Author: Dr. K

Game Corner [Bat-Month]: Batman: Arkham Origins Blackgate: Deluxe Edition (Xbox 360)

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In the decades since his first dramatic appearance in Detective Comics, Bruce Wayne/Batman has become a pop culture icon. The brainchild of writer Bob Kane, Batman was brought to life by artist Bill Finger and has been a popular staple of DC Comics over the years. Accordingly, September celebrates “Batman Day”, the perfect excuse to celebrate comic’s grim and broody vigilante.

Released: 1 April 2014
Originally Released: 25 October 2013
Developer: Armature Studio
Also Available For: Nintendo 3DS, Nintendo Wii U, PC, PlayStation 3, PlayStation Vita

The Background:
Batman’s “troublesome” relationship with videogames was changed for the better when Eidos Interactive, Rocksteady Studios, and celebrated Batman writer Paul Dini collaborated on the critical and commercial success Batman: Arkham Asylum (Rocksteady Studios, 2009). This was followed by a bigger and better sequel, Batman: Arkham City (ibid, 2011), that was even more lauded, an achievement Rocksteady Studios didn’t take lately. Eager to capitalise, Warner Bros. Interactive Entertainment turned to WB Games Montréal to develop a prequel while Rocksteady worked on a third game. Although it received a fair amount of praise, Batman: Arkham Origins (2013) was largely seen as mediocre and derivative. Yet, Warner Bros. doubled down on their desire to cash in on the Arkham franchise and outsourced the development of a portable spin-off title to many of those behind the Metroid Prime trilogy (2002 to 2007). Armature Studio collaborated with WB Games Montréal to ensure continuity between their titles, and the portable versions were developed to be unique for each system, though reception was mixed regarding the downgrade to portable hardware. Indeed, considering reviews criticised the bland prison setting and clunky combat, it’s surprising that the game was re-engineered to run on home consoles, though with updated visuals, controls, and maps, to deliver this slightly better received Deluxe Edition of the game.

The Plot:
Three months after apprehending the maniacal Joker, Batman is forced into an unlikely alliance with Selina Kyle/Catwoman to quell a prison riot at the Blackgate Penitentiary, which has been taken over by the Joker, Oswald Cobblepot/The Penguin, and Roman Sionis/Black Mask. 

Gameplay:
Unlike other entries in the Batman: Arkham series, Arkham Origins Blackgate is a 2.5D “Metroidvania” style title that restricts Batman to a self-contained, largely linear series of environments explored and expanded by acquiring additional gadgets. While the 3DS version divided the gameplay to the top screen and the map to the lower screen, the Deluxe Edition emulates the Batman: Arkham style but on 2 2.5D plane. Therefore, players must press the ‘Back’ button to bring up a janky 3D wireframe map and check their objectives and collectibles, and use the Left Bumper to enable the trademark Detective Mode rather than tapping on the bottom screen. Similarly, LB allows you to scan the environment, pinpointing crates to open, clues to solve cases, and interactive elements in the environment (that, strangely, need to be scanned every time before use). Otherwise, the controls should be relatively familiar for anyone who’s played a Batman: Arkham game before. Holding A allows Batman to sprint and double tapping it sees him to hop over enemies to attack from behind or roll past spiked hazards. B stuns enemies with a swipe of your cape, allowing you to pummel armoured foes, while X sees Batman attack with strikes, building combos for fancier moves and additional damage. Tapping Y when the icon appears over his head counters incoming attacks, while the Right Trigger is used to crouch and enter vents. Batman’s various gadgets are selected with the directional pad, aimed with LT, and used with RT, allowing him to toss Batarangs or quickly grapple to higher ground as needed.

The game tries to emulate its main console counterparts by recreating Batman’s abilities,

Given the 2.5D restrictions, you won’t be battling large waves of enemies and foes tend to come in manageable groups and only swarm from the background and foreground sporadically. There is no level-up system like in other Batman: Arkham games so you can often bypass enemies rather than fighting them, which is sometimes preferable given that the combat feels much clunkier than in the other games. Countering, in particular, can be a bit hit and miss at times. Knife-wielding thugs and those with stun batons cut through your defences surprisingly easily and Batman seems much weaker this time around. This means electrical currents and poisonous gas drain your health extremely quickly and Batman cannot withstand even a short burst of sustained gunfire. Although Batman doesn’t have to worry about gaining experience points and levelling-up, he can still improve his suit and gadgets by finding WayneTech crates. Similarly, you upgrade Batman’s “Rush” ability (something I struggled to understand but seems to do additional damage as his combo increases) or obtain gauntlets to increase your regular damage. There are numerous helpful autosave points and you can skip cutscenes when reloading, which is even better, but it can be very frustrating to fail again and again because you were spotted and got caught in a crossfire. Arkham Origins Blackgate tries to recreate the “Predator” sections of its bigger, better counterparts but these are both painfully limited and needlessly frustrating. Detective Mode highlight enemies and objects to distract them, and Batman can toss a snare to tangle goons when up high, but there are few options to avoid being spotted. Batman can still hop into floor grates, shimmy along ledges, or sneak behind enemies to take them down or can just dive kick them. Still, you’ll mostly rely on distracting enemies or take them out by dropping hazards into them or destroying the ground beneath them.

You can explore new areas with Batman’s different gadgets and abilities.

Blackgate Prison is split into three main areas: the Cell Block, the Industrial Area, and the Administration Offices. Each has sub areas, such as a sewer system, a dock and lighthouse, and the maximum-security Arkham Wing and you’ll be going back and forth between these areas many times. In many ways the game has more in common with Batman: Arkham Asylum than the other open-world titles, meaning you’ll inevitably reach an obstacle and be forced to explore elsewhere to acquire a different gadget or a key card for your Cryptographic Sequencer. Each area has different entrances and exits and there are shortcuts you can take, but it would’ve helped speed things up to be able to return to the main map from the pause screen. Once there, you can jump to different areas, which is helpful, but it’s not always clear where you need to go or what you need to do no matter how helpful the map thinks it’s being. To be fair, if you haven’t acquired the Line Launcher then you obviously can’t cross gaps and if you don’t have the right key card you can’t open new paths. However, the game is structured to allow you to tackle the main bosses in any order provided you don’t mind backtracking. The puzzles are pretty simple and familiar and largely centred around the Cryptographic Sequencer, which launches you into a number matching/finding mini game, but you’ll also be activating consoles, grappling to switches, and using your various gadgets to access new paths scanned with your Detective Vision. Batman starts with his Batarang and grapnel gun but soon acquires the Batclaw to rip down grate covers and certain walls, the Line Launcher to cross gaps, and explosive glue to explode floors. These can also be upgraded as the story progresses, providing a shock upgrade for the Batarang to create an electrical current to activate doors and machinery, the ability to walk on your line like a tightrope and clumsily ascend up shafts, and glue gel to temporarily jam gears and mechanisms.

Presentation:  
As you might expect, given that it’s a conversion of a 3DS game, Arkham Origins Blackgate isn’t anywhere near as impressive as its main console counterparts but, for the most part, it looks and runs quite well. Batman’s character model fittingly gets the most attention, though he won’t show battle damage and he’s obviously limited in his animations and movements because of the perspective shift and lesser game engine. Combat is a little sluggish, unfortunately, and nowhere near as slick and satisfying as in the other games, which makes one of the franchise’s most enjoyable aspects a chore. Thankfully, much of the gameplay is focused on exploration, simple puzzle solving, and backtracking and Batman controls much better in this regard. Catwoman will help him on the comms, presenting a unique dialogue dynamic compared to talking with Batman’s usual allies. Thugs still engage in some amusing and distracting banter as you wait in the shadows, but the visuals let the game down a bit, appearing more akin to a late-PlayStation 2 or PlayStation Portable title.

Blackgate fails to impress with its drab visuals, however ambitious they may be at times.

Much like Batman: Arkham Asylum, the game is awash in drab, uninspired, grey locations. It’s all very dull and clinical whenever Batman’s indoors, with the only things separating one area from another being one might have some elevators while another has more office equipment, one will be a gothic almost steampunk sewer and the other will have more advanced cells for inmates, but none of it is very visually appealing. The lighthouse and docks are a notable exception, but I was glad to venture into the sewers (generally one of the more visually uninspiring videogame locations) just to mix things up. When I played through the 3DS version, I chose not to engage the 3D function; while it offers a decent sense of depth, the game’s too visually dull to make the most of it. As many environmental puzzles and collectibles are hidden, this means it’s usually better to play with Detective Mode activated so you don’t miss anything and can see during blackouts. The game’s cutscenes largely use a motion comic style reminiscent of Tim Sale’s artwork and they’re fully voiced. You’re gameplay is also often interrupted by cutscenes showing Amanda Waller observing and commenting on your progress, though cutscenes using the in-game engine are restricted to a few short sequences.

Enemies and Bosses:
Blackgate Prison houses some of Gotham City’s most violent criminals, but they’re not the most colourful. Most of the common thugs return from the bigger Batman: Arkham games, with no new additions or interesting wrinkles added. You’ll get into fist fights with enemies, some of whom wield blunt instruments like baseball bats, but those with knives will slash at you mercilessly unless you stun them with a swipe of your cape and beat them down and those with stun batons must be hopped over and attacked from behind. You won’t have to worry about thugs using car doors as shields or coming at you with swords, or any brutish goons, but anyone with a gun should be avoided at all costs. In these instances, you’ll need to use stealth to take them down as it won’t take much to alert them to your presence and see you riddled with bullets, but easily one of the worst dangers in the game is the annoying abundance of spiked hazards lining the floors!

Bosses can be ridiculously simplistic or ridiculously frustrating, with little middle ground.

As Batman progresses further into the prison, or to facilitate this progression, he must face some of his most memorable rogues…and also Benjamin Turner/Bronze Tiger and Floyd Lawton/Deadshot…in boss battles that range from simplistic to ridiculously frustrating. First, you’ll chase Catwoman across the city’s rooftops to a construction site, then you must tap Y to evade her claw swipes and press B to stun her with your cape when prompted. If you try to attack any other time, she’ll slap or whip you away and you’ll need to be quick with your counters for the final hit as she swipes at you three times in slow-motion before going down and offering to help you out. As you explore the cell blocks, you’ll end up in a specially constructed electrified arena made for the Penguin’s amusement where you fight Bronze Tiger in a battle that’s functionally very similar to the one against Catwoman. You’ll initially need to counter Bronze Tiger’s attacks, stun him with your cape, and hit a quick combo but he also has a leaping attack that you must dodge to smack him up, and you can deal a fancy finish if your combo hits him into the electrified cage. As much as I mock him, Deadshot at least mixed up the challenge for his boss battle. Initially, you control Batman from the perspective of Deadshot’s sniper rifle, using cover to avoid being shot and making your way around the area. Then, he switches to a machine gun and will cut you down in seconds if you don’t duck down, meaning the timing to hit a nearby spotlight and blind him is very tight, but at least it wasn’t just counter/stun/attack/repeat.

These three bosses had me tearing my hair out during each encounter.

Down in the sewers, you randomly fight Cyrus Gold/Solomon Grundy, the game’s solo gigantic foe. Accordingly, he’s immune to your standard attacks and you must use Batman’s explosive gel and Batarangs to activate electrical cables to shock him when he charges over puddles. It’s probably just me but this wasn’t immediately clear and I struggled to figure out what the hell I was supposed to do but, once you figure it out and get the timing right, it’s not too difficult. This frustration continued into the fight with Black Mask. As he’s not a physical match for the Batman, Sionis sends in his goons, tosses grenades, and blasts away with his machine gun. He’s also very slippery and forces you to disable three generators in a time-consuming puzzle before waiting to gun you down the moment he spots you. You need to distract him with the nearby alarms, take out an overhead light, and use the floor grates to lure him into position to take him down, all of which was far more aggravating than it had any right to be. Easily the most difficult of the regular bosses, for me, was the Penquin. Cobblepott is flanked by armed goons who cannot be defeated without disarming them, which is extremely difficult to do. Instead, it’s better to distract them so you can drop onto the Penguin and avoid being shot to death in seconds by his shotgun. As the battle progresses, more goons and even an overhead drone makes things harder, though thankfully there is a checkpoint for the final stage.

Your greatest challenge will come, surprisingly, from the Joker and Catwoman.

In a change of pace for this series, you go one-on-one with the Joker in Arkham Origins Blackgate, to a degree. You fight him in a small, enclosed space where his minions toss grenades and the Joker races around a central obstacle, smacking you with an electrical baton whenever you get close. Accordingly, you must run in the opposite direction and time your Line Launcher to fly in and land a combo, but he’ll also take shots with his pistol, floods the arena with poisonous gas, and has the largest health bar of any boss so far. However, he’s a walk in the park compared to the final boss, initially teased as another tedious fight against Bane but which turns out to be an infuriating three-stage fight against Catwoman, of all people. Before you fight her, you’re forced to search all over finding and defusing bombs before you battle her in the same format as in the first encounter, except she’s added Bronze Tiger’s leap to her arsenal and trying to counter her claw swipes is even more difficult. After this, she blinds Batman and strikes from the darkness; your only cue to when she’ll attack is the brief glow of her goggles and a little jingle, meaning it’s way too easy to miss-time your counter and get hit. Survive this phase and she appears to duplicate, with her doubles feigning attacks and the true Catwoman striking so quickly and so awkwardly that it’s near impossible to correctly time your counters as you need to press Y slightly before the indicator appears. Oh, and you need to repeat this last phase three times, with the fakes and attacks increasing each time, making for the most irritating boss battle in the franchise since that God-awful fight with Slade Wilson/Deathstroke!

Additional Features:
There are thirty Achievements on offer in the Deluxe Edition of the game, with one being awarded each time you defeat a boss or hit a continuous combo (up to 100). You’ll also get Achievements for solving detective cases, destroying Joker teeth, explosive bird cages, and replica black masks (which also unlock extras in the game’s gallery), and locating armour and full costume sets. Interestingly, there are some creative Achievements available too, such as dying from the Joker’s laughing gas, facing a different final boss each time, and defeating Grundy with the shock Batarang. While there are no Riddler Trophies, you can find and scan various clues to different criminal cases; some are hidden and others require your gadgets to uncover. What you really want, though, are the WayneTech crates containing the different Batsuit parts. Find all five of each to apply a new skin to the Dark Knight and be afforded additional perks, such as increasing your resistance to damage or just making you invincible! Although there are no Achievements tied to it, the Deluxe Edition offers “Normal” and “Hard” difficulties and you unlock “New Game Plus” after clearing the game, which carries over any Batsuits, clues, and unlocks you’ve earned but will overwrite your save data, take away your gadget upgrades, and present you with re-ordered boss battles and some new items.

The Summary:
I knew that Batman: Arkham Origins Blackgate wouldn’t be as expansive or as impressive as its home console counterparts, but I held out hope that the game would make the most of its new format and genre to deliver a fun and engaging Metroidvania. In many ways, Batman suits this genre perfectly; it really opens a lot of avenues for exploration, unique use of Batman’s gadgets and abilities, and speaks to his reputation as the World’s Greatest Detective. Unfortunately, it failed to live up to its potential, the standards set by its bigger cousins, and to meet the expectations of its genre. The combat is slow, sluggish, and unreliable; you’ll try and counter an attack only to get hit and this makes fighting, especially boss battles, extremely aggravating. The Predator sequences are far too limited; I think it might’ve been better to switch to a different presentation for these sections, perhaps a little more zoomed out or isometric perspective but, as it stands, they’re just too finnicky to be anything other than a chore. Some aspects are interesting, like tracking the Penguin’s blood trail or rescuing hostage or even defusing the bombs in the game’s finale, but it’s so difficult to navigate that it’s easy to get turned around or exit an area before you’ve completed your objective. I appreciate it when a game doesn’t hold your hand but, normally, the Batman: Arkham games give you a little more direction than here, where you can just fail constantly trying to figure out how you’re supposed to take out Solomon Grundy and the Penguin or get to where the map’s directing you. I’m not really sure what makes this version so “deluxe” compared to the 3DS title as it barely improves upon the limited 3DS version. As a budget title that offers a taste of Batman’s bigger adventures, it’s not bad but, as an entry in the lauded Batman: Arkham series, it’s a clear disappointment.

My Rating:

Rating: 2 out of 5.

Could Be Better

What did you think to Batman: Arkham Origins Blackgate? Do you agree that it fails to make the most of its new format and genre? Did you also find the game world difficult to navigate or were you able to find your way without much problem? What did you think to the game’s bosses? Did you struggle against Black Mask, the Penguin, and Catwoman? Would you like to see the Arkham Origins games given more spotlight? How are you celebrating Batman Day and what is your favourite Batman videogame? Whatever you think about Batman: Arkham Origins Blackgate, or Batman in general, please leave a comment below and check out my other reviews of the Batman: Arkham series.

Movie Night [Bat-Month]: The Dark Knight Rises

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Following his first dramatic appearance in the pages of Detective Comics, Bruce Wayne/Batman became a mainstream pop culture icon. The brainchild of writer Bob Kane, Batman was brought to life by artist Bill Finger and has been a popular staple of DC Comics and countless movies, videogames, and cartoons over the years. “Batman Day” fell on 20 September this year so I spent every Saturday celebrating comic’s grim and broody vigilante.

Released: 20 July 2012
Director: Christopher Nolan
Distributor: Warner Bros. Pictures
Budget: $230 to 300 million
Stars: Christian Bale, Tom Hardy, Anne Hathaway, Marion Cotillard, Joseph Gordon-Levitt, and Gary Oldman

The Plot:
After taking the fall for Harvey Dent’s (Aaron Eckhart) killing spree, billionaire Bruce Wayne (Bale) has retired from vigilantism and the public spotlight. However, when nigh-superhuman mercenary Bane (Hardy) terrorises Gotham City, Bruce is forced to suit up as the Batman once more.

The Background:
Once Joel Schumacher was done killing the live-action Batman franchise with his poorly received camp throwbacks, Warner Bros.’ desperate attempts to restart the series paid off thanks to visionary writer/director Christopher Nolan, writer David S. Goyer, and star Christian Bale and their well regarded reboot Batman Begins (Nolan, 2005). The three reunited soon after to produce a follow-up, The Dark Knight (ibid, 2008), a blockbuster success that is widely regarded as the best Batman movie. The film set a new standard for the genre, though at a cost as star Heath Ledger died from an accidental overdose following his surprisingly impressive turn as the Joker. Goyer’s original pitch for The Dark Knight called for the Joker’s return, but Nolan opted not to recast the role out of respect for Ledger. Initially reluctant to return due to this, and the poor track record of third movies, Nolan soon insisted on using Bane as the main villain to present both a physical and mental challenge to Batman in a story inspired by classic Batman events like The Dark Knight Returns (Miller, et al, 1986), Knightfall (Various, 1993 to 1994), and No Man’s Land (ibid, 1999). Tom Hardy was cast, gaining 30lbs of muscle and crafting a voice that drew much scrutiny. Bale returned as the title character and felt bittersweet and calling time on his Bat-career, while Hathaway trained rigorously for the role of Selina Kyle/Catwoman. Believing IMAX to be the future of filmmaking, Nolan avoided filming in 3D in favour of IMAX and once again insisted on doing as many effects practically and in-camera, including the dramatic opening sequence and Batman’s latest vehicle. Following another viral marketing campaign, The Dark Knight Rises also cleared $1 billion at the box office and was received very positively, with critics praising Hardy’s performance, its complex narrative structure, and Nolan’s direction. Many reviews criticised the bloated plot, however, and its bizarre characterisations and saw it as a disappointing conclusion.

The Review:
Honestly, it was going to be hard for Christopher Nolan to top or even match The Dark Knight. The movie earned its flowers as one of the most engaging and gritty superhero thrillers even if you discount Heath Ledger’s tragic death, and part of me thinks it might’ve been better to wait a little longer to follow it up, especially considering how lacklustre this third entry is. Granted, things start off positively as Nolan opens with a thrilling, IMAX-enhanced mid-air plane hijack as the masked brute Bane and his suicidally loyal followers infiltrate a Central Intelligence Agency (CIA) plane to kidnap renowned nuclear scientist Doctor Leonid Pavel (Alon Aboutboul). This breath-taking, fully practical, death-defying sequence introduces Bane, an intimidating and calculating villain. Rather than simply being a mindless brute, Bane is as articulate and loquacious as he is jacked, but you’d be forgiven if you had trouble understanding his obtuse soliloquys. Yes, I’m going to address the elephant in the room right away: Bane speaks with a very strange and at times indecipherable accent that often sounds pre-recorded, kind of taking me out of any scenes he’s in. Tom Hardy is a fantastic physical performer and Nolan did a wonderful job masking the height discrepancy between him and Bale, but his accent and line delivery is so strange and distracting that it can detract from Bane’s menace. I just wish we could’ve heard him speak in a less janky mishmash of accents, or perhaps if we could more clearly see his lips moving through the mask’s mesh, because Bane frequently seems ridiculous due to this decision (though, to be fair, memes and parodies haven’t helped his portrayal).

Broken and grieving, Bruce ignores his ailments and all advice to suit up as Batman once more,

In the eight years since the last film, Harvey Dent has been honoured as a hero, Batman branded a murderer, and the “Dent Act” has largely kept Gotham’s streets free from organised crime. Despite finishing the last movie fully prepared to be hounded and vilified, it seems Batman retired pretty soon after The Dark Knight. The rebuilt Batcave suggests he kept it up for a bit, but dialogue also suggests he disappeared the same night Dent died, which is confusing. Bruce has also shut himself away in Wayne Manor for many years. Still grieving the loss of his childhood friend and love interest, Rachel Dawes (Maggie Gyllenhaal), Bruce retreated after overseeing the development of a clean fusion reactor and mothballing it to keep it from being converted into a weapon. A reclusive shut-in, Bruce is riddled with physical ailments from his crimefighting antics, having lost all cartilage in his knees, and has become so morose that he’s let Wayne Enterprises fall into financial ruin. When he’s robbed by brazen cat-burglar Selina Kyle (Hathaway), Bruce uses his detective skills and resources to track her down and seems reinvigorated at the chance to don the Batsuit once more. Quickly (and magically) compensating for his injuries with a single leg brace, he eagerly returns to the streets despite the protests of his loyal butler and father figure, Alfred Pennyworth (Michael Caine), who believes (and rightfully so) that Bruce is no longer physically capable of contributing as Batman and that renewing his vigilante ways will simply lead to his senseless death. Instead, Alfred (and Lucius Fox (Morgan Freeman), executive vice president of Wayne Enterprises and Bruce’s quartermaster) encourage him to pursue more meaningful endeavours, such as sharing his clean energy reactor, funding orphanages, and pursuing “lovely” philanthropist Miranda Tate (Cotillard), who longs to collaborate with Bruce and bring glory back to his family name.

Lies have created a period of peace for Gotham, but its foundations are incredibly fragile.

As beaten down as Bruce has become, police commissioner James “Jim” Gordon (Oldman) is equally burdened by guilt. In the years since The Dark Knight, Gordon has been celebrated as a hero but at the cost of his family and is currently at risk of losing his position since he’s become superfluous. Clearly still guilt-ridden for failing to save Dent and lying about his death for eight years, Gordon’s plans to come clean are scuppered when he’s captured by Bane’s henchmen and brought to the main man himself. Though he manages to escape, Gordon’s wounded and bedridden and pleads with a concerned, partially masked Bruce to bring the Batman back to face this new threat. Later, he’s instrumental in galvanising the city police and civilians against Bane’s forces, and in tracking down Bane’s bomb. Although Gordon’s still in charge of the police department, much of the day-to-day operations are now run by Peter Foley (Matthew Modine), an uptight and annoyingly antagonistic individual who’s determined to oust Gordon by apprehending the Batman and continually ignores evidence of the greater threat, no matter how often rookie cop John Blake (Gordon-Levitt) tries to warn him. Seen as a “hothead” (despite literally being as cool as a cucumber), orphan Blake is quickly promoted to detective when his keen insight rescues Gordon, and works diligently to uncover Bane’s true plan. Blake gains additional support when, after Gordon’s kidnapping, he goes to Bruce for help, revealing that, as a fellow orphan, he recognises both Bruce’s pain and his attempts to mask it with his playboy persona, thus revealing his knowledge of Bruce’s dual identity. Blake therefore becomes something of an apprentice to both Bruce and Gordon, learning of Bruce’s motivations to wear a mask and fight crime and putting his natural deductive reasoning to good use, all to serve true justice and make life better for his fellow orphans. Naturally, Bruce is also aided by Fox, who gives him a tour of an off-the-books armoury where all his new Bat-toys are stored, including a fearsome jet-plane concept imaginatively called “The Bat”. Fox is begrudgingly forced to agree with the Board that Bruce needs to step down, advocates for Miranda to continue their work, and is forced to aid Bane when he holds the city hostage so Pavil can weaponise the fusion reactor.

Bruce’s relationship with Alfred crumbles as his intrigue in Selina is piqued.

Of all Bruce’s supporting cast, it’s Alfred who has changed the most, however. Just as Bruce and Gordon struggle with their guilt and decisions, Alfred is agonised at having lied about Rachel choosing Bruce over Dent. When Bruce insists on reviving the Batman, Alfred pleads with him to explore other solutions to Gotham’s troubles but, when his protestations fall on deaf ears, he’s forced to come clean in a last-ditch attempt to keep Bruce from throwing his life away. Instead, Bruce reacts with anger and orders Alfred to leave, leaving his father-figure heartbroken and leading to some bittersweet amusing scenes where Bruce realises how much he relies on his faithful manservant. Much of Bruce’s investigation into the so-called “Catwoman” revolves around retrieving his mother’s pearls, but he soon realises she’s a devious, highly capable, sultry thief who’s desperate to acquire the fabled “clean slate”, a piece of technology that will erase all records of her and presumably allow her to give up her life of crime. Manipulative and a master of deception, Catwoman allies with anyone, no matter how morally skewed they are, to achieve her goal, but is captivated when she fights alongside the Batman. Her distrustful, selfish nature sees her sell Batman out to Bane, but she’s stricken with a conscience when she learns of Batman’s true identity. She thus helps him in the finale, despite having achieved her goal, though she has little interest in following Batman’s “no-kill” rule. Hathaway definitely embodies the role and makes an impression in her skin-tight catsuit. Selina sports some gadgets and martial arts skills of her own, but her greatest ally is her ability to assume different roles (on the fly or with a simply costume and demeanour change) to deceive her marks, with only Bane proving immune to her deceptions and flirtations.

Calculating powerhouse Bane has an intimidating presence…until he’s revealed to merely be a pawn.

All throughout the film, we’re drip-fed information about Bane. Alfred (…somehow…) tells Bruce how Bane was the prodigy of his old mentor and enemy, Rā’s al Ghūl (Liam Neeson), and a man so ferocious and feared that he was excommunicated by the League of Shadows. When held captive in a prison in the Middle East – a desolate pit where inmates risk life and limb trying to climb to freedom using a precarious rope – the critically injured Bruce learns of a child who made the climb, forsaking all fear and the safety of the rope, and claw his way to freedom. Bruce assumes the child is Rā’s’ son, out for revenge, and Bane himself boasts of his goal to “fulfil Rā’s al Ghūl’s” destiny. A large, muscular man, Bane intimidates through sheer size and presence but swiftly and deftly proves his threat by snapping necks, crushing windpipes, and punching through solid concrete with his bare hands. Unlike in the comics and most iterations, this isn’t due to the superhuman drug Venom but actually thanks to his mask, which constantly feeds him aesthetic to numb the pain of the wounds he received in the Pit. Calculating and vindictive, Bane immediately targets Bruce, pulling off a very public robbery of the stock exchange that somehow leaves Bruce bankrupt and colluding with greedy businessman John Daggett (Ben Mendelsohn) to seize Wayne Enterprises. Once he’s achieved the funding and influence he needs, Bane captures Bruce’s armoury and brutalises Batman in a completely one-sided fist fight that leaves Bruce broken and humbled. Bane then outs Dent’s secret, destroys all bridges leading in and out of Gotham, traps the cops in the sewers when Foley stupidly sends their entire force to flush the mercenary out, and turns Gotham into a veritable no man’s land for five months as he threatens to detonate his nuclear bomb if anyone tries to escape. Bane’s plot is therefore essentially a combination of Rā’s’ and the Joker’s, exposing Gotham’s corruption and encouraging civilians to turn to anarchy, all with the threat of total destruction overhead. This is honestly a far cry from releasing Batman’s rogues from Arkham Asylum and watching as they mentally and physically wear him down. To be fair, it’s not like there were any recognisable inmates for Batman to fight here. Sure, Doctor Jonathan Crane/Scarecrow (Cillian Murphy) gets a quick, fun cameo but Batman is mostly fighting Bane’s goons, Foley’s cops (but not all cops since many are strangely still on his side), or Bane himself.

The Nitty-Gritty:
There’s a theme in The Dark Knight Rises and you’ll never guess what it is: it’s rising. Rising from adversity, from pain, from obscurity; rising against corruption, deceit, or malicious forces. And, naturally, one can’t rise without a fall, but my issue with this film is that Bruce falls so many times. Bruce rises from the stagnant quagmire of his reclusive life to return as the Batman, only to immediately fall at Bane’s hands due to his hubris and be forced to rise again (literally and figuratively) when imprisoned in the Pit. It’s not clear how bad Bruce’s injuries are here as he shrugs off that cartilage issue, seems just as capable as ever as Batman when not facing Bane, and easily recovers from what is potentially a broken back with a well-placed punch and some basic exercises. Personally, I was hoping for an adaptation of Knightfall first and foremost: start with Bruce being physically and mentally worn down by grief and fighting both the cops and criminals so he’s completely exhausted but too stubborn not to confront Bane. Then he can rise from his hubris and his injuries all at once and we’d get not only more Batman action in the early going, but a better payoff for The Dark Knight’s ending. Also, the film jumps all over the place, to the point where it seems the injured and bankrupt Bruce escaped the Pit and returned to the inaccessible Gotham through magic. It might’ve been better to skip the Pit altogether and have Bane imprison Bruce deep in the sewers, perhaps with Godon and the cops, who learn his true identity and the truth about Dent, and are therefore inspired to join him against Bane.

Nolan finally delivers an intense fight scene alongside his jaw-dropping practical set pieces.

Indeed, a lot of The Dark Knight Rises just feels like padding and it lacks much of the gravitas of its predecessors since it repeats many of their story beats. Nolan continues to struggle with fight scenes, though the team-up between Batman and Catwoman in the sewers is a lot of fun, the grand destruction of Gotham’s football field is suitably impressive, and the intense brawl between Batman and Bane is a memorable sequence. Devoid of music so all we hear are the combatant’s blows, Bane’s taunting, and Batman’s stubborn growling, the fight shows just how ill-prepared and overconfident Bruce is. Just as Alfred feared, Bruce underestimated Bane and “[fought] like a younger man” rather than preparing for the fight. It’s interesting that Batman, a character typically depicted as very smart, didn’t think to target Bane’s mask in this fight. He learns of this vulnerability and uses that tactic in their rematch, though Bane reacts furiously by this and is still positioned as Batman’s physical superior. Even Batman’s gadgets are useless against Bane, though Batman’s new EMP gun helps stop Bane’s goon after their heist. Batman also pilots the Bat, a jet-like vehicle that allows him to quickly and easily fly around Gotham’s skyscrapers. It’s not used much (there’s only really a need for it in the finale), so Batman continues to ride the Batpod, though prototype Tumblers are commandeered by Bane. Nolan definitely ups the scope for The Dark Knight Rises, staging an all-out war between Gotham’s police and ordinary civilians and Bane and his troops in the finale. It’s a bit of a mess with lots of smoke, bullets, and bodies crashing into each other. Background characters simply collapse and die, Foley is killed offscreen, and the entire scuffle is literally framed as a distraction so Batman can fight Bane once more, in broad daylight, to find the trigger to his bomb.

A cringey death here, a disappointing finale there, and Bruce gets to retire once again.

Bane claims to have hidden the trigger somewhere in Gotham and that anyone could accidentally set it off at any time. In the five months Gotham is on lockdown, Blake and Gordon try to rally the civilians with the hope of Batman’s return as Crane and Bane execute the city’s government in a kangaroo court. Although he takes a beating, Batman overpowers Bane by targeting his mask but is absolutely dumbfounded when Miranda literally stabs him in the back and reveals her true identity as Talia al Ghūl and that it was she who made the climb thanks to Bane’s protection. Talia’s gloating is quickly rendered moot thanks to Gordon blocking the trigger, so she races to activate the bomb herself after Bane is unceremoniously killed by Catwoman and a blast from the Batpod’s cannons. Catwoman helps Batman and Gordon to catch Talia, who ultimately crashes and gives one of the worst onscreen deaths in cinema history, followed by a strangely uncomfortable kiss between Batman and Catwoman, and Gordon looking like a complete fool as he was truly clueless about the Batman’s true identity until Bruce made it explicitly clear. With no way of stopping the bomb, Batman does the only thing he can and carries it out to sea using the Bat, seemingly perishing in the blast. In the aftermath, Dent’s legacy is tarnished, freeing all those convicted in his name, and the Batman is memorialised by the fickle Gothamites. Fox, Gordon, and especially Alfred are left heartbroken by Bruce’s death but soon realise that he survived. The Batsignal is found repaired, Fox discovers the Bat’s ejector seat malfunction was repaired, and Alfred literally sees Bruce, now retired and seemingly happy with Selina. Finally, Blake resigns and finds Bruce left him a special package under his legal name, “Robin”, that leads him to the Batcave, where he literally rises into the darkness to an unknown destiny.

The Summary:
Despite the tragedy of Heath Ledger’s passing, I was excited for The Dark Knight Rises when it came out because I’m a big fan of the Knightfall story but, honestly, this film struggled from the start. The lame and uncreative title, Hardy’s weird-ass voice, Bale’s odd demeanour as Batman, and the confusing editing, strange dialogue, and inconsistent performances really hold this one back. Honestly, it feels as though everyone was contractually obligated to do a third movie but no one really wanted to. There’s effort here, for sure, and Nolan is still putting his all into the practical effects, but the execution is lacking and there’s so many odd flaws and plot holes that I wouldn’t expect from Nolan and his team. Bale continues to be the quintessential Batman, adding new nuance through his stubborn refusal to see that he’s past his prime, his hubris, and his deteriorating relationship with Alfred, but his Batman seems strangely tired and ineffectual here and I really didn’t like that he just gave up and then magically recovered from all those injuries. Anne Hathaway, Joseph Gordon-Levitt, and Tom Hardy inject some much-needed life into the film, though. Anne was easily the best Catwoman at that point, Nolan surprised me with the Robin reveal, and Hardy made for a fantastic Bane…except for that weird accent. I just feel like there’s too much happening here, with Batman’s return, the clean slate stuff, Bane’s convoluted plan, the Pit, the no man’s land stuff…it’s a lot and it’s very messy, which is also unlike Nolan. In the end, it feels like an extended, lacklustre epilogue to a great duology. It delivers an unexpected and somewhat unfulfilling end to Bale’s Bat-career, with this Bruce being one of the few to survive long enough to retire, but ultimately fails to deliver a satisfying follow-up to perhaps the greatest Batman movie ever made. Catwoman’s sex appeal, the fight between Bane and Batman, and all the stunning IMAX-enhanced action sequences aren’t enough to make up for an otherwise dull, plodding affair that ends the trilogy on a disappointingly sour note.

My Rating:

Rating: 3 out of 5.

Pretty Good

Do you think I was too harsh on The Dark Knight Rises? What did you think to Tom Hardy’s portrayal of Bane, especially his accent? Is Anne Hathaway the best live-action Catwoman we’ve ever seen? Were you also annoyed that Bruce quit after The Dark Knight and by how easily he recovered from his injuries? What did you think to this version of Robin? Were you as disappointed with the film as I was or is it a favourite of yours? How are you celebrating Batman Day this year? Whatever your thoughts The Dark Knight Rises, or Batman in general, share them below.

Screen Time [MK Day]: Mortal Kombat: Conquest: “Warrior Eternal” (E: 1/2)

Dr. K3 Comments
This image has an empty alt attribute; its file name is mortalmonday.png

To celebrate the worldwide home console release of Mortal Kombat (Midway, 1992), 13 September 1993 was dubbed “Mortal Monday”. While I’m a day late this year, I always enjoy taking some time to celebrate this influential fighting series.

Episode 1 and 2: “Warrior Eternal”

Director: Oley Sassone
Air Date: 3 October 1998 and 10 October 1998
UK Network: Channel 4
Original Network: The WB Network / Turner Network Television (TNT)
Stars: Paolo Montalban, Daniel Bernhardt, Kristanna Loken, Bruce Locke, Jeff Meek, Chris Casamassa, and Jennifer Renton

The Background:
During the nineties, competitive fighting games took arcades by storm thanks to the many versions of Street Fighter II: The World Warrior (Capcom, 1991). Seeking to compete with Capcom, developers Ed Boon and John Tobias took inspiration from movies like Enter the Dragon (Clouse, 1973), Big Trouble in Little China (Carpenter, 1986), and Bloodsport (Arnold, 1988) to create an ultra-violent tournament fighter that changed the genre with its simple fighting mechanics and ultra-violent content. Development of a live-action Mortal Kombat began with producer Lawrence Kasanoff, who envisioned the venture as a multimedia franchise. Unfortunately, while he and director Paul W.S. Anderson delivered a surprisingly profitable cult hit, Mortal Kombat’s (ibid, 1995) reputation was tarnished by its laughably bad box office bomb of a sequel. However, Mortal Kombat: Annihilation (Leonetti, 1997) wasn’t the end of Kasanoff’s endeavours as this criminally under-rated and short-lived prequel series aired between 3 October 1998 and 22 May 1999. Though its schedule was often sporadic, Mortal Kombat: Conquest eventually followed episodes of World Championship Wrestling’s WCW Monday Nitro, resulting in cameos by WCW wrestlers, though the show ended on a frustrating cliff-hanger apparently due to its budget. Still, the series developed a cult following and was a spotlight for actors like Daniel Bernhardt and Kristanna Loken, some actors and sequences from the movies returned for the series, and Mortal Kombat: Conquest seems to have been subtly referenced in the franchise’s modern iterations.

The Plot:
Centauries ago, after safeguarding Earthrealm in a life-or-death tournament called “Mortal Kombat”, Kung Lao (Montalban) seeks a normal life with his love, Geneviere “Jen” Reyland (Renton). However, when fate and scorned sorcerer Shang Tsung (Locke) intervene, Kung Lao must team with an exiled guard and a thief to prepare for the next tournament.

The Review:
“Warrior Eternal” is the two-part pilot of Mortal Kombat: Conquest a prequel to the first two live-action movies that I watched diligently as a kid. We can tell right away that it’s a prequel not just because it’s set “centuries ago, in a time of darkness and fury” but because it presents younger versions of iconic Mortal Kombat characters Shang Tsung and Shao Kahn (Meek), Emperor of the all-conquering Outworld, but also liberally uses footage from those movies for establishing shots. Footage of Outworld and the Temple of Light establish this is the same continuity and, while they’re generally just random shots or short clips, it’s kind of fun to see shots of the Temple of Light repurposed here. It’s also clear that this is a prequel since we’re following the Great Kung Lao, distant ancestor of Liu Kang (Robin Shou), as he prepares to decide the fate of Earthrealm in the latest Mortal Kombat tournament. A humble man who’s been trained since birth to become the greatest Shaolin warrior, Kung Lao is described as the “best” Earthrealm has to offer and his mentor, the Thunder God Rayden (Meek), even says that, physically, no fighter can match him, a claim tested here and throughout the series. Naturally, Kung Lao is as aware of the realms and Mortal Kombat, and the otherworldly dangers of Outworld, as his fellow monks. While the city of Zhu Zin is close to the Temple of Light and many of its people are respectful of their monks and warriors, and even aware of Mortal Kombat, just as many remain ignorant and mock Kung Lao’s beliefs. Baron Reyland (John Reilly) is the embodiment of this, believing Kung Lao isn’t worthy of his daughter since the monk doesn’t place value in material or financial matters, showcasing that Kung Lao may be a knowledgeable warrior and deeply spiritual character, but he’s somewhat out of place with the world he fights so valiantly to protect.

Friendly champion Kung Lao is torn between his destiny and his heart after a lifetime of combat.

Unlike Outworld’s forces, Kung Lao has no supernatural power and is simply at the peak of physical and spiritual ability. While he still has a lot to learn, his commitment to protecting his loved ones and his sheer force of will see him resist even Shang Tsung’s soul-stealing magic and push him to overcome even insurmountable odds. Yet, Kung Lao is often conflicted, doubting himself and his abilities, and initially rejects Rayden’s demands that he prepares the next generation of fighters to compete in Mortal Kombat. Kung Lao is haunted by visions of a disastrous future where his people (and Earthrealm) are slaughtered and he’s pummelled by a barely distinguishable CGI mess (presumably Goro). Despite these visions, Kung Lao resists his destiny to be with Jen, who’s apparently drawn to his belief that all life as sacred (even monsters like Shang Tsung), making him the opposite of her father. Kung Lao shows respect even to Shao Kahn and makes a point to take a higher path, being humble in his victory and even sparing Shang Tsung even though it comes back to bite him. Kung Lao is friendly to all, having befriended the baron’s guards, Takeda (Casamassa) and Siro (Bernhardt), and even stepping in to spare Taja (Loken). While Siro is incredibly overprotective of Jen, Kung Lao pacifies him with compliments but is obviously blinded by his love when he praises her playful sparring. This also sees Kung Lao lie to her regarding his visions since he wishes to shield her from such things. Kung Lao’s outraged when Baron Reyland denies his wish to marry Jen and resolves to abscond with her, hopeful to flee his nightmarish visions and be truly happy. However, he makes peace with the baron in his final moments but is annoyed for dismissing Rayden’s advice, and sparing Shang Tsung, when Jen’s life is endangered. Kung Lao’s understandably devested when Jen dies but finds solace in knowing she’s gone to a better place and in dedicating himself to training new fighters alongside Siro and Taja, just as Rayden encouraged.

Meek impresses in his dual role as the wise-cracking Rayden and menacing Shao Kahn.

Like the movies, Rayden is presented as a mentor figure, while also giving a rundown on the Mortal Kombat tournament and the different realms that resembles the speeches his big-screen counterpart gave. Though he’s an aloof Thunder God with an odd sense of humour, Rayden directly oversaw Kung Lao’s training and gives him many pointers. However, Rayden is forbidden from directly interfering in mortal affairs, especially Mort Kombat, unless the unseen Elder God’s vaguely defined “rules” are broken, as the entire point is that mortals must defend their worlds. Often cryptic and mysterious, Rayden gives just enough hints, often pushing people where they need to be and surreptitiously manipulating them as required. Rayden sees things in very different terms to mortals, however, despite his clear love and affection for them. For him, it’s a simple choice of duty that Kung Lao accepts the responsibility of being Mortal Kombat champion and that the perks of being effectively immortal and serving the greater good outweigh fleeting love and friendships. Still, though exasperated with Kung Lao, Rayden understands his affection for Jen and helps point him find Scorpion by encouraging Kung Lao to figure out his visions. Jeff Meek pulls double duty as Shao Kahn, a menacing figure also handicapped by the Elder Gods’ rules since he cannot directly invade or attack Earthrealm without dire consequences. A master manipulator, shrewd warrior, and cunning strategist, Shao Kahn is constantly thinking up ways to bend or get around these rules, using hidden portals and third-party assassins and mercenaries and thus give Outworld the edge. Although not quite a petulant, childish figure like his movie counterpart, Shao Kahn is prone to fits of rage and mood swings that see him switch from morose and bored to spiteful and angered on a dime. Though he admires Shang Tsung’s ambition, Shao Kahn is a demanding, ruthless, and spiteful emperor, banishing Shang Tsung to the cobalt mines for his failure and deeply humiliated by Kung Lao’s victory.

The humiliated Shang Tsung plots his revenge from the desolate cobalt mines.

However, in these first two episodes, Shao Kahn is merely a puppet master as he sets in motion many of the events and standards the series will follow. Shang Tsung stars as Shao Kahn’s loyal servant and greatest warrior, with aspirations of ruling alongside his emperor. However, he loses favour when he’s humbled and humiliated by Kung Lao, who shows him mercy, perhaps the greatest dishonour Shang Tsung could face. Shang Tsung’s disgrace and lust for revenge runs deep as he preyed upon Kung Lao’s insecurities and used his decades of fighting experience to put the Shaolin warrior on the ropes, only to be publicly defeated for the first time in who knows how long. Despite knowing Shao Kahn better than perhaps anyone, Shang Tsung begs for death rather than endure the constant torture inflicted upon him following his failure. Shao Kahn cruelly grants a reprieve by banishing the sorcerer to the cobalt mines, though the sorcerer’s powers aren’t negated there like the other inmates. While there, Shang Tsung aligns with the scheming Vorpax (Tracy Douglas), who’s immediately enticed by Shang Tsung, seeing him as a chance to escape. Although Shang Tsung is immune to her charms, asserting dominance over her, he’s convinced to bring her under his heel to get his revenge. Shang Tsung believes he’ll regain Shao Kahn’s favour if he kills Kung Lao and steals his soul. He thus uses black magic to bargain with the soul trapped within a scorpion and have it infect Takada, casting Scorpion as the first of many minions to target the Mortal Kombat champion.

A radically different version of Scorpion steals the show with his malicious actions and fighting skill.

With Shao Kahn brooding in his palace and Shang Tsung confined to the cobalt mines, franchise favourite Scorpion acts as the primary antagonist here. Despite Mortal Kombat: Conquest set well before Hanzo Hasashi was born, it would’ve been folly not to include one of the most popular characters so the show dreams up a brand-new origin for Scorpion. To be fair, we never got any exposition about him in the films so it’s not really contradicting anything there. In this context, Scorpion was a deadly warrior confined to a real scorpion and stolen by Shao Kahn from a conquered realm. Thanks to Shang Tsung, Scorpion possesses Takada, one of the baron’s guards. While Takada was friendly with Kung Lao, he becomes a vindictive villain once consumed by Scorpion’s wicked demeanour. Mortal Kombat: Conquest gives Chris Casamassa a chance to flex his acting muscles alongside his physical ones, portraying Takada as a genial and loyal friend and Scorpion as a spiteful and cruel warrior. Sure, his line delivery is overly theatrical (“I’m going to kill you, Kung Lao” always makes me chuckle), but his fighting skills more than make up for it. Scorpion gains a new ability here to bring others under his sway, enchanting the Shaolin monks to give Siro and Taja someone to fight in the finale. Scorpion still has his snake-like spear-thing, which looks worse than ever and is easily dispatched by Kung Lao, though it’s okay as the Kung Lao/Scorpion fisticuffs are a highlight of these episodes. Scorpion even pulls off his teleport punch and creates ripples that impact the entire series – and Kung Lao’s life – by murdering Jen with a shitty looking fireball, returning to plague our heroes a few times despite inexplicably dropping into Hell (or the Netherrealm) upon defeat.

Despite her pretty face, the best thing Jen can do is die since she’s atrocious to watch.

If there’s a weak link in Mortal Kombat: Conquest, it is and has always been Jennifer Renton’s atrocious acting. Sure, she’s pretty enough but her delivery is robotic and impassionate and it’s legitimately painful whenever she’s on screen. Jen is extremely familiar with her bodyguard, Siro and Jen jumps at the chance to elope with Kung Lao for true happiness, which at least emphasises that she’s not as materialistic as her father. Jen surprisingly gets physical when she works with Taja to free Kung Lao and holds her father at spear-point, heartbroken at him forcing her to choose between the two men she loves. Jen’s recklessness costs her in the end, though, when she tries to interfere in Kung Lao’s fight with Scorpion and gets herself killed, ultimately gifting him the trading post to use as his base for the series. The greedy, cantankerous Baron Reyland operates from this central hub for trade and business in Zhu Zin, and cares only for profit and the power associated with money, believing his little empire to be more important than matters of life and death for the entire realm. When Kung Lao asks for his blessing, Baron Reyland treats the conversation like a trade dispute, criticising Kung Lao’s lack of financial prospects, despite being “well aware” of Mortal Kombat and its stakes. Baron Reyland demands Kung Lao abandon his faith or be forever denied access to his “property” (Jen), even threatening to have him executed if he persists. Thus, already angered at Siro’s betrayal and Jen’s rebelliousness, the baron praises Takada in apprehending Kung Lao and seemingly relishes ordering his execution. Baron Reyland is affronted when Jen and Taja save Kung Lao, disgusted and amazed at his daughter’s betrayal, but is offended when Takada employs sorcery to subdue Kung Lao. This proves to be the baron’s undoing as he’s impaled during the scuffle, though he makes amends with Kung Lao as he dies so…all’s well that ends well, I guess?

Although they get off on the wrong foot, the three protagonists eventually find common ground.

Finally, Kung Lao crosses paths with two characters who stick by him throughout the series: prideful and devoted bodyguard Siro and scrappy thief Taja. Siro is constantly at Jen’s side and, wishing only the best for her, allows her to leave with Kung Lao and humbly admits his betrayal to his master, taking his banishment despite the crippling blow to his pride and professional stature. An outspoken sceptic, Siro’s uncomfortable when visiting the Temple of Light with Jen and thus amazed when “Takada” leaps from the trading post without breaking his legs. Siro immediately gets off on the wrong foot with Taja when she and her cohorts attack him and Jen at the Temple of Light, with Siro easily besting the gorgeous thief and locking her up. However, Siro sets this aside following his encounter with Rayden and teams with Taja and Kung Lao to rescue Jen. Like Kung Lao, Siro is heartbroken at Jen’s death and despondent about his future before finding new meaning in aiding Kung Lao. Taja is equally cynical but more because of her harsh life stealing and fighting for survival. Defiant even when apprehended by Siro, Taja relies on her smart mouth when physically overpowered or shackled, visibly disgusted at being the baron’s slave and his advances towards her. When she learns of Kung Lao’s pending execution from an incognito Rayden, Taja’s compelled to intervene to ensure her own survival and out of gratitude for him sparing her life. Taja’s not afraid to fight dirty but pays her debts, quickly befriending Jen and showing regret at her harsh life and resorting to thievery, while also seeing it as the reality of her situation, confiding in Kung Lao that she dreams of the kind of luxuries Jen enjoys. Her insight into the baron’s dungeon serves Kung Lao well, as does her stealthier approach to situations as opposed to simply going in half-cocked. The experience changes Taja for the better, giving her an opportunity to do something useful with her life and, despite her doubts, she volunteers to aid Kung Lao in preparing for the next tournament.

The Summary:
I’ve always been a fan of Mortal Kombat: Conquest. It’s cheesy in just the right ways, with a lot of action and some fun reinterpretations of the videogame characters and their lore. Having said that, these aren’t the best episodes of the short-lived series. This makes sense in a way as they’re primarily designed to establish the characters, the show, and its format: Shao Kahn is a looming threat, Shang Tsung plunders the mine for new opportunities for revenge, and our three protagonists face constant battles both to gel as a team and define their destinies. This is all nicely laid out here but there are also some oddities. Kung Lao successfully defends Earthrealm and is charged with preparing for the next tournament, which isn’t for a “generation” (approximately twenty and thirty years). The Elder Gods decree that Kung Lao won’t age, but does that extend to his allies? I guess so, but I feel like the series might’ve benefited from taking place building to the next tournament. Kung Lao questions why Rayden can’t teach the new fighters and this is a great point as Rayden himself states that he’s guided Kung Lao’s training, and Kung Lao was trained to become as good as he is by the Order of Light, so all he really has to offer is first-hand insight into fighting Outworld’s forces, something I’m sure others could impart. Still, while Zhu Zin is obviously a set, it’s always bustling with extras thanks to being a market town and the restricted space is masqueraded (or, at least, justified) quite well. Also, although the violence of the videogames is again severely toned down, there’s still a fair bit of death and danger here. While this is largely embodied by Shang Tsung and Scorpion, who reduce people to ash or murder them with fireballs, Kung Lao’s not to be trifled with either as he’s not above killing when necessary.

Despite some dodgy CGI, the visual references and impressive fights help the show stand out.

Regardless, Mortal Kombat: Conquest also evokes the movies with its intro sequence and the techno-beat soundtrack that punctuates each fight, and by including some interesting references the source material. Costume design remains as accurate to the videogames as in the first movie. Though it’s disappointing Kung Lao only dons his Mortal Kombat II (Midway, 1993) look for a brief scene and Rayden also ditches his iconic hat, I liked Rayden’s robes, Scorpion looks exactly as he did in the first movie, and Shang Tsung closely resembles his Mortal Kombat II appearance. It honestly doesn’t and wouldn’t make sense for Kung Lao to don that outfit anyway as that’s what his successor wore, but it would’ve been nice to mix up Kung Lao’s wardrobe by bringing it back, especially as they went to the trouble of making it. Shao Kahn veers towards cosplay at times, perhaps explaining why he only wears his helmet for one scene. He cuts an intimidating figure (even more so considering it’s Meek in a dual role) and I like the shattered skull mask he wears, but he can look a little goofy at times. Outworld is expanded to include Shao Kahn’s cold and empty throne room and the dingy cobalt mines, which rob anyone not from Earth of their supernatural powers. Jeff Meek shines as Rayden, channelling Christopher Lambert’s playful spirit of and marrying it with the demeanour of an exhausted teacher. While he admires human spirit and encourages free will, Rayden impresses the importance of preparing for the next tournament upon Kung Lao and, when he insists on defining his own destiny, Rayden assumes the guise of a beggar to manipulate Siro and Taja into helping Kung Lao escape from Baron Reyland. Rayden knows exactly how to manipulate Siro, questioning his integrity and insulting his pride to push him back to Zhu Zin to aid Kung Lao. Bruce Locke equally steals the show by channelling Cary-Hiroyuki Tagawa’s energy and menace to present Shang Tsung is a ruthless and vicious fighter who delights in stealing souls and is consumed with the need to avenge himself.

The ambitious fights counterbalance some cheesy moments and drama to lay the foundation for the show.

While the visual effects are often cartoonish, they’re clearly secondary to more traditional displays of martial arts and stunt work. Although the actors partake in each episode’s fights as much as possible, with Bruce Locke and Daniel Bernhardt putting in more of the work (thanks, largely to the latter’s unique stature and legitimate martial arts background), obvious stunt doubles are used for each fight, with Kristanna Loken noticeably being supplanted. While it’s jarring to edit close ups of the actors to sell the illusion, the fights are very well choreographed, with Christopher Leps, Marcus Young, J.J. Perry, and others bringing a grace and tactile believability to each. The battle between Kung Lao and Shang Tsung reflects the animosity between the two, with Shang Tsung growing increasingly frustrated and Kung Lao exuding the speed and precision that made him Earthrealm’s finest. Even when saddled with perhaps the fakest sword I’ve ever seen, Daniel Bernhardt shines, largely because you recognise that the actor is performing many of his stunts and fights. Siro isn’t as slick and graceful as Kung Lao but exudes physical power, having great reach with his kicks (his flying kick being particularly impressive), even if he is out of his depth against more otherworldly opponents. Though she lacks Kung Lao’s skill and Siro’s raw power, Taja is a scrappy fighter who uses underhanded tactics and is seemingly fearless. Kung Lao’s battles with Scorpion are an obvious highlight, with Casamassa bringing an aggression to Scorpion that paints him as a force to be reckoned with, even more so when tossing his snake-like appendage about (not a euphemism). It’s good that the action is so impressive as the drama between Kung Lao and Jen really drags these episodes down, largely because they lack chemistry and Renton’s awful performance. The sting of these scenes is eased by Meek’s theatrical performance as Shao Kahn, his dry sense of humour as Rayden, and a fun energy to the episodes. I got the sense everyone was having a good time and trying their best to start something, and the framework is definitely here, it would just take a few episodes to be as good as it could be.

My Rating:

Rating: 3 out of 5.

Pretty Good

Were you a fan of Mortal Kombat: Conquest back in the day? If so, what did you think to these first two episodes? Do you think I was too harsh on Jennifer Renton or do you agree that she was terrible? Which of the three main characters was your favourite and did you enjoy their chemistry? Were you surprised that Jeff Meek played two roles? What did you think of Scorpion’s new origin? Would you like to see a revival of Mortal Kombat: Conquest, or a new TVG show? How are you celebrating Mortal Kombat today? Whatever you think about Mortal Kombat: Conquest, leave a comment below, go check out my other Mortal Kombat content, and sign up to my Ko-Fi to suggest other Mortal Kombat: Conquest episodes for me to cover.

Back Issues [Bat-Month]: Knightfall

Dr. K3 Comments

Following his first dramatic appearance in the pages of Detective Comics, Bruce Wayne/Batman became a mainstream pop culture icon. The brainchild of writer Bob Kane, Batman was brought to life by artist Bill Finger and has been a popular staple of DC Comics and countless movies, videogames, and cartoons over the years. “Batman Day” fell on 20 September this year so I spent every Saturday celebrating comic’s grim and broody vigilante.

Story Title: “Vengeance of Bane” and “Knightfall Part I: Broken Bat” (includes various subtitles)
Published: January 1993 to July 1993
Writers: Chuck Dixon and Doug Moench
Artists: Graham Nolan, Jim Aparo, Jim Balent, and Norm Breyfogle

The Background:
After the overnight success of Clark Kent/Superman, National Comics Publications commissioned Bob Kane to add another masked crimefighter to their repertoire. Thanks to considerable input from artist Bill Finger, the “Bat-Man” immediately became one of DC Comics’ most popular characters and a mainstream cultural icon. This was bolstered, in no small part, by the many costumed supervillains the Batman has contended with over the years, with perhaps the superhuman mastermind “Bane” being the Batman’s most dangerous and physically imposing foe. Created by Chuck Dixon, Doug Moench, and Graham Nolan based on input from legendary Batman editor Dennis O’Neil, Bane was specifically conceptualised for this sprawling story arc, with the seeds of his first appearance and actions during “Knightfall” being planted throughout 1992. Following plans to introduce the warped vigilante Jean-Paul Valley/Azrael, O’Neil, Dixon and other DC creatives planned to significantly shake up the Dark Knight similar to how Superman was set to be dramatically killed. In keeping with DC’s plans to comment upon the readers’ desire for darker, grittier characters, Bane drove Batman to exhaustion before breaking his spine, leading Valley to assume the Batman mantle and become a more violent and unhinged version before Bruce reclaimed the role. The initial eleven issues were seen as one of the most important moments in Batman’s storied career and, while Bane struggled to remain relevant in the eventual aftermath, the visual of him bending Batman over his knee has influenced videogames and cartoons for years. Though always appearing significantly altered from the source material, Bane has appeared numerous times in cartoons and live-action, where he was reduced to a mindless lackey and something worse than cosplay before Tom Hardy largely divided audiences with his enigmatic portrayal in The Dark Knight Rises (Nolan, 2012). Still, as one of Batman’s most enduring villains, Bane joined the Secret Six, murdered Bruce’s mentor and father figure Alfred Pennyworth while conquering Gotham City, was once rumoured to be Bruce’s brother, and almost became the head of the League of Assassins!

The Review:
The story of Bane, easily Batman’s most physically imposing foe, begins years ago in the chaotic nation of Santa Prisca. After the totalitarian dictatorship quashed a doomed coup d’état, the insurgents were either slaughtered or arrested. One such insurgent, a heavily pregnant woman, was taken to island gulag Pena Duro and her unborn son was tried and convicted for his father’s crimes, as per Santa Prisca custom. Thus, the infant Bane was born in captivity, cared for only by his mother and fellow prisoner “Zombie”. They watched as the child grew and the mother’s health failed, with the boy showing an aptitude for exploration and subjected to daily horrific brutality. When the boy was six, his mother finally passed, yet by then he was too hardened to shed a tear. Without his mother’s protection, the boy was released into the cutthroat general population, far from Zombie’s gaze, where he was protected by the brutish Trogg. However, while Trogg fought off a malicious inmate with sadistic designs on the boy, the youngster fell and suffered a near-death experience, a vision of his future self who spoke of his destiny to rule. The vision also warned that the boy must overcome fear (represented by a giant, fearsome bat) to be a true conqueror and, when he awoke from a thirty-odd-day coma, the boy took his first steps towards becoming a man by savagely murdering his would-be abuser. The boy’s feral nature earned him the moniker “Bane” and a lengthy stint in solitary confinement, where every day and night was a fight for survival against crabs, rats, and a nightly flood of water. Each time, Bane overcame the odds, killing what he could to survive and growing stronger, harder, and more disciplined with each passing day. To stave off further madness, Bane entered a meditative trance, dreaming of slaughtering a bat-like creature and overcoming fear itself.

After a lifetime of hardship and training, Bane vows to crush Batman and conquer his city!

After ten years in the hole, Bane was released by the warden in the hopes that the inmates would kill him, only to be praised as a legend and to gain an additional follower, Bird, who taught Bane to read. Bane consumed knowledge and literature, learning six languages and training himself to the peak of human physical perfection. Bane’s coveted position was challenged many times, and each time he established himself as the alpha male in brutal combat. Still, Bane remained curious about Gotham City and demanded Bird tell him everything about the city, learning of its vigilante protector and vowing to destroy the Batman, whom he soon became obsessed with. Frustrated by this obsession, Bane incited a riot, slaughtering over thirty prisoners before he was subdued and returned the isolation. This was when the cruel warden forced Bane to be the next “volunteer” for Doctor Ruger’s inhumane experiments with a particularly deadly nerve toxin. Although others died from the serum, Bane persevered and was further altered, with “Venom” fed directly into his brain and turning him superhuman. As Dr. Ruger and the others busied themselves with Bane, Zombie stole a Venom sample, replicated it, and helped Bane fake his death so he could finally escape the island. His first act was to take the warden hostage and free his three lieutenants, tossing the warden to the sharks as they helicoptered to safety. Establishing themselves in Gotham City, Bane’s lieutenants devised a portable delivery system for his drug and quickly made a name for himself by brutalising a mob gang. Bane watched and followed the Dark Knight as he investigated, even saving Batman’s life so he could claim it for himself later. Eventually, Bane confronted the Batman and mocked his code against killing, though the Batman was unimpressed by Bane’s threats.

When Bane frees Arkham’s inmates, an exhausted Batman’s forced to hunt them all down.

After spending more time observing and studying his quarry (during which Bane fought Waylon Jones/Killer Croc and broke his arms), Bane finally struck about six months later, ransacking a military armoury and launching a premeditated assault on Arkham Asylum. At Bird’s suggestion, Bane blew open the Joker’s cell first before dropping some ordinance to fuel the ensuring riot. While the other prisoners attacked the guards, the Joker gleefully took Doctor Jeremiah Arkham hostage. Though still recovering from mental and physical fatigue, the Batman arrived to help, rescuing who he could but unable to keep many inmates from blasting their way to freedom. While Batman freed Dr. Arkham from the Joker’s death trap, his hated enemy escaped and Batman was left mortified at the prospect of hunting down the escapees, much to Bane’s delight. After reviewing the situation and, alongside Tim Drake/Robin, surmising that Bane sparked the outbreak, Batman’s first test came when Jervis Tetch /The Mad Hatter invited him to a “tea party”. There, the Mad Hatter forced some goons to wear his brainwashing hats, sending Z-tier villain Burt Weston/Film Freak to investigate the bird following him and leading to him being beaten to death by Bane. Though Batman and Robin broke up the tea party, they were nowhere closer to locating Bane and, though physically struggling, Batman was adamant about proactively stopping the more dangerous inmates from organising themselves. His stubborn nature saw him chastising Robin’s concern and being more abrasive than usual, almost costing him when he investigated a toy store break in and was attacked by Arnold Wesker/The Ventriloquist’s brutish companion, Aaron Helzinger/Amygdala, while searching for Wesker’s mobster puppet, Scarface. With Robin busy tussling with the agile and arrogant Bird, Batman took a beating before finally knocking his simple-minded foe unconscious, forcing him to slink away to the Batmobile rather than apprehend the Ventriloquist.

While Batman’s pushed to his limit and Robin barely escapes Bane, the mayor is kidnapped.

Though hurting and fatigued, the Batman raced to a school where sadistic serial killer Victor Zsasz/Mister Zsasz had taken schoolgirls hostage, relishing the thought of scarring his body after slitting their throats. Though Bane’s lieutenants were eager for their boss to act, Bane was content to observe and delight in exhausting Batman and the Dark Knight refused to allow the Gotham police to interfere in the situation, which left one cop dead a feisty pupil held at knife point. After sending Robin after Bird (expressly forbidding him from confronting Bane), Batman brutalised Mr. Zsasz with a beating so vicious that Detective Renee Montoya had to intervene at gunpoint. The ordeal left the Batman so drained that he blacked out on a rooftop, meaning he couldn’t answer Robin’s calls for backup as he tracked Bird to Bane’s location. When Bane leapt to a passing train, Robin followed and was easily captured, blindfolded, and taken to the sewers. There, Bane expressed admiration for the boy and queried him regarding Batman, only to be meet with quips and Robin’s desperate attempts to fight back. Luckily for the Teen Wonder, the vengeful Killer Croc stepped in for a rematch, damaging Bane’s Venom device and ending up with his arm broken again. Their smackdown saw all three being swept through the sewers, with Robin barely getting to safety, though both he and Alfred despaired when Batman refused to back down from Bane’s challenge. As Trogg repaired Bane’s device, Batman was horrified to learn that cannibal psychopath Cornelius Stirk planned to murder Commissioner James “Jim” Gordon. Utilising his unique ability to cloud his prey’s mind with fear, Stirk masqueraded as Batman and almost knifed Gordon, much to the anger of his accomplice, the Joker, who wanted Gordon alive. Although the Batman saved Gordon, the incident led to the Joker teaming up with the true master of fear, Doctor Jonathan Crane/The Scarecrow, who suggested they terrorise the city’s anti-Batman mayor, Armand Krol.

Though Batman leaves Firefly to Robin and defeats Poison Ivy, he flies into a rage against the Joker.

After kidnapping Mayor Krol and driving him to near madness with the Scarecrow’s patented fear gas, the two coerced the mayor into causing a firefighter strike, which allowed crazed pyromaniac Garfield Lynns/Firefly to set the city pier alight. Though he stubbornly refused Robin’s aid, the Batman was too exhausted to apprehend Firefly and begrudgingly let his partner investigate Firefly’s possible targets. While this led Batman to Firefly’s location, he was still too out of it to stop him, leading to him literally collapsing upon returning to Wayne Manor. While the Ventriloquist searched for Scarface and Jean-Paul Valley tested himself, Mayor Krol was forced to send the cops into a trap. Despite his failing health, Batman forced himself to attend a charity function as Bruce Wayne alongside physiotherapist Doctor Shondra Kinsolving, only for Doctor Pamela Isley/Poison Ivy to gatecrash the function and use special spores to kidnap wealthy gentlemen. Bruce played along to reach Poison Ivy’s lair and then switched to Batman to stop her, expending the last of his energy fighting her terminally infected minions. After the disgruntled Tim’s legwork leads Batman to the zoo and finally results in Firefly’s capture, Robin’s forced to intervene when Edward Nygma/The Riddler takes a talk show hostage, though his reckless actions earn him a dressing down from cantankerous detective Harvey Bullock. Upon learning of the mayor’s kidnapping, the Batman races to locate him, rescuing Bullock from an explosion and eventually tracking the Joker and the Scarecrow to the Gotham river tunnel. Unfortunately, the Scarecrow’s fear toxin bombards Batman with images of the Joker beating former Robin Jason Todd with a crowbar. Enraged, the Batman makes short work of the Scarecrow and savagely beats the Joker while screaming Jason’s name. The Batman’s only kept from killing his hated foe by the Scarecrow’s timely intervention, which sees him save and finally earn the trust of Mayor Krol.

Bane beats the near-helpless Batman close to death and then shockingly breaks his back!

As the Ventriloquist finally reunites with Scarface, the Batman’s gauntlet ends when he’s attacked by Trogg. Though the brute snaps one of Batman’s rubs with a bearhug, the Dark Knight’s gadgets and tenacity see him victorious. He then quickly outsmarts Zombie but, after being driven to the edge by Bird, again comes close to snapping. Drained and at his wit’s end, the Batman reluctantly heads home, eager to rest, only to be horrified to find Alfred unconscious and Bane in his family home! Bane reveals he easily figured out the Batman’s identity, has mastered and perfected the Venom serum that once almost drove Bruce insane, and states his desire to take Gotham City by ending its creator. Though startled by Bane’s cold-hearted demeanor, Bruce dons his cowl and leaps into the fight…only to be immediately swatted aside. After launching Batman through some nearby furniture, Bane tackles him down to the Batcave and shrugs off his foe’s pitiful counterattack, disgusted by Batman’s broken resolve. The vicious beating causes Batman to remember every fight, injury, and villain to have mentally and physically scarred him, leaves him trapped under the Batcave’s giant penny, and driven head-first into the Batmobile, all while Bane rages. Though the Batman tries to fight back, it’s a miserable attempt and he’s sent crashing through Jason’s memorial, mercilessly battered, and partially impaled on parts of the Batcave. While Alfred rushes to Tim for aid, the half-dead Batman is manhandled by his monstrous foe. Victorious, Bane decides it would be too easy to simply kill the Batman and that he’d rather his foe continued to suffer so, in dramatic and horrifying fashion, Bane lifts the brutalised Batman over his head and drives him, spine-first, onto one meaty knee, snapping Bruce’s back in an awesome show of power. Bane then simply drops his foe to the floor, dismissive in victory, and prepares to claim his reward…

The Summary:
It’s easy, at first glance, to compare this first dramatic chapter in the “Knightfall” saga to the “Death of Superman” (Jurgens, et al, 1992 to 1993) arc that happened just before it (indeed, Batman and Robin both wear black arm bands in mourning for the Man of Steel). However, while that was a prolonged slugfest over a few issues with little meat on its bones beyond the shocking death of the world’s greatest hero, “Knightfall” is an agonising gauntlet for the Dark Knight that pushes him to his mental and physical limit. This was all perfectly set up in previous issues, which pushed Batman to breaking point and saw him shun Robin and drive himself to exhaustion, causing Tim to resent his stubborn and dismissive attitude and Bruce to alienate his allies. Perhaps he would’ve snapped out of this of it wasn’t for Bane, a calculating supervillain who spend a lifetime in near-literal hell honing his mental and physical self to conquer Gotham City and destroy her protector. I’ve mentioned it before, but this is peak Batman for me, in terms of art, with the likes of the immortal Jim Aparo showcasing Batman’s exhaustion, anger, and degenerating mental state throughout each issue. While this first chapter suffers from the absence of Batman’s biggest foes, Bane’s test is more than enough to exhaust Batman as he insists on going alone to avoid others getting hurt and out of a pig-headed refusal to accept help. Notably, however, the Batman commends Tim when his investigation locates Firefly and shows concern when Tim survives his encounter with Bane and Killer Croc, but Bruce ultimately shoulders the burden alone, which leads to his inevitable downfall.

The calculating Bane tests Batman’s mettle by running him ragged across Gotham.

I’ve always found it interesting that Bane chose to put Batman to the test this way. It’s a fantastic way to showcase Bane’s cunning and strategy; he’s no mere mindless brute, something many subsequent stories and adaptations tend to forget. Bane is a man of deep focus and determination, with a sprinkle of obsessive insanity thrown in, and is depicted as a dark mirror of Batman in many ways (though he’s ironically more courteous to his lieutenants than Batman is!) Still, for a man who expresses such admiration for the Batman and who wants to make a point of physically dominating him, it’s ironic and a little hypocritical that Bane chooses to strike when Batman is ready to keel over. All through the one-sided beatdown, Bane scoffs at the Batman and rages in disappointment, but he specifically chose to fight a Batman who was far from his peak, cleverly ensuring his victory but also meaning his win, while dominant, was undeniably tainted. Bane even maims and kills others to keep his target alive so that he can have the final glory, though showcases enough respect to leave Alfred and Robin alive since the Batman is his sole target. Nevertheless, Bane takes perverse pleasure in watching new reports and observing Batman’s progress and decline, studying his quarry to learn all his strengths and weaknesses to aid his eventual attack. The gauntlet is an exhausting test for the Batman, who’s obsessed with locating Bane, to the point where he brutalises some of his villains and comes dangerously close to breaking his “one rule”. This was particularly notable in Batman’s confrontation with the Joker, which sees the enraged Dark Knight beat his foe half to death for killing Jason Todd. It’s enough to terrify even the Scarecrow, and similar outbursts against the Mad Hatter and Mr. Zsasz sees Batman’s allies question his mental stability. This is reflected in Mayor Krol’s anti-Batman campaign, though the city’s cops are left largely useless thanks to a departmental shake-up and the mayor being forced to mess them about.

Bane showcases cunning, strength, and a psychotic determination in his memorable debut.

This first chapter of “Knightfall” does a fantastic job of painting Bane as an intelligent and nigh-unstoppable foe. While it’s a shame that it took a new villain to overwhelm and decisively defeat the Dark Knight, Bane makes a far greater impression here than Doomsday, who was a mindless brute bent on destruction. While Bane’s design is perhaps too simplistic, I really enjoyed how calculating and quietly psychotic he was: he has a plan and he sticks to it, confident of his victory. Naturally, this is aided by his Venom serum, which makes him almost superhuman, but a lifetime of hardship and training made Bane the perfect villain, a puppet master largely being content to let the escapees do as they please. This chapter also depicts some of Jean-Paul’s redemption, as he trains with Robin to put his skills to good use, shows Robin’s frustration and adaptability, and even leaves the door open for future threats from the Joker, the Scarecrow, and the Ventriloquist. Far from being as one-note as “The Death of Superman”, this first chapter of “Knightfall” deconstructs Batman and leaves him a man weary from a lifetime of fighting, effectively shattering the status quo as surely as Bane breaks Batman’s back. This startling conclusion leaves the reader wondering what’s next for Batman, Bane, and Gotham City and shows that even the Batman has a breaking point. While it’s a shame that Bane struggled to remained relevant after such a memorable debut, his intriguing and imposing character certainly made an impact on me as a teenager and continue to make “Knightfall” one of the quintessential Batman stories.

My Rating:

Rating: 3 out of 5.

Pretty Good

Were you a fan of Bane’s dramatic debut? What did you think to his violent past and his depiction as a dark mirror of the Batman? Do you agree that it was unfair of him to run the Batman to exhaustion? Which of Batman’s battles were you most invested in? Were you shocked when Bane broke the Batman’s spine? What are some of your favourite bane stories and moments? How are you celebrating Batman Day this year? Whatever your thoughts on this first chapter of the “Knightfall” saga, and Batman in general, share them below. If you’d like to see me tackle the next chapter in the “Knightfall” saga, support me on Ko-Fi and let me know.

Back Issues [A-Day]: The Avengers #54-55 / The Mighty Avengers #66-68

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In September 1963 the legendary duo of Stan Lee and Jack Kirby assembled Earth’s mightiest heroes, the Avengers, who became the premier team of Marvel Comics, formed the backbone of the Marvel Cinematic Universe, and become an unbelievably popular and successful franchise.

Story Title: “…And Deliver Us From–The Masters of Evil!”
Published: 9 May 1968 (cover-dated: July 1968)
Writer: Roy Thomas
Artist: John Buscema

Story Title: “Mayhem Over Manhattan!”
Published: 11 July 1968 (cover-dated: August 1968)
Writer: Roy Thomas
Artist: John Buscema

Story Title: “Betrayal!”
Published: 13 May 1969 (cover-dated: July 1969)
Writer: Roy Thomas
Artist: Barry Windsor-Smith

Story Title: “We Stand at Armageddon!”
Published: 10 June 1969 (cover-dated: August 1969)
Writer: Roy Thomas
Artist: Barry Windsor-Smith

Story Title: “…And We Battle for the Earth!”
Published: 8 July 1969 (cover-dated: September 1969)
Writer: Roy Thomas
Artist: Barry Windsor-Smith

The Background:
After DC Comics brought together their most popular and powerful superheroes to form the Justice League of America in 1960, Marvel Comics head honcho Martin Goodman tasked Stan Lee with creating a similar team following his success with the Fantastic Four and the X-Men. Luckily, Lee and his most famous collaborators had already introduced numerous colourful characters and, thus, Anthony “Tony” Stark/Iron Man, Doctor Robert Bruce Banner/The Hulk, Doctor Donald Blake/Thor Odinson, and Doctor Hank Pym/Ant-Man and Janet Van Dyne/The Wasp became the first Avengers. Since the debut issue, the Avengers have been a consistent and influential presence in Marvel Comics and their roster has constantly shifted and changed, with the long-retired Captain Steve Rogers/Captain America joining their ranks in issue four. The Avengers splinter groups, been disassembled and reassembled, aided in massive cosmic events, and battled some of Marvel’s most powerful supervillains. Perhaps one of their greatest recurring enemies is the psychotic cyborg Ultron, who was first revealed under the guise of the Crimson Cowl in The Avengers #55. Created by Roy Thomas and John Buscema, and built in-universe by Hank Pym, Ultron is a sentient android who developed a murderous obsession with destroying the Avengers and conquering the world. Capable of changing his form, improving and becoming more powerful over the years, Ultron inadvertently created one of the Avengers’ most powerful allies, the Vision, expanded his schemes to include both the galaxy and altering the timeline, and even merged with his creator at one point. Ultron has made regular appearances in videogames as a powerful, penultimate, or final boss, is often portrayed as a formidable villain in Marvel cartoons, and was masterfully brought to life by James Spader in Avengers: Age of Ultron (Whedon, 2015).

The Review:
The Avengers’ first encounter with the killer automaton Ultron began with T’Challa/The Black Panther testing Dr. Hank Pym/Goliath’s new defensive protocols at the Avengers Mansion. Satisfied that the booby traps are fully functional, Giant-Man alerts the Avengers’ butler, faithful Edwin Jarvis, who’s shocked at the subtle insinuation that he would ever betray his team’s secrets. However, Jarvis then slinks away to make a clandestine phone call and then slips out to visit his mother, only to venture to a secret base beneath a condemned building to meet the villainous Masters of Evil! Rather than being brainwashed or some elaborate decoy, Jarvis has truly betrayed the Avengers for a hefty cash sum and, while Chen Lu/Radioactive Man is suspicious of their enemy’s butler working with them, the team’s newest leader – the elusive and secretive Crimson Cowl – vouches for Jarvis. Still, Ulysses Klaw is anxious to have his revenge against Earth’s Mightiest Heroes, specifically the Black Panther, and is tempted to kill Jarvis as a substitute. Thanks to Dane Whitman/The Black Knight and Bruno Horgan/The Melter, the enraged villains cool off enough to let Jarvis speak. However, after Jarvis delivers the floorplan for Pym’s new defences, the Crimson Cowl double-crosses him with a puff of knockout gas and sends the Masters of Evil on their way. While flying about on his winded horse, Aragorn, the Black Knight recalls how he joined the new Masters of Evil to betray them to the Avengers. However, the Crimson Cowl anticipates this and sends the others to intercept Whitman at the Avengers Mansion. Though overwhelmed, the Black Knight orders Aragorn away but, while Clint Barton/Hawkeye spots the horse, the abrasive Avenger is attacked by the Melter before he can alert the team.

The Avengers and their foes are stunned when their newest adversary turns out to be more than he seems.

Though he fires off a few arrows, Hawkeye’s downed when the Melter buries him under some debris. Simultaneously, David Cannon/Whirlwind attacks the Black Panther, sending him flying with a whirling cyclone, and the Wasp is accosted by Klaw. Despite showing no fear and her super shrinking ability, the Wasp is easily defeated when she flies head-first into a door! Similarly, Radioactive Man surprises Goliath and Doctor William “Bill” Foster in the Avenger’s lab, subduing Foster with a super adhesive and luring Goliath into a trap where he’s ensnared by his own devices! With all the Avengers captured, the gloating Masters of Evil introduce their master, who’s first revealed to be a distinctly Ultron-looking robot decoy and then unmasked to be Jarvis! The Masters of Evil load their prisoners into a futuristic craft and head back to their master, relishing their victory, though the villains are as unnerved by Jarvis’s turn as the Avengers, if not more since Jarvis demonstrates an uncanny ability to be fully aware of everything, no matter how trivial. Although Goliath escapes his restraints, Klaw’s saved by the Crimson Cowl, who admonishes his carelessness. When Klaw turns his incredible Sonic Claw on his master, he’s amazed when it has no effect and is left grovelling at the hooded figure’s feet, suitably humbled. The Crimson Cowl then reveals his plan to drop the Avengers into the ocean and blackmail New York City with a hydrogen bomb. However, the Crimson Cowl purposely drops the Avengers in a craft so they can slowly suffocate after learning that Jarvis was hypnotically duped into betraying them by none other than Ultron-5!

After freeing Jarvis from Ultron, the Avengers are later betrayed by the Vision!

Though it seems like the Melter crushes Jarvis under some rubble during his desperate escape, the remorseful butler survives and wanders the streets, succumbing to exhaustion just as he’s found by the Black Knight. Thanks to Jarvis’s tipoff, the Black Knight intercepts Ultron-5’s craft and frees the Avengers. The team quickly avenge themselves against the Masters of Evil, causing Whirlwind to flee but apprehending the others and easily dismantling the hydrogen bomb. When the Avengers confront their regretful butler, Jarvis reveals he sold out to pay for his mother’s treatments, and they quickly forgive him and part with the Black Knight on good terms, though Ultron-5 is left vowing revenge. Some time later, aboard a Supreme Headquarters, International Espionage and Law-Enforcement Division (S.H.I.E.L.D.) Helicarrier, a new version of the Avengers tests the durability of the mysterious Adamantium, a substance powerful enough to tank blows from Thor Odinson’s hammer and Iron Man’s Repulsor Rays. This proves that, as the team feared, the mineral has been altered by a “molecular rearranger” and presents a serious threat. As Goliath (now Barton garbed in a garish costume) tries to prove he can succeed where they failed, the strangely silent synthezoid, the Vision, is suddenly assaulted by an unseen force and compelled to brood over the grave of Simon Williams/Wonder Man, whose brain patterns formed his personality. Though he first suspects Simon’s spirit is calling him, the Vision suddenly has a revelation and flies off, leaving Pym (now known as Yellowjacket) to ponder his ally’s fate. While Iron Man tests himself in the mansion’s combat simulator, the Vision returns to the team’s Helicarrier, subdues a guard, and steals the Adamantium before lowering the ship’s air pressure to leave none alive. When the team finds out and find Janet attacked, they angrily confront the Vision, who coldly rejects his humanity, easily shrugs off their attacks, and heralds the rebirth of his creator, now in the jet-powered form of Ultron-6!

The remorseful Vision tries to atone for his mistakes by battling his creator to the death.

Now made of the indestructible Adamantium, the vengeful Ultron-6 attacks without mercy, easily defeating Thor and Goliath when the battle hungry Thor strikes the android’s body with his enchanted hammer, Mjölnir, and causes a massive shockwave. Though Yellowjacket gets the drop on his creation, Ultron-6 easily throws him off and then targets Pym over Iron Man and the Wasp, hell-bent on killing his “father”, though he proves too powerful for Iron Man to affix some electrodes to stop him. Bored of the conflict, Ultron-6 flees, unknowingly pursued by the repentant Vision, realising his creator programmed a failsafe to ensure his servitude. After regrouping, the Avengers set out to stop Ultron-6, who returns to his stronghold and prepares to launch a cache of nuclear weapons, determined to wipe out the human race! When confronted by his melancholic, wayward “son”, Ultron-6 flies into a rage, desperate to prove himself superior to his creation, though the Vision’s incredible matter-altering powers make him more than a match for his “father”. Ever the stubborn android, Ultron-6 escapes the Vision’s wrath by transforming into “sheer ionic force” and leaves the Vision to be attacked by S.H.I.E.L.D. soldiers for stealing their Adamantium. When the Avengers arrive, they discover Ultron-6 is one lever pull away from causing nuclear destruction, though the murder machine is left incensed that lever is mysteriously inoperable. Regardless, Ultron-6 is still powerful enough to endure Yellowjacket’s electrical blasts and throw the team around like ragdolls with a burst of explosive ionic power. Yet, despite apparently being strong enough to kill the Avengers and then enact his diabolical plot, Ultron-6 simply vanishes and the team is left to witness the Vision’s theatrical sorrow for being controlled by his creator. Before collapsing from his efforts to defeat Ultron-6, the Vision also reveals that he caused Ultron-6’s plan to go awry by trashing his apparatus.

Despite his all-powerful new form, Ultron is undone by some Pym trickery.

After convincing S.H.I.E.L.D. to relinquish custody of the Vision, the Avengers fail to rouse him with a concentrated dose of solar energy and thus turn to Yellowjacket’s “rudimentary mind-probe” to learn that the molecular rearranger is the key to stopping Ultron-6 since the only thing that can rearrange Adamantium. Although the device was also stolen alongside the Adamantium, Yellowjacket contacts the Black Panther while he’s fending off an invasion of Wakanda and requests a chunk of his nation’s Vibranium. Upon learning that the Avengers plan to publicly reveal his threat, Ultron-6 decides to enter their obvious trap and slaughter them, intent on kidnapping Adamantium expert Doctor Myron McLain and forcing him to build an army of Ultron duplicates so he can conquer the world. Despite being a capable and adaptable fighter, the Wasp is more concerned with dressing well for the team’s arrival at the United Nations building, where Dr. McLain is attacked by Ultron’s newest shell, a towering humanoid construct claiming to be the “ultimate” Ultron. Easily dispatching the nearby S.H.I.E.L.D. agents, Ultron calls out the Avengers and renews their battle, barely flinching when struck by Mjölnir and shrugging off the clumsy Goliath’s gigantic fist before briefly putting both Avengers down with lasers. Ultron then forces the Avengers to back off lest he murder Dr. McLain, leaving them powerless to stop him from affixing a “mind-draining device” to the doctor’s head to absorb his immense knowledge and secrets. However, Ultron’s forced to break the connection when he struggles to contain Dr. McLain’s vast intellect, leaving him on the brink of a complete meltdown. Thankfully, Thor averts this by containing Ultron within a special expanding chamber…thing…made of Vibranium, seemingly destroying Ultron in the process. In the aftermath, it’s revealed that “Dr. McLain” was really super genius Hank Pym in disguise and that he forced Ultron to absorb a phrase so alien to him that it led to his destruction: “Thou shalt not kill.”

The Summary:
While I’ve always been a fan of Ultron, his first encounters with the Avengers felt a bit lacking to me. The first two issues, especially, are a bit of a mess, overloaded with characters and painting Jarvis, of all people, as a deceiver and a villain! I understand the idea of behind bringing together a new Masters of Evil, especially as the villains nicely counter each hero’s abilities, but their victory felt forced here. Ultron-5 goes to the effort to brainwash Jarvis (despite him later admitting that he “sold out” for money for his sick mother) to acquire Pym’s floorplan, only for Whirlwind to just enter through a window and the Melter to…well, melt…a hole in the wall. There was barely a co-ordinated attack on the Avengers Mansion, the villains just caught them by surprise with such sophisticated tricks as fancy glue and slamming a door. I would’ve much preferred it if Ultron-5 had used Jarvis’s knowledge to reprogram or take control of Pym’s machinery, turning them against the Avengers as he turns training room against Iron Man and overwhelming them with a real show of power. Instead, the first two issues try to sell Jarvis as a traitor, with no one (not even Pym) recognising Ultron-5 until he reveals himself and the Masters of Evil happily following Jarvis’s commands. Ultron-5 is also depicted as a grandiose fool, more focused on gloating and humbling his enemies than finishing the job, and ends up undone by the Black Knight, of all people, and a comparatively weak incarnation of the Avengers. For me, this makes the “Crimson Cowl” part of Ultron’s history an odd and forgettable side note in the killer robot’s lineage, one perhaps only good for a pub quiz.

Despite his menacing appearance, Ultron is a boasting, psychotic braggart whose plans go awry.

Ultron makes a better impression in the second story, even if Hawkeye is parading around in a gimp outfit as Goliath and Pym is making a fool of himself as Yellowjacket. One thing I’ve always loved about Ultron’s design is his permanently screaming face, with the flaming energy bursting from his mouth, which is surprisingly expressive and matches his chaotic mood swings. These three issues are also noteworthy for introducing Adamantium and depicting it as the strongest and perhaps most dangerous substance on Earth. Its nigh-indestructible properties make it the perfect target for Ultron-6, who compels his “son”, the Vision, to steal it and fortify his otherwise laughable half-torso, half-rocket jet form. This also seems to facilitate an evolution in Ultron’s physical self, allowing him to project and even transform into ionic energy, easily making him a physical match for Thor and making fools of Goliath and the Wasp. By this point, Ultron-6’s plan has changed from blackmail to worldwide destruction and there’s a real sense of tension as the team desperately pursues him, especially as Ultron-6 is depicted as psychotic in his desire to eradicate human life. Yet, Ultron-6 apparently cannot construct new bodies for himself or robotic minions, which leads to his undoing when he targets Dr. McLain and is easily fooled by Yellowjacket. Still, despite “ultimate” Ultron failing to impress, Ultron is depicted as a significant threat as he outmatches, outwits, and outpowers a far stronger team of Avengers and comes dangerously close to enacting his plan. While he meets his end in dubious fashion, seemingly destroyed by the thought Pym plants in his head and the laughable Vibranium bell-thing Thor encases him in, I enjoyed seeing Ultron throw the Avengers around and be publicly revealed as a very real threat to the world.

Melancholy Vision proves ineffectual against Ultron compared to Pym’s elaborate scheme.

These three issues also largely focus onto the Vision, a melancholy, brooding figure who’s treated with some distrust by Barton, apprehension by Pym, and naturally seen as a tortured soul by the flakily Janet. Prone to breaking into gloomy soliloquies, the Vision is constantly questioning his purpose and humanity and is torn between his loyalties to his teammates and the programming forced upon him by Ultron-6. Having created the synthezoid some time ago, Ultron-6 compels his “son” to subdue any in his way using his bizarre powers, phase through walls, and betray his allies by stealing the Adamantium. Conveniently, Ultron-6’s control over the Vision isn’t permanent and he soon comes to his senses, only to be set upon by S.H.I.E.L.D. soldiers and put his relationship with the Avengers in doubt. This, as well as the desire to stop his creator, drives the Vision to confront Ultron-6 in a battle to the death. Thanks to the Vision being effectively all-powerful, their fights are brutal and merciless, though Ultron-6 maintains the advantage with his ionic powers and the Vision is left seemingly comatose after exerting himself. I’m not a big fan of the Vision’s dramatic ways but it is fun seeing him go toe-to-toe with Ultron-6 and getting a sense of how powerful Ultron can be since he holds his own against powerhouses like the Vision and Thor. Still, the Avengers’ first counters with Ultron were surprisingly low-key, despite Ultron wishing to wipe the human race off the Earth. Ultron’s shown to be incapable of making good on this threat after the Vision wrecks his equipment, ironically needing the knowledge of a human to prove his mechanical superiority, and spends more time boasting and plotting than actually seeing things through. It definitely makes him a megalomaniacal villain and I really dig his creepy aesthetic, but I don’t think it did him any favours to go up against such mismatched Avengers teams, who handily defeated him despite not being as powerful as they could be.

My Rating:

Rating: 3 out of 5.

Pretty Good

What did you think to Ultron’s first encounters with the Avengers? Where does Ultron rank in your hierarchy of Marvel villains? Did you believe that Jarvis had turned traitor? Were you surprised when the Vision betrayed his team? Which incarnation of Ultron is your favourite or who would you like to see on the Avengers roster one day? What are some of your favourite Ultron stories or moments? How are you celebrating the debut of the Avengers today? Share your thoughts on Ultron, and the Avengers below and, if you’d like to see more Ultron reviews, go support me on Ko-Fi.

Movie Night [Star Trek Day]: Star Trek V: The Final Frontier

Dr. K2 Comments

On 8th September 1966, the first episode of Star Trek (1966 to 1969), “The Man Trap” (Daniels, 1966), first aired. Since then, Star Trek has become a massive cultural phenomenon, spawning numerous continuations and spin-offs to become, perhaps, the most influential science-fiction franchise of all time. Accordingly, the 8th of September has been deemed “Star Trek Day”, the perfect excuse to celebrate this massive sci-fi franchise.

Released: 9 June 1989
Director: William Shatner
Distributor: Paramount Pictures
Budget: $26 million
Stars: William Shatner, Laurence Luckinbill, Leonard Nimoy, DeForest Kelley, George Takei, and James Doohan

The Plot:
When Mister Spock’s (Nimoy) hitherto-unknown half-brother Sybok (Luckinbill) takes the USS Enterprise hostage with his empathic powers, Captain James T. Kirk (Shatner) must prevent him from a seemingly suicidal mission to find God at the centre of the universe.

The Background:
Despite a worldwide gross of almost $140 million, Star Trek: The Motion Picture (Wise, 1979) was a critical disappointment that Paramount blamed on Star Trek creator Gene Roddenberry. Thankfully, the franchise recovered with Star Trek II: The Wrath of Khan (Meyer, 1982), commonly considered one of the best Star Trek movies, and Paramount eagerly capitalised with what became the then-lowest-grossing third entry, Star Trek III: The Search for Spock (Nimoy, 1984). Still, positive reviews justified a fourth film, which saw star and director Leonard craft a light-hearted time travel romp, Star Trek IV: The Voyage Home (ibid, 1986), which proved a critical and commercial success. Thanks to his contract, star William Shatner was promised the chance to direct the next Star Trek film and took inspiration from charismatic, but misguided, televangelists for the story. In his initial drafts, Sybok was known as Zar and the biblical elements were further emphasised in the conclusion when “God” transformed into a more Satanic form. Producer Harve Bennett insisted on changing the script, which Roddenberry also had issues with, and subsequent redrafts and budgetary concerns excised the rock monsters planned for the finale. Shatner allegedly favoured a grittier and more realistic aesthetic and the production team apparently redesigned many sets, including the Enterprise bridge. The film’s effects were handled by Associates and Ferren, with the budget increasing due to Shatner’s insistence on viewing much of the test footage. Sean Connery turned down an offer to star as Sybok so the role went to Laurence Luckinbill when Shatner was impressed by his portrayal of President Lyndon B. Johnson. Star Trek V: The Final Frontier’s $63 million box office fell way short of Star Trek IV’s and made it the lowest-grossing of all the feature films! This was reflected in the overwhelmingly negative reviews that criticised Shatner’s direction, the inconsistent tone, and the poor special effects. Luckinbill’s performance was praised, however, but even Shatner expressed dissatisfaction with the finished product, which is often considered one of the worst in the franchise. That didn’t stop Paramount greenlighting a sixth film the following year, though it did lead to a brief scramble to recover from The Final Frontier’s poor reception.

The Review:
The Enterprise-A crew starts The Final Frontier in the midst of a well-deserved shore leave. Well, except for poor Commander Montgomery “Scotty” Scott (Doohan), who misses out on a vacation with blossoming love interest Commander Nyota Uhura (Nichelle Nichols) to help get the comically malfunctioning Enterprise-A up to scratch. The state of the Enterprise-A is a recurring issue throughout the film and primarily serves as both a comical situation (Kirk struggles with the turbolift doors), an obstacle to be overcome (Scotty works tirelessly to fix the inoperable transporters), and as a convenient way to handicap the crew for dramatic impact. Kirk and his away team cannot be beamed out, for example, and rely on shuttlecraft to journey to and from the Enterprise-A and the questionable nature of the ship’s weapons and shields means even Klingon Captain Klaa’s (Todd Bryant) outclassed Bird of Prey is a potential threat. Unfortunately, this threat remains a secondary concern; we never see the Enterprise-A battle Klaa so it’s a moot point. The ship’s also more than capable of travelling at warp speed and all its sensor systems are operational, so it’s only systems that would limit the film’s action that erupt in a shower of sparks. The film also, surprisingly, hand waves the recurring trope of the Enterprise constantly being called to dangerous situations, no matter their condition. When Kirk mentions the “mess” that the Enterprise-A is in, Fleet Admiral Bob (Harve Bennett) states he has “no experienced Captains” in close proximity to Nimbus III and “needs Jim Kirk”.

The morbid Kirk vehemently rejects Sybok’s powers and even questions “God”.

Though in a far better place, mentally, than in previous films, age is still taking its toll on Captain Kirk. Whereas “other men” have families to spend shore leave with, he spends his camping in Yosemite National Park with Spock and the miserly Doctor Leonard “Bones” McCoy (Kelley) since they don’t have anyone else. While Kirk fills his time with unnecessary risk-taking and Bones chastises Kirk’s foolhardy disrespect for life, Spock prefers to test his hoverboots and contemplate the lyrics of “Row, Row, Row Your Boat”. It’s while subtly mocking Spock’s misunderstanding of Earth customs that Kirk reveals a morbid belief that he’s destined to die alone, something which has left him somewhat emotionally empty and fearless. Despite his protestations about taking the malfunctioning Enterprise-A to address the hostage situation on Nimbus III, Kirk follows orders and finds new ways to get around the limitations of the script ship. He leads the away team in infiltrating the capital, only to find the hostages – the bitter St. John Talbot (David Warner), the disgraced General Korrd (Charles Cooper), and the alluring Caithlin Dar (Cynthia Gouw)) – have fallen under Sybok’s sway. Outmanned and outgunned, Kirk has no choice but to allow Sybok and the entranced diplomats safe passage to the Enterprise-A, where Sybok demonstrates his unique empathetic abilities. Even when faced with Sybok’s power, which causes visions of a person’s “hidden pain” to manifest visually, Kirk remains defiant. In one of the film’s best scenes (and of Shatner’s Star Trek career), Kirk launches into an impassioned tirade and vehemently rejects Sybok’s offer: “I don’t want my pain taken away! I need my pain!” Convinced that Sybok is a “con man”, at best, and “mad” at worst, Kirk both refuses to join him or co-operate and adamantly tries to talk him out of breaching the “Great Barrier” since Sybok claims to be on a mission from “God”. Kirk’s scepticism is briefly rocked when the Enterprise-A breaches the Great Barrier, but only for a moment. Just as he shrugged off Sybok’s allure, Kirk questions the authority and legitimacy of the “God” (George Murdock) they find on Sha Ka Ree. Again, Kirk feels untouchable, even when faced with a supposed deity, simply because he has not only seen more than enough to make him fearless and also because he’s “not alone” and therefore cannot die.

Sadly, Sybok’s relationship with Spock and the extent of his abilities isn’t explored as much as I’d like.

The Final Frontier is pretty significant for Spock since it not only explores aspects of his childhood he actively chooses not to discuss but also revolves around the complex relationship between him and his hitherto-unknown brother. Unfortunately, these elements aren’t as developed as I’d like and it’s telling that Sybok has never been mentioned again in Star Trek lore (as far as I know). What little we learn of their past is told through vague exposition and a surprisingly emotional confrontation when, after being forced to relive the pain of his father’s (Jonathan Simpson) disapproval of his half-human nature, Spock also rejects Sybok’s repeated offers to join him. Though he condemns Sybok for betraying the logical principals of Vulcan culture and violating Federation law, Spock still hesitates when ordered to kill his half-brother, showing he’s not at completely above emotion, and clearly grieves for Sybok in the finale. Bones is mostly played as the comic relief and peacekeeper of the three, scolding Kirk for reprimanding Spock’s hesitation and offering bitter commentary on their poor social lives. However, Sybok reveals that Bones’ cantankerous personality stems from a tragic and horrific event in his past where his sick father (Bill Quinn) begged to be spared of his slow, painful death. Though conflicted, Bones ultimately disregarded his Hippocratic Oath, only for a cure to be found shortly after. It’s a harrowing scene that explains a lot about McCoy’s curmudgeonly disposition, and is effectively related, especially when Sybok criticises Kirk for not realising the dark pain residing in his friends. We also get a recurring sub-plot where Scotty avoids Sybok’s influence and helps Kirk and the others escape from the brig, and a fun moment where Commander Pavel Chekov (Walter Koenig) commands the Enterprise-A. Otherwise, beyond Uhura showing her naked allure and suddenly being hot for Scotty and Lieutenant Commander Hikaru Sulu (George Takei) acting as Sybok’s right-hand once the charismatic Vulcan gets his claws into him, the rest of the crew assume their usual roles and get slightly less to do as the film’s geared more towards philosophical and moral debates rather than space battles.

While the charismatic Sybok steals the show, it wouldn’t be classic Star Trek without a Klingon threat.

Sybok has an alluring charisma, for sure. Even without his empathic abilities, the Vulcan has a silver tongue and easily talks down armed foes with his captivating words. Influencing individuals on an emotional level, Sybok encourages them to “share their pain” in what’s essentially an extension of the traditional Vulcan mind meld. Using his empathic abilities, Sybok brings out a person’s deepest pain and encourages them to face it, share it, and be free of it, leaving them so grateful to be free of their burden that they pledge themselves to his mad cause, abandoning loved ones and principals in the process (but, crucially, retaining their core personalities). Seen as a renegade, Sybok was cast out from Vulcan for embracing emotion and has embarked on a lifelong quest for Sha Ka Ree (what we would call “Eden”). Having been sent visions and instructions from “God”, Sybok recruits followers to breach the Great Barrier and commune with the All-Mighty to understand the meaning of life, and then spread that wisdom to others. Thus, Sybok is not a traditional villain or a violent man; he chastises Chekov for inciting violence in Nimbus III, practically begs Kirk and the others to follow him, and uses reason and words rather than weapons. Sybok is no less dangerous in Kirk’s eyes, however, since the sceptical Captain believes they’re heading for disaster following Sybok’s mad ambition. Because Sybok represents a more philosophical and moral villain, The Final Frontier once again relies on the Klingons as a more traditional threat. Unfortunately, the upstart Klass is a far cry from the cold menace of Captain Kruge (Christopher Lloyd). Bored of destroying space debris, Klaa intercepts the Enterprise-A to test his mettle against a real opponent. Klaa’s threat adds a time limit to most scenes, forcing Sulu to manually dock the shuttlecraft so the Enterprise-A can escape to warp, but the two ships don’t engage in a space battle and Klaa’s threat is easily neutralised once Spock demands Koord reprimand his arrogant subordinate.

The Nitty-Gritty:
It’s tiresome to mention it, but there’s a popular notion that odd-numbered Star Trek movies are worse than the even-numbered one. While I mostly agree, I disagree in this case. It’s definitely not as good as the last three movies, but I’d much rather watch it than the next two and I’ve always had a soft spot for it. Part of this is Laurence Luckinbill magnetic performance (he makes for a charming and loquacious antagonist), part of it is the melancholy, haunting score courtesy of Jerry Goldsmith, and part of it is the relationship between Kirk, Spock, and Bones. The Final Frontier offers some of their best filmic moments, from Bones worrying over Kirk’s safety to Spock being weighed down because of the “marshmelons” they ate, to the anger Kirk throws towards Sybok when Bones is tempted by the Vulcan’s power. I’m glad they spend most of the film as a bickering threesome as it really emphasises how they’re like family.Kirk even refers to Spock as his “brother” by the end and acknowledges that they’ve become a substitute family. I love how they’re so familiar with each other that they disregard rank (though Spock does this reluctantly) and that Bones uncharacteristically defends Spock when he refuses to kill Sybok. The scenes of the three locked in the brig and escaping up the turbolift shaft are both light-hearted fun and an engaging glimpse at their relationship since Kirk is personally upset that Spock never told him about his half-brother. While we get some insight into Spock and Sybok’s past, with the implication that Sybok had always been a manipulative influence who bullied Spock, we don’t get as much detail as I’d like. A flashback or two over Nimoy’s narration would’ve been nice, but much of this relationship is tainted by the fact that it’s never brought up again, as though Star Trek would rather we forget about Sybok and this film. The best evidence of this is that the Enterprise-A travels to the centre of the universe in just under eight hours, something we know is impossible based on the perilous and lengthy journey of the USS Voyager, lending credibility that much of The Final Frontier are open to interpretation.

Some questionable effects aside, I really dig the philosophical debate.

The Final Frontier’s reputation probably isn’t helped by some questionable effects. While the models all look great, they are recycled from the previous movies and it’s tiresome seeing the Enterprise-A threatened by another Klingon Bird of Prey (and that the well-seasoned crew are continually stumped when the ship cloaks). The composition effects are woefully subpar so it’s probably a good thing we don’t really get a space battle. Even Spock’s hoverboots are a laughable effect, used alongside an obviously slanted camera angle or a suspicious turbolift shaft that’s clearly hiding cables to move the actors. There is a big action set piece on Nimbus II, however, where Kirk and the away team storm the city and get into a firefight with Sybok’s acolytes (on horseback, no less). Kirk even tangles with a bizarre cat woman (Linda Howard) to give Shatner a fight scene, though is just kinda ends when he tosses her into a water tank. Sybok captures Kirk and the others with ridiculous ease since he has more men and weapons, encounters no resistance on the Enterprise-A (as it conveniently has a skeleton crew), and isn’t involved in any physical altercations with the crew due to his pacifist nature. Instead, he and Kirk (and Spock, to a degree) debate their beliefs, with Kirk disputing the fantasy of Sha Ka Ree and Sybok talking to Kirk as though he were a confused and naïve child. Though incensed at having his ship taken from him, Kirk is powerless to intervene beyond defiantly escaping the brig and trying to alert Starfleet Command. However, his undeniable curiosity and desire to “boldly go where no man has gone before” sees him willingly return to the bridge once the Enterprise-A reaches the Great Barrier where, ironically, Sybok gratefully returns command of the ship to him, if only so Kirk can see that the unreasonable Vulcan was right all along.

Kirk defies “God”, is saved from death once more, and recognises his friends as his true family.

To the amazement of the crew, the raging cosmic storm at the Great Barrier proves to be an illusion and, upon breaching it, the Enterprise-A reaches Sha Ka Ree, a fabled holy land where creation is said to have originated. Curious, Kirk has Spock, Bones, and Sybok travel with him to the surface, discovering a barren wasteland. Just as even Sybok begins to doubt his journey, the earth quakes and a gigantic, semi-holographic visage appears bathed in an ethereal light. “God” assumes the guise of kindly old manto to “meet their expectations”. While Bones is stunned by the All-Mighty and Spock is quietly fascinated, Sybok is overjoyed to see that God is not only real, but everything he expected Him to be. As “God” compliments Sybok, it asks how the group penetrated the Great Barrier and becomes intrigued by their starship. Blinded by his faith, Sybok promises that the Enterprise-A will serve as the deity’s “chariot”, so that “God” spread wisdom to the galaxy, however their jubilation is interrupted by Kirk’s simple question: “What does God need with a starship?” When “God” questions Kirk’s identity, Kirk’s cynicism increases and, angered by the mortal’s disbelief, the deity blasts Kirk with its eyebeams. Shocked at this cruelty, both Bones and Spock repeat Kirk’s question, earning similar reprisals and leaving Sybok horrified that his God would act so callously. The being reveals that it’s some unknowable, eldritch creature that’s been trapped on Sha Ka Ree for an eternity and yearns to be free. Assuming Sybok’s form, mirroring the Vulcan’s arrogance and blind ambition, the creature threatens to kill them all unless the Enterprise-A is brought closer. Dejected by his mistakes and desperate to make amends, Sybok begs his brother for forgiveness and embraces the creature, sacrificing himself to overwhelm it with his pain. This is only a temporary reprieve for the shellshocked crew, however, as is the barrage of phaser fire from the Enterprise-A, as the creature returns and turns its wrath on Kirk after he has Bones and Spock beamed out. Luckily, General Koord orders Klaa to stand down, saving Kirk’s life when he was sure he would die, and leaving the three to ruminate on the true nature of God and return to their shore leave.

The Summary:
I’m fully aware that I’m in the minority of people who like Star Trek V: The Final Frontier, and I’m okay with that. It’s definitely better than the first and sixth movies, for me, and probably about on par with the third, honestly. Like The Voyage Home, it’s a bit more of a light-hearted adventure for the most part, with an emphasis on the banter and bickering between Kirk, Bones, and Spock to emphasise that the Enterprise-A crew (especially these three) are a tight-knit surrogate family. Yet, for all the pratfalls with Spock’s hoverboots and Scotty bashing his head, there are some deep ruminations on mortality and what it means to be human. Kirk’s dour outlook on his inevitable, lonesome end really speaks to the life he’s chosen for himself. I personally find it very inspiring that he chooses to live with his pain rather than take an easy fix since all his experiences, good and bad, have shaped his personality. Sadly, this theme is somewhat underbaked, as are many aspects of The Final Frontier, specifically Spock’s relationship with his random half-brother. I’d love to see this explored further somewhere so if there’s a book or something that delves into their past a bit more, please let me know, as Sybok was a fantastic character. I loved his enthusiastic and exuberant presence, his boastful confidence and pacifist nature, and the idea that he’s riding a fine line between confidence and madness. I do think the Klingon threat could’ve been removed, perhaps in favour of the Romulans or additional screen time showing Kirk and the others trying to overthrow Sybok’s control of the Enterprise-A. It’s a bit suspicious how easily they reach and breach the Great Barrier but I’ve always enjoyed the showdown with “God”, Kirk’s fearless defiance of the creature, and the endlessly quotable script in this horribly under-rated Star Trek movie. It could’ve been better, for sure, but it’s a personal favourite of mine and I do think it needs a bit more love for the positives and that the negatives need to be better explained to me as I just don’t think it’s as bad as people say!

My Rating:

Rating: 3 out of 5.

Pretty Good

Are you also a fan of Star Trek V: The Final Frontier? What did you think to Kirk’s bleak outlook on his inevitable death? Did you enjoy the additional focus on the Kirk/Spock/Bones dynamic? What did you think to Sybok and the snippets of exposition we get into his past with Spock? Were you also frustrated to see another Klingon threat? What does God need with a starship? Which Star Trek captain, crew, show, or movie is your favourite and why? How are you celebrating Star Trek Day today? No matter what you think, leave your thoughts down below, support me on Ko-Fi, and go check out my other Star Trek content.

Back Issues [Bat-Month]: Batman #242-244

Dr. K1 Comment

In the decades since his first dramatic appearance in the pages of Detective Comics, Bruce Wayne/Batman has become a mainstream, worldwide, pop culture icon. The brainchild of writer Bob Kane, Batman was brought to life by artist Bill Finger and has been a popular staple of DC Comics and countless movies, videogames, and cartoons over the years. “Batman Day” falls on September 16 this year and I figured this was a perfect excuse to spend every Saturday celebrating comic’s grim and broody vigilante.

Story Title: “Bruce Wayne — Rest in Peace!”
Published: June 1972
Writer: Dennis O’Neil
Artist: Irv Novick and Dick Giordano

Story Title: “The Lazarus Pit!”
Published: August 1972
Writer: Dennis O’Neil
Artist: Neal Adams

Story Title: “The Demon Lives Again!”
Published: September 1972
Writer: Dennis O’Neil
Artist: Neal Adams

The Background:
Following their success with Clark Kent/Superman, National Comics Publications tasked Bob Kane with creating another masked crimefighter to add to their repertoire. Thanks to the invaluable and long-suppressed talent of artist Bill Finger, the “Bat-Man” quickly became one of DC Comics’ most popular characters and a mainstream cultural icon. Over the years, the Batman defended Gotham City from many costumed supervillains, but perhaps his most captivating and intriguing villain is “The Demon’s Head”, Rā’s al Ghūl. Created by editor Julius Schwartz, writer Dennis O’Neil, and artist Neal Adams during DC Comics’ reinvention of the Batman to downplay the camp trappings of the sixties, Rā’s al Ghūl was an enigmatic criminal mastermind not unlike a James Bond villain. His expansive criminal empire, lofty goal of ending worldwide conflict by any means necessary, and international flavour made him a dark counterpart to the Dark Knight. Following his first appearance, Rā’s al Ghūl continually plagued Batman thanks to the rejuvenating properties of his “Lazarus Pits”, which were introduced in these three issues and restored him from death at the cost of his keen intellect. Rā’s was a pivotal figure in DC Comics thanks to his daughter, Talia, who birthed Batman’s volatile son, and numerous appearances outside of comics. He was excellently brought to life by the eloquent David Warner, Matthew Nable, Alexander Siddig, and Liam Neeson. These issues also inspired some of these interpretations of Rā’s, with the story and visual of the two (or a Batman proxy) battling bare-chested and/or with swords being evoked in the DC Animated Universe, Batman Begins (Nolan, 2005), and Arrow (2012 to 2020).

The Review:
This three-part story kicks off with quite the sensational headline: “Bruce Wayne Vanishes!” In Commissioner James “Jim” Gordon’s office, the world-weary commissioner discusses the millionaire’s presumed death with the Caped Crusader, obviously oblivious that the Batman is Bruce Wayne. Both men lament Wayne’s assumed death before the Batman leaves, informing Gordon that he’ll be out of the country for some time. As the Batman swings through the city, we learn that he faked his alter ego’s death as a mysterious villain apparently knows of his dual identity and the Batman doesn’t want to risk endangering those closest to him. Begrudgingly, the Batman realises he needs help combating this threat and thus swoops into a downtown café to chat with crime boss “Matches” Malone. However, Malone sics his goons on the Batman and flees into the café’s kitchen. Cornered, Malone opens fire and apparently shoots Batman dead! Thus, the story follows Malone (whose gimmick, who may have guessed, is repeatedly lighting matches with his thumb) as he follows Doctor Harris Blaine through the Gotham Arms Hotel. When Dr. Blaine is attacked by an unknown assailant, Malone repays the favour and carries the unconscious doctor to a nearby building to meet the Batman, alive and well and grimly revealing that Rā’s al Ghūl – the seemingly immortal head of the worldwide criminal organisation the League of Assassins – has targeted Dr. Blaine due to his as-yet-unknown research. Dr. Blaine’s attacker, Lo Ling, interrupts the meeting and spontaneously reveals some of his backstory (he was saved by Rā’s and thus owes him his servitude) and that Rā’s’ daughter, Talia, disagrees with his vendetta against the Batman, all before tossing a knife right into the Dark Knight’s chest! Malone is so enraged by this that he accidentally topples over the projector Batman was using to show Dr. Blaine slides, temporarily blinding Dr. Blaine and allowing Lo Ling to vanish…along with the Batman’s corpse!

The Batman assembles a rag-tag team to track Rā’s al Ghūl to the Swiss alps.

Malone orders Dr. Blaine to the lobby and then races after Lo Ling. With Dr. Blaine out of sight, Malone removes his clever disguise and reveals that he was the Batman all along, the Dark Knight assuming the mobster’s identity after he accidentally killed himself and setting up a dummy for his meeting with Dr. Blaine. Lo Ling is so shocked to see the Caped Crusader alive that he slips from the rooftop, though the Dark Knight catches him mid-fall by racing to a lower-floor window. Now owing his life to the Batman as much as Rā’s al Ghūl, Lo Ling is drafted into Batman’s crusade, though insists on fighting him in respectful combat first. This time, Dick Grayson/Robin assumes Malone’s identity as the two battle, with Batman abandoning his blade and overpowering Lo Ling with his superior judo skills and earning Lo Ling’s eternal servitude. Despite needing allies for his war with Rā’s al Ghūl, the Batman sends Robin back to Hudson University to avoid endangering the Teen Wonder and to ensure that the Batman’s legacy can continue if he falls. Dr. Blaine and Lo Ling then meet with Malone (who’s Batman in disguise, keep up!) at a private airfield and take a plane to the Swiss alps, where it’s rumoured Rā’s al Ghūl is located. Upon landing, Lo Ling randomly spots Talia al Ghūl and rushes to capture her, eager to please his new master, only to be knocked out by Talia’s hulking bodyguard, Ubu. The Batman intervenes and quickly takes the brute down, only to be blasted by international ski champion Molly Post, who misread the situation and thought Batman was attacking Talia. This allows Ubu to kick the shit out of Batman, but Talia calls him off since she’s still got the hots for the Masked Manhunter.

Although Batman and his allies find Rā’s dead, the Demon’s Head rises again, stronger than ever!

After apologising for her blunder, Molly insists on accompanying the three in hunting Rā’s al Ghūl since the Demon’s Head manipulated her fiancé so badly that he turned to alcoholism. Upon reaching Rā’s al Ghūl’s private cable car, Batman and Lo Ling KO two guards (much to Dr. Blaine’s chagrin) and have Molly and Dr. Blaine assume their identities, while Batman and Lo Ling cling to the outside of the cable car, to bypass the inept snipers. As swift as the Dark Knight and his ally are, however, the goons open fire, causing the group to be pinned down by machine gun fire from a nearby World War Two bunker that serves as Rā’s al Ghūl’s Swiss headquarters. Despite claiming to be a pacifist, Dr. Blaine resolves the situation by hurling a bar of Sodium-19 (which was being transported in the cable car) into the bunker, causing a massive explosion that the doctor is strangely confident their attackers will have survived. Eager to discover what Rā’s is planning for the Sodium-19, the Batman leads the group onwards, lamenting that he must endanger such brave and feisty lives, easily breaking into Rā’s’ stronghold and taking Ubu down with a flying kick. Although Molly tackles Talia, believe her to be a threat, Talia not only reaffirms her love for the Batman but also reveals that Rā’s is dead. Dr. Blaine confirms it by examining the body and Batman offers his condolences. Although Talia dismisses Batman’s sympathies and agrees to be arrested, the group miss that she activates a hidden switch that lowers Rā’s al Ghūl’s corpse into a bubbling, putrid green liquid – the Lazarus Pit. True to its name, the mysterious liquid reanimates Rā’s, returning him to life with the strength of ten men and the madness of an animal! Accordingly, the crazed, half-naked Rā’s races into the frigid cold to confront the group, laying Lo Ling out with a single punch and shrugging off the Batman’s most powerful blow! Refusing to back down even in the face of such a mighty madman, the Batman is easily manhandled and tossed into the cable car.

Following a beautiful sword fight, Batman KO’s his foe and takes him into custody.

After Dr. Blaine wrecks the cable car’s controls, Talia talks some sense into her father and flees with him to their hovercraft, leaving Batman to shake off his injuries and Dr. Blaine insisting they get the wounded Lo Ling to a hospital. Upon seeing Rā’s al Ghūl’s futuristic hovercraft blast away, the Batman is stunned when Molly gives chase on her skis, forcing him to follow to protect her. Though astonished by her recklessness, the Batman can’t help but admire her skill and bravery, and he’s even more impressed when Molly hurls one of her skis into the hovercraft’s propeller, forcing a crash landing, though she’s wounded from debris. This is all the distraction the al Ghūl’s need to flee and, after getting Molly to safety, the Batman returns during the night to inspect the downed hovercraft and discovers a camel’s bridle. With all his allies on the shelf, Batman heads to the desert of an unspecified nation to confront Rā’s, whose regained his senses and determined to rebuild his empire. Determined to stop Rā’s, Batman agrees to a duel to the death and the two face each other, topless and armed with swords, in the sweltering desert. As a weeping Talia watches her lover and her father clash, Batman and Rā’s battle long into the afternoon but the fight unexpectedly ends when Batman is stung by a scorpion. Declaring himself the victor, Rā’s abandons his foe to his fate, though a kiss from Talia revitalises Batman and counteracts the poison. Driven by rage and instinct, the Batman stalks to Rā’s’ tent and lays him out with a single punch, with Rā’s too humble and horrified to offer any resistance. Although the Batman carries Rā’s al Ghūl off to be the authorities, he lets his emotions get the better of him and spares Talia, leaving her with a final kiss.

The Summary:
These three stories (generally referred to as “The Demon Lives Again!”) have become iconic moments in the Batman’s long and storied career mainly due to the visual of the bare-chested Dark Knight duelling with the Demon’s Head in the arid desert. For me, this is peak classic Batman since I grew up with the writing and art of Dennis O’Neil and Neal Adams, which portrayed him as a well-rounded, intelligent, and stable individual more focused on crime solving than bashing heads or being a paranoid control freak. While the Batman loathes asking for help and putting others in danger to track down Rā’s al Ghūl, he feels compelled to do so to protect those he cares about (such as Robin and, assumedly, his mentor and father figure, Alfred Pennyworth). While the Batman is clearly rattled to have his civilian identity be targeted, to the point where he fakes Bruce Wayne’s death to operate autonomously as the Batman, it’s not clear what Rā’s al Ghūl’s goal is in this story arc. He targets Dr. Blaine for unspecified reasons and is stockpiling Sodium-19, but it’s not revealed why or what the endgame is beyond Rā’s wishing to strengthen his already powerful criminal empire. The assumption is that whatever Rā’s al Ghūl is planning can’t be good since he’s essentially a threat to the entire world by default, but it might’ve been nice to get some idea about what the stakes were beyond this vague threat. It’s also not revealed how and when Rā’s al Ghūl died. The Batman doesn’t seem to have known about this, so I doubt it happened in a previous story, and it raises questions regarding Talia. While she’s clearly conflicted between her loyalty to her father and her love for the Batman, it’s heavily implied that she’s begrudgingly carrying out his posthumous orders and is therefore the true threat of the story arc.

Batman’s allies and methods are questionable, adding little to the plot and ultimately being unnecessary.

Naturally, she hides it well, talking down Ubu, kissing the Dark Knight, weeping at the iconic clash between the two, and making no explicit moves against him, but Talia clearly can’t be trusted and carries out her father’s orders, willingly or not. The Batman’s plan is to assemble a team to hunt the Demon’s Head, though I’m not entirely sure what the benefit of assuming “Matches” Malone’s identity was since his underworld ties didn’t have any impact on their journey. I guess it helped to distract Lo Ling, who was fooled by the dummy Batman, but Malone didn’t seem necessary to the plot to me. It would’ve made more sense for “Bruce Wayne — Rest in Peace!” to revolve entirely around Batman masquerading as Malone to figure out who Rā’s al Ghūl is planning to target and then abandoning the disguise once Dr. Blaine was saved. I quite liked Lo Ling; he seemed like a tortured soul torn between his loyalties, like Talia, and was a useful ally in combat. It definitely would’ve made more sense for him to toss that Sodium-19 bar and for that to have killed Rā’s’ men, bringing some conflict between Lo Long’s methods and the Batman’s. It also would’ve made more sense for Lo Ling to guide Batman through the Swiss alps; he should know the location of Rā’s al Ghūl’s base, after all, meaning the inclusion of Molly Post also a questionable one. I liked that she impressed Batman time again, how resourceful, determined, and fearless she was, and that he was obviously taken by her, but I fail to see how she added anything to the story. Lo Ling and the Batman could’ve easily filled her role and it’s not like Molly and Batman become an item by the end. Additionally, Lo Ling and Molly are both grievously wounded in the final issue, which also takes Dr. Blaine out of the picture since he needs to see to her, meaning Batman faces Rā’s al Ghūl alone in the end…which was the exact opposite of his plan!

Batman’s relationship with Talia and rematch with Rā’s are the two highlights of this arc.

Therefore, the primary focus of this story arc (tracking down and stopping Rā’s al Ghūl’s mysterious plot) is a bit flimsy for me. However, these issues still stand as a landmark moment in the Dark Knight’s history simply because of how alluring and nuanced Rā’s al Ghūl and Talia are. Rā’s al Ghūl poses a significant threat to both the world and the Batman because of his resources and knowledge of Bruce Wayne’s identity, while Talia represents seductive temptation. Both the al Ghūl’s deeply respect and admire the Batman and wish him to join their cause, though they refuse to alter their methods to appeal to him and even Talia only defies her father so much. These issues not only reintroduce Rā’s al Ghūl but also introduce the concept of the Lazarus Pit, a mysterious, ancient substance that not only restores the dead to life but briefly bestows them with superhuman strength, though at the temporary loss of their sanity. When he rises from the dead, Rā’s al Ghūl is a mindless, animalistic force who easily fells Lo Ling and overpowers the Batman, only coming to his senses when confronted by his daughter. By the time the Batman intercepts them in Egypt Afghanistan whatever desert they flee to, Rā’s al Ghūl has fully regained his composure and is ready to battle to the death to settle his differences with the Dark Knight. While the Batman outright refuses to kill Rā’s al Ghūl, he also refuses to leave without the Demon’s Head in custody and accepts the challenge, providing the arc’s most powerful and sexually charged imagery. The actual sword fight, however, is surprisingly disappointing; neither competent draws blood, there’s no back and forth between the two, and it randomly ends when a scorpion stings Batman. Rā’s is incredibly pleased by this victory, claiming that nature itself has willed him as the victor, but so startled to see his foe fully recovered that he offers no resistance when the enraged Batman comes for him. In the end, these are decent enough stories, but I feel it could’ve been cut down to a two-part tale by removing some unnecessary characters and moments. This might’ve freed some panels to better explore Batman’s relationship with Talia and Rā’s al Ghūl’s plan, but there’s no denying the appeal of their sword fight and the juxtaposition between the Dark Knight and the Demon’s Head.

My Rating:

Rating: 3 out of 5.

Pretty Good

What did you think of Rā’s al Ghūl’s rematch with the Dark Knight? Do you agree that the additional characters bogged down the narrative or were you a fan of Lo Ling and the “Matches” Malone identity? Did you enjoy the bare-chested sword fight between the two? What are some of your favourite Rā’s al Ghūl stories? Which interpretation of the Rā’s al Ghūl, whether animated, pixelated, or live-action, is your favourite? Whatever you think about the Rā’s al Ghūl, share your thoughts below, support me on Ko-Fi, and check out my other Batman content!

Movie Night: John Wick

Dr. K1 Comment

Released: 24 October 2014
Director: Chad Stahelski
Distributor: Summit Entertainment
Budget: $20 to 30 million
Stars: Keanu Reeves, Michael Nyqvist, Alfie Allen, Willem Dafoe, Adrianne Palicki, and Ian McShane

The Plot:
Former hitman John Wick (Reeves) returns to his violent life when a dog gifted to him by his beloved wife, Helen (Bridget Moynahan), is killed by a mobster’s reckless son, unleashing the feared “Baba Yaga” upon the terrified underworld once more.

The Background:
After Taken (Morel, 2008) became a surprise critical and financial success, it not only reinvigorated Liam Neeson’s career but also inspired a slew of similarly-themed movies. All of a sudden, aging action stars were in vogue, which meant writer Derek Kolstad’s dream to sell a spec script of an aging hitman being called back into service saw a new lease of life. The script caught the eye of producer Basil Iwanyk, who was looking for the freedom offered by smaller budget films and attracted to the core concept, and Kolstad accepted his lower bid so the movie could start production. The role was initially envisioned for an older star like Clint Eastwood and Bruce Willis was first attached to star before Keanu Reeves joined the project, eager for a new action role, and he recommending the script to veteran stuntmen Chad Stahelski and David Leitch. The duo suggested they direct they film (though Leitch was denied a co-director credit) and worked with Reeves to retool the script, de-aging the title character and making him a more stoic and mysterious character. Reeves’s personal experience with bereavement and previous experience with action roles served him well during his rigorous training, though the film was beset by budgeting woes. Inspired by crime thrillers and spaghetti westerns, Stahelski and Leitch sought to craft a unique world and avoid rapid editing for fight scenes, and the film’s $86 million box office made it a sleeper hit. Widely praised for Reeves’s enigmatic performance, impressive choreography, and exhilarating action sequences, John Wick was followed by equally praised sequels and spin-offs, re-established Reeves as an action star, and is the perfect film to revisit for the actor’s birthday.

The Review:
John Wick begins with intrigue, as it starts in medias res to find a battered and wounded John collapsing from his wounds, passing out while watching a video on his phone of his beloved wife. We then walk back a few days (maybe a week? Time’s a bit fast and loose here) to find John alone in his sparse, but spacious, home, still reeling from Helen’s unexpected death from an undisclosed illness (presumably cancer). Though surrounded by friends and well-wishers and finding some solace in his daily routine, John is like a zombie in these early scenes, sleepwalking through the burial and wake and greeting old friend Marcus (Dafoe) with a stoicism that borders on suspicion. It’s clear just from these quiet, sombre scenes that John’s a very private and reserved man who’s internalising his grief, that he faces an uphill battle of solitude and sorrow where his life has little meaning, the colour as drained from his world as it is from his abode. Then, an unexpected package arrives on his doorstep and John’s mask cracks as he reads Helen’s last message to him. Openly weeping, descending into heartbreaking floods of tears, John barely manages to read Helen’s note, which bequeaths him a cute little beagle, Daisy (Andy). Although John is initially ill-equipped for a puppy companion, forcing Daisy to sleep on the floor and feeding her cereal instead of kibble, the two quickly bond and John integrates her into his daily routine. This mostly consists of keeping a tidy and ordered house and taking his prized 1969 Ford Mustang Mach 1, a vehicle that was his second love after Helen and which he regularly takes for a spin to keep his obvious skills up to par and to vent his grief and anger. Daisy joins him for these jaunts, enjoying the thrill and giving him something to care for rather than losing himself to anguish. John’s car is so impressive that it catches the eye of loudmouthed Russian lout Iosef Tarasov (Allen), who arrogantly tries to buy the car and is stunned and angered when John not only refuses but insults him in perfect Russian.

Feared former hitman John Wick is drawn back into his violent lifestyle after his dog is murdered.

Unfortunately, John’s cool demeanour and stoic confidence during this confrontation come back to haunt him when Isoef and his shit-kicking cohorts follow John home and jump him at night. After beating John down and leaving him a bloody mess, they steal his car and maliciously murder Daisy with a lead pipe, returning John’s numb devastation and marrying it with a rage the likes of which the hoodlums could never expect. Excited by his latest acquisition, Iosef delivers the Mustang to Aurelio’s (John Leguizamo) chop shop, only for the mechanic to react in horror, punching the mobster’s son and incurring the wrath of his father, whose anger is immediately quenched when he learns that Iosef stole the legendary John Wick’s car. Rattled, Viggo Tarasov (Nyqvist) admonishes his son, clearly torn between fear, love, and desperation, and reveals that the “fucking nobody” was a hitman so feared within the criminal underworld that he was the man many hired to “kill the bogeyman”. Described as a man of focus and pure will, John left behind his violent ways after falling for Helen and successfully escaped that life by performing an impossible task: namely, murdering Viggo’s competition and making him New York City’s top mob boss. Having employed John in the past, Viggo is very familiar with his methods and reputation, having seen him kill three men with a pencil, and knows his son is doomed, for John’s wrath is mythical. Still, Viggo tries to reason with John, only to be met with blunt silence. He even tries to proactively stop John before he can get rolling, leaving his squad murdered and John calling in favours from the past to help clean up the mess. His life shattered, fuelled by grief, anger, and a lust for revenge, John digs up his long-buried weaponry, washes himself off, and suits up to take action, insisting that he’s paying a quick visit to his old life to get to Iosef. Though he’s been out of the game for five years, John is a slick, ruthless, and efficient killer, often ending most foes with a quick one-two to the chest and head and easily overwhelming groups of armed men with his superior gunplay and uncanny ability to adapt to his environment. His reputation proceeds him, with many (even his enemies) respecting him or knowing to stay out of his way, though John’s not some mindless killer and spares those who are simply doing their job.

John is surreptitiously aided by some old allies, even if they pay the price for their deeds.

Despite insisting that he’s not returning to his old ways, John’s drawn back into his previous life by the need for information and resources. This leads him to the Continental, an opulent hotel and bar run by the enigmatic Winston Scott (McShane) and managed by Charon (Lance Reddick), a polite concierge who accommodates John’s wishes with a silver-tongue grace. Though pleased to see John, Winston warns him about dipping even briefly into his old ways and adds some additional lore to this fascinating world by stating that no “business” can be conducted on the Continental’s grounds, effectively making it a safe haven for all as long as they have enough of the strange gold coins the hitmen use for currency. Not everyone within the Continental is as mindful of these rules, however, as Miss Perkins (Palicki) eagerly ignores them to take a shot at John, relishing both the $2 million bounty and the chance to knock off the legendary John Wick. Though subdued by John, thanks to a warning shot from Marcus, Ms. Perkins seals her fate when she kills Harry (Clarke Peters), a former colleague of John’s who he paid to watch her and essentially becomes Viggo’s right-hand when he goes on a crazed revenge spree in the finale. This costs her dearly as Winston has her executed, not just for breaking his rules but also out of loyalty to John, whom he surreptitiously aids throughout the film. John’s also secretly aided by Marcus, a crack sniper and old friend who agrees to the $2 million contract only to help John by either warning him of imminent dangers or rescuing him, such as when he snipes the goons suffocating John during his passionate outburst to Viggo. This also ends badly for Marcus when Viggo takes a hands-on approach to making Marcus pay, though the feisty sniper doesn’t go down without a fight.

Despite knowing full well what John’s capable of, Viggo desperately tries to protect his son.

Despite having amassed a vast and profitable underworld empire thanks to John, Viggo is immediately rendered powerless upon learning that the “Baba Yaga” is coming for his son. He tries to barter with John and desperately tries to keep his son hidden and safe, but Wick is relentless, easily tracking Iosef down and extracting his revenge. Though he usually favours slick gunplay, John’s happy to get down and dirty with his foes, such as Iosef’s buddy, Gregori (Omer Barnea), whose neck he snaps with relish after he killed Daisy. Though far from invulnerable, and ending up pretty banged up from his escapades, John gloriously bests even swarms of armed opponents. However, he runs into a metaphorical wall when confronted by Kirill (Daniel Bernhardt), a towering opponent who briefly manhandles John and forces him to fight from beneath. Yet, John is implacable and is completely unfazed when he’s captured or held at gunpoint, sure that he’ll either find some innovative way to fight out of the situation or he’ll die trying, bringing as many with him as he can. Although Viggo could easily stop John’s rampage by giving up his son, he refuses to do this since, though Iosef is a fuck up and an asshole, Viggo has the same sense of loyalty and love as John feels for Helen and Daisy. Viggo’s reasonable at first but is enraged when John raids one of his hidden vaults and destroys not just a sizable stash of cash, but a bunch of documents and evidence he used to stay in power. However, when push coms to shove, Viggo is an opportunistic and self-serving mobster and eventually sells Iosef out to save his own hide. Interestingly, while John massacres Iosef’s bodyguards, there’s little to his final confrontation with the arrogant wannabe mobster, whom John simply executes via headshot. Although Viggo knew this was inevitable, having witnessed John at his peak and being terrified of him returning to the fold, Iosef’s death pushes Viggo over the edge. He transforms from a powerful but disconnected gangster into a spiteful, bloodthirsty savage as he takes his anger and grief out on Marcus and even taunts John, seemingly descending into near madness as he sees his end rushing towards him while John remains unnervingly cold and calm while on the job.

The Nitty-Gritty:
John Wick is a fascinating exploration of grief and how it affects different people. Even now, with all its sequels and spin-offs, we know surprisingly little about John’s life as the feared “Baba Yaga”. We get snippets of it here, but only as legends and in the way characters react to him (a mixture of fear and respect), but he is noted more than once to have been changed by Helen. It’s not clear how the two met, but her influence was clearly enough to have him questioning his ways and deciding to give up his guns for a simple life of peace and happiness. By all accounts, he stuck to this vow for “five years and change”, disappearing into myth to live an unglamorous but content existence, and characters react with both excitement and surprise when he appears to be “working again”. Interestingly, though John claims to have gotten “rusty”, his skills don’t appear diminished (but, then again, for all we know, the old “Baba Yaga” emerged unscathed from every fight) and he immediately snaps back into that mindset to get his revenge. John’s clearly struggling with his emotions and the weight of grief, which Helen knew would cause him only pain and loneliness, hence why she sent him Daisy. Although John and Daisy don’t spend much time together, she seems to at least partially fill the hole in his heart, and he was just getting used to her being around when she was ripped away from him. Plunged into the depths of his anguish and anger, John snaps back into his old ways and begins a quest for simple revenge, wishing only to make Iosef and his cohorts pay, but ends up tearing down Viggo’s empire as easily (if not more so) than he helped build it. It’s genuinely heartbreaking seeing John read Helen’s note, and hearing Daisy’s final yelp and seeing that she apparently crawled over to be near him as she died (or was dragged there to mock him). In this regard, John’s anger is fully justifiable as who hasn’t been enraged and spiralled into a fit of anguish at the unfair death of a loved one or the loss of a beloved pet?

John Wick is depicted as a fast, efficient, and ruthlessly relentless killer.

Being that it was spearheaded by career stuntmen, John Wick naturally impresses with its brutal and scene stealing fight scenes. John is a focused and intelligent former assassin, laying explosive traps and using the environment to his advantage wherever possible. He tosses goons through windows, drowns them, and takes any chance to snap their necks or stab them when they’re injured or prone. Most of the goons he fights are simple, out of shape mobsters with itchy trigger fingers who easily go down with the old one-two to the chest and head, splattering blood on the walls and easily being manhandled by John’s equally skilled close quarters combat skills. Kirill represents a far greater challenge due to his height, imposing physique, and impressive fighting skills, easily hefting John over a balcony and choking him with a plastic bag. John, however, is not only constantly moving and fighting back, but also not afraid to fight dirty, targeting limbs and even the balls to wound his foes and give him time to skillfully reload and execute a headshot. This sees him biting Kirill to escape being throttled, attacking his eyes, and finally choking the life out of him with a headscissor hold. The sadistic Ms. Perkins also offers John a physical challenge, surprising him in the Continental and striking while he’s nursing a serious wound. Unlike the tight-lipped Kirill, Ms. Perkins delights in taunting John, using her speed and sleight stature to target his arm and wound; anything to give her the edge over the feared “Baba Yaga”. In the end, as with every fight, John’s sheer tenacity wins out, but this is a great fight to showcase his adaptability, as John fights unarmed (save for a pillowcase). Later, John lugs around an impressive heavy shotgun, blasting at Viggo to learn Iosef’s location, and takes a page out of Marcus’s book to snipe Iosef’s bodyguards. The fights would steadily get more complex and intricate as the series went on, but there’s a raw grit to John Wick’s action sequences, which eschew quick cuts and frantic editing to showcase violent, ferocious, and largely grounded fight scenes that leave John battered and bloody and a pile of bodies in his wake.

John callously takes his revenge and is then motivated to keep going with a new canine friend.

In an attempt to buy himself time or eliminate John through sheer numbers, Viggo puts out a $2 million contract (upped to $4 million for those who break the Continental’s rules) for the legendary assassin, only for his men and those that take up the challenge to by brutalised and dead at John’s skilled hands. In desperation, Viggo has Iosef taken to a safe house, only for Winston and then Viggo himself to give up the boy, leading to John shooting up a club and then getting his revenge by executing Isoef via headshot. This would’ve likely been the end of it but, when news of his son’s death reaches Viggo, he visibly and disturbingly transforms into a near-psychotic agent of revenge, grief overtaking him and driving him to violent acts, just as it did John. This sees him callously torture Marcus for betraying him and even challenge John to a final showdown to settle the score, planning to flee via helicopter and sacrifice his remaining men by proxy. John takes up the challenge, incensed by Marcus’s death and uncompromising in his quest to make everyone pay for taking away the last ray of hope in his life. What follows is an intense car chase through the city, where Viggo succumbs to drug-fuelled madness and simply laughs as John offs his men one by one, even passing his exasperated assistant, Avi (Dean Winters), a gun and wishing him luck before delighting as John crushes the man with his car. Though far from a physical match for John, Viggo engages him in a hand-to-hand bout in the rain. Naturally, John mortally wounds the mobster with a knife to the neck and, in his own way, pays morbid respect to Viggo as he dies. Though seemingly happy to face his own end while watching a video of Helen, his late wife’s words are enough to encourage John to treat his wounds at a nearby veterinary clinic, where he also finds and adopts a dog scheduled to be euthanised. Having thus found a reason to live, John limps off through the rainswept night to return home, unaware (or unfazed) that his actions will have dire consequences…

The Summary:
I’ve always been a fan of Keanu Reeves’ more action-oriented roles. The guy has done enough movies by this point to be considered a star of the genre and he impresses once again here, bringing John Wick to life with a brutal efficiency that defined not only this franchise, but this sub-genre of action/thriller cinema. While the movie’s premise may be ridiculously basic and even a little laughable, the execution is anything but and I appreciated the raw simplicity of a man seeking revenge for his dog’s death, as who can’t relate to that? Of course, it’s not just about that as John is as much motivated by his unresolved grief about Helen’s untimely death as Daisy’s and what we’re left with is the story of a man who desperately sought to leave behind his violent past who’s now forced to reignite that fire to avenge his losses. Of course, John Wick is also a spotlight for the underappreciated and extremely talented stuntmen who work in the movie industry, showcasing startling and engaging fight scenes in full detail, even when under cover of darkness or in a packed nightclub. There are no frantic editing or quick cuts here: just fast, efficient, physical action that paint John as an effective, ruthless, but also vulnerable assassin. While the sequels would continuously up the ante, the simplistic, gritty nature of the fight scenes has always been very appealing in this first entry. This extends to the world-building, too, as we’re given just enough breadcrumbs and insight into this strange world to be intrigued without completely lifting the lid. While I would’ve loved to see more detail about John’s former life, I loved how his legend spoke for itself and the mystery surrounding him, and Keanu Reeves excelled in showcasing a range of emotions (from utter grief, to boiling rage, to a focused stoicism) in this enduring platform for both the actor and this genre.

My Rating:

Rating: 5 out of 5.

Fantastic

Are you a fan of John Wick? What did you think of Keanu’s performance and which of the fight scenes was your favourite? Were you fully behind John once his dog died or did you find the plot a bit too ridiculous? What did you think of the bits and pieces of lore we got here and the presentation of this underworld of assassins? Which film in the franchise is your favourite, and what’s your favourite Keanu Reeves movie? Whatever your thoughts, leave a comment below and become a member on my Ko-Fi to suggest other Keanu Reeves movies for future reviews.

Back Issues [K-Month]: Skull Island: The Birth of Kong

Dr. K1 Comment

In the absolutely bonkers science-fiction film Pacific Rim (del Toro, 2013), the monstrous Kaiju first attacked humanity on 10th August 2013, which was subsequently branded “K-DAY”. To celebrate this event, and giant monster movies, I dedicated every Sunday in August to one of cinema’s most prolific monsters: King Kong!

Writer: Arvid Nelson – Artist: Mohammad “Zid” Yazid

Story Title: “Part One: The People Who Came from the Sky”
Published: 12 April 2017

Story Title: “Part Two: The Mountain Who Thunders Death”
Published: 21 June 2017

Story Title: “Part Three: Valley of the Fallen Gods”
Published: 27 September 2017

Story Title: “Part Four: Over the Rainbow”
Published: 21 November 2017

The Background:
As difficult as it may be to believe now, it was about a hundred years ago that former World War I aviator turned filmmaker Merian C. Cooper thought up the iconic visual of a giant gorilla being shot from the Empire State Building by planes. Though one of the most influential movies of all time, King Kong (Cooper and Schoedsack, 1933) was followed by a comedic sequel, a profitable but polarising clash with Godzilla, a “Suitmation” blunder that ended Toho’s brief stint with the license, an ambitious remake and its much–maligned, blockbuster before the almighty Kong once again rubbing shoulders with Godzilla in the “MonsterVerse”. The foundation for this was laid with Kong: Skull Island (Vogt-Roberts, 2017), a critical and financial success that redesigned and recast Kong as a cantankerous, but benevolent, protector. The film’s success paved the way for future MonsterVerse projects but left many questions about this new Kong unanswered, questions this four-issue miniseries sought to partially address. While far from the first literary adaptation of the famous ape (or even the first comic book in the MonsterVerse library), Skull Island: The Birth of Kong aimed to bridge the gap between the film’s period setting and the modern day. The result was a miniseries lauded for its artwork and deeper exploration of Kong’s backstory, as well as expanding upon the MonsterVerse, while also being criticised for its short length and barebones plot.

The Review:
This tie-in comic series begins in 2012 with the Australian Navy finding a bizarre package bearing the Monarch logo floating in the waters of the South Pacific. Two weeks later, Houston Brooks is brought the item by an old friend and it’s revealed to be a recording device belonging to Aaron, Houston’s son who mysteriously disappeared some time ago. After cracking the device’s password, Houston thinks back to seventeen years prior when he and Aaron got into a heated argument regarding Skull Island. Angered that his father would leave an unpredictable wild animal like Kong to keep the Massive Unidentified Terrestrial Organisms (MUTOs) that have migrated there in check, Aaron stormed out to lead a team of crack monster hunters on an expedition to Skull Island. Knowing full well that his father would be pissed, Aaron compiled a complete record of the venture, which saw him team up with cantankerous cryptobiologist Evgenij Medov, enthusiastic Doctor Evelyn Matemavi, sarcastic survival instructor Helen Karsten, and the mysterious mythographer Walter R. Riccio. Determined to find evidence of Skull Island to expose Monarch’s operation, Aaron led the team through the raging storm that protects the island (with far less difficulty than in Kong: Skull Island) and parachuted to the prehistoric paradise after their plane was downed by Psychovultures. After briefly being awed by the beauty, wonder, and danger of the island, the team prepped to retrieve their pilot, Cejudo, secure their supplies, and make contact with the isolated locals, the Iwi tribe. After a pack of Death Jackals tear Karsten to pieces and critically inure Medov, they’re suddenly saved by Kong, allowing them to take cover in a cave. After stabilising Medov, the group are stunned when a handful of Iwi, led by Ato, greet them in English and bring them to their humble village.

Sceptical Aaron leads a team to Skull Island and finds himself on a sacred pilgrimage.

Confused and realising that Skull Island is full of secrets, Aaron learns that the tribe was taught English by Lieutenant Henry “Hank” Marlow during his tenure trapped there. Aaron is as impressed by this as he is by the Iwi’s construction skills, the healing properties of their various medicines, and the speed that Riccio learns their language and culture. Riccio reveals that their coming was foretold in Iwi legend and then dramatically shares a sudden vision of Kong’s family battling the Skull Crawlers to not only defend the island but also assert themselves as the dominant species. Riccio states that they’re to join the Iwi in Atenatua, a pilgrimage to learn the secrets of Kong. Though Aaron is sceptical of the mysticism, he’s determined to ensure Kong’s capable of keeping the “gateway to hell” shut so the island’s monsters don’t threaten civilisation. Riccio embraces the island’s culture for the pilgrimage, Medov makes a full recovery, and Ato leads them on, with the team amazed by a shipwreck that depicts Kong welcoming the Iwi to the island. They also learn that the “Devils of the island” from Riccio’s visions killed Kong’s parents, the last of their kind by the time the tribe arrived. When the gigantic, crocodile-like Sirenjaw suddenly attacks, the group is chased through the jungle. Luckily, they find the supplies left by Houston’s expedition many years prior, allowing the group to arm themselves. This is avoided, however, by the thunderous roar of Kong and, by the time the team races to the source, they find only the Sirenjaw’s dismembered corpse and a flock of hungry, opportunistic Psychovultures. Although they escape the voracious dinosaurs, they run right into a monstrous Swamp Locust and barely escape into the nearby valley. There, Aaron is horrified to learn that the creatures will probably take a week to finish feasting on the Sirenjaw’s remains, though his spirits lift when Cejudo radios in for help. Despite the damage to the plane, Cejudo reveals he’s flight worthy and offers to evacuate the team. However, Ato states that the only safe landing spot is beyond the bone yard, the home of the Skull Crawlers.

Kong foils Riccio’s mad scheme and makes a believer out of Aaron.

Despite Riccio insisting they complete their pilgrimage, the team head to the bone yard, discovering the skeletal remains of Kong’s family, and are promptly ambushed by Skull Crawlers. Ato leads them to another cave, where Riccio is assaulted by visions of Kong’s birth, which occurred in the heat of battle and saw the newborn Kong witness his parents’ brutal last stand against the creatures and left him the last of his kind. Though touched by Kong’s tragedy, Aaron urges them to press on and ultimately leaves Riccio behind when he insists on completing his “communion” with Kong. Thus, when Cejudo arrives to pick them up, Riccio blasts him from the sky with a rocket launcher, shoots Matemavi dead, and holds them at gunpoint to witness Kong’s divine glory. Riccio even attacks Ato, believing the village must fall for them to truly know whether Kong is an ambivalent, benevolent, or malevolent God. When Death Jackels attack, Aaron leads the others in escaping and realises the Riccio plans to use the explosives left behind by his father’s venture to enact his plan. Between panels, Ato leads them back to the village, too late to stop Riccio, whose actions allow a cluster of Mother Longlegs to rampage through the village. This leaves many dead, including Medov, though Riccio’s mad belief in Kong pays off when the great ape rips the giant spider-things apart. Riccio rejoices and praises Kong, proclaiming the ape the “savior of humankind”, only to be dismissively crushed by Kong’s giant fist. When Kong turns to Aaron, the sceptic becomes a believer when the cantankerous beast simply stares him down and Aaron sees that Kong isn’t some mindless beast, but a force of nature set on defending human life. Thus, Aaron makes his recording and sends it to his father on a makeshift sailboat, staying behind to help the Iwi rebuild and making amends with his dad. Having listened to the recording, Houston prepares to return to Skull Island and reunite with his son and the remainder of the book lists some information on all the beasts seen in the story.

The Summary:
Well, this was a lot of nothing. While Zid’s art is very close to Kong: Skull Island and perfectly captures the island, Kong, and the recognisable monsters that dwell there, the story leaves a lot to be desired, and it feels more like a partial retread of what we saw in the movie. While it’s nice to see the older Houston Brooks again, he basically bookends the paper-thin main plot, which revolves around his son and his vague, childish desire to prove his father wrong and paint Kong as a threat. This motivation doesn’t have much basis given Aaron seems to have no experience with Titans beyond Monarch’s records and his dad’s first-hand account, so it seems to come from simple fear rather than any tangible evidence. Aaron’s belief that Kong isn’t to be trusted and his motives and outburst seem like the actions of a disobedient teenager rather than a grown man, completely fracturing the backbone of the entire plot. It would’ve been so much easier to simply have Houston volunteer or encourage his son to join a routine expedition to Skull Island to witness its wonders and settle his scepticism first-hand, or even have Aaron be kidnapped by cutthroat mercenaries looking to somehow profit from Skull Island, or just have Aaron be a keen scientist like his dad. Forcing a conflict between them added little to the story beyond Aaron’s realisation that his father was right about Kong and learning to respect the delicate balance between the Titans, humanity, and nature, things that could easily have been hammered home just as effectively with my suggested changes.

It’s the impressive monsters and Kong’s tragic backstory that carries this lacklustre story.

If you’re hoping there’s some fun Kong action to make up for this, you’d be sadly mistaken. Kong barely appears here though, to be fair, it’s always an event when he does show up. Fittingly, The Birth of Kong focuses more on teasing the backstory of Kong’s species and how they were annihilated by the Skull Crawlers, effectively visualising the legends that were told in the movie. While this makes for some dramatic and bloody reading and casts Kong in a deeply sympathetic light, it is a shame to not have more of the story revolve around the titular ape as he steals the show whenever he appears. Skull Island’s monstrous natives somewhat make up for this, with some familiar faces (particularly the Mother Longlegs) making quite the visual impact. When Kong battles these creatures, the action is rendered in full, brutal glory, with few to no dialogue boxes to obscure or dilute the spectacle. Everyone is in awe of Kong and sees him as a divine figure, even Aaron, who can’t help but be amazed by the ape. It’s weird that the Iwis suddenly speak English, and somewhat unnecessary since sign language and even the master language expert Riccio could’ve filled in the blanks. Speaking of whom, Riccio really eats up the pages and quickly got on my nerves. While I enjoyed his visions of Kong’s family and violent, tragic birth, it’s weird that he’s the only one hit by these considering the others drank the special Iwi juice and his turn towards madness seemed like a vague repeat of Lieutenant Colonel Preston Packard’s insane obsession with bringing Kong down. Sure, Riccio’s more about proving Kong’s divine nature but it’s a similar, self-destructive downward spiral that didn’t really need to be here as we could’ve just as easily had Ato or even Kong’s dreams show the same information and then spent more time seeing the characters fighting monsters. Ultimately, you’re not missing much if you’ve never read The Birth of Kong. It adds little to the MonsterVerse lore and is probably non-canon these days anyway, so you’re better off sticking with IDW’s Godzilla comics, in my opinion.

My Rating:

Rating: 2 out of 5.

Could Be Better

Have you ever read Skull Island: The Birth of Kong? If so, what do you think to it and were you also disappointed by how barebones it was? Did you enjoy seeing some familiar faces return for some scares? What did you think to the depiction of Kong’s birth? Would you like to see more King Kong comics fleshing out his mysterious island? What’s your favourite version of Kong and how are you celebrating K-Day this month? Whatever your thoughts on King Kong and other Kaiju, please leave a comment below, support me on Ko-Fi, and check out my other King Kong and Kaiju content!

Movie Night [Judgment Day]: Terminator: Genysis

Dr. K1 Comment

“Three billion human lives ended on August 29th, 1997. The survivors of the nuclear fire called the war Judgment Day. They lived only to face a new nightmare: the war against the machines”.

Released: 21 May 2009
Director: Alan Taylor
Distributor: Paramount Pictures
Budget: $155 to 158 million
Stars: Arnold Schwarzenegger, Emilia Clarke, Jai Courtney, Jason Clarke, and J. K. Simmons

The Plot:
After being saved and raised by a benevolent T-800 (Schwarzenegger), stoic Sarah Connor (Emilia Clarke) reluctantly teams with her would-be protector, Kyle Reese (Courtney), to prevent the creation of Genysis, an operating system destined to wipe out humanity as Skynet.

The Background:
Although The Terminator (Cameron, 1984) was an unexpected financial hit, Terminator 2: Judgment Day (ibid, 1991) was a blockbuster success that is largely regarded as one of the greatest movie sequels ever made. Despite its definitive ending, the franchise made an unexpected return with Terminator 3: Rise of the Machines (Mostow 2003), a near-universal critical flop. However, Terminator 3’s surprising box office meant the franchise was still viable, leading to new creatives to step in with a prequel film. Unfortunately, Terminator Salvation’s (McG, 2009) dismal box office and onslaught of unfair reviews derailed plans for sequels as much as another slew of legal issues. As the franchise rights did the rounds, plans for a 3D animated film fell apart and pitches to return star Arnold Schwarzenegger to the franchise were raised, ultimately resulting in Megan Ellison and Annapurna Pictures consulting with Terminator creator James Cameron with how to incorporate an aging T-800 into a new film. With Paramount Pictures onboard to distribute the film, Alan Taylor signed on to direct out of his love for the franchise and desire to correct its mistakes. Largely inspired by the first two films, the filmmakers opted for a new spin on the established lore with an older T-800 and a story hoped to be the first of a new trilogy. Jai Courtney beat Boyd Holbrook and Tom Hardy for his leading role and Emilia Clarke was chosen over Brie Larson and Tatiana Maslany, with both training extensively for their roles. The production team convinced Nike to reproduce the Vandal sneakers from the first movie, the visual effects teams toiled for hours to render the new nanotechnology effects, and the film painstakingly recreated sequences from The Terminator, digitally recreating Schwarzenegger’s youthful visage so he could fight himself. Though its box office (over $440 million) was impressive, Terminator: Genysis underperformed and was largely mauled by critics who attacked its redundant plot, shallow nostalgia bait, and unimaginative CGI. While some reviews and even Cameron praised the film, the latter later rescinded this statement and Emilia Clarke expressed relief that the planned sequels fell through. Despite this, the franchise was revived again in 2019, only to produce an even more maligned critical and commercial flop.

The Review:
Although Terminator: Genysis could’ve easily opened a little differently, skipping the scene of young Kyle Reese (Bryant Prince) meeting legendary resistance leader John Connor (Jason Clarke) and thus implying that Terminator Salvation is still canon, it offers yet another alternative version of the Future War that initially presents itself as the true version of events before the first Terminator, before John was retroactively given a wife and such. While I’m disappointed to see Salvation swept away, I do enjoy seeing scenes set in the Future War, especially as I’ve long believed the Terminator franchise would’ve been better served focusing on this time period for a series of prequels. Genysis goes a step further by giving the resistance fighters their phased plasma rifles and accurately recreating the bleak, war-torn future depicted by Cameron. Like in Salvation, John is seen by many as a prophet since his unique insight into Skynet leads humanity to many victories, including a final two-pronged campaign against the Skynet system core and a hidden bunker in the remains of San Francisco. Since Reese is both John’s right-hand man and a good friend, Kyle naturally joins the latter assault, amazed by John’s seeming clairvoyance as Skynet is finally defeated and the Resistance discovers their time displacement equipment. These scenes remind me of the Terminator 2 novelisation from back in the day and essentially show how Reese volunteered to pursue the T-800 (Brett Azar/Schwarzenegger) back to 1984. This also gives the most detailed depiction of the time travel device and how it works, and emphasises the close bond between John and Reese, whom the leader kept close since the soldier is destined to be his father.

Loyal soldier Kyle Reese travels back in time to find forthright Sarah in little need of protection.

Reese gladly volunteers to protect Sarah not just because he’s John’s most loyal soldier, but also because he’s developed a love for her after being gifted a photograph and told stories about her. Unfortunately for Reese, things immediately go awry as John is attacked by the T-5000 (Matthew Smith), an avatar of Skynet, and Kyle’s deposited in a version of the past that seems very similar but is strikingly different from the first film. For one thing, Sarah isn’t some naïve, terrified waitress and is instead closer to her Terminator 2 counterpart, being proficient with guns, knowledgeable about Terminators, and fully aware of her fate. Reese is confused by this, and by their roles being reversed as Sarah is the one saving him from a liquid metal T-1000 (Byung-Hun Lee) sent back to kill him. Already overwhelmed by this and even more out of his depth than his original counterpart, Reese also struggles with an influx off new memories from a childhood he never had in which he’s enamoured by Sarah and memorising a warning about Genysis being the progenitor of Skynet. Reese’s confusion is only compounded by Sarah’s companion and protector, “Pops”, a reprogrammed T-800 that has acted as her guardian since she was a child. Naturally distrustful of the machine, Reese first leaps to destroy it and then develops a fun rivalry with Pops where they compete for Sarah’s affection and to see which is the more efficient protector. Reese is further perplexed to find Sarah is cold and almost dismissive of him, keeping him at arm’s length as she knows he’s destined to die after falling in love with her. This creates a rift between them, one compounded by her demanding nature and lack of social skills, that slowly mends as they fight and spend time together since she can’t deny her attraction to him despite being frustrated by her fate seemingly being predetermined.

Raised by her “Pops”, Sarah’s reluctant to fall for Kyle lest his destiny play out as intended.

I really liked Emilia Clarke’s work as Sarah here. She does a great job of embodying elements of Linda Hamilton’s performances from the first two films while bringing something new to the table in her relationship with Pops. Sarah is incredibly affection towards her guardian, though frustrated by him dictating her life and pushing her towards a destiny she hopes to avoid. While I find Jai Courtney to be quite wooden and his muscular stature is at odds with Michael Biehn’s more “Everyman” look, I dug Kyle’s chemistry with Sarah and the rivalry between him and Pops, which eventually sees the two come to a mutual respect as they both care about Sarah. Still, Reese is initially hesitant to trust Pops and his plan to bump them forward to 2014, and at Sarah’s refusal to follow his lead. This sees them run afoul of the local cops, unwittingly leading police detective O’Brien (Simmons) to descend into obsession and alcoholism after encountering them in the past. Though his assistance is ultimately not required as Pops constantly pulls the two out of the fire, it provides a background for Reese and Sarah to work out their issues, especially after Kyle learns of his true parentage. The two are further divided when John inexplicably arrives in the past and is revealed to have been forcibly transformed into a T-3000. While Reese is determined to try and reason with John, to bring out his personality and have him fight back against what he sees as invasive programming, Sarah is callous and aggressive towards John, rightfully surmising that her son no longer exists and that he’s been reconfigured into Skynet’s newest creation. The fact that Pops verifies this, explaining that the T-3000 is simply mimicking John’s personality and manipulating them into dropping their guard, Reese naturally pushes back. But even he’s forced to admit that his friend and mentor is gone and to take up arms against him to save Sarah and prevent a cataclysmic future.

More a father figure than ever, Pops struggles to match up against the advanced T-3000.

Once again, the T-800 returns as a protector, now aged since he’s been protecting Sarah since she was a girl (Willa Taylor). Although Pops has no memory of where he came from or who sent him, his mission to protect Sarah and ensure the survival of humanity (either by destroying Skynet or having her “mate” with Reese) is clear. Unlike Terminator 3, where the T-850 was an “obsolete design”, Pops regularly asserts that he’s “old, not obsolete” and constantly asserts himself to keep Sarah safe and belittle Reese, either by overpowering him or openly mocking him. Unlike his predecessors. Pops has developed a stunted paternal relationship with Sarah where he’s constantly giving her life lessons and acts as her father, while still remaining somewhat stoic to deliver some funny moments. Notably, Pops is the most loquacious of his predecessors, with Genysis lumbering poor Arnold with lengthy exposition regarding the design and function of the time displacement equipment, theories on conflicting and overlapping timelines, and other technical jargon. Sarah’s efforts to teach Pops to blend in are about as successful as those in Terminator 2, leading to Pops having a dry sense of humour and being as awkward in social situations as she is. Pops ages further when he takes the “long way” to 2014, his body noticeably malfunctioning as he struggles to function. Despite his assertions and how well-armed the group is, Pops is no match for the T-3000, who’s essentially a more powerful T-3000. John can shapeshift and form knives and stabbing weapons and instantly heal from all wounds thanks to nanotechnology, though his most potent weapon is his words as he spitefully uses John’s knowledge and visage against Reese and Sarah. John masquerades as a robotics genius specifically to manipulate Miles and Danny Dyson (Courtney B. Vance and Dayo Okeniyi) into funding and creating the Genysis operating system, an artificial intelligence that John protects and fosters so that it can rapidly evolve into Skynet and kick-start the machine uprising.

The Nitty-Gritty:
While I’ve never found the time travel elements of the Terminator franchise to be that confusing, Genysis goes out of its way to muddy the waters more than any film before it. You might not like the retcons of Terminator 3, but at least that stuck to a fairly linear timeline. Here, we see for the first time that the franchise is explicitly made up of multiple timelines and alternative pasts and futures, with the opening sequence appearing as a prologue to The Terminator and then tossing in the T-5000 to shake things up. I loved the idea of revisiting the original film but with elements of Terminator 2 spliced in, but this is largely abandoned once the group jumps to 2014 and there’s a massive question mark hanging over Pops. He has no memory of who sent him back and even John seems confused by his presence, referring to him as a “relic of a deleted timeline”, with the film simply stating that someone sent the T-800 back to ensure Sarah’s survival. This is all clearly sequel bait, as indicated by the post-credits scene showing Skynet survived the group’s assault on the Cyberdyne building, that’s was sadly never paid off as I’d love to know what the deal with Pops and the T-5000 was. Genysis tackles similar themes to the previous movies regarding fate and predestination, with Sarah frustrated that her life is predetermined, Reese struggling to comprehend how the past has changed, and Skynet’s creation being bumped even further forward. Once again, it seems Judgment Day is inevitable as the changes to the timeline simply see Skynet assume a new form, a vague operation system called Genysis, though this time its creation is explicitly linked to the future since Genysis only comes about when John comes back to invent it. These competing timelines are largely embodied through Reese’s new memories, which co-exist alongside his original memories (though they’re noticeably fragmented compared to his memories of the Future War) and this new timeline seemingly solidifies as the “prime” timeline by the film’s end.

The film’s at its best when it’s relying on nostalgia, though this isn’t enough to sustain it.

Although Terminator: Genysis suffers from an overabundance of CGI (and some wonky CGI, at that), it initially makes a decent impression by recreating the dismal, war-torn future and finally bringing the time displacement facility to life. I also really enjoyed how the film recreates key moments from The Terminator, such as Reese being chased by the cops and the T-800 accosting some punks. It’s obviously toned down from the original and given a new spin as Reese tangles with a T-1000 and the T-800 is immediately attacked by Pops and Sarah, who put it down with a high-powered round. The action is pretty frantic and exciting in these sequences as a confused Reese struggles to comprehend the T-1000’s capabilities, which see it change appearance, spawn blades, and even resurrect the T-800. The T-800’s endoskeleton attacks in impressive fashion, finally moving with a danger and grace befitting the machine but lacks the tangible charm of a physical prop. Conversely, I felt the T-1000 was wasted here as it’s neutralised pretty quickly and effectively by a fun acid trap. I think I would’ve liked to see this new spin on the first two films carried through, with the T-1000 perhaps masquerading as John and being the primary antagonist throughout the film as the T-3000 doesn’t offer much more in terms of its abilities, save for a black metal endoskeleton that’s both horrific and poorly rendered. There are some fun action sequences here, however, such as a chase across the Golden Gate Bridge that sees a school bus be impressively flipped (to the extend I question how Reese, especially, survived). There’s also a great helicopter chase where our heroes try to keep John from reaching the Cyberdyne building, resulting in Pops diving onto John’s helicopter. However, Terminator: Genysis is sadly very tame and bloodless; even shots of bare asses are obscured and deaths are limited to simple stabbings and shootings. When the T-800s are damaged, their endoskeletons appear through cleanly ripped flesh rather than being splattered with blood, with gore completely absent when Pop’s arm is melted to the machinery by an acid spray. Though outmatched against the T-3000, the characters rig up a portable magnet and subdue the machine with high-powered magnetic devices, but John simply recovers time and again and the characters continually use useless small arms fire rather than wielding grenade launchers or high-powered shotguns.

Though the day is saved and Pops is upgraded, there’s a lingering concern over the uncertain future…

Though reeling from John’s betrayal (well, “corruption” is probably a better word), Reese eventually gets onboard with a plan to destroy the T-3000 and kill Skynet before its born. Thanks to Pops working on the Cyberdyne building, the group have all the intel and access they need to infiltrate the complex and plant explosives, only to find the Genysis A.I. rapidly aging and the T-3000 hot on their tails. Interestingly, both the T-3000 and Skynet make valid points about humans always destroying what they don’t understand, yet both are determined to wipe out humanity so there’s no hint towards a peace between the two. While the finale is essentially a more action-packed and over the top recreation of Terminator 2’s Cyberdyne destruction sequence, it does give us a bit more robot-on-robot action as Pops throws himself into battle with the T-3000. Though Pops was evenly matched against the T-800 and still came up short due to being older, and was largely outclassed against the T-1000, he had help both times and gets it again in this fight, with Sarah and Reese chipping in to distract and delay John long enough to Pops to attempt a self-sacrifice. Pops throws himself and the T-3000 into a prototype time displacement chamber, the gravitational forces ripping John apart and destroying him right before their explosives take out the building. Luckily for Pops, he’s thrown into a vat of mimetic polyalloy, upgrading him to a T-1000 so he can reunite with Sarah and begrudgingly offer kudos to Reese. Though still confused about the lingering questions regarding the future and the timeline Pops came from, Sarah finally feels free from the burden of her destiny and embraces her feelings for Kyle, the three forming a dysfunctional family unit as they face an unknown future together. To close the loop, they visit young Kyle (who Sarah ran into while escaping police custody) and implant the memories Reese has been seeing throughout the film, ensuring events play out as expected in this new timeline. However, they’re unaware that, despite their efforts, Skynet still exists as a threat in a deeper bunker…

The Summary:
I remember being quite excited for Terminator: Genysis back in the day. The film’s marketing and first half hour or so was all cleverly geared towards nostalgia, revisiting the first movie, splicing in the T-1000, and promising an alternate take on The Terminator. While this is still technically true by the end, I think Terminator: Genysis suffered a bit from having an unnecessarily complicated script and setting up hints towards sequels that never happened. While I’m no fan of Jai Courtney, I didn’t mind him here. He’s not the Kyle Reese we grew up with, but he works as an alternative version of Kyle, one perhaps better trained and prepared for his mission. He had decent chemistry with Emilia Clarke, who sizzled and impressed as Sarah. She captured the romantic elements of the character and married them with her no-nonsense, mercenary attitude from Terminator 2 while also being a little bratty and lamenting her destiny. Arnold Schwarzenegger is given a lot more to do here beyond looking like an Adonis; he has a lot of technical jargon to exposit while also presenting the T-800 as a true father figure. I enjoyed Pops’ rivalry with Reese and his relationship with Sarah, which felt like an evolution of his Terminator 2 counterpart, and how the film emphasised that the T-800 is still a force to be reckoned with despite Skynet’s superior models. For me, Genysis is let down by retreading the same ground as Terminator 2 but with a new, comparatively lazier A.I., wasting Matt Smith, and focusing on Jason Clarke as the main antagonist. While I like the twist that John was corrupted and this somewhat recalls the proposed ending for Terminator Salvation, I didn’t buy Jason Clarke as a threat and I would’ve much preferred seeing Byung-Hun Lee or Matt Smith take the lead as a T-1000…or had John arrive in the past to help his family. Ultimately, while Terminator: Genysis is better, overall, than Terminator 3 and has a lot of appeal in its nostalgic recreations of the first two movies, I would’ve preferred a direct sequel to Salvation and your nostalgia will be better satisfied by simply re-watching the first two movies.

My Rating:

Rating: 3 out of 5.

Pretty Good

What did you think to Terminator: Genysis? Were you also annoyed that it erased Salvation from the timeline? What did you think to Jai Courtney’s performance as Kyle Reese and Emilia Clarke’s version of Sarah Connor? Did you enjoy seeing the T-800 as an overprotective father or did you find his portrayal a bit cheesy? Where do you think Pops came from and were you disappoint that the cliff-hanger was never resolved? Did you like the twist that John was a Terminator or do you agree that this was poorly executed? How are you celebrating Judgement Day today? Whatever you think about Terminator: Genysis, and the Terminator franchise, leave a reply below and donate to my Ko-Fi to fund more Terminator reviews.