TERRIFIC TEAM-UP IMAGE: AQUAMAN & SUPERMAN, DEFENDING THE DEEP!

 

An Alternate Reality: I saw Injustice...

DC/WB's newest, animated endeavor, Injustice, is based on the top-selling, Gods Among Us video games and Tom (Suicide Squad) Taylor's prequel, comic-book saga, even though these sources have thus far eluded me. 

I found Injustice entertaining enough, perhaps because I had no choice but to enter it cold. However, I can only go so far liking stories that turn heroes into villains for the sake of instilling some clever contrast. (Even The Boys rattles me on occasion for all its flippant self-assurance.) Anyhow, it bothers me when good guys go rogue, no matter the melodramatic spin, and seeing Superman and Wonder Woman turn Zod/Ursa-like (even per understandable, if not logical, prompts) was surreal in a nightmarish way. (Heck, The Flashpoint Paradox proves problematic in the same way for me, even though I hold it in high regard.)

I also have trouble when heroes who've been depicted as friends betray one another or slug it out due to philosophical differences. Sure, I found Batman v Superman digestible (Captain America: Civil War, too), but as a rule of thumb, ironic, "good-vs-good" clashes (whether by DC or Marvel) are plagued, or perhaps anointed depending on my mindset, by great ambivalence. Injustice contains many such tug-of-war clashes, to the point that it was hard for me to decide which side was the better (or lesser) of the conflicting coin: a disturbing sensation, and still I watched with bated breath.  

To hoist to the perplexity, the story's rifts include cherished, all-American favorites riding the unorthodox edge, not only Superman and Wonder Woman, but such analogous icons as Batman, Nightwing, Robin (Damian Wayne), Catwoman, Aquaman, Hawkman, Cyborg, Supergirl, Jonathan (Pa) Kent, Starman, Shazam, (Captain Marvel), Captain Atom, Plastic Man, Mr. Terrific (Michael Holt), Green Arrow, Green Lantern (Hal Jordan), et al. There's also Amazo, a mechanical menace who gives Superman IV's Nuclear Man a mega run for his destructive money, but his manifestation stews from a peculiar, protective plan, congruent with the story's character upheaval. 

For what it's worth, Batman stays pretty much in sync with his somber side, but even so, he's embroiled in a kind of distrusting contention (as he presses to topple the Man of Steel) that runs against his attentive grain, making his inclusion awkward in the story's later phases (in the pacifist-cusp vein), and I don't like the Dark Knight awkward, even if Anson (The Inhumans) Mount (who was once a contender for a live-action Caped Crusader) grants him an adjuring voice. 

The Joker, on the other hand, is Injustice's counterpoising rescuer for the time he lasts, mainly because he doesn't flinch from his old, sadistic self, and how he leads Kal-El to cause Lois Lane's demise is but par for his sick course. (Beforehand, the Clown Prince of Crime dispatches shocking attacks on Jimmy Olsen, the Flash and all of Metropolis.) Because of the villain's carryover craziness, I was more at ease with him than any other character (though Harley Quinn, Ra's al Ghul and Mirror Master also ride a restful road), but why should I be okay not rooting against Bruce Wayne's pinnacle arch nemesis, especially when he takes his impulses to the apex of offense? Evil is evil, right? (I suppose that's Superman and Wonder Woman's point.) 

In the film's indubitable favor, Matt Peters' direction and Ernie Altbacker's script do speed the reformist procession along in such a way that its harshest parts don't sting for very long (and Nightwing's transcendental, Deadman alteration and Plastic Man's impertinent observations nearly blunt the subsequent mourning), but once the imposing ugliness is etched, it's impossible to erase, despite the plot inserting a shaky reconciliation. (Incidentally, the movie's Superman-v-Superman moment is the misadventure's staggering turn, but its attempt to set the Kryptonian's stance straight falls short of Superman III's dueling irony and inference.) 

I felt obligated to add Injustice to my disc library. I'm not ashamed to place it alongside other such offbeat, DC revisions. I take it for the indignant thing that it is, and though it often rocked me to the moral core, I'm bound to revisit it: a grim confession that screams contradictory but sincere volumes.   

TERRIFIC TEAM-UP IMAGE: WONDER WOMAN/SUPERMAN (WORLD'S FINEST)

TERRIFIC TEAM-UP IMAGE: MARY MARVEL VS SUPERGIRL (STEVE HOWARD)

TERRIFIC TEAM-UP IMAGE: SUPERMAN PRESENTS CAPTAIN MARVEL (SHAZAM!)

HAPPY SUPERMAN DAY 2020!!!

An Alternate Reality: I saw Red Son...

It's been a spell since I've read Mark Millar/Dave Johnson/Kilian Plunkett's (Elseworlds) "Superman: Red Son". I recall that I found it entertaining, though disturbing. I feel much the same way with the animated edition. Despite its differences from the three-part series, the movie is a curious example of ambivalent, ideological dictation that should prove hard to swallow for any pro-American.

Directed by Sam Liu and adapted by J.M. DeMatteis, "Red Son" begins in the Soviet Union (circa 1946), where young Kal-El roams. Under an unmentioned alias, our parallel Clark Kent sprouts to implement truth, justice and the Commie way. For most who reside beyond the Iron Curtain, that spells trouble.

That's not to say that our Soviet Superman is entirely rotten to the core. As such, the movie depicts him as misunderstood and well intending for much of the journey. In other words,  Superman's "servant of the state" creed isn't virulent, just different. 

This leaves Lex Luthor to fight for the American cause (even going so far to as to grow his own Superman, or more so, a Bizarro/Doomsday knockoff). In the context of the big flip, that should make Luthor good, right?  Not exactly. 

Luthor, who's married to the principled Lois Lane, still holds a self-serving slant. To demonstrate the contrast between Luthor and the Man of Steel, the latter halts an ambiguous, missile attack on the U.S.

Superman is also quite the concerned diplomat, interacting with revamped versions of Wonder Woman (a man-hating lesbian), Batman (a radical freedom fighter), Braniac and Green Lanterns, Hal Jordan and John Stewart. However, their dynamic inclusion doesn't differentiate one political/economic side from the other. If anything, the queue's muddled antics just muddy the view. 

Though "Red Son'"s concept is fascinating, even "Twilight Zone"-ish in ways, it never etches a hardcore line in the sand, even when Lane shows Superman proof of Stalin's atrocities. Superman is, according to all this, the better side of the Soviet dream (that is, the antithesis of Red extremism), not a superhero born to crush it. Communism, therefore, is only bad if it falls into the wrong hands. 

Sorry, but I'm not buying it. Yeah, the animation may be colorful and the pacing swift, but after the air clears, "Red Son" is just plain misconstrued. In light of Superman's traditional history, this makes the otherwise aesthetic "Red Son" an eighty-four-minute act of propagandist betrayal. 

TERRIFIC TEAM-UP IMAGE: SUPERMAN VS THE MARTIANS

I saw Batman v Hush...

"Batman: Hush" is DC/WB's latest, animated (aimed for home viewing) effort. It's based on Joseph Loeb/Jim Lee/Scott Williams' graphic series, adapted by Ernie Altbacher (who injects plot twists) and directed by Justin Copeland. 

It introduces a swathed-faced villain who intends to destroy Bruce Wayne's life and reputation by trampling on Batman's crime-fighting legacy. In the process, Hush hordes the ever tempting, eternal Lazarus flames. The story's novelty is deciphering the villain's identity and the cause of his crusade. In other words, what's the bastard's secret (is he an antagonist we already know) and why is he so hush-hush about it? (Shades of "Mask of the Phantasm", you say? Maybe just maybe...)

Other villains appear throughout the eerie exploit as Hush does his dirty deeds (and in some instances, toys with them to achieve his goal), which include the Riddler, Bane (a Hush forerunner one could argue), the Scarecrow; the Joker; Harley Quinn; Clayface; Lex Luthor; Lady Shiva (quite civil with the Dark Knight this time out) and Poison Ivy (who'll make one itch with her Orion Slave Girl looks and ways).  

However, Catwoman has the meatiest part, with emphasis on her strained relationship with the Caped Crusader. The legendary love/hate tit for tat defines the story as much as its Hush element. To increase that amorous angle, Selina Kyle is rendered with heightened sexiness (well drawn, that is). It's almost impossible to pull one's eyes from her.

Dick Grayson/Nightwing also influences the conflict, assisting his mentor to squash Hush's spree, though (thank goodness) without  the contention that's stained their previous reteamings. Damian Wyane, Amanda Waller, Alfred Pennyworth and Lois Lane fill the gaps, while Commissioner Gordon and Batgirl do what they can to maintain the "peace"; it's always nice to see father and daughter on crime-fighting sprees.

Superman makes an appearance, as well, albeit tricked into taking a stand against his Gotham pal (boo!). On the possible plus side, their clash holds its own with "Batman v Superman'"s fierce finale, even if stationed much earlier in the plot.

I wouldn't put "Hush" in the same avant-garde category as "Gotham by Gaslight" or "Batman Ninja". It's more straightforward than those and more on par with the "Son of Batman" submissions. That still categorizes it as quality entertainment.  

On that note, I believe "Hush'"s content is worthy of a live-action translation. Who knows? With more mega-buck Batman flicks on the horizon, it wouldn't be surprising if "Hush" (or various parts of it) affected them. 

TERRIFIC TEAM-UP IMAGE: SUPERMAN AND LEOPARD-GIRL LOIS!!!

HAPPY SUPERMAN DAY 2019!!!

I saw the JL Fight the Fatal Five...

"Justice League vs the Fatal Five" is DC/WB's newest animated feature: a time-traveling, titanic clash between good and bad, delivered by a tested trio:  producer Bruce Timm, director Sam Liu and scriptwriter Alan Burnett. 

The premise: Five, super-terrorists from the future drop back in time to snuff out our present-day superheroes and terminate the human race. The vanguard consists of Emerald Empress, Tharok, Mano, the Persuader and Validus. (The beguiled Bloodsport guest stars in the mayhem's early phase, but doesn't link to the invaders. Various Arkham personas also cameo.) 

Fresh faces figure into the conflict: Miss Martian, Saturn Girl, Mister Terrific and Jessica Cruz, Limelight of the Green Lantern Corp. Star Boy, aka Tom Kallon also occupies the action in an absorbing but complicated way.  These fine folks assist the JL in the struggle, led by (no surprise) Batman, Superman and Wonder Woman. (In the process, Batman takes a fatherly shining to Miss Martian, making them this chapter's official, dynamic duo.)

Focus ultimately falls on Star Boy, who proves himself a power-pulsing, black-suited enigma, but is cool enough when in the JL's grasp, despite his erratic outbursts.  

In the process, Star Boy comes to terms with his origin. Though the staging is "12 Monkeys" anguish-wracked, it's more convincing and satisfying than any self-discovery found in Marvel's "Captain Marvel".  (With the latter, we're talkin' a longer, no-excuse-to-cut-corners, theatrical feature, too.) 

The drawback?  "JL vs Fatal Five'"s framework feels a lot like "JL vs Teen Titans" and "JL Dark", to name but two. If DC's filmmakers want to lengthen and strengthen their acclaimed, animation track record, they might consider rewiring the favorite formula. 

Now, don't misunderstand: The DC mythology (the moral heart of it) shouldn't be tampered with or disrespected: The damn wheel needn't be reinvented here.  It's also evident that not every animated film will reach the melodramatic heights of "Death of Superman" or "Killing Joke". Still, the cozy practice of sameness will dull even the best franchise, and no Best Buy, comes-with-action-figure gift set is gonna change that. 

With that said, "JL vs Fatal Five'"s results should serve their purpose, but let's hope that the ensuing DC/WB animated adventures take things to the next level.