James is Reading “Batman #37”

Following up on the post from a couple weeks ago, my friend James wrote up a discussion of Batman #37 by Tom King and Clay Mann.  It is delightful.

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Masks, costumes, and hidden identities have a long tradition in humanity’s art. They let performers on stage and page become someone else. They let the audience engage in figuring out who a masked person might be, or heighten dramatic tensions when they know about identities but certain characters do not. There’s just something about it that we all understand at an intuitive level. I think our collective cultural baggage surrounding masks and costumes and hidden identities is one reason superheroes are such an enduring presence in pop culture. Something about the tension between who we show the world, who we are to ourselves, and who we can be when we hide both those things is deeply resonant.

Cover of Batman #37 by Tom King & Clay Mann. (Cover by Mike Janin; Image credit: Comic Vine)

When our super couples arrive at the “Gotham County Fair” and a person dressed as a Wonder Twin informs them that it’s super hero night and all attendees have to wear costumes, I was wearing a very wide grin. Of course costumes have to play a role here. And, when our super couples realize they can’t just show up as their super-alter-egos, I’m making a bit of a squee noise. From the third page on, Clark Kent is wearing Batman’s actual costume. Bruce Wayne is wearing Superman’s blue tights and cape. Lois dons Catwoman’s costume and Selina wears Lois’ dress. After swapping costumes, our super couples emerge into the County Fair surrounded by people also wearing superhero costumes. I’m just floored by this point – even rereading makes me giggle. I’d imagine long-time fans of DC comics could find a lot to enjoy in the actions of the various other “heroes” running around the County Fair.

The super couples do some cosplay. (Artwork by Clay Mann, colors by Jordie Bellaire, letters by Clayton Cowles)

Okay, enough with the entertainment value of the costume-swap. The real meat of the issue, like the previous #36, is in the dialogue between pairs. Last time we had the couples negotiating over who should call who when their investigations forced them into the same hallway. We learned a lot about how much both Superman and Batman respected each other but that both also felt the other didn’t need them. My take is, that’s a dangerous place for two people to be in. Feeling like someone you respect doesn’t need you leads to darker and more vengeful feelings. Put those feelings in the hands of a superhero and it’s a world of trouble. Beneath all the farce and fun of the setup is a potentially explosive situation.

After the couples do some typical County Fair stuff (tunnel of love, eat some corn-dogs, etc.) they split into male and female pairs. While Super-Bruce Wayne-man and Clark “the batman” Kent are talking and hitting balls in a batting cage, ace reporter Selina and catwoman Lois have a chance to talk to each other. Both Lois and Clark begin their respective conversations by expressing disbelief at the prospect of Bruce and Selina being a couple, but then the couples diverge. Lois using introspection about her father’s wishes as a way to connect with Selina. Clark, on the other hand, changes the subject quickly to one of competition: he challenges Bruce to hit a ball he throws. This challenge becomes a bit of a preoccupation for both men. Later we find them not engaging in conversation with their partners but, instead, thinking about the challenge.

The boys discuss whether Bruce could hit a ball thrown by Clark. (Artwork by Clay Mann, colors by Jordie Bellaire, letters by Clayton Cowles)

Just like in #36, the ongoing conversations between pairs are visually situated in different ways at different points of the issue. Toward the end, as Bruce talks to Clark and Lois talks to Selina, the frames alternate between both pairs and both conversants. Taken together, pages 19 and 20 present a 3 x 6 grid of frame that offers a bunch of really interesting ways to read. Like the elevator “silos” of the prior issue, changing up the order of the conversations yields interesting results. The similarities between all of the points in the conversation lead to a really crucial frame in which Clark realizes that the biggest reason Bruce and Selina are getting married is because they’re lonely and their status as hero and reformed villain means they can be there for each other across the trick hidden identity / alternate life territory that goes with being Batman and Catwoman. Because that loneliness was rooted in Bruce’s loss of his parents as a child and Selina’s absentee father, Clark was able to relate to that feeling. Lois, though she has her family, also expresses some distance from her father, the general who wanted her to become a professional soldier. They close out the conversations with Lois reassuring Selina that right and wrong are a bit blurrier than she was raised to believe and Clark reassuring Batman that he’s going to be able to navigate this new and tricky relationship because he “does alright in the dark.”

Also, they are all eating ice cream cones the whole time. I can’t even. It’s ridiculous. I love it.

Ice cream makes everything better. (Artwork by Clay Mann, colors by Jordie Bellaire, letters by Clayton Cowles)

Our heroes leave the Gotham County Fair and change back into their standard costumes (but not street clothes). Having reached an understanding, Lois and Clark are officially invited to Bruce and Selina’s wedding. Still somewhat preoccupied by Clark’s challenge, Bruce agrees to try and hit a pitch thrown by Superman. They depart the Fair to a baseball stadium somewhere. I won’t spoil the ending.

Some stuff I loved:

  • Obviously the whole costume swap was endlessly entertaining to me. Adding the layer that our heroes are walking around this fair surrounded by other people in hero costumes is just icing. It also makes almost every frame super detailed and interesting. There are probably easter-eggs I’m not aware of embedded in the background.
  • At one point, a guy dressed as Rorschach swipes Lois’ purse and runs away quoting Ayn Rand. No, really! Superman uses his x-ray vision to provide Batman with some coordinates for a precision baseball toss to the back of this guy’s head. It’s later revealed that Selina pick-pocketed the thief at the same time. There is probably something to say here about objectivist moral philosophy and relationships. There is also probably something to say here about Alan Moore.   ¯\_(ツ)_/¯
  • Bruce and Selina are more into PDA than Clark and Lois.
  • There’s costume commentary sprinkled throughout. Bruce thinks the Supersuit is itchy and Lois blames it on not getting the suit washed enough. When they’re changing costumes, Clark informs Bruce that the “S” stands for hope. Bruce’s bat, meanwhile, stands for “bat.” Selina’s Catwoman get-up is stretchy.
  • Clark is Superman. While he is going incognito as intrepid reporter, Clark Kent, he wears glasses. The glasses are, traditionally, the only thing that he really does to be in disguise. He doesn’t need the glasses but when he dresses up in Batman’s outfit, he keeps wearing the glasses. It’s a real treat to see a guy wearing the full Batman regalia, mask and everything, and he wears glasses over the top. I chalk this up to one key difference between Batman and Superman. Batman is intuitive. Superman is not – he doesn’t have to be because his powers negate the need to be intuitive. Why do detective work when you can see through walls and hear things miles away? So any time Superman is in disguise, he wears glasses.
  • At some point Selina obtains a gigantic pink stuffed cat and she keeps it the rest of the evening. This is never explained.
  • Lois brings a flask. But. Like. She didn’t know they were going on a double date when they set out to solve a mystery in #36, right? Lois brings a flask everywhere?
  • Without spoiling the ending, the frame showing Superman’s fingers as he prepares to throw a pitch to Batman indicate he is throwing a curveball. I’m telling you, these guys are way preoccupied with this whole pitching/hitting challenge to the point that they’re getting in each other’s heads.
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Guest Post: James is Reading “Batman #36”

My friend James, who occasionally shares his thoughts on all things education at his blog Forms of Inquiry, has written up a post for me about a Batman story that’s very much about the barriers that men often have to overcome to build and maintain friendships with one another, which is totally not subtext for anything personal at all.  This is probably the kindest thing James could have done for me in the last month, and on top of that it makes me want to track down and read this issue if not Tom King’s whole run on Batman.

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I have this tendency to read comics when they refer to important events in the storylines of various heroes. It’s probably not the best habit as I’ve never read a full series from beginning to end unless it’s later been put together into a collection. So, when I heard a little while back that Batman and Catwoman had gotten engaged, I filed it away to be sought out later. Some free credits at Amazon gave me a chance to pick up some issues from Comixology and I wanted to write about a deeply entertaining two-issue storyline beginning in Batman #36. Mea culpa.

Cover of Batman Vol 3 #36. (Cover by Clay Mann & Jordie Bellaire; Image credit: Comic Vine)

So, Batman #36 opens with Lois Lane asking Superman to call Batman and Superman objects because, obviously, it should be Batman who calls because he’s the one getting engaged. Besides, he’s busy. Meanwhile, Batman is having the exact same conversation with Catwoman. She wants him to reach out. He doesn’t feel like he needs to make the call. Besides, he’s busy. This parallelism runs through the issue and is one of the big reasons I love it so much. At the heart of it, Tom King is really showing how two very different men handle roughly the same situation – only, it’s not some crisis or villain. It’s friendship.

All the while, both couples are actively engaged in some typical crime fighting. Lois and Clark are investigating why chemicals keep going missing from derailed trains. Bruce and Selina are chasing down some plutonium working its way through the underworld. I find it all somewhat hilarious to see heroes discussing their respective relationships while doing heroism as any of the rest of us might multitask work and personal life.

Superman is busy. (Pencils by Clay Mann, inks by Clay Mann & Seth Mann, colors by Jordie Bellaire, letters by Clayton Cowles)

While they chase down leads, Lois and Selina are pressing their partners to make an effort, any effort. The women finally make some headway as each man breaks down exactly why he won’t call the other. Batman respects Clark’s ability to be an alien from a dead world and yet take the pain of loss and alienation and turn it into a symbol of hope. That Superman choses to be the hero is remarkable to Batman. On the other hand, Superman is super impressed that Bruce transformed his loss and grief into, you guessed it, a symbol of hope. Likewise, Superman thinks Batman is remarkable because he has no powers, only his wits and will. Both heroes tell their partners that they believe the other man is the better man. Both men assume the other doesn’t really care them. Both assume the other person doesn’t need them. And then both couples exit the elevator and come face to face.

Super couples step out of a couple of elevators. (Pencils by Clay Mann, inks by Clay Mann & Seth Mann, colors by Jordie Bellaire)

As the conversations progressed, the layout of the comic was such that you could read it in two ways: the typical right to left then down of an eight frame page or you could read them vertically as two columns on each page. Either way provides an interesting parallelism in conversation and shows the super-couples working their way into a building. The same building, it turns out. Then, as they make their final points about not reaching out, they find themselves exiting parallel elevators and parallel frames. Now the heroes are shown in a “wide shot” with 5 wide frames cascading down the page. I especially like the way the men are almost motionless for the whole page but Catwoman is peeking around from behind Batman and then Lois juts her hand out and introduces herself. When an immovable object meets an unstoppable force, it appears their respective partners are the ones who can resolve the situation. The moment is interrupted by the bad guy they’ve been chasing – the same one, it turns out – but he is dispatched quickly.

Double-dates can be a lot of fun. (Pencils by Clay Mann, inks by Clay Mann & Seth Mann, colors by Jordie Bellaire, letters by Clayton Cowles)

Unable to avoid talking to each other anymore, our super-couples are about to go on a super double-date. There is probably a lot more at stake here than a double-date might imply. Although Selina’s criminal past is something barely mentioned, the audience knows about it and we also know that Superman tends to operate in a bit more of a binary view of morality. If Batman does his work in a grey area, Superman is doing his in black & white (yes, that is also a newspaper pun, I know). Both heroes are integral to the wellbeing of the world and are founding members of the Justice League. Both respect each other, clearly, but that respect hides a kind of insecurity that could prove really dangerous. It’s easy to go from “he doesn’t need me or care about me” to indignation and hatred. I think this issue does a good job showing us what kind of head-space these men are in. I’m sure many people have experienced friends beginning new relationships, marriages, etc. Some may have friends who’ve entered relationships that aren’t good for them and seen it cause strife within their group of friends. People take sides, they stop hanging out – it can all go pretty badly. What Batman #36 asks us is, what happens if that group of friends includes peer superheroes, especially someone like Superman?

Some stuff I loved:

  • The parallelism made manifest in the layout’s “elevator shafts” dialogue frames.
  • Lois’ messy desk and sticky notes all over her computer. When she is handed another one, you can see her looking at her monitor and then she turns and puts the sticky note on the filing cabinet behind her. I am that person all the time. I know she felt her monitor was a better place but it’s already full!
  • Selina knows Superman’s identity and it shocks Bruce. Lois knows Catwoman’s identity and it shocks Clark.
  • Catwoman is rarely standing upright and is often climbing on things. Like a cat. She’s a cat. Woman.
  • Superman’s super sight apparently couldn’t see Batman and Catwoman sneaking into the building and it really seems to bother him.
  • The heroes enter a fight saying each other’s taglines.

The Killing Joke – Rated R for What Reason Exactly?

I’ve written before about the fact that Warner Bros. is producing an animated adaptation of Alan Moore and Brian Bolland’s seminal Jim Gordon story, “The Killing Joke.”  I have some misgivings about this movie, primarily because one of the core features of the story is the use of Barbara Gordon as a plot device to try to break Jim Gordon in the same way the Joker was hypothetically broken by the loss of his own family.  It’s an artifact of a trend in storytelling where women frequently suffer in order to provide interest to a male character’s story arc, and in this very particular case it resulted in Barbara Gordon’s paralysis and long term retirement from being Batgirl, all in a story that wasn’t really about her at all.

Anyway, the most recent news about the production is that it’s going to get an R-rating for “added scenes of intense violence.”  I’m trying to grok what that could possibly mean, considering that the Assault on Arkham movie from a couple years ago (nominally a Batman feature, but really a Suicide Squad vehicle) features several scenes where people have their heads explode on screen and it was still rated PG-13.  Just how intense is the violence going to be in this movie, and more importantly, what’s the context for these scenes?

It’s been quite a few years since I read “The Killing Joke,” but my recollection is that much of the violence is implied to happen off-panel with the exception of Joker’s shooting Barbara Gordon.  In his flashback, the Joker recounts his family’s death as something he heard about after the fact rather than something he witnessed, and Jim Gordon’s own torture at the Joker’s hand is mostly psychological with exposure to photographs of Barbara naked, bleeding, and beaten.  There’s very little in the text of the original story that would seem to call for graphic depictions of “intense violence” which makes the justification for the R-rating all the more puzzling.

From the original story at Entertainment Weekly is this quote by Sam Register, the president of Warner Bros.’ animated division:

“From the start of production, we encouraged producer Bruce Timm and our team at Warner Bros. Animation to remain faithful to the original story — regardless of the eventual MPAA rating,

The Killing Joke is revered by the fans, particularly for its blunt, often-shocking adult themes and situations. We felt it was our responsibility to present our core audience — the comics-loving community — with an animated film that authentically represented the tale they know all too well.”

I can understand feeling the need to adapt a famous story faithfully, but this explanation rubs me the wrong way.  If you set aside the misogynist elements of the story (and I’m not), you have to recognize that the amount of graphic violence depicted isn’t any greater than what’s typically shown in other recent DC animated Batman movies (exploding heads).  “The Killing Joke” is a psychological horror story, and graphic violence is rarely necessary for something in that subgenre (implied violence, on the other hand…), so I think the filmmakers are missing something in trying to create a faithful adaptation.  Beyond that, I’m extremely irritated that Register would characterize the slice of the audience that wants an unaltered adaptation of “The Killing Joke,” complete with misogynist overtones, as “the comics-loving community.”  I happen to love comics myself, but I’m not averse to the idea of making changes to the adaptation of a problematic story in order to try to make it less problematic.

I suppose we’ll just have to wait for the summer and see what this all means when the movie premieres.

So I Just Saw Justice League: War

After I watched The Flashpoint Paradox a few weeks ago, I was really looking forward to checking out the other two DC Animated movies that are currently on Netflix.  I watched Son of Batman first, and it was alright, but it didn’t leave a particularly strong impression on me (I kept getting distracted by the absurdity of Talia Al Ghul’s wardrobe, which consists of an unzipped catsuit at all times, even when she’s hanging out with the League of Assassins where everyone else is dressed up like a ninja; it really threw me out of the story).  Then I got to Justice League: War, and I was much more satisfied with this movie.

In light of all the recent discussion about Batman v Superman, I always find it interesting that there’s so much focus on the live action side of DC superhero adaptations when Warner Bros. has had a phenomenal series of animated adaptations for over two decades, first with their various animated series of major properties and then in the last ten years their steady production of self-contained movie adaptations of famous comics stories (I was at my local video store the other day, and on a lark I went to check out their animated section to see if they had any other DC movies; Warner Bros. has produced over twenty animated films in the last ten years).  In the last couple they’ve moved towards adapting recent significant comic arcs, which is where Justice League: War comes in.

Justice League: War is a retelling of the Justice League’s origin story in DC’s recently retired New 52 continuity.  It features Superman, Batman, Wonder Woman, Green Lantern, Cyborg, Shazam, and the Flash at the beginning of their careers when no one yet really knows what to make of superheroes.  Because of an invasion plan being carried out by Darkseid, these heroes, despite not being inclined towards teamwork, are thrown together in order to foil Darkseid’s plans.  Because this is a team-up story, no time is spent on origins for the cast except Cyborg, whose injury and rebuilding occurs as a matter of course in the movie’s first act; everyone else only gives bits of background information in passing.

The visual style of this movie is really engaging on top of everything else. (Image credit: Comic Vine)

What I find most interesting about this story is the way the heroes are characterized.  Going back to Batman v Superman, I’ve seen a lot of discussion of the way the two central characters are represented in ways that are so inconsistent with their previous popular depictions.  Batman’s supposed to be so steeped in paranoia that he resorts to using tactics that are far more brutal than what’s seen in other versions of the character; Superman’s apparently a rather selfish figure who’s spectacularly failing to connect on a human level with the people he’s supposed to be protecting.  I don’t particularly care for cynical representations of these characters (even Batman at his most fascistic is still supposed to be a principled hero), but I can see why someone might want to explore them in a scenario where they have real failings connected to the circumstances surrounding their extraordinary power.  In Justice League: War, you don’t get any of that.  Batman comes off as a little insular when he first encounters Green Lantern, but it quickly becomes apparent that Batman’s the only member of the nascent Justice League who understands that they need to cooperate in order to stop Darkseid (late in the movie he gives Green Lantern a pep talk explaining that they’re just a couple of regular guys who have gotten caught up with actual superhumans, and working together is going to be imperative to saving the world, then he hops a ride to Darkseid’s homeworld in order to rescue Superman by himself; Batman is a ball of contradictions, but he’s a likable one here).  Superman, in contrast, is kind of a jerk.  He’s arrogant when Batman and Green Lantern first meet him (perhaps justifiable since Green Lantern immediately attacks him instead of trying to talk, like Batman suggests, and they’re clearly not a match for him), and he continues to be a showoff throughout the rest of the movie (he and Wonder Woman have a clear mutual admiration society going on in a nod to their eventual romance in the New 52).  Superman’s characterization here doesn’t have any concern with his usual significance as a symbolic figure; he’s the team’s big gun, and that’s the extent of his value here.

The rest of the team’s characterizations are interesting, though I’m not nearly as well versed in their histories to be able to comment extensively.  Hal Jordan and Barry Allen’s depictions are pretty consistent with what’s seen elsewhere; Hal has a level of confidence that’s not fully backed by his proficiency with his power ring, and Barry’s just a nice guy who thinks it’s cool that he gets to hang out with superheroes.  Diana is written in that mode that’s common to her origin stories where it’s assumed that she’s completely unfamiliar with modern Western society; I find this a little irksome, because some naivete is okay (a scene where she tries ice cream for the first time is charming), but when it translates into her not having a basic understanding of diplomacy (she bails on a meeting with the US president because she gets tired of waiting even though she’s explicitly in America to meet with the president) it feels like the writers are equating coming from a culture with a substantially different technological level and social structure with being an idiot.  Shazam acts just like most of the teenagers I know; he’s exactly as annoying as he should be (my complaint about him stems mostly from the fact that he’s not treated as being on the same level as Superman; I’ve always understood that DC’s Captain Marvel was supposed to be a peer of Superman, but with a magical bent to his powers rather than a sci-fi one; perhaps there was some readjustment in the New 52 and the character’s renaming that puts him on a lower tier that I don’t know about).  Cyborg has the most fleshed out character arc, since this is also his origin story, and it hits those beats perfectly well.  The whole time I was watching though, I kept thinking back to this essay about the problematic nature of Cyborg’s character in context of the DC universe and how this retelling of his origin fails to correct any of those issues.

Setting aside characterization, both the good and the bad, this movie’s remarkably satisfying in other ways.  The animation’s excellent, and the battle scenes are choreographed in a way that keeps them engaging (and unlike certain live action adaptations, the writers don’t forget that regular people are endangered by all the chaos the supers are causing).  If you’re interested in seeing a Justice League origin movie, you really could do a lot worse than this one.

So I Just Saw Justice League: The Flashpoint Paradox

There was a period a few years back where Warner Bros. had a deal worked out with Netflix that involved the streaming service getting access to a pretty big variety of DC animated movies.  Now, I’m generally more of a Marvel fan, but even I have to admit that when it comes to animated features, DC’s films are the far and away superior product.  I think I watched every DC animated movie that was available on Netflix back then, and I was admittedly sad when the contract expired and they all went away.

If I have any complaints about the visuals, it’s that all the characters have the same body type. I understand superheroes being fit, but after watching the live action Flash television show, I never want to see a version of the character who isn’t built like a sprinter. (Image credit: Comic Vine)

Cut to this month, when I’m perusing the Netflix library for things that my students might enjoy watching during lunch time (we eat lunch in our classrooms every day, and sometimes the kids get antsy once they’re done with their meal).  Lo and behold, I spied three new DC animated movies that I’ve not seen before.  I was ecstatic!  I was overjoyed!  I was met with indifference from my students even though several of them love the Flash and Batman.

Needless to say, my students have not seen these movies yet, though I’m sure the time will come in the near future when they’ll be intrigued enough to check them out.  In the mean time, I decided to watch one of them on my own at home.  I figured I’d go in order of release date, just on the off chance there might be some minor continuity nods between films (DC’s animated library has become more self contained over the years, with each movie doing very little to reference plot lines of other movies, but I still figured better to be safe).  With that metric, I settled on The Flashpoint Paradox, the 2013 adaptation of DC’s major comic event Flashpoint that launched their recently ended New 52 continuity (DC continuity’s a complete mess).

Now, I feel like it’s important for me to emphasize here that I am not a continuity nerd for DC the way I am for Marvel (and even that’s only for Marvel heroes that I really like), so I don’t have any real opinions regarding the plot of Flashpoint and its impact on the DC universe.  My interest in The Flashpoint Paradox is purely as a consumer of superhero stories and animated film.

On those metrics, I like it.

The interesting character bits here revolve around Barry Allen, the most prominent of the three major characters who have held the mantle of the Flash.  After saving Central City from an attack by the Rogues (an assortment of Flash villains who like to team up against him) with the help of the Justice League, Barry goes for a run that leads him back in time to the point where his mother was murdered when he was a child, and he saves her, altering the timeline in the process.  Now, apparently the Speed Force, which is the source of all speedsters’ powers in the DC Universe, is also the source of all do-whatever-you-want-with-the-plot devices as well, as Barry’s interference in one event has a retroactive effect on the timeline that totally alters the history of all the members of the Justice League.  Superman’s captured by the government when his rocket crash lands in the middle of Metropolis, Cyborg’s the chief national security adviser for the United States, Hal Jordan wasn’t there to inherit his Green Lantern power ring from Abin Sur, Aquaman and Wonder Woman have destroyed Europe in the course of an ongoing war between their respective nations, and Batman is actually Thomas Wayne who saw his son fatally shot on the night when he and his family were mugged (Martha Wayne also survived and apparently became the Joker, though we don’t get to see her in action).  Oh, and Barry doesn’t have his powers anymore.

This whole set up is clearly playing on the idea of dark alternate timelines and the unforeseen consequences of our actions.  If you’re even vaguely familiar with the core members of the Justice League, the differences are pretty stark (and thankfully, the movie begins with an extended sequence that shows the Justice League as they are in Barry’s regular timeline just in case you aren’t).  I’m generally inclined to quibble about Barry’s decision to save his mother being the nexus from which all other major events in the history of the Justice League’s members collapse (I just have a hard time buying that it’s this tragedy that holds cosmic significance).  The problem that I have with all of this though is that Barry’s unaware that he’s done anything wrong for most of the movie’s run time.  When he wakes up in the new timeline, he doesn’t even remember going back to save his mother in the first place, and the late revelation that the whole thing was orchestrated by the Flash’s arch nemesis the Reverse Flash (I think it’s pretty silly too, but just go with it) really strikes me as a major missed opportunity.  Barry’s decision to save his mother from her murderer should have carry some significant ethical consequences, but structuring everything so that Barry can’t remember that he did it in the first place (let alone knowing he was going to change the entire timeline both before and after that point) lets him off the hook.  Naturally, he’s a superhero and he decides to undo this mistake as soon as he’s capable again (there’s an extended sequence where Barry has Batman help him get struck by lightning–twice–to reacquire his powers; I can’t for the life of me figure out why the movie bothers to have the first attempt be a failure other than for the sake of fidelity to the original comics story, which I’m guessing had the initial failure as an end-of-issue cliffhanger), which isn’t particularly interesting.  Being fully informed of the consequences, of course Barry makes the right choice; I wanted to see the conflict of him making the initial decision when he didn’t fully know the ramifications.

In the way of animation, Flashpoint Paradox is a remarkably beautiful movie.  It has multiple high quality action sequences, and they’re all animated with excellent fluidity.  Really, it’s the visuals that are the movie’s strongest point, and the thing that I ultimately enjoyed the most.  While the plot’s solid enough, and competently structured, it doesn’t quite have the emotional punch that this kind of story should.

So I Just Saw Batman… Again

I’ve lost count of the number of times I’ve seen Tim Burton’s Batman.  Around the time Batman Forever came out on video, my parents gave me a box set with the three Batman movies that had been released at the time.  I want to say that back then I preferred the flashy camp aesthetic of Batman Forever (though I wasn’t aware that was what Joel Schumacher was specifically going for), but I did have a bit of love for the two Tim Burton Batman movies as well, which I thought of as much darker and more serious than what came after (or before, if we want to talk about 1966’s Batman: The Movie).

I’ve never seen the poster before (I don’t even know if it’s an official one or was made by a fan), but I think it’s a far sight better than the boring old emblem poster. Also, I had forgotten that Jack Nicholson got first billing on this movie, which for some reason amazes me since he played the villain. (Image credit: Comic Vine)

Then I saw Batman again as an adult, and, being more cognizant of Burton’s particular aesthetic, I realized that his films are just as goofy as every other pre-Christopher Nolan live action adaptation; he just hides the goofiness behind a patina of gothic sensibility.  You see a distinctly greater willingness to display the grotesque aspects of Batman villains as truly horrific in the Burton movies (Joker’s disfigurement inside Axis Chemical is one of the more disturbing parts of the move, while Two Face’s scars in Batman Forever are designed using a garish color palette that keeps the effect thoroughly grounded in a traditional comic book visual style).  Beyond that, Burton does a great job of presenting the world of Gotham City as a brooding place that’s perpetually caught between 1989 and the 1940s.  All the proceedings of the plot feel like they should have more of a noir quality about them simply because Burton’s visual language is so adept at conveying that message.

It’s a useful trick, especially when you break down the details and see where the film comes up short as an action movie.  While part of Batman’s appeal, when he’s in his grim mode, is that he’s a hero that’s supposed to be a little bit more cerebral than the punchy-punchy that Superman does (there’s a reason one of the longest running Superman books is still called Action Comics and one of the longest running Batman books is Detective Comics), the Burton movie had the unenviable task of translating the character to a format built on visually exciting conflict while still hewing close to what makes Batman who he is.  Burton’s movie popularized the black cape and cowl over black bodysuit look and established a visual signature that easily communicated broodiness, but also had the drawback of being poorly designed for action scenes.  It’s a pretty famous running joke that none of the Batman costumes of the ’90s were ever designed so that the actor could turn his head, and this problem persisted into the Nolan trilogy when Bruce Wayne complains to Lucius Fox about this very problem.  In Burton’s film, Batman plods through the shot no matter what his objective for the scene is.  If he’s fighting a mugger, he plods; if he’s sneaking through the chemical plant, he plods; if he’s pursuing the Joker after he’s kidnapped Vicki Vale, he plods.  Batman is unable to move dynamically in any of the movie’s action scenes, which conveys two contradictory messages about the character: first, he’s pretty confident in his ability to handle a situation since he maintains the same outward coolness no matter what challenge he’s facing, and second, if not for the dark lighting, he simply wouldn’t be a particularly imposing adversary.  Given the significant emphasis put on the physical training that Bruce Wayne undergoes to be Batman, it feels like a flaw in the adaptation that the costume always makes him appear less than threatening.

Of course, that’s not to say that Burton’s version of Batman isn’t a threat.  To make up for the lack of physicality in portraying the character, there’s a lot of emphasis in the movie on Batman’s toolbox of gadgets, and for the most part these are pretty fun and believable within the world of the film.  Batman doesn’t need to be able to chase you down, because he has a grappling gun that he can fire to trip you up, or a remote controlled car that will back him up if he’s stuck in a corner.  Of course, that back up might come in the form of a particularly lethal gadget, which is epitomized by the loadout on this version of the Batmobile.

There’s been a lot written recently about Arkham Knight maintaining the premise that Batman always uses nonlethal force despite the ridiculous violence of the game’s Batmobile segments, and I think it’s important to keep in mind here that this game is not the first time that Batman has had a deadly arsenal installed on his car.  Burton’s Batman features a Batmobile with mounted miniguns and high power explosives which Batman employs against the Joker’s henchmen with no qualms (the Batmobile’s big action scene in the movie revolves around Batman sending it into Axis Chemical under heavy enemy fire and having it drop a bomb that destroys the entire plant along with all the guys who were inside it).  This may simply be an artifact of the time when Batman was made, but in this story the hero doesn’t worry about killing criminals (he even explicitly says that he’s going to kill the Joker when he realizes that it was the Joker who murdered his parents, and then he follows through with it), and it’s not remarked upon as a particular moral failing (that doesn’t mean that it isn’t a moral failing, but it’s at least not hypocritical like the Arkham series).  The juxtaposition between the two adaptations, with Burton’s sense of grim whimsy (grimsy?) and Arkham‘s grittiness, makes the fact that the earlier, less serious story, doesn’t worry about making a point that Batman doesn’t kill particularly notable, and leaves me wondering exactly how recently popular culture decided that not killing was an immutable part of Batman’s character.

Beyond those quibbles and observations, Batman is still an incredibly enjoyable movie in its own right.  It’s certainly a little dated, and it’s much harder to treat it like a really heavy Batman story twenty-five years later, but for what it is, it’s really fun.

“The Killing Joke” As a Movie? Okay…

Given my policy surrounding hype (in brief: I’m not interested in it beyond finding out what’s being done in the media that I enjoy following), I’ve spent the last weekend generally just skimming the headlines about what was announced at San Diego Comic-Con.  News about TV shows generally won’t be relevant to me because I’m almost perpetually a full season behind whatever’s current, and most movies don’t even rate a rental until they’re either on Netflix or available for a dollar at my local video store.  Essentially, SDCC is a weekend event that’s full of hype for things that won’t register as worth my time for at least a year.

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I wanted to find an image of Barbara from the comic that doesn’t involve her being subject to violence, but the best I could come up with is the first two panels where she appears, which still involve the very explicit threat of imminent violence. That’s how little she matters as a character to this story. (Image credit: IGN)

Nonetheless, one thing that did catch my eye was the announcement that Bruce Timm (who’s the creative lead on DC’s animated movie division since he developed such a good reputation from his work on the animated cartoon series of the ’90s and early ’00s) would be working on an animated adaptation of Alan Moore and Brian Bolland’s Batman story “The Killing Joke.”  This is big news because “The Killing Joke” is a seminal Joker story, and also the story which introduced to continuity the event that paralyzed Barbara Gordon from the waste down, ending her career as Batgirl.  It’s a story that especially resonated with me (it was one of the first Batman comics that I ever read), and I still remember it fondly as a particularly good story, though I’ve always felt it presents Jim Gordon as more of a hero than Batman, whose portrayal seems to place him on even psychological footing with the Joker (the joke about the two inmates trying to escape prison on the beam of a flashlight has stuck with me as an image of two people trapped in their own insanity).

Of course, this comes with a caveat.  A few months back I was talking with Rachael about the Joker (it was around the time the first cast photo of Jared Leto in the role came out) and I brought up “The Killing Joke” because it’s such a memorable story about the multiplicity of interpretations of the character, even in-universe, and Rachael challenged me on a comment about the story being a really great one.  “That’s the one where Batgirl gets raped and maimed by the Joker, right?”  I couldn’t deny that; “The Killing Joke” treats Barbara Gordon horribly and then discards her because the story’s more about its three male characters.  Barbara’s essentially a prop that gets abused in order to instill feelings in Gordon and Batman, and that’s a seriously poor treatment of a character.  It fails to treat Barbara’s rape as a central story issue, or even focus on Barbara’s struggles in the aftermath of the event.  In a recent article I saw that discusses the way Doggett’s rapes are handled in Season 3 of Orange Is The New Black, there’s a pretty good checklist of questions that should be considered in deciding whether rape is an experience that should be explored in a given story.  Here’s the relevant part for anyone who doesn’t want to click through:

My hope is that going forward we can have a Pennsatucky Test for rape scenes much like the Bechdel Test. Is the victim’s point-of-view shown? Does the scene have a purpose for existing for character, rather than plot, advancement? Is the emotional aftermath explored? As long as sexual assault continues to be a scourge of our society, TV shows ought to mine the subject; it’s important we keep the conversation going. Just take care of your characters. Don’t rape ’em and leave ’em. They deserve to have their trauma acknowledged. They deserve to have their stories told.

I think it’s pretty safe to say that “The Killing Joke” fails to do any of those things.  My memory of the story is a little fuzzy (I’ve not read it in years), but I seem to recall that aside from the initial shooting, all of the torture happens off screen and we only learn about it after the fact through a series of photographs that the Joker shows to Gordon.  We don’t get Barbara’s perspective, we don’t get to see how she handles the fallout, and it’s pretty obvious that this happens because of plot reasons.

Okay, so at this point you have to ask, why am I bringing all of this up in relation to an adaptation of the story?  Well, it’s like this: DC’s decided that this, one of their most famous Batman stories, is good source material for an animated feature (and it needs to be noted that DC doesn’t shy away from taking on less child-friendly stories in their animated movies), and that source material also happens to be nearly thirty years old.  Though we should have recognized the problems then, we do see them more easily in the mainstream now, and that means that this adaptation presents an opportunity to adjust the structure of the story.  Alan Moore’s already disowned it (of course, he’s disowned much of his superhero work), so I don’t see why the studio should feel any obligation to faithfully recreate the source material, inclusive of all the problematic parts.  This is still, at its core, a story about Jim Gordon, Batman, and the Joker, and I don’t think that Barbara Gordon needs to be involved in order to still explore the themes that the story is primarily about.  The alternative to excising her would be expanding her role and giving more weight to her experience in the story, though considering how that intersects with the arcs of the other three characters, I worry that an expansion would at best come off as unnecessary, and at worst even more insensitive.

Of course, considering that Barbara’s trauma is something DC is still milking for drama in its other Batman properties (it happens in Arkham Knight too, because of course it does), I doubt this adaptation will be any better.