Super villian

Supervillians are in their nature criminals, however unlike your average burglar during certain eras a supervillain could be as beloved an icon as some heroes, and many of them often had a similarly heightened celebrity status as some heroes did.

Despite not being an official term, the use of super villain to describe empowered criminals had developed through the years in popular culture and had taken different forms across the ages of empowered civilization. Most scholars agree that the term supervillain originated in world war 2 propaganda, when the first German Ubermench took to the fields of the polish front in 1935 a panic swept through allied forces, the western propaganda offices acted quickly to present and magnify the threat of the new powered soldiers to the masses to increase support of the war, as well as the questionably ethical experimentation meant to provide the allies with their first U-gene empowered troops. Presenting exaggerated versions of the early empowered soldiers as tearing the very land asunder. The first poster to coin the term was made by american jewish artist on contract for the British military Joseph Shuster depicted a hulking Nazi ubermench crashing a motor vehicle onto the ground and breaking a chasm in it into which innocent civilians fall with the writing "The Nazi super villains are tearing Europe asunder, only you can stop them!" and was meant to encourage the purchase of war bonds.   From there super villain was used sporadically and interchangeably with other terms such as Ubermench, Empowered criminal and others until the 1950s with the emergence of the third generation. While empowered criminals had existed before, the power boom generation is where they became common, egged on by the Churchill administration attempts of getting supers back under governmental control as well as an economic collapse in America which led to the second civil war many empowered in Europe and abroad found themselves on the wrong side of the law, some of those individuals embraced their new anti establishment identities and became the new generation of self proclaimed super villains, creating a punk styled movement around the term to fight against the draconian actions of governments at the time.   In the early 1960s with the beginning of the liberation age, and the emergence of the fourth generation came the rise of the modern super hero, costumed individuals, who were sponsored but not directly working for the governments of the world and other crime fighting organizations, under the protector act of 1965 these new costumed defenders began clashing with empowered criminals on a regular basis. These fights, rivalries and often times scandals skyrocketed the public interest in the super heroic life style creating the first era of the celebrity super hero. With this new attention, a new type of villain also emerged, the super villain became just as much of a fashion statement as the super hero, with villains adopting more extravagant looks and personas to appeal to the fantasy. with the proliferation of corporate television the clashes between those empowered personas became a mainstay of the entertainment media as well as the news, pulling big ratings for channels who broadcasted them.   after the turmoil of the late 1980s with the beginning of the heroic age, the return of magic and the arrival of the Matsya the empowered population boomed like never before, super heroes and villains alike became much more common place and their constant battling turned from a novelty into a fact of life, while during the early days these changes were embraced by the public as a wave of hero worship and obsession washed over popular culture, supercharging the idea of the celebrity hero and villain new heights, regulation soon followed, with the rainbow diamond case creating new limitations on young heroes and the creation of the villainous index codifying harsher punishments for empowered crime that resulted in destruction of property or loss of life, the villain and hero struggles became more subdued and the big players were forced to take their business behind the scenes to avoid repercussions. As such by the turn of the millennium most supervillains were either costumed lackeys in a bigger plot, thrill seeking fools who got severely punished for their actions or heroes with an edgier brand then most... *the following paragraph needs some heavy rewriting*   In the 2000s the capital S super villain who carries the flare and persona of a major super hero is all but gone, most antagonistic forces are either magical and none human in nature, ideologist or criminal enterprises who don't publicize their villainous intent or the rare delusional maniac who wants to be an old school super villian but finds that the new systems put in place restrict their capability to do so without being dogpiled by aspiring supers.
  despite this, and with the rise of Morganian sympathies some movements had tried to reclaim the super villain moniker, harkening back to the anti establishment villains of the third generation who fought against the government's control. These new age super villains comprise of ideologists believing in their rebellion against the unjust systems, trend chasers who want to use the aesthetics of the super villain to bolster their own personal brand and maniacs who are drawn to the bombastic of super heroism but wish to use their powers for selfish means...