Kasady has full control over the size, shape, color usually red and black , texture, and hardness of his symbiote and any part thereof. Like Venom, he can make his symbiote look like normal clothing which he has done on rare occasion , or act as "camouflage". With the symbiote bonded to his bloodstream, he can "regenerate" his costume from scratch simply by bleeding. His symbiote has the peculiar ability to block its parent's Venom 's ability to sense and track it.
In some interpretations, the Carnage symbiote is vampiric , feeding on and thus endangering his victims by only a mere touch. It can also send irresistible commands to parts of itself that are in technology; these were used to break the bones of the Iron Rangers when they challenged Carnage while wearing symbiote-enhanced technological exo-suits. Using these last two abilities, Carnage absorbed the five Iron Rangers, grew to an enormous size, and became blue.
Finally, Carnage's powers have always been abnormally enhanced from the maniacal will and insane worldview that Kasady has had from the age of 8 years old. When the Carnage symbiote was joined with Norman Osborn, the resulting combination was immune to traditional symbiote weaknesses of sound and fire, although Anti-Venom's touch was still dangerous.
In the MC2 future timeline, Carnage, also known as Specimen , bonds with Spider-Girl 's friend Moose Mansfied , who wanted to use the symbiote to cure his father from cancer. Spider-Girl uses the sonic blasters of the villain Reverb to destroy all traces of the symbiote. In a later timeline, samples of the symbiote are used to create Biopreds , living weapons that the government use to try to stop Mayhem , Spider-Girl's part-symbiote clone, who, after killing the real Spider-Girl, became a murderous vigilante, eventually killing the hero American Dream.
The Biopreds run wild, however, decimating the world and its defenders. Mayhem, seeing the error of her ways, goes back in time and sacrifices herself to stop her past self from killing Spider-Girl, ensuring the events that led to the Biopreds' creation never occurred. The Ultimate Marvel version of Carnage is a self-regenerating vampiric organism. When first introduced, the organism was a blob of instinct, with no intelligence or self-awareness, with its only aim to feed on the DNA of others, including Gwen Stacy , to stabilize itself.
After feeding on multiple people, Carnage turns into a damaged form of Richard. Carnage and Peter battle to which Peter throws Carnage into a fire factor steel chimney, killing the beast. But before its death, the organism splintered into a replica of Gwen's form.
In Ultimate Spider-Man No. In issue No. She transforms into Carnage before leaping out the window. An inmate appearing to be 'Gwen' walks out amidst the chaos, disappearing in the shadows. It has been revealed the creature posing as Gwen is still the original Ultimate Carnage faced earlier in its run.
After "devouring" Gwen, this incarnation of Carnage has gone on to mimic her "essence" and now believes itself to be Gwen Stacy. It is shown Gwen has been taking some form of therapy. However, when the Goblin broke out of the Triskelion, Gwen escaped and went to Peter's old house in a confused and terrified state, with Carnage's face on her body. In a rage, Spider-Man engages Eddie on a nearby rooftop.
During the fight, Gwen is shown to be able to use her symbiote to fight off Eddie, but the Venom symbiote reconstitutes itself upon contact with Carnage and absorbs the symbiote, rendering Gwen an ordinary girl.
The dimension-hopping Web-Warriors who aid dimensions who lost its Spider-Man defeated Sinister Sextet, and as they round up their captives, they notice that Electro escaped, unbeknownst to the group, followed them to the Great Web. In Venomverse , when Venom and Eddie Brock from Prime Earth were recruited into a war between lethal protectors from across the multiverse and the symbiote-eating Poisons, the Venoms from the multiverse were on the ropes until Eddie had the bright idea to recruit the psychopath Carnage to their side.
They summoned a Carnage that hailed from a world where he had succeeded in killing Venom, and while he was volatile at first, engaging in battle with the Resistance, when he realized he had the opportunity to fight "a buncha messed-up super-heroes" he decided to join the Venoms. During the Secret Wars , when Elsa Bloodstone along with a child were in a world of zombified characters, they run into a zombie Carnage.
He was killed when Elsa threw Carnage's head to a zombie Sauron. Carnage was also used in DC and Marvel's Amalgam Comics , where he was amalgamated with Bizarro into Bizarnage , an adversary of Spider-Boy who appeared in his only issue. The maze was designed to be a trip through Carnage's hideout and contained all of his henchmen and the bloody remains of various Marvel superheroes.
Carnage was also the icon chosen to represent that specific island for the event, as he killed all of the superheroes and took over the "island", allowing criminals, gangbangers, and villains to roam free with no regard for law and order.
The event's main icon, "The Caretaker", chose him based on his disregard for life and desire to see total chaos. This version is a member of the Sinister Six. From Wikipedia, the free encyclopedia. This article is about the Carnage symbiote character. Fictional character in the Marvel Universe. Art by Mark Bagley. Main article: Cletus Kasady. Main article: Ben Reilly. Main article: Karl Malus. Main article: Norman Osborn. Main article: Eddie Brock.
Main article: John Jameson comics. Main article: Silver Surfer. Main article: Scorn Marvel Comics. Main article: Normie Osborn. The Marvel Encyclopedia. DK Publishing. Archived from the original on July 15, Retrieved July 26, Marvel Comics.
Though it sounds nothing like it, there are parallels to be drawn with Cave and Ellis' other non-Bad Seeds project Grinderman, which gained its revitalising power from free-improvisation of words and music. The bulk of Carnage 's lyrics were written in the limbo of early lockdown, a period which Cave spent "just sitting on my balcony thinking about things.
They're constantly shifting in terms of voice and tense, surrealism and simplicity, wandering between reality, memories, daydreams and hallucinations, presented sometimes as a scattergun of disparate images and at others in lingering meditations.
Any cohesive narratives that do arrive are fragmentary, wrapped in symbolism and abstraction. Cave's vocals, which have of late been consistently cracked and fragile, are a whirlwind of different tones, veering from emotive balladeering to wicked snarls to melodramatic croons — a resurrection of the remarkable range of dramatic voices that characterised his early career.
The music strikes a similarly erratic tone. On opener 'Hand Of God', an aggressive electronic rhythm pummels in one direction while an opulent swell of strings flies in another. On 'Balcony Man', shapeless abstract noises suddenly dissipate to reveal rich, oaky piano chords. Its first half is perhaps the most outwardly aggressive thing Cave has written since Murder Ballads , on which a menacing figure sits stroking his colonialist weapon, an elephant gun: " I'll shoot you in the fucking face if you think of coming around here, I'll shoot you just for fun ," he snarls insanely to himself.
But then, in an instant, there is a burst of glorious light: "A time is coming, a time is nigh, for the kingdom in the sky! All of this makes for an overwhelming record, one in which it's impossible to ever feel fully settled, even in its most beautiful moments. At first it feels like a dark rolling mist, a beguiling and shapeless mass of different textures.
Over time, however, you begin to notice certain stark and sharply defined images and ideas emerging from that mist for just a moment, only to fade back into the fog. Then, one, three, or seven songs later, you spot that image's twin, as if all these disparate fragments are reaching across time in conversation with one another.
On the second track, 'Old Time', a figure throws their bags into the back of a car, an image that repeats itself exactly on the seventh track 'Shattered Ground'. On 'Hand Of God', "A thing with horns steps back into the trees," and on 'Carnage', "A reindeer frozen in the headlights steps back into the woods.
These mirrors can be musical too; the plunging cinematic strings at the start of 'Hand Of God' are the same as those on 'Old Time', and the ethereal abstract bed on 'Balcony Man' matches the one on 'Carnage'. Where all the songs across the last three Bad Seeds records, which Cave has described as a trilogy, felt tied together with a strong and burly rope; the threads between the songs on Carnage are like a fragile web, undercutting the notion that music must move from point A to point B.
From this we can take Carnage 's labyrinthine, space-time bending structure to be intentional, an accurate reflection of the insane void of lockdown. It's formally remarkable, although this often comes at the expense of momentum. The thick intensity that Cave and Ellis conjure on the first two tracks is thrilling, but then disappears completely on their glacial follow up 'Carnage', never to return.
However, the Carnage fragments soon converge into a giant creature that Spider-Man and Agent Venom fight, causing the creature to envelop Midtown High and turn it into a hive-like form. The group finds Mary Jane, but discover that Carnage has also turned her into its primary host, the Carnage Queen.
When the heroic trio reveal to her their true identities and encourage her to fight the symbiote, Mary Jane overcomes the Carnage Queen's control as Flash deactivates the Carnage-laced missiles. However, some residue of Carnage still remains within Mary Jane, which Mary Jane gains control over thanks to experiments by Dr. Connors to become the superhero Spider-Woman. After Thanos escaped from his underground imprisonment beneath Manhattan, he came across the Carnage Symbiote and bonded to it.
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