Tag Archives: Batman

constantine

Fall changes have potential to bring new TV faves

Fall doesn’t officially start until Tuesday, but the cooler temperatures in my part of the country over the past week prove that the change of seasons is definitely upon us. As I pointed out last week, the arrival of fall also means the arrival of fall television. Last week, I shared some of the returning shows I was happiest to have back on my screen. This week, I’ll take a look at the new series I’m looking forward to checking out.

I don’t tend to watch a lot of sitcoms as they air live. The Big Bang Theory and How I Met Your Mother were exceptions to that rule, and for each of them, I came in after several seasons had already aired. I’m a fan of New Girl, though I’m usually a season behind and watching on Netflix. Last season, I enjoyed The Crazy Ones, then was disappointed when the series was canceled and even more heartbroken when we lost Robin Williams last month.

This year, I am planning to give Selfie on ABC a chance — despite its annoying pop culture title. I have to admit, if the series wasn’t starring Karen Gillan and John Cho, I probably wouldn’t even consider watching … although the idea that it’s loosely based on My Fair Lady also has me intrigued. I loved Gillan as Amy Pond in Doctor Who, but she really impressed me this summer as Nebula in Guardians of the Galaxy. I can’t wait to see how she does in an American sitcom. Early reviews for the series have been really positive, so this may be a case of “don’t judge a series by its title.”

Speaking of former Doctor Who stars, the Tenth Doctor himself will be starring in Gracepoint on Fox this fall. Gracepoint is a 10-episode television “event” based on the British series Broadchurch. David Tennant will be reprising his role from the original series, this time with an American accent. The show centers on the investigation into the murder of a young child in a small seaside town.

Broadchurch was absolutely fantastic, and if you enjoy suspenseful crime drama, I highly recommend it. The cast and the writing were brilliant; it was easily one of the best series I watched last year. At first, I was disappointed to hear that Fox was making its own version of the series, and I was determined not to watch: there is no way they could even come close to the quality of its predecessor. But the casting of Tennant has made me curious, and I’ll willingly watch anything in which he appears.

According to Fox, the story will not play out exactly as the mystery in Broadchurch did. The writers have apparently changed the ending so fans of the original won’t know what’s going to happen. However, the trailers I’ve seen for the show so far make it look like the series was shot matching the original, frame by frame. Changes must have been made, though, to accommodate the fact that the American version is 10 episodes long versus the eight episodes of the British series. Hopefully, those changes do not lessen the suspense or drama that was so effective in the original series.

While Marvel has proved that it can easily dominate the box office, DC has seen a lot of success on the small screen over the years. This fall, NBC, the CW, and Fox will all premiere new series based on DC comics staples.

There has been a lot of hype and anticipation for Fox’s Gotham, which tells the story of James Gordon, the future police commissioner, prior to the existence of Batman. The series will also provide origin stories for many members of The Rogues Gallery. So great is the excitement for this series that Netflix has already acquired the exclusive rights to stream it after the episodes’ first runs. I tend to be skeptical of any genre show that Fox airs — not because I don’t believe it will be good, but because even if it is, there’s a high chance of Fox pulling the plug without really giving it a chance. The success of Sleepy Hollow last year, though, has given me some measure of hope.

Gotham will bring a talented cast into our living rooms. I’m particularly excited about Donal Logue playing Gordon’s partner. Logue has the ability to pull of great comedy or serious drama, and I’ve really enjoyed every performance of his that I’ve seen. I wasn’t a fan of The O.C. or Southland, so I know nothing of Ben McKenzie, who will be playing Gordon, other than that he’s more clean-cut than I was expecting. I’m really curious to see what he’s like. Lastly, a bit of trivia for the Doctor Who fans: Alfred, the butler for the Wayne family, will be played by actor Sean Pertwee, the son of the Third Doctor, Jon Pertwee.

Constantine is probably the series I know the least about but am still looking forward to watching. I’m not very familiar with the source character, beyond his appearances in the The Sandman comics and the Keanu Reeves film (or the knowledge that he inspired the look for Supernatural‘s Castiel), but I’m still intrigued by this series. Series star Matt Ryan certainly appears to have the look and attitude of John Constantine.

I haven’t heard much about this series over the summer, aside from the news that Lucy Griffiths‘ character, one of the main characters in the pilot, had been written out for creative reasons. I was a little disappointed by this news, as I’ve been a fan of Griffiths since she played Marian on BBC’s Robin Hood. Since I haven’t heard as much hype about Constantine as some of the other series on this list, my expectations for it are not as high. Of course, the lack of buzz also makes me a little more concerned about its fate at the network. (NBC doesn’t have a much better reputation than Fox when it comes to giving series a chance.) I also have a feeling my lack of knowledge about the comics will work in my favor, as I won’t be comparing it to the comics or criticizing certain creative decisions.

The new series I’m most excited about this fall is probably The Flash. I wasn’t sure about casting Grant Gustin as Barry Allen at first, but I could have been a little biased by his appearance on Glee. However, I really enjoyed his two-episode appearance on Arrow last season, and I am now looking forward to seeing what the show looks like. I’m also excited that it appears The Flash and Arrow will remain closely connected, as Stephen Amell has already confirmed his appearance in the pilot episode, and a crossover is set for episode 8 of each show’s upcoming season.

I’m also a fan of the rest of the cast, which includes Tom Cavanaugh, Jesse L. Martin, and the former Barry Allen himself, John Wesley Ship, as Barry’s father. Recurring cast members will include Robbie Amell, Stephen’s cousin and the star of last seasons ill-fated The Tomorrow People, and Prison Break‘s Wentworth Miller. The previews for the series so far have looked great, and I can’t wait for it to premiere. I just hope it doesn’t take as long to draw me in as Arrow did.

There are all the new series I’m most excited about seeing premiere in the next few weeks. What new shows are you looking forward to? Are there any here I forgot that you think are worth a mention (or worth checking out)? Leave your thoughts in the comments!

batman-superman-dc

In struggle with Superman, Batman must prevail

Everyone loves an underdog story. David versus Goliath is the most popular example, and it’s cited every time a team with a losing record manages to pull off a surprise victory. But the underdog story takes on a new element when both parties involved are popular heroes. It’s one thing for David, the clear “good guy” in the books of Samuel, to defeat Goliath, the representative of “evil paganism,” but it’s something completely different if David defeats Hercules.

So what happens when Batman, often the David fighting Goliaths such as Bane, Killer Croc, or Mr. Freeze, takes on the modern Hercules, Superman? Superman is a hero in his own right, often portrayed as an underdog in a battle with a cosmic threat, which he always manages to overcome. So how is it that anyone can expect an even greater underdog to defeat the Man of Steel?

With Batman v Superman: Dawn of Justice hitting theaters in 2016, a lot of casual fans have been raising this question. After all, Superman is basically a god, while Batman is just a rich human with psychological issues. Superman can move a planet; Batman has no such superpowers. So how is it that we are expected to believe Batman has any chance in a fight with Superman?

Comic book fans know the answer. Batman always wins. Especially against Superman.

In the comic arcs The Dark Knight Returns, Hush, and Red Son, the Caped Crusader leaves the Man of Tomorrow lying after a pugilistic defeat. But how? And from a writing standpoint: why?

The reason Batman is so beloved by fans across the globe is that he is human. He is flawed but brilliant. His numerous psychoses make him a dangerous man, and his paranoia especially guarantees he is prepared for any contingency. The Dark Knight must even be prepared to bring down his god-like best friend when the man from Krypton becomes a threat to humanity.

Even within the fictional world of DC Comics, it is understood that no one but Batman can bring down the Man of Steel. Even ultra-powerful heroes Shazam, Wonder Woman, Captain Atom, and Green Lantern have tried and failed. Most interesting of all, it is Clark Kent himself who entrusts Bruce Wayne with the kryptonite that can stop him cold. Kent knows that, despite his psychological issues, Batman can be trusted to do the right thing if Superman were ever to step out of line.

There is a strange degree of respect and admiration between DC’s two pillars. Batman admires Superman’s sense of honor and duty, even though they are not traits the Dark Knight shares. Superman respects Batman’s mind and his drive to achieve the unachievable. They find a common bond in their respect for human life, above all. Despite the cataclysmic opposition they face, the two heroes — at least in mainline canon — do not kill. It is that respect for human life that causes Kent to trust Wayne above all others in case he were to ever go rogue. As shown in the Injustice comics, when Superman crosses the line and begins to kill in the name of justice, his worldview becomes skewed and only the Dark Knight can stop him.

Superman and Batman represent conflicting ideals and outlooks — and even different ideas of what a superhero is. If we assume a superhero must have powers above that of a normal human being, Wayne is no superhero. But Batman risks his life every night, often performing seemingly superhuman feats despite his limitations. It is his drive and will to change the world that make Batman super. Superman, on the other hand, is defined by his capacity to hold back. The Man of Steel lives in a world of paper. Steel and concrete are as easy to break for Superman as glass is to a normal human.

Batman is a pessimist, often seeing the worst in people, and always expecting it. He is paranoid, angry, and driven by a sense of vengeance. Superman is an optimist, sees the best in everyone, and is happy, trusting, and bound by a sense of duty. Superman is how America sees itself: naturally strong, overwhelmingly powerful, exceptional, idealistic, and representative of freedom and justice. Batman is what America really is: incredibly wealthy, willing to throw money around to get the job done, heavily armed in ridiculous technology, built by hard work, and constantly engaged in a never-ending war.

But Superman and Batman need each other. Batman’s spiteful attitude and cynicism need to be offset by Superman’s kindness, and Superman needs Batman to help set him straight when his head is in the clouds and when the answer to a problem requires more than just punching really hard and flying really fast.

Superman should be unbeatable, but it’s the Dark Knight who truly can’t be stopped. No matter the situation, Batman is prepared. In The Dark Knight Returns, an older Wayne is dead-set on continuing his mission even when President Reagan sends Superman to stop him. Batman represents the power of the human will to overcome even the steepest of odds to achieve a goal. Using everything at his disposal, Wayne is able to bring down the Man of Tomorrow.

Batman needs to beat Superman. It’s part of what makes the characters special. Superman is the most powerful being on the planet, and his stories are about how even stronger monsters push him to his known limits, only for Supes to find even greater strength within himself to bring down the destructive force. No matter how strong or indestructible the force is, Superman is able to rise above. It’s the idea perpetuated in the Independence Day movie: even the most powerful nation on planet Earth has to fight something even more powerful in the form of an alien invasion.

Batman, on the other hand, represents what really happened on America’s Independence Day: a true underdog, bold enough to take on the seemingly impossible task ahead of him. Batman is brash, bold, and seemingly fearless. When pitted against insurmountable odds, which happens more often than not, the Bat is ready — and he overcomes. The Dark Knight is the human being who fights against God. He may never defeat Darkseid in a fistfight, but Batman will still find a way to win. Wayne is the one obstacle that Kent can’t overcome, as he should be. It is humbling to know that the most powerful being in the galaxy can’t beat a simple human. Superman is boring if he defeats Batman. There is no drama in that.

Superman is the status quo. He represents corporate culture, the social ideal, and an impossible to achieve goal of perfection. Superman reminds us that those with power aren’t necessarily bad and can wield their power to achieve great change. Batman, despite being a capitalist juggernaut, is the opposition culture, the social truth, and the gritty, real world of flaws and problems. Yes, he was born wealthy, but he is defined by the struggles and adversity he faces in pursuit of a greater goal.

Batman defeats Superman to remind us that the voiceless can still beat the media conglomerates, that the meek can still topple the powerful, and that, in the end, even the mightiest institutions can be brought down by a well-organized opposition.

injustice

Superheroes approach killing from differing philosophies

Superheroes, whether in comics, movies, or animated television shows, make up our modern mythology. Like the mythology of the ancients, the stories we tell represent our greatest hopes, fears, and ideals. Then what does it say about us when our heroes kill?

Is there anything wrong with Superman killing General Zod to protect an innocent family? Does Wolverine’s use of deadly force to stop mass murderers make him any less heroic than Batman? These questions, though applied to fictional characters, hold great insights into who we are in the era of the drone and preemptive war.

The conflict is one of differing philosophies. Opponents of the death penalty and drone strikes share a philosophical mindset with some of our greatest fictional characters. These heroes, like Batman, Spider-Man, and Aang from Avatar: The Last Airbender, are famous practitioners of deontology, a philosophy that states that actions themselves, regardless of consequences, have an intrinsic moral value. Under deontology, stealing is wrong whether it is for personal gain or to feed your family, and killing is morally reprehensible even if it is done to save the lives of millions.

Some of the strongest heroes in fiction, including Superman and Goku from Dragon Ball Z, try their hardest to maintain this philosophy, but have occasionally made the difficult decision to do the unthinkable when circumstances have dictated. Goku, for example, gave his antagonist, Frieza, numerous opportunities to leave with his life, but the Super Saiyan was left no choice but to fire back at the monster in self-defense.

Some heroes find the morality of killing dangerous men to be much less morally ambiguous. These heroes practice the philosophy of utilitarianism, which states that the moral value of an action is directly linked to its consequences. Therefore, if killing the Phoenix saves the lives of thousands or millions of innocent people, doing so is the morally correct decision. Wolverine, who did kill Phoenix in X3, is perhaps the most obvious example, but other heroes who practice utilitarianism include such squeaky clean characters as the Power Rangers and the Jedi.

Spider-Man’s origin story offers a perfect example of the conflict between deontology and utilitarianism. When a robber passes by Peter Parker, he is faced with a moral decision. Deontology dictates that Peter stop the thief. Stealing is, itself, a moral wrong, and Peter, possessing the power necessary to easily stop him, should have. He didn’t, and the decision had dire consequences. Utilitarianism states that not stopping the thief only became wrong when it later led to the death of Peter’s Uncle Ben. By not apprehending the man, Peter made the wrong moral decision under both utilitarianism and deontology.

But does the equation change when the stakes are raised? When Peter defeats his enemies, such as Green Goblin, he hands them off to the authorities, where they are then expected to go through the legal process. Should Peter have killed these villains instead? Under the American legal system, we expect citizens to only use lethal force as a last resort. And under deontological reasoning, killing is always wrong. But these villains are left with the ability to escape custody and further harm civilians. In one of the most famous examples, Green Goblin, who Spider-Man had refused to kill in the past, ended the life of Peter’s girlfriend, Gwen Stacy. The utilitarian philosopher would then argue that Peter’s refusal to kill the Goblin was wrong, because it led to Gwen’s death.

Under deontology, Spider-Man can’t be held responsible for the blood on the Goblin’s hands. Using the same philosophy, Batman also can’t be blamed for Joker’s murder of the second Robin, Jason Todd, or his crippling of Barbara Gordon. Batman is defined by his refusal to kill, even under the most extenuating circumstances. As shown in the animated movie Under the Red Hood, when forced to choose between saving the life of the Joker and killing the Red Hood, Batman found a third way by stopping Red Hood’s firearm, ironically saving the man who caused so much grief.

Letting someone die, not just killing, was a moral wrong in Bruce Wayne’s mind, and Batman could not let that happen, even though Red Hood’s arguments about the Joker were all true. Thousands died at the hands of the Joker, and because of his insanity, the legal system would never put him to death. According to Red Hood, Batman had a moral obligation to save the lives of the Joker’s future victims by killing the mad man when he had the chance. By not doing so, the blood of the Clown Prince of Crime was on the hands of the Caped Crusader.

Batman’s refusal to kill has long been the basis for his unlikely friendship with the Man of Tomorrow, even if Zack Snyder and David Goyer completely missed that. Superman, despite having the power of a god, has refused for most of his 75-year history to kill even the most dangerous of villains. The few times in which he behaved differently have been so rare that they either were used to reshape the DC Universe or were done in alternate continuities.

When Clark Kent finally crosses that line and allows himself to kill, it always acts as the beginning of a slippery slope. In the ongoing comic story Injustice, the Joker tricks Superman into accidentally killing Lois Lane and her unborn baby before detonating a nuclear weapon in the middle of Metropolis. Clark finally snaps and kills the Joker — something Batman had always refused to do.

Bruce immediately comes into conflict with Superman, but chooses to bide his time and hope that his friend will realize his mistake. Instead, Superman slips further into the role of seemingly benevolent dictator. After killing the Joker, Superman decides it’s time to stop playing with kid gloves, and he begins taking out those who have committed atrocious acts. Dictators fall, villains are killed, and the descent of the world’s greatest hero into mass murderer begins. Once the Rubicon has been crossed, Clark finds it increasingly easy to kill, even ending the life of Green Arrow over a simple misunderstanding in front of his own parents.

Batman stands by his philosophical beliefs and becomes the only man able to bring down the Dictator of Steel. But if he is given the opportunity, will Bruce Wayne be morally obligated to end the life of a super killer? Obviously, Batman says no, but other heroes would answer differently.

In Age of Ultron, the Marvel world is plunged into darkness by a robot-killing machine. When Wolverine learns that Ultron was built by Hank Pym, the original Ant-Man, he decides to do what is necessary to save the world. Wolverine travels back in time to kill Pym before he even conceives of Ultron. Pym, at that time, was still heroic, a member of the Avengers. He had yet to do anything wrong, but Wolverine, believing in utilitarian ethics, chose to end the man’s life before his creation could cause any harm. The plan ultimately backfired, but Wolverine’s willingness to kill a still-innocent man provokes an interesting question about what makes someone heroic.

The Jedi of the Star Wars universe don’t have the benefit of time travel, but they do take seriously their duty to maintain the peace, even if that means killing. Unlike with Superman and others, there is no hesitation in the Jedi when it comes to taking down those who would harm the innocent. The Jedi, like the Green Lantern Corps and the real-world police, are charged with protecting the innocent and are thus allowed to kill when necessary.

In Phantom Menace, Obi-Wan Kenobi seemingly ends the life of the Sith Lord, Darth Maul, due to his personal feelings that the Sith are evil. We, as members of the audience, are inclined to agree with his decision, but have a very different point of view when it is Anakin Skywalker who behaves in the same manner. In Revenge of the Sith, Anakin cuts off the hand of Jedi master Mace Windu, allowing Darth Sidious to kill him. Anakin, like his old master, was taking action against a man he perceived to be committing an evil act — after all, Mace Windu was technically trying to enact a coup.

The death of Mace Windu led to 30 years of oppressive rule under the Empire. Does this result make Anakin’s actions any more reprehensible than Obi-Wan’s? Under utilitarian ethics, the answer is yes, but using deontology, both actions hold equal moral weight.

The beauty of fictional superheroes, however, is that morally difficult questions can be solved with creative writing. A hero does not have to choose between killing the supervillain or letting innocents die. Batman can stop Red Hood’s gun, Superman can turn back time, and Goku can use the Dragon Balls to wish his enemies back to life with new moral compasses. Unfortunately, these third choices can be seen as copouts at best, and poor storytelling at worst. One of the worst offenders of this copout came about as part of the most compelling and philosophically challenging stories ever told. On Nickelodeon, at least.

Avatar: The Last Airbender follows the story of Aang, the fabled Avatar. The Avatar is styled on the Dalai Lama, if the Buddhist leader could shoot fire from his hands. The Avatar is reincarnated upon death and is distinguished from other element benders by his or her ability to bend all four elements: Earth, Fire, Water, and Air. Aang is the sole survivor of the Air Nation, a society of pacifist monks whose abilities were used primarily in defense.

Aang is told his entire life that it is his destiny to defeat the Fire Lord, who has conquered most of the four nations and brought oppression to the people. No one doubts the Fire Lord is evil, but Aang is still a little boy and is unable to accept that killing his nemesis is the answer. When all of his human mentors tell him that he has no other choice, Aang looks to the spirits of his past lives — the previous Avatars — for another answer. Unfortunately, they all declare the same thing: the evil of the Fire Lord must be defeated, and Aang must accept his destiny by killing the man.

Even during the final fight, Aang refuses to do what is expected of him but finds a third way. The Avatar uses his powers to take away the bending ability of the Fire Lord, relegating him to the status and danger level of a regular human. Aang is able to stick to his deontological beliefs even with the fate of the world on the line. Sure, it was contrived and came with no foreshadowing, but it spoke to a strong ethical ideal and seemed to split the difference between deontology and utilitarianism. Aang was able to stand by his beliefs and still save the world, never compromising. But even the spiritual leaders of this mystic world from across the ages found nothing wrong with killing a dangerous man. Ultimately, it was Aang’s personal morality, not a universally held social morality, that prevented the Avatar from crossing a line he was unwilling to cross.

Perhaps this is the difference between Batman and Superman as well. Batman’s aversion to death comes from the trauma of seeing his own parents gunned down before him. Superman only ever experienced such loss in distant ways, and his morality was formed only by lessons from virtuous parents. Maybe this is why writers find it so much easier to see Superman finally crack and kill people. Wolverine’s willingness to kill comes from his understanding that the world is a much darker place, and it is sometimes necessary to do something morally questionable for the greater good.

These characters’ personal ethics about taking the lives of others does not dictate whether or not they can be considered heroes any more than it can in the real world. But it is these ethics that define the characters we love and that lend them their staying power. They give us examples to live by, just as ancient mythology did for our ancestors.

What do you think? Is Batman to blame when the Joker kills innocents? Should Aang have been prepared to do the unthinkable for the fate of his world? Is Wolverine any less heroic for killing an innocent Hank Pym? Did Zack Snyder make a mistake by having his Superman kill General Zod?

These questions are a lot more relevant now, in a world of terrorist attacks and mass shootings. Unfortunately, we don’t have the luxury of writers who can concoct new powers for us when the time calls for it, and we may all some day be faced with a difficult decision that makes us rethink our moral codes.

mcu

Powers, perils of building cinematic megafranchise

Every few years, a movie transforms the way Hollywood does business. The Birth of a Nation, Star Wars, and others changed the game through their financial and cinematic successes. Marvel’s The Avengers, released in 2012, changed the game again.

By taking their time and releasing five distinct movies before The Avengers, Marvel laid down a strong foundation on which to build. Audiences were intrigued by Iron Man, Thor, The Hulk, and Captain America, but they were much more intrigued by what would happen when these cinematic characters met for the first time. When The Avengers was finally released, Marvel succeeded not only financially, but in creating something entirely new to cinema: the megafranchise.

The Avengers has grossed over $1.5 billion internationally and has had residual effects on other Marvel Studios releases. The Winter Soldier has grossed almost twice what its predecessor, Captain America, has, and Thor’s box office receipts increased for its second installment by around 50 percent as well. The result has been attempts by other studios, specifically those with the rights to superhero properties, to duplicate Marvel’s success. Some have done well trying to adapt to this model, but others are risking the destruction of their franchises by not understanding what made The Avengers so successful.

The idea of a megafranchise is that several stories and characters that are commercially viable in their own right work together under the same fictional umbrella in such a way that all component properties end up being more successful, with the eventual crossover making even more money. The cinematic megafranchise has roots in the superhero comic book.

Since All-Star Comics #3, released in 1940 by DC Comics, comic books have been using crossovers to build interest in new characters and to increase profits in existing titles. All-Star #3 saw the formation of the Justice Society of America, the first super-powered team to star characters from several different series, including the original versions of The Flash, Green Lantern, Sandman, and more.

DC may have been the first to use the team-up tactic in comics, but Marvel made the crossover its modus operandi. When Stan Lee first introduced his brand of Marvel heroes, he revolutionized the industry by making his heroes flawed and fallible. Flawed heroes are susceptible to human errors, including misunderstanding the motivations of other heroes. That makes the possibilities of crossovers endless, with heroes like Daredevil mistaking the antics of Spider-Man, leading to a fight in New York City.

Lee saw this potential and made sure to place all of his heroes in a single, interconnected fictional world. Creating a Marvel Universe where crossovers were expected helped to make Marvel the industry leader. Crossover stories would allow fans to see who would win in a fight between their favorite heroes, but also helped to raise the value of lesser-known characters. This tactic was used well in Avengers comics from the beginning.

The Avengers came together in 1963 with an all-star lineup of Iron Man, Thor, Hulk, Ant-Man, and Wasp. Three issues later, they were joined by Marvel heroes’ patriarch, Captain America. It wasn’t long, however, before the creative team at Marvel began using the Avengers to promote lesser-known heroes. In only its 13th issue, the Avengers lost the entire original lineup and reformed with Captain America leading a “cooky quartet” including Hawkeye, Scarlet Witch, and Quicksilver. All three of Cap’s cohorts were originally villains and were using the superhero team as a way to achieve redemption — and to gain greater notoriety among comic book fans.

With the increasing popularity of comic book movies, it was inevitable that Hollywood would adapt Lee’s storytelling style, especially when one of the studios making superhero movies actually was Marvel. Marvel had sold away the rights to its biggest properties a long time ago, losing X-Men, Spider-Man, Fantastic Four, and more. So, when Marvel decided to create its own film studio, the options for franchises were limited.

Marvel Studios took a gamble on a second-tier hero known as Iron Man, who was created by Lee as a sort of challenge to himself: he wanted to create a hero who would be very unlikable to his anti-establishment audience and force them to like him. And thus, Tony Stark, the billionaire, playboy, industrialist, was born. In the movies, Marvel relied on Robert Downey Jr. to deliver both the audience and a show-stealing performance.

By showing the world what could be done with its remaining superhero properties, Marvel Studios built in an audience for additional films. But Iron Man did so much more. The post-credits appearance of Samuel L. Jackson as Nick Fury told fans there was much more to see — that the world of Iron Man was vastly larger than just Tony Stark.

Every succeeding movie built on the groundwork of Iron Man by adding more to the mythos and getting fans excited for the next new entry. People who would not normally be fans of Norse mythology were interested in seeing Thor thanks to the allusions to Mjolnir in Iron Man 2. People who thought Captain America would be a hokey movie still bought tickets because they knew it was building to something larger. By the time The Avengers was released, it was a foregone conclusion that it would be a true blockbuster.

Studios that had already been making superhero movies for years took notice but found themselves in a difficult situation. 20th Century Fox had been producing X-Men movies for a long time and tried to use the team movies to spin off into solo titles, an inverse of what Marvel had been doing. Unfortunately, to this day, Fox has created only one independent franchise, in Wolverine.

With the success of The Avengers, Fox chose to follow the Marvel model by creating a movie loaded with heroes. The result, X-Men: Days of Future Past, was an incredible movie that deserves its comparisons to The Avengers as among the best superhero movies ever made. But its success is nowhere near the level of The Avengers. Why? Because many of the X-Men characters have been seen together already, and there has been no franchise dedicated entirely to building stories for Magneto, Mystique, Storm, or any of the other heroes featured in DoFP.

Sony Pictures’ answer to Marvel has been to use the Spider-Man villains in their own spinoff movies since the Spider-Man franchise is limited to only one major hero. Rumors abound about a Venom movie, which fans hope will lead to the first screen adaptation of Carnage, and Sony has practically confirmed it will produce a movie based on the Sinister Six, a team of six supervillains.

In its attempts to build a megafranchise, however, Sony has made some mistakes. By cramming several villains into The Amazing Spider-Man 2, none of the new characters were able to flesh out their motivations and become more compelling to movie audiences. Though I believe Amazing 2 actually was pretty amazing, other fans weren’t so happy, thinking Sony displayed for everyone the pitfalls of getting too overzealous when attempting to build a megafranchise.

The worst offender of trying to duplicate Marvel’s success has been Warner Brothers. Time Warner owns DC Comics and has had the rights to make movies based on some of the most popular heroes in the world for a long time. Yet somehow, Warner Brothers has mostly only been able to spit out movies based on their two major icons, Batman and Superman, while completely ignoring their third, Wonder Woman, and doing a poor job with Green Lantern.

In a terribly misguided attempt to catch up to Marvel, Warner Brothers has been working on a sequel to Man of Steel, which has slowly evolved into a prequel to a future Justice League film. In trying to build a megafranchise, Warner Brothers has forgotten that it requires the strength of several independent franchises first. Warner Brothers is looking to skip all of that, hoping that the idea of a Batman versus Superman movie will be enough to sell tickets. And it will be.

Warner Brothers has been considering this crossover movie for decades — and for good reason. There are no two characters more iconic than the Dark Knight and the Man of Steel. But in their impatience, Warner has added Wonder Woman, who should have had her own movie years ago, as a third wheel, as well as Cyborg. Also, no movies starring Flash, Aquaman, Martian Manhunter, Green Arrow, or any other major DC hero have been announced. What Warner Brothers did announce, however, is an official Justice League movie, to be directed by Zack Snyder.

But if a movie is coming out in two years that features DC’s top three heroes together for the first time, what reason do casual superhero fans have of going to see the Justice League movie? Are unestablished Green Lantern and Flash characters going to be interesting enough to sell tickets? It’s doubtful.

Marvel made an effort to make sure we fell in love with their characters who would not normally sell tickets on their own by promising us a greater movie experience in the future. Once we had that experience, we fell in love with the characters, even leaving The Avengers asking for a Black Widow movie, which would have been unheard of a decade ago. The success of the megafranchise has created greater success for its constituent franchises, with Iron Man, Thor, and Captain America all seeing increased revenue for their newest cinematic outings. These successes have even allowed Marvel to take new risks, with D-level properties Guardians of the Galaxy and Ant-Man coming to theaters in the next year.

Marvel has proved that it has a winning formula, but it is one that takes time and patience. Fox is beginning to work toward creating a stronger megafranchise in the X-Men by producing more solo movies for characters outside of Wolverine, but Fox’s lack of faith in strong mutant characters, many of whom are women, is holding the studio back. And Sony has shown the risk of relying too heavily on creating a megafranchise, to the detriment of the existing franchises. But Warner Brothers, which has the strongest chance of creating a tremendous cinematic universe, is missing out on the opportunity to create several strong franchises in favor of taking a quicker path to a megafranchise — one that is unlikely to be able to match the success of The Avengers.

Will Justice League, Sinister Six, and future X-Men team-up movies be successful? As a fan of superhero movies, I certainly hope so. But I am willing to wait for them to be set up correctly. As fans, we would much rather see strong movies based on Wonder Woman, the Flash, Green Lantern, and even Cyborg before being thrust into the world of the Justice League. Unfortunately, the promise of Avengers-level profits have clouded the minds of Hollywood producers. Hopefully, they will start to see things long-term, before a massive flop kills the momentum of the superhero genre.

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Batman: The Brave and the Bold pays tribute to Silver Age

Batman: The Brave and the Bold (Cartoon Network)
Where to binge: All three seasons available on Netflix

Since 1992, the Dark Knight Detective has been a television staple, beginning with the ground breaking Batman: The Animated Series and continuing through to Beware the Batman. Outside of and before the Batman-centric cartoons of the past 20 years, Bruce Wayne’s alter ego could be found guest-starring on The New Scooby-Doo Movies or fighting nonsensical crime alongside Aquaman and Wonder Woman as a member of the Justice League as imagined in the sundry Super Friends series.

The common thread that runs through these appearances (well, with the exception of the lighthearted humor of the Super Friends) is that Batman is consistently depicted as a grim avenger of the night, a man who has been consumed by his quest for vengeance against the superstitious and cowardly criminal lot that killed his parents and brought Gotham City to the brink of ruin. Sure, there are moments of deadpan humor, and the occasional bit of outright comedy — what fan of the DC animated universe didn’t love the tongue-in-cheek humor of the Justice League Unlimited episode “This Little Piggy“? — but the overall feel of the character is one of driven, determined seriousness.

Which brings us back to the Super Friends. There was a time in Batman’s history when he was more lighthearted and fun. The Silver Age of Comic Books was a wacky time, with time travel, utterly ridiculous villains, and dozens on dozens of obscure and short-lived heroes with offbeat powers. It was a very different time in comics than today, a time when some stories were being written to children, where the art was still getting its feet under it. The industry was trying to figure out what it would become. It was a time of imagination and exploration, and much of what we consider as the mythos of comic books was established in these formative years.

Batman: The Brave and the Bold was the first, and so far only, animated series to truly embrace the entirety of the wonderful, off-beat, imaginative world of the Silver Age. And it is absolutely brilliant.

This is no small achievement. Following on the heels of the incredibly popular DC animated universe meant that The Brave and the Bold had some big shoes to fill. Had they chosen to play up the darker and edgier elements of the Batman, the show would have felt like a pale imitation of the widely successful Animated Series (a trap that Beware the Batman, the current animated incarnation, is at risk of falling into).

But by choosing to celebrate the madcap fun of the Silver Age, The Brave and the Bold has carved out a unique space in the world of comic-book-inspired animated shows. The animation uses a much brighter color palate than previous animated DC shows. The art feels very much like a four-color comic book. The characters are drawn in a style that smacks of classic Silver Age aesthetics. The occasional computer-generated animation sequence pays tribute to that other famous style of animation, anime. All of these elements come together and form a unique and wonderful look and feel.

The show, which is based on a concept first introduced in the pages of DC Comics, is structured with a short lead-in story that pairs Batman and another hero, usually one of DC’s more obscure characters, in a fight against some evil. These lead-ins serve as character development, allowing the audience to meet many of the show’s recurring characters before they appear in a major storyline. The lead-in story doesn’t usually connect to the rest of the episode, but it is always used to expand the universe.

The show is very episodic, building a world over the course of a season while creating the setup for a two-part grand finale for each season. This “problem of the week” model of storytelling allows the writers to pay tribute to the vast scope of classic comic book storytelling. Episodes range from time-and-space travel, cosmic-level hijinks, classic storyline references, to down and dirty crime drama. Heck, there is even a musical episode, guest-starring none other than Neil Patrick Harris himself.

Voiced by Diedrich Bader, Batman is a deadpan snarker, delivering puns and one-liners that come directly from the Adam West school of Batman acting. The rest of the voice cast includes many well known names (Dee Bradley Baker, John DiMaggio, and many more) voicing just about every major, minor, and throwaway character that has ever graced the pages of a DC comic, along with several created exclusively for the show.

While The Brave and the Bold willingly embraces that Super Friends sense of camp, as well as the Silver Age predilection for storylines that are way over-the-top, it does so with respect and an honest admiration for the classic nature of the characters and the time period that birthed them. What distinguishes The Brave and the Bold is that it treats what the characters will become in the Bronze and Iron Ages of comics with just as much respect. The Brave and the Bold doesn’t just appeal to our retro-comics sensibilities; it uses them as a springboard for innovation.

Just look at how the character of Aquaman got a much-needed shot in the arm here, going from the guy who talks to the fishes to the brave, bombastic, and completely outrageous king of the sea. Or perhaps at the Starro invasion and its study of heroism through the sacrifice and death of B’wana Beast. The episode “Chill of the Night!” is one of the best explorations of the tragic death of Batman’s parents and how it shaped a young Bruce Wayne that has ever been put on the small screen, combining classic and modern Batman sensibilities and Dickensian representations of the Phantom Stranger and the Spectre seeking to claim Batman’s eternal soul.

It’s hard to sell a series to people by talking about its final episode, but I would be remiss not to mention “Mitefall!” Not only is it a zany, hilarious, self-referential adventure romp, but it is a work of love, a good-bye letter to the fans who took a risk on a different kind of Batman show and, in so doing, found themselves rewarded beyond their expectations. In a series where every episode is a love-letter to DC comics, “Mitefall!” is the capstone, the last chance the writers and the cast had to pay tribute to all the great stories of the Silver Age, be they serious or funny, dark or full of laughter, drama or comedy.

All three seasons of Batman: The Brave and the Bold can be streamed on Netflix right now. If you want to take a retro-themed romp through the DC Universe, put aside your preconceptions of what makes a good Batman story and give The Brave and the Bold a watch.

Batman: The Brave and the Bold originally aired from 2008 to 2011 on the Cartoon Network.

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Up, up, and away! A history of Superman

“Faster than a speeding bullet. More powerful than a locomotive. Able to leap tall buildings in a single bound.”

Look! Up in the sky! It’s a bird. It’s a plane. It’s Superman!

“Yes, it’s Superman, strange visitor from another planet who came to Earth with powers and abilities far beyond those of mortal men. Superman, who can change the course of mighty rivers, bend steel in his bare hands. And who, disguised as Clark Kent, mild-mannered reporter for a great metropolitan newspaper, fights a never-ending battle for truth, justice, and the American way.”

No hero has penetrated the American mainstream more than Superman. Yet despite this status, Superman does not share the same level of financial success in 21st century cinema as his counterpart heroes. Superman is too boring and too powerful, many will argue. He’s the corporate hero, clean-cut and idealistic, fighting for an arbitrary ideal of the American dream: “Truth, justice, and the American way.”

But Superman wasn’t always the stringent representative of American corporate culture. Kal-El of Krypton was once the representative of the underdog, the immigrant, and social justice. The Man of Tomorrow has long been a representative of the ideals of today, changing with the times to act as a reflection of our own perception of society.

Superman, like many of the heroes who followed in his footsteps, was born of tragedy, both on the page and in real life. Brad Meltzer, author of The Book of Lies, theorizes that Superman’s creation is directly linked to his creator’s most tragic moment.

In 1932, a robbery led to the death of Mitchell Siegel. Whether his death was caused by a murder or a heart attack has never been fully clarified, but Meltzer believes this event led Mitchell’s son, Jerry, to dream of a man impervious to bullets and fearless of crime.

Jerry Siegel and his artist friend, Joe Shuster, were two poor Jewish boys from Cleveland. They first conceived of a “Superman” as a bald, telepathic villain, who more closely resembles today’s Lex Luthor than the Man of Steel. This quickly changed, however, and by the time the boys sold the first Superman story to National Periodicals, today’s DC Comics, Superman had become a hero, with traits taken from mythology, science fiction, and the immigrant experience.

Action Comics #1 introduced Superman to the world in 1938. From the beginning, the traits that define the Man of Tomorrow were on display. The world’s first superhero fought off criminals, showcased his fantastic powers, and, as the lowly Clark Kent, fumbled his way with Lois Lane to begin a 75-year love triangle. This strange relationship between Kent, Lane, and Superman has been the focus of many stories across the decades.

The tragic relationship among these characters is representative of an idea that certainly must have existed in Siegel’s mind. As something of a geek, Siegel certainly believed he was more capable than anyone would give him credit for. If only the beautiful girls could see the real Jerry, perhaps they would like him. It’s a story that every kid who’s been called a loser can understand.

It was very much the man of Superman that appealed to fans. Comic readers have always been marginalized by society. The readers of Action Comics were primarily young boys, many of whom had been bullied in their lifetimes and could relate to the character of Clark Kent.

Borrowing from his father’s immigrant experience, Siegel wrote Superman as a visitor from a formerly great society, sent to a new world to live a better life. The planet Krypton was written as the old country, like the Siegels’ home of Lithuania. Upon arriving in the new land, Superman, like the immigrants of the day, changed his name from the Hebrew sounding Kal-El to the very Anglican, WASPish name, Clark Kent.

Superman’s origin story has often led to comparisons with the story of Moses, as both were sent away from their mothers to survive inevitable death and become a hero to the people. In time, the story has also been seen with many Christian connotations, most famously in the 1978 Superman film, with Marlon Brando’s Jor-El sending his only son from the cosmos to save the people of Earth from their own mistakes.

Christian stories were not the original inspiration for the creators’ work. Rather, Siegel and Shuster took inspiration from mythological heroes Hercules and Samson and from pulp heroes Flash Gordon and Doc Savage, while naming their hero’s base of operations, Metropolis, after the classic Fritz Lang movie.

Superman began life as a voice for Siegel and Shuster’s politics. Their hero fought against evil in all its forms, whether on the streets, in boardrooms, or in the nation’s capital. Siegel and Shuster’s Superman, years before becoming the representative of Eisenhower’s America, was the champion of social justice, unafraid to bend some rules to right terrible wrongs. Action Comics #1, in fact, sees Superman take on a corrupt U.S. senator, prompting the official’s confession by terrifying the man with a display of Kryptonian powers.

These powers were, at first, comparatively limited. In this first appearance, it was said only that Superman could leap one-eighth of a mile, hurdle 20-story buildings, outrun a train, with “nothing less than a bursting shell [able to] penetrate his skin.” It would be several more years before the Man of Tomorrow would take to the sky.

Action Comics #1 launched a phenomenon. Soon, everyone was releasing superhero comics. These comics remained popular throughout the War years, appealing to kids and soldiers alike. Symbiotically, the comics were also heavily influenced by World War II. With the existential threat of Nazis and Imperial Japan, the Man of Tomorrow became a patriotic hero to inspire American servicemen fighting overseas.

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Unfortunately for the comics industry, popularity waned for the superhero genre in the years following the fight with the Axis. Superman, along with his eternal counterparts Batman and Wonder Woman, became the anchors of National Periodicals, pulling the company through the industry’s post-World War slump.

Superman did his part by dispersing his supporting cast across numerous titles. Superboy, which told the story of Clark’s teenage superheroic exploits, was launched in 1949. Jimmy Olsen and Lois Lane followed suit by starring in their own titles in the 1950s.

The superhero of the mid-century was different from the early Siegel and Shuster hero in more than just attitude. This Superman had been changed across several adaptations in different media to become the hero we recognize today. Some of the hero’s most enduring traits were actually just practical responses to real-world problems.

Kryptonite, debris from Kal-El’s home planet, was introduced in the Adventures of Superman radio program as a way to allow the actor portraying the hero to take some time off. Animators for the Fleicher Studios Superman shorts were the first to make the man fly, believing that a leaping hero looked poor in animation and that flying would simply be easier.

George Reeves brought Superman to life in the televised Adventures of Superman. To avoid the difficult question of how to make a man fly on camera, the producers decided to shoot Reeves either leaving or entering a building through windows to create the illusion of flight.

In 1978, Richard Donner and Christopher Reeve took the Man of Steel to the silver screen. Using new production techniques, the crew was able to simulate flight on film, allowing the movie to adhere more closely to the source material.

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The movie was a huge success, with Reeve stunning audiences in his convincing portrayal of both the confident Superman and the perpetually terrified Kent. This success spawned three sequels and the 2006 homage, Superman Returns, directed by Bryan Singer and starring Brandon Routh.

While movie audiences were enamored by the high-flying hero, comic fans were demanding more realism out of their heroes. In a daring move, DC rebooted its entire multiverse in the crossover comic Crisis on Infinite Earths in 1986. A “last” Superman story, based in the original continuity, was offered to his original creator, Siegel, but had to be turned down due to legal disputes over ownership of the character. Instead, Whatever Happened to the Man of Tomorrow was written by Alan Moore, and told the story of Superman’s final adventure as a hero.

This “final” story was followed by a new “first” story. Man of Steel, written by John Byrne, retold the origin of the hero. Kent became the primary identity, with Superman being the secret. Krypton was explored further, extraneous elements to the mythos were dropped, and all of the hero’s adventures as Superboy were erased. Clark was now a young man coming into his own, trying to understand his supernatural powers and dedicating his life to helping the people of Earth.

Kent soon returned to television in the hit show Lois and Clark: The New Adventures of Superman. The eponymous couple were the focus of the show, with superheroics as just an added element. The success was short-lived after a jump the shark moment when Lois and Clark decided to get married, killing the sexual tension that made the show popular.

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The launching of Lois and Clark foiled plans to have the couple marry in the comics, and the writers were forced to delay the nuptials. Plans for the following year of comics had to be thrown out, and the writers decided on a bold new plan: kill the unkillable man.

Death of Superman is considered a landmark of comic book history. The book was wildly popular. Collectors bought issues with the expectation of an eventual return on their investment. That will likely never come to pass, of course. This being comic books, Superman remained dead for a mere eight months before returning, with a mullet, to fight the forces of evil yet again.

In the 21st century, the Man of Tomorrow has proven to be the Man of Today, finding success across several media. Smallville, launched on the teen-centric WB Network in 2001, told the tale of young Clark Kent in his decade-long journey to become Superman. The show was a success and humanized the hero in the eyes of fans new and old.

While Kent was finding success on the small screen, Superman was having a tough time on the big one. Superman Returns was financially successful but disappointed the brass at Warner Brothers who expected higher returns. In response, a sequel was aborted in favor of a reboot helmed by Watchmen director Zack Snyder. Man of Steel, released in 2013, again retold the story of Superman’s origin as an alien from a phallic-inspired space society who landed in the middle of Kansas — where human lives are apparently not as important as an explosive action scene.

Criticisms of Man of Steel aside, the movie was again successful at the box office and proved that Superman is still as marketable as ever. Superman will return to the big screen in 2016’s tentatively titled Batman vs. Superman.

Superman may be boring to some, but he sells comics and sells tickets. The Man of Tomorrow has endured across generations because he inspires us to strive for more. Sure, his level of perfection is unattainable, but the humility of this all-powerful alien warrior offers us an example to live by.

Superman may not bring in as much capital as Batman or Iron Man, but the hero from Krypton has always been about more than that. Superman is a reflection of our society. He reminds us that in our darkest hours, we can always look to the sky.

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Arkham Knight release puts Batman back in black

Rocksteady Studios debuted the first trailer for its new game Batman: Arkham Knight last Tuesday. By Internet standards, the video is old news. Since fans have had over a week to digest the next-gen-fueled spectacle, I think it’s time we attempt a more in-depth analysis of it. Rather than speculate on the game’s plot or our collective geek-out over the trailer, let’s investigate the deeper issue of Batman’s characterization in the Arkham video game series.

The nature of any cross-media adaptation is that the end product is an accumulation of traits defined over time. For a property like Batman that has been (re)adapted numerous times since the early 1940s, this basic truth is all but hitting us over the head with an onomatopoeic “BOP!” While similar in some ways, each iteration has been slightly varied, a necessary byproduct to a character that has evolved along with the culture that spawned it.

The Batman featured in the trailer for Arkham Knight is a collection of representations dating back to Tim Burton’s 1989 film version. A voiceover from Bruce Wayne’s late father plays through the majority of the video. I’m intrigued at how many portrayals of Batman still find creative ways to display his eternal struggle with that one, fateful night on which he was robbed of his parents. But his more noticeable traits are the physical ones, and for this, Rocksteady depicts a fully black-armored Batman for the first time in its proposed trilogy of games.

It’s a notable departure from the lightweight, Nolan-esque Batman outfit featured in Warner Bros. Montreal’s Arkham Origins this past year. Though the modified costume lacks the eye-catching yellow emblem (meant to distract thugs with firearms) of its comic book counterpart, it puts our hero in a position to do battle with some of his tougher adversaries. Two-Face and Penguin’s thugs are effortlessly handled in the trailer, and I am anxious to see what other challenges are thrown at this darkly clad Dark Knight.

It looks like transportation won’t be a problem for Batman either. If rumors are true, players will have access to the Batmobile for the first time in the franchise’s history. Most references to Batman’s signature vehicle still lean toward the version driven in the campy 1960s television series starring Adam West. As the Christopher Nolan film series has become an endless source of reference for recent iterations of Batman, the vehicle we see in Arkham Knight is very close to the tank-like “Tumbler” we saw in Batman Begins and The Dark Knight. Apparently, the Batmobile will be the only drivable vehicle in the game. If its usefulness is anything close to what is featured in the trailer, players will have a huge asset at their disposal.

Another mystery of this latest outing is an exact setting. Beginning with Arkham Asylum in 2009, Rocksteady has done a fine job framing the story in a manageable space. The sequel allowed players to explore a limited, walled-in section of Gotham City functioning as a prison. Arkham Knight looks like it may be set in a similar environment, but the aftermath of Arkham City’s conclusion may force the story line to another location. Recent reports state that Gotham has been separated into three islands and will include a space five times larger than Arkham City.

What has most fans talking is the possible identity of Arkham Knight’s main antagonist. Contrary to many fans’ first impressions, the game’s title is not a reference to Batman. Early reports suggested that we may finally see Hush take center stage. After three games of The Joker as a primary villain, Hush would be a welcome change.

I’m surprised at how underused he has become since his 2003 debut in the pages of Batman. In this hugely popular story line, Hush allies himself with just about every rogue in the Batman mythos to give the hero his ultimate physical and mental challenge. His identity is revealed to be Thomas Elliot, a childhood friend of Bruce Wayne who had recently returned to Gotham after a lengthy absence. To make matters worse, Elliot is fully aware of his former friend’s alter ego and uses this knowledge to his advantage.

Though the true mastermind of the overall story line shockingly turns out to be The Riddler, Hush easily steals the show. Future story lines in the Gotham Knights series fleshed out his backstory, and many fans appreciated his role as a sort of anti-Batman, a twisted reflection who actually orchestrated his own parents’ murder. Despite Hush’s positive reception, he was scrapped from appearing in The Batman animated series that ran from 2004 to 2008 on Kids’ WB, instead replaced by Rumor, voiced by Ron Perlman.

It was not until the game Arkham City that Hush made his first real appearance outside of comics. As an added bonus, his voice work was done by Kevin Conroy. It is without a doubt that Conroy’s long tenure voicing Batman allowed him to emphasize the characters’ antithetical relationship. In the game, their shared history is alluded to, but this version of Hush remains unaware that Bruce Wayne and Batman are the same person. It would be phenomenal to see Hush take the spotlight and lead a similar “villains united” campaign against Batman in the upcoming game. Perhaps it is Hush’s voice we hear issuing an ominous warning to Gotham in the trailer’s opening frames?

All of this is, of course, speculation. And though the footage we have so far is quite impressive, I urge viewers to keep in mind that none of it features anything from the actual game, as developers prefer to save that footage for later previews. It’s been intriguing to see the video game trailer evolve into something so theatrical. With visuals this impressive, it’s no wonder Batman’s latest adventure will be released solely for the Xbox One and PlayStation 4 consoles. (Sorry, 360 and PS3 owners: it’s time to upgrade.) Hopefully, Rocksteady’s direct involvement with this sequel will help fans get rid of the sour taste Arkham Origins left in its wake.

Batman: Arkham Knight is slated for an October 2014 release.

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RoboCop reboot? I’d buy that for a dollar!

Sequels, prequels, adaptations, reboots, and spinoffs. That seems to be all Hollywood knows how to make. But is that necessarily bad?

Movie studios saw a seven-year fall in home video sales alongside the rise of Internet streaming and illegal downloading. In order to combat that loss of revenue, studios have invested most of their resources into franchises they can bet on.

And we hand over our money, so it can’t possibly be all that bad. These cinematic retreads are part of our culture now, and even if they aren’t the same as the original, they are often quite good. Maybe we should give these movies a fair shake.

Outside of Footloose and The Amazing Spider-Man, no reboot has received as much criticism before its release as RoboCop, which opened in American theaters this week. José Padilha’s attempt at telling the tale of the first robotic police officer was hardly even announced when fans of the 1987 original began denouncing the film. The original is a classic, they argue. And perhaps they are right. However, the original is older than I am, and it should be acceptable for a story to be retold for every generation.

Even if you disagree with repeating old stories, fear not: the new RoboCop flick is a completely different movie, with the only similarities to the original being tons of satire and lots of shooting.

The 2014 edition begins with a look into a near future that seems far too real. The United States has grown excessively belligerent in its foreign policy and has morphed its unmanned drone program into one of full humanoid robots. These machines operate brilliantly, being able to assess threats in seconds before taking action. The robots are shown “keeping the peace” in Tehran, where it is evident the United States has finally decided to invade.

From the beginning, it becomes clear the filmmakers are not glorifying the advanced drone program. The robot warriors, manufactured by OmniCorps, are promoted heavily by an obnoxious, biased political pundit, played by Samuel L. Jackson, despite the drones causing more problems than they are solving.

The robots are initially shown to be efficient and infallible, but events quickly go awry. Iranian freedom fighters try to fight off the invading mechanical army and, in a heartbreaking scene, one of the robots sees a child wielding a knife, determines he is a threat, and fires on the young boy. The message is clear: without a human element, drones cannot be trusted to implement fair and merciful policy.

Public sentiment against the robots causes OmniCorp’s CEO, Raymond Sellars, to issue a new directive: put a human in the machine. Alex Murphy, a Detroit police officer looking to root out corruption in his department, is chosen for the procedure. Murphy, played by Joel Kinnaman, is left with only his original brain, lungs, and right hand as he becomes the RoboCop. Again the message is obvious: regardless of how much of the RoboCop is machine, a human hand is still pulling the trigger.

The rest of the movie raises questions about the morality of drones and the distance being placed between the American public and American wars. The film also warns of a future when drones could be used on American soil — a future for which Jackon’s character lobbies hard.

Setting aside the scathing satire, the movie’s MVPs are two Batman veterans: Sellars is played by Michael Keaton, the man who originally brought the crime fighter in black to the silver screen; and Gotham’s Commissioner Gordon, Gary Oldman, portrays Dr. Dennett Norton. Both men play their roles to perfection.

Keaton is the prototypical evil CEO character, determined to make money no matter the cost in human lives and suffering. While Sellars is a bit of a shallow character, Keaton still shines when using his fake sincerity to manipulate everyone around him. Still, I found myself wondering if OmniCorps’s CEO was actually guilty of committing any crimes. The most chilling aspects of this movie were how possible all of it is, and how legal culpability does not always line up with moral responsibility.

Giving another tremendous performance, Oldman continues to prove his worth. (Hopefully, Lucasfilm is taking notes and the rumors will prove true about Oldman being cast in Star Wars 7.) Oldman’s Dr. Norton character is easily the best-written of the movie. A man who obviously began work in robotics to give second chances to the suffering, Norton is the embodiment of the slippery slope argument. At first, Norton is concerned about the morality of OmniCorp’s actions. Then, Norton gradually consents to worse and worse actions, slowly removing more and more of Murphy’s humanity until the officer of the law becomes more machine than man.

The 2014 RoboCop is a movie that would benefit from having a unique identity to avoid drawing comparisons to the original. However, Hollywood needs familiar names tagged onto big releases to feel safe in taking the financial risk. That doesn’t mean there is a lack of artistic risk in new movies; it just means we are more likely to see that fresh perspective pasted on a rehashed character.

The original RoboCop, released 27 years ago, was an entirely different work from the current version. The film, starring Peter Weller, was a thematic portrayal of Reagan-era America and all of its associated problems. Showcasing the fears of liberals and conservatives alike, this dystopian Detroit is riddled with white-collar and blue-collar crime that are both terribly out of hand, requiring a new type of hero to rein in the trouble.

Paul Verhoeven’s RoboCop antagonists were almost cartoonishly evil people, leaving no room for audience sympathy. When Murphy’s robotic hands pulls the trigger, you are never left wondering if the criminal’s gruesome demise was justified.

The original and the reboot both tackle the problems inherent in defense contracting and privatization of public services. The original goes much further in showing the profit-over-morality mentality of Omni Consumer Products, with a board member blatantly stating the company’s goal to profit off “markets traditionally regarded as non-profit: hospitals, prisons, space exploration.”

Both movies have fun taking shots at the media. In the 1987 movie, news anchors casually discuss terrible tragedies with no regard for the human suffering. Today, Jackson’s Pat Novak character is a perfect stand-in for Bill O’Reilly or Sean Hannity as the modern news pundit demanding that the world change to adhere to his beliefs. Jackson, of course, kills it, with his over-the-top anger that would look perfectly at home on the Fox News Channel.

Fans of the original movie will immediately notice a distinct lack of blood in the reboot. Many would argue that’s a good thing, but aren’t we all a little nostalgic for a simpler time, when movies were filled with eviscerations and exploding body parts?

Padilha did a good job creating a compelling satire of the military-industrial complex and U.S. drone policy that is more relevant to 2014 audiences than the 1987 baddies are. At times, the satire is a bit heavy-handed, but that is the case in the original as well. Ultimately, RoboCop is a reflection of the times, which is necessary for any successful story, especially when it’s being retold in a fresh perspective.

In that respect, 2014’s RoboCop movie is a success. Still, don’t feel the need to rush to your nearest theater. A nice DVD rental should suffice.

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Batman has endured, evolved for 75 years

When it comes to iconic American characters, there can be no doubt that Batman is among the best. Created in 1939, “the Batman” has endured across seven and a half decades of vast social change, surviving innumerable reboots and interpretations to become a fascinating, well-crafted character who is both relatable and legendary.

The Bat-man

Fans of Batman have always appreciated the character for being remarkably unique. The Dark Knight, however, began as a ripoff of every character his creator had ever heard of.

Origins of the Bat-Man

The idea for a the vigilante hero came about as a money-making scheme. Bob Kane, a comic book artist at the time, was looking to make the same kind of money as Superman creators Jerry Siegel and Joe Shuster. Kane promised to bring National Periodicals, today’s DC Comics, a new superhero to publish alongside the Man of Tomorrow.

Detective Comics #27

Kane began sketching his ideas for a Bat-Man, drawing a character similar to Superman, in a bright red suit, but with wings like a bat. Kane took his proposal to his writer friend, Bill Finger, who offered ideas to modify the outfit for the bat-themed hero. Finger proposed getting rid of the domino mask and replacing it with Batman’s signature cowl to give the hero the appearance of his namesake mammal. Instead of large wings, Batman would wear a cape that could be made to simulate the appearance of wings. Finger also suggested that Kane replace the red suit that was too similar to Superman’s bright colors with darker shades befitting a nighttime vigilante.

Despite his contributions, Finger never received much recognition in his lifetime, and is largely viewed as the uncredited co-creator of Batman.

Under Kane and Finger’s direction, Batman began to take on traits of several popular characters. Kane often cited being inspired by The Scarlet Pimpernel, the swashbuckling Zorro, and Leonardo da Vinci’s flying machine. Kane and Finger have also acknowledged the heavy influences of The Phantom, Doc Savage, The Shadow, and Sherlock Holmes. The Bat-Man made his debut in Detective Comics #27 in “The Case of the Chemical Syndicate.”

Developing the Story

To explain why a millionaire like Bruce Wayne would dress in a bat costume to fight crime in dark alleys, the writers concocted a tragic story that would traumatize any young boy. The story has remained almost exactly the same across numerous genres and retellings.

As presented in Detective Comics #33, young Bruce Wayne witnessed the cold-blooded murder of both his mother and father after a trip to the theater. The shock of this senseless crime caused the boy to make a vow. He would not only swear vengeance against the criminal who killed his parents, but against crime itself. It is this vow, even more than the death of his parents, that is the central tragedy of the Batman mythology.

Robin joins the team in Detective Comics #38

Almost immediately, the Caped Crusader’s supporting cast filled out. Commissioner Gordon, Batman’s liaison in the Gotham City Police Department, was introduced in the same issue as the Dark Knight himself. The character has endured across the ages as another Gotham hero, including his most recent portrayal on film by Gary Oldman.

Only a year into his run as a hero, Batman took on a sidekick, sparking a new trend in comics of underage boys fighting monsters and dangerous criminals. Robin was introduced as a writing device, decreasing the number of thought balloons on a given page by giving Bruce a friend with whom to discuss his plans.

The Boy Wonder became an adopted son to the chronically lonely Bruce Wayne, adding a new layer to Batman’s character. Dick Grayson, the original Robin, evolved over the years into a hero in his own right, called Nightwing, creating a second iconic character out of the Bat mythos.

The Dark Side of the Dark Knight

In the early years, Batman was not opposed to killing or simply letting his opponents die. Longtime fans of the Bat would be aghast to see their hero breaking necks of bad guys and firing a gun when necessary.

In Batman #1, which saw the introduction of perennial villains The Joker and Catwoman, Wayne used guns to slay monstrous giants. The violent imagery led the editor to decree the end of guns and killing in the Bat comics. Bruce Wayne’s aversion to firearms and killing was retconned, explained as stemming from the loss of his parents. Batman’s refusal to kill has become one of his most defining traits.

The Comics Code Authority stemmed from a political backlash against violence marketed to children.

The desire to make money and gain notoriety almost killed Batman in the same way that led to his creation. In 1954, Seduction of the Innocent by Fredric Wertham linked teenage delinquency to comic books, usually citing the violent and gruesome nature and imagery of horror comics.

As expected, the sensational book, which offered little in the way of verifiable science, sparked an outcry exaggerated by a politician looking for an issue to get his name in the news. Estes Kefauver was a Democrat with his eye on the Presidential nomination. Seduction of the Innocent would give him his issue and his media attention.

While Kefauver never became President of the United States, he did force the comic book industry to create a self-censoring body known as the Comics Code Authority. The CCA established numerous rules which led to the death of innumerable superhero properties and forced change upon those that survived.

Batman became a deputy of the Gotham Police Force who fought crime in the daytime. His stories took on elements of the fanciful and the science fiction genre. DC introduced new characters into the Bat mythos, Batwoman and an early version of Batgirl, likely to curb Wertham’s charges of homosexuality in the Bat world.

Entering a new medium

Adam West as Batman in the 1960s television series

By 1966, Batman comics were close to cancelation. Swooping in at the last second to save the day, the ABC television network picked up the Batman character for a new TV series. Batman, starring Adam West and Burt Ward, became a national sensation, offering a campy take on the character that was actually quite faithful to the comics of the time. The show employed a brilliant tactic: appeal to audiences of all ages. For the kids, Batman was a serious adventure story about the Caped Crusader. To adults, it was a humorous take on the absurdist nature of the superhero genre.

Unfortunately for Bat-fans, the show only lasted three years before being canceled due to declining ratings. Still, the show has had an enduring impact, being referenced to this day: Adam West regularly makes appearances to parody his most famous role in shows such as Family Guy and The Fairly Oddparents.

Batman on TV created a new generation of fans, but for some dedicated to the franchise, the hero portrayed on ABC was no Dark Knight. Comic book writers and artists did not want to see another generation of fans grow up believing that Batman was the goofy master of onomatopoeia.

Ra's al Ghul comes on the scene in Batman #233

Artist Neal Adams and writer Denny O’Neil led the charge, taking over the Batman comics in 1969. Looking to add real-world issues into the formerly extravagant comic, Adams and O’Neil introduced the terrorist character Ra’s al Ghul. Ra’s represented a change in Batman stories from exclusively flamboyant supervillains with increasingly convoluted evil plots, to more realistic stories and more relatable villains. Unlike the numerous Bat-villains that preceded him, Ra’s aimed for a seemingly noble goal. He wished to save the world’s environment. The only problem: it would require the death of humanity.

Despite these changes, Batman comics continued to decrease in sales until 1986, when a bold new writer, known for his dark work on Marvel’s Daredevil, was given the opportunity to write the definitive Batman story.

The Bleak Reality

The Dark Knight Returns by Frank Miller tells the story of a 55-year-old Batman, 10 years after retiring, returning to his crusade against crime in a Reagan-Era Gotham City. Miller’s Batman is, in several ways, a departure from the Batman of mercy, born of his parents’ tragic murder. Instead, Batman is a terrifying brute, certain of what is right and willing to permanently injure those in the wrong.

“I want you to remember Clark, in all the years to come, in your most private moments, I want you to remember my hand at your throat, I want you to remember the one man who beat you.”
Batman, in The Dark Knight Returns by Frank Miller

This Dark Knight appears to have a death wish, constantly challenging himself to greater fights, until finally the Batman takes on a stand-in for God himself: Superman. In Miller’s bleak reality, Ronald Reagan nearly sparks nuclear war. With Superman by his side, the president believes the United States to be invincible, and he is willing to use its power belligerently, knowing that the Man of Steel is fast enough to stop a nuclear strike from the Soviet Union. As Reagan’s stooge, Superman is brought in to take down Batman. The Dark Knight, always prepared, welcomes Clark Kent’s arrival and enacts a plan to bring the Man of Tomorrow down.

Alan Moore's lasting contribution to the Batman canon

Miller’s Batman defined the hero for a generation as a brutal, unforgiving, genius man, capable of striking fear into the gods themselves.

Following the success of Dark Knight Returns, Miller was asked to rewrite the origin story of the Caped Crusader. Setting his story in a Gotham City controlled by organized crime, Batman: Year One follows the early years of Gordon in the GCPD and Wayne’s attempts to become greater than just a man. Year One asks a question later addressed in the Christopher Nolan film trilogy: Is Batman to blame for the rise in theatrical supervillains?

Adding a new dimension to the Batman character was Alan Moore and his classic work The Killing Joke. That installment follows the Joker’s attempts to corrupt Batman and Gordon. Joker is meant to act as the mirror image of the Dark Knight, a man who was changed by only “one bad day.” In an attempt to prove that one bad day is the only difference between men like Gordon and himself, the Joker sets out to ruin the Commissioner’s life by shooting and torturing his daughter, Barbara Gordon.

Jason Todd meets his demise in 'Batman: A Death in the Family.'

The Killing Joke is one of the most philosophically challenging Batman stories ever written. Is Batman, by not killing the Joker, responsible for the deaths the Joker causes? Since the editorial decision following Batman #1, the Gotham City hero has been known for his deontological stance on killing. Moore had the Joker challenge Bruce Wayne’s convictions, and some fans believe the Joker was actually successful in breaking Batman’s will.

Batman stories continued through the realm of darkness, culminating in a showcase of the danger of kids fighting crime. In A Death in the Family, the second man to don the Robin costume, Jason Todd, is beaten to the point of death by the Joker. The decision about Todd’s fate was left up to fans of the Batman comics, and they chose to allow Todd to die.

On to the Silver Screen

Jack Nicholson (The Joker) and Michael Keaton (Batman) brought the Caped Crusader to Hollywood

In 1989, the Bat achieved new levels of popularity with the release of Tim Burton’s Batman movie. Inspired by The Killing Joke, Burton’s Batman is a single-minded crusader who is often aloof when not seeking out Gotham’s criminals. Burton and actor Michael Keaton returned to Gotham City with Batman Returns. This second installment in the series saw a much more absurdist city, perhaps changed by the appearance of the Batman and the Joker. After Burton left the series, Warner Brothers continued the franchise by handing over the reins to Joel Schumacher. These movies are so universally panned that it’s better just to say nothing.

In 2005, Batman returned to the big screen under the direction of Christopher Nolan. Batman Begins drew its inspiration from Year One, retelling the famous origin story of the Caped Crusader while adding chapters about his time spent traveling the globe to acquire the skills necessary for an urban war.

Following the success of Batman Begins, Warner Brothers released The Dark Knight, starring a returning Christian Bale as the title character, with Heath Ledger redefining the Joker. Ledger’s portrayal of the maniacal clown earned universal praise and a posthumous Academy Award. The Dark Knight and its sequel are currently among the highest grossing films of all time.

“Oh, you. You just couldn’t let me go, could you? This is what happens when an unstoppable force meets an immovable object. You truly are incorruptible, aren’t you? Huh? You won’t kill me out of some misplaced sense of self-righteousness. And I won’t kill you because you’re just too much fun. I think you and I are destined to do this forever.”
The Joker, in The Dark Knight Returns by Frank Miller

Batman can be found in dozens of ongoing DC comics and is returning to theaters in 2016’s tentatively titled Batman vs. Superman.

An Enduring Legacy

Batman has become a cornerstone of American culture. With successful movies and comics, an upcoming television show based on Gotham City, and 75 years of mythology to draw from and build on, the Dark Knight will likely be with us for a long time.

Bruce Wayne, as a man among gods, inspires us to achieve greatness. Despite being only human, Batman has faced down the likes of alien demigods Superman and Darkseid and has always come out on top. Batman reminds us of the strength of one person to do tremendous good.

And if you ever doubt the inspiring nature of Gotham’s greatest hero, just remember the Batkid.

All Batman comics are the property of DC Comics. Thank you to comicvine.com for archiving these images.

The author recommends the following resources for more information on Batman:

Batman and Psychology
Batman and Philosophy
Batman: Year One
The Long Halloween
Death in the Family
The Killing Joke
Hush
The Dark Knight Returns

wonder-woman

Wonder Woman deserves her own movie

What’s the difference between Wonder Woman and Katniss Everdeen?

Katniss has her own movie. Wonder Woman, despite her status as a leading comic book character for seven decades, does not. In fact, Warner Brothers announced that the illustrious heroine’s first appearance on the big screen will be as a minor character in a movie starring two male superheroes.

Iconic female characters are hard to find in American culture. While most people would have no trouble recognizing Superman, Batman, or Darth Vader, they would have a much harder time naming a female character of equal notoriety.

Wonder Woman, whose roots date back to World War II, is perhaps the only significant female character who appeals to a mass audience. Diana Prince, the warrior princess of the mythological Greek island of Themyscira, is both a feminist icon, representing empowerment and womanly strength, and a sex symbol, wearing skimpy clothes as she vanquishes evil. Very few characters – and even fewer female ones – enjoy the stature of Wonder Woman. So why has Princess Diana been unable to find her way to the silver screen?

Historically, it has been difficult to get comic book heroes onto the big screen. However, following the success of the X-Men and SpiderMan movies in the 00?s, studios came to rely on superhero properties to prop up the industry in the face of a decreasing home video market. The rise of the superhero in Hollywood led many to assume that all of DC Comics’s hottest properties would make their way to the silver screen. Yet, after several attempts including one by future Avengers helmsman Joss Whedon, Wonder Woman has never been able to make the jump.

Hollywood is known to abide by old theories about who pays for movie tickets. Despite women making up a full 50 percent of the movie-going audience, females comprise only 28 percent of speaking roles in major motion pictures, according to a study by the Annenberg School at the University of Southern California.

Studio executives cite previous failures such as Elektra and Catwoman as proof that a female lead can’t sell tickets, ignoring the fact that those movies were unpopular for their content and not the lack of a male lead. Even accepting that the failure of those movies can be attributed to a lack of interest in the characters, neither Catwoman nor Elektra shares the status of the princess of Themyscira.

Falling in line with that outdated mindset, Warner Brothers recently announced the casting of Gal Gadot of Fast and Furious fame in the role of Diana Prince for the upcoming Batman vs. Superman movie. While the title is only tentative, it is telling that the use of Batman in the Man of Steel sequel was met with great fanfare and widespread Internet reaction, while Wonder Woman was mentioned months later as a simple casting choice. Is Wonder Woman any less iconic than DC’s other “big two” heroes? Even if that is true, there is no stronger female character to portray on the big screen than Wonder Woman.

Superhero movies, just like the comic books they are based on, are consistently targeted to men. Nonetheless, Wonder Woman comics have sold well enough to survive for over 60 years. The market clearly exists, and casting a beautiful woman to portray Princess Diana would hardly hurt studios’ efforts to syphon away the cash of any fan of the female form. It is naive to believe that a Wonder Woman movie wouldn’t be seen by millions.

Despite Warner Brothers’ fears, the overwhelming success of The Hunger Games, both in print and on screen, has shown that a strong female hero can not only sell tickets in today’s world, but also create a cultural phenomenon. Katniss Everdeen is a new character, only existing in the public consciousness for a few years, making the original Hunger Games movie a bigger box office gamble than Wonder Woman could ever be.

The second installment in the series, Catching Fire, was the highest grossing film domestically in 2013, surpassing even the male-led Iron Man 3. Katniss Everdeen and The Hunger Games franchise have shown that a character who is both strong and compassionate has great crossover appeal, not only drawing teenage girls to the theaters, but men and women of all ages, including the male audience of comic book adaptations.

Admittedly, Wonder Woman is a difficult character to adapt. Her background in Greek mythology makes a reality-based movie á la the Dark Knight trilogy essentially impossible. Still, as Marvel’s Thor has proven, the world of myth can be fused with the gritty realism of the modern action flick to create an even more compelling spectacle. Remember during The Avengers when the multiple worlds of the superheroes collided to create something greater than its cinematic parts? With the mythological stature of Themyscira meeting the gritty, crime-infested world of Gotham City, Warner Brothers has a great opportunity to create something equally special.

Wonder Woman has certainly had her ups and downs over the decades, including an ill-advised run in the comics as a depowered Kung Fu master. Still, Wonder Woman was one of the very few comic book characters to break out of her original medium when Lynda Carter played the character on a successful television show in the late 1970s. Unfortunately, this success has never been matched, and a recent attempt at bringing the character back to the small screen has been scuttled in favor of a new show for The Flash. CW president Mark Pedowitz recently confirmed this travesty, reasoning, “These are iconic characters … You only get one shot.”

This leaves Gadot’s interpretation as the only Wonder Woman we can expect on any screen for some time. The tentatively titled Batman vs. Superman movie hits theaters in May 2016.

With Catching Fire continuing to prove old theories wrong, Warner Brothers is missing a golden opportunity to break with tradition and make millions with a strong woman. The long-term track record of female-led films has been lackluster, but the tide appears to be turning. In addition to The Hunger Games, the female-led Twilight Saga is among the top 10 most successful movie franchises of all time, making as much money as male-centric properties Spider-Man and Pirates of the Caribbean.

An iconic character of American culture, Wonder Woman’s first foray onto the silver screen should not be in a throwaway scene in a movie about two other, very strong, characters. Women make up a much larger portion of the movie viewing audience than Warner Brothers is willing to accept, and Wonder Woman, like Katniss Everdeen, is a character with strong crossover appeal who should be respected.

Wonder Woman deserves her own movie.