#I was thinking about how to make a villain Miles and then I remembered Prowler Miles existed like thats free real-estate right there

[bunnieswithknives]

Im sure you all know I love roleswap AUs by now. Anyways hero Spot AU cause I've seen spiderverse like 3 times now, mans finally put on some clothes ♥

#He's still trying to beat up a child but at least now its... an evil child? #I was thinking about how to make a villain Miles and then I remembered Prowler Miles existed like thats free real-estate right there #spiververse #spiderverse spot #across the spiderverse #the spot #I might change the suit #Im still coming up with how this would work the logistics 'n all #he's still miserable and cringefail thats for sure #and still thinking about that prowler miles wants with the collider. Maybe to bring his dead dad back? idk

[herstuf]

Spider-verse little theories/thoughts I had following seeing the movie:

The spider that bit miles might be dead but it’s been preserved which means it’s dna is still there which means earth-42 miles could still become a spider-man.

Hobie has been stealing tech since the beginning because he never trusts establishments and has his own happy little tech lair full of everything the band would need to fight Miguel

Miles wasn’t supposed to be a spider man so canon events don’t apply to him. Miguel knows this and is bitter about it and that is why he is SO angry at Miles specifically.

Miguel’s choice to take over another Miguel’s life is like fucked up for a lot of reasons but the most glaring one to me is did he sleep with that Miguel’s wife while pretending to be the Miguel that died? That is beyond fucked I don’t even have the words for it.

Earth-42 Miles had more tech than Uncle Aaron’s prowler. What if he is already aware of the multiverse/spider-verse but just hasn’t been able to get it going. Likely because that world doesn’t have a collider since there’s no Spider-Man to fight to lose Kingpin’s family over and create the series of events for it?

Alternatively he was bit, is a spider-man, but he lost his dad in the collider fight and it changed him differently from how it changed the other spidermen. (Not sold on this one but it did pop into my head)

Not totally a theory mostly just an observation: Earth-42 is older. By the grey and Uncle Aaron’s hair and the slightly more mature shape of that Miles’s face and height I believe it is at least 2-4 years ahead of our Miles’s time.

We also don’t know immediately that Prowler Miles is evil. The possibility of all the glitches and villains appearing in wrong universes means it could have happened in that universe. Means that he could have fought them. While he might not be a hero in the way we think of Spider-Man he could be more of an anti hero, such as Eddie Brock or even Batman.

Speaking of Eddie Brock: he’s now jumped to the MCU’s spider world, earth 616(?), and now The Spot has travelled to his. This connects them more and implies either that there will be a spider-man in Eddie’s universe, OR, that Venom himself counts as the Spider-Man of that universe, which then tosses Miguel’s Canon Events theories out of the water.

How many anomaly spider-peeps are there. Miguel is hung up on Mikes for being bitten by a spider from another universe and leaving that universe without one, but is he the only one? If every universe is creating colliders, exploring the multiverse, it stands to reason that The Spot exists as a scientist in other universes and could cause the same situation to happen. Miguel’s technology seems to imply he can see all in the multiverse but how can that be possible in a world of infinite universes? He must have missed something at some point.

If there were two Miguel’s there could be more. If we operate on the theory that each (large) decision has two paths then each time a “canon” character makes a choice another universe must be created where they made the opposite choice. If Miguel’s theory about canon events collapsing universes is unilaterally correct, then how many have collapsed before? How many are collapsing as they speak? How would they know?

In the comics Hobie is the prowler before thinking he killed spider-man, changing, and then becoming Spider-Man himself (I think, correct me if I’m remembering wrong because it has been years). As far as Miguel’s theories go does that make him an anomaly since there should only be one Spider-Man per universe, or is that the path his universe and others identical to Hobie’s are meant to take?

Please someone talk to me about this movie

#hobie brown #spider punk #spider verse #miles morales #across the spiderverse #miles molares #gwen stacy #Spider-Man #spider woman #miguel ohara #pavitr prabhakar #peter parker #peter b parker #into the spider verse #spiderverse

[marice23top]

CHAPTER 2 -Prowler Miles X Deadpool ( fem) Reader

Taglist: @bath1lda @niktwazny303​ @sorryi-mtrash

Jackerman Parker

 A man I haven't seen in years, the man who had done the worst thing to me and to my Lover life. Our lives were ruined because of this man.

The man who gave me my dumb powers, and the man who…

 The helped framed  the Murderer of…

Captain Jefferson Davis

                                                     THE EVENT 

“Welcome all and welcome to the new society. I Jackerman, am here to tell you how we plan to overrun Fisk tower and destroy the company to become the biggest and strongest group in Brooklyn '' Jackerman states to the crowd of old Fisk workers. “ I understand what Fisk has ruined our lives and it's time to take all that power away from him  starting today we will be the new rulers!!” he yells as the crowd of villains yell with excitement, not ready to know they will all be either hospitalized or dead by the end of this Event.

In the crowd only two people were not cheering; they looked as if they wanted to rip the man on stage, head off his body and throw it to the moon.

“You ready “ “ready as i'll ever be” As she states this she cocks her gun and starts to lift it up as he places his gauntlet on his arm charging it up. “Let's get this party started” she says smirking at the boy before shooting the two man in front of her dead in their heads.

“ Two done many to go” she says, but at the sound of a gunshot all the men in the crowd turn to only see the girl with two machine guns instead of the smaller guns she had.

“WHO”S READY TO PARTY '' as she yells she starts the guns and starts to laugh at the dying group's misfortune.

“HAHAHAHAHAHAHAHAHA” but within twenty seconds most of the men were dead and the machine guns were out of bullets. With that the men who lived under the master gun get up and grab their  weapons ready to attack. She sees this and starts to move back into a darker part of the event  Yelling “PROOWWWLEEERRR, IT'S YOUR TURN TO HAVE SOME FUN!!!” before getting shot in the head and falling to the ground.

But once the men turned to see who shot her, the man's head who shot her was grabbed and skull was crushed. All that is left is a dark purple figure standing there. “Time to meet yalls end” said a dark voice from the person, before sprinting to the group and  killing  each and every one of them. 

While this was happening Mr. Parker was trying to find some way to escape the building after seeing that girl get shot and another killer coming, he knew they were both after him. As he makes it to the door he finally thinks he has freedom only to hear.

“Mr.Jackermmaaannn, where are you going you can’t leave yet me and my friend upstairs have some questions for you” that voice of a young girl, the same voice as the girl who was shot not just a while ago in the head early. 

‘How, how can this be when I saw her get killed… no it can’t be her’ he thinks to himself, terror filling his eyes as he sees the girl with a bullet wound in her head that seemed to be healing, but also to the face of the girl, a face he couldn’t forget.

“Come on, Jackerman, don't fight me. Me and  that guy upstairs really need to talk to you, mostly him though” she tells him smiling up at him with death in her eyes. But when he makes no way to move she knows what she has to do. She looks at him before looking up and then whistling up to the person above.

 And that's when he blacked out.

                  THE BASEMENT OF A OLD LABORATORY

“Wakey,wakkeey Jackerman we have some questions” says the girl looking down at the man tied to the structure of the building.

He opens his eyes to see not only the girl with magically no bullet wound in her head anymore, but a new member whose purple glowing eyes seemed to be glaring into his soul looking for purpose to kill him off right now.

“WHERE AM I, LET ME GO!” he yells at them but counties, “WHO ARE YOU TWO!!”

“You don't remember me mister Jackermen? I mean you the reason I'm here right now and him oh, he wants to kill you, but we need something about a certain man” The girl says still smiling at him like they were friends but in her eyes you can see the true emotion in them.

“Do you know Jefferson Davis the man you legally helped kill and to be honest my buddie up there really needs to know” she says to him pointing up to the parched being with glowing eyes.

“I do but I only tell you if you both tell me your names, '' Jackerman asked with fear as he wanted to know who they were, but not thinking that if they told him he was going to have to die now.

“OK!” The girl says liking to make him remember and to tell them later about why they had to ask them the question in the first place.

“Im Y/n Fisk you might remember me, you tortured me when I was younger and then experimented on me turning me into an unkillable being. And that guy up there is Miles, SAY HI MILES'' Y/n explains who they are with a wide grin seeing the terror on his face grow even more because he remembered and  Miles drooping down to get right in the mans face, that's when Y/n knew that this was now Miles turn to ask more about the killer of his father. So she looked at him and moved to the side of the room, watching Miles torture people was kinda hot.

                                  AFTER THE TORTURING

“Y/n” “ hmm yes' ' he didn't kill him but he gave me a lead on who” “oh that's great ... He's dead ""yep mission over, cmon  Princesa Hermosa, Vamos a casa juntas ""YEAAAAHHHH!!!”

Princesa Hermosa —-> Beautiful princess

Vamos a casa juntas —---> Let's go home together 

(Changed the main story a bit that miles dad wasn’t killed by trying to save some and getting crushed, but to trying to save someone and getting murder like uncle ben>):

#into the spiderverse x reader #spiderverse x reader #miles morales x reader #prowler miles #miles morales prowler #earth 42 miles morales x reader #deadpool!reader

[scaryspears]

My rant on ITSV and ATSV

So I've just finished watching the ITSV and ATSV because I'm a late watcher, and when the movies came out I wasn't myself. I'm glad I took the time to watch them, although I had to buy ATSV online because it's no longer in the cinema. This means I got to watch my favourite scenes without issue. With that being said, I have a lot of things to get off my chest regarding both films, mostly with the characters. 

Warning: Long post and slight bashing of characters and terrible screenshots.

I don't want to be one of those people who hate Gwen just to hate on her, and I don't hate or dislike her character, but right from the jump her vibe was just off. She felt like one of those characters that disliked the main character for no reason despite barely interacting with her/him (them). I know that isn't the case but I didn't like the way she was blankly talking to him. I'm using the word 'blankly' because I can't think of another word other than 'coldly'.

During the chase scene where Miles and Peter steal the computer, she comes out of nowhere and helps save the day. I was glad but at the same time what the hell. Anyways, Miles compliments her haircut and she snaps with "You don't get to like my haircut.", referring to when he accidentally got his hand stuck to her hair and she had to get half her hair shaved off, I understand getting angry about that. It was an accident, and Miles could've apologised (I don't remember him saying sorry), but she's acting like he did it on purpose.

To top it all off she knew he was like her, which meant she knew what he was going through as he was transitioning. Getting taller, hearing multiple voices, hands sticky, and all that stuff. So that means she's aware that it was an accident, and there's also the fact that she pretended to be a student at his school and hovered around him. She bumped into him on purpose knowing he was a fellow spider.

When you think about it, why didn't she try to get to know him and investigate with him about what's going on? She just left him to discover his spider side chaotically. She should know how scary and confusing that is, but not once does she attempt helping him out. 

I'm gonna sweep it under the rug because they are teenagers, and even if they were adults they shouldn't be expected to be more sympathetic to each other. But you'd think she'd be a little bit more understanding. (Don't get me started on her going into his artwork and opening his collectable in ATSV)

Now, Uncle Aaron. I love his dynamic with Miles, the true cool uncle. His love for his generation of hip hop and us seeing Miles' taste of music. The graffiti art bonding, loved it. There were small hints that he was the Prowler. The 1610 Peter getting killed near where Miles and Aaron did the graffiti, Miles calling him while he's being chased by the Prowler, and the Prowler appearing in Aaron's home. I'm thinking "Where's Aaron in all this?" dun dun dun, he's the Prowler. I loved every bit of it. This also makes Miles different from other spider men, being the fact that his loved one ended up being an antagonist, and one scarier than Kingpin. There's no "With great power comes great responsibility." instead it's "In a bad person you can find good in them." Also, the inner torment that he was about to harm his own nephew is chef's kiss. Uncle Ben who?

Moving on to ATSV. It opens up with Gwen and her meeting Miguel and Jess. She looked at Jess and said "Will you adopt me?" Like??? Where yo mum at? I know she passed away, but still. You've only had one look at this woman and that's one of the things that comes out of your mouth? You don't know this woman! Jess sounds like one of those women that only talk with attitude no matter what so I had a hard time rocking with her, like what is her problem??? And she's fighting while pregnant... smdh.

Spot. Funny villain, I liked his banter with Miles, but he's a pu**y punk bi**h. He's blaming Miles for what he became, when he's the one that decided to become a mad scientist and work with other mad scientists under Kingpin. I'm pretty sure there's more to it than a bagel. Lesson is: once you become a mad scientist something happens to you. Norman Osborn became Green Goblin, 65 Peter (Gwen's home) became a monster and died, Shang Tsung got Rick Rolled by himself, you get the idea. Spot made himself like that not Miles.

So Gwen didn't talk to Miles for a really long time because of the whole Spider society thing. When you think about it, none of the other spiders he met did, and I get that they couldn't with the exclusion of Peni. But not one visit? Not one letter? Something??? Now Miles has a little short conversation with Hobie and admits that he only wants to get into the Spider society to talk to his friends and help out with defeating Spot. He just wants to hang with his friends, but Peni and Gwen decided not to do that.

Moving on, I'd like to talk about Miles' walk through within the spider society. They acknowledge Gwen and only Gwen, they don't bother saying hi or even looking at Miles. It was like Miles wasn't even there. Never thought I'd say it, but these Spider men are arse holes. I also got annoyed at the way Jess was talking to him, I get that he's not supposed to be there but she needed to chill.

This anger went when Miles bumped into Margo, and she looked like she was about to lose her cool but she lightened up once she saw who it was, a complete stranger. I'm not a MargoMiles shipper, but I don't mind it (granted so long as they are the same age).

So the scene that goes 0 to 100 quick: I watched a bunch of memes and edits that painted Miguel as racist and I didn't understand why, and thought it was like a Millie Bobby Brown situation. Re-watching the scene where Miles meets Miguel I can see why.

All the other spidermen showed up to gang up on Miles.

"You can't ask me not to save my father."

"I'm not asking."

And hit him with this.

While Miles is freaking out at the sudden imprisonment we can hear Miguel say "We just need to hold him a few days." They were treating Miles like a criminal and/or a confused wild animal. And then Miguel had the nerve to say "All he had to do was listen." when Miles escaped them. I don't think Miguel is racist, but the memes I will support.

Hobie was looking out for Miles as soon as he met him, and I love that so much. He knew Miles wasn't like the ones in the spider society, and made sure to tell Miles to be better. Gwen didn't do that. She did, but she didn't if you know what I mean. She followed along with the crap Miguel was spitting.

And then there was the chase scene. Bro had a bunch of spider men chase Miles and not one of them could catch him. That is the biggest L I've ever seen. One 15 year old boy, and he didn't use his other 2 powers until after Miguel slammed him onto his back. Miles was not playing. Also, Miguel was endangering the lives of people who were driving. And yes, Miguel's at fault and not Miles.

They gave Miles crap just because he didn't want his dad to die, unlike Miguel who actively replaced the life of his other self. Gwen was really going to let her dad die, and Peter B tried to justify it by saying their uncle's death made them who they are. Pavitr was just supposed to get over his love interest's dad dying? They knowingly let that happen.

Miguel calling Miles an anomaly is mega projecting. Miles becoming Spiderman wasn't on purpose it just happened, and that's always how the story goes. No one is simply meant to be Spiderman, they just become him/her. It's also funny coming from a man who crawled on all fours chasing down a teenager.

42 Miles. Prowler Miles. Gonzales. Kilo Immorales. I love him already, can't wait to see the next film where we'll see him in full action. I love how we as a fandom collectively agreed that these two would have a sibling dynamic even though we've only seen 42 Miles for like a minute. I love the Boondocks comparisons as well. I need 42 Miles to hate everyone. I need Miles to be full of rage in the 3rd film Adult Gon style. Prepare for double and make it double.

In conclusion, I should've watched these films when they first came out, they are so great. The art, the incorporation of hip hop and correctness of Afro related backgrounds and the storyline. I honestly felt like Miles was a great representation of the new generation. I saw myself in him, and not just being black but the graffiti and finding out that a family member of yours isn't really a good person. I don't do graffiti or art but I do find them beautiful whenever I see them. Also, the Air Forces. Step aside Peter Parker, we have a Spider man with more drip.

#spiderverse #miles morales #spiderman atsv #atsv hobie #miguel o'hara #miguel spiderverse #42 miles morales #aaron davis #the prowler #gwen stacy #spider gwen #ghost spider #pavitr prabhakar #peter b parker #sunflower #spider punk #itsv #atsv

[myersesque]

hey can you info dump about hobie to me please :D

hello!!! sorry this took me a while to get around to, i got SO nervous that i'd get smthn wrong n an army of comic book dudebros would emerge from hell to smite me down - but then i remembered that i don't care and hobie is fun to talk about, so hello!!!

[quick note before we start: hobie will be referred to as either "hobie" or "spiderpunk", for the sake of not being confusing, since there are 47385783643 spidermen in existence. yes, he prefers "spiderman" and initially took spiderpunk as an insult, but as of his latest solo run, the battle of the banned, he really could not care less n actively refers to himself as spiderpunk. i'm noting this now so i don't get 50 people correcting me in the replies lmao. i also don't hyphenate spiderman because i'm lazy]

you didn't ask for anything in specific so i'm gonna just Keep Going until i lose steam, hope that's alright!

first things first: hobie isn't an original character created to be spiderpunk! he's actually a variant of hobart "hobie" brown, earth 616's prowler, which i think has a LOT of interesting potential for btsv, if you catch my drift:

why did they choose to make him a hobie variant rather than make up a new spiderperson? who knows! could be that they saw how painfully fucking close hobie was to his "capitalism is the real enemy actually" breakthrough before deciding to become a supervillain about it; maybe it's easier to get comic book nerds into new stories if they're vaguely familiar with one of the characters involved. who knows. i can't actually find any source on this one.

(interesting sidebar: in the spiderverse movies, peter b parker is from earth 616, and intended to be a direct page-to-screen adaptation of classic comic book peter parker - which makes me wonder how he reacted to meeting hobie for the first time. i doubt we'll ever see that first interaction, but it's cool to think about!)

spiderpunk's design actually originated as concept art for spider-UK, as drawn by olivier coipel (the punk movement is often credited as having started in the UK - more accurately, by black british punks, using elements of jamaican reggae - so it makes sense that they explored a punk angle for spider-UK at some point). they felt it didn't fit the character, but still loved the design, and so they wrote an entire character to fit around it! (that's also why hobie is often portrayed as british despite being written as american in the comics - his whole concept is essentially a love letter to black british punks, and tbh even when i'm reading the comics i pretend he just ended up moving to new york from london bc i cannot imagine him as an american lmao sorry)

a lot of people who learnt of hobie from atsv seemed surprised that he's genuinely punk and not just using the aesthetics - but, like, he's genuinely punk, guys. he lives in a fascist dystopia (the spider that bit him was irradiated from all the toxic waste the government illegally dumps) where norman osborn is president of the united states (and referred to as "ozzy osborn" lmao) and also a massive fascist dickbag (and venom's current host!). he then proceeds to beat said fascist dictator asshole to death with his guitar! by which i mean quite literally hit him so hard his organs come out ✨

(like - i saw someone theorising that hobie would be the twist villain of btsv and actually just using miles for his own benefit, and i had my own little "he would never fucking do that what the fuck 😡" moment before realising that they were probably just some 14 yr old kid who's never seen hobie before and is trying to come up with a dramatic twist. so i'm not taking it to heart! but please know that it was very bad and incorrect, hobie is a real one and would never 🫶 /lh)

if you get a chance to pick up any of his comics (or, uh, discover them in alternative ways, wink wink nudge nudge capitalism is a prison but seriously please consider buying them from small local comic book stores if you do - that way your money goes to an actual local business & the writers rather than a massive chain store corporation) then i highly recommend - not only are they super fun, but they're gorgeous,

(i know that the covers are always rendered differently to the actual comic pages but i just needed you to all look at these images, please, especially all the intricate details on the second one. i literally paused midway through reading my comic to stare at that cover with hearts in my eyes. he's so cool i adore him)

and they're also full of lyrical references to punk music, such as these (the first two off the top of my head - there are TONS more):

and they're pretty dang diverse, too! including, like, explicitly and undeniably queer characters (note: there's been a lot of misinformation spread around - hobie and karl (captain anarchy) aren't explicitly confirmed to be anything but platonic friends. karl DOES have a boyfriend whom he is explicitly romantic with, but it's not hobie! he's still totally queer though and nobody can convince me otherwise), which is pretty neat.

this isn't really relevant to hobie in specific, but it's part of his universe and i'm a massive daredevil fanboy, so i NEED you to witness his daredevil variant, mattea murdock:

tumblr isn't gonna let me add any more images (sob) so i'm gonna try n wrap this up fairly quick !!!

lightning round of just. fun and unfun facts, i guess:

hobie's homeless and lives in a community centre with the rest of his band

iirc "spiderpunk" was essentially his equivalent of "spidermenace", which he eventually adopted for himself because, well. they aren't wrong. (he got the name for the obvious reasons of his style and politics etc, but also because he can be quite brutal when he needs to be - see norman's very bad no good day above.)

his band is referred to as both "the spider-band" and "the daredevils" (after meeting mattea), which made my little daredevil fanboy heart soar a little ngl

in spiderverse specifically, hobie took 3 years to animate due to all the specific ways they stylised him and his movement! i am not an animator and cannot put it into actual technical terms so here's a tweet of one of the animators discussing it for anyone who's curious :]

he has a van called the spider-van, and sings the spiderman theme song at it sometimes ("🎶spider-van, spider-van, driving cross-country as fast as we can!🎶") which is ADORABLE. i love how cool he is in atsv but i need you to understand he's a DORK he's a NERD

another one for the dork point: he doesn't swear unless he's yelling at fascists (he's instead prone to a good "frick" "heckin" "motherlovin" etc). which i realise is probably just comic book censorship and them only being able to get away with a certain amount of tastefully censored swears and gore before someone gets in trouble and/or has to bump up the age rating, but also it drives his bandmates INSANE so i like to think he just does it for a giggle tbh. again, massive dork

and finally, to end things on a fun note: his current solo comic writer, cody ziglar, made him an official spiderpunk playlist so maybe we can stop having pointless playlist discourse and let people have fun!

i hope this infodump was alright and didn't disappoint fjdnfjfn!!! i definitely forgot (and/or ran out of space for) a bunch of shit but that just means i get to do this again, so :]!!!

#now i need the btsv writers to have hobie's bandmates out him as a total nerd /j #anyway i hope this is ok!!! #ask #infodump #fav

[jenxcandy]

Look what you made me do…

Earth -42 Miles x Fem reader

Warning: lots of angst

A/n: you reader might not end up with the one you want to be with

Listen to this song while reading

Backstory:

Miles and reader were in a relationship but due to Miles being the Prowler a villain threatened to kill reader.So Miles decided the best option was to break-up with reader for their protection

Present:

Reader was in her room trying to write a song because she liked making and writing songs Miles was on his way to tell reader he wanted to break-up he had a deep pain in his chest he didn’t want to break-up with her but it was for reader’s protection Miles reached reader’s window he saw her sitting at her desk trying to create a song he knocked on the window reader allows him in and then reader started babbling how their trying to make a song then Miles interrupts her saying “ma,I have to tell you something…”.Then reader gave him the go ahead for him to speak “I think we should break-up” Miles said reader didn’t know what to say they were frozen and then they spoke “why Miles…” Miles had to come up with an excuse and said the dumbest thing he could say “I don’t feel the same for you anymore”that’s all Miles said before leaving.

Leaving Reader in disbelief a couple months go by reader still haven’t gotten over Miles she decided to write a song called “dancing with a stranger” it’s basically about the break-up with Miles and how she’s with someone new then the reader gets a great idea to make a music video for the song the music video starts off with reader arguing with their significant other and they end up breaking-up then the music video cuts off to reader at a party having fun with somebody new trying to get over their ex-lover “look what you made me do oh baby,baby Im dancing with a stranger” after the music video is completed it gets posted.

Miles was coming back from doing a job as the Prowler he gets home he changes out of his Prowler suit and lays in bed he then decides to go on his socials for a while and meanwhile he’s scrolling a post pops up about the new hit song,Miles decided to watch it and then the reader pops up in the music video and all the events that happen in the music video started unraveling the video started of with reader argument with their lover and breaking-up then It cuts to reader dancing with their new lover (in the video not real life) after Miles finishes watching the video he’s remembering how you guys broke up.He ends up regretting it Miles decided to make things right again and started heading towards your apartment complex it was 2 blocks away from where he lived he goes up the fire escape to readers window Miles was about to knock on reader’s window ready to apologize and make things right then his facial expression goes into shock Miles then sees reader hanging out with a guy in her room the room only he had entered laughing and having fun with this “guy” Miles then decides to leave but this time he was the one with a broken heart…

A/n: Do you think Miles will come back to win fem readers heart or will he move on? Anyway I wanted to write a fic with this song because I love listening to it Sorry it’s angst do you guys want a part 2? Let me know and tell me if you want them to drift away from each other or fall back in love I’ll write both ending (well I better start writing My Miguel O’Hara x daughter reader fic ;)

#miles x reader #fem reader #42 miles morales #agnst #Spotify

[lasagna-rapture]

INSANE ACROSS THE SPIDER-VERSE SPOILERS BELOW THE CUT

Also this is a theory post.

Can Miles save his dad? Yes.

Also I don’t know if anyone has done this yet, but this is my take.

Earth 1610 Miles Morales, was never meant to be Spider-Man, as stated directly from Miguel O’Hara in Across the Spider-Verse. The spider that bit him during itsv being from Earth 42. But it is as if the entire Spider-Verse corrected itself in order to make way for 1610 Miles. Starting with the death of that Earth’s Peter Parker. Something that has always bothered me about itsv is how easily Peter Parker goes down. In the comics that man has survived thousands of close calls and made it to another day. The only reason it makes sense for him to die against a villain that he has gone up against over and over again, is that he had to die. All in order to make way for Miles. Again Miguel says that a universe can only have one Spider-Man and had Miles not been bit, Peter wouldn’t have died. Another big thing in the itsv movie is that Miles’ Uncle Aaron dies. That being the cannon event that truly makes Miles a Spider-Man. However in Miles’ comics, his dad is dead. In the ps4/ps5 Miles game, his dad is dead. His dad is supposed to be dead, not Uncle Aaron. It’s only itsv and atsv that in Miles’ canon that Uncle Aaron is dead instead of his dad. In fact in 42 where that Miles is supposed to be Spider Man his dad is dead. Yet the other Spiders almost insisted that his uncle would die (with the exclusion of Peni), talking non-stop about their various versions of Uncle Ben. So the Spider-Verse adjusted, and Uncle Aaron of earth 1610 is dead. Going back to Earth 42 though, and the Spider-Verse correcting itself, that Miles becomes the Prowler after his dad dies. Meaning that Miles still puts on a mask even if it wasn’t the original plan of him becoming Spider-Man.

Now to switch gears of how Miles himself has changed the multiverse. First the most obvious is that he convinced Peter B to have kids. If you’ll remember, the entire reason Peter B and that MJ went through a divorce is because Peter didn’t want kids/didn’t think he could handle kids. Yet after mentoring Miles and Miles basically saving the day with Fisk, Peter B questions his decision in that. And so we get MayDay, Peter B even confirming Miles being the reason again when he catches up with Miles during the chase sequence. Now what about Pav? Well Miles completely changes Pav’s canon by saving his version of the Police Captain. And you might say “well then he caused a hole in the universe”, but the question is, did he? What I mean is, the black hole that opens up in Pav’s universe is strikingly familiar to the hole we’ve seen with Alchemax’s super collider and The Spot cause.

Even further, when Miguel tore apart a universe, everybody disappeared and glitched out. Much like we’ve seen in the MCU specifically in Dr.Strange Multiverse of Madness. When a universe has a catalyst it’s more likely for everyone to just disappear, glitch, or turn to dust kind of like Thanos' snap. But that’s just not what happens in Pav’s universe. Instead a big black hole, (from where I’m pretty sure The Spot leaves if I might add), opens up and begins to pull at the buildings around it. A black hole just like the multiversal machine Fisk uses, and just like the black holes covering The Spot. Other than that, Pav’s universe looks to be okay, as long as the black hole doesn’t spread. And I can take a guess that it is, because I’m pretty sure he can even be seen in the final shot of all the Spiders that are there to help Miles. I could even go into the loophole that Gwen has with her dad quitting, Gwen being someone extremely affected by Miles’ influence, but I digress for the time being. All of this proves that things can be manipulated, and changed, Miles being a driving party in these changes.

Next I want to talk about Miles’ vision. I would first like to point out that it appears to be shown to Miles by The Spot directly, considering we can hear his voice when Miles’ gets it and it happens right after he causes Alchemax to explode, draining the multiversal machine. Something else curious about the vision is that it appears to be just a sketch. Now it could be that way because it hasn’t happened yet, but due to the nature of the sketch it looks to be a rough draft. It is just so unfinished I’m comparing it to the rest of the film. And I think it’s important to note this, because both Spider-Verse movies have made a style change mean something. Rather it be the way the characters are animated (all the Spiders having their own aesthetic) or the way the universe they are in is animated (Spider-Gwen’s universe reflecting her emotions). Every style change is on purpose and meaningful to the story. So why would Miles’ vision of The Spot killing Miles’ dad, look like a rough draft? Simply, because it is. Miles has a chance to change it, it’s not been set in stone. Again the Spider-Verse is adjusting itself to 1610 Miles. Plus considering Earth 1610 has already seen a Police Captain close to Spider-Man die, (in the form of that Peter Parker's Captain Stacy), it just makes sense that Miles has a chance.

Lastly, this is a kids movie. It would only make sense that the last movie in the trilogy would see Miles off on a happy note. It would hardly make sense by stereotypical Media that the good guy would not prevail. I am curious to what loophole Beyond will give us, considering we have a bunch of the other Spiders there to support Miles, I wonder if we’ll get another Pav incident. It’d be cool parallel wise if it’s Pav who saves Miles’ dad. Or maybe it’ll be a Gwen-like loophole. Miles is the best Spider-Man, in fact he’s a multiversal Spider-Man. The Spider-Verse seems to be revolving around him. And I think that this scares Miguel. But that’s another theory! When it comes to this theory, I still have more points in evidence, so much so I almost want to make an entire video essay.

Also sorry for the lack of photos, I couldn’t get any screenshots of the new movie, but wanted to cover as many of the bases as I could. I hope this makes sense and not the rambles of the insane.

#across the spiderverse #across the spider verse spoilers #theory #across the spider verse theory #miles morales #god I’ve had this microwaving in my head since I saw this movie

[hellyeahheroes]

@javajulien wrote up an excellent explanation in the differences between Bendis’ Miles and current Miles so I just want to add my own input.

There were a few things holding back Bendis’ Miles. Make no mistake. Bendis is foundational to Miles Morales because he uses parallels to highlight the differences between Peter Parker and Miles Morales. The same narrative technique littered all over ITSV? It’s a staple of Miles Morales.

Ultimate Spider-Man #1

Ultimate Comics: All-New Spider-Man #1

Bendis writes the origin of Miles Morales fantastically. That said, it had issues.

1. Bendis did so much of telling how Miles is not like Peter, he forget to tell you who Miles is.

What were Miles’ hobbies? What does he like to do for fun? What kind of music does he listen to? What do his parents do for a living? Did he have friends in his middle school before he transferred to Brooklyn Visions? What is his social status at school?

Now if you ask anyone prior to now these questions that are Peter Parker appropriate, they could provide an answer. For like 8 years, we didn’t get a solid answer to most of these during Bendis’s entire run. I am not joking. And the things we did learn we didn’t even learn from the comic. For example, there was no hint of Rio’s and Jefferson’s occupation in the comic. You want to know how anyone would find out? Someone on tumblr asked Bendis back in like 2012 and he revealed that Rio was a registered RN and Jefferson was a cop. I am not joking in that information was scant regarding things about Miles Morales.

Why did this happen? It has to do with Bendis’ writing style. Throughout Ultimate Spider-Man, Bendis style requires intimate conversations and dialogue between two people. Think of it as a Seinfeld-esque style regarding scene. This worked for Peter because high school Peter was a loner or nerd loser and loser so you had a bunch of scenes where Peter would speak to Mary Jane or Aunt May or some other character. It worked because it fit the character. Pick any of the first Ultimate Spider-Man comics and you will see what I mean. Bendis doesn’t like cluttering the page with dialogue of more than 2 people. This is also why he prefers artists who can draw good facial expressions because they assist in the visual storytelling that fit Bendis’ style.

The problem is that when Miles came up, his style of storytelling was counterintuitive to the character he wanted to create in Miles. If you read Bendis’ Miles, you would find yourself wondering if Miles had any other friends aside from Ganke or if Miles even spoke to his mother.

Miles Morales wasn’t a bullied nerd loser like Peter. We could expect Peter to not really interact with anyone because he didn’t have any friends and people mostly ignored him. Miles’ entire school or family life is mostly ignored during Bendis’ run.

2. Bendis got writer’s bloc right after he finished completing the origin of Miles Morales into Spider-Man

It was right at the start of Venom War is when it became apparent that Bendis fundamentally had no idea where he wanted to go with his character. From that point on, the worst decisions regarding Miles’ character were born. I shall list them for you.

Killing Rio Morales

Subsequently forcing Miles back in spite of him having every demotivator to not being Spider-Man by essentially shaming him

Bringing back Peter Parker and making his death meaningless only to write him and subsequently Mary Jane out.

The resolution of Katie Bishop and that entire arc was rushed.

Moving Miles to 616 and causing confusion whether Miles even remembers his life in the home universe

Miles talking like an out of touch white guy who doesn’t even know his ethnicity

Danika Hart

The Spider-Gwen romance

Resurrecting Aaron Davis

And throughout this whole entire thing, not one Miles’ centric villain was created hence why the Prowler was resurrected.

Considering that Miles drop the mantle of Spider-Man.

I think I covered the big ones.

3. Bendis couldn’t relate to Miles

Okay, I know I am kind of infringing on @javajulien post but this is actually so important that it needs to be repeated.

Peter Parker is a Jewish white teen.

Miles is a half African American/half Afro-Boricua teen.

Bendis is a Jewish white father of a family with some adopted kids who are considered transracial in that they are black kids adopted in a white family.

Bendis has been a Jewish teen once upon a time but he has never been a black one. And that makes a huge difference regarding Miles in almost every adaptation post-Bendis.

Saladin Ahmed is a Palestinian man from Michigan whose family worked in Jessie Jackson’s Rainbow Coalition Campaign when he was a kid. He went to and also taught at Brooklyn University and then married his wife, a black woman who is also a civil rights and social Justice advocate in Brooklyn.

Peter Ramsey is a black man.

Jason Reynolds is a black man from Brooklyn.

Evan Narcisse, the narrative designer of Miles Morales PS4/5, is a black man.

You understand how important that is now? Everything that you love about Miles as a character came from contributions of fellow men of color who related to the character in a way Bendis couldn’t. This isn’t a dog at Bendis because Jack Kirby created Black Panther and his Black Panther was corny as fuck. It wasn’t until Christopher Priest came around and basically made Black Panther the shit and gave the character substance.

This is not to say that Black writers can’t mess up because there is a reason why I don’t mention Bryan Edward Hill’s annual(it’s not bad. It was a weird direction and rewrite).

In summary, this is to say that Miles Morales fans are aware of how polarizing Bendis’ writing is. We understand that it isn’t where Miles Morales thrives but where his story begins just like most Amazing Spider-Man fans do not really recommend one start in Ditko’s origin because it doesn’t actually reflect what the character becomes. Bendis is Miles’ Ditko. You saw Into the Spider-Verse so you get the gist of everything to just pick up where Ahmed begins. Bendis is not everyone’s cup of tea nd that’s fine.

@ubernegro

#miles morales #spider-man

[thompsborn]

happy ffwf! how do you feel about using villains that already exist in canon? do you use them in your stories or do you prefer to make your own OC villains?

i LOVE using canon villains!! my only thing is i feel like, if i’m using a villain from canon, i want it to be for something BIG.

i’ll reference the vulture a lot because of mcu canon and in my wip’s that are post ffh i’ll mention mysterio too, but any villain who hasn’t been in mcu yet/was only in the background and wasnt given proper villainous plotlines (like the tinkerer and the shocker and other comic villains that were in the background of toomes’ group of weapon dealers—also prowler, who i wanna make a fic about that leads to peter meeting miles n shit), if i end up adding them into fics, i want it to be something huge. maybe not villain wise—they don’t have to cause like thousands or deaths or anything—but impact wise to the characters in the fic, if that makes sense?

i want to make a twist on the sinister six in the to build a family series, but every attempt i’ve made so far has not felt right enough to actually use. i’m still planning on making like a multi chaptered fic in tbaf that includes them though. i just want to do proper research into the characters (as none of the ones i chose for this sinister twist (lol) have been in the mcu yet) (i think. i might be remembering wrong though because it’s been a few weeks since i looked at my notebook for this and can’t remember all of the villains i chose off the top of my head.)

i’m not sure if this was a proper answer tbh, my brain is fried after work this week and i’m struggling to piece together coherent thoughts and sentences, but!! thank you for the ask!! ily!!

#ffwf #tbaf

[septembercfawkes]

Story Structure Explained: Climax, Denouement, Epilogues, and Endings

Endings tend to be a bit easier to write, because you've already set everything up and now you're resolving conflict after conflict, but the story can still blow up in your face if you don't handle it right. Or maybe you are one of the more uncommon writers that really struggles with endings. In either case, this article will help you structure the last portion of your story right.

Here is the (hybrid) structure I'm following, with the pieces we've talked about over the last few weeks now filled in:

Beginning ("Orphan" State)

(Prologue)--primary function is to make promises to the reader Hook--draws the audience in by getting them to look forward (in openings, contrasts work well in particular) Setup--establishes the current sense of "normal" while introducing key story elements Plot Point 1 (or "Inciting Incident")--disrupts the normal and sends protagonist in a new direction.

Character arc and theme are introduced. Usually at this state, the protagonist believes in (or illustrates) a "false" thematic statement.

Middle ("Wanderer" State)

After Plot Point 1--the protagonist is reacting and responding to what's happening, while perhaps accumulating friends, mentors, love interests, etc. Pinch Point--The antagonist applies pressure to the protagonist and is shown to be a formidable foe Midpoint--Something new enters the story or the context shifts and the protagonist moves from reacting to acting. She becomes more proactive.

The theme is questioned, explored, and tested, usually through multiple characters. The character is confronted with and illustrates his weakness.

Costs and stakes escalate by either getting bigger or more personal or both.

Middle ("Warrior" State)

After the Midpoint--Now empowered, the character is more proactive in trying to defeat the antagonist Pinch Point 2--The antagonist applies pressure to the protagonist and is shown to be an even stronger, formidable foe Plot Point 2--Made up of two parts: "The Darkest Hour" and "The Final Puzzle Piece." Protagonist moves into a "martyr" state.

The characters struggle with their inner demons, testing the thematic statement.

Costs and stakes continue to escalate.

Ending ("Martyr" State)

Climax Denouement/Resolution (Epilogue)

These parts belong in the ending, which is what I'm talking about today.  

Ending

We've grabbed the audience and setup the story in the beginning; disrupted the protagonist's sense of normal with the inciting incident; hiked up stakes and costs; questioned, explored, and tested the thematic threads; applied pressure through pinch points; and moved our hero from a warrior to a martyr as they experienced the "Darkest Hour" and put together the "Final Puzzle Piece."

To be fair, that last bit sometimes happens during the climax. During the final battle, the protagonist may experience the darkest hour and put together the final puzzle piece, completing their character arc, and finally reaching the "martyr" state.

Nothing in writing is purely black and white. And there are always variations and exceptions. And when it comes to story structure, some of it depends on how and where you decide to slice and dice it.

Climax

In the climax, the protagonist faces the antagonistic forces head-on, ready for the final battle that determines who (or what) wins the established conflicts.

Remember all those conflicts, stakes, costs, arcs, and themes you setup?

Now it's time to test, prove, and resolve them in the showdown.

It's hard to be exact on what needs to happen in the climax, because a lot of it will depend on what came before.

There might be a twist, surprise, or devastating cost.

But to be most effective and most successful, whatever is in there, needs to have been at least foreshadowed prior to this moment in some degree. It can be twisted. It can be shifted. It can be bigger or worse than expected. But it usually needs to be at least alluded to prior. If not, the audience may feel cheated; if it's something that helps the hero win, it's likely a deus ex machina.

Promises made (almost always) need to be kept. So if you promised a battle with a dragon, it better be there.

If promises aren't kept, whatever happens needs to be just as significant or more significant than what was promised. For example, maybe the monster is actually something worse, more terrifying, more formidable than the promised dragon.

In great climaxes, the story exceeds the expectations.

Stakes and costs will be escalated yet again. This is it. Everything is on the line.

Additionally, the climax is a great place to cross opposites--cross the broadest conflicts with the most personal conflicts for maximum impact. Character arcs are usually finished by the end of the climax, proving the thematic statement.

Often during the climax the protagonist will ultimately have to face the antagonistic force alone. The hero should ultimately be the savior, or in rare cases, if she can't literally, makes a final sacrifice that allows the others to deal the death blow.

For a more in depth look at some of these mentioned elements, see my article "How to Write Exceptional Endings."

In Spider-verse

The climax begins when the heroes confront the villains at the collider in the final fight. The heroes hope to return to their dimensions and Miles hopes to save Brooklyn. The antagonist, Kingpin, is set on seizing his wife and son from another dimension no matter the cost. He's willing to kill heroes, civilians, and destroy his own dimension. Those conflicts must now be resolved.

Stakes and costs are escalated. This is the moment where the protagonist could die, something he is reminded of when Kingpin taunts, "Not even the real Spider-man could defeat me. Why do you think you'd be any different?" The cost is the real deal.

The stakes are escalated in that multiple dimensions are coming into Miles's dimension.

Character arcs. Usually by the end of the climax, character arcs have been completed. The most personal, internal conflicts cross paths with the broadest conflicts. And the ugly inner demons may raise their heads one last time in the final fight. Peter B. Parker reveals he wants to stay in this dimension and die so that he doesn't have to go home to face his failures with Mary Jane. When attacking Kingpin alone, Miles gets brutally beaten and struggles to get up. Gwen comes to terms with making friends again.

Themes. After having been explored and questioned through the middle, the themes are finally tested and proven. Miles does get back up after getting knocked down. Peter B. Parker does return to his dimension to face his personal problems. Gwen Stacy does make friends with each of them. But the theme is also refined. Is there really any garantee that if you always want to get back up that everything will work out? Not necessarily. After all, the Peter Parker from the beginning, who was the epitome of the thematic statement, died despite having it all. Prowler, who at one point says, "You know me, sir. I never quit," didn't follow through when he realized the person he was trying to kill was his nephew, and Prowler died from that choice. Even Peter B. Parker remarks at one point, "Not everything works out." Which is why the sub themes of choice and faith come in.

Peter: How do I know I won't mess it up again?

Miles: You won't.

Peter: . . . It's a leap of faith.

So Peter chooses to go back and take that leap of faith.

However, as the ending continues it's shown that not quitting will get you further than you ever thought possible, as is exemplified when Miles says, "I'm doing all sorts of things I never thought I'd be able to. Anyone can wear the mask. You can wear the mask," which finally extends the theme to the audience. YOU can do all sorts of things you never thought you could do, as long as you always get back up.

Everything in the final showdown is foreshadowed in some way prior.  

Promises are kept. Miles and the other Spider people face off Kingpin and the villains in a battle over the collider that could destroy Brooklyn.

Expectations are Exceeded. In this story, other, seemingly insignificant elements are brought back in during the final battle to help exceed our expectations. That ridiculous shoulder touch thing Aaron teaches Miles? Miles uses it defeat Kingpin. The stupid cartoony stuff about the pig? He's literally using cartoon elements to fight, dropping anvils and pulling out items that are way to big to fit in his pockets. Everywhere during this fight scene, elements that have been present elsewhere are coming back into play for a stronger impact.

Protagonist faces antagonist alone. After sending everyone to their proper dimensions, Miles faces Kingpin alone for one final fight, where his character arc and newfound abilities are proven. Some of the best elements of this moment come from the writers playing the concept of the "orphan" state. Remember how most heroes start in a literal or figurative orphan state? This whole time, Kingpin has been trying to get his family back--he's in an "orphan" state too! What does he say in the final fight to Miles? "I'm going to make sure you never see your family again!" What does Miles say? "I'll always have my family." And to top it off, the person Miles was most "orphaned" from, his father, is there watching and now supporting him ("Get up Spider-man! Get up!"). Miles is no longer alone. He has friends and family. And he gets back up and defeats Kingpin.

Martyr State

During the ending of the story, the protagonist is in a "martyr" state, which I talked about last time. Like all the other states, it can be literal or figurative. But at this point in the story, the heroine has sacrificed or is willing to sacrifice her "life." In some cases, this is literal. Frodo in Lord of the Rings and Harry in Harry Potter, are literally willing to sacrifice their lives in order to defeat the antagonist. In many cases, it is figurative. Christopher Robin in Christopher Robin is willing to sacrifice his lifestyle. Hamilton is willing to sacrifice his most extreme characteristic: his resolve to never throw away his shot.

In the ending, we must see that the protagonist is truly ready to sacrifice or give up whatever has been holding him back from success.

This change will then be validated in the denouement.

In Spider-verse

Miles enters the marytr state when he truly commits to give up giving up. It turns out that's what has been holding him back this entire time, even in his personal life, and in school. He doesn't want to work hard. He doesn't want to be amazing. He doesn't want to deal with expectations. He wants to quit. Quitting is easy. Getting up over and over and over again is hard. But when he truly sacrifices his natural tendency, he starts being successful. And the ending proves that it works.

Denouement

The antagonist has been defeated, so now that means we need to hurry and end the story right? Wrong. Partially. Denouements are another element in storytelling that I feel are often misunderstood. It's not just about ending the story quickly. It about validating everything that has changed.

Remember all the crazy things we've just dragged the audience through? Well, we need to validate that all those things actually happened and that the sacrifices paid off (in some rare endings, you may be validating that those sacrifices didn't pay off, but let's stick with the general for today). In a romance, you need to validate that the couple are actually together and in a great relationship--this might be done with a marriage or marriage proposal. If anyone died, we need that validated--we may need to see the protagonist attend a funeral. If the antagonist has really been defeated, we need to see that their power is gone from this world.

What we do not want to do is end the story by undercutting the entire experience we just created. This is just another reason why a story that ends with "it was all a dream" is so horrific. It undermines everything. Another example of this is Lost, where audiences found out at the end that the characters had just been dead the entire time. This doesn't mean you can't ever have loose ends, but you should not undermine everything you just slaved so hard to make.

The denouement also complements and foils the setup. While the setup works to establish a current normal, the denouement works to establish a new normal. So often in a lot of stories (and this relates to the Hero's Journey story structure), you'll see direct similarities between the setup and the denouement. At the beginning and end of (almost) every Harry Potter book, Harry starts at his aunt and uncle's and ends there, and yet things have changed.

If there are any loose ends or unresolved conflicts, they will typically be addressed and handled in the denouement.  

In a series, the denouement may function a little differently. You will be validating the major changes of the story, but may leave or suggest loose threads that will play a part in the next story.

Never forget Mickey Spillane's sound advice: "The first chapter sells the book; the last chapter sells the next book."

This is true for any book, series or not. If it's a series, it sells the next installment. If it's not, it leaves people wanting to buy the next book you write.

In some stories, the denouement may actually be one of the most powerful parts, because you are validating one change after another after another in a short amount of space, so it has a profound emotional impact. (Almost) Never skimp out on it.

However, like the setup, you don't want it to be too long either. Remember, they complement each other. Just like you don't want to give a play by play of "normal" in the setup (super boring), you don't want to give a play by play of the new normal in the denouement. Validate and convey what you need to and then move on. Keep it short enough to stay interesting but long enough to cover the important parts.  

In Spider-verse

The denouement succeeds in all these ways. It validates all the changes. Kingpin is officially caught (Miles shows him stuck in a web). The relationship between Miles's dad and himself (even as Spider-man) is repaired and at least tolerated. This is further validated by Miles saying, "I love you," when in the setup he refused to say it unless he had no choice. Now he means it and wants to say it.

Peni is shown safe in her own dimension repairing her robot. Spider-man noir is shown safe solving the Rubik's cube (one of his struggles). The pig is back in his dimension. Gwen Stacy is staring at a picture of her new friend. And Peter B. Parker, despite the fact he at one point would literally rather die, brings flowers to Mary Jane, in an attempt to repair their relationship.

Then we have the protagonist, Miles. What is he doing? He's attending school and applying himself. He's putting up his art with his dad. (See how these things directly complement the setup?) Which, in the process, validates the death of his uncle. He's being Spider-man. And he's no longer an orphan. "Whenever I feel alone, I remember my friends out there who get it." And best of all, he's overcome his internal weaknesses and embodied the true thematic statement: "I'm doing all sorts of things I never thought I'd be able to. Anyone can wear the mask. YOU can wear the mask."

All of us can do things we never thought we could do, as long as we get back up.

Do you see how powerful a properly crafted denouement can drive home the point?

Then at the very last second, we see that somehow Gwen Stacy is talking to Miles from her dimension. This creates a thread of a loose end. In other words, Spider-verse is one of those magic things that agents love to hear: a standalone story with series potential.

From another perspective, this moment simply shows the audience that all these characters may somehow be able to communicate with each other despite being in different dimensions. They aren't alone.

(Epilogue)

Like a prologue, your story may or may not need an epilogue, and some stories can work in either case. Epilogues function mainly in two different ways.

1. They offer additional needed closure. In some stories you may not be able to tie everything up in the denouement. You may need an epilogue to finish it out. This can be especially true if it seems "too soon" to close some unresolved components in the denouement.  

2. They start more loose threads. If you have another installment planned after this one, an epilogue can promise that there is more to the story. This works well when you want a lot of closure for the current installment, but want to signal to the audience that there is more. You tie up everything in the denouement, but then start some new threads in an epilogue.

In a lot of ways, the epilogue complements the prologue in type and structure. It may be a bit theatrical. It may be a short teaser. It may close out the story in two different ways (one component is dealt with in the denouement and another is dealt with in the epilogue). It may provide an alternate viewpoint that didn't belong in the main story. It may be displaced in time. Or it may give additional information. Check out my article on the different types of prologues, and you'll see that it is so.  

In Spider-verse

Whether or not the after credits scene functions as a true epilogue is debatable. In some ways it does, and in some ways it's just a fun after credit scene to make people laugh. I'm leaning more toward the latter. But let's talk about it.

Of the two purposes above, it mostly fits into the second. It starts something new. We're introduced to another spider character who now has the ability to intentionally travel to other dimensions, successfully. What does that mean? Perhaps it's similar to Gwen talking to Miles at the end. These spider characters will interact with each other again. There is more to the story.

But as the scene plays out, it ends more as another opportunity to get one last laugh out of the audience. That's fine, for a superhero movie.

Or maybe that ending is intentionally ambiguous. One interpretation works better for a series, and the other works better for a standalone. Maybe the writers intentionally wanted to have it fit for either, as they wait and see if they can get funding and support for another film to happen.

Whatever the case, you can watch or read other epilogues and see how they either add more closure or add more loose threads.

And that's story structure explained.

Now what? Do you need to follow all these components to write a good story? Not necessarily. Heaven knows there are plenty of writers who are successful without knowing about these things at all. However, I will argue that whether it's intentional or not, most writers who write successful stories will hit the majority of these components in some way, even if it's completely done subconsciously. We've seen and been fed this story structure so much, from such young ages, that if we don't follow it to some degree, something will feel off or wrong, even if we can't pinpoint or communicate what it is exactly. In fact, we may even misdiagnose the problem. But if this has been helpful to you, go ahead and use it. If you feel like it's paralyzing you, don't worry about it so much. This is meant to help, not hinder. Do what works for you. And there are other sliced and diced forms of story structure you can look into.

In the future I want to grab some other stories and break down how they fit these elements, briefly, so you guys have examples of how it works for vastly different narratives.

Resources:

This article series was influenced by Story Engineering by Larry Brooks, the Seven Point Story Structure, Million Dollar Outlines by David Farland, The Hero's Journey, and even the basics of Freytag's Pyramid.

#Writing tips #writing tips and tricks #spider-verse #writeblr #into the spider verse #story structure #writing help #fanfic #fanfiction #writing lesson #writing advice #creative writing #fiction writing #author #editor #camp nanowrimo #peter parker #miles morales #Gwen Stacy

[serial-bookseller]

Spider-Verse: Return of Prowler

It’s been months since Jefferson Davis buried his brother. Since he and Miles created a memorial in paint and brick to his brother’s memories. Since the world nearly ended, or did.

It’s easy at first, ignoring it. They didn’t talk much. Aaron made...choices. But as time goes on, as his relationship with Miles grows stronger, he wishes he could tell Aaron all about it. About the man Miles is growing into. Maybe rebuild bridges. Maybe have him over for dinner. He still dials sometimes before he remembers. Dead number.

Dead brother.

The suit still sits in a box in their storage in the apartment basement. He couldn’t bring himself to get rid of it. After he struggled to get Aaron out of it. Let him go to the grave Aaron Davis, brother and uncle and beloved. Not Prowler, villain and henchman. Let him have his rest.

He should burn the suit. But he can’t. It’s too soon. Too painful. Too raw.

Months pass again, and Jefferson finds himself rethinking and admiring Spider-Man more and more. Especially after Peter Parker. He reminds him of Miles. Hard worker. Honest. Smart. A pain in his butt sometimes. He begins to wonder.

And the suit is in the basement.

The first time he wears the suit he accidentally punches a hole through a bodega wall. He runs, tripping and unsteady, unused to the boosters in the shoes.

The first time he climbs a building he does a dance that he’s sure Miles would be embarrassed of.

The first time he catches and cuffs a criminal, he understands. The power, the responsibility, the thin line. Jefferson may not have superpowers, he figures. But he has this suit, and he has experience, and a cop’s training.

It doesn’t go outside Miles’ notice that Prowler is back. He’s confused at first, who is STOPPING crimes as Prowler? Then he is angry. Who is wearing his Uncle Aaron’s suit? As if they have any claim to it.

One night he waits. His mother is asleep. His dad is out on a night shift, working overtime. He sneaks out and patrols, searching, waiting.

It’s early morning when he drops onto a rooftop and and pins the man in his uncle’s suit to the ground with webbing. Nearly dawn.

He yells at the person, so bold and thoughtless to be wearing that in this city, in HIS city. Who does he think he is? The man who is not Prowler, CANNOT be Prowler rips an arm freeman grabs Spider-Man. He boosts free of the rest of the web and wrestled him to the ground.

He explains it’s something he needs to do. That Spider-Man wouldn’t understand. That he needs to fix things. For someone that died. Miles bursts free and flips over the man in the suit, slinging the mask off with a burst of web. And then he drops the mask.

“Dad?”

Jefferson thinks he hears wrong, until his son takes off his mask.

“Miles?”

A month ago there would have been harsh words. Yelling. Grounding. Angry tears and hurtful phrases. But now...now how can he do anything else? He hugs Miles and cries.

“I had to do it for him Miles. I had to make sure people remembered him as something better.”

Miles hugs him back. Jefferson wonders how his son got so strong. They both sniffle and tear up before breaking the embrace.

“I get it dad.”

They patrol the city and talk. About Aaron, about Miles’ powers. About the city and family. They watch the sun rise from the top of the Chrysler building.

“I really can’t believe it,” says Jefferson.

“It’s crazy, I know.”

“You know we can’t tell mom.”

“I know Dad.”

They sit in companionable silence for a time.

“Hey Dad?”

“Yeah Miles”

“I love you.”

“Hey Miles?”

“Yeah Dad?”

“You’re taking down all the stickers you put on skyscrapers.”

They laugh and Miles groans.

“I love you Miles.”

“I know Dad.”

“But really about those stickers.”

#spiderverse #miles morales #jefferson davis

[wonderfulworldofmichaelford]

Michael in the Mainstream - Spider-Man: Far From Home/Spider-Man: Into the Spider-Verse

It really is a good time to be a Spider-Fan.

This guy is hitting all the right notes lately: he’s got a great video game beloved by all who plays it, he’s one of the golden boys of the MCU after only a handful of appearances, and he featured in one of, if not THE greatest animated movie of all time. Now if only his comics would undo One More Day and they renewed Spectacular Spider-Man and gave it the finale it deserves, things would be absolutely perfect.

So with me being a big Spider-Man fan, I think it’s about time I talked about his greatest cinematic achievments: Into the Spider-Verse and Far From Home. That’s right, Spidey is so good he’s conquered two mediums and delivered his best stories within a year of each other. My only regret is not talking about both of these films sooner, but I suppose that just gives me the opportunity to praise them both at once.

The greatest common factor these two movies have between each other, and what makes both films infinitely relatable and entertaining, is how both films feature a young protagonist who has great responsibility thrust upon them and they must find some way to deal with it. In the case of Peter, he is saddled with the pressure of being able to live up to his mentor, Tony Stark, in the wake of Endgame’s finale and Tony’s sacrifice. Frankly, Peter just wants to be a normal teenager, get the girl, and have a good vacation – it’s perfectly understandable, and while it may come off as a bit selfish, Peter is still a young man, a young man who has suffered through numerous traumas in his life and is probably upset he can’t just be normal for once. Of course over the course of the film he remembers that with great power comes great responsibility, and he rises up to save the day.

Miles, on the other hand, while initially a bit confused and unsure of himself and what to do, really does want to live up to the memory of Spider-Man, who he only knew a brief time before his death. However, he lacks training, he doesn’t understand his own powers, and he just lacks faith in himself. The entire movie builds up his character, his relationships to others, and all he does so that moment when he takes his “leap of faith” is well-earned and solidifes the moment when he goes from merely being a Spider-Boy to truly earning the name of Spider-Man. I find it very interesting how the two Spider-Men in the two best Spidey movies have sort of opposite motivations – one is being crushed by the pressure to be a world-saving hero while only wanting to be normal, while the other wants to live up to the destiny thrust upon him but initially lacks the skill and finesse to do so – before coming to the same sort of ending. More than the man in the comics who sold his marriage to a demon because he couldn’t deal with the consequences of his actions, these Spideys realize the immortal phrase from Uncle Ben that I need not repeat.

Of course, what would a hero be without a villain to oppose them? Thankfully, both films deliver some of the best superhero movie villains anyone could ask for. Far From Home is a bit more focused, giving us one major antagonist: Mysterio, in the least shocking movie twist of all time. But it truly is a testament to how great an actor Jake Gyllenhaal is and how good a character Mysterio is that he is able to sell you on all of his hero garbage right up until the reveal, and even afterwards he never once drops that affable charm and charisma that belies his true nature as a petty sociopath. Mysterio has always been a character who has struggled to find good use in the comics due to writers not knowing how to use him; he does not have that problem here.

Into the Spider-Verse, on the other hand, goes for what most Spider-Man movies tend to do: cram a bunch of villains in and see what sticks. Thankfully, they manage to hit home runs three out of six times and only whiff twice. Let’s get the less impressive villains out of the way first: Tombstone and Scorpion. While Scorpion’s design is cool and he gets some decent fight scenes, he really could be swapped out with a generic mook and it really wouldn’t make any difference either way. Tombstone, on the other hand, is an absolutely pointless waste of a character, which is a real shame. He’s the bodyguard for a guy who killed Spider-Man with his bare hands and has superhumans and cyborgs under his employ, he’s frankly a bit superfluous. Green Goblin is the only middle ground villain, one who isn’t amazing but is certainly cool enough in his own right to leave an impression despite only having a single scene. His monstrous design really goes a long to selling his threat level and his brutal fight with the original Peter really is impressive. Sadly, he dies at the end of the fight and is quickly overshadowed.

Then we have the two side villains that really work: Prowler and Dock Ock. Prowler is the obvious one, as due to him being Miles’ uncle he adds a sort of tragic emotional connection, one that is only exacerbated once Prowler hesitates in killing his nephew and ends up becoming Miles’ stand-in for Uncle Ben. Dock Ock is a bit surprising, seeing as she is a somewhat unique take, essentially a genderbent original character version of Otto Ocatavius, complete with all that implies (yes, I am talking about the relationship with Aunt May). She’s been the big breakout villain of the movie, and with good reason: she’s cool, she’s cunning, and she’s hot, all hallmarks of a quality villain beloved by the masses.

And then we come to the big one, and I do mean big: Kingpin. Here, his size and intimidation is played up for all its worth, turning him into an absolute mountain of a man and giving him one of the slickest designs I have ever seen. He’s a brutal, ruthless thug, but he’s also given a legitimately tragic and heartbreaking reason to his actions, and while it certainly doesn’t redeem him, it does make him an interesting and complex character. If nothing else, it’s just really nice to see Liev Schreiber finally get to be the villain in a good superhero movie and a good animated movie villain, after getting the shaft in both regards on two previous occasions.

The ensemble casts of both films are great. Far From Home ropes in Maria Hill and Nick Fury, and finally gives Hill some more to do while letting Fury have a lot more fun and taking a more direct approach than usual. Aside from that, all the returning characters are improved – Happy is nicer, funnier, and a better mentor; Dash is still a jerk but he’s toned down and has a bit of tragedy to him; and MJ is fleshed out, given a personality, and has excellent chemistry with Peter. And then there is Peter’s best buddy Ned, who gets ne of the funniest romantic arcs I have ever seen in a movie. And I’d be remiss to not mention Peter’s bumbling teachers, who deliver some more top quality humor to the proceedings. I think it would be best to state now that Far From Home is honestly really funny, with pretty much all of its humor hitting the bullseye, and a lot of that has to do with just how well these people play their parts and dive into their characters with the sort of fun conviction you’d want out of Spider-Man characters.

Into the Spider-Verse has the heavily advertised Spider-Ham, Peni Parker, and Spider-Man Noir, but they actually only appear in the last third of the film and really only stick around to showcase how good the animation can handle other styles, fuel jokes, and help fight in some awesome fight scenes. Frankly, this is enough; they don’t really stick around long enough to overshadow Miles, but they’re also around just long enough to establish personalities and endear themselves to the audience. Out of the three, I find Peni to be the least interesting due to changing her mecha’s design from the more Evangelion-esque one from the comics as well as her just not really grabbing my attention all too much, but it’s easy to see why she has fans. Personally, I preferred the cartoony antics of Spider-Ham and the noir-tinged grittiness of Noir. Also, Noir is voiced by Nicolas Cage and Ham is John Mulaney. It would be a challenge for me to not love them.

The major supporting characters are Peter B. Parker and Gwen Stacy, and both manage to be great in their own right while, again, not overshadowing Miles, with Peter especially being an absolute blast, giving us the miserable, chubby, downbeat Peter we never knew we needed and having him go through a full arc of his own where Miles helps him overcome his hangups as much as Peter helps Miles. Gwen is a fun character, but she sadly doesn’t get quite as much of an arc as Peter, but that will definitely be expanded upon in sequels; she’s still a solid sidekick here. The rest of the supporting cast, such as Miles’ dad, are solid characters, and the film also gives what may be the best version of Aunt May ever (though all Aunt Mays are great and let no one tell you different); I don’t really think the supporting cast is quite as good as Far From Home’s overall, but it certainly does have memorable characters that will stick with you.

Before wrapping up, I of course have to address this: Spider-Verse has some of the most amazing animation I have ever seen. It truly captures that look of being taken right from a comic book, and there are just so many clever visuals and shots that it’s simply astounding. This is the pinnacle of CGI, and revolutionary in the field of stylized CGI. I hope other studios take notes on how to make CGI look good and stylish like this.

Into the Spider-Verse is just a stunning piece of animation. It has good characters, a solid plot, a lot of great humor, a lot of great emotion, and some really decent morals, all while paying tribute to the comics and the Raimi films and giving us some closure by adapting bits of the unused Raimi Spider-Man 4. It’s a beautiful tribute to everything we know and love of Spider-Man while also being a fantastic “passing the torch” story that gives Miles his own time to shine in the spotlight. This movie is basically what Big Hero 6 tried to be, but where that movie kind of stumbled over itself and felt more like a TV pilot for a series on the big screen, this feels like a fully fledged story unto itself. It also has one of the most beautifully poignant Stan Lee cameos ever, as well as what may be the greatest joke in Spider-Man history after the credits. If you love Spider-Man, see this movie. If you love animation, see this movie. If you love movies, see this movie. This might very well be the greatest animated film of all time, and it deserves to be seen.

Far From Home, meanwhile, is a fantastic achievement in live action Spidey cinema. It gives us a wonderful supporting cast, a love interest who actually has chemistry and isn’t a boring damsel that disgraces the name of her comic counterpart, an awesome villain, and genuine funny moments, and for once all of these things are in the same moment! This really solidifies MCU Spider-Man as being a fun, fresh take on a character who has been done to death in almost every medium; it keeps most of what we love while changing some details here and there so that Spider-Man can resonate more with modern audiences. What they do change tends to be for the better, too – I really have no problem, unlike a lot of people, with Tony “taking Uncle Ben’s place,” for a variety of reasons but not the least of which is the fact I’m frankly tired of seeing Uncle Ben die. Having him merely be the long dead motivator for Peter’s early heroics is enough for me. This is absolutely peak MCU, and a fantastic epilogue to the Infinity Saga. If you’re invested in the MCU or Spider-Man at all, this movie will be right up your alley. If you still need more convincing: they combined Raimi Jameson and PS4 Game Jameson into a character, and Simmons still plays him.

Both of these films are the cream of the crop when it comes to cinematic versions of Spider-Man, with Far From Home sitting comfortably up there with Spider-Man 2, if not surpassing it, and Into the Spider-Verse frankly taking on a league of its own, Both projects really alter the course of what can be done with Spider-Man, and it has me excited for all the future works involving the Friendly Neighborhood Spider-Man we might be seeing soon. With Spider-Verse getting sequels and spinoffs and Far From Home absolutely getting a sequel, it’s safe to say that anyone who loves Spidey will have plenty to love for years to come. And the best part is we will never have to worry about either Spidey making deals with Mephisto.

#Michael in the Mainstream #Review #movie review #Spider-Man #Into the Spider-Verse #Far From Home #MCU #Sony #superhero movie #superhero #Marvel

[firstpuffin]

Changing elements of existing characters; race, sex etc

I remember when the F4ntastic Four movie came out in 2015 (and seriously, F4ntastic? What is this, the 90’s again?) and we saw that the new Human Torch was… different. There was some concern, admittedly even from me, about this change. I mean, Johnny Storm is white, right? Why cast a black actor?

  Well I could have let that slide without issue as long as they explained, even with just one sentence to not take up too much time, why his sister is white and him black. Yes, there could be a hundred-score reasons why, but it is unintuitive. Since then I have grown up and don’t mind nearly so much, but this “issue” comes up again and again. The new Doctor in Doctor Who is a woman and there has been rumour about a black James Bond floating around for a while. My favourite superhero died and there was a fuss when he was replaced by a black kid; Tony Stark let a black girl replace him as Iron Man (or whatever name she went by) and there was a fuss both times. Are you seeing the pattern?

  Established heroes are being replaced by children!

  I’m kidding.

  But there is always a fuss when a beloved character is changed and I must admit, a black James Bond would bother me. A female James Bond would bother me; the first and least important reason is that James Bond is an established white male character and a lot of his stories would be different if he wasn’t. The other characters in his stories would treat him differently, he would have had different experiences and would not be the same person.

  More importantly though, it’s kind of insulting (not to me mind, I’m a white male) that people seem to think that the James Bond brand is what’s needed to carry a black or female lead. Seriously, we already know that’s not the case, so make a brand-new character who fits your criteria. If you have the rights then put them in the same world as James Bond, sure. That could be fun.

  A female Doctor doesn’t bother me because it works in-world; they established long ago that it was possible to regenerate into a different sex so it’s cool. It works.

  It’s just a shame the writing was crap. Fingers crossed for the 2020 series.

  There were rumours for a while that Spider-Man, no cross that, Peter Parker was going to be gay in an upcoming movie. This didn’t happen and I’m glad. I probably shouldn’t be but I am. See, I let a lot slide in comic book universes because there is the multiverse and as long as we don’t know which universe exactly the story is based in, there is nothing wrong with Peter being gay. But again, why not make a new character who happens to be gay?

  Isn’t it offensive to think that a gay Spider-Man has to be the original?

  This is where Miles Morales comes in. He’s not a black Peter Parker, he’s a brand-new character. And yes, you could say my above argument should apply here, after-all it’s still the Spider-Man brand. But Spider-Man is pretty unique in that there has generally only been Peter Parker. Yes there is Miguel O’Hara in the future and similar variants but many superhero mantles have been picked up by other characters, but Peter Parker is usually Spider-Man and no-one steps up to take his place if he dies or vanishes.

  Except maybe Ben Reilly, Peter’s clone.

  But even if he wasn’t unique, it wouldn’t matter. Do you know how many Spider-Women there have been? Including another of Peter’s clones?

  So when the Peter Parker of the Ultimate universe dies, Miles Morales comes along and tries to pick up the slack. This is just comic book tradition, and it works. I like Miles Morales. He brings a freshness to the Spider-Man story; seriously, screw Uncle Ben I want to see more Uncle Aaron.

  Speaking of Uncle Aaron, I was a fan of Prowler when it was still Hobie Brown under the mask, but multiverse so whatever.

  So changes thanks to the multiverse is cool, as is taking up another hero’s mantle. What else am I okay with? Well for starters, if something is done well.

  It seems a lot of Iron Man fans weren’t too happy with the Mandarin but, and maybe this is because I didn’t know a whole lot of Iron Man lore, I thought that the twist was amazing. That is how you do a trailer. They set up this mysterious terrorist (yawn) who was dominating the Middle East, only for that to be a façade for the real villain. As a twist this is not only amazing but was set up incredibly well.

  And then there is Michelle Jones from Spider-Man: Homecoming who we discover is MJ right at the end. She is quite possibly as far from the MJ we know as is possible but then again, she isn’t Mary-Jane Watson. I really like what they are doing here, using an established character whose relationship with the hero pops up in nearly every iteration, to hint at future sub-plots without actually being the same character.

 So I’ve been pretty positive about the idea of “changing” a character, so why am I bringing this up? Because it doesn’t matter how justified the change is, the execution can ruin it. Doctor Who is a prime example of this.

I was pretty excited to see a woman portray the Doctor because there is a lot in his (I use the male pronoun for a reason) character that you don’t often see in female characters. Matt Smith was amazing at portraying an old man in a young man’s body; he was a treat to watch. Tennant, Smith and Capaldi were all very good at showing a character who was old, who knew, and had experienced, far more than any human could match. He took the lead, got angry when he needed to and had a fire in his belly, a sliver of ice in his heart, usually hidden by a cheerful and possibly forced optimism.

  To see that kind of female character would be new and awesome.

  Instead we had infantile episodes more focused on preaching than actually telling a story. I don’t know if Whitaker can act, I don’t know if she is up to the job of being the Lonely God, because we didn’t get to see it. I’ve been watching the old episodes, by which I mean 1963 onwards and I’ve just revisited the 2005 onwards series’; two companions really has to be the maximum number of companions and if there is a third then they should be the Doctor’s equal. Otherwise the Doctor gets ignored.

  River Song was never just a companion and while you could say that her presence detracted from his, it was in a good way that allowed the characters to bounce off of each other. In series 11 with Whitaker we saw more of Ryan and Graham’s relationship than we did the Doctor herself, that is when they don’t pause the episode to dump exposition onto the viewers (I’m looking at you, episode 3).

  Of course as far as I’m concerned, the greatest sin occurred in the second episode: she gives up. The Doctor gives up. For no good goddamn reason. Okay so there is a reason. Her time-machine, which has been coming and going for centuries isn’t there at that very moment! She didn’t see it disappear, not to return for another hundred years; it just wasn’t there yet and she knew it was due any moment. What the fu-?!

  Who is this woman? Certainly not the Doctor who chases away fleets of spaceships with a speech.

-what a speech- 

  How about another example? You may have heard of Spider-Gwen (don’t worry she doesn’t actually go by that name, that would be stupid), her series is based on Earth-65 as opposed to the mainstream series which is Earth-616 (who numbers these?). I don’t want to talk about her, although I totally could. I like her and what they wanted to do, even if the execution was poor. No, I’m bringing up the Earth-65 Captain America: a black woman called Samantha Wilson.

  The agenda behind that can already be practically tasted but I prefer not to whine about such things and she seems okay as a character. My problem is that if she went through the same process as Steve Rogers, which she did, then why isn’t she ripped like Steve? Seriously, that guy is jacked in virtually every incarnation so why isn’t she? Because she’s a woman and thus her biology is different? I think it’s safe to say that that is BS and the only reason she isn’t covered in rippling muscle is because it wouldn’t look sexy.

-seriously? Trump is Modok? He’s even quoting Trump! Urgh, the taste of agendas-

  Men can be huge but women? Nope.

  I don’t mind Gwen not being massive, depending on the artist then Peter can be pretty skinny too. But double-standards much?

 I’m going to close up here. I don’t mind changes to established characters so long as it makes sense: taking up the mantle of a superhero, an alternate universe or possible in the established canon; I do however think that rather than changing an established character, a new character should be made. But while I often like to see these new (or sometimes “new”) characters, I will not force myself to like something if the execution is poor.

#first puffin #opinion #comics #comic books #doctor who #james bond #character design #agenda #race #sexuality #13th doctor #spiderman #spidergwen #miles morales #multiverse #f4ntastic #fantastic four #captain america #thosetagswilldofornow

[deltahalo241]

Halo 3 Review

Halo 3 is probably the most popular game in the long running Halo Franchise. It was a system seller for the Xbox 360 and for many people, it was their gateway into the series. So while Halo 3 has managed to craft this legendary status around itself. Does it live up to it? And, looking back over 10 years since its launch, has it held up compared to modern games. These are the questions I intend to answer as I take a look back at the heavy hitting title of 2007 and give my honest opinions of it.

Starting with the story, we have to talk about the fact that Halo 2 was originally going to be the end of the franchise, and that Halo 3 only came about because Bungie set their sights too high and had to end Halo 2 on a cliffhanger. Because of this, Halo 3 has to both tell its own story, as well as finishing off Halo 2's. Halo 3 is comprised of 10 missions, though one is just a cutscene and doesn't really count. So all in all there are 9 missions in the game, making it somewhat shorter than Halo 2. The big issue for me when it comes to Halo 3's campaign is the pacing, or lack of it. The story goes nowhere for 6 out of the 9 missions, preferring to faff about on Earth. These 6 missions are what I believe to be the way Bungie were going to finish Halo 2, or how they were retro-actively ending Halo 2 at least. Specifically Mission 5 is where I believe the ending for Halo 2 would have been. Mission 6 has lots of problems of its own that need to be brought up. To sum it up, in Mission 6, the Flood arrives at Earth on an infected Covenant Battle-cruiser. Long time fans of the Halo series will know the Flood as the all consuming parasite responsible for wiping out the Forerunners, and who took over High Charity (The Covenants Holy City) at the end of Halo 2. So this is a pretty big deal. On board the Flood infested ship, Master Chief finds a message from Cortana talking about the Ark, this is the beginning of the issues. Cortana didn't know about the Ark, she wasn't with Johnson and Miranda when 343 Guilty Spark revealed its existence to them, so how could she have found out about it? One option could be that she took it from the database of Installation 04, but if so why didn't she tell anyone about it? It would seem like a pretty big deal to me, especially when there's a portal to it on Earth that she seems to know about as well. Secondly, how did she even get the message on the ship in the first place? She was on High Charity, the message is on a physical storage device. Did she create it and put it on the back of a Flood to carry into the vessel? And when & how did she record it without the Gravemind knowing? She was being interrogated by him after all and we know how it can corrupt AIs. The threat at the start of the mission, the Flood is also dispatched by the Covenant at the end, meaning the stakes for Earth are pretty much over. The Covenant have left and the Flood on the planet are dead. This mission also introduces us to a new plot point. According to Cortana, there's a way to stop the Flood for good at the Ark, without having to fire the remaining Halo rings, a Forerunner weapon that perhaps, wasn't finished in time to save them, but could save us. Unfortunatly, Halo 3 immediatley drops this plot point, making the entirety of mission 6, pointless. The plot point leads no-where and the threat introduced at the start of the level, is gone by the end of it. It feels like the remainder of some earlier draft of the story, one that I would have liked to see for sure.

As so much time is spent at Earth, it means by the time the game actually gets to the Ark, there's only 4 missions left in the campaign. This doesn't give you a lot of time to really explore the ark, like you could explore the ring in Halo CE. 2 missions in on the Ark and the Prophet of Truth is dead, killed in a cutscene like the Prophet of Mercy before him. This is so that the game can say 'Aha! The Gravemind is actually the true villain!' as he betrays you just after helping you reach Truth. The trouble is the game only has 2 missions left at this point, and in only one of them do you actually interact with the Gravemind to any large degree. His betrayal is also somewhat odd, his tentacles raise up above Master Chief and the Arbiter as he talks about how he's going to kill everything, then fails to grab a slow moving Pelican Dropship as it escapes, only succeding at knocking Arby and Chief off of it before having his tentacles retreat and sending waves of combat forms to attack you, basically it builds up a boss fight and then nothing happens, you just trudge back through the same hallway you fought through not 5 minutes earlier, only now you're fighting the Flood. The mission after that has you delve into the Flood nest in order to retrieve Cortana. The mission itself looks great, the flood biomass over the walls really gives you an idea of what could happen if the flood gets loose. The level layout is extremely confusing and you may find yourself dying a lot as there are constantly spawning enemies including many Flood Pureforms, alongside the confusing layout, you may find it to be an exercise in frustration. This level also serves to rob the Flood of some of their menace. Looking at it lore wise, Master Chief just walked into the belly of the beast, grabbed his holographic friend had a quick chat with her and then strolled back out again. The Flood don't even seem to do anything to stop the damaged pelican he escapes on from leaving. It makes them seem incompetant. The final mission of the game has you heading to a Halo Ring, the intent being to fire it to kill the Flood infestation. This actually conflicts with what we were told in Halo CE, that the Halos don't kill the Flood, they kill its food and let it starve to death. You fight through more Combat Forms and the gravemind taunts you a little, then you get to the final chamber. Guilty Spark informs us that the ring isn't ready to fire, and that it'll take a few more days before it's ready. When Johnson informs him that they don't have that much time, Spark goes rampant and kills him, this had been foreshadowed earlier when Spark zapped a marine who wanted to check out his internals, to make sure he was functioning right, but anyone who had played from Halo CE could probably see this betrayal coming a mile off. You then have to go through an easy and boring boss fight against Guilty Spark before you can finally activate the Halo ring, as the ring is unfinished it starts falling apart, destroying itself and dealing massive damage to the Ark. Which conveniantly solves that plot hole of the Rings only killing the Floods food. This leads to the final section of the game, a Warthog run similar to the one from Combat Evolved, though not as fun. And then the campaign ends. It's a bit sudden, and they of course tease that the franchise will be continued in the future (Which it was, with Halo 4)

Now that I've finished talking about the single player, I can move onto the multiplayer. This is what most people will remember when it comes to Halo 3, as it had a massive online community back when it was released. Halo 3 offered a good range of game-modes for the player to enjoy and a wide range of maps to play on, though you may find people vetoing maps until they get the ones they want, which means you'll find yourself playing on Valhalla or Guardian a lot for instance. The weapon sandbox has been expanded from Halo 2, now new Brute weapons are in the mix as well. Unfortunatly, there's not much reason to use them. There's not a lot that sets the Spiker apart from the SMG for instance, or the Mauler from the Shotgun. The Gravity Hammer is a fun new power weapon that rivals the Energy Sword and I think it's an excellent addition to the game. Two new grenade types have been added as well, the Fire-bomb grenade and the Spike Grenade. The Fire-bomb is what it says on the tin, an incendiary grenade that burns the person it hits to death. The Spike Grenade is similar in some ways to the Plasma Grenade, it sticks onto a vehicles or surface and explodes, the difference being that the Spike Grenade is somewhat directional. Like the Fire-bomb, it's a one hit kill. Some new vehicles have also been added to the mix. The UNSC gets the Hornet VTOL and the Mongoose ATV. The Covenant lose the Spectre from Halo 2, but gain the Brute Chopper and Prowler. The Chopper is the Brute equivelant to the Ghost, only has the special ability of being able to destroy light vehicles by ramming into them whilst boosting, which is usefel in game-modes like Capture the Flag, if the enemy team is escaping with the flag in a Warthog. The Prowler on the other hand is pretty much just the Spectre, but with a Brute theme. It has a single turret on the front, rather than the rear and two side skirts for passengers to hold on. Aside from that, there's nothing else unique about it, as I said; it's a Spectre with a Brute skin. Halo 3 was also popular for Major League Gaming at first. Though there were some noticable problems for those ultra competitve players. Halo 3's netcode was a little poor, this made blood-shots (Shots that hit the enemy from your perspective, but don't register in the game, and so do no damage) rather common, which annoyed a lot of competitive players. Halo 3 also did not utilize hitscan like the previous games in the series had, rather players had to lead shots if they wanted them to land. This took a bit of getting used to for a lot of veteren players. The Battle Rifle also had some poor weapon spread as it would seem as though one shot was always going to miss, unless you were right in your enemies face. The Assault Rifle also felt a little weak as well. This may in part be due to the sound design used on the weapons, which I felt was a little sub-par in a lot of ways. Another new feature that was added in Halo 3 was Forge mode, that let people edit maps by adding in new weapons of vehicles or items and the like wherever they wanted. The mode was a bit simplistic but I won't count that against the game here as it was the first instance of the feature and what players did with it far exceeded their expectations.

Overall I'd say Halo 3 is a pretty solid game, despite what may appear as my hatred for it, I do actually like the game. But its multiplayer far outdoes its campaign. Halo 3 is an old game now, going on 11 years old. You'll find the population for online is rather low, struggling to get above 2000 people at the best of times. This is compounded by the fact the player base is split across the Master Chief collection, Halo 3 on Xbox One backwards compatibility and those still playing the game on the Xbox 360. There are some issues with the multiplayer netcode, but if you're just playing casually, then you probably won't notice too many issues. While the weapon sandbox is a little dull, it's not too bad and there's a nice variety between the weapons. The campaigns story is quite bad but you'll probably have a lot of fun with the missions themselves, the scarab fights are quite fun (even if they make the scarab feel like a bit of a pathetic miniboss) and the settings are somewhat diverse. Halo 3 is available on the Xbox 360, as a backwards compatible title on the Xbox One and is also in the Masterchief Collection. If you would like to purchase a copy, then follow the link below:

Halo 3 - Xbox 360

#bungie #microsoft #xbox 360 #review #game review #halo #halo 3

[aion-rsa]

Marvel’s Spider-Man: Miles Morales Ending Explained

https://ift.tt/35qd0Yx

This Marvel’s Spider-Man: Miles Morales article contains spoilers.

Marvel’s Spider-Man: Miles Morales ends in notably epic fashion considering the deeply personal story at its heart. Most of the game focuses on the conflict between Miles Morales and his best friend Phin Mason, whom he discovers is the villain known as the Tinkerer, the leader of a terrorist group known as the Undeground that has been waging war against the shady Roxxon Energy corporation on New York’s City streets.

Phin’s out for revenge on Roxxon for the death of her brother Rick, and Miles, who has been left to protect the city while Peter’s away in Europe, finds himself stuck right in the middle. He’s forced to stop Phin at all costs before she can blow up Harlem by exploiting Roxxon’s NuForm energy, which is what killed her brother.

This all leads to an explosive confrontation between Miles and Phin that will likely shape the young hero’s crime-fighting career for years to come. Miles’ latest test as a new Spider-Man turns out to be pretty life-altering.

Let’s break down what happened in the game’s final moments:

What happens between Miles and Phin?

When Miles confronts Phin at Roxxon Plaza, which she plans to demolish by overloading a NuForm reactor, he tries to explain to her that Roxxon scientist and criminal mastermind Simon Krieger tampered with the reactor and that the explosion will cause far more damage to the surrounding neighborhood, killing thousands of people in Harlem. 

But Phin is overcome with rage and resentment, still reeling from the death of her engineer brother, who lost his life trying to eradicate NuForm, which he invented but subsequently discovered made people sick. She also doesn’t trust Miles after he lied to her about wanting to join her in the Underground all while withholding the fact that he’s been trying to thwart her plans as Spider-Man all along.

They’re at an impasse: Phin is deadset on avenging her brother and Miles vows to stop her to protect his city. They come to blows high above the Harlem streets and Phin gets the best of Miles as the energy converter pulsates and threatens to destroy everything around it. But amid the chaos she glimpses the faces of the New Yorkers down below, running terrified as the volatile reactor sends tremors down the city streets.

Eventually, she loses her footing and plummets to the ground below. Miles saves her (taking off his faulty tech mask in the process), but they crash land mere feet away from the crackling reactor.

How does Miles save the day?

When Miles comes to, he stumbles toward the overloaded NuForm reactor to shut it down with his electricity-based Venom Power. He is successful but can’t hold in all of the energy he’s absorbed for long.

Phin comes to her senses and decides to grab Miles, run up the side of the towering Roxxon building with her Underground tech-powered boots, and rocket high into the night sky. She tells Miles to “let go,” which he does, resulting in a giant explosion that evidently vaporizes Phin and sends an unconscious Miles hurtling toward the earth below. He crash lands AGAIN, this time unmasked for all onlookers to see.

The fact that Phin ultimately uses the technology she developed not to take Roxxon, but to literally “go high” and save lives while paying for her own wrongdoings with her own life, is a poetic exclamation point at the end of an intensely personal story.

What happens now that Miles has been unmasked?

A few civilians—including his best friend Ganke, his mother Rio, Spidey ally Hailey, and the artist responsible for the Spider-Man mural outside Miles’s apartment building—discover Miles’ secret identity. A news reporter arrives as Miles flees the scene and asks the bystanders if they saw his face. They refuse to identify him and instead refer to him as “Our Spider-Man,” a refrain among the citizens of Harlem throughout the game. It seems as if his secret identity will remain safe for now.

This moment underlines one of the story’s main themes — that underrepresented, marginalized people deserve a hero they can call their own. They protect Miles’s identity because they know he’s one of them—he’s from THEIR neighborhood.

What happens to Uncle Aaron/The Prowler and Simon Krieg?

Four weeks after the incident at Roxxon Plaza, it’s revealed via radio host Danika that Uncle Aaron, also known as the Prowler, who briefly worked with Simon Krieger, flipped on his former associate, sending the evil CEO to prison in embarrassing fashion. He’ll do time himself but may get a reduced sentence. Like Phin, he’ll pay for his mistakes, but has also started to redeem himself in the process.

Read more

Games

Spider-Man: Miles Morales Suit Has Us Dreaming of An Into the Spider-Verse Game

By Matthew Byrd

Games

Marvel’s Spider-Man Miles Morales: Spider-Cat Twitter Reactions and Memes Are Amazing

By John Saavedra

Where do Miles and Peter stand?

By the end of the game, Miles has finally started to feel comfortable in his role as Harlem’s very own Spider-Man. We see him in a good mood, strutting down his block, flirting with Hailey underneath the Spider-Man mural (which now features his masked likeness in addition to Peter’s), and stopping for a quick bachata dance in his Timbs with an old lady before ducking into his apartment building. 

We then see Miles meet with Peter, who’s back from Europe, on his apartment building’s roof. Miles is wearing his new suit (updated with a slick hoodie), which Peter approves of. “Gotta be me,” says Miles as he casually sips coffee while hanging upside down, a nod to a moment between the two heroes at the start of the game that signifies he finally feels ready to be the hero he was meant to be. More importantly, he’s ready to be his true self.

“Roxxon did this uptown because they saw us as disposable,” Miles somberly explains to Peter. “I think part of our job is making sure they can’t get away with it.” This is a poignant moment that hits again on the idea that New York’s POC communities deserve heroes that represent them.

Why is Harry Osborn in that vat?

After the game’s credits, we cut to none other than Harry Osborne floating in a vat of murky green liquid. He sees his father, Norman, enter the lab he’s being held in and get an update on his recovery from the Lizard himself, scientist Curt Connors. Norman says that he wants his son out of the vat now, but Connors advises against this, citing Harry’s dangerous “disease,” but Norman is insistent.

This is actually the continuation of a story whose seed was planted in the original game, in which Peter conducted research for Harry across New York while he was handling Oscorp business “overseas.” In reality, Harry was sick the entire time, and the game’s deadly “Devil’s Breath” concoction was a failed attempt by Norman to cure him. In a short scene in the game, Norman vows to find a cure that actually works.

Now it seems that Norman has finally found a way to release Harry from his emerald cocoon, and this surely means we’ll be seeing Harry and Norman featured front and center in the inevitable Marvel’s Spider-Man sequel, with Harry suffering from side-effects from his treatment that turn him into the Green Goblin.

It’s also notable that in the scene we hear on the radio that Rio Morales’s campaign for city council was successful, which could mean Rio will play an even bigger role in the Spider-Man story to come.

What did Miles learn from his mom?

When all of the end game cinematics are through, we see Miles set down the science award he and Phin won together in middle school atop Trinity Church, as he says his final goodbye to his old friend. 

He then shares a conversation with Rio on the phone and they discuss his feelings about Phin. He says he’s conflicted about his feelings for his late friend because she caused so much damage but also ultimately gave her life to save others. She tells him that he doesn’t have to pass judgment on Phin’s life but simply remember why he loved her.

cnx.cmd.push(function() { cnx({ playerId: "106e33c0-3911-473c-b599-b1426db57530", }).render("0270c398a82f44f49c23c16122516796"); });

It’s a powerful note to end the story on, as Rio touches on the idea that people don’t simply fall into the categories of “good” or “bad.” This is a story about forgiveness and empathy, and no character exemplifies this more than Rio.

Marvel’s Spider-Man: Miles Morales is out on PlayStation 5 and PlayStation 4 now.

The post Marvel’s Spider-Man: Miles Morales Ending Explained appeared first on Den of Geek.

from Den of Geek https://ift.tt/2JWJeCw

#aion-rsa #Den of Geek

[kazephantom]

Spider-Man Homecoming thoughts

Well, my first one is kind of a spoiler but I think it is important to know.  Leave your expectations at the door.  This is a new version of Spider-Man, one that is different from any other version.  This is not Sam Rami Spider-Man, this is not Andrew Garfield Spider-Man, this is not Ultimate Spider-Man cartoon or comic, and this is not 616 Spider-Man.  This is a new version, a new interpretation of the character and mythos.  That being said, I liked it for what it is.

Thoughts and spoilers below the cut

The two best parts of the film are Tom Holland’s Peter Parker and Micheal Keaton’s Adrian Toomes.  The two actors play their characters so wonderfully well, Tom Holland’s Peter really, really reminds me of Tobey Maguire’s, from the voice he uses as Spider-Man, to how he sometimes comes off as lovably pathetic, and Hell, in some shots Tom Holland even starts looking like a younger Tobey Maguire.  That being said, he does tell more than one joke in the film, so his Spider-Man has that over Maguire’s. Oh, it should be noted though, he does not have Peter’s anger. Even in the scene where Tony takes away the tech suit, I really expected him to get angry there and show that aspect of the character off, but instead he just, kinda starts to cry.  Which, I don’t know how to feel about. 

Micheal Keaton. Hands down. Plays the best MCU villain. To date. Better than Loki. There I said it.  Hiddleston’s Loki has always had the problem of being too sympathetic to be taken seriously as a villain.  But Keaton. Holy shit. Everything he does is for his family, there’s a scene where he’s with his family and he is so sweet and caring and a perfect father and husband, but then. HOO BOY. That car scene. The scene where Keaton is dropping Peter and Liz off at the dance, I had white knuckles all the way through it.  The way he made Peter say ‘Thank you’ was terrifying.  And the way he found out Peter was Spider-Man, as they drive and you start to see Keaton put the pieces together. HO-LY SH-IT.  Only problem: nobody ever in this whole film calls him “The Vulture.”

Two more important notes about Spider-Man. First, Remember how in Civil War he was really, really strong?  Well forget that, because in this film he’s really, really weak.  Like, the weakest we’ve ever seen him.  Not just his strength, but also his sticky powers.  It is commonly accepted that Spider-Man’s stickiness is absolute, that it is an unbreakable molecular bond. When he sticks to something, if you try to remove him from it you will break the thing he is stuck to before the sticky bond comes undone.  Well forget that.  Because in this film Spider-Man is slippy and sliding all over the place when he’s sticking. Not just when he’s on a plane and in huge wind resistance where it might make sense, but when he’s climbing the Washington Monument, he can be seen sliding and loosing his grip on that too.  This could just be chalked up to him being nervous and inexperienced, but I really, really, really hope that it changes going forward and that Marvel can stay consistent with how strong this version of Spider-Man is supposed to be. Oh yeah, and no, at no point in the film did Spider-Man ever express his Spider-Sense.  I really hope this is just a case of “his powers are still growing”

Second point, that inexperienced bit.  Yeah. This is the most inexperienced Spider-Man we have seen on film to date.  I think the best symbol for this is the fact that this Spider-Man never once webswings in the city.  He is always shown in the residential neighborhoods, never once does he really webswing around.  He never goes to the big buildings.  Again, for this movie I liked that and it fit it’s tone, but I really hope the next film has him going all out, and has him in true form.

No Daily Bugle, no J. Jonah Jameson. I really think they were afraid to recast him after J.K. Simmons’ legendary performance, and as humorous as that is, I’m kind of sick of it.  Just recast already, we’re at the point now where it’ll be ok. Bite the bullet on this. 

I was one of those people who was really afraid this film would turn out to be Iron Man 4, and I am happy, so so so happy to say it is not.  Yes, Tony is in this, yes Iron Man is in this, but it’s not too much.  Tony really only has four relatively short scenes that I can remember, but they are important scenes plot wise.  I think he basically shows up to open and close every act.  The movie is definitely about Peter though, thank god.

Oh yeah, and the Iron Spider is in the film. Or, a version of it.  It invokes feelings of the Iron Spider, what with being an armored costume for Spider-Man, but in the end Peter turns it down and all for the better..... but I want a figure of it.  It was kinda hard to see the design, since it was in shadow a little, and there was no glory shot of it, but what I saw of it was cool and I want a figure of it.

Best Aunt May, her role in the film is what every Aunt May’s role should be. Oh, and that was the absolute best way to end the film “WHAT THE FU--”

Oh yeah, I was also worried about the highschool setting, since 30 year old writers pretty much never know what a modern highschool is like, (I’m 23, only 5 years out from it), but this highschool setting was perfect. The teachers. Just. Did. Not. Fucking. Care.  And that is so much my highschool experience.

Zendaya is MJ, but she’s not Mary Jane, and she’s really only there to set-up for the sequel.  It’s really nice set-up though.  They seem to have a good grasp on the idea of MJ’s character, how she wears a metaphorical mask to hide her true self just like how Peter wears a literal mask.  All we see in this film is her metaphorical mask persona and it’s good to be acquainted with that before exploring her further.  NOW, Yes, I would have preferred 616 the-mask-is-a-party-girl-Mary-Jane, and yes, Changing the character’s real name to Michelle is absolutely fucking unnecessary and stupid.  But I think it’s too early to judge this version of the character because we have so little information about them. 

Also there to set-up for the sequel is Mac Gargan, he has a role in the film itself as one of the people buying Vulture’s tech, but really his most important bit is the mid-credits scene, where he sets up the Sinister Six, and then Micheal Keaton’s Vulture wonderfully knocks that set-up down.  Also, he does not become Scorpion in this, though if he does come back in the sequel to be Scorpion I’d be cool with it.  His character is pretty much a total psychopath and we haven’t seen Spidey fight a villain like that in the movies yet.

That being said, if the next movie is Sinister Six I have total faith in Marvel to be able to do it, since this film had Vulture, Tinkerer, Prowler, Scorpion, and two Shockers in it, yet it never felt like that weighed the film down. Showing Spider-Man 3 and The Amazing Spider-Man 2 once and for all that it doesn’t matter how many villains you have, it’s how you use them that matters

The post-credits scene is the funniest one yet. Funnier than Deadpool’s even. 

Now, there are two things about this movie that I absolutely LOATHE... or, at least don’t like and think were completely unnecessary

Ned-- Holy fuck he was annoying.  His dialogue was nowhere as cringy as it was in the trailers, since they did that thing were they used alternate takes for the trailer lines, and yeah, the trailers for this film did not do it justice at all.  Ned’s “But you are a kid” line in the trailers sounds so forced and poorly acted, like he’s trying to be epic about it but comes off instead like he’s out of breath, but in the film it is so much more natural and quick. Back to the point though.  Yeah, he’s just Ganke.  They stole Ganke from Miles, gave him a white guy name, and gave him to Peter. And ‘Nedke’ and Peter do not have the same chemistry that Miles and Ganke have. Nedke’s role in the film is basically to just be a tool, a tool for the film so that Peter has someone to talk to to explain things too, and someone to be really, really stupid.  And that role would’ve been served so so so so so much better by Harry Osborn without the stupidity.  There is a montage at one point where Nedke is asking Peter a bunch of Spider-Man questions out in the open and Peter is just trying to get him to shut up, and it was so annoying I wished Peter would punch him in the fucking face. ....That being said he had one of the funniest jokes in the movie. “I’m... watching porn?”

Karen-- Hoo-boy. Ok. So. Spider-Man really is kind of just an Iron Man Jr. Even down to the fact that his suit has it’s own AI that talks to him and tells him what to do and stuff.  The taser webs are stupid and unnecessary, as is so so so much of the tech in Peter’s suit.  I’m glad that the webwings are clearly shown to just be for short range gliding, but I still think they’re unnecessary.  The film seems to go out of it’s way to show how Peter’s standard webline could be limited in certain situations, from being in a residential neghborhood, to climbing the Washington Monument where there’s nothing else around to swing on, setting an action scene on a boat (which how Iron Man saved that boat is completely physics defying), to even having Peter go way up into the air on a plane.  Back on point, yeah, Spider-Man’s suit has a completely unnecessary AI.  It’s only real purpose in the entire film is to be the punch line to one joke where the AI, which should have no human emotions or concept of human relations, tells Peter to kiss Liz. 

Other things I didn’t like but don’t really get on my nerves too much

The music sucked.  Just, sucked.  The only one that was any good was the orchestral version of the 60′s theme song.  I’m really torn with which theme I like better, the Orchestral 60′s or the Rami theme.  One of these days though, I need to put together a Spider-Man playlist and show these films what that should be like.

Peter didn’t end up beating the villain, he just won through pure coincidence.  Which I guess can be part of the point and audiences might be tired of the “good guy wins through a fist fight” climax, but still, Peter’s victory in this just, didn’t feel earned.  He didn’t show Vulture error of his ways, or talk him out of a life of crime, Vulture’s wings just took on enough coincidental damage to finally explode of their own accord.

Alright, I think that’s everything I wanna get down.  Or at least everything I can think of right now.  I’m tired now, gunna go watch some reviews, see what others thought and hopefully get to see this film in theaters again soon with friends.

#Spider-Man #Spider-Man Homecoming #Marvel #MCU #Peter Parker #Tom Holland #Spiderman