Super Hero Game

A superhero or superheroine is a stock character who typically possesses superpowers or abilities beyond those of ordinary people, is frequently costumed concealing their identity, and fits the role of the hero; typically using their powers to help the world become 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] especially, since the 1930s, in American comic books (and later in Hollywood films, film serials, television and video games), as well as in Japanese media (including kamishibai, tokusatsu, manga, anime and video games).

Superheroes come from a wide array of different backgrounds and origins. Some superheroes (for example, Batman and Iron Man) derive their status from advanced technology they create and use, while others (such as Superman and Spider-Man) possess non-human or superhuman biology or use and practice magic to achieve their abilities (such as Captain Marvel and Doctor Strange).[2][3][4] The Dictionary.com definition of "superhero" is "a figure, especially in a comic strip or cartoon, endowed with superhuman powers and usually portrayed as fighting evil or crime",[5] and the Merriam-Webster dictionary gives the definition as "a fictional hero having extraordinary or superhuman powers; also: an exceptionally skillful or successful person."[6] Terms such as masked crime fighters, costumed adventurers or masked vigilantes are sometimes used to refer to characters such as the Spirit, who may not be explicitly referred to as superheroes but nevertheless share similar traits.

Super Hero Game

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Some superheroes use their powers to help 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.

The word superhero dates back to 1899.[7] Antecedents of the archetype include such mythologic characters as Gilgamesh, Hanuman, Perseus, Odysseus, David, and demigods like Heracles,[8][9] as well as folkloric heroes such as Robin Hood, who adventured in distinctive clothing.[10] Real-life inspirations behind costumed superheroes can be traced back to the "masked vigilantes" of the American Old West such as the San Diego Vigilantes[11] and the Bald Knobbers,[12] who fought and killed outlaws while wearing masks.[13] The French character 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] Over the next few decades, masked and costumed pulp fiction characters such as Jimmie Dale/The Grey Seal (1914), Zorro (1919), Buck Rogers (1928), The Shadow (1930), and Flash Gordon (1934), and comic strip heroes such as the Phantom (1936), began appearing, as did non-costumed characters with super strength, including the comic-strip characters Patoruz (1928) and Popeye (1929) and novelist Philip Wylie's character Hugo Danner (1930).[15] Another early example 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 August 1937, in a letter column of the pulp magazine Thrilling Wonder Stories, the word superhero was used to define the title character of the comic strip Zarnak, by Max Plaisted.[19][20]

In the 1930s, the trends converged in some of the earliest superpowered costumed heroes, such as Japan's gon Bat (1931) and Prince of Gamma (early 1930s), who first appeared in kamishibai (a kind of hybrid media combining pictures with live storytelling),[21][22] Mandrake the Magician (1934),[23][24][25] Olga Mesmer (1937)[26] and then Superman (1938) and Captain Marvel (1939) at the beginning of the Golden Age of Comic Books, whose span, though disputed, is generally agreed to have started with Superman's launch.[27] Superman has remained one 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 by Bob Kane and Bill Finger.

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-artist 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 Scarlet 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 later on June 3, 1940.[33]

Captain America also appeared for the first time in print in December 1940, a year prior to the attack on Pearl Harbor by the Japanese government, when America was still in isolationism. Created by Joe Simon and Jack Kirby, the superhero was the physical embodiment of the American spirit during World War II.

Prk 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, Prk has also been portrayed as the only Czech superhero in film and comics.

In 1957 Japan, Shintoho produced the first film serial featuring the superhero character Super Giant, signaling a shift in Japanese popular culture towards tokusatsu masked superheroes over kaiju giant monsters. Along with Astro Boy, 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 Khan 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.

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, Ant-Man, Quicksilver), and many others were given their own monthly titles.

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

In 1963, Astro Boy 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-type 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 as 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 magazine King of the Monsters in 1977 describing Godzilla as "Superhero of the '70s."[48]

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 Science Ninja Team Gatchaman anime debuted, which built upon the superhero team idea of the live-action Phantom Agents as well as introducing different colors for team members and special vehicles to support them, said vehicles could also combine into a larger one. Another important event was the debut of Mazinger Z by Go Nagai, creating the Super Robot genre. Go Nagai also wrote the manga Cutey Honey in 1973; although the Magical Girl genre already existed, Nagai's manga introduced Transformation sequences that would become a staple of Magical Girl media.

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

The dark Skull Man manga would later get a television adaptation and underwent drastic changes. The character was redesigned to resemble a grasshopper, becoming the renowned first masked hero of the Kamen Rider series. Kamen Rider is a motorcycle riding hero in an insect-like 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 way comic book companies would depict as well as market their female characters: Wonder Woman was for a time revamped as a mod-dressing martial artist directly inspired by the Emma Peel character from the British television series The Avengers (no relation to the superhero team of the same name),[50] but later reverted to Marston's original concept after the editors of Ms. magazine publicly disapproved of the character being depowered and without her traditional costume;[51] Supergirl was moved from being a secondary feature on Action Comics to headline Adventure Comics in 1969; the Lady Liberators appeared in an issue of The Avengers as a group of mind-controlled superheroines led by Valkyrie (actually a disguised supervillainess) and were meant to be a caricatured parody of feminist activists;[52] and Jean Grey became the embodiment of a cosmic being known as the Phoenix Force with seemingly unlimited power in the late 1970s, a stark contrast from her depiction as the weakest member of her team a decade ago. e24fc04721