It’s been said that Doctor Doom is not just one of the greatest supervillains of all time but rather that he’s the supervillain, the one that defines them all.
Whenever Doom appears, he's always a huge threat. That’s evident from his very first appearance in Fantastic Four #5 by Stan Lee and Jack Kirby, when he kidnaps Sue Storm and forces the rest of the FF to travel back in time to steal Blackbeard’s treasure to help him conquer the world. He later teamed up with Namor the Sub-Mariner to send the team into space --- by literally magnetizing the Baxter Building and attaching it to a rocket ship. Of course, he double crosses Namor and the FF. But Namor gets the upper hand and gets the FF back to Earth, leaving Doom on an asteroid careening out into space. But do you think that stopped him?
What makes a great villain? Do they need a detailed backstory to explain their crooked ways, or are they inhuman, too monstrous for redemption? Some of the best villains of modern times come from the world of kids' cartoons, when their nefarious ways can really make an impression on young viewers. But don't be fooled into thinking that, because these villains were designed for kids, they lack the kind of complexity that makes the best villains compelling.
We've put together a list of some of the very best children's cartoon villains, and we've attempted to explain what it is about these characters that continues to scare us long after we grew out of the target audience range.
Q: What Halloween-y monster fits into the second-most different narrative roles, behind Dracula? -- @crookedknight
A: First things first, you are right to put Dracula at the top of the list. I've been through this before, but for anyone just joining us who hasn't heard me go through it for five or six hours, Dracula is the best. He's been around long enough and often enough that everyone pretty much knows what his deal is just from hearing the name, and you can drop him into any story in virtually any role. He can be a villain, an uneasy ally, a shadowy figure manipulating things from behind the scenes, and even, occasionally, a globetrotting protagonist battling things even worse than he is. He can be bloodthirsty fiend, sophisticated devil, reluctant hero, or all of the above.
But given all that, it there's one choice for the spooky silver medal that seems so obvious that I was surprised I got this question. It has to be Frankenstein. Right?
Welcome to Cast Party, the feature that imagines a world with even more live action comic book adaptations than we currently have, and comes up with arguably the best casting suggestions you’re ever going to find for the movies and shows we wish could exist. Halloween is here, and we're celebrating by imagining a film based on Marvel's Tomb of Dracula, a classic Bronze Age series by Gerry Conway, Marv Wolfman, Gene Colan, and Tom Palmer.
The heroes of fiction tend to conform to a certain type — straight, cisgender, male — and the quests that they go on tend to share common elements. 'Boy meets girl' is a familiar phrase because we expect a male protagonist to meet, seduce, and try to save a female love interest as part of his 'quest'. And because finding a mate is so often part of the hero's journey, villains often get to represent a counterpoint; they challenge the narrative, subvert the norm, and... queer things up. With so much fiction being heteronormative, villains often get to play with gender and sexuality in ways that heroes don't.
The queer or queer-themed villain is a trope that has led to some frustrating and upsetting stereotypes, but it's also led to some rich, compelling, and magnetic characters — characters that sometimes have a lot to offer to audiences hungry for representation and uncomfortable with the expectation of 'boy meets girl'. A villain's methods may be questionable, but their desire to overturn the accepted order can hold some appeal.
To celebrate Villain Month on ComicsAlliance, and to mark that intersection of villainy and queerness in fiction, we've asked our writers, 'Who is your favorite queer comics villain'?
Welcome back to another Agents of S.O.M.E.T.H.I.N.G., where we’ll take you through all the thing we loved and the things we didn’t about this week’s episode of Agents of S.H.I.E.L.D.. This week we discover what happened to Simmons on her summer holidays. '4,722 Hours' was directed by Jesse Bochco and written by Craig Titley.
Comics coloring has come a long way since the "four-color" process of yesteryear. As printing and technological innovations allow for greater artistic improvisation, colorists today are blessed with a wider palette, easier research, and the (deserved) recognition that they're an equal part of an artistic team.
Muntsa Vicente is one of the few colorists working in comics today who's able to evoke the limited color schemes of those old comics, without letting her own style be subsumed.
Welcome back to Up To Speed, in which Flash TV show veteran Dylan Todd and newbie Ziah Grace break down the latest episode of The Flash, dispense some Flash Facts, and talk about what works, what doesn’t, and where the series might be headed.
Episode Four gives us further Firestorm action, more West family drama, Caitlin Snow being kind of a jerk, and, improbably, King Shark on television and in the homes of millions. ‘The Fury of Firestorm’ was directed by Stefan Pleszczynski, and written by Kai Yu Wu and Joe Peracchio.
Welcome to Supergirl Guys, our new regular feature breaking down the highs and lows of CBS's Supergirl TV show starring Melissa Benoist in the super smiling title role. Your travelling companions on this journey are Superman super-fan Chris Haley, and Good Wife superfan Dylan Todd.
The series kicks off with a dense first hour, introducing Kara, CatCo, the villains, the love triangle, the mean ol' military, and a crashed spaceship full of future villains-of-the-week. The pilot was directed by Glen Winter, with story by Greg Berlanti, Ali Adler and Andrew Kreisberg, and teleplay by Ali Adler.
Professor James Moriarty, the “Napoleon of Crime” and the arch-nemesis of Sherlock Holmes, is one of the most iconic villains in fiction. And that’s always been a little odd.
As any die-hard Sherlockian could tell you, if you go strictly by "the Canon" — the four Sherlock Holmes novels and 56 short stories written by Sir Arthur Conan Doyle — Moriarty is not all that important. Referenced in the novel The Valley of Fear and a few later short stories, Moriarty only really appears in 'The Adventure of the Final Problem', where he does what he was created to do: kill off Holmes so Doyle wouldn’t have to write him anymore. Obviously, this didn’t last.
Moriarty really only gained his mythic status and place as Holmes’ rival through later adaptations in radio, film, TV and of course comics. For their part, outside of direct Canon adaptions, comics have tended to portray Moriarty as an antihero.
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