Category: Comics

Capes and superpowers, grit and cultural shifts…

X Men: Saved by the Decades (Part Two)

Laughing Wolverine Cavalier

 Laughing Wolverine Cavalier

The X-Men franchise hurdled the reboot trap with the aplomb thanks to the excellent First Class– befitting the extraordinary abilities of its growing cast of characters. But the challenge of where to head next remained. Could the Marvel Cinematic Universe’s growing box office spur Fox on to shape a career for the mutants on film that could rival their history in comic books?  A look at  X-Men Days of Future Past and past future…

X-MEN DAYS OF FUTURE PAST’S TRICK IS NOT JUST THAT IT CONTINUES, NEAR-RESOLVES, AND REBOOTS THE X-FRANCHISE, BUT THAT IT DARES TO TOUCH SOME OF THE SPECTACULAR SCIENCE FICTION FAMILIAR TO READERS OF THE COMICS ON THE WAY. Purists will gripe. Chris Claremont idealists will rant. Fans of Hugh Jackman will blush. Mostly, they will all be right, but the ambition of the fifth main X-Man film cannot be doubted. The cinematic X-Men have jumped like, well, Ripcord from a wall.

1970s – X-Men Days of Future Past (2014)


Magneto’s recruitment strategy was never conducted at Jongleurs…

Crucially, the reboot’s ongoing chrono-oddesey allows it to build on First Class’ major contribution: humour.  That was cruelly lacking in the original trilogy as most of it fell to the gruff rebellion of an over-tall Wolverine who couldn’t carry a spark into his solo missions…  The original trilogy almost swept it under the carpet as sheer class (McKellen, Stewart) rose above it, in search of the inner-Shakespeare. The other characters made for a dry bunch.

Cyclops was an underdeveloped straight-laced foil to Wolverine’s outsider. Late-arrival Angel was a tortured idealist. Kitty Pryde’s fall into a love triangle with Rogue and Iceman didn’t so much add steam as highlight how artificial and dull teenage romances can appear onscreen.  When Beast finally appeared he mostly anguished in the War Room, specs propped on his nose.  Good guys are dull they say.  But it’s not like Magneto’s recruitment strategy was conducted at Jongleurs – h simply attracted the less academic mutants.  Toad’s disappearance from the chronology that followed the first film wasn’t because of the lightning bolt that hit him. It was because of Storm’s delivery.

The great news is that following the events of Future Past all the good guys are back! Party-hat-materialising mutant power, go!

In the second life of the X-Men, the humour is here to stay. Along with huge set-pieces that put 2000’s compact but slight X-Men film to shame.   Hopefully, while we wait for a sequel that’s unlikely to involve the original trilogy cast, at least in the way this manages, we can expect more of that. After all, there’s little worse than a dull X-Man. That’s why we never see Solemno sitting there quietly in the corner waiting for Apocalypse…


As Future Past’s takes the initiative of fusing a franchise past and present as quickly as it does,  the futurism of the original trilogy becomes a dystopian refuge. The near-future stylings of the 1999 original inevitably make more sense. The future, no matter how harrowing, suits it. For all the spectacular devastation and nods at Portal, other X-Men films, and other X-Men yet to come, it carries a heightened level of threat. 

In comparison, the past carries the fun of the film, by dint of not being the dead-end of the future, but also the melancholy of nostalgia. Things are not necessarily less serious in the 1970s, an interesting point of reversal considering the franchise’s start nearly 30 years later. While the science-fiction of the future and the mechanism back to the past, the film is afforded the time to breathe, this time soaking in the flares and sideburns, although the decade is as generalised as the 1960s was in First Class. It’s a credit to director Bryan Singer, returning to the franchise in the big seat for the first time since the triumphant X2, weaves news real and fake into the film more skilfully than Vaughan managed in First Class and his 1970s may actually be more fun than the swinging ‘60s. That’s some achievement.


Marvel’s pre-release dig seem all the wiser…

There’s a playfulness in a film that knows it’s going to be good. The X-Man franchise has never had that kind of swagger before, and it descends directly from First Class, bolstered by an incredible cast. It’s tempted to see it directly challenging competitors. At its most brash, Magneto’s stadium lift could be a poke at The Dark Knight Rises, as could be the Russian templedom of the film’s last stand.  Thanks to the ridiculousness of the Marvel properties rights issues, it’s an inescapable conclusion that Quicksilver was included to take a slice out of The Avengers rather than snaffle some of its zeitgeist.

Radically different from the fleeting appearance of the MCU‘s speedster, Future Past‘s Quicksilver is highly effective as a face of the 1970s and a main carrier of comedy.  In the brilliant but dour, modern-day but near-future, Captain America: The Winter Soldier the silver speedster’s post-credit cameo was sinister going on creepy.  Its inclusion was understandable, but it also handily beat Fox’s franchise to the punch.  As an effective member of The Avengers and X-Men, Quicksilver falls between the two studio camps under the old rights deal, a messy situation but one that the mutant-verse got the better of.  the X-Men’s Quicksilver is realised as an ADHD kid with an attention disorder to match his metabolism and a predilection for a con – a great screen adaptation. His intriguing characterisation combined with his comic mantle suggests that Marvel’s pre-release was wise.

Future Past lets Quicksilver carry the key joke set-piece of the film, with Jim Croce’s 1973 If I Could Catch Time in a Bottle backing his speed force antics (another extra-diegetic nod in a film that uses the music of the era expertly).  there’s even time to nod to the character’s deeper comic roots. During that audacious escape, the franchise’s second magneto jailbreak, a throwaway quip about the Master of Magnetism (father to Quicksilver in the comics, and here it seems) is neat.  It’s a shame that Magneto couldn’t, before his Nazi-hunting days, also sire a rights detente between Marvel and Fox. the time conceit enhances the comedy. Wolverine’s cryptic comments about the Quicksilver he knows in the future, so far unseen, are intriguing. His younger self will certainly return, but who knows if he’ll make it through to the 1990s.

But Quicksilver’s set-piece is not just for laughs.  It adds a necessary balance to darker onslaughts and the step-up in terms of threat is huge.  And it brings a heightened palette for action to match it. While First Class’ Shaw-led attack on the CIA may have challenged the opening set-piece of X2, Future Past features at least three that blow the other films in the franchise out of the water.


The weight of opposition

Wolvie’s back in the limelight after his cameo in First Class, and once again he is the nearest thing to a leading mutant in the team.  It’s fortunate that the plot device gives him plenty of room to share the comedy around and it’s worth noting the strength of the cast that came in to portray the younger versions of established characters.  The younger mutants have been gifted greater plot roles, but they also excel in the period-ridiculousness.  Fassbender and Mystique are highlights once again. A film before, one had started as an assassin, the other a confused teen. Now both are terrorists.  Given a fair share of screen time, it seems all the stranger that Wolverine struggled to hit the same heights of humour or imagination in his solo films.

Perhaps the greatest sign of intent comes in the continued bold casting of villains, as once again Magneto is kept as a secondary, conflicted anti-villain. Peter Dinklage’s curiously emphatic Trask is a particular highlight in a film that relishes throwing up ambiguities, no doubt set free by Magneto’s greyer journey.  Files of subjects recall Sebastian Shaw’s hypocrisy, although Trask is a quite defenceless human, cowering bewildered in the White House panic room by the end.

But it’s the weight of opposition set against the strong core that is more important than paradox or logic, reason or rhyme. Although this can lead to blips…  It’s a shame Magneto of the future, faced with the ultimate mirror of his grand design is so vulnerable, an inverse of the ascendancy of the loner master of magnetism in the past. Naturally, McKellen and Stewart are superb in their relatively static scenes. A high-point? Possibly the ambiguity of Magneto’s skulking off at the approach of the Sentinels. he seizes the role of antihero at the end.

If the tremendously satisfying Future Past leaves the audience with anything, it’s a dose of its own confidence.  I only hope Matt Vaughn’s Kingsman: Secret Service, for which he supposedly jumped the X, can live up to expectations. In the resurgent X-Universe he helped to create, Bryan Singer only has one further goal in mind…

Wolverine cavalier close up

The 1980s… Apocalypse (2016)


a sign of intent in name alone

X-Men: Apocalypse. Now that’s got a ring to it. And a villain who might just knock The Avenger’s Thanos into a Cosmic Cube. At the close of Future Past is a prophetic, epic post-credit teaser –  Pyramid building, the ominous Four Horsemen in the background… Trailing what has been described as a disaster (level) movie. There’s every likelihood that Bryan Singer will return and that the awe-inspiring story of X-Men versus a mutant God will build on the progress laid in the 1960s and 1970s as they head to the 1990s. The time between films may prove to be most important. There have generally been three years between each ‘main’ X-Film, (including 2011’s First Class if you spring from 2009’s Wolverine). Apocalypse faster arrival (you can see the build-up already) signals a sign of intent in name alone. It’s even enough for Hugh Jackman to reconsider hanging up his claws.


A reboot trick greater than 2009’s Star Trek…

In picking up the reigns of Future Past, Singer’s unearthed a reboot trick that exceeds First Class, and may p[rove greater even than 2009’s Star Trek ruse. On scrutiny, there are only a few logic flaws that chip away at it. Professor X‘s resurrected physiognomy following his brutal assassination in The Last Stand is unexplained, but then this is a world of mutants so who can say?  Still, it would have been impossible to refuse Patrick Stewart an invite (he simply wouldn’t let them) and one shouldn’t go searching for plot holes in a film all about paradox.

At the end we have a reset character list, the distinct benefit of them being near-exterminated, a reanimated Cyclops and perhaps most importantly, the chance top redo The Phoenix story line. But there may be no greater indication of the luxury that the franchise can now enjoy than the fact Apocalypse is unlikely to touch the reborn generation of the first trilogy as it serves up a far more straightforward sequel to First Class.


The years have confirmed the simple, elegant, and crucially funny answer to the age-old question of a prequel or sequel can diminish an original film. Simply, neither can – though many try. Days of Future Past proves that a sequel/prequel (two-for-one!) can even enhance a previous film, correcting the wrongs of The Last Stand. As Professor X said, “Infinite decisions mean infinite consequences, for the future is never truly set…” If that’s all this and First Class have in their favour, that’s not bad going. Fortunately, it isn’t all they have. Having traversed a key comic story line with aplomb, reignited the passion of the Wolverine, righted the timeline, and with a whole untapped world of mutants to delve into and a Marvel schedule to take it on its mutant toes, this franchise is clearly flying.

Read the first part of X-Men:Saved by the Decades here

X Men: Saved by the Decades (Part One)

X-Man Wolverine Monalisa

 X-Man Wolverine Monalisa

Finally, In 2014, X-Men: Days of Future Past enacted justice. Not the justice of Magneto, Trask, Phoenix or Apocalypse, but the justice that really counts. The fifth ‘main’ X-Men film took well over $500 million in two weeks, crushing the diabolical record set by X-Men: the Last Stand in its puny hand. Now comfortably over $700 million it looks like the X-Franchise’s future is secure off the screen… And one of its tricks was taking a trip back to school…

IT’S BLOODY GREAT TO BE ABLE TO SAY THAT X MEN: DAYS OF FUTURE PAST IS THE BEST FILM IN THE X- FRANCHISE SINCE X2. It really is. Good for comics, cinemas, the genre, competition… But it’s been a rather long and painful 11 years. Not just for Fox’s stuttering franchise, for the hopes of a real Magneto standalone, for a mostly limping Wolverine, of for Fox. The studio has sat on the consistently best-selling comic book for 15 years, but in last half decade they’ve watched their partner/rivals Marvel slip into the comic slipstream like a Mario Quicksilver.

“Let’s a go!”


As we all know, it was 1998’s Blade that kick-started the ongoing comic boom, not Bryan Singer’s X-Men that followed two years later. It’s true that film did add veracity, even a little realism – or perhaps better put, actor gravitas – to proceedings. But in finding a hook in the core of black leather-bound mutant superheroes, the results were a little under-powered. At a lean 104 minutes, it could certainly have added an extra action scene. But more importantly, it would have benefited from marrying its intoxicating themes of division, segregation and real-world history across a longer run-time.

Three years later, X2 consolidated its predecessor’s subtlety as a strength. It built on every aspect, teasing new metaphors while keeping mysteries close to its characters and at the heart of the story. Most importantly, its phenomenal  cliff-hanger hasn’t been troubled since. It set expectations so high that the third film, popularly characterised as a trilogy-closer – would always have struggled. It must have been the tacit realisation of that which led the filmmakers to surrender at the first hurdle. X-Men: the Last Stand squandered its predecessor’s set-up and frankly, the less said about it the better. It rocked the box office hollowly, leaving a franchise lurching more to toward the wasted chances of spin-offs than recapturing its previous highs, and on to inevitable reboot.

It took Marvel Studio’s determination to build an interlinking and self-selling franchise for Fox to appreciate what they had. Perhaps it was an easy mistake to make in the era of ‘back-to-back’ filming and in-built fashionable ‘trilogies’. It may have been inadvertent, but when Fox finally woke up to the promise of their licensed IP, they found everything was in place to not only quick establish a spawning franchise they could build summers around, but also one that lived up to the scope, ambition and behemoth status of its parent comic book.

Wolverine close-up


It just took a few risky hires and a spot of time travelling. A wry step back to the decade the comic was born in.

The 1960s – X-Men: First Class (2011)


The children of atom form the first class of the Xavier school…

The first ‘reboot’ film, wasn’t a film that could change things single-handedly, but what a start it made. To think First Class could have been released ash grammatically-troubling  X-Men Origins First Class is chilling. We should be thankful to X-Men Origins Wolverine for something

Behind the lens, they couldn’t have chosen a better team for the reboot. Still better known as a British producer, Matthew Vaughn’s main qualification was 2010’s Kick Ass, an edgy, positively un-family comic adaptation that established a fine relationship between Vaughn and that comic’s creator, and former Marvel Comics stalwart Mark Millar. His hiring was an unpredictable but astute move by Fox. After the earnest blockbuster pretensions of the first three films, the first couple of which lent towards the artistic if anything, rightly recognising that this early realignment required new and risky energy. There was a distinct link to the past though – Vaughn wound back the X-Men back to school from their futuristic  beginnings with franchise midwife Bryan Singer present as producer alongside the director’s own trusty lieutenants, including writer Jane Goldman.

It would be totally partisan to suggest that British weight added a lot to the film, in front of and behind the camera, but it certainly didn’t hurt – just as Singer’s securing of two RSC alumni elevated the original trilogy. That said, this film was taking the superhero genre to period and any creative team would have struggled to mess up the 1960s.

First Class just works in that setting. Sure, there’s a little creative flourish: the setting in the early 1960s isn’t particularly 1961/62 in fashion, music or scope. It’s a generic 1960s, run through popular consciousness and particularly the prism Bond. It wisely references the mid-decade free-wheeling highs of that franchise. Crucially, for all the sheen of the era, it doesn’t shirk on contemporary politics, tying the plot into the backbone of metaphor that supports the X-universe. Crucially, it uses the past to find a new way of looking at the future – essential for a franchise established in a strange and fast-dating near-future and a huge part of its pacey, comic propulsion. 

“We are the children of the atom” is Sebastian Shaw’s repeated mantra, reasserting a key mantra of the X-Men at source, when the threat of nuclear war was never stronger. The children of atom that emerge form the first class of the Xavier school.


Cultural landmarks that familiar characters can grow against

The politics of the 1960s is woven into First Class‘ plot to a satisfyingly surprising degree – feeding on the era’s paranoia, building on the period other-worldliness, and adding a real weight to the young cast. In the immediate aftermath, First Class‘ major success was clearly rendering any repeat of a film like X-Men Origins: Wolverine utterly impossible. Fox had stumbled on a conceit that marked them out from the meta-competition but also side-stepped the horror of bland contemporaneity. It presents a different futurism to the one that 1999’s X-Men presented, and thanks to the weight of history and the radical social change of the 1960s, does so more effectively.

In another shrewd move, First Class copies X-Men’s opening, almost creating a divergent timeline and serious agenda that feeds into Erik Lehnsherr’s Boys from Brazil hunting, and James Bond globe-trotting, even if villainous comic mainstay, but by no means a household name, Sebastian Shaw is a little too conveniently tied into that plot point. When it comes to the mutants parallel history however, Shaw and the Children of the Atom fare a lot better.

First Class’ palette is far more varied than its predecessors thanks to its mid-Twentieth Century setting. At the heart of Shaw’s emphatic reasoning, the Cold War takes on a new resonance. But rather perfectly, it’s both central and disassociated from the plot, reinforcing the necessary mutant sub-culture, even if their threat is far greater. Unexpectedly, the proto-X-Men are formed by the CIA, but they soon learn to live without them. The plot survives Shaw’s marked disinterest in politics; the Nazis and the Russians are merely tools to forward his agenda – a precursor to Magneto’s quest, even if it’s significantly different and more, if we can say, Apocalyptic.

The proto-X-Men benefit from growing against the backdrop of significant cultural landmarks. While the Russians gift Shaw what will soon become the classic Magneto helmet, America gives Lehnsherr and Xavier the background of the Lincoln statue to mull over freedoms, liberty and implications that will come to hit the franchise in the future past. These themes were present in the first scenes of this and X-Men and the franchise requires their continued exploration.

First Class’ nods to its politics are only matched by riffs on contemporary pop culture. Xavier and Lehnsherr’s first meeting comes on the back of a set-piece taken from a a generic Bond memory. It’s a very Thunderball moment set at a time when the Bond franchise was only just arriving at the cinema. Naturally, it needs a great soundtrack to match and duly serves up the best in the franchise. The ‘60s themed titles/credits are a wonderfully thought out and implemented and the audio quality continues until the anachronistic introduction of Take That at the end – one British contribution it could do without. And alongside these bits and bobs, First Class packs in some fine action – responding to the criticisms that met Bret Rattner’s brash direction in The Last Stand and doesn’t short change like the original  X-Men. On the way, Shaw’s CIA breakdown manages to compete with the sublime and legendary White House incursion that kicked off X2 – and that’s praise indeed.


Absolute power corrupts absolutely

The CIA set-piece demonstrates how superb the casting is, particularly Kevin Bacon’s wicked turn. It helps that no one else in the franchise has yet rivalled Magneto (and no, The Last Stand‘s Dark Phoenix does not count). But Sebastian Shaw’s contrived origin is followed by a character journey that is just a little bit too sketchy to stay in the franchise memory. His “We don’t hurt our own“ adage may sound convincing, but it can’rt survive as he nears the end of a road unbridled by any kind of moral purpose. His main purpose is in crafting a prototype Magneto – from application to helmet. Not only a crucial part of the genesis of the franchise’s main villain, but also during those crucial formative years, when the rogue was taking on a succession of ‘real’ human names before being replaced by mutants who take on ‘real’ mutant names. On one level Shaw is just the truism inside the larger metaphor – that absolute power corrupts absolutely. Interesting in the overall arc, it’s a shame that there isn’t more room to develop the Bond Villain or his ‘henchwoman’ Emma Frost.

Elsewhere, aside from another range of forgettable evil mutants (a series trademark), surprisingly stable seeds are set for the trilogy we’ve already bought into (those days of future past once again).  A great deal of that, perversely comes from the strength of the mutants who are yet to fall. There’s the older Mystique in-joke of course, while Michael Fassbender and Jennifer Lawrence capture the menace and echoes of the future, and on a satisfyingly more even level. This is another in a long line of films that puts The Phantom Menace in the shade when it comes to the genesis of evil. It’s not surprising that Magneto’s is the most compelling is not surprising, but it is impressive is that Xavier’s isn’t far behind, mainly thanks to the well structured dynamic with Mystique.

First Class is all about sewing those seeds, but coming as an actual origin story four films after ‘the origin’ film, it takes the wise approach – and all credit to Vaughn for retaining his fresh Kick Ass sensibilities – of having fun with it and refusing to pay too much lip service to the rules of an established franchise. First Class that treated Mystique in the same way as as it’s preceding trilogy is unthinkable. Thank goodness for those rounder, new comic book-era style story lines the Marvel Cinematic Universe has ushered in. Mystique’s strong ties to Xavier are essential to the drama and The sequel would build on this even more impressively.


Previously Wolverine had carried the humour, here the others can let loose

That is not all that would be built on. First Class’ greatest contribution may be humour. There are the in-jokes, particularly around Xavier’s surprisingly lush hair, but also a general wryness that was greatly missed in its earnest forbears. The Wolverine cameo, with the judicious use of “Go fuck yourself” (the target certificate allowed for one use) is a major crowd-pleaser. it takes its leads out of character, threatens the timeline and derails the plot for a split-second all for comic effect. When X-Men Days of Future Past comes to reference the joke it’s not as effective. The second ‘prequel’ would need to raise the stakes to ensure the Canadian hairy one’s involvement, so this flash of a scene also makes it clear how destabilising his presence, or absence, can be – something the comics have struggled with for four decades as well. Previously, Wolverine had carried the franchise’s humour, but now the other are free to let loose. That the feral antihero had his own solo mission to undertake, poor as that was, probably saved the franchise.

For some time afterwards, First Class was talked about as the start of a trilogy to rival the original. Fortunately the ‘rising phoenix’ of Marvel and some behind the scenes jiggery-pokery made sure that the X-Franchise had far greater aims. And so a plan was hatched that would draw on the original comics more than ever, the sterling work of X-Men’s main Brit/American: Chris Claremont. And following the 1960s, it was only right that we’d pick up on the children of the atom’s adventures in the 1970s. 

Next up on X-Men through the Decades: Flares and New Romantics… 

“There’s little worse than a dull X-Man. Except Solemno there, sitting quietly in the corner waiting for Apocalypse… “

Batman at 75: Dark Knights, Lite Knights & the Time of the Bat

Batman (alone) cartoon

It’s the time of the bat, haven’t you heard?  Although Tim Burton’s 1989 masterpiece turns 25 next month, no patient of Arkham Asylum can forget that it’s the leading character’s 75th birthday this month.  As he reaches that milestone it’s clear that the character’s in greater shape than ever.  How things have changed for the awkward outsider of comic book adaptation…

NEXT MONTH IS THE 25TH ANNIVERSARY OF THE RELEASE OF TIM BURTON’S BATMAN.  That film stands in the same short field as Jaws and Star Wars, creating a new wave of blockbuster movie-making.  That was when summer movies came out in June, not May and men were bats.  It’s worth nothing that Batman came it came only 14 years after Jaws and just six years after The Return of the Jedi.  It’s been a long 25 years of blockbusters since Jack Nicholson’s Joker laughed his last.

Infinitely more important is this month’s anniversary:  75 years since Bob Kane unleashed Batman into popular culture.  Yes, I know:  it’s unbelievable that Warner Brothers scheduled one month out from the Golden anniversary in 1989, but back then the reign of the comic film was a long way off.

In context, Tim Burton’s Batman was released a mere 21 years after the Batman TV series was pulled from the schedules.  In part, that enjoyably hokum show resigned batman to a camp scrapheap for some time.  It was the earnest work undertaken by comic creators such as Neal Adams and editor-in-excelsis Denny O’Neil that confronted that overpowering softening of Batman and created the chameleon of comics that we know today.  The result of their and others’ exemplary 1970s work were characters such as Ra’s al Ghul – a villain who has and remains at the core of modern Batman films and animated series.

Batman was released a mere 21 years after the Batman TV series

While good work was being undertaken on the printed page. Warner’s caped screen antics fell onto the super powered box office potential of Superman, ably filling the gap between 1978 and 1987, although not quite avoiding a dive into his own camp dreariness at the end.

Enduring Bat

Since 1989 though, Batman has barely been away from the screens, even if Joel Schumacher’s laughably credible third sequel Batman and Robin kept the Knight away for eight years.  Still, he clung on by the Batarang to the small screen.  From the incredibly influential Batman: The Animated Series, through Batman Beyond, Justice League (a commendably continuous animated universe under the guidance of Bruce Timm) and onto the current CGI trinket Beware the Batman (alongside countless spin-off movies).  Special mention must go to Batman: The Brave and the Bold, a wonderfully referential and good natured show that showcased a host of DC characters in three seasons between 2008 and 2011.  I’ve written at length about the quality of intention behind that show, but it could escape falling slightly foul of those intervening years between Christopher Nolan’s The Dark Knight and The Dark Knight Rises. Of course Nolan’s universe was a not an easy fit for a cartoon, even though earlier series The Batman gave a half stab at the young Batman theory and Gotham Knight, prequel to The Dark Knight added a Matrix-style universe expansion.  As a result The Brave and the Bold proved once again, that a light knight will always bring a reaction.  I fear that show will be wrongly dismissed as frippery in the canon, but Beware the Batman makes a brave stab at obliterating it.

Beware the CGI

The Brave and the Bold proved again that a light knight will always bring a reaction…

Beware the Batman is an intriguing concept.  While the CGI is as hard to warm to as ever, it’s an interesting expansion in the fast evolving Bat-universe.  The ex-spy, glabrous Alfred signals the direction of Sean Pertwee’s upcoming ex-spy guardian in television series Gotham.  It’s a far cry from the classic pencil moustached Alfred of legend, Michael Gough’s four film stint and (presumably/hopefully) Jeremy Iron’s next big screen iteration.  Michael Caine of course, falls peerlessly in the middle.

While a character – and Outsider – with her own comic legacy, Katana still takes the role of a Robin here.  It’s really with its foes that Beware the Batman stakes its claim.  A series-long arc of villainy steers well clear of the well established rogues’ gallery – well, mostly.  Catwoman is missing, replaced with Magpie.  Arkham Asylum has less of a presence, Blackgate Prison more.  Alan Grant and Norm Breyfogle’s Anarky makes a welcome (re)appearance while the main fodder is supplied by the rather better known League of Assassins.  That brings Lady Shiva, though here she’s not addressed as one of Batman’s early mentors, and inevitably, Ra’s himself.  Ever since I first came across the long-lived, beardily eerie eco-terrorist I’ve been hooked – I’m not surprised that he forms a major part of both this and the Nolan trilogy.

Perhaps most interesting in this new animated series is the appearance of Grant Morrison’s Professor Pyg and Mr Toad (the latterly brilliantly voiced by Udo Kier I was delighted to see).  Yes, those fiends are rather differently presented than in their 2008 comic debut, but once again, the inclusion of Wind in the Willows shows just how well Gotham takes to being the land of fiction…

The glut of Batman in the last 25 years signals and creates one thing: confidence.  Warners didn’t seem put off by the relatively minor haul of 2005’s Batman Begins and that, er, wildcard Joker and patience proved astute when the sequel, the stand-out example of Batman on film, crossed $1 billion.

With Nolan, things changed.  While the comic scene has increased yet further, only Marvel has remained strong enough among blockbuster producers not to mine at least some of the perceived ‘dark realism’ of the Dark Knight trilogy.

Party like it’s 1989

That is and ever will be the Batmobile

True, Tim Burton’s Batman started a mini craze in 1989, but that was for blockbusters as Indiana Jones took a false-retirement.  A prime example of its impact being felt five years later was Russell Mulcahy’s extraordinary homage, The Shadow in 1994.  That example showed how definitively brilliant some part of Batman were.  It’s the late Anton Furst’s delectable production design meeting Tim Burton’s singularly artistic vision and bold casting that made that legend.Batman - and Robin

With this week’s reveal of Zack Snyder’s new Batmobile, it’s no surprise that immediate thoughts turn to Anton Furst’s superior 1989 design,

just as the late 2000s had everyone wishing that the Tumbler would develop that same sleek aesthetic.  That is and ever will be the Batmobile.  And Batman versus Superman’s design seems to acknowledge that debt.

It’s undeniable that Burton’s Batman made that one crucial mistake: giving Batman ultimate revenge for the death of his parents, credit for which screenwriter Sam Hamm lays with Burton.  That redemption set the franchise up for a fall, not to provide Joel Schumacher any excuses.  It meant that in the three successive films, no matter who wore the cowl, Bruce Wayne had to retread and uncover further trauma in his earlier tragedy.  Last decade Nolan got it right. Well, apart from that ending, but let’s just call that an Inception moment.


The Comics are Coming

Comic book movies cannot and will not ever over-saturate

Since that film kicked off Batman on the big screen (really, it did), he hasn’t left us.  But his is a celluloid history often slightly removed from comic book trends.   It’s easy to forget that it wasn’t Sam Raimi’s very successful Spiderman trilogy that kicked off the comic film boom in 2002, nor Bryan Singer’s stable if under-powered X-Men two years before.  That honour belongs to Stephen Norrington’s Blade in 1998.  A well made but under-sold film of the titular Marvel character, it opened up the box office for the super-powered assault we see today.  And crucially, just to futilely banish those same suggestions made each year: comic book movies cannot and will not ever reach over-saturation.

And Wesley Snipes’ Blade sliced into cinemas just one year after Batman and Robin had supposedly stopped the comic trend cold. Mr Freeze cold.  But although Batman wasn’t there during those early years of Marvel taking a foothold through three different studios, Warners were still simmering in their bat cave.

At the turn of the century Miles Millar and Alfred Gough III pitched an idea for a young Bruce Wayne television series, but Warners dismissed it, eager to pursue the Dark Knight’s more lucrative career on the big screen.  That series morphed into the incredibly successful Smallville.  It wasn’t that Superman wasn’t box office property, but it seemed that Nic Cage’s pay-or-play contract for Tim Burton’s aborted Superman Returns had burnt them a little more than Batman ever could.  Either that or Superman IV: The Quest for Peace was really far worse than Batman and Robin.  Well…

Traits of the Batmen

The Dark Knight’s one simple appeal keeps him relevant

Nonetheless, Smallville’s 10 seasons happened because Warners’ aspirations for Batman on film signalled a brand conflict.  14 years later, it couldn’t be more different.  We live in a universe of multiple batmen.  New animated series are lined up to reboot the last when their natural lives conclude.  Gotham will bring us classic villains before they’d even heard of Arkham and Jim Gordon before he grew a moustache.  And at the flicks, Ben Affleck’s Batman takes on the Man of Steel in what must be one of 2016’s big hitters.  And that’s not even including the wildly successful Arkham videogame series, it’s Lego counterpart and the Caped Crusader’s constant appearances in the well produced line of DC Universe Animated Original Movies.

So why the increasing multiplicty?  Well, you can read why Batman’s a fascinating character, if not quite with the potential of Superman, here.  But some clear indicators lie in his key traits.  There’s the inherent darkness, the Jekyll and Hyde, the fact he’s the world’s greatest detective and most dangerous human (modern adaptations suggest that the great detective’s morphing more into Batman than the other way around). There’s the fact that he’s mortal, he’s a playboy, he has the greatest rogues’ gallery in comics, many representing a psychological disorder or primal instinct.  He’s a bat, that atavistic and distinctive symbol conjuring up vampires, darkness, base fear… He’s the protector, the winged guardian angel who overcomes all odds…

But really it’s the Dark Knight’s one simple appeal that keeps him relevant – it’s that alluring 101 to psychological damage that stands him alone as a character who can carry this off.  Batman exists in multiple guises at the same time because that is what the character is.  When he doesn’t, he’s diminished.  Not even Warren Ellis did that in Planetary…  But his guardian’s increasingly realise it.  And in each and every guise, the Dark Knight stands watch over the ultimate fictional city.  That once and maybe never were New York, Gotham.

A great figure in the Batman story, Darwyn Cooke’s 75th anniversary animated tribute get’s it about right, with a fitting and good spoonful of other pop culture to go with it.  As that shows, Batman’s in very good health this 75th birthday and as more and more share the Mantle of the Bat, it’s certain that he’s going to be with us a good while yet.

Now, time for a Batrospective…

Man of Steel III: “The Rising Price of Kryptonite”

Man of Steel III - Gotham Jokertoon


(ED: Continued from part II)


IT HAD BEEN TWO MONTHS SINCE I’D LAST VISITED THE CORP TOWER WHEN I FOUND MYSELF, LATE ONE NIGHT, RECEIVING A SPECIAL INVITATION.  It came in the form of two gigantic, suited, monosyllabic bodyguards.  The glimmer of the single letter signet rings they both wore were introduction enough. The rest was force.
            Within seconds I was in car, just able to grab a camera and notepad from my apartment and balance glasses on the end of my nose.  The drive was quiet, but quick; there was I sat firmly between the two beefcakes, staring at a black tinted driver shield.  Outside I saw the city fleet past, not a head turning toward the dark limo.
            Within minutes I was at the Corp Tower, walking around the labyrinthine corridors that spiralled from the ornate reception, past gigantic sculptures and escorted into a glass lift.  As the lift rose I thought I saw a familiar face below, looking impassively up at the rising elevator.  Was it impassive?  I could make out the turned, glossed lips and immaculate make-up.  Something switched in my head and I suddenly remembered my lucky pack – surely lying quietly on a shelf at home.  I gulped and left my stomach on floor 65 as I sped to the top of the tower.
            Emerging onto a helipad, all watered down cement, fresh blue markings and chrome bars I was met by a young woman, clasping a raincoat tightly around her.  She held an umbrella above my head as she pulled me towards her.  The rain was light and I got the impression that the covering was more for the benefit of my destination.
            There ahead of me sat a purring helicopter.  Huge, seemingly levitating on the wet pad.  The rotors swooped in slow motion, throwing a soft buzz into the wet breeze.  As we walked, I heard the instructions given by the woman close to my ear.  Half warning, half order.  Her voice slowed with our strides as the chopper neared.  The green chassis gleamed. Behind the cockpit glass I saw only black equipment with black gloved hands slowly working.    I could feel black eyes stare at me from behind shades. 
            We were nearly at the open door when I dared ask my guide what the rush was.  She looked at me just for a moment at the base of the steps. 
“Didn’t you feel it?” She asked.  I didn’t need to try to look perplexed.    
            “You can’t keep him waiting”.  Her eyes dropped as I climbed the steps and saw him, the last person I wanted to see.  I knew he’d be there of course.  I was stuck, suddenly feeling rather lonely, at the top of his bloody tower.  As usual, he was sharply attired in a sleek air suit.  I was not.  His head gleamed, his hands worked.  One picked up a safety harness and flak jacket which he threw at me, the other worked a miniscule tablet device.  I knew where we were going before I recognised the map on the screen: due south.  Something had happened, something had to have happened.  But I knew that seed of a thought would only make the trip longer still. 

Chapter I

            “Hope.”  That’s all the hulk said to me as the helicopter rose into the air. “Hope”. 
            Rising from the tallest tower in the City, moonlight still managed to catch the skyline below and strafe his face with shadow.   I stared into the reflection, the dark eyes embedded in pits that stayed resolutely black in spite of the strobe. 
            “I know you had hope, of a kind, but it’s gone”.
He might be true.  My body suddenly felt heavy and sluggish.  I blamed it on the helicopter and shook my head slightly. The last time I had confronted this man there had been talk of a doomsday.  That had stopped some weeks before, abruptly.   Whatever had been coming hadn’t.  It had been halted in its tracks.  But with that act, the city’s guardian had disappeared.  Searches continued in the suburbs of the city, where huge craters pock-marked what once were amusement parks and lakes, fields and reservoirs.   It had been weeks, but it was still too early to say that hope had gone.  
            The deep voice continued.  “He was more than hope, more than anything any human should ever believe in.  He was a distortion of everything human, a forced Messiah”
            Ah.  We were back in that office, as if no time had passed at all since the uncomfortable interview.  This time, despite the rush and surprise I was far more prepared. That first meeting had run and run through my mind…  I had wanted a rematch and now I had it.
            “I was surprised” I acknowledged, taking the nape of my nose between my fingers as a the nausea abated.  Ahead of me, the eyes didn’t move.  They remained trained intently on me…
Following the heavy symbolism of Superman Returns (the son and the father, the fall to Earth, the resurrection), I was amazed that Man of Steel pushed the symbolism even further.  The church visit and the spread-arm descent from space are blunt, but the world wandering and name-checked age of 33 are deliberate additions. In support, Warner Bros also accompanied the film’s release with some peculiar specialist Christian marketing…
            However, the Christ-like qualities of Superman’s myth have been present for many years.  It was no coincidence that Returns, a self-styled sequel to Superman II, drew it out.  Superman’s is a history full of symbolism, responsibility, sacrifice and often, resurrection – whether that’s the Death of Superman storyline in the comic books or the last third of Superman Returns.  He is named as the light, the leader and his central role is that largest of metaphors: the son who becomes the father.
            The Kryptonian’s resurrection is hardly a unique quality among comic-book heroes.  Even so, Superman arrives as an apparent Christian metaphor through a variety of sources.  Superman is a fundamentally natural and biological phenomenon.  A human-sized, red-caped battery powered by the yellow sun.  His is an exaggerated use of the same source that gives us life, one that has also been a symbol of worship for many civilisations – the ancient Greeks, Egyptians, Aztecs and others.  Man of Steel drew on that bold idea of the god walking among us.  The Codex that Superman carries in his DNA draws comparison with not only Noah, but Prometheus – another mythological figure who casts a mighty shadow on comics and science fiction.
            Perhaps most noteworthy, is the fact that Superman was created by two Jewish teenagers.  Undoubtedly, he was not conceived as this Christ-like figure – their first character called Superman was a mad scientist with more in common with Superman’s greatest nemesis.
            Across the cabin, the lips curled.
            But just as Superman grew to focus his powers, so that early groundwork built up through the decades to form a Christian allegory that film creatives still find so compelling.

Chapter II

            We were sat in a flying lump of metal I could only, lamely, describe as the most futuristic thing I had ever seen.  It was sleek and solid, huge and powerful.  It was a statement of intent.  It was aimed south and I was on it.  The rest was unclear.  We were careering across the southern suburbs of the great metropolis at an incredible rate, but still the rotors made hardly any noise, the open doorways –  there were no doors – were guarded so closely by  the design that there was neither the incredible rush of air or the flight of the wind.  I looked around as my interviewer examined me closely.  My eyes darted.  For a second, I was sure that I saw an indentation at the top right hand of the cabin…  It looked like a hand.  No… But, in the changing light it was impossible to see it properly. I certainly didn’t intend to unbuckle myself and stand in the cabin at that precise moment.
            The next question seemed to pick up on my thoughts, dwelling as they did on the contemporary and futuristic.  I shuddered slightly and raised my chin.
“He’s outdated, he has no place in the 21st century”
            I parried back once more.
            Superman is not an easy to evolve.  If he ever was, he isn’t now.  Once the character had developed, he proved too archetypal to play with too much.  One factor must have been the massive rise of the superhero during the Silver Age of comics.  With the powers that all others are judged by, Superman was forced into a locked and lead-lined template of sorts.   Each change since, whether momentary such as the Death, Transformed or power loss storylines or life changing (until reboot) like his marriage to Lois, have created opprobrium in the press and fair-weather fans alike.  But that’s not too say that Big Blue hasn’t changed.  For all the tropes and stock parts of the myth that stay intact (costume, phone boxes, Lois, Daily Planet) important ones have been lost (Lois’ obliviousness, the Jimmy Olsen watch – for the most part, Luthor the mad criminal scientist…).  In fact, Superman has changed greatly since his inception.  It’s just not been easy to notice.
            Fandom is defined by its lobbying for then outrage at change.  But despite his many mythical elements, Superman is on a far more sticky wicket than the Dark Knight.  While the basics stay intact, Batman is defined by his constant evolution.   In fact, his evolution has turned into a real Bat-asset.  While the Dark Knight can be identified as 60s camp, 70s dark, 80s gothic, Nolan-real and so on, Superman apparently remains very similar.   Henry Cavill’s relationship with Ma Kent isn’t that different from Welling, Cain or Christopher Reeves’.  It may be that the Bat-family is more durable.  The first Robin grew up to spread his wings as Nightwing while no such enduring success has served Jimmy Olsen, the latter Superboys or Krypto the Superdog.
            “You talk about the man…  A man with a family.  If he’s just a man, there are others”.
            There are others.
            The DC Universe presented on film has been markedly influenced by Christopher Nolan’s Dark Knight trilogy.
            (Although, that introduction’s an injustice.  It is writer David S Goyer who lay not only at the heart of the Dark Knight trilogy, but also Man of Steel and its forthcoming sequel as well as the new Commissioner Gordon television show and the here before you know it Justice League film.)
            2012 was a key year for superhero films, pitching Nolan’s ‘realistic’ take against the highly militaristic but jocular Marvel Avengers.  It was a battle of the billion dollar film franchises – Marvel’s long-trailed team-up versus the Dark Knight’s ‘satirical’ violence.  Both emerged well from the scrap, but it was a battle that established very clear rules for the rematch in 2015 – a year that Spielberg and Lucas might well call the make or break year of the blockbuster.
            With Man of Steel it’s clear that Warner Bros saw strength in the darker, more serious tones that Nolan and Goyer established as opposed to matching the Marvel universe gag for gag.  The Avengers wasn’t a camp affair by any means.  But while Marvel may play with killing a character – in DC’s universe anything is possible.   Given the 2011 Green Lantern disaster, that’s not a bad decision.

Chapter III

“Some of Gotham’s finest minds gone in an instant, so much trust placed in those alien hands and based on what?  How many must he kill?”
On the seat next to the figure I saw a short stack of papers pawed over by his large hands.   As the paper shifted I thought I saw a logo I hadn’t seen for years.  The tip of a yellow triangle, a star..?  How deep did this man’s reach go, how far below the streets, past the sewers…
            I looked from the window, where the sun sat low on the horizon and barns and outhouses cast long dark shadows over fields and vineyards. I knew where we were going, but why?
Anything is possible? Really?  The deaths of major characters, the surprising (presumed) demise of Emil Hamilton – it all set a tone for tone for Man of Steel’s new universe.  It’s not without comedy and neither was the Dark Knight, but it creates a world of repercussion and consequence.
            During the course of the Dark Knight trilogy Gotham visibly transformed from Kowloon to Manhattan.  It’s not exactly Morten Harket breaking out of his comic world, but it shows an intent to increasingly ground the universe in realism, even within its own narrative.  After the Dark Knight, that almost seems a crucial approach to modernising a definitive superhero.  Were it not for Joss Whedon that is.  There’s more that one way to skin a bat after all.
            Warner’s is not an easy path, but runs less risk of the comic campery that has wounded them more than most.  Superman has appeared as outdated for years and although the mass devastation, or rather the ambiguous human cost, of Man of Steel appears very un-Superman, it acutely makes that modernist argument.  Goyer has recently spoken out about the death count and voiced his strong support for Superman’s right to kill, acknowledging the opposition from many other comic writers.  In the DC film universe, death really is the catalyst that The Avengers built into its plot.
            While Batman has lived in this universe of consequence since 2005, it’s a big step for Superman.  Why not easy?   In essence it’s a finite universe that works contrary to the rules of comic books, one where death is real and consequences eternal.
            I used to rail at the middle ground comic films took to death before.  Taking the original Batman films of the ‘80s and ‘90s, the Joker was killed off in part one, the Penguin in part two.  There was death rather than incarceration in Arkham Asylum, but there was no consequence to it.  These were westerns, where the lone slinger lived to walk away to lick his wounds until the next gang rode into town.  That was a Batman who battled super villains one at a time, each one of them meeting a grizzly end after a week or so of conflict.  It wasn’t compelling, although the films were immensely enjoyable.  This unwritten law of the superhero film fortunately changed in the 2000s – an even more sequel-savvy time – despite Spiderman’s best efforts to keep it going.  In The Dark Knight trilogy, every death had a purpose. Whether Batman Begins was intended to establish a trilogy (highly unlikely), by the time The Dark Knight had granted Christopher Nolan a blank sheet for the follow-up, the third part could only provide closure.
            In 2012, The Avengers expertly established a super team in the Marvel world of comics.  In fact, it was more effective than any other Marvel film at putting Marvel on film – mainly thanks to Joss Whedon who evidently breathes the House of Ideas.  Man of Steel is a film that reflects the contemporary Superman ‘universe’.  It’s darker, it’s a world of ramifications, it’s drawing on the lines of history laid down by 60 years of the comics, just like The Dark Knight trilogy had done for his caped comrade…
            The helicopter buzzed. It had been a smooth journey so far, the sound of the machine hardly audible, but now I noticed it.  Looking from the window, I saw that we had dropped – virtually skimming the thinning trees.  We were approaching the suburbs – I’d seen the trees thin like this a thousand times.  Soon to be replaced by dark canals, lakes and stacks of rundown warehouses…   But this time something was different.  There were less trees, or rather less treetops.  Giant stems and trunks lay flat on the ground, giant swathes of earth fleeing the root cavities.   I realised that both my hands were flat against the windows as I strained to see more.  Running through the trees laid furrows and trenches, like fissures, ripping the forests and fields into shards.
            “Update.” The voice was deep and commanding, it wasn’t a question.  I don’t know who it was aimed at but I was sure that whoever it was intended for had heard it.  A tinny voice rang through the cabin, clear and crisp as though it came through the walls.
            “Sir, confirmed as a 7.6 quake with an epicentre on the south west outskirts. Government response teams testing viability of remaining bridges around the island.  Seven minutes to the Tower”.
            The figure was impassive.  I turned back to the window, where metres below the mud trenches were clearly revealed as faults.  There had been a cataclysm and we were heading right into it.

Chapter IV

            I was reeling, trying to understand why I was in the transport with perhaps the most important people in the country heading for a disaster zone. Why me?  The smallest whimper may have escaped my lips.  Fortunately I had some questions to distract me.  Unfortunately they were drilled at me by the same person.
“But then you’ve got to agree that souped-up boy scout isn’t as interesting as that lying rodent…” – I must have missed the “f” in the rush of air.  Small branches snapped against the undercarriage.
            “I’ve heard that.  I’ve heard that many times in the last month.” 
            The sound of flight was much louder now, as if the air was resisting our arrival.  Just like this city to reject help I thought.  Below me, the broken husks of warehouses had begun to litter the landscape.
            “I’ve heard Superman described as a difficult character because he just isn’t as interesting as Batman, but really?” 
            There’s two sides to it each equally as interesting, and I laid them out.. 
            On one hand Superman’s lost his home planet and entire species, not just his parents.  On the other he’s one of the few superheroes who was able to make a choice of his own free-will.  Although Man of Steel saw Zod’s actions force Kal-El’s hands somewhat, the addition of Kryptonian ‘genetic set roles’ adds a new dimension.
            Batman’s dual identity may appear more compelling, set as it is against a city of madness, but aside from the ‘which persona is the mask?’ debate, is Bruce Wayne so much deeper than Clark Kent?
            Superman, Kal-El and Clark Kent are three distinct personalities: world saviour, Kryptonian son and Kansas farm boy turned Pulitzer-baiting journalist.  Each feeds in to the other and it’s far more than simply donning a suit under a crisp white shirt.  Biographically the character was first and foremost raised as Clark.    His super powers developed over time, leading to the creation of one persona and discovery of the other.  One is the moral question of great responsibility coming with great power, the other the inevitable quest to discover his origin.  While Kal-El may have arrived at around the same time as Superman, it’s easily identifiable as an objective route to dealing with his role as Superman.  It can be looked at in different ways.
            Film, TV series and comics have dealt with this differently and if you want to break up the various Supermen from Superboys, it’s far easier to look at their on-screen portrayals.  Superman’s different personas are more nuanced than the pre-eminent modern Batman debate of which character is the mask.  Superman is far less psychologically tortured, but there is plenty of room for many different interpretations.
            Smallville, by TV necessity, was all about Clark Kent’s discovery of Kal-El.  Taking on the caped mantle was the end result and was only seen in the final episode alongside that typical Superman power, flight.  Superman the Movie dealt very much with Clark Kent.  Here we saw Superman arrive fully developed.  The discovery of Kal-El was touched upon, but revealed by the Clark Kent character as well as external factors – importantly, the loss of his father.  He was then nourished in a ice fortress for years until the ready-formed mind-set of Kal-Superman emerged.
            In Man of Steel Clark’s character undergoes similar loss, but sitting between its two predecessors, it creates a loner Clark Kent who embarks on a long Christ-like period of discovery but also pre-destiny.  The film shows that his years of searching eventually trigger a set of events that rapidly answer long hanging questions.  Strong with coincidence Man of Steel balances the change against a long Bruce Banner style journey of self-discovery before Zod’s arrival suddenly brings the decision to the fore.   Unlike the Movie, Clark does not have years encased in the Fortress of Solitude to understand his situation – those years are instead spent among the best and worst of the people he will chose to adopt.   His persona emerges from his battle with his biological people.  The effect is a less contrived and more human Superman.   He discovered the role of Superman at the age of 33, far later than the Welling or Reeve iterations.
            Onscreen, the channelling of different facets of the character by each actor has helped create Superman as a successful screen icon – yes, including Dean Cain.  It’s possible, that this has served to limit his growth in the comics.  Certainly, you are far more likely to imagine an actor as your Clark Kent than with Bruce Wayne.  The infamous, but abating Hollywood curse hasn’t helped Superman loosen that distinction.
            “Curses, fate and destiny.  Is that where we’ve arrived?  I have always dealt in fact and certainty”
            Below groups of people had started  to form.   Even from meters above, they were disorientated, dispossessed.  A tragedy was unfolding.

Chapter V

            Both Superman and Batman are figures of tragedy and the paternal legacy that leads from that.  It’s intensely personal, but also about the personnel. While Bruce Wayne famously lost his parents as a young boy, he replaced them with a framework of characters, among them his faithful ‘batman’ of conscience Alfred, figure of justice Commissioner Gordon and figure of (business) moral Lucius Fox.  The Dark Knight trilogy took this to its extreme, supplementing and layering those paternal analogies throughout the trilogy.
In contrast, Superman lost his parents and his race as an infant and has been a product of two parental sets ever since.   True there are others, but they are not strong.  Daily Planet editor Perry White could take on such a role easily, but he also serves it for Lois Lane, Jimmy Olsen and his other employees.
            Man of Steel purposefully delivered its disaster movie plot through individuals.  It wasn’t just the central message that was bottled down to a personal level.  It was seeded and foreshadowed through the characters caught up in the third act’s destruction of Metropolis.
            Instead of seeing the large military presence that’s seen elsewhere carry out the evacuation, it was followed through Perry White and the Daily Planet staff.  This was a big film played out through the archetype characters of Superman lore.  Zack Snyder has recently defended the mass destruction of comparing it to the Japanese monster films of the 1950s and beyond.  When he first appeared, Godzilla was a clear analogy for the horror of nuclear weapons, a close response to a very real and recent tragedy. Godzilla’s  relocation to America over the years hasn’t had quite the same effect, but in Man of Steel, Snyder adopted the idea.  It’s not a new idea that Superman forms part of a modern America’s pantheon akin to the Greek gods of Olympus or Nordic gods of Asgard.  Man of Steel saw Snyder rope in stronger beats, more reflective of modern America.  Just as the first Godzilla film was repurposed for American audiences (Raymond Burr intercut into destruction for added resonance), Snyder used the film’s individuals to counter-balance this.  At the start, Godzilla had little perception of the people in the mass disaster he dealt, just as the Kryptonians had little perception of the humans in their metropolis.
            Batman is a more immediately personal crime-fighter.  Partly it’s because he’s human and he loves a gadget, just like many husbands.   Partly he’s defined by his fights against individual villains or even against the highly anthropomorphic Gotham City.  His fight is a dark and self-destructive one.  But people love the dark vigilante and Batman has become a definitively brilliant example of that.  That said, Superman may be the exception to the rule that the good guys are less interesting in comparison.  While Batman’s origin has become mythic, but Superman’s is biblical.
            The son of two worlds idea is a deep and powerful one – albeit more opaque than Batman’s son of two sides of a city.  It’s B-movie versus film noir, and you only have to look at critical reception to see how that unfolds.
            I noticed that across the cabin a hand lay against the glass window.  Impassively, the thick neck and strong dome were studying the devastation below.  The thick knuckles were white against the pane.  As the inevitable dark clouds fell around us as we neared the city districts, the reflection of his face was lost in shadow.
            I was speaking louder and more confidently now as if to keep his attention, I had to finish before we arrived.  Who knew what would happen then… “It’s that Superman’s perceived as outdated, clean-cut and too powerful to be opposed that a lot of emphasis falls on the darker and so ‘more interesting’ Batman.” 
            I paused as I remembered my lucky pack.  I thought of the King of Clubs and King of Hearts vying for the top deck. 
The next film has been announced as Superman versus Batman – even if the name changes in the interim, the long mooted struggle is at last reaches the big screen.  That opposition, purposefully, sounds a little more drastic than it is.  In reality, they are just ideologically opposed.  It’s a concept that’s nicely murky for our times, and their first meeting will make for interesting viewing. Notes that swiftly accompanied the casting of Ben Affleck in the Dark Knight’s role confirmed that this would be a grizzled, older Batman.  Not Dark night Returns perhaps, but no Batman beginning.
            Of course, Bats and Supes have historically come to blows in the comics, and most aficionados will opt for the mortal side of the coin.  Usually that opposition comes in some form of corruption to what Superman is or does.  Superman isn’t a vigilante after all, with a public persona and allegiances sworn at various times to US and world bodies.   Batman is all about vigilantism.  In any dystopian shift, a government, just like any villain, would seek to corrupt the more powerful Superman first (remember, Batman’s only a mortal).  In that role, Batman always rises to the surface as the champion of right.  There are levels of irony in their pairing, but over the years it’s forged a close bond.
             “The most dangerous mortal on Earth.  Perhaps he still is…”
            We were over the city outskirts.  Below I could see the stately parks and manor houses of the city’s founding fathers.  Those that were still intact had the ground ripped from underneath them.  One sat among chasms, a dark pit spreading from its base.  It looked like foundations were exposed in the cave below.  The figure in front of me craned his neck.
            There is no defence against Superman.  He gets all the attention from governments, cartels or rival injustice leagues because he’s the one to take down.  Swearing allegiance to the President of the USA in a far more – perhaps necessarily – open way than Batman, he is the first to succumb.  At the first sign of a metahuman registration act, in the first wave of hypnosis or brainwashing into, he’s a prime target – whether villain, governments or both are behind it.  As he a natural the symbol of the American Dream it oozes dramatic potential.  As opposition to the ultimate symbol of vigilantism, it’s even better.
            When it comes to kryptonite knuckle-dusters, the rule of the underdog gives the Dark Knight of Gotham a distinct advantage.

Chapter VI

            We were nearing the end of our journey I assumed.  There must be a stopping point.  Surely he wasn’t here just to circle…  There were rumours he had far more property in the city below us than anyone knew of course.  Rumours that a duplicate of his Scottish manor to the north had been constructed here as well.  I was curious to see if would head there before or after The Tower. 
            I turned back to my interviewer.  Inevitably, the challenge for the next film was set. 
             “Invincible.” It sounded chilling above the devastation.  “He’s invincible”.
            “He’s a storytelling challenge who’s been underserved…” 
            The head twisted slightly on the thick neck too face me.
            In the comics, when they have clashed, it’s Batman who’s invariably the victor, but there are inherent problems with bringing Superman to the big screen.  The same issues that make him the one to take down, also ensure that he’s perceived as dull.
            That Batman has the greater and better known gallery of rogues is good indicator of the difficulty with the Superman.  The Caped Crusader has almost inarguably the best roster of nemeses, perhaps only rivalled by Spiderman.  The fact that Gotham City’s guardian is mortal helps immensely of course, as does that fact that they are generally mentally unstable and reside for the most part in an asylum.
            But with Superman you can’t just ramp up the gothic.
            Superman’s foes may have been around as long or longer than Batman’s, but they haven’t achieved the same cultural familiarity.  Braniac is no Joker, Metallo is no Riddler.  Some of the earliest have all but disappeared as solo Superman rogues, such as the Ultrahumanite.  Others like Luthor have changed immeasurably.   However, much of the problem is that for the most part, they can’t be realised on screen.  Even with the arrival of CGI Superman Returns illustrated the resistance perfectly.
            Now, with reboot fresh in the minds and a sequel announced, we still aren’t being introduced to universal foes such as Darkseid, Mogul or Brainiac.  All the emphasis in the next film, sensibly, has to fall to the modern day corporate Lex Luthor.
            Man of Steel chose to favour the General Zod, last seen in cinemas in Superman II (1980), which made great origin sense.  Still, the General’s earlier appearance had played it’s part Superman’s difficulty.  Despite a broad range of foes and storylines crossing nearly eight decades, the failure to draw on them in the past has just served to diminish the Man of Steel. That he’s just too powerful has been a constant challenge in the books and films, although the rise of CGI should helped combat this.  So far, the common attempt to combat it has been a sharp divergence between the Superman comics and onscreen representations.  At last, it appears that the Kryptonian has allies on celluloid.
            Previously, the blame has lain with the film creators themselves.   While Superman the Movie is wonderful in its scope, as is the sequel that unleashed General Zod onto the world, Superman III, IV and Returns suffered from poor decisions.  The latter two continued the outdated and limiting misreading of Superman’s biggest foe – as enjoyable as Gene Hackman’s portrayal was.  While Lex Luthor had started off as a mad scientist in the comics, the current corporate Luthor is a far more interesting creation than the one seen in the Reeve films or their belated sequels.  It was only in the 1980s that the current nuanced and interesting take on the character came to the fore in the comics.  Various storylines and creative teams have established Luthor as the greatest human who has ever lived, knocking off cancer cures at a whim (and of course charging tons to patients in the process), providing innate genius to a multi-billion business that Bruce Wayne can barely touch.  Effectively he’s the greatest human Earth has ever produced but then…  An alien just happens to land in America and steals all the glory.  Luthor will always be number two, and every despicable plan has its root in that jealousy inspired by an unnatural twist of fate.  Even in the 1960s (Adventure Comics 271), it was posited that Luthor and Clark Kent knew each other as children, an idea recently brought back to the fore in the tremendously successful Smallville.  So in all, it’s curiosity that lead to jealousy at the root of Luthor’s evil.  Another in a long line of fantastic and jealous villains.  It’s an emotion that has powered brilliant plots and inspired great writers for centuries, including, it must be said, those who’ve breathed life into Superman.  In the comics anything is fair game, from Lois to morals, from Metropolis to the Earth.
            I resisted the urge to push Mark Millar’s Red Son once again…
            I pulled the collar around my neck as the cold glare chilled the air around me.   Under the intense scrutiny I contemplated making a leap for it.  If there was one man who didn’t need a look to kill…


            Saved.   Red lights blinked and confirmation came to the cabin that we were near our destination.  The chopper smoothly dipped through the cloud that had built up at the centre.  There were less buildings than there used to be, I noted unemotionally.   The sky was strangely quiet, but below the clouds the streets were chaos.  Swathes of concrete and tarmac had been overturned, gigantic trenches dotted every block wriggling in and out of the buildings.  Blue and red lights flashed in between, main a sea of white light.  I couldn’t even gauge the devastation.  I couldn’t consider the loss…  The city as everyone knew it was gone.  It wasn’t a tourist trap, it wasn’t visited by people other than those who had a reason.  Those who knew what had gone were select, many of them in the streets now…
            Somehow through all of it we landed.   There was a mist, a haze… Like the disorientation couldn’t rest in the streets and was reaching up to escape.
The cabin release lights flicked on and I earned a scowl from the figure that flashed past to leave the cabin as I grappled with my safety belt.  In the minute it took me to put a foot to the concrete and find my land legs, he was already standing 20 metres in front of me surveying the scene as if he’d been there a thousand years.
            I realised we were on the top of a skyscraper, perched in the middle of the city.  His skyscraper?  I couldn’t remember him having one before…  It was eerie…
            What would happen next I thought…
            Man of Steel left vast swathes of the Superman mythos waiting while it redefined the story and set many other cogs in motion.   Using the sequel of this successful Superman as a springboard for the rebooted Batman is a clever one, and not just financially.  Batman can survive very well on his own of course, but he needs to be cajoled into the DC universe just as his Justice League peers occasionally need to convince him to be a team player.  While Arrow promises to introduce the Flash to the small screen, within a few short years a functional Justice League could be ready to go, showing up Marvel’s not-so-secret-invasion as slow.  Many things need to align for that to happen, but the establishment of the two male cornerstones of the DC universe in that one film will help greatly in bringing that vision to the big screen.  That battle, though mostly inferred will be far larger than the sum of its parts.  While Superman sits awkwardly in the Man of Steel Universe, those flip-side ideologies promise to be scintillating.
            There is still the third icon of DC’s trinity to come of course, and she really is a goddess.  Rumours are circulating that Wonder Woman’s being cast in the film, potentially shifting it into the Trinity core of the Justice League.
            But what else could be in store?  Luthor must be a shoe in for the next instalment – not just as the enemy of Superman in Metropolis, but a major competitor of Bruce Wayne across the trading floor.  Although Professor Hamilton’s presumably gone, Luthor’s surely the link to Kryptonite but crucially, that’s the one element that Batman needs to make a fight of it.  Add in the Amazonian princess, and the cards are being stacked for a multi-textured struggle.  Exactly what you’d expect from this burgeoning universe.
            I thought of my playing cards again and looked at my host.  He sat above his tower overlooking the devastation.  I could see it there again.  Opportunity, that’s what he saw in ever displaced person, every broken street, every upturned house.  In the distance a cloud grew in the air from a controlled explosion.  It looked like the river.  Perhaps the island and was being separated from the mainland.  We were being sealed in, I knew it almost instinctively…   Next to me, the focussed eyes gleamed.  One of the country’s major cities in ruins, one man to save it.  I thought the lights might reflect in his eyes and reached into my bag for a notepad.  I didn’t want to miss the moment those reflected lights turned into the facsimile of the Oval Office reflected in his eyes.  As I floundered, he turned to look at me.  The steely gaze refreshed with zeal and confidence.  He spoke slowly and deliberately, his words reminding me of the last time I was in this city, joining that select group.
            “Some time ago a friend asked me a question…”

(The end..?)

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