May 28 2010

What Makes a Superhero Story?

Here are some common characteristics of superhero stories that come to mind.

1.  In most cases, a superhero has an origin story that explains 1) how he goes from ordinary to extraordinary and 2) why he chooses to fight for others. I’ll focus on #1 here.  Most superheroes start in a place where they don’t stick out and only stick out later. For example, Superman and the Martian Manhunter become extraordinary by coming to Earth, where they are aliens.  Peter Parker, Virgil Hawkins and the like are regular people that gain superpowers in various accidents. Superheroes are rarely born extraordinary. In X-Men, most mutations manifest during adolescence rather than at birth. In contrast, Harry Dresden is probably more of an urban fantasy character than a superhero in part because he has always been extraordinary (magical).

 

2.  Superhero origin stories also usually describe why the hero fights for others and his values.  Some examples:

  • “With great power comes great responsibility.”
  • “Truth, justice and the American way.”
  • “I am vengeance” (or, beyond Batman’s origin story, his dispute with the libertarian Lucius Fox in Dark Knight).
  • Tony Stark comes to feel responsible for the weapons he sells.

 

How does this make superheroes different from other types of protagonists?  A superhero’s motivation for becoming a superhero is usually a much larger part of the story than for most other characters. For example, detective novels may spend a few sentences explaining why the character became a detective, but most superhero novels about lone heroes spend chapters on this. For superhero stories, the character’s motivation is usually central because such an unusual choice (becoming a superhero) warrants explanation, whereas becoming (say) a detective or soldier is more routine.

 

3.  A superhero’s values usually play a major role in how he/she reacts to the story’s inciting event. For example, Peter Parker becomes a superhero because he regrets letting his uncle get killed and many vengeful superheroes are driven by the principle of “an eye for an eye.”  Outside of superhero stories, ethics are less likely to play a driving role.  For example, Harry Potter reacts to the inciting event (the revelation that he’s a wizard) by going to Hogwarts.  There isn’t a major ethical component to that decision–he’s just trying to get away from his horrible family and his decision doesn’t much affect other people. One way to make it into an ethical decision would have been to have Harry enroll at Hogwarts to join the fight against the tyrannical villain, but that only comes up later.  In contrast, the superhero usually responds to the inciting event because he/she wants to help others in some way.

 

4.  Most superheroes have some sort of dual identity. The most obvious example of this is when the character has a secret alternate identity.  Less obviously, a character like Ben Grimm the human is separated from Ben Grimm the Thing, even though he sometimes uses the same name and everybody knows his identity.  A lot of his personal development revolves around how he tries to recover his previous identity and/or deal with his new one.  Also, there is generally a clear physical differentiation between the two identities, such as a costume, a uniform or a physical transformation. The extraordinary identity almost always looks very unusual.  This is probably why most people have trouble thinking of Buffy the Vampire Slayer as a superhero.  She has a secret identity and uses magical powers to fight evil, but she doesn’t look like a superhero.

 

5.  Superhero stories don’t need superpowers, but they almost always have capabilities well beyond what anyone could do in real life. (No, a middle-aged playboy could not train himself well enough to maul truckloads of criminals. Unless Steve Jobs faked his death to cover for a very interesting nightlife).  That is why I think Zorro and Robin Hood are merely precursors to superheroes.  Their abilities aren’t extraordinary enough to be supernatural.

 

6.  Superhero stories are almost always set primarily in a city in modern-day or near-futuristic Earth. Even the extraterrestrials and space cops do most of their work on Earth.  Historical superheroes are not quite unheard of but pretty close (League of Extraordinary Gentlemen and maybe Zorro).

 

7. Arguably, I think it’s subconsciously understood that superhero stories are aimed at youngish males. (This is ironic, because the key demographic for superhero comic books is actually men aged ~18-35). For example, Jake Long and Buffy the Vampire Slayer are both ordinary teens that protect their communities by battling supernatural evil. Both have a secret identity. But Jake Long is consistently referred to as a superhero and Buffy isn’t.  (For example, Wikipedia, IMDB and TV Guide use the word “superhero” in their entries for Jake Long, but not for Buffy). First, Jake Long is aimed mainly at boys 8-13, whereas Buffy’s audience skews older and has more women. Second, Buffy’s alternate identity does not look very extraordinary. (In contrast, Jake turns into a dragon).

 

8. Being a superhero is generally an unending quest. Unlike, say, Bilbo Baggins, It’s relatively rare for a superhero to have one tangible goal like “Accomplish X and then give up the superheroics.” Superheroes don’t generally get to retire, and they don’t get old either. The only career options for a superhero are basically to die or to become a supervillain. Superheroes frequently temporarily hang up the cape, but it’s almost unheard of for superheroes to just walk away from the game and settle down to a more ordinary life. One reason for that is that superhero stories tend to be ongoing series for economic reasons. (Spider-Man 5: Coming soon to a theater near you).

8.1. Superheroes rarely kill their villains. In contrast, most other types of action protagonists do kill their enemies. Most superheroes are nonlethal because 1) that makes it easier to keep the story going for decades, 2) ethics play a larger role in superhero stories than in most action stories, and 3) it helps with bringing in younger viewers/readers. In contrast, a cop story or a Western probably doesn’t have much potential with kids.

 

What do you think?

30 responses so far

30 Responses to “What Makes a Superhero Story?”

  1. B. Macon 28 May 2010 at 2:58 pm

    In the above article, I mentioned a few exceptions but I’m sure there are others. It’s very hard to come up with a definition for superhero stories that would catch 100% of the stories that you and I think of as a superhero story and 0% of the stories we don’t. Let alone the cases where you and I disagree about whether it’s a superhero story, and there’ll probably be a few. Some common examples include Zorro, 300 and the heroes of Greco-Roman myth, Teenage Mutant Ninja Turtles, etc. [UPDATE: Stet later mentions Robin Hood as a superhero, and I think that’s another excellent example of a murky case].

    Also, I’m probably the only person anywhere that thinks that Bolt might be a superhero movie. (Hear me out! The two identities are Bolt the Hollywood character and Bolt the “real” dog, physically differentiated by the Hollywood makeup. Note that the makeup fades around when he realizes that he isn’t actually superpowered).

  2. Contra Gloveon 28 May 2010 at 3:37 pm

    I think this is a pretty good definition, but I’d have to disagree with you on #6. I’d say that a modern-day or near-future setting isn’t strictly necessary; all you need is a society with some kind of established justice system — whether something as simple as “you killed my family so I kill yours” to a full-blown police and court apparatus. I will concede that it should at least be in the historical past or a non-supernatural alternate history, for reasons too complex to explain.

  3. Steton 28 May 2010 at 3:43 pm

    I like 1 and 4 a lot.

    4 is great because you make clear that secret identity is not the only dual identity. And shows that the character places her superheroic ‘self’ outside her mundane life.

    1 is interesting because it makes clear that superheroes are ‘fish out of water’ in some way. Billionaire streetfighter, All-American alien, nerdy superathlete, whatever.

    I wonder if the two things aren’t related, too. The different sides of the identity and the contrasting elements of the origin. (How many superheroes are there who are children of superheroes? Because I wonder if they don’t pose a problem. They’re born with powers, and they’re fish in water, which obscures both of these things.)

    I think our current conception of Robin Hood counts as a superhero. Secret identity and origin story. I don’t buy 5, really. They’ve gotta have -some- ability, but I think they could pull off being a superhero with a pretty low-powered one–if they used it in concert with 1 and 4.

    Not sure how important ‘values’ are. I didn’t read much of Harry Potter, but I wonder if you could argue that another inciting incident was him discovering that Voldemort killed his parents, and -that- gave him the value-boost? Don’t really buy ‘history,’ either: that strikes me as more of an accident of target demographics than anything else. Might as well say ‘buxom.’

    Your insights into how central ‘identity’ is to superheroes. is v. strong, though. I can’t off the top of my head think of any superhero who doesn’t have some kinda identity thing going, in a way that Harry Dresden (to my limited knowledge) or Harry Potter or James Bond or Anita Blake don’t. Spies maybe come close to having the identity issues without being superheroes. That character in Alias. Jason Bourne. (And there you might count on your #5, but if Jason Bourne wore a mask and called himself The Ludlumizer, he’d be a superhero without any additional powers.)

    Hm. Interesting.

    (BEA is screwing my life. No word on my superhero novel. Which might not actually -be- a superhero novel, now I think about it. You’re killing me, here!)

  4. Steton 28 May 2010 at 7:07 pm

    Hm. My comments disappear into the ether.

  5. Lighting Manon 28 May 2010 at 7:52 pm

    I wouldn’t take it personally, it is usually a problem with the spam filter taking real posts as spam due to their length, then pegging your I.P as a spammer because of that post, from my observations.

  6. B. Macon 29 May 2010 at 11:50 am

    Don’t worry, Stet. I searched through our spam filter and freed your comment. Sorry–I use Akismet to keep out spam messages and it incorrectly labels about 1% of user comments as spam. If your message gets caught in the spam filter, please leave a comment and either I or one of the moderators will post it for you. No need to rewrite it later. 😀

  7. B. Macon 29 May 2010 at 12:04 pm

    Contraglove said: “I’d say that a modern-day or near-future setting isn’t strictly necessary; all you need is a society with some kind of established justice system — whether something as simple as “you killed my family so I kill yours” to a full-blown police and court apparatus. I will concede that it should at least be in the historical past or a non-supernatural alternate history, for reasons too complex to explain.”

    Hmm. Would you consider Hercules and other heroes of Greco-Roman mythology to be superheroes? (Or, if you’re familiar with Celtic mythology, Cu Chullain? I think his values play a somewhat larger role in his story).

    I suppose another possibility might be a setup where the character spends most of his time saving the world from another dimension. For example, I think it’d be possible to rewrite Constantine or Spawn so that they spend most of their time in hell (or heaven) rather than Earth. I’m not too familiar with Constantine or Spawn, but from the few issues I’ve seen it looks like they spend 80%+ of their time in Earth.

  8. Contra Gloveon 29 May 2010 at 3:08 pm

    I consider mythological heroes to be precursors to modern superheroes.

    The real-world connection, whether historical or current, is important for superheroes — without it, it becomes something akin to high fantasy, not quite the same.

  9. Steton 29 May 2010 at 6:09 pm

    Thanks for rescuing my comment. Sadly, it was much better in my memory than on the screen.

  10. B. Macon 29 May 2010 at 6:24 pm

    Nah, Stet, I think you raised a good point. If a character is the child of superheroes, he might be normal at home because he’s superpowered. However, he would probably be strange relative to the rest of society. For example, the kids in The Incredibles and Franklin Richards are alienated from society despite being born to a family of superheroes.

    I wonder if you could do a superhero story in a world where EVERYBODY has superpowers. Heroes toyed with the idea, but never got there. (Most superhero stories are pretty careful about limiting the proliferation of superpowers–probably for relatability reasons or, in Heroes’ case, maybe to save on special effects).

    PS: I wonder if I should add something about audience stereotyping. I think that a lot of people subconsciously associate superheroes with a young*, male audience. If the audience is not young and male, then people will hesitate to think of the story as superheroic even though the content otherwise leans that way. For example, take Buffy and Jake Long. They’re both teens protecting their areas from supernatural fiends. If we ignore that Buffy is aimed at an older, more female-heavy** audience whereas Jake Long is mainly for guys 8-13, I can’t think of a reason Jake would be a superhero and Buffy wouldn’t. (Then again, I’m very unfamiliar with the Buffy series–is her identity as a Slayer a secret?) Nevertheless, IMDB and TV Guide each describe Jake as a superhero but not Buffy. Jake Long’s Wikipedia entry lists him in the Children Superheroes category but Buffy’s Wikipedia entry uses no variations of the word superhero.

    *Which is ironic, because the actual audience for superhero comic books is men aged ~18-30.

    **My best guess is that Buffy has something like a 55-45 or 60-40 female-male split, compared to maybe 20-80 female-male for Jake Long. If anyone has a better way to determine audience demographics, please let me know.

  11. Contra Gloveon 29 May 2010 at 7:01 pm

    @ B. Mac

    Superhero stories need a baseline normal and a hero with powers beyond the norm.

    A superhero in a world full of supernaturals would simply be more powerful than average, as would the supervillain.

  12. Steton 30 May 2010 at 4:51 am

    Well, -there- is a dragon story! And not completely unlike the one I’d been noodling over, either. Jake Long. Never heard of him. (Speaking of which, 18-30 IS young, dammit!)

    I think we’re probably stumbling over the issue of there being more than one definition of ‘superhero story’. One is, ‘anything with people in costumes with supernormal powers,’ so a story about a world completely populated by such people is -of course- a superhero story. If you saw it in your local comic book shop, you wouldn’t think twice. So one definition is something like, ‘any story that cleaves to the familiar superhero tropes,’ talk about a tautology!

    I’m wondering about the example of Buffy. (Is John Constantine a superhero?) She seems clearly like a superhero, dual identity and all. But magical superheroes are v. often ‘urban fantasy.’ And combat superheroes are v. often ‘thriller’ (like Jack Reacher, say, or James Bond). And technological superheroes are often ‘science fiction’, like the guy in Armor or Death’s Head.

    So maybe superheroes need a world with more than one locus of supernormal powers? If -all- the superpowers come from magic, it’s fantasy. If -all- the superpowers come from mad science, it’s sci-fi, if -all- the superpowers come from combat training, it’s military thriller.

  13. B. Macon 30 May 2010 at 8:01 am

    “So maybe superheroes need a world with more than one locus of supernormal powers? If -all- the superpowers come from magic, it’s fantasy. If -all- the superpowers come from mad science, it’s sci-fi, if -all- the superpowers come from combat training, it’s military thriller.” Hmm, that’s an interesting distinction. What do you think about Starship Troopers? Its supersoldiers get their powers from a combination of military training, powersuits and chemical enhancement.

    Also, some superhero stories use a mass-origin where all (or virtually all) of the characters have the same origin. For example, in Wild Card, everybody gets their powers from the alien virus. In Static Shock, virtually everybody with superpowers got them from the same chemical accident. In X-Men and Heroes, pretty much everybody gets it from a mutation. (Some X-Men characters get supplemental help from experimental surgeries, though–Wolverine and Omega Red, for example).

    In distinguishing superhero stories from military thrillers, one thing that comes to mind is that military thriller characters almost always get their powers intentionally (by training or putting on a powersuit or whatever). In contrast, a superhero’s powers usually (but not always) come unintentionally, either by the character getting mixed up in a scientific accident or being born a mutant or being picked for a power ring. Batman strikes me as the main exception there. The element of choice more often comes in when the character decides to use his powers to fight for others, rather than the character choosing to get superpowers.

  14. B. Macon 30 May 2010 at 8:09 am

    “(Speaking of which, 18-30 IS young, dammit!)” Young compared to the U.S. population at large (median age: 36) but old compared to the stereotypical audience for superhero stuff (5-13, say).



    I’m sort of having trouble wrapping my mind around the concept of 30 being young, but I bet it’ll make sense in twenty or thirty years.

  15. Steton 30 May 2010 at 12:28 pm

    Starship Troopers I’d say all the powers come from the same source (if I remember correctly) even though that source uses a variety of technologies.

    Heroes is a good counter-example. Wild Card, too. Probably not a coincidence that both of those were intended (I think!) for adults.

    Now I’m wondering if the distinction between kidlit superhero stories and adult superhero stories is a problem for a definition.

    Believe me, thirty is young–for writers. The ‘Best Young Writers’ awards usually cut off there–or even at forty!

  16. Tomon 01 Jun 2010 at 2:44 am

    Interesting discussion. On the subject of superhero stories being set in modern or futuristic settings, I always did wonder what a historical superhero story would be like. I seen no reason why it’s an intrinsically bad idea…

    My instinctive reaction to you wondering why Buffy’s not a superhero would be ‘of course she’s not’, but after thinking about it, she does have a secret identity, superpowers, a calling to battle evil, an origin story, a modern setting… granted all of her friends know she’s the Slayer, and even her mum and little sister find out eventually, but to the world at large she’s just an ordinary high schoool student (and later college student, and later just young adult). The only reason I can think of to not call her a superhero is that she has no dual identity, ‘Slayer’ is a title, not a name.

    So… I don’t know where I’m going with this… I’ll just… go… now…

  17. Ragged Boyon 01 Jun 2010 at 8:01 am

    They had chemical enhancements in Starship Troopers? I don’t remember that. All I remember is that the odds were against them the whole time and they won by highly impractical means.

    Giant Flamethrowing Beetle! Run!

  18. B. Macon 01 Jun 2010 at 10:31 am

    I think the chems were more prominent in the book but I don’t remember them in the movie. I think the training got a lot more time in the book, too.

    By the way, I highly recommend the book.

  19. B. Macon 01 Jun 2010 at 11:40 pm

    “My instinctive reaction to you wondering why Buffy’s not a superhero would be ‘of course she’s not’…” I had a similar reaction. The only thing that comes to mind is the audience. Besides that, I’m having trouble distinguishing her from magical superheroes (Sailor Moon, Jake Long, Dr. Strange, Hellboy*, etc). One possibility: Maybe the physical distinction between the character’s two identities has to look unordinary. For example, for a lot of heroes it’s a gaudy costume or a physical transformation. I don’t think Buffy has anything like that going on. In Starship Troopers, the powersuits are not unordinary because all of the soldiers have one. (In contrast, most superheroes are one-of-a-kind, or perhaps two-of-a-kind if there’s a sidekick).

    *I got an e-mail about whether Hellboy is a superhero. I think so. His origin story is how he comes to be raised on Earth, going from ordinary (a demon in hell) to extraordinary (a demon on Earth). In a slight departure from the norm, Hellboy’s values play less of a role shaping his reaction to the inciting event (his arrival on Earth)–instead, the inciting event shapes his values. (He’s raised more or less like a human and becomes far more compassionate than other demons). For Hellboy, I think the dual identity is the conflict between Hellboy the Earthling and Hellboy the demon/apocalypse. The two identities are physically differentiated by his horns: Hellboy usually shaves them off, but they grow back when he gets close to destroying the world.

  20. Crimsonon 16 Jun 2010 at 1:34 am

    Hi I’m a frequent reader at this site but I never bothered to leave a comment. Right now, I’m writing the story of an indie game my team and I are developing a superhero game. I need everyone to help me if they can. I have characters, and I have a setting. But the plot is always the part I get writers block. I’ve tried everything, reading comics, watching movies, playing videogames, and nothing seems to be helping.

    The story takes place in a post-apocalyptic/futuristic world where global warming, and world wars have taken their toll on America. What makes this story so different, though is that superheroes exist. The main character is John Tilago, AKA Crimson. His father was a super hero, his grandfather, his great-grandfather, and so on. This is one of the times where I get stuck; Johnny’s father died, so it’s time for him to take the family mantle. He joins an underground school for superheroes (which sort of plays as a tutorial place) to hone his skills. What I am stuck on, is probably very crucial to the story; what motivates him to fight crime. Giving him anything like, simply living up to his father, or revenge for someone who is killed early on won’t cut it and is too cliche.

    But first I guess you would need to know more about John before you could help me out. Well, you can easily compare Johnny to character like Deadpool or Spider-man. You see, he’s quite the wise cracker. He doesn’t have much of a superpower as he does agility and reflexes. He uses a mix of free-running and Krav Maga in his fighting. He has a kitten named Mittens. He thinks he’s quite the ladies-man. He’s an expert gunman, like his father. He carries his two Pistols that his father used when he was a vigilante. He never got to meet his father because he was always…out. His mother eventually told him his father had left. As he grew older he moved to Midnight City, the setting of the game (where the underground superhero training facility is held.) This is where the story begins. All’s I need is a push in the right direction.

    Problems I am having with his back story is, since this is going to be a video-game, gamers won’t have too much time to waste or too much time to care, how do put this into a game without making the gamer bored of back story. Obviously making a game is different than writing a book because people in gaming are there for the game than the book. But please try and help. Also, Why and how does he discover his father’s things and Why does it make him want to become a hero and train?

    If you can help me, I would appreciate it.

  21. B. Macon 16 Jun 2010 at 7:05 am

    In video games, I think giving the antagonist an interesting motivation is usually more important than the hero. For example, Infamous’ protagonist is just another guy caught in a scientific disaster and avenging a slain lover, but the antagonist is actually a version of him from the future that set him up for the scientific accident and made sure that his lover would die to set him on a path so that he could save the world from the real villain.

    Giving the hero motivation (or, more generally, a personality) is tricky because most of the things that would actually give a hero a consistent personality would remove choices from the player. One alternative would be to write in choices into the dialogue/action/quest options, so that they can play the character as a loud-mouthed badass or an inept cassanova or whatever. (You might try an opening sequence similar to the one in Ogre Battle, where the player answers questions about his character and his character’s skills/stats are shaped by it–that’s one way to “lock” the character into a certain personality at the beginning).

    In a post-apocalyptic setting, it seems plausible to me that fighting for his own survival (or perhaps for some nostalgic ideal, like the title character in The Postman) would be sufficient. Or maybe he gets his powers as part of a desperate plan to undo the apocalypse.

    Could I recommend nixing the school for superheroes as a tutorial? I think it’s a bit too obvious.



    Your guys almost certainly know more about video games than I do, but how are you planning on doing free-running fight scenes in a video game? I think it’d be a pretty intense coding effort.

  22. Steton 16 Jun 2010 at 1:13 pm

    What makes a superhero story? Comic Sans.

    http://www.mcsweeneys.net/links/monologues/15comicsans.html

  23. Crimsonon 16 Jun 2010 at 11:02 pm

    We’re definitely not going to build it into an RPG game, because in a story like this, you would need to have a MUCH bigger team than the team I’m running right now. We feel comfortable with Johnny anyway. The team that I’m building are very experienced with the CryEngine 2. We’re planning on moving our prototype from the CryEngine 2, to the final version which will use the Cryengine 3. The game will take an immense amount of work, but we can handle it.

    You may be right about the antagonist’s goals thing, but it is even more important to know why the protagonist must stop the antagonist and why he needs to do it out of everyone else.

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  25. Kevin Holsingeron 29 Nov 2013 at 4:18 am

    Good morning, Mr. McKenzie.

    Out of curiosity, and not meant as an insult, is this the only page on this subject? I ask because the reason I looked for something like this on Google was Alan Moore’s recent remarks about superheroes only being entertainment for children in the 1950s. My first question in response to that was, “How is he defining the word ‘superhero’?” That in turn led me to wonder how YOU define the word, and here I am.

    For my part, the only definition of the word I can think of that sucks up practically every comic book superhero is “career hero”. Frodo Baggins, for example, would just be a “hero” because he got out of the business as soon as was hobbitly possible. No training for years with Stick or the Ancient One. No “I have to continue being a hero because nobody else can.” One journey, and that’s it; I’m done.

    However, such a simple, vague definition leaves me with a world where not only is Superman a superhero, but so are Indiana Jones, Sherlock Holmes, and the Narnia kids. So now I have to figure out how to separate traditional superheroes from all the other career heroes. And this article seems like a good start.

    Anyway, hope you enjoyed your Thanksgiving. Goodbye for now.

  26. B. McKenzieon 29 Nov 2013 at 1:40 pm

    “Out of curiosity… is this the only page on this subject [what makes a superhero story]?” It’s the only one that comes to mind besides the List of Superhero Cliches / Tropes / Conventions.

    I’ve added an item on most superheroics being an unending quest. Relatedly, superheroes almost never kill their villains. That’s unusual for action-heavy protagonists. Even Harry Potter and the Narnia kids killed theirs.

  27. Glamtronon 29 Nov 2013 at 2:37 pm

    About why heroes become heroes… Mostly resulting from past tragedies and stuffs.. Well i got a young hero(in the head) that doesn’t have any strong reason. He’s kind of a…. “nerd” and wants fame(yeah.. He wants 2 be a star) He’s tried this through other means but it doesn’t work.. So after running into an anti-hero once..(a vigilante, thats older now) he decides to take over the identity, thus having a secret identity.. thinking this would help in his search for fame.. But instead this vigilante(him) is hated by people. cops, villains, civillians.. But then, he couldn’t give it up… Is this a good reason??..

  28. B. McKenzieon 29 Nov 2013 at 7:48 pm

    Hello, Glamtron.

    1. If this person is really driven by fame/image, is it believable that he takes on an identity which has a very bad image?

    2. I’m not 100% averse to protagonists that enjoy publicity (e.g. Tony Stark is very likable despite his personal flaws, and partially because of them), but I’d recommend giving him a deeper, more likable reason for becoming a superhero. For example, Tony Stark is uneasy about how many people have been hurt by the weapons he’s built — he’s not mainly Iron Man because of how cool it makes him look. At the very least, if you’re taking this in a Booster Gold-esque direction where the character’s initial motivation for superheroics is to become famous and/or be special, I’d recommend shifting very quickly towards something more substantive. Otherwise, I think he will be at a major likability disadvantage vs. a superhero with a more sympathetic motivation.

  29. Glamtronon 30 Nov 2013 at 3:29 am

    Sorry 4 not giving much details, and thanks 4 d feedback.. It helped alot.. Well fame isn’t the only reason. He’s kinda naughty..and at d same tym a type that always feels less important in his environment so he tries to make himself helpful in times that he can.. And also tries to impress people, though the “impressing” part doesn’t work out for him. And after meeting the hero, he sees it as an answer he’s been looking 4… A chance to help a city.. And ofcourse the “impressing” part.. But he’s initially not appreciated.. Better? (*winks*)

  30. Kevin Holsingeron 30 Nov 2013 at 6:50 am

    Morning again, Mr. Mckenzie.

    Thanks for the link to the other page. That oughtta keep me busy for at least a week, given my reading pace.

    Enjoy your day.

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