Did a quick video this morning on the complaints about “blackwashing” with the announcement of Beetz as Domino.
Did a quick video this morning on the complaints about “blackwashing” with the announcement of Beetz as Domino.
Entertainment Value: 10.10
Critical Value: 7.5/10
It is the end of an era. After 17 years, Hugh Jackman presents us with his last outing as Wolverine. After the first two Wolverine films many fans, myself included, initially approached another one with a healthy dose of skepticism. Then the first trailer dropped and skepticism gave way to hype for many people.
Then the second trailer dropped, confirming that Dafne Keen would be playing X-23. The film was flooded with good reviews from Rotten Tomatoes and one of my favourite YouTube reviewers also gave the film his highest rating. Needless to say, I expected a lot from this film, and for the most part, it delivered. I won’t say that the film is on the same level as The Dark Knight (it got a lot of comparisons to it) but it is undoubtedly the best Wolverine film and one of the best films in the X-Men Universe.
Logan introduces us to a bleak(er) future where most mutants are now dead. Twenty five years have passed without a mutant birth, most of the X-Men are dead, and Logan is slowly dying as his healing factor burns out. He is aging more noticeably, healing slower and the adamantium in his body is now poisoning him. Meanwhile, Charles Xavier is suffering from a mental disorder. Early plot summaries said the disease was Alzheimer’s but it is never actually confirmed in the film. Either way, he is prone to fits of dementia and seizures, which have devastating effects on the people around him.
Logan now works as a chauffeur and is content to save money so that he and Charles can buy a boat and live on the sea. Logan is tracked by a Mexican nurse who eventually convinces him to escort Laura Kinney (X23) to a mutant safe haven and evade The Reavers, cycber-netically enhanced soldiers tasked with bringing X23 back. Firstly, I have to say that X23 was insanely badass in this film, showcasing an agile fighting style that is in contrast to the brute force on display from Wolverine. Although Wolverine is feral in his own way, Laura shows us what could have become of him if he was raised as a weapon. Dafne Keen doesn’t have many lines for most of the film, relying on facial expressions and body language to create the character.
The makeup department did a great job in creating a weathered Logan, whose body tells it own story. Jackman is able to exude anger, coldness,sensitivity, love and caring seamlessly. Although his character seems to shy from caring or helping others, it is easy to see that he is only putting up a wall to protect himself from the pain of losing more people he cares about.
Charles Stewart brings us a different version of Charles Xavier. Although Charles still houses some of the wisdom we associate with the character, his disease has resulted in forced isolation. We see a Charles who knows his time is coming and is eager to enjoy the rest of his time, coming across as more carefree than any other version of Xavier we’ve seen on screen. The closest comparison is to his younger, broken self in Days of Future Past.
Jackman, Stewart and Keene are the film’s center and their scenes stand out as my favourite emotional moments. At its core, the film is about family and it great to see the family grow stronger as the film progresses. Although he is not necessarily a part of the family, Caliban (Stephen Merchant) assists Wolverine in taking care of Xavier and his performance is another stand out in the film. He has a relatively small role but succeeds in picking away at Logan to reveal his mindset as they try to navigate the dangerous world they live in.
Needless to say, the action is amazing, giving us the R-Rated glory we’ve been waiting to see for a while. People don’t just fall down when Wolverine swings his arms, they die in spectacular, gory fashion. There were many scenes that genuinely gave me chills. The film does feature some spotty CGI in parts. Fortunately, most of the effects are practical.
One of the weakest parts of the films, in my opinion, are the villains. Don’t get me wrong, Boyd Holbrook was enthralling as Donald Pierce. The issue is that it felt like he had little screen time. He and the man he answers to, were not developed very well in contrast to the other characters. There is one interesting goon that adds a new level of threat to the film, and the goon’s introduction is one of the most memorable in the film. However, I feel as if this mute goon could have been substituted for a stronger Donald Pierce.
While the film was not perfect, or as even as I would have liked, it was a solid end to Wolverine’s story. The ending, for lack of a better world, is poetic. Jackman has implied that he would be open to playing the role again if it existed in a different universe e.g. the MCU. However, he has also said that “This is it. This is the last one.
It is sad to see Hugh Jackman end the role, but I am happy that this is the film he did it with.
Edit: After more thought, had to bump up my ranking of Logan.
X Men Universe Film Rankings
Days of Future Past
Note: For an abridged version of this post, check out my YouTube video.
About a month ago, Ben Affleck stepped down from directing The Batman, which does not yet have a release date. Matt Reeves (Dawn of the Planet of the Apes) was circling the role for a few weeks and it is now confirmed that he will direct, using a script from Chris Terrio. There were reports that Geoff Johns and Affleck wrote the script but there has been no mention of that in recent reports concerning Reeves. However, Affleck and the studio apparently approved Terrio’s script. The new script is likely a composite of Johns, Affleck and Terrio’s work.
Ben Affleck made it no secret that he detested all the questions he received about The Batman while promoting other films, such as Live By Night. There was a lot of speculation that he would leave the directing role, and his role as Batman due to the pressure to please a horde of nitpicking comic book fans. For now, Affleck is still signed on to produce and act, and I hope it stays that way. Some reviews of Live By Night say that the film suffered from Affleck trying to do too much as an actor, writer and director. I can’t help but notice his original decision to step down coincided with the flood of negative reviews for Live By Night. Hopefully stepping down from directing The Batman as a move that is meant to alleviate some stress, but also ensure a better film.
The Batman is still my most anticipated DC solo film, and I hope it delivers the quality film that DC fans have been waiting for. Hopefully some of the other projects deliver that prior to The Batman as well. Man of Steel was decent, and BatmanvSuperman had the potential to be amazing. Instead, we get a terrible portrayal of Lex Luthor and a rushed version of Doomsday. Suicide Squad gave us some things to love, like Deadshot and Harley Quinn, and a lot to hate as well. I’m looking at you Enchantress, Incubus, most of the third act etc. Each film had great moments, and even stretches of excellence, that couldn’t elevate the entire film.
One of my favourite scenes from BatmanvSuperman
As I’ve said many times before, the DC Extended Universe (DCEU) has issues, but the tone of their films is not one of them. Reeves last few films demonstrate that he knows how to handle a dark tone. People can complain about the need for more “fun” in the DC Universe, thanks Dwayne Johnson, but I think we can all agree that darkness fits a batman film. Aside from Dawn of the Planet of the Apes, Reeves also masterfully wrote and directed Let Me In (2010). The film is based on a revered book, but we have all seen great source material turned into subpar films. While Apes was also amazing, I think Let Me In is a better example of Reeve’s creative skill since it addresses a big issue I have had with some DC films and films as a whole.
When a great director creates a poor film people are quick to argue that the director was hampered by a poor script. From what I understand, the director can override the writer. The director shouldn’t be a drone mindlessly translating a script to film. he is supposed to utilize his own discretion to oversee what he films. Zack Snyder has numerous “story by” credits on IMDB, which is the same credit given to Christopher Nolan for Man of Steel. From what I have researched, “story by” is just a credit given to someone who came up with the basic plot of the film:
Superman’s fight with Zod makes people distrust and fear him, including Batman. Batman then forms a plan to take him out, but Lex Luthor has his own plans as well.
This basic plot could be conveyed in some form other than the screenplay, such as a “treatment” or short story.
In comparison, the screenplay credit goes to the person who actually crafts the dialogue and fleshes out the characters. Snyder’s only two “screenplay” credits are for Sucker Punch (2011) and 300: Rise of an Empire (2014). I tried watching Sucker Punch, I couldn’t finish it and I have consistently heard that Rise of an Empire is dramatically inferior to the original film. I don’t like to base my opinions solely on the opinions of others, since I would have avoided BatmanvSuperman like the plague if I did. If you believe that I am mistaken about Rise of an Empire, let me know. My point, is that a director who is also a strong writer should be able to expertly exercise his own discretion with the material he is given in order to create a great film.
While the director can override the writer, the studio can override the director. This has already happened with Bvs and Suicide Squad. The uncut version of BvS helps to flesh out Clark and Bruce more, while also clearing up some elements of the plot that didn’t make as much sense in the theatrical film. Meanwhile, the abusive Joker and Harley relationship was removed from Suicide Squad because the studio was worried it made things too dark (among other changes). The films aren’t perfect without these changes, but they are definitely better.
I am hoping that Reeves was able to negotiate for creative control over this project, so that the real filmmakers can craft something for the big screen that DC fans can be truly proud of. There are several other projects I am excited for in the meantime, especially Aquaman and I hope that The Batman doesn’t end up being one of the last hopes for a consistent and well crafted DCEU film.
Season 7 was of The Walking Dead was originally one of my most anticipated since it would focus on Negan, one of my favourite comic book villains and the best villain that The Walking Dead comics have had to date. Season 6 introduced Negan and ended with a money-grubbing tease that left a bad taste in my mouth and made me skeptical of what season 7 would offer.
The season 7 premiere featured a drawn out encounter with Negan that was obviously done to pad screen time, but I was willing to overlook it for the first episode. Then the second and third episode focused on The Hilltop and The Saviours respectively. It has always bothered me when The Walking Dead does this, instead of cutting between the different stories. Shows like Game of Thrones have far more characters and locations to deal with and do a better job of giving each party their necessary time. I have no problems with Tara and Heath as characters, but giving them an entire episode was ridiculous.
Some may argue that focusing on one location gives more opportunity for character development and builds anticipation for other story arcs. In this case, I beg to differ. Cutting between different stories during an episode forces writers to be more concise with their storytelling, so that an entire episode doesn’t end up serving as filler. Instead of 40 minutes (without commercials), writers are forced to use tighter writing to express the same story in 20. Or they can possibly stretch the different stories over multiple episodes.
The way it stands, the eventual conflict with Negan gets dragged out to episode 9 since three episodes didn’t show Rick and Alexandria at all. Since The Walking Dead is sticking to longer seasons (the past few have been 16) it seems the desire to reach a certain amount of episodes, instead of just telling a story naturally, interferes with the storytelling. The Marvel Netflix shows have a similar issue, since Marvel makes them all thirteen episodes. I felt like Luke Cage, in particular, could have been shortened. The midseason break also seems like a move designed to keep The Walking Dead on air as long as possible, especially now that other AMC hits like Breaking Bad and Mad Men have completed their runs.
I never considered The Walking Dead one of the best shows out there, especially since the acting is inconsistent at best. It ranges from great (Lincoln), mediocre (Serratos) to awful (Riggs). With all that said, I was not that excited for the mid-season premiere.
Firstly, I am sure that Gabriel didn’t actually betray Rick since it would derail his entire arc as a more committed member of Alexandria. When he is driving away in the car, I thought I was seeing things, but online articles have confirmed that someone else emerges in the passenger seat. Earlier in the season, we saw someone spying on Gabriel at the wall and on Rick and Aaron at the boat. It appears that person reached out to Gabriel, and is probably aligned with the community that confronts Rick’s group at the end of the episode. I loved Rick’s smile; the look of a man who has found his army.
I thought the group might be Oceanside, but Oceanside was previously introduced as a female-only group. In the comics, the group is co-ed and Michonne joins them for a while. Unless they’ve added men since their last appearance in the show, this appears to be a brand new group that was never shown in the comics. If they are a new group, it almost comes across as a deus-ex machina, but I’ll reserve judgment until the next episode. The show better not focus on another group for the entirety of the next episode.
Some fans have had a hard time grasping why Rick’s group didn’t want to fight back earlier. Hopefully this episode makes it clear they were worried about their lack of numbers, relative to The Saviours. Additionally, Negan has made sure to consistently put Rick in a bind by making the lives of others tied to his. Yes, Rick could have beaten Negan to death with Lucille when Negan visited Alexandria, but then The Saviours would slaughter everyone.
Like the comics, Gregory is content to stick his head in the sand and submit to Negan’s rule. Xander Berkeley chewed some scenery in this episode, and hopefully we won’t see too much of that in the rest of the season. If his arc follows the arc from the comics, we’ll be seeing him around more and this show doesn’t need more weak acting.
While Ezekiel is happy to join Rick’s alliance in the comics, he is hesitant here due to the risk of losing everything they’ve built. It is a fear that Rick had as well, and it is likely Ezekiel will change his mind. Ezekiel’s refusal also brings up another issue. In the comics, Dwight is actually a double agent who is working with Ezekiel to take Negan out. The show has already hinted at Dwight’s animosity towards Negan, for taking his wife and burning his face. We know that his motives for wanting Negan gone are there, but it looks like he may not be a double agent in the show. This doesn’t bother me too much, since his reveal seemed like a last minute decision in the comics. If Dwight was a double agent the whole time, why did he kill Abraham if he didn’t really have to?
Morgan reunites with Rick for the first time since Carol’s disappearance from Alexandria, and his own hesitation to go to war seems to have impacted Ezekiel’s decision. Although Morgan is willing to kill in self-defence, it seems the fear of all the lives that will be lost in the war makes him hesitate to join an all out war. The only positive thing to come out the meeting with Ezekiel is his offer of asylum for Daryl. This episode also made me wonder if Daryl will find Carol and convince her and Ezekiel to join the war.
While Rick doesn’t get what he wants from Ezekiel, he does came across explosives that he plans to put to good use against The Saviours. Rosita appears to have learned some valuable things from Eugene, and this appears to be the start of an arc that is meant to make us root for her character more. However, I still despise her character. Her sheer stupidity in trying to kill Negan with only one bullet got someone else killed and got Eugene taken away. Her attitude to Sasha also fails to make her endearing. Also, there’s the fact that she was in a relationship with Spencer of all people. The girl’s got poor taste.
Have to say I am more excited for issue #165 of The Walking Dead comic, than the next episode of this show.
I’ll be back to writing for comicommand soon, and should have an article for them around January 15. My first piece for the new year will be a piece on Ed Brubaker’s Kill or Be Killed. Until then, I wanted to share some thoughts on another ongoing series that I’m reading.
Robert Kirkman’s The Walking Dead is undoubtedly the comic that turned me into a serious comic book reader. It started with Rick Grimes, then moved on to Spider Jerusalem, Jesse Custer, Billy The Butcher, Mark Grayson, and now Kyle Barnes.
After binging on Invincible and then having to wait until February for the next issue, I eagerly sought out Kirkman’s latest series. After giving us a post-apocalyptic zombie tale, and then a superhero story, Kirkman delves into demonic possession.
Outcast follows Kyle Barnes, a man whose life is plagued with demonic possession and who is ostracized in his hometown after allegedly hurting his wife and daughter. While Kyle knows something changed his wife, making her attack their daughter, no one else believes him. As he returns home, Reverend Anderson helps to open his eyes to the truth of demonic possession.
Although I have not seen many films related to possession, I have always been interested in the subject. Firstly, Paul Azaceta’s artwork truly helps to bring the story to life from the first frame onward. The style is somewhat simple, compared to works like Punisher: Max, but is reminiscent of Invincible. Azaceta fits the comic’s atmosphere of horror by seamlessly transitioning from relatively simple frames, to ones that are genuinely unsettling.
Kirkman is also able to explore a religious theme, without creating a story that is pro or anti-Christian. Kyle represents the skeptic, while Reverend Anderson is the holy man who slowly makes Kyle accept the truth of exorcism. The story could come across as formulaic with this set up, but Anderson is a layered character who believes in the Lord, while also having his own doubts about institutionalized religion and God. Anderson’s thoughts are some of the most interesting parts of the story.
Kirkman also adds interesting modifications to the exorcism mythos, which are slowly explained as we get further into the series. In some ways, the exorcism links to several other issues in Kyle’s life. His mother abused him due to her possession and his wife abused their daughter. Both of these periods have significantly affected Kyle’s psyche, which leaves him in a dark place that aligns with the overall tone of the comic. Every triumph that Kyle faces is followed by another revelation that causes more pain or a setback from the forces that are working against him.
With each issue, we learn more about the possessed and the overarching conflict continues to build with Issue #24, which was released today.
Like The Walking Dead, Outcast currently has its own television show as well. One season is complete, and it has been renewed for another. Clearly, it isn’t the phenomenon The Walking Dead is, but maybe the show isn’t as hampered by filler. That’s a post for another day.
While DC is struggling to get critical approval with its live-action films, as the (partly) undeserved roasting of BatmanvSuperman and Suicide Squad demonstrate, they have an impressive record of success with their animated features. In my opinion, the quality of the DC Universe Animated Original Movies (DCUAOM) has declined in recent years with Justice League: War and Son of Batman. However, there have been some bright spots such as Gods and Monsters, Assault on Arkham and Batman vs. Robin. I was hoping that The Killing Joke would continue that trend. It isn’t a bad film, but as a whole, it does not measure up to some of the aforementioned bright spots.
As a spoiler- free summary, this story involves The Joker escaping from Arkham Asylum and kidnapping Barbara Gordon (Batgirl). There will be some relatively minor spoilers throughout this review. I haven’t read the graphic novel in years and I wanted to do so before seeing this film. However, I ended up rushing ahead and watching the film first. For that reason, I won’t be able to compare this film to the finer details of the comic.
I was told by friends that the film added a prelude that explained more of Barbara Gordon’s backstory, prior to her kidnapping. A little research online also showed that this section also resulted in most of the criticism for the film. I tried to ignore these critiques and form my own opinions so that I wouldn’t unfairly bash the film. I have to say that some of the criticism is justified.
The most valuable insights that come from this prelude are:
These two insights are valuable, but my issue is some of the execution. The Batgirl prelude centers around a single criminal, Paris Franz, who becomes obsessed with Batgirl. However, Franz’s obsession is more like a delusional and arrogant fanboy, as opposed to the twisted dependency we see with The Joker and Batman. Franz ends up being a very forgettable villain and the writing for his character is mainly what makes the prelude unwelcome.
Another issue, is the infamous sex scene. Sorry if it is a spoiler but it is a part of the story that I can’t review this film without mentioning. If I simply said there is a sex scene, then it would still be pretty easy to figure out which characters I am referring to. Although I am not personally a fan of a Batman/Batgirl relationship, I know it exists in some of the comics. What annoys me most about the sex scene isn’t the fact that a relationship I like to think of as father-daughter is changed; I just hated the fact that it was precipitated by a slap-slap-kiss trope. I didn’t even know that this was a trope until a year ago, but seeing it time after time led me to believe that other people must have noticed how often it pops up in romantic situations. Two people are fighting; they often start pushing or come to blows. Then they suddenly stop, stare into each other’s eyes, and kiss. It is hack writing at its best.
With that said, the rest of The Killing Joke is much better. Firstly, we have a better villain. Mark Hamill plays The Prince of Crime, and also plays The Joker in flashbacks that reveal how he became The Joker. The graphic novel is famous partly for introducing a tragic Joker origin story and the transformation from Jack Napier to the Prince of Crime is one of the film’s most haunting.
The Joker’s actions in this film make you hate him, but you also can’t deny his charisma and his skills as a wordsmith. I enjoyed John DiMaggio as The Joker in Under the Red Hood but it is great to have Hamill back for this role, alongside Kevin Conroy. One of my favourite parts of the film is a Batman monologue near the beginning. While Conroy is famous for portraying Batman’s menace, his ability to convey the character’s (often hidden) warmth was also a treat to watch.
Joker’s kidnapping of Barbara is the central crux of the story, and the scene is a tough one to watch. The animation, the music (or lack thereof) and the voice acting make it one of my favourite scenes among all the DC animated films. Hamill brings a blend of menace and humour to the role, while navigating his way through one of the most pivotal moments in Batman’s history.
The kidnapping also represents a high-point in the film, which is followed by the final showdown between Batman and The Joker. From what I remember, the kidnapping of Commissioner Gordon was more enthralling in the graphic novel. Here, the voice acting from Gordon and Joker’s gang of freaks brought this section of the film down.
Overall, I enjoyed The Killing Joke. However, the faults I’ve mentioned prevent it from being among the top-tier of the DCUAOM films. As it stands, it is a decent entry that had a lot of potential.
My latest post for comicommand is available on the site and copied below. After reading Garth Ennis’s Preacher I was eager to check out some of his other work, but was worried that other works would disappoint in comparison. However, I am loving The Boys just as much as Preacher.
Written By Cadeem Lalor
After reading Preacher, I was eager to check out Garth Ennis’s other work. I heard mixed reviews about The Boys, but after reading 40 issues, I can safely say that I’m loving the series. The Boys takes place in a world where the greatest superheroes are morally corrupted celebrities. The elite teams have corporate backing and become increasingly disconnected with normal humans, which also results in the careless loss of human life during their conflicts with supervillains.
The Boys is the nickname for a CIA squad that is responsible for keeping the heroes in line through intimidation or violence if need be. While I love the characters, one of my favourite things about the series is its depiction of superheroes. There aren’t many supervillains in the universe, since many super-powered people elect for an easier life as public idols. If a hero becomes popular enough through his conquests or sales of his own comic book, he gets to join an elite team, such as The Seven (a twisted version of The Justice League). With elite status, comes corporate funding, public appearances and full-blown celebrity status.
Deciding to be a hero doesn’t mean that these figures are actually the good guys. Billy the Butcher, the leader of The Boys, knows firsthand that they view regular people as toys. When Malchemical, one of the most deadly heroes, is relegated to the C-List Superduper group, he lashes out after their leader submits a complaint about him. The concepts of consequences or judgment are foreign to him and he believes that yelling “I’m a superhero” frees him of all wrongdoing. When Malchemical continues to be ostracized by the group he attacks its leader and attempts to rape two of its members. Billy also knows that this is regular behavior for Malchemical. Numerous other incidents in the comics also show other abuses of power from other characters, whether it is rape or attempted murder. The Seven, for the most part, are a group of frat boys high on their own power.
Recent films like Man of Steel have been criticized for their depiction of the destruction that transpires when super-powered beings fight one another. I never jumped on this bandwagon since some level of damage seems inevitable and because the damage often becomes a plot point in future films, just like Superman’s fight with Zod plays a central role in BatmanvSuperman, or how the destruction in Avengers 1 and 2 leads to Civil War. The Boys starts off with a civilian being killed during a fight between a villain and A-Train, a member of The Seven. The difference here is A-Train’s lack of empathy. He realizes what he has done, but quickly leaves since the paramedics can take care of everything else. Later, he also attempts to rape The Seven’s newest number, Starlight.
Some might see the moral depravity of The Seven as a caricature, but the heroes are no different than politicians, judges, police officers, athletes, musicians etc, who get caught up in scandal after scandal. A sense of invincibility (literally in the case of the heroes) can lead to a lack of restraint and can corrupt people who may have started their pursuit with noble intentions. For every superhero who is morally pure, similar to our typical image of Superman, there are ten who are simply in the business for the money and adoration. Values like justice mean very little and are simply useful platitudes that the heroes use to justify their presence. The Boys is a depressing look at a society filled with superheroes, but it may be the most realistic.
My review of 100 Bullets is up on comicommand and is also pasted below. I am nearly finished Preacher now and like it a lot more than 100 Bullets so I’ll probably do a review later this week.
Written By Cadeem Lalor
I did an earlier article after reading the first volume of 100 Bullets. 80 issues later, the series is completed and I want to share my thoughts on it.
As The Commander said in his last article, the artwork can either elevate the story, or the story can elevate the art. In the case of 100 Bullets, the story definitely elevates the art. Making the switch from superhero comics to others can be jarring, mostly in terms of the artwork. However, the artwork for 100 Bullets still pales in comparison to ones like The Walking Dead and Y: The Last Man or Preacher. The covers are well done, as well as some panels, but overall the illustrations made it difficult to get into the first issue since their quality actually became distracting. Once I got through more of the story, I was able to tune out the artwork and appreciate the comics more.
The story starts off with separate subplots, all featuring the enigmatic Agent Graves, who offers people an attaché containing a gun with 100 bullets of untraceable ammunition. The gun is meant to be their weapon of choice against the people who ruined their lives, and the attaché also includes proof of their enemies’ wrongdoing.
The various storylines and figures eventually mesh into a single story about an organization known as The Trust. Graves is a former agent of The Minutemen, a group of enforcers that the Trust disbanded, and he seeks to reinstate the Minutemen by eliminating their former bosses. For the most part, Brian Azzarello does a great job of linking each character and subplot to the main one. However, I could not help but notice that there were some storylines that were never mentioned again. It is implied that all the attaches were given with the purpose of reactivating the minutemen, who were basically brainwashed to forget their past lives. Yet there are some characters that are given attaches and never seen or referenced again.
I previously mentioned the issue of the dialogue overusing slang at times. This issue continues throughout all 100 issues and did drag the experience down a bit. Just about every minority character talks like their words were put through an Ebonics translator and it goes past being immersive or reflective of a certain area, and becomes completely distracting.
100 Bullets features very few “heroes”. For the most part, the character’s morals are different shades of grey. It takes a great writer to make us care about any of them, let alone to make a reader root for most of the characters. Issue by issue, I find myself supporting one character’s actions, and then supporting another character’s actions that could undo theirs… This cycle continues and culminates in an action-packed and bloody finale. One of my biggest gripes was that this action packed finale ends rather abruptly. We go from a violent bloodbath to a few lines of dialogue that are meant to reveal more about a character’s motives, before ending with a cliffhanger.
At the end of it all, Graves’s backstory is still shrouded in mystery. I don’t need everything spelled out but this was a case where just a few more lines sprinkled across a few issues could have led to a more fulfilling end. Since Graves plays such a central role in the story, the lack of more backstory for him makes the entire series somewhat hollow. One figure has played a huge role in leading to all of these events, but we don’t get a proper look at what truly drives him.
Overall, 100 Bullets was a great read and I will likely be going back to re-read certain issues. I knew it was an Eisner winner before I started reading and perhaps that got my hopes too high. I know there are many Azzarello fans that would heartily disagree with me.
Check out my latest post on comicommand.com or read it below:
Written by Cadeem Lalor
I started reading Mark Waid and Alex Ross’s Kingdom Come (1996) just earlier today. Kingdom Come follows an alternate reality where a new hero, Magog, became a revered figure after killing The Joker. Meanwhile, the public’s long gestating fatigue with Superman’s “boy scout” persona led him to go into exile. With Superman gone, the rest of the league followed. Ten years later, the world is overrun by a new legion of super-powered beings that lack the moral fortitude and care for human life that the Justice League had. It was a title that came with a lot of hype, but I believe it has managed to live up to expectations. Within five pages, it got me thinking about something.
In the story, Norman McCay acts as a vessel for the Spectre, and also serves as a narrator of sorts. As he ruminates on the past he remembers a friend who recently passed away. He remembers his friend missing the human desire for achievement, manifested through competitions such as the Nobel Prize or the Olympics. In this world, where people are surrounded by god-like beings, it makes sense that human achievement is no longer as valued. Yet I don’t believe the question has ever been approached in such a way. Many comic books and adaptations bring up the issue of humans admiring, mistrusting or fearing super-humans. Yet none of the ones I have read have examined how social and political institutions or functions could change due to a new breed of people. Humans are used to being the center of life on Earth. Our collective achievements are what give everyday life meaning. Would we be as motivated to work out, knowing that there is a race of people whose strength we can never attain. Would we be as motivated to achieve academically if we know that the end goal, a lucrative career or recognition likely won’t come?
Competitions like The Olympics and Nobel Prize can be mired by a host of issues, but they are fundamentally meant to celebrate competition and human skill. Each event is a testament to the will and training of the people competing. Meanwhile the Nobel Prize serves as a chronicle of scientific, economic and literary advancement. With these events, we see humans striving to understand more of their world and attempt to take away power from gods, giving more power to the people. In the world of Kingdom Come, humans have given up on deciding their own destiny. They are at the mercy of super-humans. Even when Superman and the Justice League return, the public does not immediately feel empowered, they only shift their burden to new figures. Perhaps one group of super-humans makes the issue more obvious, but the issues persist either way. While the humans seek hope, there is little to come.
I was recently reading a blog post detailing the author’s favourite anti-heroes. As expected, characters like Rorschach and Wolverine were near the top of the list but the author stated that he doesn’t consider Batman to be an anti-hero. The term “anti-hero” is a broad one, but generally it refers to a character who functions as a force of good but displays traits and moral ambiguity that is more typical of villains. For example, Wolverine is considered an anti-hero due to his violent methods of eliminating his enemies and character traits such as his aggressiveness and anti-social personality.
Of course it is easy to see Batman as a hero when compared to characters such as The Punisher, or more drastic examples like Alex from A Clockwork Orange. However, many anti-heroes are best presented, or fleshed out, when presented in contrast to the other characters in their universe. Wolverine’s loner tendencies are in contrast to Cyclops’s or Jean Grey’s role as leaders of the X-Men, Rorschach’s moral absolutism and anti-social persona are in contrast to Nite Owl’s morals and personality. In a sense, the term anti-hero can often be relative.
In the case of Batman, his qualities are best viewed in contrast to Superman’s. Although there are popular variations in the comics, Superman’s typical characterization makes him a symbol of light and hope. Superman’s world can be grim but it is his optimism that makes him a symbol of hope. Superman is also a figure who is less afraid to wear his heart on his sleeve, being able to quickly form relationships with other heroes and present an air of compassion to civilians.
One of the best examples of this contrast is a clip from the old Batman Animated Series. We first see Superman save a child who was stuck on a transmission tower, after climbing it for a dare. After saving the child, Superman gives him a pep talk about responsibility, encouraging him to be more careful. After Batman pulls two teens from the roof of a train, he only warns them that they’ll fry if they keep playing chicken.
Both characters are heroes, and have compassion for human life, but Batman’s much colder personality generates fear instead of the admiration that Superman receives. Here we can see Superman as an archetypal “good guy”: noble, courageous, and compassionate.
Batman is also a stark contrast to Superman due to his Machiavellian tactics.BatmanvSuperman was heavily criticized for the justification it gave for Batman to want to fight Superman, but the film did touch on the paranoia that defines the character. While Superman openly tries to build relationships with other members of the Justice League, Batman uses his time to analyze their strengths and weaknesses and form contingency plans. It is a noble cause, but the betrayal of his teammate’s trust takes him out of the territory of a conventional hero. The Injustice comics demonstrate this further when Batman disables Cyborg by planting a virus on him. Cyborg later discovers the virus was created the day that he and Batman met.
Speaking of methods, Batman’s use of torture to gather information from criminals is also a sharp contrast to Superman’s. Batman may not kill, but he is willing to break teeth and bones in his pursuit of justice. Superman may end up doing the same thing when fighting an enemy, but he disproves of using these methods to interrogate criminals.
Although Batman can be seen as an anti-hero by these standards, it is also true that conceptions of what a hero are can change. I have spoken to people who see “boy scout” characters like Superman as boring characters, who lack as much complexity and depth as characters like Batman. This can then lead people to see Batman as simply a darker hero, but still a conventional hero. It was easier to label Batman as an anti-hero when he initially debuted, the shadow to Superman’s light. As time goes on and audiences become more inundated with anti-heroes in several mediums, maybe Batman can pale in comparison to his alternatives. We now have Lobo, Deadpool, Constantine, The Comedian and so on.
Batman may be an anti-hero when we compare him to more conventional heroes like Superman and The Flash, but if we go to the other end of the spectrum, does he still belong in that category?