DC Heroes in Marvel

The system panel now showed that Superman's fan value had reached 37 million.

Since the release of Man of Steel, Superman's fan base had grown far more slowly compared to the Flash, which was currently airing.

Meanwhile, driven by the popularity of the Flash series, even Wonder Woman's fan value had surpassed the 8-million mark. 

In an upcoming episode of Flash, Wonder Woman was slated to make another appearance.

When that episode aired, it was certain that Wonder Woman's fan value would experience another significant boost. 

Coupled with the near-completion of the Wonder Woman movie, which would be released shortly after post-production, her fan value was expected to skyrocket past 30 million in no time.

Anton, having reaped the rewards of using American TV series to generate buzz, had no plans to stop. He intended to continue producing TV shows to draw even more attention to Superman.

After all, redeeming Superman required a staggering 100 million fan value—a daunting goal.

However, with Batman v Superman still at least six months away from completion and release, Anton was confident he could bridge the gap. 

Though half a year seemed like a long time, Anton believed it would pass quickly, especially with his strategic plans.

With Batman v Superman in the works and other supporting projects like TV dramas and crossovers, he was sure to push Superman's fan value closer to the 100-million threshold, even if it didn't surpass it.

Superman's redemption was within reach!

Energized by the prospect, Anton was eager to get started. He immediately urged Jim and the rest of the team to spring into action.

Of course, while Anton could be a demanding boss, he wasn't entirely unreasonable.

Jim was already juggling multiple projects and didn't have Anton's uncanny ability to multitask across universes. 

Producing the Superman TV series would have to wait until Wonder Woman wrapped up, as Jim was currently focused on that and The Flash.

"Wonder Woman will be finished soon," Anton told him. "Once that's done, I want you to jump straight into producing the Superman TV series. In the meantime, I'll have Betty handle the initial groundwork so everything's ready for you."

"No problem," Jim replied, relieved.

He couldn't help but notice Anton's enthusiasm, but he also worried that his boss might push too hard and overload the team.

"Alright, let's settle it," Anton nodded. "Prepare the plane. I need to get back to New York—there are things I have to take care of there."

"Got it. Good luck," Jim said as he watched Anton leave the set.

New York. The Daily bugle.

"Finally, I found you, you bastard!"

Phil stared at the map of New York pinned to the wall, a triumphant smile spreading across his face.

After more than ten days of relentless searching, he had finally uncovered clues leading to Flint Marko.

Initially, Phil had thought it would be straightforward to locate a gangster in New York, especially with his resources as a reporter and the support of the Continental Hotel.

But once he began his search, he realized just how murky the waters were.

Some mysterious force seemed to be at work, erasing almost every trace of Sandman and Flint Marko. Even Flint's financial transactions had been wiped from the internet, leaving no trail behind.

It was as if Flint Marko had vanished from the face of the Earth, taking Justin Hammer with him.

Yet the news of Justin Hammer's kidnapping had spread like wildfire. Everyone in New York—and beyond—knew that the chairman of Hammer Industries had been abducted, his fate still unknown.

Phil's determination grew. He was close, and he wasn't about to let this trail go cold.

However, the robbers who kidnapped the chairman of this corporate giant had remained silent for ten days. No ransom demands, no threats—just complete silence.

It was eerily reminiscent of the time, over half a year ago, when Tony Stark disappeared in Afghanistan.

Some people, lacking the full picture, even speculated that the group responsible for abducting Justin Hammer might be the same one that had taken Tony Stark.

As an insider, Phil had access to all the key information through Anton. He knew exactly who was behind the effort to erase all traces of Flint Marko.

It wasn't some shadowy cabal or criminal syndicate.

It was Hammer Industries.

Hammer, painted as the victim in the public's eyes, was quietly orchestrating Flint's disappearance.

Phil adjusted his strategy accordingly.

He reasoned that Flint Marko had likely changed his identity with Hammer's assistance. To track him down, Phil turned his attention to a key part of Flint's life that he would never abandon: his daughter.

Flint's daughter was a young girl, just a few years old, who was gravely ill. With her father missing, she was confined to a hospital bed, waiting for what seemed like an inevitable end.

But before Flint had disappeared, he'd deposited a significant amount of money into an account to cover her medical expenses.

The little girl now had a chance at recovery—and Phil was certain Flint wouldn't leave her entirely alone.

Even if he never spoke to her directly, Phil believed Flint would return to check on her once he felt safe.

To confirm his theory, Phil enlisted the help of Donatello from the Teenage Mutant Ninja Turtles. Using advanced tech, they tapped into the hospital's systems and set up surveillance on Flint's daughter's ward.

After nearly two weeks of relentless monitoring, Flint finally appeared—just when Phil was starting to doubt his plan.

It was late at night when it happened.

Flint drifted into the unmanned ward, his body turning into a gust of sand that slipped silently through the window.

Anticipating Flint's nocturnal habits, Phil had adjusted his schedule, napping during the day and keeping watch at night. After several exhausting nights of vigilance, he finally had his breakthrough.

Excited but cautious, Phil immediately sprang into action.

Dressed in his custom goblin suit, he trailed Flint from the hospital, watching closely until Flint disappeared into his hiding place.

But Phil didn't make a move right away.

First, he needed rest. After weeks of sleepless nights, his condition was far from ideal. Facing Flint Marko—someone who could transform into sand—was a challenge that required precision, preparation, and full strength.

Second, Phil didn't want his debut to go unnoticed. He wasn't interested in being a hero who operated in the shadows, like Batman.

Phil wanted a moment.

The "Dark Knight" aesthetic didn't appeal to him. Even Anton, his boss and the one who had popularized the concept of the "Dark Knight," wasn't fully committed to that style.

After all, who had ever heard of a superhero who made an autobiographical movie glorifying himself?

Anton did!

And not just any autobiography—Anton's Batman was a billionaire playboy, the head of Gotham's largest conglomerate, who managed to surpass even Stark Industries in wealth and influence.

Phil couldn't help but be envious.

Bruce Wayne had it all: money, women, power, and an unwavering sense of justice. He was the embodiment of youthful fantasies, including those of Anton Jameson himself.

"When can I have my solo movie?" Phil wondered.

Determined, he resolved that once he made his heroic debut, he would pitch the idea of an independent film centered on his alter ego, The Hobgoblin.

As the first rays of sunlight spilled into the room and the morning breeze drifted in, Phil smiled.

It was rush hour in New York City—the streets teeming with life and energy.

"This is it," Phil thought, brimming with excitement.

The perfect stage was set for his long-awaited debut.

…

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