Ranking The Films Of The DC Multiverse

Since Warner Bros and DC have decided to officially open up the multiverse, I figured now was as good a time as any to list my personal ranking.

This list is primarily based on how much I enjoy each film. Some I’ve seen more recently than others, but I’ve seen every one more than once, so I feel like I’ve got a pretty solid base to work with.

The qualifying criteria to make the list is that it needs to be live action, and a film. Believe me, I know very well that there are a number of awesome animated shows and movies, but this list would be insanely long and complicated if I’d included them.

I debated whether or not to include the Watchmen HBO miniseries, but it is technically a TV show, so I opted not to. The list does, however, include the Watchmen movie from 2009 that brought us (is to blame for?) the Snyderverse vision of the DCEU.

The Dark Knight – Some choices are obvious ones, even if we’d like to shake things up a little bit. But this is best live action versions of Batman, and the Joker, and is directed by Chris Nolan at the top of his game. I do knock it a bit for the somewhat rushed, and abbreviated, Two-Face origin and resolution. But that’s not quite enough to knock it out of the #1 spot.

Batman (1989) – This one came out when I was 10 years-old and, to this day, I can still quote it nearly verbatim. My mom took me to see the movie, and we waited in-line for hours while showing after showing sold out. Then, in a ballin’ mom moment, she decided to let me stay up for a midnight show. That left a huge impression on me, and so did this movie. It’s iconic in many ways, and so it finds itself at #2 with a bullet.

SHAZAM! – This one being ranked so high frankly shocked even me. But I’ve seen it a few times, so the rewatchability factor is strong, and I’ve even shown it to my 5 year-old son. I just really love its Gremlins/Goonies sort-of-horror vibe. The fact that it is clearly based in a world where our favorite superheroes exist, and the characters respond to those heroes exactly like you’d imagine people would, makes me feel pretty good about placing it this high.

Batman Begins – A true turning point in the superhero movie genre. Coming out in 2005, it took what worked in the Tim Burton films, as well as in more recent comic flicks like Blade and X-Men, and took things to the next level. A much needed course correction after Batman Forever and Batman & Robin sent the Bat franchise flying off the rails.

Wonder Woman – Just a super-solid film, top-to-bottom (barring a slightly miscalculated CGI smackdown in the climax). But everything about the movie worked: From its characterizations, to its humor, and its heart. The No Man’s Land reveal and scene, leading directly into the liberation of the small village is one of the most rousing 15 minutes you’ll ever see in a superhero film. I’m not sure you’ll ever see a more perfectly cast Wonder Woman than Gal Gadot.

Batman Returns – I like Christmas, and find carnivals slightly unnerving, so this was right up my alley. Definitely had more Tim Burton DNA than the 1989 movie, but that’s not necessarily a bad thing. Still a highly watchable film.

Aquaman – I never had much interest in the guy who can talk to fish, but this movie turned me around almost entirely by itself. By tapping into the Arthurian Legend side of Aquaman’s story, it was able to transform the underwater world into an eye-popping extravaganza. A charismatic lead performance by Jason Momoa also helped get me onboard for the ride.

Man Of Steel – This one took a bit of a pounding in the years after its release for the mass destruction of Metropolis, but I don’t think the casualty rate was intentional when it was being made. I did re-watch it recently and, while I still don’t care at all for Kevin Costner and Zack Snyder’s characterization of Jonathan Kent, there is still a lot I like. Henry Cavill is a fine Superman, Amy Adam is always reliable, and I somehow forgot that Russell Crowe was in this movie. But the superfights, for all their (presumably) unintended consequences, were the sort I’d wanted to see ever since I first saw our next entry.

Superman II – Lots of problem with this one, especially with an uneven tone that likely was spawned by passing through several different screenplays, and directors. But Christopher Reeve will always epitomize the big screen Superman in a way that no one else can. Terence Stamp is a lot of fun, and don’t think “Kneel before Zod” hasn’t been kicking around in my lexicon for 35 years. But there was another great line that sometimes doesn’t get its due for boiling down the greatness of the Man of Steel into one question “General, would you care to step outside?”

The Dark Knight Rises – I think this one suffered greatly from the loss of Heath Ledger, as having the Joker play a sort of Hannibal Lector monster-in-a-glass-cage role would have been a real treat. Some of the twists seem obvious and unneeded, and the natural upping of the sequel’s scale got a little unwieldy. But Tom Hardy is legitimately frightening as Bane, Anne Hathaway is a decent Catwoman, and Christian Bale nails it one last time as Bruce Wayne/Batman.

Zack Snyder’s Justice League – You can find my deep dive right here.

Superman: The Movie – Yes, this is the one that started it all, but it doesn’t really hold up all that well to a modern eye. The pacing is a bit too methodical once you’ve seen literally dozens of these films razzle and dazzle you from start-to-finish in the proceeding years. Lex Luthor & company are too jokey for my taste, Lois Lane’s “Can you read my mind” inner monologue/poem is hokey as hell, and Superman spinning the world backwards will never not get an eye-roll from me. Still, I’ve got to respect what it was able to do by kicking door open for all the comic book adaptations that would later come.

Superman Returns – I could (and likely will) write a whole separate blog about how this was the single biggest missed opportunity in the history of comic book films. But, for now, I’ll just focus on why it appears in this spot on my list. There are things I like: The costume looks great, Brandon Routh is a good Man of Steel, and Kevin Spacey delivers as Lex Luthor (and that’s all I’ll say about Spacey at this time), and its overall vibe feels about right. But its devotion to the first two Superman films from another era is a problem. I mean, one of the main plotlines stems from Superman II’s bizarre, and morally-disturbing-in-hindsight Super Amnesia Kiss. Also, the fact they chose not to have Superman face off with a physical threat in 2006 – when they had the technology to make it work- was a really questionable choice.

Wonder Woman 1984 – I feel like history will be kinder to WW84 than the immediate backlash was. Kristen Wiig is fine as the friend-turned-super-enemy, and Pedro Pascal is clearly having a ball. But they probably should have chosen one villain or the other, rather than trying to cram them both into a single film. Still, unlike the movies lower on the list, I wouldn’t really call WW84 a bad film. Though, it certainly could have been better.

Justice League (The Whedon Cut)- This felt like a 2 or 3 episode arc of the animated Justice League cartoon. And I say that as both a compliment, and a complaint. It was as quick, and to-the-point as the animated series, which would have worked just fine it if wasn’t also was chopped-up, reshot, undercooked, and overbaked. But I’d be lying if I said that Superman showing up just in the nick of time (weird CGI’d upper lip and all) and throwing a full-on beatdown on the heretofore unbeatable big bad Steppenwolf, doesn’t still make me smile.

Birds Of Prey – I was glad that Margot Robbie had a chance to do a little more justice to Harley Quinn than she was given in Suicide Squad. But the other protagonists of Black Canary and Huntress simply didn’t make any impression on me. Maybe, if they’d had them in cooler, more comics-accurate costumes, it would have been a bit more striking. Who knows? Maybe their lack of screen time together would have been a deal-breaker regardless. But Ewan McGregor and Chris Messina are fascinatingly unsettling, and that keeps this movie ranked about the bottom tier.

Joker – A very mediocre movie buoyed by a great lead performance by Joaquin Phoenix. I don’t have a lot more to say about this movie as-a-whole since, like I said, I felt everything other than the lead role was pretty “meh”. I will say that, when Phoenix finally dons the make-up, and blasts the punchline into Robert DeNiro’s face, I had to nod in-approval. Too bad they waited until the last 15 minutes of the movie to actually get to the “Joker” part.

Batman V Superman: Dawn Of Justice – I wanted to love this movie from the time I saw the first teaser trailer, all the way up until the final frame. But it failed on virtually every level. If they had re-written the Bruce Wayne part to be Lex Luthor, and completely dropped the Riddler-esque version of Luthor Jesse Eisenberg deposited on-screen, this movie may well have been near the top of my list. But grim-and-gritty doesn’t work for Superman, and we really didn’t need to get to Doomsday so quickly. The fact that Snyder felt the need to kill Superman three different times in this movie probably tells you all you need to know about how he feels about the character. Batman simply drops too many bodies to ignore, though the warehouse fight may have been the best Batman fight captured on film. Wonder Woman was a nice surprise, but not nearly enough to save BvS from itself.

Batman Forever – Sort of caught between the goth world of Batman Returns and the pinball machine aesthetic of Batman & Robin, this one had a few redeeming qualities. Val Kilmer is pretty decent as both Bruce Wayne and Batman, for example. The movie is amusing enough to sit through without being aggressively terrible. But Tommy Lee Jones plays Two-Face completely wrong. He really shouldn’t have tried to out Jim Carrey Jim Carrey (who is, somehow, more nuanced in his role as The Riddler than Jones is). I normally like Chris O’Donnell, but they really should have gone for a younger Dick Grayson/Robin.

Watchmen – The movie looks great, so I can understand why WB liked Snyder enough to usher in their next wave of movies. But, thematically, he’s much too comfortable with Objectivism and mankind’s moral failings to be the right man for bring DC’s most prominently hope-inspiring characters to life. But, those leanings worked well for Watchmen. I almost had this one higher on my list due to a handful of scenes and moments that were really cool. But, ultimately, they never should have tried to adapt this with anything less than 10 hours or so to work with.

Green Lantern – Full disclosure: I totally forgot to add this to my initially published list. But, really, can you blame me? I don’t have a whole lot to say about it. Ryan Reynolds had the completely wrong vibe for Hal Jordan, though he found a superhero sweet spot just a few years later with Deadpool. Presenting Parallax as a giant fart cloud, and Hector Hammond as a walking scrotum probably weren’t great creative choices. But the Lantern costume effects were not terrible. All-in-all, a very forgettable entry in the comic book movie canon.

Movie poster, Superman III, 1983. 1987.0213.032.

Superman III – Weirdly, this was the closest they’ve ever come to unleashing a live action Brainiac. If they ever get around to making a proper Man Of Steel sequel, he needs to be at the top of their villain list. The movie is just not good, and there’s not a whole lot to say about it. The one cool Evil Superman vs Clark Kent junkyard fight that may-or-may-not have been a delusion brought on by a Kryptonite-induced psychotic break is really the only thing keeping this ranked above the bottom-feeders below.

Batman: The Movie (1966) – I mean, they clearly made exactly what they wanted to make here. It just so happens that it doesn’t work for me at all. This silly movie, and the silly show that followed, are the reason why no one tried to make a remotely serious superhero movie until 1978. But, again, they did all that on-purpose. Which is the only thing that separates Batman: The movie from the remaining films on the list.

Superman IV: The Quest For Peace – My dad took my to see this on when I was 8 years-old, and I’m pretty sure the Nuclear Man scratching Superman’s neck with his radioactive fingernail thus somehow transforming the Man of Steel into a cardigan-wearing elderly man made me cry. But, anyone older than 8 years-old, can see just how cheaply this was made. And just how minimal the effort was to throw the character’s name on a poster, and try to cash in. It’s pretty much unwatchable.

Batman & Robin – The movie that killed Batman movies for almost a decade. I suppose this gaudy piece of eyeball puke was the rock bottom that superhero movies needed in order to reset. So, in that respect, I suppose we owe it a weird debt of gratitude. Just not enough of a debt to ever sit through it again.

Suicide Squad – Just a complete mess, pure and simple. Like Justice League, this one was all chopped up, and then Frankensteined back together two or three times, and it shows. The difference is that Justice League at least had iconic characters that I wanted to see on-screen. Suicide Squad did not, to say the least. Characters are introduced multiple times, and extremely lazy song needle drops pervade the entire first act. The story itself makes zero sense starting right from Viola Davis’ (as Amanda Waller) question “What if Superman had decided to grab the President of the United States right out of the Oval Office? Who would’ve stopped him?” The answer is the same as my answer regarding who I want to watch a movie about: “Absolutely not any of these guys.”

Archangel’s Descent

NOW

I

Another dark night. Another abandoned warehouse. Another crew of drug dealers who need to be dealt with. In some ways it’s like a recurring nightmare, or an infinite loop that I’m caught in.

Sometimes I wish I could break free, move on to another city, another country, another world. Someplace where I can leave the weight of Stonebridge City far behind, no longer hoisting it up on my shoulders until it feels like my spine is compressing. Crushing each vertebra into powder until only dust remains beneath my flesh.

But Stonebridge City is my city. That was a decision I made long ago. My carrying of this city is the only thing that keeps it from falling into the abyss, and crashing at the bottom of the fathomless pit below.

That is why I find myself once again speeding through the void of this never-ending night on a motorcycle custom-built for silence and stealth.

Some believe me to be a ghost cloaked in blackness, invisible as it rides amongst the other shadows. But those who contemplate me with fear do so with good reason. The criminal element will always fear the unknown, since those who feed on the fear of others are the ones more likely to be devoured by their own.

And so, they anticipate that whomever, or whatever, lurks in the ether hunts them with the same ruthless intentions that drive their own actions. I may be out here seeking the worst of humanity, but my reason for being out here is not these dregs.

It is the others that I am out here for. The victims. The innocents. The people trying their best to find a glimmer of hope and kindness in an otherwise cruel and hopeless world.

They don’t see me as a ghost, but as a guardian angel. A warrior who is willing to fight an unending war to keep them safe, because he is the only one who can. That’s why those people long ago named me Archangel.

But, if these people knew exactly why I was on this pier going to this warehouse tonight, they might call me by a different name.

“Mr. Angel,” I’m greeted by Chaz as I enter the warehouse. The shaking in his voice is already prevalent, though he’s trying to hide it. “We weren’t expecting you tonight.”

“I can tell,” I say to him, looking past his shoulder and into the office where I see who I’m looking for.

Chaz is trying to get a read on my expression, which isn’t easy to do since only my mouth and chin are exposed from beneath the helmet. He’s trying to look into my eyes just as hard as he’s trying not to. But the lenses are white-tinted, so he can’t see anything other than his own fearful reflection in them – which is exactly the point of their design.

“What I mean is…we can explain,” Chaz continued, now clearly rattled.

“We?” I ask, still looking through the window to the office.

“Well,” he backtracks, “Donnie can explain.”

“Good,” I tilt my head away from the children in the office, and at Chaz. “Because he’s going to have to.”

There are eight kids in all. The oldest among them is no more than twelve years old, the youngest looks to be nine or ten. Some are trying to make their best grown-up poses as they speak, no doubt emulating the dealers who recruited them. What they’re actually discussing is not important, so I don’t bother enhancing the volume in my earpieces.

The younger ones aren’t even trying to posture. They just look confused, and nervous about what they may be asked to do once they’re trained to run the products, and the cash drops from corner to corner. Two of them are even wearing sweaters with a picture of some cartoon dogs from a kids’ show.

They went from watching cartoons this morning to being coerced into the drug trade this evening. I’ll bet their parents think each of them are playing at a different one’s house right now. Pretend adventurers, real life drug couriers.

I take a moment to compose myself before addressing Chaz again.

“Where’s Donnie?” I ask.

“Out on the dock, Mr. Angel, sir,” he quickly replies.

“Is he alone?” I continue.

“No, sir. He’s got five or six of the boys with them.”

“Packing?”

“Automatics.”

I offer no more than a grunt, before running my thumb over the handle of one of the throwing knives in the crisscrossing bandoliers strapped across my chest. I then nod towards the table at the center of the room that’s littered with narcotics, and high stacks of money.

“Give each of those kids a brick of cash, and send them home,” I tell Chaz. “And make sure they know that, if they if they end up on the street slingin’ this shit, they’re going to have to deal with me. You got all that?”

“Yes sir, Mr. Angel, sir!” he blurts.

“When they’re gone, come and meet us on the dock.”

He scrambles over to the table, and starts gathering up cash in his arms. I walk past him, through the length of the warehouse, and emerge at the docks on the other side.

I can see the lights of the city across the river sparkling through the clear night sky. The skyline is beautiful from afar, but its murky reflection in the inky black water of the river presents a more accurate likeness of Stonebridge City’s true self: Superficially beautiful and outwardly thriving, but with a dark, beating heart beneath the black mirror surface.

Still, that’s a damn sight better than it was before I returned.

Chaz’ count was right, Donnie is standing at the center of five of his most trusted soldiers. Each one has a machine gun strapped across his chest except for the man himself. He invested in a chrome-plated .357 revolver to serve as a badge flaunting his rank.

Of course, you can only see the pearl handle grip, and the shining hammer sticking up from the front of his jeans. I should have known better than to place a man who wears his authority so poorly in a position of power.

Whatever happens here in the next three minutes tonight is on my shoulders. But why should this be any different than anything else in this city?

“Mr. Angel,” Donnie greets me with a self-satisfied smile. “What brings you here tonight?”

“I heard a rumor about you involving some kids, that couldn’t possibly be true. Not after the last conversation we had on the topic,” I reply.  “There’s no way Donnie could be that stupid, I thought. That careless. But then I dropped by to check it out anyway, and imagine my surprise.”

I finally stop walking towards the group when I’m no more than two feet away from the nearest gunman. It doesn’t take more than a shift in my posture for the lackeys to all clear out the space between myself and Donnie.

“To say nothing of the new gear for your boys,” I make a show of looking at each machine gun. “I thought you understood the rules, Donnie. My rules.”

“Of course I understand the rules, Mr. A,” he offers casually, I offer a frown in-response, and he changes his tone “Mr. Angel, I mean. But we were starting to catch some serious heat. Riley’s got the pigs all tuned up, and looking to rock.”

“If the police are closing in on you, then you simply need to be smarter,” I state.

“That why I brought in the youth movement,” he says, as if he feels that was the obvious answer. “The kids transport the merchandise, and the cash, from our buyers and clients. If they get caught, no one does any time other than in juvie, and my crew stays intact.”

“Yes, I know how it works,” I say with a smile that blocks my snarl. “That’s beside the point. The point is that this is my city. We’re in agreement about that, aren’t we?” Donnie nods. “Good. And in my city you follow my rules. Is that equally as clear?”

“Mr. A…” the crew can see my jaw muscles tighten, causing them each to take another step back. “Mr. Angel…”

Without another word I move in closer to him. He doesn’t flinch, which is a bad sign for how I was hoping this would play out.

“I’m trying to make you some money here,” he disputes, his fingers almost subconsciously moving towards the handle of his pistol. “I’m trying to make us all some money!”

“I run the entire drug trade in this city. You work for the man who runs the entire drug trade in this city. Do you think we’re hurting for money?” I growl.

“Man, there’s always more money to make,” Donnie argues.

“We make as much money as my rules allow us to,” I tell him.

“And what about my boys getting busted?” he asks, his fingers twitching around his waistband.

“If you, or your boys, are incapable of doing this job the right way, then you need to find another line of work,” I explain.

He starts to talk again before I cut him off: “But you don’t need to worry about getting arrested anymore, Donnie. See, I gave you a choice last time you tried to bring kids into my business. Leave town, or follow my rules. You chose the latter, and I gave you a second chance. I don’t do third chances.”

“You sayin’ there’s no choice this time?” Donnie says with as much swagger as he can muster.

“There’s always a choice,” I correct him. “But there are different options this time. Option one: You walk down to the nearest precinct, turn yourself in, offer a full confession, and do your time.”

“What’s option two?” he asks, now opening and closing his hand over the .357.

“You don’t want to choose option two,” I tell him straight.

“I ain’t going back to jail, Mr. A,” he says, making a show of not correcting himself this time.

“This isn’t a negotiation, Donnie,” I offer him one last out. “Take the walk, do the time. It’s the only time you’re going to get tonight.”

His breathing has picked up, and his eyes are bulging slightly. He’s scared, but still thinks he has a chance. I wish he was smarter than this, but I’m not surprised that he isn’t.

The throwing knife is out of my hand before he even fully pulls the cannon out of his waistband. I spin it with enough velocity to punch deep through his eye socket, and into his brain.

He’s falling backwards even as he fires his round so far off the mark that I don’t even need to shift my stance to avoid it.

I take note of the gunmen on either side of me. None of them have moved, so I guess they’re all wiser than Donnie. From the corner of my eye I see Chaz standing next to the last goon in line.

“Guns on the ground,” I say, without moving.

Each man in-turn lifts the strap over his head, and places the heavy artillery on the ground.

“Chaz,” I say, turning towards him. “What are my rules?”

“No victims, no violence,” he recites automatically.

“And using children as couriers?” I ask.

“Makes them victims,” Chaz says.

“And carrying machine guns?”

“Invites violence, and risks creating more victims.”

“Congratulations, Chaz,” I say, walking closer to him. “You’re now the boss of this crew.”

“Thank you Mr. Angel, I promise I won’t let you down!”

“Gentlemen,” I say to the rest of the crew as I walk over to Donnie’s body.

The back of his head is lifted off the pavement as I pull at the knife blade. Once the blade is fully removed, his head drops again with a thud. I make a show of wiping the blood off the blade, and onto Donnie’s clothes, making sure the others notice.

 “Take care of this,” I nod towards Donnie’s body, and then gesture for Chaz to follow me back towards the warehouse as the others move in on Donnie. “Donnie’s only family was his mother, right?”

“Yes, sir,” he says. “She’s an invalid, can’t really support herself.”

“Bring her half of Donnie’s share every month,” I tell him. “Keep the other half for yourself. Consider it a raise to go along with your promotion.”

“That’s too generous, sir,” Chaz says.

“That’s just business,” I reply, as my stealth cycle is now in-sight.

“Mr. Angel, what do I tell Donnie’s mom if she asks about him?”

“Tell her the truth,” I say, mounting the bike. “The heat got to him, so he had to go. Anything else?”

“No, sir. I can take it from here.”

“Good. Once Donnie is recycled, tell the crew to take the rest of the night off.”

With that, I ride silently back into the city, for it cannot survive without its dark, beating heart.

Besides, I’ve still got a busy night ahead of me.

FIVE YEARS AGO

I

Off to a pretty damn good start, if I may say so myself.

Good thing too, I’d hate to think I’d wasted half my life training for this, only to blow it right out of the gate. Thus far, that has not been a problem.

After getting back to Stonebridge City a few weeks ago, I was able to find my way back to that decommissioned subway station I’d stumbled upon before I’d left.

Jesus, was that really a dozen years ago? I can’t tell if it feels like a lot more, or a lot less. I suppose it really feels more like returning to a world that I’d left that now feels both alien, and familiar.

Familiar in that everything is the same as when I left. Every street turns into the same corner, and every person moves with the same casual cautiousness that comes with knowing you’re not exactly safe but believing that – since you understand the fear – you can protect yourself from the looming danger.

Yet it’s alien in that I feel like I’m viewing this city with different eyes. All that time I spent with South American paramilitary groups, bleeding edge weapons designers in Europe, and that ninja clan in Japan provided me with new filters through which to see the world.

Looking out at Stonebridge City now, I can see dangerous situations unfurl before they even begin. I can tell the difference between the predators and the prey just by the way they carry themselves. I understand what movements are coming, and which counter-moves I’ll need to make in order to resolve the situation before the first strike is even attempted.

Although, that last belief needed to be tested before I would truly buy-in. I got my first opportunity on Saturday night. It was as good a night as any, since people were out and about late at night, while the wolves in the shadows waited for the calves to wander from the herd.

I moved with the flow of humanity from rooftop- to-rooftop. The architecture in this city was constructed with many building in such close proximity so they could squeeze every last drop of real estate from it. As such, a simple leap is usually enough to cover the space between roofs over a majority of downtown, and midtown.

I found more uses for the grapnel hook gun when I got uptown. Small enough to fit in a holster on my right thigh, but loaded with a tightly coiled, high tension wire that could carry more than twice my weight if the need should arise.

The firing mechanism is designed to be silent, but can easily launch the hook across the width of any of Stonebridge’s main avenues, and embed itself into a brick building on the other side.

Admittedly, I was nervous to try it in the field for the first time, but I knew I had to be able to trust my gear as much as I trust my own skills if I’m going to survive in this life long enough to make a difference.

That being said, it was still exhilarating to swing across those canyons of the city. I imagine the sensation I felt was much the same as a Post-Human feels when first taking flight.

But I quickly moved past that thrill, because I didn’t come back here seeking thrills. I came back here to help people, and to bring justice to those who’ve escaped it. I came back here to save lives. To save this city.

The dark streets below, lightly traversed, made this feel like the place to start. I always remembered hearing horror stories about the careless souls who wandered uptown, walked down the wrong street, and were devoured by the night.

So, I knelt on the ledge, switched the lenses in my helmet to night vision, and adjusted the levels in my earpieces to minimize ambient noise and maximize human voices.

I pick up bits and pieces from conversations happening on the top four floors of the building. Couples arguing about bills, and drunks blabbering about how the world screwed them over are the loudest, and the first that I hear.

I also hear the laughter between friends or family members enjoying the evening together. They’re sharing stories, and memories, and stories that they try to pass off as memories since the truth has been lost to the past.

But this is not what I’m listening for tonight. I adjust the balance levels further with the touchpad controls under the gauntlet on my left forearm.

There’s a different quality, a different vibration that comes from a voice echoing off the walls of the alleys below. These are what I’m listening for. The people in the labyrinth below who are unexpectedly nearing the Minotaur in the center of it.

“Leave her alone!” echoes from below.

“Naw, we’re gonna show her what it’s like to have real men givin’ it to her.”

I can hear the impact of the butt of a pistol cracked on the back of a head. And then a woman’s screams.

I’m across the rooftop, and making a few quick configuration changes to my grapnel gun in a heartbeat. I hook it onto the inside of the ledge, click it into place on the harness at my belt buckle, and then rappel down the side of the building.

The descent feels like a freefall, but I never lose control of it. The two attackers are standing over another man, who’s curled up in a fetal position. The girl is trapped with a ten-foot-high fence behind her, and two thugs standing between her and the entrance to the alley.

I touch down on the ground silently, and release the harness. The men haven’t seen me yet, but the girl has. She looks past them, between them, and views me with a mixture of uncertainty, hope, and fear.

“That’s alright, mama,” one of the men says leeringly. “You don’t have to look at us, as long as you feel us.”

“Feel this,” I say, now within arm’s reach of them.

“Who the f…” the one with the gun turns toward me enough for me to grab, and twist his wrist; wrenching the pistol from his grip.

While his mouth is still open in mid-scream, I crack him across the cheekbone with a pistol whip. He drops to his knees from that blow, giving me room to swing a forward roundhouse kick over his head, blasting his partner’s nose into five pieces with it.

Both are bleeding on the ground, but not yet unconscious. That’s easily corrected with a pair of quick elbows into the base of their skulls. I break out a pair of zip-ties from a pouch on my left thigh, and bind their hands behind their backs.

The girl’s kneeling beside the beaten man and asking him if he’s alright, while I fasten myself once again to the grapnel gun.

“Who are you?” she asks me from the ground. “Are you one of them? A superhero?”

“I’m just someone who wants to help. Call 9-1-1 and find a safe place nearby to wait for the police to arrive,” I say, before triggering the recoil, and ascending back to the rooftop.

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The Marvelous Misdirections Of Avengers: Infinity War

I’m going to put this right at the top here:  Every word in this post contains spoilers about Avengers: Infinity War.

I’m not doing a standard review, since there have been a million of those already, and most of them are probably better than what I could do.

So, instead, this will be a spoilers & speculation post.

I’ll be directly addressing the fates of all the major character in the film, and what I believe that will and/or should mean for their future.

You have been sufficiently warned, so anything you see below this line is your own fault.

 

 

The misdirection that I reference is in the way that Infinity War was advertised. “Where Will You Be When It All Ends” is a super ironic tag line since nothing – including the movie itsel – really ends here. And, as long as we’re mentioning fake-out advertising, the dramatic struggle between Captain America and Thanos is little more than a footnote in this movie. There isn’t even any audio besides the dramatic “We’re All F*cked” music playing over the scene. Lastly, all those shots of the Hulk in Wakanda were easily plucked out by the CGI crew.

None of those little marketing fibs made me angry, though, when all was said and done. I very much enjoyed Infinity War, but I’ll abstain from giving my full thoughts on it as a film until it’s actually finished next year. This was not really a full movie; it was the first two acts of the three act film.

With that said, I thought it was done as well as you could possibly do something of this magnitude, with this many primary characters – most of whom are already carrying their own film franchises.

Some reviewers thought Thanos himself was a problem, but I thought that Josh Brolin imbued the character with enough humanity (for lack of a better term) to make even Motion Capture God Andy Serkis proud.

Every character got  a chance to get their stuff in, albeit in smaller doses than usual. But I didn’t feel like anyone got cheated out of screen time, since there was only so much to go around – even at two hours and forty minutes – and everyone got a pretty equal share.

Now let’s take a tally.

I’ll be listed cause of death (or “death”) next to each character’s name. Everyone who got dusted by Thanos’ Finger Snap Of Doom (he was right, Thor should have gone for the head) will be tagged as “Oh Snap!”

Dead:

Heimdall – Stabbed in the chest by member of Thanos’ Black Order.

Loki – Choked to death by Thanos himself.

Gamora – Dropped off a cliff as a sacrifice to attain the Soul Stone (which was protected by the Red Skull, who made a legit surprise cameo!).

Vision – Mind Stone yanked out of his head by Thanos.

Winter Soldier / Bucky Barnes – Oh Snap!

Black Panther / King T’Challa – Oh Snap!

Spider-Man / Peter Parker – Oh Snap!

Doctor Stephen Strange – Oh Snap!

Falcon / Sam Wilson – Oh Snap!

Scarlet Witch / Wanda Maximoff – Oh Snap!

Star-Lord / Peter Quill – Oh Snap!

Drax – Oh Snap!

Mantis – Oh Snap!

Groot – Oh Snap!

Nick Fury – Oh Snap!

Maria Hill – Oh Snap!

Unknown:

Princess Shuri

Hawkeye / Clint Barton (not in the film)

Ant-Man / Scott Lang (not in the film)

The Wasp / Hope Van Dyne (not in the film)

Captain Marvel / Carol Danvers (teased in the stinger, so presumably alive)

Alive:

Captain America / Steve Rogers

Iron Man / Tony Stark

Hulk / Bruce Banner

Thor

Black Widow / Natasha Romanov

War Machine / James Rhodes

Rocket Raccoon

Nebula

Mbaka

Okoye

 

Now, as far as who’s dead “for real” I’m going to say that only Heimdall, and Loki fit that bill.

Fact is that Idris Elba was too good for that role when they cast him, and has better things to do with his time.

Loki, meanwhile, has been great in all the movies he’s appeared, but he’s essentially a villain who already appeared in five movies. That being said, Loki’s been presumed dead a few times before, so you never know.

We’ve already seen an incarnation of Gamora in the Soul Stone’s pocket dimension immediately after the Finger Snap Of Doom. I don’t believe it’s going out on a limb to suggest that she’ll find her way out of the Soul Stone just in time to give Big Daddy T a stab or two.

Everyone who disintegrated after the Finger Snap Of Doom are, ironically, the safest characters. For various reason – financial and otherwise – it would be a bad idea to keep any of them dead past Avengers 4. I expect we’ll see all of them either immediately after Thanos is vanquished, or just in the nick of time to help with the vanquishing.

As for the unknowns – I expect we’ll find out Ant-Man and The Wasp’s status by the time their movie in July comes along. Because of that, and because they weren’t actually in Infinity War, I won’t speculate too much on their fates.

Here’s the funny thing I noticed about all the survivors: All of the original Avengers squad is still alive (I’m assuming Hawkeye is amongst the living as well, so we can get a full reunion in Avengers 4).

This makes way more sense than to kill any of them off in a movie as crowded ad Infinity War was. They’ll have at least the first half of Avengers 4 to do their victory lap. I do believe, however, that victory will come at a great cost.

“Who do you believe will actually die fighting the good fight against the Mad Titan” you may ask?

I can’t get a read on Hawkeye, but he’s been absent enough since Age Of Ultron that I think he may be traveling to that great archery range in the sky.

Tony Stark has cycled through a complete character arc at least twice in the last ten years. Also, Robert Downey, Jr still has a back-end deal that pays him based on box office grosses that I believe Marvel probably wants to get out of.

From a storyline perspective, the tandem of T’Challa and Shuri have the awesome armor / billion (trillion?) dollar bank account to fill in Iron Man’s spot. Also, Doctor Strange telling him “I’m sorry, Tony. There was no other way.” tells me that 1 out-of-14,000,000 chance at victory he foresaw will come at the cost of Tony’s life.

Steve Rogers has really been the backbone of the whole MCU in many ways. His character has also had one vast, and fantastic character arc that tells me his story ends while saving the universe from Thanos. Chris Evan also seems like he’s interested in doing some different things.

I think that Bucky will take up the mantle of Captain America, much as he did in the comics for a few years. He won’t be going at it alone, though, since I think he’ll need help from Falcon to fill Steve’s shoes. This also hopefully gives us a chance at more of their delightful “I hate you / I hate you more” dynamic in future films.

I believe that Black Widow will stick around to be the third leg that help carry the weight of Steve Rogers’ legacy. She, as a character, still has a lot of untapped potential. Also, Scarlett Johansson has a movie star presence that’s tough to replace.

Thor should be safe, especially since they only just figured out how to make a great Thor movie with Thor: Ragnarok. Chris Hemsworth also seems like he’s having a great time in Ragnarok, and Infinity War. Besides, he only just got that badass Storm Breaker. It’d be  a shame not to see that bad boy in action some more.

Hulk is, as he always has been, a lot of fun. Also, it’s nice to “Have a Hulk” in your back pocket whenever the need may arise. I think the Green Giant will be sticking around longer.

Rhodey has been around since the very first MCU movie, and Don Cheadle has been playing him since way back in Iron Man 2. War Machine would certainly help fill in that expected Iron Man-shaped hole, but his survival is a true wildcard in Avengers 4.

I expect Captain Marvel, Rocket, Nebula, and the Wakanda Trio (Shuri, Mbaka, Okoye) will help fill our the margins of Avengers 4. I think the only real death risk out of that group is Nebula.

At any rate, that’s where I stand on the present – and future – of the Avengers, and the MCU in-general. Where I also stand is happily in-line to see Avengers 4 as soon as I’m possibly able to.

Defending The Justice League

Justice League opened last weekend with a disappointing $96 million domestic box office gross (though it made about twice that much overseas). Expensive, and extensive, reshoots were clearly a part of the reason why this is a disappointing opening. But the important thing is that the reshoots worked, and the movie is closer to what it needs to be that it would have otherwise been.

Spoilers Ahead.

The best summation I can offer is that this movie felt like a two-hour episode of the Justice League cartoon that I always was (and still am) a big fan of. It was pretty simple, very streamlined, and actually fun. This is a good thing compared to where the DC Expanded Universe was previously.

This movie had to accomplish some lofty goals and, for the most part, it attained those goals. Aquaman, Flash, and Cyborg came in with a clean slate, and they each acquitted themselves well. Wonder Woman was coming off her own excellent movie (far and away the best of the DCEU so far), so she came in with some cred and swagger. Batman and Superman, however, were in need of massive image rehab after the character assassination that was Batman v. Superman.

Batman and Superman were both in fairly decent shape coming into BvS. Christopher Nolan had made three damn good Batman movies since 2005 (not technically part of the DCEU) and unlike many people, I rather liked Man Of Steel. The issues that I had with it had nothing to do with Henry Cavill’s performance. My main gripe was the way Jonathan and Martha Kent gave the sort of life lessons to Clark that would make more sense in the Bizarro Earth.

Sure, Man Of Steel was far from perfect, but it did have the best live action Superman fight sequences of all time (massive Metropolis civilian body count aside). Then BvS made Superman a pouty Emo boy, and Batman a murdery, caped Punisher. The less said of everything Lex Luthor-related, the better. So Justice League’s primary mission had to be “Make the audience want to see more Batman and Superman movies.” To that I say mission accomplished.

Yes, the movie had issues. The flow of the movie felt choppy in places, and the CGI looks a lot cheaper than the supposed price tag would suggest. I suspect that both of these issues were due, in large part, to the necessary reshoots. The important thing is that I came out of the movie actually looking forward to seeing more movies starring any and all of these characters.

The Flash has most of the best lines. Aquaman seems like a cool hang. Cyborg’s story looks like it could go to some interesting places. Wonder Woman is still all good. Batman plays more like a Caped Crusader than a bloodthirsty maniac. And, out of all this, Superman was probably the highlight of the film for me.

For the first time since Superman II (1980) I was able to look at that character on the big screen and say “Now THAT is freakin’ Superman!” (Honorable mention to Brandon Routh and Tyler Hoechlin, who played decent Supermen with sub-par action surrounding them). A sort-of-amnesiac Man of Steel taking on the rest of the League is a cool set piece, but his big return in the climax of the film is what really won me over.

When he arrives just in the nick of time to give the team the final push towards victory, and those few notes of John Williams’ classic Superman Theme hits, it almost impossible not to get goose bumps. I’ll admit that Danny Elfman sampling his own Batman Theme along with Williams’ is a bit of a cheat code, but damned if they didn’t do the trick.

Anyway, Supes lays some smackdown on a giant alien bully, flies off to save a literal building full of civilians, then flies back to beat the crap out of the bad guy some more. It was the perfect use of Superman. If they can keep that going, then the granddaddy of all superheroes’ future is in a very good place.

Don’t get me wrong, the next round of films still need to be better. But, after Wonder Woman and this, I feel like the compass needle of the DCEU is finally pointing true north. Now, DC’s most iconic villains – Lex Luthor and The Joker – are still in desperate need of some character rehab. But at least DC/WB finally looks they they’re aware of that fact. And, hey, retcons have been a part of comic books almost as long as capes and tights have. So there’s hope.

I’m of the belief that having more good comic book movies is a wonderful thing. Marvel Studios has been banging them out of ten years now, hopefully Warner Bros comes to the understanding that the loss they may take from Justice League will lead to bug gains in the future. After all, if they started out making the movie they ended up making, it would have been cheaper (relatively speaking) and better.

Besides, you’ve still got a few weeks before The Last Jedi opens, and Justice League is definitely worth the fairly meager 110 minutes of your time. Did I mention this movie runs under two hours? It’s a nice break from the regularly inflated comic book movie runtime, and is another point in the film’s favor. So my real review is this: Go ahead and give it a shot. If you go in with realistic expectations, you won’t be disappointed. And, honestly, that’s only the second time I can really say that about the DCEU.

 

America Is “R”-eady!

Deadpool just became the highest grossing R rated film of all time, which is awesome, but I’m not here to discuss Deadpool specifically. Rather, what I’m here to discuss is what that film’s success means for the future of film in a more general sense.

Deadpool (Ryan Reynolds) reacts to Colossus’ (voiced by Stefan Kapicic) threats.

The boxes checked off by Deadpool are comic book adaptation, action movie, and comedy film. It would be faulty logic to try and delineate which of these flavors were the biggest reason for it’s record breaking success, as the combination of all three is clearly what led to it. What I’m more interested in is which of those genres will benefit the most from Deadpool’s big win.

We’ll start with comic book movies, as brand recognition certainly factors into box office success. But you can’t really make any more money bringing DC and Marvel characters to life than they already are. These films have made billions of dollars and will continue to do so for the foreseeable future.

punisherposter

Also, let’s not fool ourselves into thinking that Deadpool was the first ever successful R-rated comic book adaptation. The three Blade moves were all rated R and – while only the first two were actually good movies – they all turned a profit. Kick-Ass was also received well enough by critics and audiences to warrant an admittedly inferior sequel. The Punisher (2004) and Punisher: War Zone (2008) were not especially profitable, but they were both enjoyable enough to sit down and watch whenever they come on TV some evening or weekend afternoon.

While James Gunn’s Super was very good, it was also an original property, so it may not entirely qualify for this list. But last year’s Kingsman: The Secret Service was a highly entertaining and well-reviewed R-rated comic adaptation. In fact, Kingsman itself did strong enough business to get a sequel greenlit. What I’m ultimately saying is that, even though the money Deadpool made was unprecedented for an R-rated comic book movie, the R rating itself was not.

Super_Poster

Comedies with an R rating never really went away. You can track back even just the past 10 years to the films of Judd Apatow and Paul Feig to see that. The 40 Year Old Virgin, Knocked UpTrainwreck, Bridesmaids, The Heat, and Spy all made money hand over fist and have strong reviews across the board on Rotten Tomatoes. However, those last two movies lead me to what I believe will be the real genre winner here: action movies.

theheat3

Yes, The Heat and Spy were billed more as comedies than as action movies. But they are really just a slight shift in ingredient measures away from films like 48 Hrs, Lethal Weapon, and Die Hard.  Action films used to proudly hoist their R rating before theaters began to crack down on underage viewers buying tickets to those movies. This is why memorable and fun 80’s and 90’s vehicles like the ones listed above, along with movies like Cobra, Predator, Bloodsport, Out For Justice, Con Air, and Face/Off (and numerous more that I could fill out a whole other blog post with) were replaced by a bunch of fairly toothless PG-13 movies.

Cobra_movie_poster

It doesn’t seem like the general admission crackdown is going away anytime soon (I might write a post about how the overly Puritan mindset of the American public at-large is doing a disservice to entertainers and those they wish to entertain at a later date) but as long as you can make an R-rated action movie that parents and their tween or teen kids are interested in, then we could see a real Renaissance.

There have been some very good non-comic book “restricted” action movies that have come out just in the past year or two. A few that spring immediately to mind are The Guest, Blue Ruin, John Wick, and The Purge: Anarchy. None of these films carried anything approaching even the relatively low $58 million budget of Deadpool, and none of them had anywhere near the full court marketing press as that movie, but I found them all just as enjoyable.

johnwick

There is still a market for “adult” oriented action, you can tell just by looking at some of the biggest television hits of the recent past. Game Of Thrones, Breaking Bad, The Walking Dead, Daredevil, and Jessica Jones were/are all excellent shows that bring in millions of viewers each week. Every one of those shows is much closer to an R rating than a PG-13 rating and, in fact, three of them are comic book properties. I can also guarantee that nearly half the viewers for these shows are under the age of 18.

You don’t need to be over 18 to want to see this sort of content but, if you are, then you’re not allowed to go to the movie theater and buy a ticket for it. Odds are that 99.8% of them suffer no mental trauma by watching these shows, this I say from personal experience, but now we’re moving back towards that Puritan values problem I mentioned earlier. My point is that, as long as the product is good, and as long as it is advertised and available enough, films of this nature will be successful.

Jessica-Jones-1-1200x674

My theory will get its first real test at the end of May when The Nice Guys opens. Shane Black’s last movie was Iron Man 3, so I suppose it brings a little secondhand comic book brand recognition. But he’s more well known for directing and co-writing great R-rated action films like the aforementioned Lethal Weapon and, one of my favorite action-comedies of the last 16 years, Kiss Kiss Bang Bang. Yes, there are some big stars in The Nice Guys. But this is not the sort of Oscar bait that most R-rated star vehicles are these days. In fact, it looks a lot more like a fun, old school romp in the spirit of something like Deadpool.

THE-NICE-GUYS_Teaser-Poster

Obviously, I’m not banking on this as the be-all, end-all, since most of The Nice Guys was filmed before Deadpool was even ramping up its massive marketing campaign. But it bears watching trends over the next few years, and I’m personally hoping we get more of those vintage style action movies that I remember from when I was technically too young to watch them, but watched the hell out of them anyway.

It would be a nice break from the 21st century assembly line of sterile, overly polite versions we’ve been force fed. After all, the famous line does not go “Yippee Ki-yay, Jerkface!”  it goes “Yippee Ki-yay, Motherfucker!”

Batman v Superman v Batman & Superman

I’m about to lay out my take on Batman v Superman, so be warned, there are massive spoilers ahead.

batmanvsuperman

 

The majority of reviews were pretty harsh on this movie and, to be honest, mine will be as well. But there were some things I liked about Batman v Superman, so I’m going to hit on those first.

One big positive takeaway was that Ben Affleck and Gal Gadot were both very good in their roles. They really did the best you could expect actors to do considering the material they have to work with. Their performances managed to get me interested in seeing solo Batman and Wonder Woman films. One other sort of character note was that Doomsday was scary as hell, so they nailed that.

batman-v-superman-poster-gal-gagot

 

This movie, like any other Zack Snyder film (even Sucker Punch), was great looking. Say what you will about his movies as a whole – and I will do so below – but the guy knows how to work an aesthetic. A more specific example of this is that, like in Man Of Steel, the fight scenes were all very well executed and exciting.

Some of the content from said fight sequences were questionable, but you can’t question that they were purely visceral. I’d like to also single out the scene towards the end where Batman systematically takes out a group of thugs is genuinely the best cinematic realization I’ve ever seen of the Dark Knight in full ass kicking mode.

batmanfight

Now for the rest.

Batman v Superman was absolutely joyless. Everyone acted like a dick to everyone else, and it seemed like the movie took place in a parallel world where smiles were punishable by death.

I’ve seen Henry Cavill be charming in other things, like The Tudors and The Man From U.N.C.L.E. But he’s not allowed a single moment of levity in this movie. Superman was all dour and depressed and nothing else. You think that you’d got to at least give the guy a chance to show how simply awesome it is to be Superman, but apparently you’d be wrong.

Batman-v-Superman-Superman-Flood-Scene

 

There’s a montage of him saving people and, in every example shown, he looks like he’s pissed off at having to pull these fools’ asses out of the fire (literally in some cases). That is not Superman. Superman, in pretty much ever incarnation, enjoys saving people and gets a sense a purpose and satisfaction from doing so. Zack Snyder’s version has more in common with Dr. Manhattan from Watchmen, a distant and removed God among mortals doing what we must for no other reason than because it’s expected of him.

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I’m well aware that Snyder directed a pretty good adaptation of Watchmen in 2009, but he clearly didn’t understand that Dr. Manhattan was meant to stand in stark contrast to Superman. He was written to be a version of Superman who lost his humanity, which is quite possibly the defining characteristic of Kal El. Even clinically gloomy Alan Moore wrote a more relatable Superman in stories like Whatever Happened To The Man Of Tomorrow and For The Man Who Has Everything.

whateverhappened

Batman, meanwhile, was blowing people up left and right with no regard for whether they lived or died. That works for a certain type of protagonist, but it is not who Batman is. Tossing severe beatings to the bad guys is very much within the Dark Knight’s wheelhouse, and flipping over their cars is par for the course. But Zack Snyder could not lay off the explosions. A flipped car here and there is cool but, for crying out loud, they do not need to explode and ensure that everyone in the theater has no doubt that those dudes are dead.

I was willing to give Jesse Eisenberg the benefit of the doubt in his portrayal of Lex Luthor, even though the trailers gave me some pause. But he played Luthor as a jittery bundle of nerves, which seemed like the exact opposite of an appropriate characterization. I’m all for giving an established character a bit of a different spin, but completely routing out the traditional cold and calculating core of Lex Luthor is doing a disservice to the character.

lex

Which brings up to the real problem. Warner Bros has never trusted the source material for their DC comics adaptations. Meanwhile, Marvel pretty much films the trade paperbacks panel by panel. As such, WB gave the keys to Zack Snyder and David Goyer, neither of whom seems to have any real affinity for the legendarily storied history of Batman or Superman.

Everything is darker, grittier, more violent, and more melancholic than it ought to be. And this comes from a guy who really liked the dark, gritty, violent Dark Knight Trilogy. But it’s just not the right tone for a movie that includes Superman and Wonder Woman. If I had to guess, I’d say the general flaw in their thinking is that they need to makes things as stylistically different from the generally bright and sunny tones of the Marvel Cinematic Universe. As a result, they’ve painted themselves into a corner.

falafel

Yes, Batman should have some edge and darkness. But Superman is meant to represent the diametric opposite of that. If the symbol on his chest stands for hope, then why is his outlook – and the outlook of this film – so hopeless? BvS just came off as Dark v Darker, and this ain’t Punisher v Wolverine (as awesome as that would be). The filmmakers simply pressed too hard for distance between their brand and the Marvel brand, and ended up in a shadow realm.

WB Films should take some notes from their TV brethren. Greg Berlanti and his team have made a fully fleshed out and realized world that is the closest thing to a comic book brought to life ever seen to television. Arrow, The Flash, and Supergirl bring the heart and the fun to the party. In fact, the recent crossover episode they had might as well have been called Supergirl xo The Flash.

melissa-benoist-grant-gustin-supergirl-the-flash-620x413

But these shows also manage to hit the darker notes when they need to. The big difference being that they don’t start off somber leaving only a deeper abyss to descend into when they want to raise the stakes. When you feel the need to have Superman beaten down by Batman, blown up by a nuclear missile, and THEN stabbed through the chest by Doomsday in the same night to make a point about how hard it is to be a hero, then maybe you ought to reconsider your starting point.

There were other issues with BvS, such as too many nonsensical subplots, and an Apokolips teasing dream/vision sequence that absolutely no one would have missed had it ended up on the cutting room floor. Yes, it was cool to see parademons, Darkseid’s omega symbol burned into the ground and the classic Apokolips fire pits. But all that ate up 10 minutes of screen time that did nothing to serve the story as a whole.

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Here’s the thing, I did appreciate the film for what it was. It had a lot of heavy lifting to do in order to be the launching point for a new muti-film franchise. It wasn’t what I’d call enjoyable, but I will certainly watch it again when it’s released on home video, even if I happen to zone out through a good half of it. And I am glad that it had a massive, record breaking opening weekend. A unified DC Universe deserves the chance to exist on the big screen. The upcoming films on the slate simply need to do better in terms of quality.

trinity

Maybe giving Snyder and Goyer a little time out, and allowing some DC people like Geoff Jones and CW people like Berlanti a place at the table would be beneficial. I’m not especially hopeful that WB suddenly decides that 80 years of continuous interest can translate to the movies, or that Snyder and Goyer will step back and re-evaluating their vision for the DC Cinematic Universe.

But the world of pop culture and entertainment will be a more interesting place with good, proper DC movies hitting the theaters every year. I just hope they can get out of their own way enough to get it right.

 

 

Goodreads Giveaway

Congrats to all the winners of the DarkLight Redemption Goodreads book giveaway !

You’ll be getting your signed copies soon, and I hope you enjoy the read.

As for everyone else, you can still get the book in paperback or Kindle on Amazon.com, and it’s definitely worth  a look (if I may say so myself).

Superheroes Now Super Available

Hey All,

Figured I ought to let anyone who drops by know that DarkLight Redemption is now available to purchase in paperback & on Kindle.

You can also borrow it from you local cyber library if you have a Kindle Unlimited Membership, or take a moment to enter the Goodreads Giveaway contest!

Post-Human Universe: Origins

I posted a blog on the inspirations for the titular character of DarkLight Redemption a few days ago, so today I’ll be discussing a bit about the origins of the Post-Human Universe as a whole.

I love comics and have for most of my life, which is why I-  like many geeks – often daydreamed about writing the adventures of Batman, Spider-Man, Superman, Captain America, X-Men, Justice League and all the usual suspects. Also, like most people, I didn’t exactly have the DC or Marvel people knocking down my front door asking me to write for them. So I ultimately had to create my own sandbox to play in.

The Post-Human Universe is called so because, while the Post-Humans are at the center of it,  the story expands beyond just the Earth. Post-Humans are, simply put, people who have gained extraordinary powers. However, in DarkLight Redemption, I reference aliens from other worlds and even other dimensions. The Universe title is also a tip of the cap to the similarly named Marvel Universe and DC Universe.

As far as the story mechanisms goes, most comic stories are told from the first person perspectives of the title characters. Which is why I wrote DarkLight Redemption from that perspective, and intend to write my future Post-Human novels from it as well. They may not always be narrated by DarkLight himself, but they will all be told in the same manner. Another advantage of the first person narrative is that it plunges you directly into the world around that character with an immediacy that pulls the reader right in.

Tying the reader to a single character is also a good way to avoid several dozen, or hundred, pages of exposition. That’s especially useful here, since this story kicks in twenty years or so after the universe has already been changed in the Post-Human era.  DarkLight himself is also a character who has spent years in a world that may otherwise seem strange to the reader, and so he’s a good guide for the journey.

I pulled some general story and tonal pointers from sources ranging all the way from Watchmen to The Venture Bros. Both of the aforementioned stories, wildly different as they may be, take place in extraordinary worlds made more relatable by the narrators who have lived in them for a while. Watchmen references a history of its world in smaller chunks, which works for the sort of story I was telling as well. And Venture Bros has fun with a world of super people and, while I didn’t quite go as far into the realm of parody, I wanted to keep things light for the most part.

You may notice that this novel is referred to as Book One in the Post-Human Universe. Don’t be scared off by that. I have plans to write several more novels in this series, but each one will stand primarily on its own merits – much like my Venator Series. Believe me, you won’t be waiting years for a conclusion to any of these stories.

If you’ve read this, and you’re interested in checking out DarkLight Redemption, then you should visit Goodreads and enter for a chance to win a copy of the novel. Of course, you always have the option to just buy the novel and leave nothing to chance. Either way, I do hope you decide to give it a shot.

DarkLight: Origins

Since I’ve just published my fourth novel, DarkLight Redemption, I feel like it’s a good time to discuss a bit about the origins and influences of DarkLight  the character.

I’m a big comic book geek, and have been for a very long time. I love the larger than life action, the colorful costumes, the different spins they put on archetypal characters, really the whole shebang. Perhaps my favorite story trope is the loyal sidekick learning alongside the great hero and being groomed to one day replace him. Something about the idea of such a legacy always appealed to me.

The most famous example of this is Batman & Robin…well, Robins. Dick Grayson was the first Robin, and generally came across as a lot less intense and more personable that Bruce Wayne’s Batman. And while the idea of following around a superhero and learning from him is cool, my greater interest was in the idea that one day Dick Grayson would need to replace Bruce Wayne under the cowl. The idea of such a responsibility is very daunting to Grayson, but he also understands that Bruce will die someday, and he will be the only one who is truly able to step up.

Of course, DC Comics was in no rush to make drastic changes to their most popular character, but they also felt it was a bit odd that Grayson never got any older. So the idea was cooked up to re-brand an older, more mature Dick Grayson as Nightwing. I was fascinated with the notion of allowing a major recurring character to evolve, which is probably why Nightwing became my favorite superhero. He was a guy in his late teens-early twenties who was trying to carve out his own place in the world, while still understanding his place in the line of succession of Batman.

Other former sidekicks got “called up” before Nightwing, most notably his best friend Wally West/Kid Flash who became The Flash once Barry Allen was killed off in Crisis On Infinite Earths. But, eventually, Grayson got his chance to assume the role of Batman in the Batman Reborn storyline after the death of Bruce Wayne in Final Crisis.

A few years before that, however, the character who replaced Grayson as Robin- only to be killed off by The Joker– returned. Jason Todd came back from the dead (the how and why is better left untouched in this limited space) and took up the name Red Hood. He was more of an anti-hero than straight up villain who used the type of lethal force more akin to Marvel’s Punisher than Batman.

Speaking of Marvel, they had a similar story arc at around the same time where former Captain America sidekick Bucky Barnes came back as The Winter Soldier. Both of these characters became major parts of the ongoing adventures of Batman and Captain America. In fact, much like Dick Grayson becoming Batman, Barnes ended up carrying the shield as Captain America after Steve Rogers was killed off.

This is where I’m going to begin to tie everything to DarkLight Redemption. Character-wise, DarkLight is most similar to Dick Grayson. I even pay homage to the period in his run as Robin/Nightwing, when he led the Teen Titan (later known just as Team Titans and then just Titans) which was the inspiration for Varsity Squad in my book. But DarkLight’s character arc resides somewhere between Grayson and Jason Todd/Bucky Barnes, in that he does reluctantly become a supervillain. I’ll leave the specifics of that to be discovered by those who read the book.

There are also, of course, real world inspirations for DarkLight. I believe anyone who had been through – or is currently in – their twenties can relate to the idea of feeling as though they are at a crossroads in their lives. There are many paths that can be followed, and every decision you make leads you farther down one or another.

The sense of trying to make one’s parents, or parental figures, proud while still trying to blaze your own trail is one that I’m sure also strikes a chord in many of us. The legacy they are faced with living up to is far more dramatic that the one that most of us in the real world face, but the idea is the same. Maybe that, more than anything else, is why drew me to the Nightwings, Red Hoods and Winter Soldiers of the comic book universe.

Speaking of universes, I’ll probably be writing something up regarding the influences for the Post-Human Universe at large soon as well. Until I do, feel free to get started on DarkLight Redemption today! You can purchase the book in paperback, or follow me on Wattpad where I’ll be posting chapters weekly.