Marvel Superhero Quotes

I'm Natasha Romanoff. Nobody judos my ass.

Who is Incredible Hulk ? ..A monster man who took "Go Green" too seriously.

Sympathy once more reveals its limits when faced with madness.

A superhero is just an ordinary person who has found a better way to mask their human frailties.

To my mind, this embracing of what were unambiguously children's characters at their mid-20th century inception seems to indicate a retreat from the admittedly overwhelming complexities of modern existence. It looks to me very much like a significant section of the public, having given up on attempting to understand the reality they are actually living in, have instead reasoned that they might at least be able to comprehend the sprawling, meaningless, but at-least-still-finite 'universes' presented by DC or Marvel Comics. I would also observe that it is, potentially, culturally catastrophic to have the ephemera of a previous century squatting possessively on the cultural stage and refusing to allow this surely unprecedented era to develop a culture of its own, relevant and sufficient to its times.

The Dream I Dream For You, My Child ... I hope you search for four-leaf clovers, grin back at Cheshire moons, breathe in the springtime breezes, and dance with summer loons. I hope you gaze in wide-eyed wonder at the buzzing firefly and rest beneath the sunlit trees as butterflies fly by. I hope you gather simple treasures of pebbles, twigs, and leaves and marvel at the fragile web the tiny spider weaves. I hope you read poetry and fairy tales and sing silly, made-up songs, and pretend to be a superhero righting this world's wrongs. I hope your days are filled with magic and your nights with happy dreams, and you grow up knowing that happiness is found in simple things. The dream I dream for you, my child, as you discover, learn, and grow, is that you find these simple joys wherever in life you go.

The multiverse model offers an elegantly postmodern solution to character stasis in a market-driven serial publishing system which privileges constancy over major change.

He looks like a cross between Clark Kent and some Marvel superhero but in gray joggers and a hoodie.

My childhood superheroes weren’t Marvel characters,’ Merlin once said to me, ‘they were lichens and fungi. Fungi and lichen annihilate our categories of gender. They reshape our ideas of community and cooperation. They screw up our hereditary model of evolutionary descent. They utterly liquidate our notions of time. Lichens can crumble rocks into dust with terrifying acids. Fungi can exude massively powerful enzymes outside their bodies that dissolve soil. They’re the biggest organisms in the world and among the oldest. They’re world-makers and world-breakers. What’s more superhero than that?

My enlightened racial consciousness demands that I reject the so-called greatness of William Faulkner and William Shakespeare. I don't have time for any of that Hamlet jive -- but Marvel superheroes are super cool.

What would you like to be?" Nina asks. Nathaniel tosses his magical tablecloth. "A superhero," he says. "A new one." Caleb is sure they could muster up Superman on short notice. "What's wrong with the old ones?" Everything it turns out. Nathaniel doesn't like Superman because he can be felled by Kryptonite. Green Lantern's ring doesn't work on anything yellow. The Incredible Hulk is too stupid. Even Captain Marvel runs the risk of being tricked into saying the word Shazam! and turning himself back into young Billy Batson. "How about Ironman?" Caleb suggests. Nathaniel shakes his head. "He could rust." "Aquaman?" "Needs water." "Nathaniel," Nina says gently, "nobody's perfect." "But they are supposed to be." Nathaniel explains, an d Caleb understands. Tonight, Nathaniel needs to be invincible.

Disability fluctuates, growing visible, then invisible, then visible again, becoming both ever-present and haunting. Such a problematizing of physical life added a new wrinkle to the genre's double/secret identity trope: the characters now interact with their shifting bodies as bodies with all the complications involved.

As a result, my generation became the first who didn’t need to age out of superheroes.

(Marvel belongs to Disney, DC to Time Warner) that are the kingpins of superhero comics.

Fantasy is healthy when practiced with moderation. Too much fiction paralyzes responsibility and reason.

it was as if the entire day, the entire vacation even, were leading up to a single moment. he felt certain then that stan lee was in some direct communication with the universe - in a way, say, that the watcher, the most mysterious marvel character, was content like some gnostic entity merely to know of machinations of creation - and that through lee's spiritually advanced vision, paul's own destiny was entrapped in the monthly serializations of these kitschy superheroes. he seemed both influenced and influencer in the world of marvel.

Liam had just gotten comfortable on the couch when Daisy walked in wearing a tiny pair of worn shorts and a Marvel superheroes T-shirt cut low to reveal the crescents of her breasts. Liam's mouth went dry and he choked on his pastry. No, she definitely wasn't a little girl anymore, and the things he was thinking were definitely not appropriate for Mr. Patel's worn couch.

The stereotype of the supercrip, in the eyes of its critics, represents a sort of overachieving, overdetermined self-enfreakment that distracts from the lived daily reality of most disabled people.

We should bear in mind the supercrip stereotype as a figure obsessively, indeed maniacally, over-compensating for a perceived physical difference or lack, since, as we shall see, this aspect ties in quite neatly with the genre specificities and narratival concerns of so much Silver Age superhero literature.

If someone's personhood is in doubt (or seen as lacking), all the easier to direct death wishes at them. When a tiny minority of them transgresses, their crimes of violence only confirm their abjection from the human [. . .] Anxiety, threat, dread, fear, and prejudice feed into the explanatory mechanisms that construct them as somehow beyond human, beyond mercy.

Chance does not exist. Either the universe obeys objective laws or it is of the order of will. But not of a will like our own: an inhuman will, in which all beings, minerals, animals, stars and elements are endowed with effective determination. Where the effect is an added extra, regardless of the cause, where the event is an added extra, regardless of history - chance being merely the intersection of all these wills. A universe consisting of antagonistic impulses, in which everything is lucky or ill-fated - isn't that more uplifting than the mere preoccupation with causes and consequences? The downplaying of reality is a philosophical intuition and there is, therefore, nothing 'negationist' about it. The virtual, in its project of liquidating the real technically, is truly negationist.

If he does find himself back in the mountain of Marvels, or if he never leaves it, I hope he finds its glorious imaginary world changing all the time, keeping pace with the real one in which he lives, and I hope he appreciates it for changing. I hope, too, that what he cares about is the story itself -- the characters, the images, the imaginative leaps and eleventh-hour improvisations that hold it together -- and its creators, rather than the business entity that stamped a logo everywhere on it. A story can never leave you; a corporation can never love you back.

Riley: I have to ask you something. Heroine: Shoot… Riley: Bear with me. I can’t believe that we haven’t discussed this yet so I’m a little nervous. Heroine: Now I’m nervous. Riley: You have nothing to worry about. Your life will continue just fine. It’s mine that might come crashing down here. Riley: How do you feel about comics and superheroes? Heroine: DC or Marvel? Heroine: Nevermind, that’s a terrible question. I’d never want to choose. I love the ensembles. The Avengers, the X-Men, the Justice League. Heroine: But I haven’t read any in 20 years. I’ve caught up with the movies as they’ve been released, though. Most of them have been really good. Heroine: Are you still with me? Riley: Yes. Sorry. I just spontaneously orgasmed. Heroine: What? Riley: Nothing. But I’ll talk to you later. Something just popped up.

Here were these people who had absolutely no say in whether they became superheroes – they didn’t become scientists (the fastest way to get superhuman abilities, at least in the Marvel Universe), or worse, date scientists; they didn’t develop strange medical conditions that could only be cured with experimental treatments; they didn’t pick up mysterious canes and utter mystic phrases. They were just born, and because they were born different, they could never fit in with the world. So they became heroes, protecting a world that hated and feared them.

Superheroes are the story of America. They are the means America uses to tell its story, and it sees itself as the ultimate superhero. America is the most mythical country in the world because, ironically, it has the least myths of its own. America isn’t an inventive country, it’s a re-inventive country. It’s always stealing from everywhere else and repurposing it. Why is Hollywood in the USA and not in Europe? It’s because America is a laboratory for reinventing and representing old stories, for continually mythologizing itself, in order to establish for itself a set of myths such as other, much more historical nations, have naturally. But America is now running out of stories, and is plundering its own stories that it has already told so often. How many times do we need to see Spiderman’s Origin Story, or Superman’s, or Batman’s? The same old material is being endlessly recycled. America has run out of stories, and that’s why it’s going into a steep decline. It can’t inflate itself any more. The wells of its imagination have run dry.

Superheroes are supposedly great beings who rise to help humanity through its darkest hours. Who needs these preposterous figures? They are just the continuation of messianism by other means. Humanity needs to help itself and stop looking to fantasy beings to help it out. You will never resolve your problems while you are expecting a deus ex machina to bail you out.

Superman – Moses in a costume, with his underpants on the outside. Captain America – the poster boy of the mad American patriot. Wonder Woman wore a bathing suit bearing the American flag. She was as beautiful as Aphrodite, as wise as Athena, as strong as Hercules, and as swift and as great a warrior as Diana. Superheroes fought enemy spies at home. They battled reds under the beds. America is a mythological country in the modern world. By surrounding itself with modern myths, it has made itself less and less real. America simulates being a real country via its modern myths, but only succeeds in become phonier.

Fantasy and Responsibility (The Sonnet) Fantasy is good so long as it doesn't make us, Oblivious to our responsibility of reality. Imagination expands the mind for sure, Only when it empowers our acts of accountability. Growing up in India, I did not have superman, But I did indulge religiously in some shaktimaan. I don't know whether it influenced my making, But it sure did fill my childhood with fascination. People draw inspiration from different places, That's a normal tenet of the mind, not a violation. But inspiration is inspiration only when it leads, To collective uplift, otherwise it's just delusion. Fantasy is healthy when practiced with moderation. Too much fiction paralyzes responsibility and reason.

strange network of bridges and tunnels crisscrossing over it, like a giant spiderweb with trains and cars crawling across them. Then there are the lights. Millions of them shimmer off the water of the lagoon surrounding the city. Buildings rise for miles, stretching into the sky like giant points of a never-ending concrete and metal crown. Some are so thin and tall, I can’t understand how they’re even standing. But it’s not all metal and glass. There’s green too, so much green. Lush spaces filled with plant life are scattered amongst all the concrete. Some even burst from the buildings themselves.

Sometimes you have to face the end of the world ... to find the beginning of something better.

We're all looking for the same thing. Yet it looks different for each of us.

It's like he's got Tony Stark or S.H.E.I.L.D on the other end at that phone or something.

Myths & Comics (The Sonnet) Some modern superheroes are green in color, Some ancient superheroes are blue in color. Some worship hulk, ironman, captain marvel, Some are fanatics of Zeus, Poseidon, Krishna. Mythologies are but comics of the old days, Just like comics are nothing but modern myths. Fiction is okay in its place, but trouble begins, When life is belittled and fiction is worshiped. Inspiration can come from anywhere, real or not, But all is useless, if it produces mindless savages. Even I've written fiction to explore some situations, Though based on reality, some of it is highly exaggerated. If it brings you back to life, only then it's worth it. Fiction is supposed to enhance reality, not enslave it.

Unlike many superheroes who have an inherently superhuman ability or others who use external weapons and technology, Marvel Comics’ Iron Man has an electromagnetic power source implanted in his chest as part of a medical procedure to save his life. The device has so much power to spare that it allows him to deploy a suit of armor that protects him and affords him additional superhuman abilities. Iron Man is unique in that he is a regular human being transformed and saved from death by a foreign power source placed within him that not only saves his life

With emancipation comes the opening up of new possibilities for challenging assumptions over women's appearance and, more radically, the gender order itself. Ventura (She-Thing) comes not only to accept her new "intragender" status but to see it as advantageous -- for dealing with her misandry, for personal growth, and even for becoming a person capable of giving and accepting love.

[In "The Night Gwen Stacy Died"], death took on an existential quality -- the beloved, innocent but weak Gwen is merely a victim, the casualty of a war between superpowered rivals -- and as such the episode proved a turning point int eh genre's depiction of mortality.

The Western mind is highly geared up for believing immensely dumb things thanks to the astonishing prevalence of 'superhero' culture – a literally spectacular vehicle for the most delusional magical thinking, entirely religious in its fundamental nature since it is so reliant on an assortment of weird messiahs with their various super powers coming to save humanity. What is entirely absent from superhero movies is ordinary people with agency, capable of changing the world themselves without any superheroes, which is to say without divine intervention.

Superheroes are just Jesus Christ with a penchant for extreme violence (i.e., Jesus Christ perfected by the Second Amendment!). To enjoy a superhero movie, you already need to be ninety percent Christian in your basic worldview.

Tuesday Man by Stewart Stafford He was only a superhero on Tuesdays, And the rest of the time was his own, Tuesday was the villains' day of rest, Then crime sprees just like Al Capone. He tried to make his Tuesdays longer, By pulling some gruelling all-nighters, But he knew that to be more effective, He'd have to be a 7-day crime-fighter. So, he rearranged his calendar totally, To take the fight to all the baddies, He was on-call from then on, 24/7, Or relaxed playing golf with his caddy. © Stewart Stafford, 2022. All rights reserved.

Her eyes shift to my head and the tangle of curls, coils and kinks sitting on top. It springs straight out of my head in an impressive riot that Mum finds overwhelming, so I rarely leave it loose. My hair has broken more combs, trashed more hairdryers and made more hairstylists cry than I can count… so maybe Mum has a point.

She'd been a Marvel superhero fan ever since her tenth birthday, when her father had given her his old-school comic book collection, the pages tattered and worn from use. Unlike Sanjay, who admired the superheroes for their otherworldly powers, Daisy loved how they were committed to saving the world, even though they were all broken inside.

Feige and his fellow producers fought for years to make movies around non-white and female superheroes.

Colossus?” “He’s a Marvel superhero,” Justin said. “Does it matter?” “I don’t want every comix nerd on earth calling me out for plagiarism

To decide which film to make first, Marvel convened focus groups. But they weren’t convened in order to ask a random cross-section of people which story lines and characters they would most like to see onscreen. Instead, Marvel brought together groups of children, showed them pictures of its superheroes, and described their abilities and weapons. Then they asked the kids which ones they would most like to play with as a toy. The overwhelming answer, to the surprise of many at Marvel, was Iron Man. “That’s what brought Iron Man to the front of the line,” said a person who helped to decide which movie Marvel would self-produce first.

The watershed moment,” said Ann Nocenti, “was when Shooter said every single comic had to have a ‘can’t-must’ moment: I am not a thief . . . I don’t want to steal. But I must steal because my grandmother is starving. Every comic had to have that in the first three pages. Literally, a panel where the superhero had to say, ‘I can’t steal—but I must, for my grandmother.’ Or, ‘I can’t kill Mephisto—but I must, because he has my soul.’ He was sending comics back to the Bullpen to have the ‘can’t-must’ panel squeezed in, in the middle of the page.

The rise of Marvel Studios over the past decade has been one of the most extraordinary stories in Hollywood history. Utilizing a crew of second-rate superheroes and run by a team of unproven executives, Marvel upended the industry’s conventional wisdom. Previously, almost everyone in Hollywood believed that the general public was interested only in marquee superheroes like Batman and Spider-Man, and nobody would see a movie about Ant-Man or the Guardians of the Galaxy; that the resources and experience of major studios gave them an unbeatable advantage over upstarts; that tightly managing budgets on would-be global “event” movies was penny-wise but pound-foolish; that tying together the plots of disparate films was too risky because if one failed, they all would; and that the only Hollywood brand name that meant anything to consumers was Disney.