The survey just defines it as "Ability to eat massive quantities without ill effect. i.e. Killer Croc." I'm hard pressed to think of an example where Croc's super-eating was actually something that affected his agency in a situation.
@BESW I'm not sure if it's "deliberate self-parody". It definitely didn't take itself as seriously as modern comics do, but I can't really call it parody.
@Maximillian Because flying is easier to animate than jumping really far.
Astro City is a comics series independent of any other setting or franchise. It's not about a particular person or group, it's about the place Astro City, which is filled with superheroes and supervillains. The first issue has a Superman-like character explaining how he decides what's the most ethical use of his powers, and why that includes keeping a day job and stopping to give interviews even though there are more people to save.
Another issue is about an ordinary woman who grew up in the "haunted supers" section of the city, and is trying to decide if she'll take a job that means moving to the shinier, more Justice-League-y central part of the city.
Justice League raises some interesting questions. At what point are there so many super powers around, that their very action on any major issue decides the fate of various world economies?
Marvel's explored that a bit in the movies by making the aftermath of GIANT SPACEMAN BATTLE that leveled the city a continuing theme with people impacted by it.
Yeah, that's another problem with stories that never end, and with buying up everyone else's stories and mashing them together and never letting them end.
You wind up with characters and assumptions that don't make much sense in the new shared context.
Astro City started out as kind of an "optimistic serialized Watchmen" sort of thing, in that it's an examination and rebuttal of Big Two supers conventions but it's much more even-handed and less cynical about the whole thing as it examines the impact of the superpowered on individuals and as part of the wider community, and on themselves and each other.
It got noticeably lamer after DC bought it and put it under the Vertigo imprint. Gasp, shock.
@BESW whaaat? if i didn't know any better i'd think you were trying to suggest DC doesn't handle very well the concept of superpowered individuals as thinking, feeling human beings (or equivalent) interacting with other human beings (or equivalent) who don't just solve their problems by sufficient amounts of correctly applied violence. But that couldn't be it...
He tells a good story, sure, but it often feels like he's re-arranging the same pieces over and over again. Whatever stories you read first are going to feel fresher.
Sandman feels like a journey of otherworldly beings, tasked with maintaining key parts of humanity, while ultimately failing to understand why they have their motivations and machinations that they come up with.
I've read Good Omens. I've consumed a decent stack of Gaiman stuff, in various mediums. I've read least five Sandman novels, Good Omens, Batman, American Gods, Anansi Boys, The Ocean at the End of the Lane, Neverwhere. I've seen his scriptwork on Babylon 5, Neverwhere, Doctor Who, and MirrorMask.
And probably a handful of others that escape me at the moment.
In most settings, there'd be a quibble about one's internal skeleton not being dead and thus not really being a quality target for re-animation as it's already on its first animation.
Necromancy's fine with double-dipping, but it's not very good at two-timing.
I'm just imagining a lich who manages to stay immortal despite having his phylactery's location noted through publicly available information because adventurers are insistent on solving inane riddles.
> "You know you guys could just make a FOI request, right?" > "'Foi' is Portuguese for 'was'..."
