Batman Beyond: Return of the Joker (2000) [Original Post]
Showing posts with label DC Comics. Show all posts
Showing posts with label DC Comics. Show all posts
Sunday, November 13, 2022
Saturday, April 18, 2015
Sunday, March 15, 2015
Thursday, January 29, 2015
Monday, January 05, 2015
Monday, December 12, 2011
Running the Asylum: Lessons Learned from Batman
Adrift in the white noise of what seems to be generally good feelings about the now passed Bat-sequel; I must confess to having almost no knowledge of, or experience with, Arkham City. Amidst rumors of yet another expansion toward something along the lines of an 'Arkham World,' I feel some reticence toward any assertion that these are the greatest games the comics-to-gaming world has, and will ever see, but the point remains -- Rocksteady did make some very good games!
Personally, I've never been a big believer in writing off titles simply because they're derived from something else. The world has undeniably seen its fair share of hideous adaptations, but that blanket attitude has done more than lead many a soul to miss a hidden gem, canonizing an opinion as fact to such an extent as to condemn an entire sub-genre, by consensus, and by self-fulfilling production. At least, that's the theory. A brand as powerful as Batman can be counted on to fight through just about any prejudice (for the time being), and there are always the unwashed masses who buy even the most reviled adaptations, if they're within Wal-reach and the price is Wal-right.
As much as I'd love to spend time sharing my take on consumer wisdom, a more interesting, if equally dismaying point, has taken my fancy. It's a subject intertwined with a good deal of blogging I've done on 1UP over the past couple years, but is the kind of boneheaded, blisteringly obvious point that bares constant repeating, if only because it hasn't been adopted as a widely accepted truth: games should reference the source.
I suppose the implication of "referencing the source" is a project that intends to make use of the parent license, and if you're making use of a license from comic books, then your focus is primarily to reference design and ideas.
Games have never completely abandoned their penchant for storytelling, but for a while there, it seemed there might actually be a conceited push to get away from inconveniences such as plot, motivation, and other things that don't always accomodate a grey-brown palette and running and gunning. Comics can do both, as famous for their face pounding superheroes as they are their elaborate literature of pictures and words. Batman: Arkham Asylum brought The Dark Knight Detective's chops to both arenas, improving upon the motion of being the ultimate hero, as well as the poetry of his world. I've got my issues with both areas, but for all intents and purposes, the success of Asylum was an important moment for everyone to take note of -- and they clearly have.
Warner Bros. Montreal (via MTV Splash Page) inspired this blog by citing the current Batman games, as well as Activision's now classic Spider-man for the PlayStation, as the contemporary standard for this type of product. It's the kind of no brainer statement that makes me a little sad for the need to say it, but pleased that the right people are reaching the right conclusions, however late. As they prepare to tackle other properties from the DC Comics pantheon, they note, "They were just taking that really rich fiction from the comic books and exploring the characters. It's not about hitting the movie date or some arbitrary date – it was giving the game the time it needs to be successful and really just concentrating on the quality of it."
It's worth remembering that Batman: Arkham Asylum -- one of the games of 2009 -- emerged as a belated, unofficial compliment to one of the films of 2008 - The Dark Knight. The film influence can be found in elements of the close quarters fighting, or the steady orchestral drone of score that occasionally swells during play, but it was otherwise a surprising shift away from the direct adaptation that was met with mixed reviews for Batman Begins. For a time, a Dark Knight game was reported and assumed, but in the end, through design or inadvertent juggling, we got something much better, sourced from the comics (with a smattering of other references).
Consider for a moment that Arkham Asylum had the all-black costume of the movie Batman, and revolved around a slightly different plot, and you might appreciate the importance of recognising that games based on popular movies don't necessarily need to fail. Activision's development of the Spider-man universe arguably peaked with Spider-man 2, the second film sequel that gave the wall crawler a complete city (with streets and select interiors), and added new complexity to the act of web-slinging. Of those first four games, divded evenly between comics and films, each sequel improved upon the experience of its predecessor.
Where movie-based games are most immediately prone to fail is in the storytelling department. Personally, I think it goes without saying that a game that literally retells the plot of a movie, even with occasional insertions, is going to fall short, however ironic that might be. It's a redundancy that isn't completely without virtue, but typically has all the charm and intrigue of a second-hand account of last night's cinema trip from your parents, whose droning confusion equates to scene-extended fetch quests and time trial chase sequences. If your parents are anything like mine, it probably also rings true that the notation of a familiar actor (or character) takes precedent over anything even remotely relating to the film -- but I digress...
It's my hope that, if nothing else, superhero video games can learn valuable lessons from the success of the Batman games, but it's no sure thing. Batman has often been a brand to lead the way down a golden path, only to have it soiled by hamfisted misinterpretations.
Anyone partaking in the online sport of mocking nineties comics (and folks like Rob Liefeld) would probably like to trace their bombastic, grit-toothed origins to the grim 'n' gritty explosion led by iconic eighties matter like The Dark Knight Returns -- a tome expected to play key to influencing Christopher Nolan's 2012 blockbuster, The Dark Knight Rises. Nolan himself has been the source of widespread mediocrity, empowering a terrifying trend of brainless franchise remakes that extends to video games, and coincides with new products that share a skewed, misguided influence taken from the "realistic" Bat-reboots. Even DC hasn't been immune, bungling their way to one of the flops of the decade, the glowing missed opportunity of Green Lantern, which attempted to combine ideals of the successful Batman and Iron Man franchises with insulting results.
Even as we speak, a designer or publisher somewhere in the world is contemplating ways to recreate the success of the Arkham games with no appreciation for how a product was arrived at. Accounts from those that ventured there give the impression it was the mechanical formula of the Arkham series that gave motion to a lacklustre film tie-in based on Captain America. It certainly seemed to be that type of affair, not quite worth the dollars to find out [consumer beats commentator].
Unfortunately, some of these more shallow, corporate-driven trends have infiltrated the comics themselves. If you know about the heavily publicized DC Comics "New 52" reboot, you know that the four-colour format is as fickle as ever, prone to ditching its history at the first sign of digital sales (to a degree), contrary to old wisdom. With worlds that demand reason to fill the far reaching corners of an ever expanding sandbox, I like to think video games have the opportunity to take the best from the Batman lesson, doing as the comics haven't by making a sales pitch of a rich and involving universe.
Arkham Asylum makes a meal of all available materials, borrowing iconic thrills from comics like Arkham Asylum: A Serious House on Serious Earth and Arkham Asylum: Living Hell, while also picking up on colourful strands from scary places like 1997's reviled Schumacher film, Batman & Robin. The story isn't a dense tome of text and cut scenes, but often that's the intended meaning of good storytelling, remembering the importance to acknowledge medium, genre and any other influences that might shape a story. Things fell apart at the end of Arkham Asylum, but for the most part, there was a servicable effort to make all that trapsing seem pretty worthwhile, at least while it was happening. By referencing the comics, it ensured the entire affair was as visually and conceptually interesting as it should be, unbound in ways the films, by their own choice, haven't always been.
The films have a similar strong foundation in the comics, owing much to stories like Batman: Year One and Batman: Dark Victory. With that in mind, the lesson of Batman's many successes should almost certainly be one of respect for the source, rather than dollar-signs-in-the-eyes that might suggest any Batman is good Batman. It's an endorsement of the influence of the original, just as Warner Bros. Montreal profess.
Meandering to a blog conclusion, I think back to the turn-of-the-decade phenomenon of The Matrix. The 1999 breakout hit brought Hong Kong wirework to the Hollywood fore and similarly endorsed the ideals of a comic book and anime audience, steeped in expansive universes and interesting concepts, bolstered by graphic design. Famously left to the devices of the Wachowski siblings who put the pieces together (in distant Australia), the film was a landmark endorsement of the creator, confirming the action-packed auteur theory that offered a gateway to the superheroes who've taken over that ideaspace (for better or worse).
Let's just hope things end better for Batman.
Personally, I've never been a big believer in writing off titles simply because they're derived from something else. The world has undeniably seen its fair share of hideous adaptations, but that blanket attitude has done more than lead many a soul to miss a hidden gem, canonizing an opinion as fact to such an extent as to condemn an entire sub-genre, by consensus, and by self-fulfilling production. At least, that's the theory. A brand as powerful as Batman can be counted on to fight through just about any prejudice (for the time being), and there are always the unwashed masses who buy even the most reviled adaptations, if they're within Wal-reach and the price is Wal-right.
As much as I'd love to spend time sharing my take on consumer wisdom, a more interesting, if equally dismaying point, has taken my fancy. It's a subject intertwined with a good deal of blogging I've done on 1UP over the past couple years, but is the kind of boneheaded, blisteringly obvious point that bares constant repeating, if only because it hasn't been adopted as a widely accepted truth: games should reference the source.
I suppose the implication of "referencing the source" is a project that intends to make use of the parent license, and if you're making use of a license from comic books, then your focus is primarily to reference design and ideas.
Games have never completely abandoned their penchant for storytelling, but for a while there, it seemed there might actually be a conceited push to get away from inconveniences such as plot, motivation, and other things that don't always accomodate a grey-brown palette and running and gunning. Comics can do both, as famous for their face pounding superheroes as they are their elaborate literature of pictures and words. Batman: Arkham Asylum brought The Dark Knight Detective's chops to both arenas, improving upon the motion of being the ultimate hero, as well as the poetry of his world. I've got my issues with both areas, but for all intents and purposes, the success of Asylum was an important moment for everyone to take note of -- and they clearly have.
Warner Bros. Montreal (via MTV Splash Page) inspired this blog by citing the current Batman games, as well as Activision's now classic Spider-man for the PlayStation, as the contemporary standard for this type of product. It's the kind of no brainer statement that makes me a little sad for the need to say it, but pleased that the right people are reaching the right conclusions, however late. As they prepare to tackle other properties from the DC Comics pantheon, they note, "They were just taking that really rich fiction from the comic books and exploring the characters. It's not about hitting the movie date or some arbitrary date – it was giving the game the time it needs to be successful and really just concentrating on the quality of it."
It's worth remembering that Batman: Arkham Asylum -- one of the games of 2009 -- emerged as a belated, unofficial compliment to one of the films of 2008 - The Dark Knight. The film influence can be found in elements of the close quarters fighting, or the steady orchestral drone of score that occasionally swells during play, but it was otherwise a surprising shift away from the direct adaptation that was met with mixed reviews for Batman Begins. For a time, a Dark Knight game was reported and assumed, but in the end, through design or inadvertent juggling, we got something much better, sourced from the comics (with a smattering of other references).
Consider for a moment that Arkham Asylum had the all-black costume of the movie Batman, and revolved around a slightly different plot, and you might appreciate the importance of recognising that games based on popular movies don't necessarily need to fail. Activision's development of the Spider-man universe arguably peaked with Spider-man 2, the second film sequel that gave the wall crawler a complete city (with streets and select interiors), and added new complexity to the act of web-slinging. Of those first four games, divded evenly between comics and films, each sequel improved upon the experience of its predecessor.
Where movie-based games are most immediately prone to fail is in the storytelling department. Personally, I think it goes without saying that a game that literally retells the plot of a movie, even with occasional insertions, is going to fall short, however ironic that might be. It's a redundancy that isn't completely without virtue, but typically has all the charm and intrigue of a second-hand account of last night's cinema trip from your parents, whose droning confusion equates to scene-extended fetch quests and time trial chase sequences. If your parents are anything like mine, it probably also rings true that the notation of a familiar actor (or character) takes precedent over anything even remotely relating to the film -- but I digress...
It's my hope that, if nothing else, superhero video games can learn valuable lessons from the success of the Batman games, but it's no sure thing. Batman has often been a brand to lead the way down a golden path, only to have it soiled by hamfisted misinterpretations.
Anyone partaking in the online sport of mocking nineties comics (and folks like Rob Liefeld) would probably like to trace their bombastic, grit-toothed origins to the grim 'n' gritty explosion led by iconic eighties matter like The Dark Knight Returns -- a tome expected to play key to influencing Christopher Nolan's 2012 blockbuster, The Dark Knight Rises. Nolan himself has been the source of widespread mediocrity, empowering a terrifying trend of brainless franchise remakes that extends to video games, and coincides with new products that share a skewed, misguided influence taken from the "realistic" Bat-reboots. Even DC hasn't been immune, bungling their way to one of the flops of the decade, the glowing missed opportunity of Green Lantern, which attempted to combine ideals of the successful Batman and Iron Man franchises with insulting results.
Even as we speak, a designer or publisher somewhere in the world is contemplating ways to recreate the success of the Arkham games with no appreciation for how a product was arrived at. Accounts from those that ventured there give the impression it was the mechanical formula of the Arkham series that gave motion to a lacklustre film tie-in based on Captain America. It certainly seemed to be that type of affair, not quite worth the dollars to find out [consumer beats commentator].
Unfortunately, some of these more shallow, corporate-driven trends have infiltrated the comics themselves. If you know about the heavily publicized DC Comics "New 52" reboot, you know that the four-colour format is as fickle as ever, prone to ditching its history at the first sign of digital sales (to a degree), contrary to old wisdom. With worlds that demand reason to fill the far reaching corners of an ever expanding sandbox, I like to think video games have the opportunity to take the best from the Batman lesson, doing as the comics haven't by making a sales pitch of a rich and involving universe.
Arkham Asylum makes a meal of all available materials, borrowing iconic thrills from comics like Arkham Asylum: A Serious House on Serious Earth and Arkham Asylum: Living Hell, while also picking up on colourful strands from scary places like 1997's reviled Schumacher film, Batman & Robin. The story isn't a dense tome of text and cut scenes, but often that's the intended meaning of good storytelling, remembering the importance to acknowledge medium, genre and any other influences that might shape a story. Things fell apart at the end of Arkham Asylum, but for the most part, there was a servicable effort to make all that trapsing seem pretty worthwhile, at least while it was happening. By referencing the comics, it ensured the entire affair was as visually and conceptually interesting as it should be, unbound in ways the films, by their own choice, haven't always been.
The films have a similar strong foundation in the comics, owing much to stories like Batman: Year One and Batman: Dark Victory. With that in mind, the lesson of Batman's many successes should almost certainly be one of respect for the source, rather than dollar-signs-in-the-eyes that might suggest any Batman is good Batman. It's an endorsement of the influence of the original, just as Warner Bros. Montreal profess.
Meandering to a blog conclusion, I think back to the turn-of-the-decade phenomenon of The Matrix. The 1999 breakout hit brought Hong Kong wirework to the Hollywood fore and similarly endorsed the ideals of a comic book and anime audience, steeped in expansive universes and interesting concepts, bolstered by graphic design. Famously left to the devices of the Wachowski siblings who put the pieces together (in distant Australia), the film was a landmark endorsement of the creator, confirming the action-packed auteur theory that offered a gateway to the superheroes who've taken over that ideaspace (for better or worse).
Let's just hope things end better for Batman.
Monday, June 29, 2009
Hero of the Week #5: Green Lantern
GREEN LANTERN (DC) Real Name: Hal Jordan
First Appearance: Showcase #22 (October, 1959)
Group Affiliation: Green Lantern Corps, Justice League
Gaming Credentials: Justice League Heroes (2006); Mortal Kombat versus DC Universe (2008); DC Universe Online (TBA)
Infinite Wars Cumulative Ranking: #28
Theoretically, each H.O.T.W should be inspired by something happening concurrently within the superhero consciousness. So far that's included video games, starring films, and comic book events, and this week isn't really any different, aside from the fact that this topic has been of relevance for two years!Like previous entrant, the Flash; Green Lantern underwent a "rebirth" that brought the character back not only from death (as the human host of The Spectre), but also from disgrace.
It was during the mid-nineties that Hal Jordan was seduced by a revenge that was not entirely his own, eventually revealed to be the opportunity upon which an ancient entity of fear was able to launch his revenge. For centuries Parallax had been contained in bondage within the central battery from which all Green Lanterns derive their power, known to them only as "the yellow impurity."
Parallax is not the only avatar to be born of the emotional spectrum. The Guardians created the Green Lantern rings from the power of will, while other energies tapped to various extents include; blue (hope), indigo (compassion), violet (love), yellow (fear), orange (avarice), and red (rage). Each unique facet has the power to imbue an individual with the power granted by their corresponding emotion.
Over the past two years, ring baring Corps have formed around all of these other spectrums of light under the guidance of prolific writer, Geoff Johns. Working from a vague blueprint prophesized in stories written by comics legend Alan Moore, he has steered the Green Lantern franchise to unlikely success based upon this simple premise of adapting the light spectrum to mean as much as it has to the original Silver Age Green Lantern(s).
From these stories, a War of Light has broken out amongst the conflicting factions. It began with the "Sinestro Corps War" that pitted the yellow power of fear against the green, but has spiralled out of control as leaders from each colour have been created or uncovered. Their struggle is the ultimate distraction as the greatest threat to the universe quietly stirs beneath their very feet. A Black Lantern Corps is about to rise, spreading chaos across the universe as the dead rise!
Blackest Night has been building for two years and will officially begin in July!
Though oblivious like all others to the creation of this army of the dead, Hal Jordan has clearly emerged as the hero who will lead the fight against the Blackest Night. Over the past year he has briefly possessed rings of Green, Blue, Red, Yellow, and Orange -- a truly unique feat that alludes to a white light that might just combat the overwhelming darkness!
The recent popularity of Green Lantern in comics has seen the iconic Silver Age icon return to prominence briefly taken up by GL replacement and cartoon Lantern, John Stewart.
Jordan has been representing the heroes front and centre in promotion for the immersive online MMO, DC Universe Online, which promises players the opportunity to fly alongside he and other members of the Green Lantern Corps, including Stewart. DCU Online follows the first substantial appearance of Hal Jordan in a video game as one of the playable DC heroes in the modest eleven character roster in, Mortal Kombat vs DC Universe!
Green Lantern and Blackest Night issues are appearing monthly starting with July 1st!
You'll find all the necessary information to keep up and select series of interest on the IGN website, the DCU Source Blog, DC comics.com, and of course, most prominent comics sites (ie; Newsarama).
The event promises to bring back some heavy hitting heroes and villains who've died over the past few years, including prominent Black Lantern versions of Martian Manhunter, Aquaman, and Superman from a doomed parallel Earth! Whoooo! Super-Zombies! [For speculation, perspective, and spoilers, check out the Infinite Wars: Blackest Night post!]
Secret Wars on Infinite Earths: The Comic Book Fight Club is updated with varying consistency, promising a feature fight for every Friday on the calendar (even if sometimes they're late). The site acts as an information resource, discussion site, review blog, and a cosmic good time.
Original Post: http://www.1up.com/do/blogEntry?bId=8996716
Monday, June 15, 2009
Hero of the Week #3: Flash
FLASH (DC) Real Name: Barry Allen
First Appearance: Showcase #4 (October, 1956)
Group Affiliation: Justice League, Flash Family
Gaming Credentials: The Flash (1991); The Flash (1993); Mortal Kombat versus DC Universe (2008); DC Universe Online (TBA)
Infinite Wars Cumulative Ranking: #21
In the pantheon of DC superheroes there are a select few characters vying for the degree of signifance and popularity granted to the easily recounted trinity of Batman, Superman, and Wonder Woman. On the cusp of this headlining echelon has traditionally been the key secondary cast that round out the Justice League of America; Green Lantern, Aquaman, Martian Manhunter, and of course, the Flash.
As one of the defining characters from the transitional period of the Silver Age of comic books; the Barry Allen incarnation of the Flash has become one of the most storied legends in and out of the fiction, standing as a definitive example of the generational legacy DC have been able to craft. For most gamers reading the site, Wally West will be the more familiar Flash, having succeeded his uncle [Barry] after his famous moment of self-sacrifice in DC's now classic multiverse epic, Crisis on Infinite Earths.
More than twenty years after the character's death, Barry Allen officially came racing back into the land of the living in the pages of 2008's Final Crisis #2 .His timely return would play a key role in defeating the series villain - Darkseid - whose spread of the Anti-Life Equation enslaved humanity indescriminately and reduced the world to only small pockets of resistance.
Together with his counterparts; Jay Garrick and Wally West; the resurrected Flash led death itself to Darkseid's door. It is the cost of this act, and the mysterious circumstances of his return, that have spun-off into his affectionate return to the DCU, Flash: Rebirth.
Hot off the heels of Allen's transformation into the dreaded Black Flash (death to speedsters) and his reassimilation into the Speed Force [in last week's third issue]; it's the on-going adventures of Rebirth that are the reason Barry Allen is this week's H.O.T.W!
Considering his heyday came to an end in the mid-eighties, it's perhaps somewhat surprising that the Barry Allen Flash made his way into as many video games as he has. The 1991 Game Boy issue, and bizarre and enjoyable 1993 Sega Master System release, were both spawned by the ill-fated 1990 television series, starring TV's John Wesley Shipp (Dawson's Creek).
The unlikely crossover between the bloodlusting martial artists of Mortal Kombat, and the heroes of the DC Universe, brought with it the first modern appearance of Barry Allen in a game. Surprising, given that the official release of the game came mere months after the "shock" return of the character in Final Crisis. Here, the Flash earned infamy for his easily spammed attacks, and bastardized manifestation of one of comics' most revered costumes. (Seriously, did we really need more lightning bolts?...)
Gamers, similar to fans of the cartoons, are likely more familiar with the Wally West version of the character. The comics savvy among you, however, will know just how vital the legacy of Barry Allen has always been to the contemporary Flash and the winding mythos of the character. His return has been part of an initiative by DC to allegedly reinstate the most iconic incarnations of their heroes, and in that respect, you can almost certainly count on running across Allen in the upcoming MMO extravaganza, DC Universe Online.
Secret Wars on Infinite Earths: The Comic Book Fight Club is updated with varying consistency, promising a feature fight for every Friday on the calendar (even if sometimes they're late). The site acts as an information resource, discussion site, review blog, and general good time. Be sure to check it out!
Original Post: http://www.1up.com/do/blogEntry?bId=8994847
Monday, June 08, 2009
Hero of the Week #2: Batman
BATMAN (DC) Real Name: Dick Grayson
First Appearance: Detective Comics #38 (April, 1940)
Group Affiliation: Bat-Family, The Titans
Gaming Credentials: Adventures of Batman & Robin (1994); Batman Forever (1995); Batman & Robin (1998); Batman: Rise of Sin Tzu (2003); Lego Batman (2008); DC Universe Online (TBA)
Infinite Wars Cumulative Ranking: #29
Not a dream! Not a hoax! Not a misprint! Not an imaginary story!
Up until now you were probably comfortable in the fact that Batman is Bruce Wayne, but all of that changed last week when Dick Grayson made his first official outing as the Dark Knight in the pages of Batman & Robin #1!
Long story cut short: when Darkseid and the evil New Gods fell from the Fourth World, they walked the Earth as men, bringing a new reign of destruction upon an unsuspecting humanity! During the Final Crisis, evil won, and all but a pocket of resistance was enslaved to the Anti-Life Equation spread by Darkseid and his army of Purifiers.
While Mr. Terrific, Supergirl, Lex Luthor, and others turned the tables in the field; Batman escaped the shackles that bound him in the early goings, to come face-to-face with Darkseid himself! With life on Earth hanging in the balance, Batman broke the stalemate of their stand-off, willingly sacrificing himself before a blast from Darkseid's Omega Sanction eyebeam in order to fire one shot from a timegun containing a Radion bullet! The wound would end Darkseid's evil and save humanity, but for Batman, life and death have become one and the same!
The truth behind Bruce Wayne's circumstances remain unknown to both the reader, and the heroes he fought for.
When Superman returned from adventures through time and space, he reigned down upon Darkseid and the villains with a fury, emerging with what appeared to Bruce Wayne's corpse. Is this merely the vestigal shell of a man whose consciousness and soul have been thrust through time and space [a fate much the same as that which once befell Crisis hero, Sonny Sumo], or is Batman truly dead? For Dick Grayson, Alfred Pennyworth, Tim Drake, and the other members of the extended Bat-family, the facts were simple -- their mentor and ally was gone with no signs of coming back.
Despite a will and testament that compelled Grayson to leave the Bat-mantle in the grave with Wayne, Gotham City makes a compelling argument for the necessity of a Batman. When chaos gripped the city already known for it's madness, the former-Robin was forced to accept that it was always he that was groomed to be the heir to the Batman. After fending off unwanted attempts by the black sheep of the family [Jason Todd] to claim the mantle, Dick was finally able to end the brief battle for the cowl, to finally don the cape and mantle as a new Batman.As with much of the DC Universe; Dick Grayson is slated to appear in the aptly titled MMO, DC Universe Online. Chances are you shouldn't expect the changes to carry over, however. Dick Grayson has already been announced to appear alongside the Dark Knight Detective in his better known contemporary guise of Nightwing.
The change might not be permenant enough to warrant confusing the issue in licensed media, but Dick Grayson's stepping out as Batman is more than enough to make him Hero of the Week!
Secret Wars on Infinite Earths: The Comic Book Fight Club is updated with varying consistency, promising a feature fight for every Friday on the calendar (even if sometimes they're late). The site acts as an information resource, discussion site, review blog, and general good time. Be sure to check it out!
<< Hero of the Week 06/15: Flash [Home] Hero of the Week 06/01: Wolverine >>
Original Post: http://www.1up.com/do/blogEntry?bId=8993943
Tuesday, April 28, 2009
AdVantage Point: Catwoman (2004)
Give an idiot a scanner and a comic book, and let him to pick out all the advertisements for video games.
This is AdVantage Point -- a chance to document the winding timeline of comics/gaming history as it was canonized by the adverts. Musings, rantings, observations, advertisements.
This is AdVantage Point -- a chance to document the winding timeline of comics/gaming history as it was canonized by the adverts. Musings, rantings, observations, advertisements.
From games crossing over in to comics [ie; Mirror's Edge], we move to the other side of the corporate licensing relationship - the tie-in game. The upcoming Wolverine release (in conjunction with X-Men Origins: Wolverine) has prompted a whole lot of huffing and puffing about games licensed from film releases.
For one reason or another, industries with large groups of fans seem to be particularly good at spreading ill conceived rumours. In the case of license derivative games vs series native to the medium, there's certainly a compelling argument to say the former doesn't produce as exciting results as the latter. Does that result make a rule of thumb? Of course not.
Catwoman kinda represents the bottom of the conceptual barrel.
Consider it irony that I'm using this particular advert in a discussion that's intended to be confrontingly positive. In fact, I might even admit that it requires some level of naivety to rebuke popular theories such as this one. The evidence for cross-promotional franchise games resulting in anything but a steaming ball of infamy, is pretty overwhelming. Particularly if one stretches oneself to consider the endless glut of games not readily available in a favourable lexicon. Games dwelling deep within the bowels of retail, residing at the bottoms of bargain store bins, and post offices.
"Catwoman", as a film first, represents the extreme negatives of borrowed source materials.
Brand association ultimately undermines much of the project as it deviates wildly from a character who, at the time, sustained one of the most acclaimed on-going superhero series on shelves.
This was a character who should have represented great strength and intrigue, but instead, devolved into silliness as nauseating camera whips gave way to a macrocosmic expansion of an utterly underwhelming tale of insincere empowerment through corporate neo-fascist perfume hazed crud. Far from anything Darwyn Cooke, Ed Brubaker, or Cameron Stewart energized.
Such deviations should hold importance to the gaming industry, which, through it's large fanbase, has in many ways forgotten it's value as a story-driven medium. The attraction for a gamer like me will always be the same sorts of things that attract me to comics and films. The three mediums all share much in common, despite any resistances expressed by the uninspired masses who will at times proclaim one product transcends the prospects of adaptation in other fields [a fact thankfully and publicly refuted by the Watchmen film, despite it's problems].
A great strength film or comics properties should immediately bring with them is a rich tapestry of characters, locations, and plot points. They are the ultimate antithesis of the generic grey gloom that hangs over gaming's popular genres today, possessing decades of experience and characterization, which should ooze from every polygonal pixelated orifice.
With such a thorough conceptual foundation, superheroes in particular lend themselves to a video game setting. From the earliest traditions of hero-based gaming, there has been a brotherly love between the mediums of gaming and superhero comics. Be it the ability to jump, punch, or fly through strange environments, it's all always been superheroes. That relationship was very literally solidified in the very early days of this young medium called "video games."
While AdVantage Point hasn't deviated so far back, commercial advertising of games in comics began a long time ago, in issues far far away. The 1980s saw ideas sent both ways, advertising in comics, and games like early Spider-man adventures, on home computers.
Unfortunately, it's this maturity and experience that appears to be lacking in Wolverine.
Unlike Catwoman, this conversion of character doesn't appear to suffer from the same wild deviations. Instead, much like the recent Chun-Li film, the issue here is of under representation, rather than "mis-."
Instead of taking full control of the vast forty-year history surrounding the X-Men universe, and the thirty years of Wolverine; this game dwells on more contemporary conventional concerns. Game mechanics lending themselves to the bloodthirsty nature of the character have overwhelmed a property that should have done exactly that, with the motivation of vivid visuals and a sense of informed knowing.
As the gaming industry matures as a business, we see the increasing dominance of sequels and serialized series. As this seeming inevitability continues, the wisdom of a seventy-year old medium like comics becomes increasingly relevant. While gaming dwells on the distractions of improving technologies, the obselence of this obsession draws ever nearer, evident not only in the peaking technologies of consoles like Xbox and Playstation, but also the redundancy delivered by the public's resounding approval of Nintendo's Wii, which is graphically far inferior.
Looking to a lasting model of gaming, the power of the sequential adventure, and the serialized experience gamers can have alongside powerful characters, becomes the obvious way forward for companies intent on controlling their properties. Even in the futuristic event of an industry-wide adoption of MMO strategies, the user-generated experience has the potential to lull into the grinding formula that detaches many mainstream gamers (such as myself) from games like World of Warcraft. Instead, it's the serialized contributions, such as events contrived in Matrix Online, that propose a far more intriguing benefit. A benefit that boils gaming back down to it's traditional elements of the possibility to interact with fantastical scenarios, characters, and universes.
I'm dismayed by the current trend, particularly amongst younger gamers, to desire the omission of plot.
Even if that desire is a slight misconception.
As X-Men Origins: Wolverine passes us by, we now look forward on the comics tie-in calendar, toward Batman: Arkham Asylum, which promises a script by popular comics/TV writer, Paul Dini.
Sharing it's name with the acclaimed Grant Morrison "graphic novel," and starring a character whose greatest exploits have easily rivalled the much-praised Watchmen, this should be not only the ultimate outing for the Dark Knight Detective in games, but also a bold step forward in representing not only strong foundations in gameplay, but also conceptual adaptation and storytelling.
To the Catwoman ad featured -- it's actually not bad.
Far exceeding anything in the film, the commercial suffers the same obscenities of that costume and Halle Berry's most ferret-faced moment, but -- the black on white poses a graphic statement I myself am quite fond of. Not only that, but the game also offers something resembling in-game screenshots - always appreciated.
From this dark public moment in licensing history, we've derived a generally positive statement.
Sure, it's easy to sit and make snide remarks about the atrocities of film, comics, and gaming, but I've tried to avoid that today in an effort to refute the canonized theory that these games must be bad. Any game, comic, or film is just as capable of being a masterpiece as any other. There may be tools available to each that set the mediums apart, but anything one can do, the other can do just as well.
I'd like to think one day, when this is popularized, we won't have to deal with the underwhelming prospects of adaptations and licensed products that fail to invest in what made them viable properties to begin with. Unfortunately, both sides of the corporate system will need changes of minds to make that happen.
Fingers crossed for the future!
For one reason or another, industries with large groups of fans seem to be particularly good at spreading ill conceived rumours. In the case of license derivative games vs series native to the medium, there's certainly a compelling argument to say the former doesn't produce as exciting results as the latter. Does that result make a rule of thumb? Of course not.
Catwoman kinda represents the bottom of the conceptual barrel.
Consider it irony that I'm using this particular advert in a discussion that's intended to be confrontingly positive. In fact, I might even admit that it requires some level of naivety to rebuke popular theories such as this one. The evidence for cross-promotional franchise games resulting in anything but a steaming ball of infamy, is pretty overwhelming. Particularly if one stretches oneself to consider the endless glut of games not readily available in a favourable lexicon. Games dwelling deep within the bowels of retail, residing at the bottoms of bargain store bins, and post offices.
"Catwoman", as a film first, represents the extreme negatives of borrowed source materials.Brand association ultimately undermines much of the project as it deviates wildly from a character who, at the time, sustained one of the most acclaimed on-going superhero series on shelves.
This was a character who should have represented great strength and intrigue, but instead, devolved into silliness as nauseating camera whips gave way to a macrocosmic expansion of an utterly underwhelming tale of insincere empowerment through corporate neo-fascist perfume hazed crud. Far from anything Darwyn Cooke, Ed Brubaker, or Cameron Stewart energized.
Such deviations should hold importance to the gaming industry, which, through it's large fanbase, has in many ways forgotten it's value as a story-driven medium. The attraction for a gamer like me will always be the same sorts of things that attract me to comics and films. The three mediums all share much in common, despite any resistances expressed by the uninspired masses who will at times proclaim one product transcends the prospects of adaptation in other fields [a fact thankfully and publicly refuted by the Watchmen film, despite it's problems].
A great strength film or comics properties should immediately bring with them is a rich tapestry of characters, locations, and plot points. They are the ultimate antithesis of the generic grey gloom that hangs over gaming's popular genres today, possessing decades of experience and characterization, which should ooze from every polygonal pixelated orifice.
With such a thorough conceptual foundation, superheroes in particular lend themselves to a video game setting. From the earliest traditions of hero-based gaming, there has been a brotherly love between the mediums of gaming and superhero comics. Be it the ability to jump, punch, or fly through strange environments, it's all always been superheroes. That relationship was very literally solidified in the very early days of this young medium called "video games."
While AdVantage Point hasn't deviated so far back, commercial advertising of games in comics began a long time ago, in issues far far away. The 1980s saw ideas sent both ways, advertising in comics, and games like early Spider-man adventures, on home computers.
Unfortunately, it's this maturity and experience that appears to be lacking in Wolverine.
Unlike Catwoman, this conversion of character doesn't appear to suffer from the same wild deviations. Instead, much like the recent Chun-Li film, the issue here is of under representation, rather than "mis-."
Instead of taking full control of the vast forty-year history surrounding the X-Men universe, and the thirty years of Wolverine; this game dwells on more contemporary conventional concerns. Game mechanics lending themselves to the bloodthirsty nature of the character have overwhelmed a property that should have done exactly that, with the motivation of vivid visuals and a sense of informed knowing.
As the gaming industry matures as a business, we see the increasing dominance of sequels and serialized series. As this seeming inevitability continues, the wisdom of a seventy-year old medium like comics becomes increasingly relevant. While gaming dwells on the distractions of improving technologies, the obselence of this obsession draws ever nearer, evident not only in the peaking technologies of consoles like Xbox and Playstation, but also the redundancy delivered by the public's resounding approval of Nintendo's Wii, which is graphically far inferior.
Looking to a lasting model of gaming, the power of the sequential adventure, and the serialized experience gamers can have alongside powerful characters, becomes the obvious way forward for companies intent on controlling their properties. Even in the futuristic event of an industry-wide adoption of MMO strategies, the user-generated experience has the potential to lull into the grinding formula that detaches many mainstream gamers (such as myself) from games like World of Warcraft. Instead, it's the serialized contributions, such as events contrived in Matrix Online, that propose a far more intriguing benefit. A benefit that boils gaming back down to it's traditional elements of the possibility to interact with fantastical scenarios, characters, and universes.
I'm dismayed by the current trend, particularly amongst younger gamers, to desire the omission of plot.
Even if that desire is a slight misconception.
As X-Men Origins: Wolverine passes us by, we now look forward on the comics tie-in calendar, toward Batman: Arkham Asylum, which promises a script by popular comics/TV writer, Paul Dini.
Sharing it's name with the acclaimed Grant Morrison "graphic novel," and starring a character whose greatest exploits have easily rivalled the much-praised Watchmen, this should be not only the ultimate outing for the Dark Knight Detective in games, but also a bold step forward in representing not only strong foundations in gameplay, but also conceptual adaptation and storytelling.
To the Catwoman ad featured -- it's actually not bad.
Far exceeding anything in the film, the commercial suffers the same obscenities of that costume and Halle Berry's most ferret-faced moment, but -- the black on white poses a graphic statement I myself am quite fond of. Not only that, but the game also offers something resembling in-game screenshots - always appreciated.
From this dark public moment in licensing history, we've derived a generally positive statement.
Sure, it's easy to sit and make snide remarks about the atrocities of film, comics, and gaming, but I've tried to avoid that today in an effort to refute the canonized theory that these games must be bad. Any game, comic, or film is just as capable of being a masterpiece as any other. There may be tools available to each that set the mediums apart, but anything one can do, the other can do just as well.
I'd like to think one day, when this is popularized, we won't have to deal with the underwhelming prospects of adaptations and licensed products that fail to invest in what made them viable properties to begin with. Unfortunately, both sides of the corporate system will need changes of minds to make that happen.
Fingers crossed for the future!
Original Post: http://www.1up.com/do/blogEntry?bId=8987039
Saturday, September 29, 2007
Infinite Wars: Superman vs Preus
SUPERMAN versus PREUSOld Man, New World (DC comics)
Where: Action Comics #824 When: April 2005
Why: JD Finn How: Ivan Reis
The story so far...
Suffering the stress of a clash with Gog and a synthetic yellow form of Kryptonite, and the lurking threat of Doomsday; an aged Superman struggles against the xenophobic charge of Kandor's General Preus.
Having captured both the inquisitive Jimmy Olsen and the Justice League's Martian Manhunter, Preus uses Olsen's signal watch to lure Superman to his desert base where he commands an army of zealous white-supremicists.
Facing overwhelming physical odds, Superman will courageously do combat with his disillusioned Kandorian counterpart, but at the end of the battle, Preus' greatest weapon may prove to be humanity's own capacity for self-destruction.
Full Article: http://secretearths.blogspot.com/2007/09/superman-versus-preus-old-man-new-world.html
Friday, September 28, 2007
Infinite Wars: Batman vs Catwoman
BATMAN versus CATWOMANDate Knight (DC comics)
Where: Solo #1 When: December 2004
Why: Darwyn Cooke How: Tim Sale
The story so far...
A string of clues lead the Dark Knight Detective to a Gotham City museum exibit, where someone has broken in; neutralized the nightguard; disabled security systems; and breached the defenses of an expensive cat artifact. So why is the statue still in it's case?
It seems Catwoman wants to play, and the perfect way to get the attentions of her Bat-themed lover is a midnight burglary, complete with scented clues to lead him to their rendezvous.
The sassy Selina Kyle leads the Batman on a pursuit across the Gotham skyline, in a date night only she could provide. Will the Dark Knight pursue criminal justice, or when the cheque arrives, will he do the gentlemanly thing? Mmmreow, stay tuned to find out!
Full Article: http://secretearths.blogspot.com/2007/09/batman-versus-catwoman-date-knight-dc.html
Thursday, September 27, 2007
Infinite Wars: Saviour vs Superman
SAVIOUR versus SUPERMANScarlet Salvation (DC comics)
Where: Action Comics #713 When: September 1995
Why: David Michelinie How: Kieron Dwyer & Denis Rodier
The story so far...
Three years prior, the world watched in horror as the alien creature Doomsday fought Superman to a stand-still, the two dying in the street by each other's hands.
Having returned after the destruction of Coast City, Superman returns to resume his battle for truth, justice and the American way -- but not everyone is convinced!
After a sinister plot orchestrated by the Kryptonian cybernetic fiend, Braniac; a doubt is cast in the minds of all when an illusion is cast to reveal Superman still dead in his coffin. Though the truth was eventually revealed, deranged serial killer, Ramsey Murdoch, remains unconvinced. Believing himself to be a self-proclaimed saviour, Murdoch prepares himself to destroy the one who poses as Superman.
Full Article: http://secretearths.blogspot.com/2007/09/saviour-versus-superman-scarlet.html
Saturday, September 22, 2007
Infinite Wars: Batman Double Feature
QUICK FIX DOUBLE FEATURE: Under the Influence/Ones We Love
ROBIN versus BATMAN
As the Crow Flies Part Four: Shotgun (DC)
Where: Batman #629 When: August 2004
Why: Judd Winick How: Dustin Nguyen
Quick Fix...
So, Galactus and I might not have a lot in common, but there is one indisputable commonality: We're both sticklers for rules, especially our own.
Which brings us to now. Up against the wire, I feel an obligation to turn in a Street Fighter post for Sunday, a Marvel Ultimate Alliance post for Monday, and, well, okay, that's really about all... But still, here we are, as the clock ticks over to Sunday (here in the future), and I'm starting a post for Saturday! Egads, what sinister plot could provoke such madness?!
A couple of days ago The Fortress Keeper had some interesting things to say about the state of Batman, with a particular slant towards an evolution away from the grim and gritty mania that has gripped the character for the best part of three decades. I, of course, subscribe to that classic take within reason, actually fairly disinterested in progress being made by Grant Morrison to return the hairy chested love-god to his globe trotting throne; but I digress...
Inevitably one travels from Batman's world and state of mind, to the relationships important to his life.
Full Article: http://secretearths.blogspot.com/2007/09/quick-fix-double-feature-under.html
ROBIN versus BATMANAs the Crow Flies Part Four: Shotgun (DC)
Where: Batman #629 When: August 2004
Why: Judd Winick How: Dustin Nguyen
Quick Fix...
So, Galactus and I might not have a lot in common, but there is one indisputable commonality: We're both sticklers for rules, especially our own.
Which brings us to now. Up against the wire, I feel an obligation to turn in a Street Fighter post for Sunday, a Marvel Ultimate Alliance post for Monday, and, well, okay, that's really about all... But still, here we are, as the clock ticks over to Sunday (here in the future), and I'm starting a post for Saturday! Egads, what sinister plot could provoke such madness?!
A couple of days ago The Fortress Keeper had some interesting things to say about the state of Batman, with a particular slant towards an evolution away from the grim and gritty mania that has gripped the character for the best part of three decades. I, of course, subscribe to that classic take within reason, actually fairly disinterested in progress being made by Grant Morrison to return the hairy chested love-god to his globe trotting throne; but I digress...
Inevitably one travels from Batman's world and state of mind, to the relationships important to his life.
Full Article: http://secretearths.blogspot.com/2007/09/quick-fix-double-feature-under.html
Friday, September 21, 2007
Infinite Wars: Despero vs Justice League
DESPERO versus MARTIAN MANHUNTER/AQUAMANCrisis of Conscience: Part Four (DC comics)
Where: JLA #118 When: Early November 2005
Why: Geoff Johns & Allan Heinberg How: Chris Batista
The story so far...
With their dirty little secrets exposed, the Justice League is imploding into itself in a maelstrom of disapproval and mistrust. The revelations over Zatanna's mind-wiping practises regain their relevance when members of the Secret Society of Super-villains discover the true identities of the heroes.
Unknown to the league, the foe responsible for awakening the minds of the Society, Despero, is hurtling toward Earth in pursuit of a helpless Martian Manhunter. Unable to locate the league, the Manhunter plummets Earthbound with one member in mind -- Aquaman!
Will J'onn J'onnz find the assistance he needs, or has the inner turmoil of their actions exposed a weakness in the League, and allowed Despero the opportunity to finally seek a final revenge on those he has called enemy?
Full Article: http://secretearths.blogspot.com/2007/09/despero-versus-martian-manhunteraquaman.html
Thursday, September 20, 2007
Infinite Wars: Hawkman/Black Adam JSA Double
QUICK FIX DOUBLE FEATURE: Harsh Vintage Justice
HAWKMAN versus MATTER MASTER
Black Reign: Part Two (DC)
Where: Hawkman #23 When: Early March 2004
Why: Geoff Johns How: Rags Morales
Quick Fix...
Lately we've been talking a bit about harsh justice, and it's application to the superhero world, and this entry gives us the opportunity to take a look at that theory in practise.
It's a particularly interesting topic, given all the different angles. Generally speaking, the sacred cows [like Wonder Woman] are protected from the moral ambiguity of lethal justice, yet, oft times it's these vintage characters that are more likely to be identified with harsh enforcement reflective of the war-torn times they were created in.
The debate rages on between the two schools of thought. For many the definition of a superhero is to be above the moral ambiguity average humans, soldiers, or heroes are regularly faced with. It means not being forced to pull the trigger to save innocent lives, instead using the fantastic to end danger.
We recently discussed a similar argument of whether or not Captain America ever used lethal force during his times in the frontline of the Second World War [Captain America #405].
The morally ambiguous hero got a bit of a tarnished reputation, passing through the eighties and nineties with the baggage of excess, and poor interpretation. The posterboy becomes characters like The Punisher, who more overtly straddle the line of what's right and wrong with a stonecold attitude toward life and death. For the most part these characters do good, eliminating the evils that evade justice by conventional law, but there is always that underlying negative of what we know in reality of the vigilante.
Full Article: http://secretearths.blogspot.com/2007/09/quick-fix-double-feature-harsh-vintage.html
HAWKMAN versus MATTER MASTERBlack Reign: Part Two (DC)
Where: Hawkman #23 When: Early March 2004
Why: Geoff Johns How: Rags Morales
Quick Fix...
Lately we've been talking a bit about harsh justice, and it's application to the superhero world, and this entry gives us the opportunity to take a look at that theory in practise.
It's a particularly interesting topic, given all the different angles. Generally speaking, the sacred cows [like Wonder Woman] are protected from the moral ambiguity of lethal justice, yet, oft times it's these vintage characters that are more likely to be identified with harsh enforcement reflective of the war-torn times they were created in.
The debate rages on between the two schools of thought. For many the definition of a superhero is to be above the moral ambiguity average humans, soldiers, or heroes are regularly faced with. It means not being forced to pull the trigger to save innocent lives, instead using the fantastic to end danger.
We recently discussed a similar argument of whether or not Captain America ever used lethal force during his times in the frontline of the Second World War [Captain America #405].
The morally ambiguous hero got a bit of a tarnished reputation, passing through the eighties and nineties with the baggage of excess, and poor interpretation. The posterboy becomes characters like The Punisher, who more overtly straddle the line of what's right and wrong with a stonecold attitude toward life and death. For the most part these characters do good, eliminating the evils that evade justice by conventional law, but there is always that underlying negative of what we know in reality of the vigilante.
Full Article: http://secretearths.blogspot.com/2007/09/quick-fix-double-feature-harsh-vintage.html
Thursday, September 13, 2007
Infinite Wars: Catwoman Double
QUICK FIX DOUBLE FEATURE: Out of the Bag
HAMMER versus CAPTAIN COLD
The One You Love Conclusion (DC)
Where: Catwoman #49 When: January 2006
Why: Will Pfeifer How: Pete Woods
Quick Fix...
So, we dared to touch upon the nasty subject of Amazons Attack [Wander Woman], a series that has done absolutely nothing for the otherwise rising star of writer, Will Pfeifer.
In light of that, I thought it was probably worth zooming in to check out some of Pfeifer's much better work, namely picking up the slack on Catwoman after fan favourite writers Darwyn Cooke and Ed Brubaker left the title reinvigorated. Tag neglecters might also like to backtrack to the only other entry from Pfeifer's catalogue, the first issue of Captain Atom: Armageddon, reviewed earlier in the year.
But back to Catwoman. For those not terribly interested in the character or the title, it's probably hard to appreciate the situation Pfeifer was put in. The pressure almost certainly didn't come from the company, as this was among several maneuvers that really positioned Pfeifer as one of the up-and-comers at DC, but for fans and an industry, this was potentially a recipe for disaster!
Full Article: http://secretearths.blogspot.com/2007/09/quick-fix-double-feature-out-of-bag.html
HAMMER versus CAPTAIN COLDThe One You Love Conclusion (DC)
Where: Catwoman #49 When: January 2006
Why: Will Pfeifer How: Pete Woods
Quick Fix...
So, we dared to touch upon the nasty subject of Amazons Attack [Wander Woman], a series that has done absolutely nothing for the otherwise rising star of writer, Will Pfeifer.
In light of that, I thought it was probably worth zooming in to check out some of Pfeifer's much better work, namely picking up the slack on Catwoman after fan favourite writers Darwyn Cooke and Ed Brubaker left the title reinvigorated. Tag neglecters might also like to backtrack to the only other entry from Pfeifer's catalogue, the first issue of Captain Atom: Armageddon, reviewed earlier in the year.
But back to Catwoman. For those not terribly interested in the character or the title, it's probably hard to appreciate the situation Pfeifer was put in. The pressure almost certainly didn't come from the company, as this was among several maneuvers that really positioned Pfeifer as one of the up-and-comers at DC, but for fans and an industry, this was potentially a recipe for disaster!
Full Article: http://secretearths.blogspot.com/2007/09/quick-fix-double-feature-out-of-bag.html
Wednesday, September 12, 2007
Infinite Wars: Wonder Woman Double
QUICK FIX DOUBLE FEATURE: Wander Woman
MONGUL versus JUSTICE LEAGUE
Infinite Crisis (DC)
Where: Infinite Crisis #1 When: December 2005
Why: Geoff Johns How: Phil Jiminez
Quick Fix...
Okay, so the lazy schedule has helped me quickly correct, but if I'm to impress the various important establishments like the BBC, and various other publishers of print and media hitting up this humble blog, I've got to hit the hard issues before they go stale.
If the feminist blogging community has been anything to go by lately, I actually probably have until about 2025 to catch this one, so maybe I'm getting in early. Alas; I'll endeavour to kill the joke no more, and get straight to the topic at hand -- Amazons Attack!
Haven't they just?
Full Article: http://secretearths.blogspot.com/2007/09/quick-fix-double-feature-wander-woman.html
MONGUL versus JUSTICE LEAGUEInfinite Crisis (DC)
Where: Infinite Crisis #1 When: December 2005
Why: Geoff Johns How: Phil Jiminez
Quick Fix...
Okay, so the lazy schedule has helped me quickly correct, but if I'm to impress the various important establishments like the BBC, and various other publishers of print and media hitting up this humble blog, I've got to hit the hard issues before they go stale.
If the feminist blogging community has been anything to go by lately, I actually probably have until about 2025 to catch this one, so maybe I'm getting in early. Alas; I'll endeavour to kill the joke no more, and get straight to the topic at hand -- Amazons Attack!
Haven't they just?
Full Article: http://secretearths.blogspot.com/2007/09/quick-fix-double-feature-wander-woman.html
Sunday, September 02, 2007
Infinite Wars: Dark Claw/Flash Double Feature
QUICK FIX DOUBLE FEATURE: Longshots
DARK CLAW versus RA'S-A-POCALYPSE
Face To Face (Amalgam)
Where: Dark Claw Adventures #1 When: June 1997
Why: Ty Templeton How: Ty Templeton & Rick Burchett
Quick Fix...
I mentioned in the Punch-Up that there was a Ra's Al Ghul related entry I was originally interested in, and I also mentioned a little Two-In-One action coming. Hopefully you've been able to surmise that this entry answers both of those references.
I found myself flicking through this particular issue because, tangentially stemming from all the Al Ghul talk, I started thinking about Ra's-A-Pocalypse; the composite character that borrows elements from Marvel's Apocalypse character, and marries them with the DC character [hence Amalgam].
The resulting character is, though hardly elaborated on, a delicious little conceptual of a Darwinism-extremist. In this case there are trace elements of themes specifically explored in episodes of the Batman animated series, which provides half of the inspiration for this issue's adventure format.
Full Article: http://secretearths.blogspot.com/2007/09/quick-fix-double-feature-longshots-dark.html
DARK CLAW versus RA'S-A-POCALYPSEFace To Face (Amalgam)
Where: Dark Claw Adventures #1 When: June 1997
Why: Ty Templeton How: Ty Templeton & Rick Burchett
Quick Fix...
I mentioned in the Punch-Up that there was a Ra's Al Ghul related entry I was originally interested in, and I also mentioned a little Two-In-One action coming. Hopefully you've been able to surmise that this entry answers both of those references.
I found myself flicking through this particular issue because, tangentially stemming from all the Al Ghul talk, I started thinking about Ra's-A-Pocalypse; the composite character that borrows elements from Marvel's Apocalypse character, and marries them with the DC character [hence Amalgam].
The resulting character is, though hardly elaborated on, a delicious little conceptual of a Darwinism-extremist. In this case there are trace elements of themes specifically explored in episodes of the Batman animated series, which provides half of the inspiration for this issue's adventure format.
Full Article: http://secretearths.blogspot.com/2007/09/quick-fix-double-feature-longshots-dark.html
Friday, August 31, 2007
Infinite Wars: Deadshot vs Manticore
DEADSHOT versus MANTICORETrial By Fire (DC comics)
Where: Suicide Squad #2 When: June 1987
Why: John Ostrander How: Luke McDonnell
The story so far...
They're a group of despicable, ruthless, back-stabbing criminals -- and they're going to save the world in ways the heroes wouldn't touch. Or at least, that's the plan, when this ragtag group are sent into situations best described as: suicidal.
Headed up by Amanda Waller; the team are sent into the field for their first mission to infiltrate the headquarters of the terrorist group aptly named The Jihad, and use the intelligence gathered to systematically take them apart -- by any means.
The only problem with this team is that they're expendable, untrustworthy, and all too aware of their situation. Heading into Northern Qurac, there's a traitor in their midst, and they'll gladly sell the team out if it means surviving!
Full Article: http://secretearths.blogspot.com/2007/08/deadshot-versus-manticore-trial-by-fire.html
Subscribe to:
Posts (Atom)