. This history of Milestone, a “creator-owned” publishing company, tells how success came to these mavericks in the 1990s and how comics culture was expanded and enriched as fans were captivated by this new genre. Milestone focused on the African American heroes in a town called Dakota. Quite soon these black action comics took a firm position in the controversies of race, gender, and corporate identity in contemporary America. Characters battled supervillains and sometimes even clashed with more widely known superheroes. Front covers of Milestone comics often bore confrontational slogans like “Hardware: A Cog in the Corporate Machine is About to Strip Some Gears.” Milestone's creators aimed for exceptional stories that addressed racial issues without alienating readers. Some competitors, however, accused their comics of not being black enough or of merely marketing Superman in black face. Some felt that the stories were too black, but a large cluster of readers applauded these new superheroes for fostering African American pride and identity. Milestone came to represent an alternative model of black heroism and, for a host of admirers, the ideal of masculinity. Black Superheroes, Milestone Comics, and Their Fans gives details about the founding of Milestone and reports on the secure niche its work and its image achieved in the marketplace. Tracing the company's history and discussing its creators, their works, and the fans, this book gauges Milestone alongside other black comic book publishers, mainstream publishers, and the history of costumed characters.

Superhero Grief uses modern superhero narratives to teach the principles of grief theories and concepts and provide practical ideas for promoting healing. Chapters offer clinical strategies, approaches, and interventions, including strategies based in expressive arts and complementary therapies. Leading researchers, clinicians, and professionals address major topics in death, dying, and bereavement, using superhero narratives to explore loss in the context of bereavement and to promote a contextual view of issues and relationship types that can improve coping skills. This volume provides support and psychoeducation to students, clinicians, educators, researchers, and the bereaved while contributing significantly to the literature on the intersection of death, grief, and trauma.