Anyone else annoyed how it started with an eclipse happening, but people had powers before that eclipse. But yeah another eclipse took their powers away cause it was tied to it. But not really.

Hi, I'm looking for the Heroes: Reborn comics, as I'm doing a rewatch with my family and I hope to end the story a little better than what the TV show did. I've been googling it but haven't found much, not even on PirateBay. Does anyone know where I can find them or at least a wiki to read about it?

I love this show, but that’s all I can see on my rewatch. The main male characters have different races, ages, and body shapes, which is great!

The main female characters are blonde, skinny, and look young. I loved Maya, but she is definitely the exception to the casting, not the norm.

I wonder if that was a deliberate choice (i.e., they thought viewers would prefer blonde women) or the casting crew had a type (oops, this actress is blonde too, huh, how did that happen?).

I just finished the show…The ending was no comment. I was wondering if there was a book or anything that has the actual ending…

Rewatching season four currently, wondering how the deaf community reacted to Emma’s character. Wondering how the deaf community reacted to a character whose ability is someone who can see sounds. As a hearing person I don’t have that perspective

The Heroes Reborn had expanded materials that explained what happened to Peter, and frankly, I hate that it was essentially volume 4 all over again with the Goverment once again hunting down ppl with powers. Peter's story essentially ends with him forever hiding in the shadows as someone from his side betrays him, and Micah takes over his operation. That is literally the end of Peter's story. It sucks that he went through all of volume 4 being a fugitive and fighting back against the government only for it to happen all over again and he has a bad ending.

I’m a bit lost with Adam’s plan. He talks Peter into going back in time. What’s the point of this? The virus was already released.

So they travel backwards in time to follow Adam’s plans to release the virus. Only this time they manage to stop him. I was expecting their efforts to be to late. Then we will see the effect of the virus on Nathan since he was one of the first to die in the future.

I’m also confused about the shot to the head killing the immortals. Adam was blown up. Noah took a bullet to his skull. Maybe the bullet to the head was just a myth?

Lastly I’m a bit confused about immortal blood. At some point does it expire? It seems like they would keep those abilities.

So a couple things in "An Invisible Thread" confused me regarding Peter and Sylar's powers. Obviously at this point Peter has been nerfed to have the "absorb from one person" ability, which is probably also why they kept him and Sylar apart narratively. And about Sylar, I think after he loses his abilities from the virus in Season 2 we pretty steadily see all the new ones he gains, but up until this episode he couldn't fly, could he? They even have Peter say he can't fly after Nathan and Sylar because he had absorbed Sylar's ability at that point, and I mean I guess Sylar can take powers empathically now, so I can accept that maybe him spending time as Nathan meant he empathically understood him and could fly now, what still doesn't make sense to me is why Peter wouldn't be able to. Nathan even says "My brother can do anything Sylar can, he just has to get close enough to touch him" Idk does anybody have any thoughts on this that aren't just "this show sucks after season 1"?

Can someone explain in season 4 -

Peter every time keeps telling I used to work with dying people

Which I get is noble

But it was his every other dialogue in season 4 - I used to work as a hospice nurse

I created Heroes characters ranked by perceived intellectual age, based on their decision-making, tactical intelligence, ability to learn from mistakes, and general common sense. This has nothing to do with their actual age or IQ.

After rewatching the series, I'm convinced that Sylar makes most of the other characters look like a bunch of teenagers.

Here's my ranking:

1. **Sylar (45):** Analytical, adaptable, manipulative, and actually learns from his mistakes. Easily the smartest character.

2. **Noah Bennet (35):** Experienced and strategic, but often charges into danger without adequate precautions. Survives through dumb luck more often than he should.

3. **The Haitian (34):** Disciplined, composed, and rarely reckless. Unfortunately, his character is severely underdeveloped.

4. **Angela Petrelli (33):** Excellent manipulator and long-term planner, although her secrecy often creates unnecessary problems.

5. **Ando Masahashi (29):** Surprisingly practical. Often the only person exercising common sense around Hiro.

6. **Daphne Millbrook (26):** Resourceful, quick-thinking, and generally pragmatic.

7. **Arthur Petrelli (25):** Intelligent and calculating, but his arrogance gets in the way.

8. **Adam Monroe (24):** Cunning, but remarkably reckless for someone who's lived for centuries.

9. **Nathan Petrelli (22):** Politically sophisticated, but his decisions and convictions change so frequently that it's difficult to take him seriously.

10. **Mohinder Suresh (20):** Academically brilliant, but his practical judgment is astonishingly poor.

11. **Peter Petrelli (19):** Compassionate and courageous, but impulsive and far too trusting.

12. **Hiro Nakamura (18):** Creative and determined, but naive and frequently makes emotionally driven decisions.

13. **Matt Parkman (16):** A former police officer with telepathy who somehow keeps failing to anticipate obvious threats.

14. **Claire Bennet (15):** Constantly wants to fight, repeatedly gets herself captured, and almost always needs someone else to rescue her.

I have so much love for this show, and just about as much disappointment 😭

I know some flaws were unavoidable due to the writers strike, but dang some of the stuff beyond that was also just crap.

- The S1 finale was terrible, which shocked me considering how great the rest of the season 1 was. I questioned even starting S2 for a good minute. The battle between Peter and Sylar was SO lame and a wasted opportunity to showcase their abundance of powers creatively. Claire refusing to shoot Peter despite knowing he would come back yet being ok with her biodad dying unnecessarily to save him was extremely annoying, although I get she's just a kid new to this stuff and it must have been scary. And why didn't Nathan just shoot him since Claire stalled and tell Peter he'd be there for him once he came back to life, instead of trying to sacrifice himself for no reason in a dramatic moment which would literally never allow him to be there for Peter again? Nathan doing that alone made me wanna drop the show 😬 but I'm so glad I kept going!

- I binged this, so didn't even realize s2 was over til I was halfway through s3, thats how much it didn't have any finale energy to it. I know the strike was to blame, but honestly the entire s2 arc was so lackluster to me compared to s1, I breezed past it into s3 trying to find out when "s2 would get good" lol. I figured out about the strike afterwards.

- Mohinder's mad scientist human experiment arc was so trash, very glad he was haunted enough by the harm he caused to start doing the work to be a better person again. Although I hated the arc, it was interesting to find out his Dad was also doing human experiments in the 60s as it at least gave some understanding as to how a man who seems so noble could fall so far. For similar reasons, I appreciated Sylar finding out his biodad was also a serial killer with the same method of killing/power stripping as him.

- Hiro wimping out multiple times in key moments ticked me offf but I've appreciated his character development, though I still want him to stop obsessing over "being the hero" to the point he actually causes more harm than good, especially by hurting himself from using his powes and being hurtful towards Ando out of insecurity.

- Sylar is the WORST I was surprised to find out a lot of people are into his character 🤢 that being said I do appreciate the displays of how his childhood trauma caused him to show compassion to isolated young boys his inner child relates to, even if his show of humanity is temporary. He's gotten so many powers I don't even think the writers know how many he has because they keep focusing on the same small handful + whatever power he's gotten most recently. I am enjoying how the shapeshifting is affecting him though, and am interested in seeing how this further mutates his body against his cellular regeneration.

- Why the fuck does everyone casually call René The Haitan and not even question how racist that is to not give him no damn name as one of the only Black men on the show and the only foreign one for most of the show??? 🤨 Even if they thought he was mute at first and they never knew his real name, he could have been called Agent No Trace or some other name to describe his memory/nullification powers. They didn't even try and it was bullshit.

- I found out DL got kicked off the show because Nikki's actress was racist and she refused to work with him past S1 and refused to do any intimate scenes with him (yet she had no problem filming steaminess with a white man - Nathan 🙄)! However DL leaving the show is not only on her, because ultimately execs refused to give DL a storyline beyond his relationship with Nikki, and chose to kill him in a dismissive way instead. Leonard Roberts deserved so much better, especially when he was so gracious in the face of all that nasty treatment - yet another ex: in the pilot script DL was quoted as "a white man's nightmare" 😑 - and got screwed in the end anyway. Extremely disappointed and I also feel sorry for Micah being stuck with a racist woman playing his mother/other characters around him. The black actors were all pushed to the side in general for the show's media promotion and consideration of their characters trajectories (only all the white actors got to meet with the writers to share their perspectives/visions for their characters). Major letdown and the show missed out on what DL could have brought to the rest of the story.

- Matt developing future painting powers is so random and felt like the writers were flailing, wtf was going on there... I would have preferred that they just kept Usutu on the show, or brought that power back into the protagonist circle in a more believable storyline

- Hated that they killed Daphne, but also her lovestory with Matt felt very rushed and forced. I would have been open to them developing organically, but her saying she loves him the first 2 seconds in with no relationship basis other than him insisting he's seen they're married in the future is real hard to buy. Now if she had only said it to get him to believe it was her in the dream Arthur had trapped them in that would've been one thing, but the fact that she doubles down on it once they woke up made me cringe real bad. Matt saying he was in love with her in Kansas was sliiightly more believable since he'd tasted their future together, but it was still so early on and felt like a reach to me just to push the story along and get her to let him in the house. They could have expressed affection and interest for each other in more meaningful ways than rushed I loved yous in those moments.

- Also Matt has a kid?! Him thinking the baby was a result of his wife's affair and subsequently leaving her makes no sense when he could've both read her mind and on top of that taken a paternity test if he had any further doubts. Matt giving up on expressing grief for Daphne and pivoting to becoming a happy family with his son and Janice before Daphne's body was even cold was unfortunately not surprising for his character. He seems very much like a puppy needs someone to protect and love. Having someone to protect keeps him morally grounded and he doesnt really care who it is as long as he has someone, whether Janice or Molly or Daphne or baby Matt.

- Matt Parkman the baby has a power that I foresee being a major gamechanger down the line. Don't know anything about heroes reborn but I'm interested to see how his powers may weave into that show's story, and the rest of this one. Cackled watching the scene where he stopped both cars with his tantrums 😂 wondering how his upset may impact others powers in crucial moments while he's still too young to control himself- and how Ando's power could potentially be the antidote to that unless baby Matt turns off Ando's power as well.

- Noah and Angela are tied for the "villains-disguised-as-morally-grey-good-guys" prize. Just because they don't ally with the rest of the villains full-time doesn't mean they aren't villanous themselves, they're just villains who justify every evil thing they do in the name of family, and side with whatever path keeps their loved ones as safe as possible. They would easily let the whole world burn as long as their people were safe, those aren't good guys.

- Hated Peter losing his powers 😭 glad he can handle one at a time now at least, but also miss when there was one OP good guy and one OP bad guy to balanced the scales. I was disturbed to find out that Milo was in his 30s dating 18yr old Hayden ☹️ I wonder how the show may have been different if the two stars didn't have breakup awkwardness making them want to film together less.

- On the plane when Claire is trying to free the kidnapped people, and Peter accidentally makes a hole in it, and that one powered person gets sucked out into the night, I was GUTTED like who was that?!?! What a truly horrible way to die, kidnapped, handcuffed and blindfolded with headphones and no idea you're about to fall out the sky. Considering I have no idea who that was - if anyone we'd ever seen on the show before at all - that death managed to hit me hard.

- Hoping Claire brings Nathan back to life after his s3 finale death but also kinda tired of Nathan's arrogance fucking everyone over. He's really not much better than Angela or Noah but foolishly seems to think he's in a noble ends-justify-means league of his own. However, it seemed like he had finally started learning some important lessons, and perhaps his character was just about to become more tolerable and stop harming other folks with abilities in the name of his politicking visions of grandeur. Also- was it Claires blood still being in his system that saved him that "miraculous revival" time? No idea how viable that plot line would be as idk how quickly the body would cycle out a blood transfusion let alone a power infused one.

- I loved seeing Hiro on the spirit walk give us a peek into other perspectives of the story, and enjoyed the same during Angela reliving memories at Coyote Sands.

- Continuously in love with the weaving of everyone's stories together, and the way you can see even more how much things are connected and destined from all angles of time that the story is told from.

- How tf was Arthur right there ready to steal the catalyst from Hiro on the rooftop? Unless he painted it, which I would've appreciated seeing to make that make sense. I felt so bad for Hiro, he just lost his Mom all over again and was ready to make her proud only for everything to be doomed again 2 seconds later 😩

- These main characters have gotten so deeply sucked into the tornado of survival that was s3, it seems like the only ones left who never lost their moral compass even once are Claire, Claire's Mom, and Ando 🫠 also pls don't let Ando keep calling himself the crimson arc lmao

- The Kensei storyline felt odd to me as we never really did see anymore butterfly effects from all that Hiro messed up beyond Adam becoming villanous- like did Adam manage to kill the his would-have-been princess after Hiro returned to the present? Hiro could've dissolved a whole bloodline if Adam and Yaeko originally had children, and who knows what else. Despite Hiro's insistence at nobility and heroics, he was terribly selfish with Yaeko and completely shirked his responsibility for something that had such a grave cost, even though he was already deep in the middle of cleaning up all the other timeline damaging messes he'd made for Kensei. His character could have explored that guilt more for a deeper personal growth arc and possibly less selfishness (while claiming heroism) going forward.

- Of course there are SO many arcs and characters that this show didn't get to fully play out, and I know its hard enough to make a good show without the burden of a writers strike, but as a novelist myself I crave tying up the loose ends and would love to see so much more than the show had time to give 🥲 though I have really enjoyed what we did get to see, and its been a long time since a show about powers has sucked me in like this

- Adam got killed too soon, seeing him connect with Sylar would have been an interesting storyline.

- I started watching the show mere weeks before Hayden Panettiere passed away, and watching her on the show since has been so bittersweet. Claire is one of my favorite characters, and I hate that the world is missing out on experiencing more of Hayden's light, beyond what she already put out in this world 😢❤️‍🩹

- I am so curious to know what Kaito's power was! And why tf did Charles and Maury have the same mind control? I feel like they could have at least given the company founders all different powers smh. They gave Linderman and Ishi the same power too which felt like a cheap copout. Same thing with both Mohinder and that marine manifesting strength from formulas rather than actually interesting unique powers.

- How come Peter just gave up on trying to rescue Caitlin from that horrible future timeline where she was most likely gonna die from the virus? He could've at least asked Hiro to bring her back to the present even after Arthur tricked him out of his own. Hopefully as they change the present she would get adjusted back to the new timeline and maybe back to the present but who knows 🥴

- When Matt started flying in Paris I almost quit the show 🤣 I'd had ENOUGH of these random powerups! But then when it was shown to be Daphne's farewell I was heartbroken, she deserved more time.

Anyways I have more thoughts and will make another post when I'm done with s4 but this is enough of a novel for now, I just had to get these thoughts out before I exploded Ted style lol

Am I the only one who finds it hilarious that in Heroes, almost everyone who discovers they have superpowers acts like their life is ruined? Meanwhile, those are literally the abilities most people would spend their entire lives dreaming of having.

So back in the day I was looking through random Heroes images and there was a couple of Hayden and Stephen Tobolowsky in a BTS shot, one I can remember was Hayden coming out of a white trailer and she was in her season 2 cheerleading uniform but it wasn't the dark blue version seen on the show but a light blue version

I think it was on GettyImages or a similar site, I'm hoping someone else saw and remembers this and can also tell me why the uniform was different

This is my first time watching this (I’m on S3 E5) and Noah really isn’t that much better of a person than Sylar, seeing as he atleast isn’t in control. I personally really like this style of writing.

I recently rewatched Heroes on Netflix, and honestly, the initial premise and mythology are still incredible, especially when you consider that the series premiered in 2006. The idea of ordinary people across the world gradually discovering that they possess extraordinary abilities, their lives beginning to intersect in seemingly impossible ways, and an underlying mystery slowly revealing that their individual stories are part of something much larger is still an incredibly compelling foundation for a franchise.

The show had its problems, of course. The 2007–2008 writers' strike disrupted its second season, subsequent seasons struggled with pacing and narrative consistency, and network television imposed practical limitations on how much time, money, and creative freedom could be devoted to its increasingly ambitious mythology. Characters disappeared, storylines were abandoned or hastily resolved, and the series sometimes seemed unsure what to do with the enormous narrative potential it had established. Heroes Reborn, despite introducing some interesting ideas and characters of its own, struggled to recapture the magic of the original.

But here's what struck me during my rewatch: I don't think the fundamental problem was the premise. I think the premise was considerably bigger than the format and storytelling constraints the series was working within.

And the more I thought about it, the more convinced I became that the entire Heroes saga would work brilliantly as a series of novels. In some respects, I think it might work even better in prose than it did on television.

I'm not talking about simply transcribing the episodes into novel form, either. I'm imagining a comprehensive literary adaptation of the franchise that preserves its central characters, mythology, and defining storylines while expanding the material, strengthening the continuity, and reworking the weaker narrative decisions into something more cohesive.

Here's why I think it could work.

1. Deeper Character Psychology and a More Nuanced Exploration of Abilities

One of the greatest advantages of adapting Heroes into prose would be the opportunity to explore what it's actually like to discover that you possess an extraordinary ability.

Television can show us what a power looks like, but novels can explore what it feels like to experience it. What does it mean psychologically to discover that your body can regenerate from virtually any injury? How does Claire's understanding of her own humanity change when the biological limitations that govern everyone around her no longer seem to apply to her? Does she begin to regard herself differently? Does immortality, or even the possibility of it, fundamentally alter her relationship with danger, pain, and the people she loves?

Peter Petrelli's power is another example. His empathetic mimicry raises fascinating questions about identity, emotional boundaries, and the relationship between ability and personality. If he absorbs abilities through proximity to other evolved humans, what happens to his sense of self as he accumulates more and more powers? How does he distinguish his own instincts from the influences of the people whose abilities he has acquired? What does it mean to be someone whose very nature is shaped by the people around him?

And then there's Sylar's intuitive aptitude, which might be one of the most psychologically interesting abilities in the entire franchise. His power isn't simply about acquiring new abilities; it's about understanding how things work. A novel could explore the way that compulsion gradually consumes his curiosity, how he rationalizes his actions, and how his desire to understand everything becomes entangled with his need to feel exceptional.

The same applies to Hiro Nakamura's time manipulation, which offers enormous opportunities for exploring causality, regret, responsibility, and the psychological consequences of knowing that events might have unfolded differently.

These are all ideas the television series touched upon, but prose could investigate them much more deeply. Rather than explaining every power through exposition or demonstrating it through another action sequence, a novel could let readers inhabit the characters' experiences and understand how their abilities reshape their relationships with themselves and the world.

2. A More Coherent Exploration of Power Mechanics and Limitations

Something else I'd love to see is a more consistent framework for how abilities actually work.

The original series introduced a fascinating variety of powers, but their mechanics and limitations weren't always explored consistently. Some abilities developed new applications when the plot required them, while others were constrained or expanded in ways that occasionally felt arbitrary.

A novel series could establish clearer rules without making the powers feel rigid or predictable.

Peter's ability, for example, could receive a more systematic treatment of how he acquires, retains, and accesses the abilities of other evolved humans. Hiro's time manipulation could be explored through a more consistent understanding of the relationship between time travel, alternate futures, and causality. Sylar's intuitive aptitude could have clearly established boundaries that make his discoveries feel earned rather than convenient.

This wouldn't mean reducing the mystery surrounding the evolved human phenomenon to a scientific instruction manual. Quite the opposite. The rules would exist to make the extraordinary feel more convincing, allowing characters to experiment, make mistakes, discover unexpected applications, and occasionally encounter abilities that defy their existing understanding.

The scientific mystery at the heart of the franchise could become even more compelling if readers gradually learned the rules alongside the characters.

And Mohinder Suresh would be an especially important character in making that work. His father's research could provide a more sustained scientific throughline connecting the various abilities, while Mohinder's own investigations could evolve alongside the growing complexity of the mythology. His perspective would allow the series to explore the tension between scientific explanation and phenomena that initially appear impossible.

3. Fixing the Pacing Problems and Giving Every Volume a Clear Narrative Purpose

This is probably the most obvious advantage.

Network television operates under constraints that novels simply don't share. The original series had to accommodate episode orders, broadcast schedules, production costs, and the expectation that individual episodes would maintain a particular rhythm. Those demands can be especially difficult for a sprawling ensemble story in which dozens of characters are pursuing separate objectives that eventually converge.

A novel series wouldn't have to follow the same structure.

The original show's volumes could be adapted into cohesive books, with each installment developing a central conflict while contributing to the larger mythology. Storylines could be expanded when they benefit from additional exploration and condensed when they become repetitive. Characters could receive meaningful resolutions rather than disappearing because the production no longer had a use for them.

The weaker portions of Seasons 2 and 3 could be restructured without discarding their most interesting ideas. Unresolved mysteries could receive proper payoffs, character motivations could be developed more gradually, and major revelations could be foreshadowed rather than introduced primarily for immediate dramatic effect.

The goal wouldn't be to make everything shorter. It would be to make everything more purposeful.

A story can be expansive without being meandering, and Heroes has more than enough material to support an ambitious series of novels. The key would be ensuring that every subplot contributes to character development, world-building, or the overarching narrative.

4. Alternate Futures and Global World-Building Without Production Limitations

Remember "Five Years Gone"?

That storyline demonstrated how effectively Heroes could explore an alternate future in which the world had been fundamentally transformed by the existence of evolved humans. It took familiar characters, placed them in radically different circumstances, and revealed how dramatically their lives and personalities could change.

Imagine what a novel could do with that concept.

Instead of limiting the exploration of an alternate future to the characters and locations that could be accommodated within a television episode, a book could develop the political, social, and cultural consequences of the evolved human phenomenon.

How would governments respond if evidence of superhuman abilities became impossible to suppress? How would intelligence agencies attempt to identify, recruit, monitor, or contain people whose abilities posed unprecedented security challenges? What would happen to public trust if ordinary citizens began to suspect that people around them possessed powers they couldn't understand? How would religious institutions, scientific communities, corporations, and ordinary families respond?

The series occasionally touched upon these questions, but there is an enormous amount of unexplored territory here.

And because Heroes is fundamentally a global story, novels could move freely between countries and cultures without the logistical constraints of filming in multiple locations. The story could follow evolved humans whose lives have nothing to do with the central American characters, gradually introducing them into a larger narrative in ways that feel organic rather than obligatory.

The world would finally have room to feel as large as the premise suggests.

5. Making the Company and the Franchise's Larger Mythology Feel Like One Continuous Story

The Company is one of the most intriguing elements of the original series, particularly because its history suggests that the events we're watching are only the latest chapter in something much older.

A novel series could take full advantage of that.

Rather than treating the organization primarily as a source of conspiracies, antagonists, and revelations, the books could gradually develop its origins, internal divisions, competing philosophies, and relationships with successive generations of evolved humans.

What originally motivated its founders? At what point did protecting the world become indistinguishable from controlling it? Were its members always united in their objectives, or did disagreements over how evolved humans should be treated eventually produce factions with fundamentally incompatible visions?

Characters such as Angela Petrelli, Noah Bennet, and other individuals connected to the organization's history could become essential links between different eras of the narrative.

This would also provide an opportunity to make the mythology more consistent across the entire franchise. Revelations introduced in later seasons could be foreshadowed earlier, seemingly incidental details could acquire significance in retrospect, and characters who appear unrelated could be connected through histories that extend well beyond the events depicted in the original series.

The franchise already has the ingredients for a multigenerational conspiracy thriller. A novel series could finally give that dimension the sustained attention it deserves.

6. Integrating Heroes Reborn Into a Unified, Long-Term Narrative

This is where I think the idea becomes particularly interesting.

Heroes Reborn introduced characters and concepts that could have benefited from a stronger connection to the original series' overarching mythology. Malina, Tommy/Nathan, Quentin, and the evolving conflict surrounding evolved humans all offered opportunities to explore what the world might look like years after the events of the original show.

Rather than treating Reborn as a continuation that arrives after a substantial gap, a novel adaptation could plan for it from the beginning.

That doesn't mean revealing everything in advance. It means establishing the groundwork for later developments through recurring themes, historical references, emerging political tensions, and carefully placed characters whose significance becomes clear only much later.

The existence of new generations of evolved humans could be foreshadowed in earlier books. The long-term consequences of the Company's actions could shape the world in increasingly visible ways. Characters who initially appear to be pursuing unrelated objectives could eventually become central to the events that lead into Reborn.

The result would be a much more deliberate narrative progression, one in which the later stories feel like consequences of everything that came before rather than an attempt to revive a franchise that had already reached an uncertain stopping point.

I'd also want the adaptation to be honest about continuity. If certain elements of Reborn conflict with earlier material, the books could reconcile those inconsistencies where possible rather than treating every existing plot point as equally untouchable.

The objective would be to create one coherent saga while preserving the characters and concepts that make both series worth revisiting.

7. Expanding the Ensemble Instead of Treating Characters as Disposable Plot Devices

One of the original series' greatest strengths was its ensemble cast.

The initial premise allowed Heroes to tell stories about people from different backgrounds, professions, cultures, and stages of life. Some were frightened by their abilities, some embraced them, some attempted to exploit them, and others struggled to understand what their existence meant.

That variety is part of what made the first season so compelling.

A novel series could preserve that structure while giving supporting characters more substantial roles in the overall narrative. Characters who received limited screen time could have their motivations and personal histories developed more fully. Secondary storylines could continue to evolve even when they weren't directly intersecting with the main characters.

This would be especially valuable for characters whose abilities or circumstances raised interesting questions but whose stories were never explored as thoroughly as they could have been.

It would also allow the narrative to move beyond the assumption that every evolved human must eventually become part of the same small circle of protagonists. Some characters could remain independent, others could become allies or antagonists over time, and some could have stories that intersect with the central narrative only at crucial moments.

The world would feel populated by actual people rather than a collection of powers waiting to be introduced.

8. Preserving the Original's Strengths While Reworking Its Weaknesses

I wouldn't want a novel series to become an excuse to throw away everything that made the original Heroes special.

The first season's interconnected storytelling, its sense of discovery, its memorable character introductions, and its gradual convergence of seemingly unrelated lives should remain central to the adaptation.

I'd want the novels to preserve the uncertainty of those early episodes, when neither the characters nor the audience fully understood what was happening. I'd want Hiro's enthusiasm, Claire's confusion, Mohinder's scientific curiosity, Peter's idealism, and the growing threat posed by Sylar to retain their original emotional weight.

But I'd also want the adaptation to acknowledge that some storylines worked better than others.

A faithful adaptation doesn't have to reproduce every weakness of its source material. It can preserve the underlying ideas while reworking the execution, provided that the changes serve the story rather than simply replacing it with something unrecognizable.

In other words, I'd want the original series' strongest qualities to remain intact while giving its weaker material the structural attention it never quite received on television.

9. How I Would Actually Structure the Novel Series

My ideal approach would be to adapt the franchise around its existing Volumes, using the graphic novels' chapter-based naming convention as inspiration.

Each book would have a complete narrative arc, while the entire series would build toward a larger overarching story. Some volumes might closely follow the events of the television series, while others could expand existing storylines, explore events that occurred off-screen, or introduce material that helps bridge gaps between seasons.

I'd also be interested in incorporating the existing official tie-in novels and supplementary stories into the broader timeline wherever their continuity permits. Rather than treating them as optional extras, the adaptation could identify which material meaningfully contributes to the central narrative and integrate it accordingly.

For readers who prefer consuming the story in larger installments, the individual books could eventually be collected into season-based compendiums or omnibus editions.

The important thing is that the books would be designed as an actual literary series, not simply released as disconnected adaptations of individual episodes.

There would need to be an overarching plan for the mythology, the characters, and the chronology from the beginning. That would make it possible to foreshadow later revelations, establish consistent rules for abilities, and ensure that developments in one volume have meaningful consequences in subsequent installments.

The result could be an expansive superhero saga with the narrative continuity of a carefully planned fantasy series and the character-driven suspense of a science-fiction thriller.

And, perhaps most importantly, it could give the franchise a way to continue telling stories without depending on another television revival.

10. Why I Think the Franchise Still Has Potential

Ultimately, I don't think Heroes needs to be rescued because its original premise has become irrelevant. If anything, its central questions have become more interesting with time.

What happens when people discover that they are fundamentally different from everyone around them? Who gets to decide whether those differences are dangerous? How do governments and institutions respond when individuals possess abilities that existing systems of power cannot easily accommodate? What happens when fear turns people into threats, and when attempts to control a phenomenon only make it more dangerous?

These are questions that can sustain an enormous amount of storytelling.

The franchise's greatest strength was never simply the existence of superpowers. It was the idea that extraordinary abilities could emerge in ordinary lives, transforming personal relationships, political institutions, and the way people understood themselves and one another.

A novel series could explore those ideas with greater depth, consistency, and ambition than the original television format sometimes allowed.

And with the right creative direction, it could bring the original series and Heroes Reborn together into a single, cohesive narrative that respects both their potential and their history.

I'm curious what other fans think.

Would you prefer a faithful, expanded novelization that preserves the original plot as closely as possible, or a more comprehensive reimagining that keeps the core mythology and characters but substantially rewrites the weaker seasons?

Which storylines would you want expanded? Which characters deserved more development? Would you want the books to follow the original Volumes, or would you prefer an entirely new structure?

And most importantly: if Heroes were given a proper second life in prose, what would you want that series to look like?

Still a work in progress, and I’m running out of room! This isn’t even my entire Heroes collection. Almost everything pictured is screen-used, with the exception of the sword and a few comics.

That whole section of sylar meeting his biological father is incredibly underwhelming and has no pay off. I think instead of sylar just walking away, it could have been awesome to see Samson actually take his powers and he would leave the house. Furthermore, he would have become the real villain of season 3 or if not season 4. Where he would have gone around and acted like season 1 sylar. That would have also given us a way more interesting way to drive sylar down the good guy direction if he now needs to help everybody stop this impossible force of a character.

​Like many of you, I’ve been thinking a lot about Hayden and how much she meant to this franchise. The Volume 5 cliffhanger has always stung, but there is a way to finally give this show closure while giving her the respectful tribute she deserves.

​Instead of a messy reboot, pitch a 2-hour TV wrap-up movie. No expensive CGI face replacements. No recasting Claire. The solution is already built into the lore: Have Hiro step in and teleport Claire to a different timeline so she can finally live a peaceful, normal life away from the burden of her powers.

Proposed story:

The Ferris wheel stops spinning, the cameras flash, and the world watches a teenage girl plummet to the earth, only to stand up and heal.

We pick up the exact millisecond after Claire Bennet utters the line, "My name is Claire Bennet, and this is attempt number... I guess I've kind of lost count." The crowd erupts into chaos. News helicopters circle. Government black-ops vans are already screeching toward the carnival. But before a single hand can grab her, time freezes. The raindrops hang in the air. The camera flashes suspend like stars. Hiro Nakamura walks into the frame.

Hiro has seen the future this single act creates. He shows Claire the immediate timeline: a world where she is endlessly hunted, dissected, and forced to be a martyr for an apocalyptic war between humans and Evos. He looks at the girl who has spent her entire life just wanting to be normal, and he offers her a final, permanent escape. Using his fully restored master of space and time, Hiro opens a tear to a pristine, isolated timeline—a quiet pocket universe where the Evo gene never mutated. He promises she can live a full, quiet, unremarkable life. No saving the world. No running. Just peace. Claire looks at her father frozen in the crowd, whispers a goodbye, and steps through the rift.

When time resumes, Claire Bennet simply vanishes into thin air on live global television.

The rest of the movie focuses on the monumental fallout of the "Vanishing Cheerleader" and the heroes left behind. Noah Bennet is completely broken, believing his daughter was atomized or abducted by a new threat. Peter Petrelli and a reformed Sylar—now an uneasy but devastatingly powerful duo—are forced to step into the vacuum Claire left behind. The public saw a miracle and a monster, and the world governments immediately attempt to enact the Registration Act that Nathan Petrelli once dreamed of.

Matt Parkman, struggling with his dark side, is recruited by the government to telepathically hunt his own kind. Tracy Strauss uses her political savvy and liquid abilities to smuggle young Evos out of the country. The central conflict forces the original cast to stop hiding and finally stand together as a united front to protect the new generation of Evos from being caged.

The climax brings Noah, Peter, Sylar, and Hiro to a heavily fortified government black site. During the breach, Hiro is finally able to pull Noah aside. He doesn't show Noah where Claire is, but he passes on a physical letter she wrote in her new life. Noah reads the words, realizing his little girl isn't dead or captured—she is finally safe, living the mundane, beautiful life he always wanted to give her but couldn't. This revelation breaks Noah's hardened edge, allowing him to step up not as an assassin, but as the true, compassionate leader the Evo community needs.

The film ends not with a massive CGI battle, but with an ideological victory. Peter and Sylar dismantle the government's secret weapon, and Noah leaks the truth of the black sites to the press, forcing a fragile but hopeful peace treaty for Evos worldwide.

In the final scene, we do not see Claire’s face. The camera pans over a sunlit porch in a quiet, idyllic town. We see a pair of hands potting a plant. A golden retriever sleeps on the porch. The camera lingers on a framed photo on the table—a familiar pair of horn-rimmed glasses resting next to it. Hiro Nakamura watches from a distance, smiles softly, and blinks out of existence, leaving the cheerleader to finally live in peace.

what the hell was heroes reborn. Thats all I have to say. what the hell. I don't know what I just watched, I even liked a few characters besides the ones that weren't completely insufferable (90% of the cast, Rip Mr Harris) The ending was horrific though, Noah omg. I did not realize how attached I became to ole HRG over the past 5ish seasons but they did my man dirty with that, and no one even mourned him. The show was a hot mess, and aneven worse for my heart (Rip my babies Mohinder and Hiro). 0/10 would never watch again, ruined one of my favorite shows, and now I don't even know if I can rewatch Og Heroes because of that dogshit I had to sit through.

Love season 1. Tolerated season 2. Got 5 episodes into season 3, then gave up because I was sick of how stupid everyone was being. (Looking at you, Hiro and Mohinder.)

At least season 1 was fun. I was especially fond of Hiro, Ando, and the Haitian. I can't say that I liked Noah Bennett, but I admired him. The guy is a badass.

I started this project ages ago but recently came back to it, redid the hair sculpt and finally got around to painting it so now he’s here and flying!!!!

This is probably very specific and I’m not sure how many people will relate to this however…

I just realized that Masi Oka is the executive producer of Mobius Digital AKA the creators of OUTER WILDS. Not sure if anyone in this sub is a gamer/has played outer wilds but it was such a revelation to discover that MASI OKA my goat from heroes also made such an emotional and unique game such as outer wilds. Kudos to him 🫡

Hallo, ich schaue gerade Heroes und bin mit der 3. Staffel fertig. Ich habe oft mitbekommen, das Sylar der Lieblingscharakter von den meisten ist ?? wtf

Sylar hat mich so genervt die Staffeln über. Auch da, wo die Autoren ihn nett machen wollten und zum Helden. Ich denke, das war Staffel 3 am Anfang. Ich check's nicht. Also ich fand ihn so unsympathisch und ich fand das alles so künstlich. Er nervt mich. Die ganzen Staffeln über. Ich kann sein Gesicht nicht sehen. Sobald ich ihn sehe, bin ich schon genervt, sein ekelhaftes Grinsen und sein Charakter. Und viele meinten auch, dass er sooooo stark ist. Er ist aber nicht stark, meiner Meinung nach. Außer die Kräfte, die er sich geholt hat. Aber ganz ehrlich, würde man das vergleichen, er hätte keine Kräfte und die anderen auch nicht, hätten die ihn alle platt gemacht. Es ist einfach nur ein kleiner Feigling, der sich hochgepusht hat durch gut Glück, was er sich an Kraft bekommen hat.

Ich bin gerade bei der Stelle in der letzten Staffel, wo Nathan stirbt und die Mutter trauert. Da hat mich aber auch die Mutter aufgeregt, weil, ey, wegen dir ist Silent so stark geworden. Ihr hättet ihn eliminieren können. Er wäre dann jetzt tot, aber du wolltest unbedingt, keine Ahnung was. Ich check's nicht. Es ist auch ihre Schuld einerseits. Ich hasse sie nicht, aber sie regt mich da auch manchmal auf