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How Many People Are Registered To Run Heroes And Villians Key West

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Type of stock character

A superhero or superheroine is a stock character that possesses superpowers, abilities beyond those of ordinary people, and fits the function of the hero, typically using his or her powers to assistance the world get a better place, or dedicating themselves to protecting the public and fighting crime. Superhero fiction is the genre of fiction that is centered on such characters,[1] peculiarly, since the 1930s, in American comic books (and later in Hollywood films, motion-picture show serials, television receiver and video games), as well as in Japanese media (including kamishibai, tokusatsu, manga, anime and video games).

Superheroes come from a broad array of different backgrounds and origins. Some superheroes (for case, Batman and Iron Human being) derive their status from avant-garde engineering they create and use, while others (such as Superman and Spider-Human) possess not-human or superhuman biology or written report and practice magic to achieve their abilities (such as Zatanna and Doctor Strange).[ii] [3] [4] While the Lexicon.com definition of "superhero" is "a effigy, especially in a comic strip or cartoon, endowed with superhuman powers and commonly portrayed as fighting evil or crime",[5] the longstanding Merriam-Webster dictionary gives the definition every bit "a fictional hero having extraordinary or superhuman powers; besides: an exceptionally adept or successful person."[6] Terms such as masked crime fighters, costumed adventurers or masked vigilantes are sometimes used to refer to characters such every bit the Spirit, who may not be explicitly referred to as superheroes but nevertheless share similar traits.

Some superheroes utilise their powers to assistance fight daily crime while also combating threats against humanity from supervillains, who are their criminal counterparts. Often at least one of these supervillains will be the superhero's archenemy or nemesis. Some popular supervillains become recurring characters in their own right. Long-running superheroes and superheroines such equally Batman, Superman, Wonder Woman, Spider-Man, Helm America, and Fe Human have a rogues gallery of many such villains.

History

1900s–1939

The give-and-take superhero dates back to 1899.[7] Antecedents of the archetype include such mythologic characters like Gilgamesh, Hanuman, Perseus, Odysseus, David, and demigods like Heracles,[8] [9] also as folkloric heroes as Robin Hood, who adventured in distinctive clothing.[ten] Existent life inspirations behind costumed superheroes can exist traced back to the "masked vigilantes" of the American Onetime West such as the San Diego Vigilantes[11] and the Bald Knobbers[12] who fought and killed outlaws while wearing masks.[13] The French graphic symbol L'Oiselle, created in 1909, can be classed as a superheroine.[14]

The 1903 British play The Scarlet Pimpernel and its spinoffs popularized the idea of a masked avenger and the superhero trope of a secret identity.[10] Shortly after, masked and costumed pulp fiction characters such as Jimmie Dale/the Gray Seal (1914), Zorro (1919), Buck Rogers (1928), The Shadow (1930), Flash Gordon (1934), and comic strip heroes, such every bit the Phantom (1936) began appearing, as did not-costumed characters with super forcefulness, including the comic-strip characters Patoruzú (1928) and Popeye (1929) and novelist Philip Wylie'southward character Hugo Danner (1930).[15] Some other early instance was Sarutobi Sasuke, a Japanese superhero ninja from children's novels in the 1910s;[16] [17] [18] by 1914, he had a number of superhuman powers and abilities.[16] In Baronial 1937, in a letter cavalcade of the pulp magazine Thrilling Wonder Stories, the word superhero was used to define the title graphic symbol of the comic strip Zarnak past Max Plaisted.[xix] [20]

In the 1930s, the trends converged in some of the earliest superpowered costumed heroes, such as Japan's Ōgon Bat (1931) and Prince of Gamma (early 1930s), who kickoff appeared in kamishibai (a kind of hybrid media combining pictures with alive storytelling),[21] [22] Mandrake the Magician (1934),[23] [24] [25] Olga Mesmer (1937)[26] and then Superman (1938) and Helm Marvel (1939) at the starting time of the Golden Age of Comic Books. The precise era of the Golden Historic period of Comic Books is disputed, though most concord that it was started with the launch of Superman in 1938.[27] Superman has remained ane of the most recognizable superheroes,[27] and his success spawned a new archetype of characters with secret identities and superhuman powers.[28] [29] [30] At the end of the decade, in 1939, Batman was created past Bob Kane and Neb Finger.

1940s

During the 1940s there were many superheroes: The Flash, Green Lantern and Blue Beetle debuted in this era. This era saw the debut of one of the earliest female superheroes, writer-creative person Fletcher Hanks's character Fantomah, an ageless ancient Egyptian woman in the modern day who could transform into a skull-faced creature with superpowers to fight evil; she debuted in Fiction House's Jungle Comic #2 (Feb. 1940), credited to the pseudonymous "Barclay Flagg".[31] [32] The Invisible Cerise O'Neil, a non-costumed character who fought crime and wartime saboteurs using the superpower of invisibility created by Russell Stamm, would debut in the eponymous syndicated newspaper comic strip a few months afterwards on June 3, 1940.[33]

In 1940, Maximo the Amazing Superman debut in Big Trivial Book serial, by Russell R. Winterbotham (text), Henry E. Vallely and Erwin L. Hess (art).[34] [35]

Helm America too appeared for the first time in impress in Dec 1940, a year prior to the attack on Pearl Harbor by the Japanese government, when America was still in isolationism. Created past Joe Simon and Jack Kirby, the superhero was the physical apotheosis of the American spirit during Globe State of war II.

1 superpowered grapheme was portrayed as an antiheroine, a rarity for its time: the Blackness Widow, a costumed emissary of Satan who killed evildoers in club to send them to Hell—debuted in Mystic Comics #iv (Aug. 1940), from Timely Comics, the 1940s predecessor of Marvel Comics. Most of the other female person costumed crime-fighters during this era lacked superpowers. Notable characters include The Woman in Ruddy,[36] [37] introduced in Standard Comics' Thrilling Comics #ii (March 1940); Lady Luck, debuting in the Sunday-newspaper comic-book insert The Spirit Section June 2, 1940; the comedic graphic symbol Red Tornado, debuting in All-American Comics #20 (Nov 1940); Miss Fury,[38] debuting in the eponymous comic strip past female cartoonist Tarpé Mills on April vi, 1941; the Phantom Lady, introduced in Quality Comics Law Comics #1 (Aug. 1941); the Blackness Cat,[39] [40] introduced in Harvey Comics' Pocket Comics #1 (also Aug. 1941); and the Black Canary, introduced in Flash Comics #86 (Aug. 1947) as a supporting character.[41] The almost iconic comic volume superheroine, who debuted during the Golden Age, is Wonder Woman.[42] Modeled from the myth of the Amazons of Greek mythology, she was created by psychologist William Moulton Marston, with assistance and inspiration from his wife Elizabeth and their mutual lover Olive Byrne.[43] [44] Wonder Woman'due south first appearance was in All Star Comics #8 (Dec. 1941), published by All-American Publications, one of two companies that would merge to grade DC Comics in 1944.

Pérák was an urban legend originating from the city of Prague during the German occupation of Czechoslovakia in the midst of World War II. In the decades following the war, Pérák has also been portrayed as the simply Czech superhero in movie and comics.

1950s

In 1952, Osamu Tezuka's manga Tetsuwan Cantlet, more than popularly known in the West as Astro Boy, was published. The series focused upon a robot male child built by a scientist to supercede his deceased son. Being built from an incomplete robot originally intended for military purposes Astro Boy possessed amazing powers such as flight through thrusters in his anxiety and the incredible mechanical strength of his limbs.

The 1950s saw the Argent Historic period of Comics. During this era DC introduced the likes of Batwoman in 1956, Supergirl[ disambiguation needed ], Miss Arrowette, and Bat-Girl; all female derivatives of established male superheroes.

In 1957 Japan, Shintoho produced the first motion picture series featuring the superhero character Super Giant, signaling a shift in Japanese popular culture towards tokusatsu masked superheroes over kaiju giant monsters. Forth with Astro Male child, the Super Giant serials had a profound effect on Japanese television. 1958 saw the debut of superhero Moonlight Mask on Japanese television. It was the first of numerous televised superhero dramas that would make up the tokusatsu superhero genre.[45] Created by Kōhan Kawauchi, he followed-up its success with the tokusatsu superhero shows Seven Color Mask (1959) and Messenger of Allah (1960), both starring a young Sonny Chiba.

1960s

It is arguable that the Marvel Comics teams of the early 1960s brought the biggest assortment of superheroes ever at one time into permanent publication, the likes of Spider-Man (1962), The Hulk, Iron Man, Daredevil, Nick Fury, The Mighty Thor, The Avengers (featuring a rebooted Captain America, Thor, Hulk, Emmet-Man, Quicksilver), and many others were given their own monthly titles.

Typically the superhero super groups featured at least 1 (and often the simply) female member, much like DC's flagship superhero team the Justice League of America (whose initial roster included Wonder Woman equally the token female); examples include the Fantastic Iv'southward Invisible Daughter, the X-Men's Jean Grey (originally known as Curiosity Girl), the Avengers' Wasp, and the Brotherhood of Mutants' Scarlet Witch (who later joined the Avengers) with her brother, Quicksilver.

In 1963, Astro Male child was adapted into a highly influential anime television series. Phantom Agents in 1964 focused on ninjas working for the Japanese government and would be the foundation for Sentai-blazon series. 1966 saw the debut of sci-fi/horror series Ultra Q created by Eiji Tsuburaya this would eventually lead on to the sequel Ultraman, spawning a successful franchise which pioneered the Kyodai Hero subgenre where the superheroes would be every bit big as giant monsters (kaiju) that they fought.

The kaiju monster Godzilla, originally a villain, began being portrayed as a radioactive superhero in the Godzilla films,[46] starting with Ghidorah, the Three-Headed Monster (1964).[47] By the 1970s, Godzilla came to be viewed as a superhero, with the mag Male monarch of the Monsters in 1977 describing Godzilla equally "Superhero of the '70s."[48]

1970s

In 1971, Kamen Rider launched the "Henshin Boom" on Japanese television in the early 1970s, greatly impacting the tokusatsu superhero genre in Japan.[49] In 1972, the Scientific discipline Ninja Team Gatchaman anime debuted, which built upon the superhero team thought of the live-action Phantom Agents besides as introducing dissimilar colors for team members and special vehicles to support them, said vehicles could also combine into a larger i. Another important event was the debut of Mazinger Z by Get Nagai, creating the Super Robot genre. Get Nagai also wrote the manga Cutey Honey in 1973; although the Magical Daughter genre already existed, Nagai's manga introduced Transformation sequences that would become a staple of Magical Girl media.

The 1970s would run across more anti-heroes introduced into Superhero fiction such examples included the debut of Shotaro Ishinomori's Skull Man (the ground for his later Kamen Rider) in 1970, Go Nagai'south Devilman in 1972 and Gerry Conway and John Romita'southward Punisher in 1974.

The night Skull Man manga would later become a television accommodation and underwent desperate changes. The character was redesigned to resemble a grasshopper, condign the renowned first masked hero of the Kamen Rider serial. Kamen Rider is a motorbike riding hero in an insect-similar costume, who shouts Henshin (Metamorphosis) to don his costume and gain superhuman powers.

The ideas of second-wave feminism, which spread through the 1960s into the 1970s, greatly influenced the manner comic book companies would draw as well every bit market place their female person characters: Wonder Adult female was for a fourth dimension revamped as a mod-dressing martial creative person directly inspired past the Emma Pare grapheme from the British television series The Avengers (no relation to the superhero squad of the same proper name),[50] but afterward reverted to Marston's original concept after the editors of Ms. magazine publicly disapproved of the character existence depowered and without her traditional costume;[51] Supergirl was moved from being a secondary characteristic on Activeness Comics to headline Run a risk Comics in 1969; the Lady Liberators appeared in an issue of The Avengers equally a group of mind-controlled superheroines led by Valkyrie (actually a disguised supervillainess) and were meant to exist a caricatured parody of feminist activists;[52] and Jean Grey became the embodiment of a cosmic being known as the Phoenix Strength with seemingly unlimited ability in the late 1970s, a stark contrast from her depiction as the weakest member of her team a decade ago.

Both major publishers began introducing new superheroines with a more distinct feminist theme every bit role of their origin stories or character development. Examples include Big Barda, Ability Girl, and the Huntress past DC comics; and from Curiosity, the 2nd Black Widow, Shanna the She-Devil, and The True cat.[53] Female supporting characters who were successful professionals or hold positions of dominance in their own correct also debuted in the pages of several pop superhero titles from the late 1950s onward: Hal Jordan's love interest Carol Ferris was introduced as the Vice-President of Ferris Aircraft and later took over the company from her father; Medusa, who was start introduced in the Fantastic Four serial, is a member of the Inhuman Royal Family and a prominent statesperson within her people's quasi-feudal society; and Carol Danvers, a decorated officer in the Us Air Force who would go a costumed superhero herself years later.

In 1975 Shotaro Ishinomori'southward Himitsu Sentai Gorenger debuted on what is now TV Asahi, it brought the concepts of multi-colored teams and supporting vehicles that debuted in Gatchaman into alive-activeness, and began the Super Sentai franchise (afterwards adapted into the American Ability Rangers serial in the 1990s). In 1978, Toei adapted Spider-Man into a live-action Japanese idiot box serial. In this continuity, Spider-Human being had a vehicle called Marveller that could transform into a giant and powerful robot called Leopardon, this idea would be carried over to Toei's Battle Fever J (also co-produced with Marvel) and now multi-colored teams not but had support vehicles simply giant robots to fight giant monsters with.

1980–nowadays

In subsequent decades, popular characters similar Dazzler, She-Hulk, Elektra, Catwoman, Witchblade, Spider-Girl, Batgirl and the Birds of Prey became stars of long-running eponymous titles. Female person characters began assuming leadership roles in many ensemble superhero teams; the Uncanny X-Men serial and its related spin-off titles in particular have included many female characters in pivotal roles since the 1970s.[54] Volume 4 of the 10-Men comic volume series featured an all-female team as part of the Curiosity Now! branding initiative in 2013.[55] Superpowered female characters like Buffy the Vampire Slayer[56] and Darna[57] [58] accept a tremendous influence on pop civilisation in their respective countries of origin.

With more and more anime, manga and tokusatsu beingness translated or adapted, Western audiences were beginning to experience the Japanese styles of superhero fiction more than than they were able to before. Saban's Mighty Morphin Power Rangers, an adaptation of Zyuranger, created a multimedia franchise that used footage from Super Sentai.[59] Internationally, the Japanese comic volume graphic symbol, Sailor Moon, is recognized as one of the about of import and popular female superheroes ever created.[sixty] [61] [62] [63] [64]

Trademark condition

Most dictionary definitions and common usages of the term are generic and not limited to the characters of any particular visitor or companies.[7] [65]

All the same, variations on the term "Super Hero" or "Superhero" are jointly claimed by DC Comics and Marvel Comics every bit trademarks. Registrations of "Super Hero" marks take been maintained by DC and Marvel since the 1960s, including U.S. Trademark Serial Nos. 72243225 and 73222079.[66] In 2009, the term "Super Heroes" was registered as a typography-independent "descriptive" U.s.a. trademark co-owned past DC and Marvel.[67] Both DC Comics and Marvel Comics take been assiduous in protecting their rights in the "Super Hero" trademarks in jurisdictions where the registrations are in force, including the United States, the United Kingdom, and Commonwealth of australia, and including in respect of various goods and services falling exterior comic book publications.[68]

Critics in the legal customs dispute whether the "Super Hero" marks encounter the legal standard for trademark protection in the The states: distinctive designation of a single source of a product or service. Controversy exists over each element of that standard: whether "Super Hero" is distinctive rather than generic, whether "Super Hero" designates a source of products or services, and whether DC and Marvel jointly represent a unmarried source.[69] Some critics further characterize the marks as a misuse of trademark police to arctic contest.[70] To date, aside from a failed trademark removal action brought in 2016 against DC Comics' and Curiosity Comics' United Kingdom registration, no dispute involving the trademark "Super Hero" has ever been to trial or hearing.[68]

Minority superheroes

In keeping with their origins as representing the archetypical hero stock character in 1930s American comics, superheroes are predominantly depicted as White American heart- or upper-class young adult males and females who are typically alpine, athletic, educated, physically attractive and in perfect wellness. Beginning in the 1960s with the civil rights movement in the United States, and increasingly with the rising concern over political correctness in the 1980s, superhero fiction centered on cultural, ethnic, national, racial and language minority groups (from the perspective of Usa demographics) began to be produced. This began with depiction of black superheroes in the 1960s, followed in the 1970s with a number of other ethnic-minority superheroes.[71] In keeping with the political mood of the time, cultural diverseness and inclusivism would be an important role of superhero groups starting from the 1980s. In the 1990s, this was further augmented by the first depictions of superheroes every bit homosexual. In 2017, Sign Factor emerged, the first group of deafened superheroes with superpowers through the use of sign language.[72]

Female superheroes and villains

Female person super heroes—and villains—have been around since the early years of comic books dating back to the 1940s.[73] The representation of women in comic books has been questioned in the past decade post-obit the ascension of comic book characters in the picture industry (Marvel/DC movies). Women are presented differently than their male person counterparts, typically wearing revealing clothing that showcases their curves and cleavage and showing a lot of pare in some cases.[74] [75] Heroes like Power Girl and Wonder Adult female are portrayed wearing little wear and showing cleavage.[74] [75] Power Girl is portrayed equally wearing a suit not different the swimsuits in the T.V. show Baywatch. The sexualization of women in comic books can exist explained mainly by the fact that the majority of writers are male.[75] Not only are the writers mostly male, just the audience is mostly male also.[76] [75] Therefore, writers are designing characters to entreatment to a mostly male audience.[76] [77] The super hero characters illustrate a sociological thought called the "male gaze" which is media created from the viewpoint of a normative heterosexual male.[77] [78] The female characters in comic books are used to satisfy male person desire for the "ideal" woman (pocket-sized waist, large breasts, toned, able-bodied torso).[77] [79] [75] These characters accept god-similar ability, but the most easily identifiable feature is their hyper sexualized bodies as they are designed to be sexually pleasing to the hypothetical heteronormative male audience.[74] [78] [79] [75]

Villains, such as Harley Quinn and Poisonous substance Ivy, use their sexuality to take advantage of their male victims.[75] In the film versions of these characters, their sexuality and seductive methods are highlighted. Toxicant Ivy uses seduction through poison to take over the minds of her victims every bit seen in the 1997 film Batman and Robin. Harley Quinn in 2016's Suicide Squad uses her sexuality to her reward, acting in a promiscuous style.

Through the overdeveloped bodies of the heroes or the seductive mannerisms of the villains, women in comic books are used as subordinates to their male counterparts, regardless of their strength or power.[80] In 2017's Wonder Woman, she had the power of a god, but was still fatigued to a much weaker, mortal male person character.[78] This can exist explained by the sociological concept "feminine apologetic," which reinforces a woman's femininity to account for her masculine attributes (force, individualism, toughness, aggressiveness, bravery).[78] Women in comic books are considered to exist misrepresented due to being created by men, for men.[77] [79]

The Hawkeye Initiative is a website satirizing the sexualized portrayal of women in comics by recreating the same poses using male person superheroes, especially Marvel'southward Hawkeye.[81] [82] [83]

Indigenous and religious minorities

In 1966, Marvel introduced the Black Panther, an African monarch who became the first non-caricatured blackness superhero.[84] The first African-American superhero, the Falcon, followed in 1969, and three years later, Luke Cage, a self-styled "hero-for-rent", became the beginning black superhero to star in his own series. In 1989, the Monica Rambeau incarnation of Captain Marvel was the first female black superhero from a major publisher to go her own championship in a special ane-shot issue. In 1971, Red Wolf became the first Native American in the superheroic tradition to headline a series.[85] In 1973, Shang-Chi became the kickoff prominent Asian superhero to star in an American comic book (Kato had been a secondary character of the Dark-green Hornet media franchise series since its inception in the 1930s.[86]). Kitty Pryde, a member of the Ten-Men, was an openly Jewish superhero in mainstream American comic books as early as 1978.[87]

Comic-book companies were in the early on stages of cultural expansion and many of these characters played to specific stereotypes; Muzzle and many of his contemporaries often employed lingo similar to that of blaxploitation films, Native Americans were oft associated with shamanism and wild animals, and Asian Americans were oftentimes portrayed as kung fu martial artists. Subsequent minority heroes, such equally the X-Men's Storm and the Teen Titans' Cyborg avoided such conventions; they were both part of ensemble teams, which became increasingly various in subsequent years. The X-Men, in particular, were revived in 1975 with a line-upwards of characters fatigued from several nations, including the Kenyan Tempest, German Nightcrawler, Soviet/Russian Colossus, Irish Banshee, and Japanese Sunfire. In 1993, Milestone Comics, an African-American-endemic media/publishing company entered into a publishing agreement with DC Comics that allowed them to innovate a line of comics that included characters of many ethnic minorities. Milestone's initial run lasted 4 years, during which it introduced Static, a character adapted into the WB Network animated series Static Daze.

In add-on to the creation of new minority heroes, publishers have filled the identities and roles of once-Caucasian heroes with new characters from minority backgrounds. The African-American John Stewart appeared in the 1970s as an alternating for World's Light-green Lantern Hal Jordan, and would become a regular fellow member of the Green Lantern Corps from the 1980s onward. The creators of the 2000s-era Justice League animated series selected Stewart every bit the prove'south Dark-green Lantern. In the Ultimate Marvel universe, Miles Morales, a youth of Puerto Rican and African-American ancestry who was also bitten past a genetically-altered spider, debuted as the new Spider-Homo after the credible death of the original Spider-Homo, Peter Parker. Kamala Khan, a Pakistani-American Muslim teenager who is revealed to have Inhuman lineage later on her shapeshifting powers manifested, takes on the identity of Ms. Marvel in 2014 after Carol Danvers had become Captain Curiosity. Her self-titled comic book serial became a cultural phenomenon, with extensive media coverage by CNN, the New York Times and The Colbert Report, and embraced by anti-Islamophobia campaigners in San Francisco who plastered over anti-Muslim bus adverts with Kamala stickers.[88] Other such successor-heroes of color include James "Rhodey" Rhodes every bit Atomic number 26 Homo and to a lesser extent Riri "Ironheart" Williams, Ryan Choi as the Atom, Jaime Reyes as Bluish Beetle and Amadeus Cho as Hulk.

Certain established characters accept had their ethnicity changed when adapted to some other continuity or media. A notable example is Nick Fury, who is reinterpreted equally African-American both in the Ultimate Marvel as well as the Marvel Cinematic Universe continuities.

Sexual orientation and gender identity

In 1992, Curiosity revealed that Northstar, a member of the Canadian mutant superhero squad Alpha Flight, was homosexual, afterward years of implication.[89] This ended a long-standing editorial mandate that at that place would exist no homosexual characters in Marvel comics.[90] Although some pocket-size secondary characters in DC Comics' mature-audition 1980s miniseries Watchmen were gay, and the reformed supervillain Pied Piper came out to Wally West in an consequence of The Flash in 1991, Northstar is considered to be the first openly gay superhero appearing in mainstream comic books. From the mid-2000s onward, several established Marvel and DC comics characters (or a variant version of the pre-existing character) were outed or reintroduced as LGBT individuals by both publishers. Examples include the Mikaal Tomas incarnation of Starman in 1998; Colossus in the Ultimate X-Men series; Renee Montoya in DC's Gotham Primal series in 2003; the Kate Kane incarnation of Batwoman in 2006; Rictor and Shatterstar in an issue of X-Factor in 2009; the Gold Age Green Lantern Alan Scott is reimagined as openly gay following The New 52 reboot in 2011;[91] [92] and in 2015, a younger time displaced version of Iceman in an issue of All-New X-Men.[93]

Many new openly gay, lesbian and bisexual characters have since emerged in superhero fiction, such as Gen¹³'south Rainmaker, Apollo and Midnighter of The Authority, and Wiccan and Hulkling of the Young Avengers. Notable transgender or gender angle characters are fewer in number past comparison: the change ego of superheroine Zsazsa Zaturnnah, a seminal character in Philippine popular culture,[94] is an effeminate gay man who transforms into a female superhuman after ingesting a magical rock. Desire from Neil Gaiman's The Sandman series, Cloud from Defenders, and Xavin from the Runaways are all characters who could (and often) change their gender at volition. Alysia Yeoh, a supporting grapheme created by author Gail Simone for the Batgirl ongoing series published past DC Comics, received substantial media attending in 2011 for existence the kickoff major transgender character written in a contemporary context in a mainstream American comic volume.[95]

The Crewman Moon serial is known for featuring a substantial number of openly LGBT characters since its inception, every bit Japan have traditionally been more than open about portraying homosexuality in its children's media compared to many countries in the West.[96] [97] Certain characters who are presented as homosexual or transgender in 1 continuity may not exist presented as such in others, particularly with dubbed versions made for international release.[98]

An animated curt The Ambiguously Gay Duo parodies comic book superheros and features Ace and Gary (Stephen Colbert, Steve Carell). Information technology originated on The Dana Carvey Bear witness and so moved to Saturday Night Live.

Language minority

In 2017, Pluin introduced Sign Gene, a film featuring a group of deafened superheroes whose powers derive from their employ of sign language. The film was produced by and with deaf people and deals with Deafened civilisation, history and language.[72] [99] [100]

Subtypes

  • List of child superheroes
  • List of animal superheroes
  • Listing of metahumans in DC Comics

See also

  • Category:Parody superheroes
  • Real-life superhero
  • Listing of superhero debuts
  • List of superhero teams and groups
  • Latino Superheros

References

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  2. ^ Niccum, John (March 17, 2006). "'Five for Vendetta' is S for Subversive". Lawrence Journal-World. Lawrence, Kansas. Archived from the original on November 14, 2013.
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Further reading

  • William Irwin (ed.), Superheroes: The Best of Philosophy and Pop Culture, Wiley, 2011.

External links

How Many People Are Registered To Run Heroes And Villians Key West,

Source: https://en.wikipedia.org/wiki/Superhero

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