Friday, April 22, 2016
Let's talk about the comic book industry...
Let's talk about comics. I get away from the point of this blog regularly, so tonight let's get down to it.
I love comics. I read a ton of comics. I create comics. I love doing it. It fuels me. It drives me. I've made it a primary point of my life and I've made a lot of great friends and associates in person, on the internets etc., through this craft. We may not always agree on politics, but we find a common ground in the art of comic booking. And that's what matters.
I'm what can be classified as an "independent" creator or a "indie/small press" publisher. I don't like the term "self-publisher" because my books still get published, I just decided to do it my way.
Anyways, I've been officially making comics under the TJ Comics banner for almost seven years. It started with a small book called "Mack Turner: Slayer of the Dead" that stalled out after three issues (but will be back eventually, rebooted!) and continues with Patriot-1 and ExtraOrdinary today. I also publish The Argonauts by Keith Dallas, and if you're out there looking for a partner to help package and publish your book for the sole purpose of helping each other out, contact me through TJ Comics.
That's what we do in the comics community. Or at least what we're supposed to do. Help each other out. Be good to each other. Fight the fight in an industry that's kind of ridiculous, disproportionate and often times, completely ignored by the mass audiences that consume the industry-related content put out by the bigger publisher and corporate entities.
We're relatively poor, we sometimes work "real" jobs we can't stand and we just want to tell our stories. Comics are like a drug and once you're hooked, it's very, very hard to turn away. Sometimes what we do to put out our stories is mind-boggling... we have to be directors, managers, writers, artists, publishers, cashiers, tax accountants, web developers, social media experts and of course, salespeople.
For me personally, I want to do my own books like Patriot-1 and ExtraOrdinary, but I also want to contribute to the mythos of characters I love. Be it well known characters from Marvel or DC, or lesser popular ones like The Phantom or The Rocketeer, for example. And let me tell you, it's an uphill battle.
I've run two successful Kickstarter campaigns, Patriot-1 won an IPPY Award in 2015 - a particular point of pride for me - and I've spent thousands of dollars to make my comics happen even with lower-than-hoped sales and I keep going.
I do have a solid day job, I'm also married with three young children - making up the four people who mean the word to me. I've been with my wife for 11 years (married for 5), she's my best friend, my kids are awesome and exhausting and I just try to be a decent human being, a good father and a good husband. As I get older, I've become very interested in charity campaigns and helping others. Sure, I got in trouble and didn't always have the best judgement when I was young and stupid - but that's part of growing up. Why is all this personal stuff important? Because I like to think I'm an OK human being or at least try to be and that's key to my view on comics and the industry.
MANY people I've met and befriended in comics are the same way. Many people I follow on the social medias are good people, committed to their passion, fighting an uphill battle just trying to tell stories about their characters, characters they love and trying to make a few bucks in the process.
For some of my friends, they've been influential and work/worked for Marvel and DC and when they do cons and such, they sometimes don't have to worry about table or hotel costs and that's awesome, they've earned it. But for guys like me, I have to carefully pick and choose shows, limit travel and essentially go into each con with the prospect of losing money.
Hell, last weekend I attended a show with some solid names in comics like Mark Waid, my pal Jamal Igle, my friend Steve Orlando and many other titans of past and present. The show was attended decently, but the table I paid extra for was relegated to a far corner, a ways away from the big name creators, and next to a concession stand and bathroom that was all to the far right of the entrance. A forgotten area of indie and small press publishers waiting and waiting for the crowds to swing over. The best kind of cons mix the small press with the big names, or make fans have to go through the small press to get to the big names,
But the attendees never really came, I sold a couple books, but I barely even pitched the books because no one came by, which is highly unusual. With about 4 hours left in the show I was getting frustrated, I spent extra money for a "corner" table and believe me, "corner" was quite literal. The con was an hour away from my house, just across the George Washington Bridge... so it wasn't far and I was paying for the table, gas and tolls. Usually, I'm satisfied if I make my table costs back, but as the first day of the show came to a close, I had little to show... nor did those around me. So I made the decision to cut my losses and just stay home the next day with my wife and kids. Worked out too, it was 75 degrees outside and we got new sand for the kids' sandbox.
That's the first time I left a con like that. It's getting tougher out there for indie and small press. Cons were once our time to shine, but we've been overshadowed in recent years by numerous things like cosplayers, celebrities and "media guests" taking precedence over comics, people really into comic culture but not comics and of course, the sheer fact that there are so many damn cons.
My point is, there are a lot of good, honest people out there trying to do what they love. Deserving to be noticed. Working hard to create fan bases and maybe, MAYBE, get a shot with the big publishers.
Not all indie and small press comics are created equal. Let's just be honest, I personally pride my books on quality. Art, story, printing... I want to put out the best and most professional-looking product possible. While I'm never going to discourage anyone from pursuing what they love, there are a lot of "amateur" books out there.
But what's my end goal? A lot of things actually. I've got a Patriot-1 screenplay that I think is really, really good... and what I'd love is the chance to pitch some of the ideas I have for Marvel, DC, whomever. See if those ideas fit into their editorial plans. I mean... that's what we want to do right? Tell some stories? Make some money?
It should be that simple. At the end of the day we're in a business, a capitalist business. With that in mind, controversy was stirred up by the ousting of Shelly Bond as Vertigo's executive editor. I don't know Shelly, I know the phenomenal books she's stewarded and I know many of the people I know and follow have nothing but great things to say about her. She was let go for whatever reason, be it business or what not... that's neither here nor there. But what her ousting unleashed was something far darker about comics. The "open secret" about DC Comics editor Eddie Berganza... which leads to another problem, which leads to another problem and so on.
The ugly, dark side of comics.... I'm not going to recap here... because you can read it at Bleeding Cool and at Comics Beat...
In a nutshell, we're talking about sexual harassment, blacklisting, gender inequality in comics and general bullshit that shouldn't be happening in a business that is frankly, dying.
The worst part about the whole thing is that there are stories just as bad out there with high profile creators and editors, the DC one just brings up some additional questions. But these issues aren't relegated to just DC. Conventions have signage that say "cosplay is not consent" because people have little dignity or respect for their fellow fans. There are stories of creators, big and small, being shunned or "blacklisted" because they speak out against injustices... much like the superheroes they write or want to write.
The "blacklist." This is a list of pros that publishers allegedly keep if you speak ill of them, or if you don't fall in line or if, in some cases you report sexual harassment or other awful things that shouldn't be happening. Because even if you have a massive and passionate fan base and could team up with a publisher and make some money, if you're blacklisted for some infraction in the past, you're shit out of luck.
Here's an industry trying it's damnedest to make inroads for diversity - diversity in characters, diversity in creators - all that good stuff... but yet there exists an environment where people and specifically women feel they have to remain silent on serious issues for fear of not being able to pursue what they love. I mean, come on.
How can an industry become more diverse, more inclusive and attract new readers to survive when there are horror stories like this out there?
The comics industry and REAL comics culture is burning, while the comics pop culture thrives. Sales are down, readership is down, many talented and creative people are shunned, overlooked, not given a fair chance and it's more evident than ever thanks to social media. Conventions, once boons for small press and indie comics and artists to develop fan bases and find work are afterthoughts to the latest Funko POPs or cheap, unlicensed print vendors.
While good people struggle to create something new, unique or impassioned in an effort to tell stories and make a buck, there are those that are making comics unsafe, exclusive and generally the opposite of what comics should be. That's what gets me the most here. Many of us in the comic persuasion have been bullied at one point or another. Often times that's what turns us to comics. Many of us have been told to grow up or "chase real dreams" and yet, here we are still doing it. But the industry is becoming rife with bullies and people getting in the way of your dreams.
As a whole, comics suffers because of this. There's a darker culture on the rise. One that embraces many old stereotypes and it becomes increasingly difficult to see whether or not the future for comics is bright or if it's just spiraling to the bottom of the ocean floor.
Whether it's harassment, black listing, forced silence or just general sexism. Women are a minority in comics and often treated like second class citizens and that's being polite in some cases. But there's also ageism and the "removal" of now legendary creators who are perfectly capable of creating modern stories.
I'm a "bottom-rung" on the comics ladder. But as I'm trying to climb up, I can't help but look around and see people, ideas and money falling from the top.
There's a rampant problem of really questionable people in the industry, whether it's people in editorial positions or bloggers-turned-creators with a history of being really shitty to people and using their fan bases and following to spread negativity and being generally shitty. For what? It's obviously not helping the business. It's not helping small press and indie creators thrive. And it sure as hell isn't breeding a welcoming environment for new people to spend their dollars and grow the industry.
Comics are dying. The pop culture aspects prevail thanks to the movies and what not - that's all great - but at the ground level, comics are struggling to survive. Not just the books themselves, but the creators, the positivity, escapism and optimism that comics should provide from stories, to creators to relationships. Who are we?
I like to consider myself a decent human being and person, constantly striving to be better while taking care of myself and my family. When you're like me and you hear of these horror stories of the industry, you become frustrated and you start to wonder why the hell you're even trying in the first place.
We all need to be better.
You can directly support me by checking out TJ Comics and/or ordering Patriot-1 or ExtraOrdinary or my other books directly from my online store. You can also follow me on Facebook and Twitter.
Monday, April 4, 2016
The Man of Tomorrow: My vision for a Superman movie
This is the completion of my "trilogy" of Superman posts. Rather than another thinkpiece on Superman, I've decided to share something I've had notes on since "Superman Returns." When I was young, one of the things I always wanted to do was write a Superman movie. That has never changed, though realistically it would likely never happen. With that in mind, I've decided to share the detailed - and a bit rough - treatment for what I would do with Superman in the movies. (Fair warning, this was a labor of love, you may find some typos). I don't think Superman is a difficult character and I do believe he can stand for his classic ideals in the modern world. If you have some time, please feel free to read, comment and even reach out to me.
I started putting this together after "Superman Returns" and it does draw heavy influence from Geoff Johns' phenomenal "Superman: Brainiac" storyline. Posting this now is more therapeutic than anything else, and just an opportunity to tell a Superman story I may not otherwise ever be able to tell.
It's long, but I hope it engages you and you enjoy this vision of Superman.
So here it is... "Superman: The Man of Tomorrow"
SUPERMAN: THE MAN OF
TOMORROW
Treatment by Kevin Powers
Treatment by Kevin Powers
“What if they’re
afraid of me, Pa?”
“People will always be
afraid, son. But with your gifts, you can give them every reason not to be
afraid.”
“How?”
“By being you, Clark.
You can use these abilities to help others. You can give them hope for a better
tomorrow… give them a reason to look up.”
OPENING CREDITS
A montage of Superman's exploits since his public debut
through news clippings, broadcasts and interviews with witnesses, people
rescued and Superman himself.
18 months ago, SUPERMAN made his public debut preventing a
commercial airliner from crashing in Metropolis. Making the city his base of operations, he
helps where he can around the world - saving people from natural disasters,
terror attacks and the occasional super-villain. Although he does not involve
himself in regional conflicts, his presence is felt. Feared by many at first,
Superman makes himself available to the media and has held meetings with
various governments and the United Nations, including “controversial” nations
like Iran and Russia. Superman makes an effort to becomes a very public figure from the get-go.
Superman’s presence has resulted in other people with powers
to emerge throughout the world. Dubbed “metahumans,” some of them are good,
some are misunderstood and some are plain evil. Superman has battled the likes
of the Parasite, Livewire and The Prankster – each featured in Daily Planet
stories by Lois Lane and Clark Kent.
The final news clippings show LEX LUTHOR and Superman having
a good relationship and considered friends. Lex also discovered Kryptonite, a
rare metal that can weaken Superman and strip him of his powers. A second story
shows Lex destroying the Kryptonite and then in an interview, Lex goes as far
as to call Superman “a friend.” The Man of Steel has worked with LexCorp and
Wayne Enterprises to allow the study and reverse engineering of the Kryptonian
engine that brought his rocketship to Earth. The two companies have created the
quantum drive - an engine capable of lightspeed – and are preparing to test it
on LX-01, a rocket ship powered by nuclear fusion and the special engine.
LX-01 LAUNCH
Open on LexCorp Launch Station Alpha, a rocket launch
station off the coast of Metropolis. At a press area near the launch pad, VICKI
VALE explains BRUCE WAYNE's involvement in the development of the rocket but
acknowledges Wayne is not present at the event, but in his stead is LUCIUS FOX.
SNAPPER CARR delivers a report discussing the importance of the rocket and what
it could mean for humanity’s future. Finally, LOIS LANE discusses the history
of the quantum engine and how it relates back to Superman and his desire to
help humanity achieve greater things.
When the broadcasts end, Vicki and Lois exchange verbal jabs
commenting on each other's respective relationships with Batman and Superman.
Lois makes it clear that Vicki has never actually seen "The Batman"
and that he's just an urban legend in Gotham City. She quips, “maybe one of
these days I’ll head over to Gotham and get the exclusive.” When security tells them to leave, Lois tries
to convince one of the security guards to let her inside launch control, citing
she is General Sam Lane's daughter. After a moment of trying to charm her way
to an exclusive, the security guard pushes her towards the elevator. As the
door opens, a man - JOHN CORBEN - walks out and bumps into Lois. They are
momentarily flustered and she looks at his nametag to see the name "Jim
Lee" and the photo of an Asian-American man. When she looks at Corben, he
is not Asian-American. Just as she's about to question him, she's whisked away
into the elevator.
At the observation platform away from the launch station,
JIMMY OLSEN is trying to set up the perfect shot in hopes that Daily Planet
editor PERRY WHITE will use a photo from him, at least on the website. CLARK
KENT is trying to calm Jimmy's nerves by talking about the potential of the
LX-01 and discovery what could be out beyond the stars. Clark tells a story
about how he used to look at the stars late at night, wondering who else could
be out there looking back. Jimmy wonders if Superman will be present for the
launch. Clark smiles, assuring Jimmy that Superman probably isn't far.
Outside of the launch station, Lois calls Clark and tells
him something is wrong. When he tells her to alert security, she explains that
they thought she was crazy and that she's going to find Lex to tell him to call
off the launch. Clark tries to convince her otherwise, but she hangs up.
Inside the launch control center, Lex is observing the room
as the launch countdown begins. He's distracted when he hears "get your
hands off me!" and security escorts Lois into the control room. She
explains what she saw and although Lex doesn't believe her at first, he asks
for Jim Lee's information and is informed that Lee called out sick. The launch
sequence begins as Lex scans security systems and spots Corben exiting a
restricted area that houses the rocket’s booster and navigation controls. No
one recognizes Corben and Lex tries to call of the launch, but it's too late.
The launch starts and the control center panics trying to override the system sounding
alarms and yelling for an abort.
At the observation deck, Jimmy excitedly starts taking
pictures when he notices red alarm lights going off through his zoom lens. He
tells Clark that it looks like something is happening. Using his super-hearing,
Clark listens to the sounds coming from the control center and the alarms going
off at the launch pad as the rocket begins to lift off. Jimmy snaps a few
pictures as the rocket takes off and turns to talk to Clark, but Clark is gone.
The rocket continues to ascend when the boosters explode
causing it to spin out of control as it rises. Inside the control center, Lex
is angry that no one can override the controls and fears the worst. One of the
mission controllers informs Lex that if the quantum drive goes off inside
Earth's atmosphere it could theoretically open a wormhole or a black hole.
Superman flies past the control center and towards the
rocket. He floats outside the crew pod, using his heat vision to detach it from
the rest of the shuttle. The crew pod descends to Earth as Superman tries to
cool the rocket boosters with his freeze breath, but to no avail. He then
diverts his attention to the crew pod and makes sure they safely make it to the
ground.
Superman opens the pod and one of the astronauts tells him
that the quantum drive is active and if it explodes it could be catastrophic.
Superman takes off again racing towards the rocket booster and breaking the
sound barrier. He flies through the rocket, ripping the quantum drive out of
the shuttle's engine bay just as the rocket boosters and shuttle explode. Superman
flies the quantum drive safely back to the ground to the cheers of the crowd. As
he lands, Superman manages to shut down the drive but hears automatic gunfire
and cars screeching and flies towards the sky as crew members run to the drive.
In orbit above Earth, a satellite detects the quantum
drive's signature and then launches itself into deep space.
Back on Earth, Corben is in a high speed chase with police
driving erratically and firing a weapon at the same time. Superman flies
overhead and Corben is distracted as he hears the sonic boom. When he looks
back at the road, he tries to swerve as he slams into the back of a car, going
airborne and rolling violently off the road. Superman stops the car from
falling into a ravine, but Corben is severely injured in the crash.
In deep space, the mysterious satellite flies towards a space
craft lifelessly floating among the stars.
The satellite docks with the ship and a computer is activated, scanning
the satellite for information. It discovers the recorded data of the quantum
drive's signature. Suddenly, the entire ship powers on and a mysterious being
at the center of the ship - BRAINIAC - awakens.
DAILY PLANET
The next day at the Daily Planet, Perry White orders Jimmy
to get him black coffee and calls a meeting with Clark and Lois. They discuss
the rocket incident and Perry asks what information they've found on Corben.
Lois explains she hasn't found much other than Corben being a decorated soldier
in the Army and was also a mercenary who has recently been on the payroll of
both LexCorp and mega-corporation Omega Worldwide. Lois says she dug deeper and
found some questionable transactions between LexCorp and Omega subsidiaries and
notes that Wayne Industries refuses to work with Omega. Clark mentions he put
in a call to Wayne Industries and they do not know where the quantum drive is.
Perry wants them to investigate; Lois informs them she
already has a meeting with Omega CEO Bruno Manheim. Perry tells her to take
Olsen and Clark and get answers.
LEXCORP ROOF
Lex waits on the roof of his building as a medical
helicopter lands, delivering John Corben. Lex instructs his people to take
Corben to his private lab.
LOIS AND CLARK AT
OMEGA WORLDWIDE
Lois, Clark and Jimmy arrive at Omega Worldwide. They enter
the lobby and Lois started doling out orders, telling Jimmy to stay quiet and
for Clark to follow her lead and ask basic questions "like a good, naive
farmboy," to throw Manheim off. Manheim's assistant arrives to escort them
when police cars and fire trucks race by the building. The assistant asks for
identification as Clark turns and tries to filter his super-hearing to exactly
what is happening. He focuses on police band radio and listens as there are
reports of a woman threatening to jump and commit suicide three blocks away.
Clark feels around his pockets and looks at Lois. "Oh my gosh, I left my
wallet in the cab!" Clark runs out of the building, leaving Lois and
Jimmy. Suddenly, Jimmy gets an alert on his phone about the jumper and Lois
tells him to go and that she can handle herself.
Outside the Omega building, Clark ducks into an empty alley
and changes into Superman.
THE JUMPER
Standing on a balcony on a high-rise apartment building is a
young twenty-something. She's crying hysterically and looking down. Superman
appears hovering above her. She immediately yells as Superman not to stop her
and he promises that he won't, but that he wants to talk to her and floats to
eye level. Similar to the scene that
occurs in the Superman: Grounded
storyline, the woman explains what's troubling her and Superman just listens.
When she finishes, he talks to her about what it was like to grow up with his
developing powers and the fear of uncertainty. He tells her things get bad and
get worse, but you can never lose hope for a better tomorrow. Superman extends
his hand and tells the woman that if she is still hopeful for a better
tomorrow, then to take his hand. She sits and says she needs a moment and
Superman responds "I'll be here when you're ready."
LOIS CONFRONTS
MANHEIM
Inside Bruno Manheim's office, Manheim tries to make small
talk with Lois and asks her about her relationship with Superman. Lois tells
him to "cut the crap" and she immediately begins to grill him on his
relationship with John Corben and business dealings with LexCorp. Manheim skirts
around the issue and tells Lois there are forces at play she cannot possibly
understand. He does give her details of the exact work that Corben did for him,
including industrial sabotage and assistance in acquiring a rare metal
scattered all over the Earth. Lois presses further, but Manheim avoids the
issue, accusing Lois of conducting a witch-hunt and asks her to leave. He tells
her if she really wants a story then she should check the LexCorp Launch
Station’s lab.
Manheim watches Lois leave and then makes a phone call,
saying: “beef up security of all shipments coming through Gotham.”
THE JUMPER DECIDES
Superman still floats in front of the young woman ready to
jump. She finally stands and asks Superman once more if he'll stop her if she
jumps and he says "no, I gave you my word.” She then takes a step forward,
but grabs Superman's hand and hugs him. He carries her safely back down to the
ground and makes sure she gets medical attention.
THE FIRST BRAINIAC DRONE
ATTACKS
Lois is in a cab talking to Perry on the phone and says she
has a lead on the location of the quantum drive. The cab suddenly stops as a
large meteor can be seen heading for the ground.
Still aiding the young woman, Superman's attention is
diverted when he looks up and sees the fireball streak across the sky. Superman
asks the young woman once more if she is okay before he takes off.
Superman flies into the path of the oncoming object and is immediately knocked out of the way. He watches as it crashes into a field at the LexCorp Launch Station. Security approaches it and it transforms into a humanoid robot - BRAINIAC DRONE 1 - and attacks the security guards.
Superman flies into the path of the oncoming object and is immediately knocked out of the way. He watches as it crashes into a field at the LexCorp Launch Station. Security approaches it and it transforms into a humanoid robot - BRAINIAC DRONE 1 - and attacks the security guards.
Superman flies onto the scene and punches the drone into the
ground. He then directs his attention to the injured guards, flying them to
safety at super-speed and then back to the seemingly destroyed drone, telling
the other guards to get clear. The Brainiac drone awakens and punches Superman
knocking into an SUV.
The drone begins to scan Superman and calls him an anomaly
and that he shouldn’t exist. Superman
flies at the drone and unleashes a barrage of punches that the drone is able to
absorb. The drone fights back and grabs Superman by the neck, slamming him into
the ground. The drone unleashes two tentacles from its torso that pin
Superman's arms. Using his heat vision, Superman is able to break free of the
drone’s grip as more armed guards and armored vehicles arrive and open fire on
the drone, distracting it long enough for Superman to regain his bearings.
Superman and the drone fight in mid-air and Superman battles
to keep the drone from reattaching its tentacles. Explosions goes off in the
sky next them as the guards are firing high-explosive weapons into the air.
Finally, one of the explosions hits the drone and it’s dazed, allowing Superman
to hit it at super-speed and force it through the hangar roof.
Inside the hangar, Superman stands between the drone and the
remains of the LX-01, including the quantum drive. They battle again, but
Superman doesn't hold back, pulling on the tentacles to punch and do serious
damage to the drone. After he rips out the tentacles, Superman uses his X-Ray
vision to find a processor. Using his heat vision to soften the metal, Superman
punches through the drone's chest and rips out the processor and crushes it,
shutting down the drone.
DRONE BATTLE
AFTERMATH
Lex arrives at the hangar and is immediately fascinated with
the drone, citing that it has technology he's never seen. Superman questions
why Lex still has the LX-01 and asks if Bruce Wayne knows. Lex informs Superman
that LexCorp has more proprietary and patented tech in it than Wayne Industries,
effectively making it his property. Lex also lays claim to the drone and
implies that Superman leave. Lois arrives and she immediately questions Lex
about the LX-01 and why he’s keeping it hidden. Lex tells them both to get off
his property and after a tense stare down, Superman picks up Lois and flies
away. Lex orders the drone be taken to
his lab at once.
DAILY PLANET
Superman flies Lois back to the roof of the Daily Planet and
she asks him to dinner in their “usual spot.” Superman agrees and flies away.
Lois enters the bullpen inside the planet as Jimmy is
recounting the story of Superman saving the young woman, but Perry is
disappointed that Jimmy didn't get photos of the drone. Lois tells Perry she'll have the Brainiac story
in an hour, but it may bury Lex which makes Perry nervous. When Perry asks
about Manheim, Lois explains that she’s still investigating. She sits at her
desk and sees Clark sitting at his. “Did you find your wallet?” Clark smiles
and shows her the wallet.
Lois laughs and makes a phone call to an unknown party.
"Do me a favor; see if you can any shipments of metals and minerals
recently. I'll email you a list of companies to look out for. Yes, yes. Next
time you are in Metropolis, I'll see what I can do."
BRAINIAC’S SHIP
From his stasis pod, Brainiac is watching satellite and
broadcast footage of his drone’s battle with Superman. He tells his computer to
process the results of the drone’s scan and learns that Superman is Kryptonian.
“Impossible. Acquire sample for analysis.”
Two drones launch from Brainiac’s ship and enter a wormhole.
DATE WITH LOIS
Later in the evening atop the Metropolis Sky Tower (think
Seattle's Space Needle), Superman and Lois have dinner together and discuss
their relationship. Superman flew to Paris to bring Lois a very specific
dessert. While she is grateful, she's also upset that after nearly a year of
dating, he won't tell her his secret identity. She wants to go on normal dates
with him and have a normal life.
They quip back and forth, but Superman doesn’t know if it’s
the right thing to do. Lois says “you can tell me or not, but if you don’t I’m
not going to keep doing this.”
Superman pauses but is distracted when he hears a sonic
boom. He looks up and it immediately tackled into the air by the two Brainiac
drones. He battles the drones in mid-air, trying to fly them away from the
city. One of the drones wraps a tentacle around Superman’s neck and the other
grabs his waist and the plummet back towards the ground.
Superman and the drones land hard in Centennial Park and
continue to battle. Superman is soon overwhelmed as one drone jumps on his back
and wraps its arms and legs around him. The other drone uses its hand to cover
Superman’s face and send a small probe attached to a cable into his throat.
Superman struggles as the drone transmits data to a "Brainiac Prime"
and Superman has flashes of Krypton and his real parents. After a moment,
Superman uses his heat vision to free himself of the drone's grip. Superman breaks
free of the other drone and uses his freeze breath to slow it down. With the
drone partially frozen, Superman uses his heat vision to rip out the drone’s
processor, shutting it down. He turns
his attention to the other drone but it takes off into the sky. Police and
firefighters arrive and Lois appears. Superman looks at Lois, grabs the drone
and takes off.
FORTRESS OF SOLITUDE
Superman flies into orbit and then back down towards the
Arctic. He flies toward an iceberg where about two-thirds of the way to the top
there is a section that has steps and a smoothed over area that looks like a
door. Superman stands on the final step before the door and puts his hand in
the center of it. Kryptonian lettering appears across the door and some of the
characters begin to form a sequence - like a combination. The door opens and
Superman is greeted by his robot KELEX.
Superman makes his way through the fortress to a Kryptonian
console. When he activates the console, a projection of JOR-EL appears before
him. Jor-EL praises his son for the good he is doing on Earth and encourages
him to keep going, but can sense there is something wrong. Superman lifts up
the drone and shows it to Jor-EL, asking about Brainiac. Jor-EL's demeanor
immediately changes. Superman explains the encounter with the drone and
mentions "Brainiac Prime." Jor-EL is stricken with grief and tells
his son that Earth is doomed.
Jor-EL explains Brainiac's history and what happened when it
came to Krypton. Showing Superman a projection of what happened; Jor-EL
explains that Brainiac seeks out world's that are on the brink of total
devastation. Jor-EL recounts that seven years before Superman was born,
Brainiac came to Krypton. He explains the former capital city of Krypton -
Kandor - was the most prosperous, progressive and technologically advanced city
on the planet. Jor-EL explains that Kandor was the ideal of what all of Krypton
strived to be - successful, accepting and a hub intergalactic travel on an
otherwise xenophobic world. Then Brainiac arrived.
Superman is shown images of Brainiac drones swarming Kandor
and the people of Kandor trying to fight back. Brainiac’s drones corral the
citizens of Kandor within the city limits. Some of the citizens resist and
fight the drones, but they are immediately killed. Superman watches in horror
as Kandor is encased, lifted from the planet's crust and shrunk. Jor-EL tells Superman that Brainiac collects
the greatest cities of civilizations and planets on the brink of destruction -
and that is how Jor-EL learned Krypton was doomed.
However, Jor-EL questions Brainiac's motives. He
acknowledges that Earth's climate is teetering on the brink of collapse, but
the core is stable. Jor-EL goes over Brainiac's history based on his own
research conducted with his brother Zor-EL. Brainiac is from the planet Colu
and was once a revered scientist named Vril Dox. The Coluans are a mostly
peaceful people who believe in advancing other civilizations and worlds. Dox
had an opposite philosophy, merging with a sentient computer program and
becoming Brainiac. His only purpose now is to collect specimens of failed
worlds and use their knowledge to better only himself. When Superman asks how
to stop him, Jor-EL tells him "there is no way to stop him. Earth's final
days have come."
BRAINIAC’S SHIP
Onboard Brainiac’s ship, the alien rests in his stasis pod
as the drone returns and plugs itself into the mainframe of the ship. Brainiac
asks the computer to bring up specific files regarding the Superman sample
collected on Earth. Brainiac also examines his files from Krypton, recounting
the history of the planet’s destruction. The Kryptonians tapped into the
planet’s core as an energy source rather than exploring alternative energy
sources. Although they briefly thrived, they poisoned the planet from the
inside, making Krypton unstable. Brainiac acquired Kandor when Krypton’s fate
was irreversible.
When reviewing the files, Brainiac discovers two quantum
drive signatures – one from Argo City and the other from Kryptonopolis. They
both entered a wormhole, but only one made it to Earth.
Brainiac processes data on Earth, discovering it has a similar
orbit pattern and many of the same characteristics as Krypton. The computer
notes that Earth is only halfway through its life cycle, but the dominant
species – humans – have accelerated the planet’s decline through war, famine
and environmental irresponsibility. The computer also notes that Superman
resides mostly in Metropolis – Earth’s most advanced city. The computer
explains how Earth’s yellow sun is also the source of Superman’s abilities.
Brainiac sets course for Earth and prepares to acquire Metropolis as his ship
opens and enters a wormhole.
LEX’S LAB
In the depths of the LexCorp building is Lex’s secret lab.
The lab itself is highly advanced with many recognizable and practical
workstations, as well as many that reach beyond standard sciences. Lex works
alone, listening to classical music and dissecting the first Brainiac
drone. He notes that the metal appears
to be organic and was only truly vulnerable to Superman’s heat vision. He
posits that he can adjust the resiliency of the metal and apply it to both
improve his battlesuit and provide the perfect shell for his secret “Metallo
Project.”
KENT FARM
Clark sits on the top floor of his family’s barn, leaning on
the door and looking up at the stars. PA KENT greets Clark and immediately
notices that Clark is shaken. Clark explains the encounter with the Brainiac
Drone and his visit to the Fortress of Solitude, briefly recounting what Jor-EL
told him. With Brainiac looming, Clark believes everything he’s done is for
nothing and that humanity will never try and fix their mistakes. Pa
acknowledges that humanity can be its own worst enemy, but that as Superman;
Clark can be a beacon of hope that will inspire humanity to be better. Pa
briefly recounts the problems he and Ma Kent faced trying to have children, but
when Clark fell from the sky, they had new hope of a better tomorrow.
Pa tells Clark that humanity can be cynical, fearful and
always preparing for the worst and that is why some people still fear Superman.
But Pa also reminds his son that he’s more than just Superman, he’s more human
than he is Kryptonian and at the end of the day, he’s still just Clark
Kent. Pa is confident that Clark will defeat Brainiac or any other threat that
comes his way, and that the people of Earth will have another reason to strive
for a better tomorrow. “You can put on
that suit and be Superman, but you’re still Clark Kent, and the one thing Clark
Kent and Superman have in common is you always find a way. You always give us
hope, son.”
Clark has dinner with his parents at the house. MA KENT
scolds Clark on his manners when he tries to go for food before she sits down
and then she asks briefly about “the killer robot.” Ma almost brushes it off,
confident that Clark or some his “super-friends” can stop it. Ma pivots and
asks about Lois, reminding Clark that he can’t be Superman all the time. Clark
is a bit coy and both Ma and Pa are disappointed he hasn’t told Lois his
identity yet. Clark tries to say it’s complicated, but Ma doesn’t accept that.
She mentions his high school sweetheart, Lana Lang, the first person he ever
told and she’s been fine having kept the secret. Pa laughs about the entire
situation, saying “Lois is a Pulitzer prize winning journalist, Clark. You’re
naïve if you think she doesn’t know!” Ma joins her husband’s assertion, “she
loves you Clark, but it’s up to you to let her in.”
LOIS’ LEAD
The next morning, Lois is asleep as her phone rings – it’s
Vicki Vale, the contact she made following the first Braniac incident. She has
a tip for Lois and says the connection between LexCorp and Omega Worldwide is
that Omega has been supplying LexCorp with Kryptonite. Vicki tells Lois that
the shipments come through Gotham City before making their way to Metropolis
and that she’s emailing the information. When Lois asks how Vicki found out, Vicki
replies "an urban legend helped me out."
BRAINIAC ARRIVES
Brainiac’s ship exits a wormhole in Earth’s orbit and makes
its way into the atmosphere. The military immediately goes into a frenzy trying
to identify the ship. The ship rapidly descends above Metropolis and people
drop what they are doing.
Inside Lex’s office, Lex and Lois watch the ship in awe.
Lois looks at Lex, “you do this?” And Lex responds “Can’t you call Superman?”
Superman then flies towards Brainiac’s ship and Lex and Lois
both breathe a sigh of relief. As Superman approaches the ship an energy beam
hits him and he’s knocked back into the ground. Suddenly, Brainiac drones
emerge from the bottom of the ship.
Lex tells Lois he’ll show her exactly what he needs the
Kryptonite for and they enter a private elevator.
Superman struggles to get back to his feet as he looks up
and sees the Brainiac drones making their way to Earth. Superman takes off and
starts fighting the drones and they all focus on him.
Lex and Lois arrive in Lex’s workshop and he explains that
the Kryptonite is also a power source and he’s been experimenting with
harnessing that power. When Lois asks why, Lex unveils his battlesuit, powers
it on and tells her “Superman can’t do it alone.”
Moments later, a hangar opens in a courtyard behind the
LexCorp building and Lex takes off into the sky.
In the sky above Metropolis, Superman is holding his own but
focuses on saving people from the drones and that puts him at a disadvantage.
Just as he starts to get overwhelmed Lex appears in the battle armor and helps
Superman fend off the drones.
Superman briefly explains to Lex that the ship belongs to an
alien called Brainiac. Lex questions Superman about how he knows and the Man of
Steel explains that he just learned of Brainiac’s existence.
Superman tells Lex he needs to get into the ship before
Brainiac bottles Metropolis. With no time to explain, Lex and Superman fly
towards Brainiac’s ship and draw the drones towards them, using them as shields
for Brainiac’s energy beams.
Lex gets taken down by drones and Superman manages to avoid
an energy beam just to be grabbed by a larger tentacle from the ship. Superman
is pinned and pulled into the ship as Lex struggles to fight off the drones.
BRAINIAC’S SHIP
Bound by the drones on board the ship, Superman is brought
through a collections room with thousands of bottled cities and looks on in
horror. He is then brought before Brainiac. The drones force Superman to his
knees and Brainiac emerges from his stasis pod. He’s massive and physically
imposing. He grabs Superman by the neck and explains that he shouldn’t exist
because Krypton is gone. Superman tries to fight back but Brainiac overpowers
him.
Brainiac explains his intentions – he preserves the greatest
cultural achievements of worlds that are about to die. Earth wasn’t a target,
but Superman’s presence has accelerated the timetable for Earth’s death.
Superman disputes Brainiac’s claim, suggesting humanity can change, they just
need a push.
Brainiac counters and suggests even if humanity stopped the
damage done to the environment, there are other parties interested in Earth,
mostly because of Superman’s presence. Brainiac also tells Superman that his
existence must end as Krypton has been destroyed. Brainiac claims to be benevolent and gives
Superman a choice as one of his drones brings the bottled city of Kandor and
place it in front of Superman. Brainiac tells Superman he can die and be
studied by Brainiac or he can live for eternity, powerless inside Kandor.
Superman remains resilient as Brainiac calls him “a god with
no world.” Brainiac tells Superman before he makes his choice, he will watch
Earth’s greatest city be taken for collection.
THE BOTTLE
A gel-like substance begins to emerge from the bottom of
Brainiac’s ship as the drones float into the air. Lex’s battlesuit is damaged
and he’s a bit beat up. He watches in shock as the substance descends in a
opaque shape around the city.
Lois, Perry and Jimmy watch from outside The Daily Planet as
the casing lowers.
The casing wraps around the city and begins to harden,
cutting off people on the outskirts of the city and prevents people from
getting out.
Lex diverts all remaining power to his thrusters and takes
off, flying towards the Launch Station.
BRAINIAC’S SHIP
Superman pleads with Brainiac to stop, but the alien
reaffirms his position that there is no hope for humanity. A small drone floats
in front of Brainiac and he broadcasts to everyone on Earth. He announces his
intentions and tells humanity they have failed their planet and not even
Superman could save them.
As the world looks on in fear, Superman screams and uses all
of his strength to break free of the restraints. Shocked Brainiac turns and is met with a
massive punch. The drone feed cuts off as Superman and Brainiac battle in the
ship, eventually crashing through the hull and back down to Earth.
SUPERMAN VS. BRAINIAC
Superman and Brainiac battle in the sky above Metropolis.
Neither one of them has a clear advantage, but Superman is easily distracted by
saving people and preventing catastrophic damage. Lex arrives to help Superman
and together they battle back towards Brainiac’s ship.
They crash back inside the ship and Brainiac is left
reeling. Lex tells Superman he’s armed and aimed the quantum drive at
Brainiac’s ship and will destroy it. Superman is shocked and tells Lex to look
around – millions of lives are at stake inside the bottled cities.
Lex blames Superman for bringing Brainiac to Earth and
reveals he’s never trusted Superman and fires a Kryptonite beam, taking
Superman down. Brainiac then fires a weapon at Lex forcing him out of the ship.
Brainiac prepares to shrink Metropolis, but Superman uses
his heat vision to knock Brainiac away before punching through the console,
causing the process to halt and the encasing to disappear. Brainiac is irate
and begins to mercilessly punch Superman. “Why do you save them?!” Brainiac
asks. Superman replies: “Because there’s always a better tomorrow.”
Superman fights back, overwhelming Brainiac and pushing him
back into the stasis pod, using his heat vision to seal him shut. Superman continues
to fight off Brainiac drones.
From the ground, Lex uses a keypad on his armor to launch
the quantum drive. “Die aliens.”
Superman fends off the last of the drones and flies out of
the ship at super-speed, looking for the quantum drive. It races towards ship
and Superman flies at it. He grabs it and tries to stop it, but Lex has used
Kryptonite as part of the drive’s shell and Superman is weakened. Using his
last bits of strength he changes position and manages to pull the drive away
from the ship.
Superman falls away as the quantum drive explodes, creating
a shockwave that momentarily stuns him as a wormhole opens in the sky above
Metropolis. Superman regains his bearings in mid-air and flies back towards
Brainiac’s ship as it’s slowly being pulled into the wormhole.
Flying back into the ship’s hull, Superman grabs Kandor and
looks at Brainiac. “I will return, Kryptonian. You will die.” Superman looks at
Brainiac with disgust. “When you do, I’ll save the rest of the lives you
stole.”
Superman flies out of the wormhole and makes his way back
down to the ground as Brainiac’s ship is pulled in and the wormhole closes. The
people of Metropolis cheer wildly as Superman descends to the ground, carrying
Kandor. Jimmy takes a photo of Superman and immediately shows it to Perry who
smiles with joy.
SUPERMAN CONFRONTS
LEX
Inside his office later that night, Lex is irate over the
headlines online and in the Daily Planet. “SUPERMAN SAVES THE WORLD.” Lex
angrily declares that he saved the world and if it weren’t for Superman,
Brainiac would have never showed up.
Superman appears outside Lex’s office. Superman demands
answers and wants to know why Lex attacked him. Lex reveals that he’s always
hated Superman and doesn’t trust him. He’s an alien and he’s done nothing but
put people in danger. Lex also says “I AM SUPPOSED TO BE HUMANITY’S SAVIOR, NOT
YOU!” Superman stares at Lex stoically and Lex screams “SAY SOMETHING!”
Superman gets in Lex’s face and says “I CAN SEE YOUR SOUL” before flying away.
Lex receives a call telling him that Corben is ready.
In his lab, a surgical team awaits Lex as he scrubs in for
an operation. On an operating table is Corben’s body. Two scientists wheel in
another table and uncover it to reveal a metallic skeleton. When Lex asks for
the power source, a case carrying a Kryptonite heart is brought in. He examines
the Kryptonite and then looks at Corben: “It’s time for a new job, Mr. Corben.”
SUPERMAN TELLS LOIS
Lois stands on her balcony looking at the skyline. Superman
flies up to her and they briefly discuss what happened with Lex. Lois acts a
little cold towards him, but Superman gently grabs her arm. “Lois, I love you.
It’s time for you to know…” Lois smiles, “It took you long enough, Smallville.”
Superman is taken aback, surprised that Lois really did know all along.
“So you did know?”
“Looks like Lois Lane is going to dump Superman for Clark
Kent. How scandalous.”
Superman smiles and they kiss as we pan up to the stars.
END
STINGER:
SUPERMAN CONFRONTS
MANHEIM
At night, Bruno Manheim dismisses his assistant for the
night and pours himself a drink. When he turns around, Superman is floating
outside his window. Manheim takes a drink and smirks at Superman. Through the
glass Superman says "I'm watching you." Manheim laughs and grabs a
permanent marker from his desk, draws an Omega symbol on the window and says
"So is he."
Saturday, March 26, 2016
What a Knightmare. My review of "Batman v. Superman: Dawn of Justice"
"Batman v. Superman: Dawn of Justice." Oh boy, I don't think it was a good movie per se, but there were a few things that worked for me and many that did not. There are shades of greatness marred down by a wonky script, a ridiculous plot, too many contrived conveniences and the ugly shadow of "Man of Steel."
There are MAJOR SPOILERS in this review.
That's the disclaimer. I'm not a "Man of Steel" fan. I don't think it was a particularly great film and I think it fails on just about every level as a Superman film, as is well-documented.
I love Superman, that much is proven by my essay "Why we look up in the sky..."
With that said, let me get this part of the review out of the way. For me, the biggest failing of this film was the treatment of Superman. There were a few things that became abundantly clear after I saw BvS, one of the most glaring things being that the filmmakers have a complete misunderstanding of Superman. That much was clear after "Man of Steel," but you'd think maybe, just maybe they'd take a different approach and take Superman and maybe present him in a more classic form. In fact, had they actually done that... made Superman that wide-eyed optimistic boy scout we all know and love, BvS might have featured a far more compelling narrative between Batman and Superman.
I for one held out hope that maybe we'd be surprised. Maybe after all the criticism of "Man of Steel" - the destruction porn, the killing, the depressing and mopey Superman - maybe the events of "Man of Steel" would make this Superman embrace a more optimistic and cautious approach to the world - hopeful, smiling, inspiring, valuing life - a way to show the people of the world he shouldn't be feared and to even atone for killing Zod.
Not only does that present a stronger dynamic for the character, its also more of a reason for Batman to be fearful. The older, more cynical Batman would push, trying to bring Superman back down to that dark, broody level and Superman resists... proving he's grown, that he is incorruptible. With a few small choices like that, we would have had a Superman that still fits within the narrative of "Man of Steel," but is more in line with who the character really is at his core. Immediately, you now have the classic tenant of the entire Batman vs. Superman argument - The Dark Knight's cynicism and the Man of Steel's optimism. That's what "The Dark Knight Returns" - the book which this film borrows very heavily - basically presents. Two good men and friends who have two completely different perspectives on the world, so much so that they have an argument with their fists.
Instead of what seemed obvious - to me at least - we're presented with a Superman who shares the same level of cynicism and lack of faith towards the world. Being Superman feels like it is a burden for Clark Kent, some people accept him, others outright hate him. In fact, some people straight up fear him and that to me is where everything about this version of Superman goes wrong. Superman shouldn't be feared by the general populace. Yes, certain powerful individuals with control complexes can fear him and look for ways to destroy him i.e. Lex Luthor and Batman - but in terms of him being generally feared? No. Never.
I guess I just don't want or need a Superman movie that is a bizarre think piece and commentary about how the world would react to a super-powered, godlike being. Which is kind of funny because I write a comic that sort of deals with it, just not on the "god" level. Especially a mopey and broody one. I'm not saying there isn't a place for it obviously, though Superman it is not.
After we have to relive the death of the Waynes (AGAIN) and the destruction porn of "Man of Steel" - though on a smaller scale but with more horrific 9/11 imagery (stop it, Snyder) - we're treated to a scene in Africa where Lois Lane and an undercover CIA agent posing as a photographer (who Zack Snyder confirmed is Jimmy Olsen... UGH... I mean really... UGH) meet a warlord/weapons dealer. There are some mercenaries there who kill the photographer with a headshot at point blank range and the warlord kidnaps Lois. The mercs then kill the warlord's men, essentially gunning down a village, they leave the scene as Superman enters bombastically crashing through a hut to confront the warlord who is holding Lois at gunpoint.
This was it for me. This was the moment that was going to show me how the filmmakers had evolved Superman. Here we had a classic Superman situation. I thought to myself, "is he going to melt the gun? is he going to disarm at super-speed? is he going to do a super-speed light tap and put the warlord to sleep?" I waited, expecting to see a classic, iconic moment... Lois nods, lowers her arm and then...
At super-speed Superman literally PLOWS through this poor guy and drives him through layers of walls. My head fell in my hands. I had all those feelings of heartbreak again. For a split second I thought "okay, maybe we'll see a scene where the guy is still alive..." No, we cut to a press conference where a U.S. Senator is addressing the carnage caused in Africa and blaming Superman. Seriously? Did Superman just turn this guy to mush?
Superman would have taken down the Warlord, then gone after the mercenaries. Of course, then we wouldn't have a movie. Instead, Lex Luthor is trying to frame Superman for shooting up a village.
It was after that scene that I gave up hope of Superman finally being Superman in this movie. I should have known better after "Man of Steel," and I struggled to stay in my seat. This Superman is also completely indifferent to collateral damage, which is 100% against the core principles of the character. Forget the killing for a second... the destruction porn in "Man of Steel" and Superman's attitude towards it is one of my biggest criticisms of that film and its a driving plot device in this movie. As I mentioned in "Why we look up in the sky..." one of Superman's weaknesses in a fight is his compassion and his desire to limit collateral damage. Call me names, call me a fanboy... whatever I don't care. This portrayal of Superman was just depressing and that ultimately is the overall tone of the film, depressing.
There are some bright spots and some cool moments, and I can see why, especially in the CGI-wild final battles people came away loving the movie or saying it was fun. Getting there for me was a slog.
Here's a massive spoiler: The final fight with Doomsday ends with Superman stabbing the beast with a kryptonite spear and getting impaled himself, ultimately dying. Yes, Superman dies. At least they filmmakers got that part half-right, that in killing Doomsday, Superman sacrifices himself... but it doesn't really count because 1) Doomsday is basically a zombie and 2) Superman isn't really dead.
As I am writing this, I came across this piece from Kastor's Korner, which I found matches my description of Superman's attitude towards collateral damage and also perfectly sums up a lot of how I feel about the way the filmmakers represent Superman. "That’s what undercuts the end of this film, as the death of Superman feels less about heroic sacrifice, and more of the filmmakers washing their hands of a character they just can’t seem to understand. All this adds up to a profoundly cynical perspective for a comic book movie, a shriveled black heart beating beneath the surface of the movie." YES.
What was abundantly clear to me in this movie and makes so much more sense looking back at "Man of Steel," Zack Snyder and David Goyer HATE Superman. This is who they are (and I back this up by reminding everyone about David Goyer's feelings towards Martian Manhunter): they are the type of readers who hate Superman because he is "too good" or "can do anything." This is one of the main reasons some people just don't like Superman. I'm curious to know whether or not either of them have really read anything beyond the "mainstream graphic novels" like "Watchmen," "Dark Knight Returns" and "The Killing Joke." Seriously, this version of Superman is the embodiment of people I know who just outright hate Superman for being the all-powerful boy scout... and you know what? It is THOSE same people who like this version.
I don't think Snyder and Goyer understand Clark Kent and Superman as human, or as what makes him human. They see what he represents as a thing of the past and that is evident through some dialogue throughout the film. They are grossly wrong, especially when you bring Chris Evans' Captain America into the argument (I hold Captain America in the same regard as Superman and Evans and Marvel Studios NAIL Cap). What's clear is they see him only as an alien or an angry god. That's the real difference. Superman doesn't see himself as a god. In fact, there's a PHENOMENAL issue of "Green Lantern" from 2002 where Superman confronts then-Green Lantern Kyle Rayner who possesses the god-like powers of Ion. As Kyle starts to intervene everywhere he can, cults start to pop up and Superman delivers this fantastic lesson about how they have to draw the line, ultimately they aren't gods and have to ensure they aren't treated as such.
I bring this up because throughout BvS, the religious iconography and blatant call-outs to mythological gods and monsters is exhausting. I get the whole "DC Pantheon is like the Greek gods" gimmick, but it is so heavy-handed in this movie that it becomes eye-rolling. I don't and never have liked the 'Superman is Christ" interpretation. I find it to be wrong and frankly stupid, though that seems to be how the filmmakers think he's meant to be.
What does the shoe-horning of "Death of Superman" into this movie mean? A couple things of course. 1) He could be the vessel for Darkseid, 2) He could be revived and less-powerful, building his strength back up or... my foolish hope... 3) He emerges as the classic Superman. At the end of the movie, the world magically accepts him in death. And when he returns (forget the insane religious implications), he could be the Superman that Grant Morrison described as "the most relaxed and laid back person alive." He would have cheated death (which is a whole new set of problems as Max Landis once so eloquently pointed out), but THAT could serve as the catalyst for Henry Cavill to put on the charm and charisma I know he has and be the Superman we deserve (Cavill is great in "The Man from U.N.C.L.E.) That ideal to strive towards. That is, simply put, the way to redeem this version of Superman and inspire next generation the same way Reeve did. I just don't need to see Zack Snyder or David Goyer attempt to handle the character again. There's a hopelessness to this, and that's the exact opposite of Superman.
Why do I care so much about how Superman is portrayed? That's a question I get a lot. When these characters are presented in the movies, the general public takes them as definitive. That THIS is who the characters are, this is basically their mainstream. I think we're moving away from that with the constant reboots (especially with Batman and Spider-Man)... my point is this: how many people thought the Joker killed Bruce Wayne's parents because of Burton's "Batman"? Yet Superman is different. Superman is much different because he means so much more, to me especially. I also have two sons. Little guys, one of whom I've been introducing to the superheroes. He likes Batman, he likes Superman, he likes "America 'Merica" (Captain America). Superman for me was the gateway to Marvel, DC, everything. That idealism is where it began and everything deviates from that - I've called every superhero post-1938 a derivative of Superman in some way and to an extent they are. So for me, and for my sons and daughter, given what Superman means to me, I'd rather not have the "mainstream" version be this misunderstood, cynical "god."
Okay, now that the Superman bit is out of the way, and you're probably exhausted reading that, I'll breakdown the movie the same way I did "Star Wars: The Force Awakens."
The Yay!
Wonder Woman. Yes, she is awesome. It is kind of random and very deus ex machina when she shows up in the finale to fight Doomsday, but Gal Gadot OWNS this role. She is absolutely fantastic and it just makes me more excited for her solo film.
Alfred. I really liked Jeremy Irons' portrayal as Alfred. The dry wit, the kind of "you're an asshole" approach to Bruce, it was all spot on. I especially liked that Alfred is as much a part of Batman as Bruce. This was a version of him that was as weathered as Bruce and hadn't lost his sarcastic charm. He's also the voice of reason, as the character often tends to be. I suspect Geoff Johns may have had something to do with this Alfred as he's similar to the one from "Batman: Earth One." Although some characterization and dialogue was off (more on that later).
Perry White. Laurence Fishburne made the most of his screen time as the Daily Planet editor. He was so unequivocally Perry that I felt his performance was the most true to any character being portrayed and was one of the absolute stand outs. And it is implied that he does indeed know Clark is Superman, which I have always believed is true of every iteration of Perry.
Soundtrack. Hans Zimmer and Junkie XL do a nice job. Really. I honestly didn't like the new Wonder Woman or Batman theme until I heard them in the context of the movie.
Ben Affleck's performance as Batman. Overall, I really liked Affleck's Batman. His performance is definitely a highlight of the film. While this Batman is inspired by "The Dark Knight Returns," it is not that version at all. This feels almost like every version rolled into one tried and true Caped Crusader. There are some things I didn't like about this Batman, but in terms of Affleck as Batman? One of my biggest takeaways is that I want to see a Ben Affleck-directed Batman movie.
The Meh
The visuals. Say what you will about storytelling ability or direction. Zack Snyder does know how to create visual spectacle. Unfortunately for me, visuals aren't enough to win me over.
Lois. Lois Lane is one of my favorite comic book characters. On paper, I love Amy Adams as Lois. She was one of the better things about "Man of Steel," though here I was left underwhelmed by her use in BvS. Not Adams, Lois. She's just kind of there and conveniently shows up at all the right places. And the thing with the kryptonite spear? She throws it into water after Batman and Superman fight... then she goes to get it back during the Doomsday fight and almost drowns until Superman saves her. After all that, he's the one to get the spear... wow. Lex ultimately uses her to get to Superman multiple times, again I just think her utilization was weird.
The title fight. I was a bit underwhelmed by the titular fight. On the one hand, Superman pretty much refused to fight and did manage to show some restraint, on the other hand Batman kicked his ass (remember I mentioned that Snyder and Goyer HATE Superman?). Granted Batman had the kryptonite and all, the whole fight felt forced because (see "Martha" below). And where the hell did Batman get the armor suit? There is ZERO explanation for it.
Final fight. This is in "Meh" because Doomsday is in "Nope." The final fight itself, was neat. Unnecessary and forced, but neat. A grand spectacle of CGI. There's also something interesting here that I think is prevalent to the mixed reaction of the film. Sometimes, a movie can be really bad, yet the finale is grand and vice versa. This could be a case where that third act and final fight outweighs the rest of the movie for some people.
Between "Meh" and "Nope"
The plot. This movie is ALL OVER the place. Honestly, the Kryptonite plot-line was the strongest, there were just a bunch of others battling for screen time, including plots from other movies, and it just wades into convoluted, barely glued together territory. On one hand, I give it points for having something coherent i.e. the Kryptonite... there was just too much happening that didn't make sense.
The Nope
Batman killing and the implications of the bat-brand. Seriously? Look, I get that we've seen Batman kill dudes before (see Burton) and it was wrong then and it is wrong now, but what many consider the "greatest Batman movie ever," "The Dark Knight" was basically all about how Batman doesn't kill. In BvS he does it with such ferocity that it's off-putting, not to mention hypocritical. One of the themes of this movie is consequence to actions and that's kind of the driving force behind Batman wanting to take down Superman, yet he's legit killing dudes. I get that he's been at it for 20 years and he's a bit weary and war-torn... if he's just killing bad guys and Gotham is still a mess, then he's the bad guy. Also, for a version of Batman so heavily inspired by "The Dark Knight Returns," the filmmakers missed a crucial point... when Batman kills, The Joker wins.
And then there's the bat-brand. In essence and in theory, I didn't mind it, especially from this older Batman. My issue arises when it results in guys getting killed when they get to prison? Come on. I don't mind his brutality when he fights - he's an older, angry man - but the killing and essential condoning of murder via the bat-brand was way off-character.
Why Batman hates Superman. In the comics, there's always a disagreement over methods. Optimism vs. cynicism. Here, Batman hates Superman because when fighting Zod, Bruce Wayne's building was destroyed. Totally not Superman's fault, especially according to "Man of Steel" defenders, still it serves as why Batman has to destroy Superman. This is a weird motivation because later in the movie we see Batman exercise the same kind of recklessness and destruction in the Batmobile. This was a little ridiculous.
Lex Luthor. I just wasn't a fan of this Lex. He was too spastic for my taste and there was really no clear motivation for him. Was it the destruction? Was it a thing against aliens? Was it a thing against deities? Was it an abusive father? Was he just a pawn of Darkseid (which to me is a disservice to Lex)? Eisenberg was all over the map. More or less Gene Hackman's Luthor mixed with Heath Ledger's Joker taking orders from Kevin Spacey playing Hackman's Luthor. And all that heavy-handed god-stuff I mentioned? Shut up, Lex. It was too hammy and over the top. His reasons for anything are unclear. To me, the ultimate Lex is the Clancy Brown-voiced Luthor from The Animated Series.
Retconning "Man of Steel": This is really bizarre. Superman says to Lois, "Superman was never real, he was the dream of a farmer from Kansas." Wait... what? In "Man of Steel," Jonathan Kent is a jerk. He doesn't want Clark to be Superman at all and "maybe" let a bus full of kids die. It was Jor-EL who very much wanted and pushed Clark to becoming Superman. BvS ignored the previous movie to rewrite its own continuity. The scope of the highly criticized Battle of Metropolis from MoS also seemed to be down-sized.
Pa Kent vision: What?
Doomsday. There was no point to having Doomsday in this movie. Cool final fight, yeah, but why did Lex go through all the trouble of framing Superman and getting him to fight Batman if he was just going to create and unleash the unkillable beast he can't control that kills Superman anyway? Also, Doomsday was Nuclear Man from "Superman IV" on steroids.
The script. There's a lot going on in this movie. A lot that the studio wanted I'm sure, and there are moments where things feel "by committee." For that, the script suffers. There is a lot of cringe-worthy dialogue, few clear motivations and only Batman has a real, concrete story-arc. There are way too many contrived conveniences and there are so many gigantic plot holes it'll make your head spin.
Stop destroying everything. The most Superman thing that Superman did this entire movie was fly Doomsday into space to fight. That was obviously to get that "Dark Knight Returns" moment with the nuke, however there comes a point where the destruction porn is too much. It was overkill in "Man of Steel"... there's just too much collateral damage. One of the things I found REALLY intriguing about the "Civil War" trailer is that when General Ross is going over all the Avengers battles with Cap, the human toll is minimal because the Avengers are saving lives, but the monetary cost is astronomical. That seems like a real and legitimate motivating factor for politics in that film. Everyone in BvS is just flippant about the damage and it's evident in the dialogue directed at people like me who criticized the destruction. "This building is uninhabited" and "The docks are abandoned."
The Justice League. I honestly could have done without the Justice League. I didn't like the Flash time portal bit, and the reveal of Aquaman, Cyborg and Flash was forced. It could have been a little more nuanced... no, WB decided that everyone already has their logo and we basically get a trailer for each. Oy.
Religious iconography/god complexes. STOP IT. Seriously. STOP IT.
Martha. This was RIDICULOUS. Batman spends 90 minutes preparing to kill Superman and when they fight, Batman get the upper hand via Kryptonite. So when he's about to kill Superman, Supes utters "save Martha." And now, out of nowhere, because their moms have the same name, they are bros. WHAT? Okay, I get it, that was the moment Batman realized he was being manipulated, but the entire title fight of this movie could have been completely avoided if Superman had just said "Hey Batman, Lex kidnapped my mom Martha, can you help?" Instead there is more a feeling like: "Hey Superman, people paid $12 to see us fight, so I'm going to beat you up until your girlfriend shows up and tells me Martha is your mom's name too."
The self-loathing, depressing tone. This movie, like "Man of Steel" is depressing. The film is dark, it takes itself WAY too seriously and everyone is so self-loathing. A friend of mine put it pretty well: "The superheroes were the sad people that everyone hated, who hated themselves and hated each other until they realized they looked cool when they posed together." There is little joy to be found in this movie. It starts and ends with a funeral, that's pretty telling. Look, I get some people like the more serious and darker stuff, my argument is that isn't what Superman OR Wonder Woman is about.
I've seen a lot of people point to "Avengers: Age of Ultron" as a movie "critics like, fans hate." I disagree. I don't think AoU was a perfect film at all, but the tone made a huge difference. AoU served a specific purpose - to be an Avengers movie about the Avengers avenging and setting up the next steps. They save lives, they are superheroes, the tone is lighter and more fun. The other BIG difference - I'd be fine taking a kid to AoU, or any Marvel movie for that matter. I wouldn't take a kid under 12 or 13 to see "Batman v. Superman," and if you can't comfortably take a kid to a Superman movie, that's a failure in my book.
Overall, I did not like this movie and the depiction of Superman again was a big reason why. There's some hope for the character, only if Zack Snyder and David Goyer are no longer involved. In fact, I don't know if I'll ever bother to see another Snyder-led DC Comics movie. "Man of Steel" and "Batman v. Superman" were enough to tell me they don't understand the characters or the universe.
There are some really neat ideas at play here and things like Wonder Woman are really intriguing, most just aren't executed that well. There are some good scenes I could see myself watching again out of context ("Green Lantern" also has some of those). More importantly, if Warner Brothers doesn't care and just wants to make money on bad movies like the "Transformers" franchise that's their prerogative, but the long-term brand damage could be devastating.
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