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Game Corner [Superman Day]: Superman: Shadow of Apokolips (PlayStation 2)

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In 2013, DC Comics declared April 18 “Superman Day” to celebrate Clark Kent/Kal-El/Superman, the superpowered icon widely regarded as the first ever costumed superhero.

Released: 24 September 2002
Developer: Infogrames Sheffield House

Also Available For: GameCube
MobyGames Score: 6.2

Quick Facts:
Over his eighty-odd years as a pop culture icon, Superman has featured in numerous videogame adaptations. Following his runaway success with Batman: The Animated Series (1992 to 1999), Bruce Timm spearheaded an equally lauded Superman cartoon that led to the infamous Superman: The New Superman Adventures (Titus Interactive, 1999), widely regarded as one of the worst videogames ever. “Superman 64” was so bad that people often forget about this marginally more positively received action adventure, a continuation of the cartoon that was seen a decent but ultimately lacklustre effort hampered by clunky controls.

Gameplay and Power-Ups:
Superman: Shadow of Apokolips is a third-person, cel-shaded, 3D action-adventure game set within the continuity of Superman: The Animated Series (possibly between the first and second seasons). The game is divided into thirteen chapters, with no difficulty levels and some surprisingly generous checkpoints. Superman has all his usual abilities but is still vulnerable, so you must wait for his health and “Super Power Energy” to automatically replenish when you take damage or use his various superpowers. Players lock on to nearby targets with L1 and R1 (though there’s no way to cycle between targets), execute a surprisingly weak and boring combo with X, and also hold X to grab things. You can lift cars, crates, and explosive barrels to toss at enemies, grab billboards to make bridges, and carry civilians to safety. When enemies are stunned, you can also grab them to send them flying with a “Super Punch”. Square pulls off a “Speed Dodge” to avoid damage, Triangle unleashes your heat vision, and Circle blows enemies away or extinguishes fires with super breath. While on the ground, you can press X and Square together to perform a “Super Spin” to send enemies flying, or press it while hovering or flying to hit a slam attack for crowd control. While the left stick moves Superman, the right controls his flight. You take off by moving the right stick up (or pressing R2), bank and strafe while flying, and land by holding down or double-tapping R2. While in the air, you can press X and Square together to speed up, ramming into enemies, through certain doors, or chasing airborne targets. Finally, you can enter first person mode with L2 to better aim your heat vision or hold Circle to highlight hidden destructible walls with your x-ray vision.

When not awkwardly fighting or saving civilians, Superman struggles to sneak past eagle-eyed scientists.

While these abilities can be fun, they do have drawbacks. Their limited use is the most obvious, but many enemies take a lot of hits to put down. Sure, you can set most on fire with your heat vision and blow them back with your breath, but these don’t do much damage. It’s usually better to toss cars or swing pipes than to use your fists, and Superman is constantly being knocked from the sky or into walls by missiles. Superman is rather clunky to control, both on the ground and in the air. When you get used to the janky controls, the flying mechanics are quite fun but, when asked to dart at enemies or perform precision turns, the gameplay fells apart. The finnicky camera doesn’t help, either. You can centre it with L2, but I constantly lost track of who I was targeting or had my vision obscured by the environment. Superman’s powers are primarily used for busy work, and in very rare,  specific situations. You’re more likely to be getting civilians to safety or retrieving objects than putting out fires with your super breath, for example, with Superman opting to plug lava spills and volcanic eruptions with boulders and coolant tanks later in the game. Heat vision is often used to seal objects, but only after you’ve mashed X like a madman (a frustrating mechanic that often failed for no reason). Amusingly, one level sees you infiltrating LexLabs as Clark Kent, using your heat vision to short out control panels and security cameras and sneaking past Lex Luthor’s scientists. You do this by clumsily walking behind them and hoping they don’t randomly spot you because the game decides they should, making for one of the worst stealth sections I’ve ever played. Clark must also dash past laser traps, mash X to fight past a giant fan, gently blow about explosive mines, and repair leaking gas pipes with cylinders, none of which is particularly fun.

Your objectives are not only repetitive, but needlessly frustrating, especially when you have a time limit.

When he’s not rescuing civilians and smashing Intergang’s robots, Superman is defending scientists or police officers from said robots, escorting guards through Stryker’s Island Penitentiary at one point and helping to apprehend rioting inmates. Often, Superman faces a time trial to resolve some crisis, with your time represented by little red dots that creep around your radar. At the dam, you must find and replace three generators, fly to Lois Lane’s endangered cable car, and then frantically mash A to plug up the dam before it bursts. When LexLabs threatens to self-destruct, an audible fifteen-minute countdown pressures you to wipe out all nearby enemies, activate switches, and then bring a glowing orb to a control panel to stop the sequence. However, you then have a scant few minutes to plug another gas leak and extract the poison from the area. Deep in Intergang’s mountain lair, you must protect three scientists as they activate Luthor’s portal technology and then get about five minutes to cool down the overactive reactor, all of which can be extremely aggravating as Superman moves and fights like a bag of sand. Things are much easier when you’re not being timed and you can freely take out tanks, soldiers, and turret placements to defend shield generators or scientists. In the dam level, you must cool down fuel tanks with your breath and break open doors to find civilians; at one point you must take out waves of enemies to open new areas and short out five control panels; and you’re often asked to destroy a certain number of enemies to clear each area. It all gets quite repetitive and challenging very quickly, with the awkward controls and tight time limits artificially increasing the difficulty of even mundane tasks, and the sheer number of enemies and projectiles is often as daunting as it is frustrating. I admire the attempt at some variety but there’s very little margin for error, button inputs often fail to register, and Superman’s powers aren’t used as much as I’d like (I only used his x-ray vision once, for example, and even then it was confusing!)

Presentation:
Superman: Shadow of Apokolips opts for a cel-shaded look to better represent the cartoon and therefore  looks pretty good, having aged rather gracefully and visually appearing like the animated series. This is aided by Tim Daly and Clancy Brown reprising their famous roles and adding further authenticity to this as a “lost” episode. Consequently, the likes of Lois Lane, Perry White, Jimmy Olson, and even the tyrannical Darkseid pop up in cutscenes as cameos, though sadly Lois and Darkseid play almost no part in the in-game action. On the downside, the game isn’t tailored for newcomers to the series or character, explaining basically nothing about this world and restricting exposition regarding Superman’s powers to tutorial text and unlockable biographies. Superman looks just as he did in the cartoon, being bright, broad-shouldered, and powerful. Even Clark makes an impression in his eggshell-blue suit, even if his stealth skills aren’t anything to write home about! The game performs pretty well, though combat is often sluggish and Superman always feels like he’s moving through jelly. Enemies conveniently teleport in or come crashing through walls so there’s very little pop-up, there’s no distance fog either as every level is constrained to a small area, though I did notice moments of slowdown when a lot was happening and the load times are pretty atrocious.

While the game perfectly mirrors the cartoon, environments are as tedious as the gameplay is clunky.

Things start off promising here as the opening tutorial sees you flying around Metropolis, which appears just as it did in the cartoon, warts and all. This means that while you’ll see skyscrapers, bustling traffic, and the iconic Daily Planet building, buildings are incredibly basic and blocky, with no textures and simple colours bringing them to life. While this mirrors the minimalist style of the cartoon, it does make the game seem very basic, lifeless, and samey. This is exacerbated when you’re stuck in the claustrophobic corridors and rooms of Luthor’s facilities and Intergang’s lair, which assault your eyes with drab greys and browns. To be fair, these environments try to spice things up by basing Intergang’s operation within a volcanic mountain, with lava spilling out, flames bursting from the floor, and volcanic eruptions needing to be plugged. Intergang also use Apokoliptian technology, apparently trying to create a Boom Tube, and their lair does eventually fall apart around you. The dam stage made for a good follow-up to Metropolis as well, featuring different areas with different crises needing to be averted, and I did enjoy escorting the guards around Stryker’s Island, which is damaged by Intergang’s attack and caught in a thunderstorm. Unfortunately, that’s about as crazy as locations get as, despite its title, you don’t visit Apokolips or venture off-world. I did enjoy fighting John Corben/Metallo in Luthor’s office in the penultimate chapter, especially as the walls take battle damage from your fight, and that you confront Metallo in an auto factory, but environments are still disappointingly bland and there’s rarely a chance to fully flex Superman’s muscles or stretch his legs.

Enemies and Bosses:
Things are equally disappointing here as you fight the same, generic enemies over and over. Conveniently, Intergang deploy humanoid androids, meaning Superman can fight them without breaking his “no kill” rule. The Intergang robots are as basic as it gets, often just standing in place and shooting (though they occasionally take cover) or whacking you with their weapons up close. These robots carry machines guns and Apokoliptian plasma rifles, sometimes snipe from above, and later self-destruct upon defeat. Sometimes they use jetpacks, or pour from armoured personally carriers, and their slightly lager variants wield rocket launchers that send you flying. Intergang bolsters its forces with a few military armaments, like turrets and tank-like vehicles. These can be tossed or simply bashed, but sport chainguns, plasma cannons, and missile launchers. Intergang also employ Apokoliptian attack copters that can be tricky to target as they’re quite nimble, but they simply circle around the main areas so you won’t need to chase them or anything, and you’ll sometimes find mines in crates. That’s literally it for the basic enemies as they never get, like, energy swords or tasers or shields and there are no hulking brutes to match wits with. It’s just the same enemies recycled again and again. To be fair, there are a lot onscreen at once, but this isn’t a good thing as Superman’s better in one-on-one fights. Also, while on Stryker’s Island, you come up against the rioting inmates, but these guys are knocked out with a single punch or left dazed to be comically punched into their cells and are hardly a threat.

You wait all game for the bosses to show up and then they’re ridiculously dull affairs.

The bosses are even more of a let-down, with your first test being to chase down and disable a helicopter, a mechanic that never returns. When you finally confront the Intergang Leader, he turns out to just be a more formidable version of the regular enemies. Once you shoot him from the sky, deal with his minions, and whittle down his life bar, you must quickly dash him to drop him into molten metal or the fight repeats until you succeed. Similarly, while I was excited to see the Machiavellian Iluthin/Kanto appear, Darkseid’s weaponeer simply fights in you in a variation of the same tanks you see everywhere. Oddly, the game ends with three consecutive boss battles, starting with a three-phase fight with Leslie Willis/Livewire. As you’ll be electrocuted if you touch her, she teleports about, and her electrical blasts either stun-lock you or send you flying, you must trick her into falling into water. You can do this by side-stepping her attacks and blasting bridge controls with your heat vision, but you can also whittle her down by tapping Triangle to fire concentrated blasts. To short circuit and finish her, you must avoid her attacks and fight the useless camera and destroy seven locks with your heat vision, gaining only a temporary reprieve when you blast her away as her health regenerates. Rudy Jones/Parasite is fought on the city streets, where you toss cars and blast him with heat vision from a distance and extinguish his fires. While he’s constantly flying around, tossing energy bolts, and regenerating health, your best bet is to crash into him and land your slam attack to make short work of him. Finally, you face Metallo in a multi-stage fight across two chapters. Metallo fires a deadly Kryptonite beam, rushes you, grabs you and punches you across the room, and later wields a machine gun and an Apokoliptian plasma rifle. It’s best to toss stuff at him and use your eye beams as your punches don’t do much, but you’ll have to quickly fly up and blast a control panel if you want to best him.

Additional Features:
That’s about it for Superman: Shadow of Apokolips. There are no collectibles to find, no difficulty modes to challenge, and no skins to unlock (which is criminal for a superhero game, if you ask me). As you clear each mission, you can freely replay them from the “Level Attack” menu, though there’s little point as there’s nothing to go back for and no time trials or anything. Clearing the game also unlocks the cutscenes to view in the “Movie Theatre”, character biographies, and loading screens to look at if that’s your thing. Thankfully, you don’t have to unlock these or deal with the onslaught of enemies as there are some super helpful cheat codes to access everything and enable invincibility and such. These cheats won’t help you beat the horrendous timed missions, but they do make the game more bearable.

Final Thoughts:
I was really excited to play Superman: Shadow of Apokolips. Ever since I started collecting for the PlayStation 2, this game had been on my wish list and I purposely scoured a retro videogame market in mid-2025 to find a copy, believing it would be a fun (if mindless brawler) that mirrored the cartoon. Well, the last part was right, at least. Superman: Shadow of Apokolips looks really good, especially for a PlayStation 2 title, thanks largely to its cel-shaded aesthetic that perfectly captures the vibe of the cartoon. Sadly, it’s all downhill from there as this is a clunky, aggravating mess at the worst of times and repetitive nonsense at the best. While Superman looks great and occasionally feels fun to control in the air, his attacks and powers are pitifully weak, with no new combos or abilities being added to your arsenal as you progress. The enemies are painfully tedious, especially considering Superman’s colourful rogues’ gallery, and your objectives rarely challenge you to do more than fetch stuff against a tight time limit. It got to the point where I was almost wishing for a ring-based time trial! It was so monotonous, and even Clark’s stealth section didn’t add much variety as it was so poorly implemented. The worst part was the back-loaded boss battles, which could’ve easily been sprinkled throughout the early and mid-game, and the lack of a confrontation with Darkseid, who basically appears as a cameo, leaving all the heavy lifting to the far less interesting Metallo. I was so disappointed by Superman: Shadow of Apokolips, which is more frustrating than enjoyable as even simple busy work is complicated by the janky controls and clunky camera, sadly resulting in yet another poor videogame outing for the Man of Steel.

My Rating:

Rating: 2 out of 5.

Could Be Better

How high do you rate Superman: Shadow of Apokolips? Were you impressed by the cel-shaded look and fidelity to the cartoon? Did you also find that Superman was quite difficult to control and his powers were poorly implemented? Were you disappointed by the repetitive environments and back-loaded boss battles? Would you have liked to see a sequel where Superman actually fights Darkseid? Which Superman videogame is your favourite and how are you celebrating Superman Day today? Whatever your thoughts, share them in the comments below, check out my other Superman content, and donate to my Ko-Fi to suggest another Superman game you’d like me to review.

Back Issues [Crossover Crisis]: Zero Hour: Crisis in Time!

Dr. K2 Comments

Cover-dated April 1985, the first issue of Crisis of Infinite Earths (Wolfman, et al) precipitated the destruction of the “Multiverse” and what better way to celebrate than with a “Crossover Crisis” of my own?

Published: September 1994

Writer/Artist: Dan Jurgens

Quick Facts:
After DC established an infinite number of parallel worlds in Showcase #4 (1956), writers like Mark Wolfman became frustrated with this concept and spent two years planning Crisis on Infinite Earths, one of the greatest comic book crossovers. However, while the likes of Clark Kent/Kal-El/Superman and Wally West/The Flash benefitted from this reboot, others like Carter Hall/Hawkman did not so writer/artist Dan Jurgens sought to correct this about ten years later with Zero Hour: Crisis in Time! Accompanied by numerous tie-in issues and occurring during the “Dark Age” of the industry, the story is largely regarded as a confusing, poorly executed mess that created more problems than it solved.

The Review:
As if numbering this miniseries in reverse order (so the story starts in issue #4 and concludes in issue #0) wasn’t unique enough, each page and/or panel takes place at different times, both literally and relatively, making this a confusing time-based tale. The story begins at the literal end of time, when destructive, unstoppable entropy has engulfed the cosmos. Here, an unseen force executes the mysterious Time Trapper while berating the cloaked figure and others like him for flaunting their omnipotence and yet allowing injustice to prosper. This powerful, unseen figure then harnesses entropy’s destructive power and vows to end the universe’s suffering. His actions (unseen at this point but probably related in one of the event’s many tie-in comics) are detected by Metron, the scientific advisor to almighty Darkseid, who’s so concerned by the unravelling universe that he defies his master and seeks out allies to halt annihilation. Our first indication that something is very wrong with time occurs in Gotham City, where the Joker’s latest killing spree is unexpectedly ended by Barbara Gordon/Batgirl, apparently back in her prime and perplexing even Bruce Wayne/Batman since she was dramatically paralysed by a gunshot some time ago. The enigmatic Linear Men, who monitor and safeguard time from a pocket dimension, then observe entire timelines being erased, dispatching Matthew Ryder/Waverider and Rip Hunter to investigate. In the 64th century, Wally West/The Flash notices the surreal light engulfing the world and learns from Waverider that entropy is ceaselessly making its way back through time, wiping out everything in its path. Though Waverider’s powerless to stop it, Citizen Abra/Abra Kadabra and the Linear Men suggest that the Flash create a super-speed vortex. However, Waverider realises all-too late that the effort is futile and is unable to keep the Flash from running to his untimely doom just like his mentor in the previous Crisis, resulting in the death of the 64th century and Waverider vowing to honour Wally’s sacrifice.

Waverider desperately gathers the forces of justice to stand against Extant and this time rifts.

Their next stop is 57000 A.D, where a youthful Harold “Hal” Jordan/Green Lantern (plucked from before he became the malicious Parallax) is currently battling entropy. Green Lantern’s efforts only feed the destructive force, however, causing it to obliterate Hal and Rip. Before he dies, Rip tells Waverider to research the previous Crisis. Disregarding an anomaly in the timestream, Waverider returns to Vanishing Point and is horrified to learn of the last Crisis and frantically heads to Earth for help, arriving to find Hawkman fluctuating between his various incarnations, Alan Scott/Green Lantern randomly de-aged, and reminding Jay Garrick/The Flash of Barry Allen’s fate while simultaneously informing him of Wally’s leaving Jay heartbroken at having lost the men he considered sons. When Waverider transports the Justice Society of America (JSA) to Vanishing Point, they’re mysteriously separated and attacked by the malevolent Extant. Metron recruits Batman and Superman, who call an emergency meeting of all costumed heroes (though Metron fails to enlist Jim Corrigan/The Spectre’s help as he’s unconcerned by natural disasters). Already rattled from experiencing his own time anomalies, Superman stops to assist the debuting Bartholomew “Bart” Allen II/Impulse (displaced from the 30th century) and recruits him. Earth’s heroes discuss the time anomalies, which see heroes pop in and out of existence, the various Hawk-beings merged into a single, God-like entity, and timelines to merge as the Crisis worsens. Waverider brings the group up to date (inspiring Guy Gardner/Warrior to attempt to change Hal’s fate) but quickly teleports to Vanishing Point when he senses the JSA are in trouble. When he arrives, Extant has killed Al Pratt/The Atom and Kent Nelson/Doctor Fate and rapidly aged Doctor Charles McNider/Doctor Mid-Nite and Rex Tyler/Hourman (to the point that he dies). Although the grief-stricken Alan’s ring is depleted, Waverider gets his comrades to safety and confronts Extant, horrified to find his future self behind the mask and not Hank Hall/Monarch as he suspected!

Parallax is revealed to be the mastermind behind the Crisis and wishing to reset time in his image.

Extant reveals that he’s the amalgamation of Waverider, Monarch, and others, having assimilated incredible powers, amassed an army, and spread entropy to birth a new world. Extant teleports Waverider and the others away since it’s too soon for them to fight, though the shattered, aged JSA quit from superheroics due to their losses, officially making Kyle Rayner the only Green Lantern. Inspired by their sacrifices, Superman and the others transport to the 30th century with Metron. As they struggle to halt the entropy, Kara Zor-L/Power Girl suddenly goes into a mystical labour, and Warrior suddenly sprouts weapons by mere thought, they’re attacked by Extant’s brainwashed Team Titans before the man himself attacks…as his future self watches on! Waverider desperately teleports the others away right before Extant plunges his hand into his body and absorbs his incredible time-based energy, assuming Waverider’s guise and completing his time loop as an unseen other retrieves Alan’s discarded power ring. Returned to the 30th century, Metron has Superman and Princess Diana Prince/Wonder Woman hurl his “Mobius Chair” into the entropy rift and Captain Nathanial Adam/Captain Atom pour his full power into it, creating a Boom Tube that successfully dispels the rift. Unfortunately, entropy continues to ravage the timelines, shredding John Henry Irons/Steel and leaving Warrior distraught. Still, angered at his plans being disrupted and his armies defeated, Extant’s past and present-selves merge to ponder the rampant entropy rifts, only to be blind-sided by a greater power for attempting to usurp his plans for reality with the rifts, which erase Impulse and Michael Carter/Booster Gold. Luckily, Jay convinces guilt-trips he Spectre into joining the fray right before he also dies and the few survivors flee to Vanishing Point to restore Waverider. Although he arrives too late to save the Batman from being torn apart by a random rift, Waverider leads the assault against Extant (which leaves Doctor Ray Palmer/The Atom de-aged to a teenager!), only for Parallax to finally assert himself as the man behind the destruction of time!

Although Parallax’s mad ambitions are stopped and reality is reset more naturally, the cost is high.

Determined to re-write reality to undo all the injustices they’ve suffered, Parallax wills entropy to engulf all that ever has or will be in the hopes of starting fresh, reshaping reality from a pocket dimension of pure, white space as the handful of shocked survivors watch. Although Guy and the others think he’s mad, Parallax vows to ensure all of them, even the time displaced Batgirl and Extant, get the world they desire, utilising leftover chronal energy and cosmic power from the first Crisis to effectively make himself a God. Having saved a handful of others and spirited them away to Vanishing Point, Waverider proposes piggybacking off Parallax’s efforts and restarting the universe in a more natural way, rather than allowing Parallax to decide who exists and who doesn’t, bringing them into conflict with Batgirl and those who want their worlds back. Lamenting having to fight his old allies and amazed that they would oppose his promise of paradise, Parallax easily fends off Superman and even the wrathful Spectre. While Oliver Queen/Green Arrow tries in vain to reach his friend and laments how far he’s fallen, Waverider has Superman and a few others channel their awesome powers through him, which he then redirects to confused outcast Grant Emerson/Damage, with the remorseful Batgirl sacrificing herself to protect the boy from Parallax’s fury. Heartbroken by how far his friend’s fallen, Green Arrow does the only thing he can and fire an arrow at the weakened Parallax, seemingly killing Hal and leaving the stage clear for the super-charged Damage to spark a new big bang. Thanks to Waverider’s intervention, Superman and the others watch as a new timeline forms, restoring many lost during the Crisis but leaving others, like Batgirl, lost to memory. Although Power Girl rejoices at having birthed new life in this new world, Green Arrow is left devastated and the survivors are both rattled and haunted by the experience, which caused numerous changes to their history (such as Warrior losing his armour and Batman no longer knowing who killed his parents, and the “Modern Age” of superheroes having only started “10 Years Ago” with the debut of Superman).

Final Thoughts: 
As I really started getting into comics during the 1990s, Zero Hour: Crisis in Time! was possibly the first Crisis event I ever read (or, at least, the one I read the most). I’ve only ever read the main five issues and a few of the tie-in and aftermath issues, which mainly dealt with our heroes encountering other versions of themselves or bizarre time anomalies. However, I would probably advise that you seek out the complete event as the main story can be confusing without context. For example, Superman says he encountered his Kryptonian parents and different versions of Batman, Warrior’s left devastated by some unexplained loss, and it’s clear that key events are missing from the main story. This may be the first DC event where the tie-in issues were semi-required to fully grasp what’s going on, which does impact the story as it’s so crammed with characters and events that it’s difficult to keep track of what’s happening and a chore to read at times. Every panel is stuffed with heroes and word bubbles, with many just standing around aimlessly, justifiably confused, or summarily executed by the entropy rifts. This means Raymond “Ray” Terrill/The Ray is left spouting “Cool!” and hovering in the background before randomly helping to kick-start the new big bang, and powerhouses like Matrix/Supergirl are as powerless to stop the destruction as the likes of Richard “Dick” Grayson/Nightwing, who joins Batman in a futile attempt to save lives. However, I did like that the heroes were determined to save as many as they could, and to intervene when the timelines merged, even though it was blindingly obvious they couldn’t stop the entropy, and how devastated they were when they inevitably failed. The stakes are definitely high and the heroes are constantly fleeing, reeling from their losses, or trying new ways to halt the destruction, keeping tensions high as they constantly fail.

This confusing mess of a Crisis is bogged down by copious exposition and cluttered action.

However, the pacing is all over the place. One minute, things are going a mile a minute; the next, things grind to a halt, and the cluttered panels are filled with endless dialogue as Waverider describes what’s going on. This really comes to a head in issue #0, where Waverider plucks the survivors from a microsecond of time and they witness the rebirth of the universe, all while Waverider waffles on about how they have one shot to re-join the timestream and it must be at the exact moment. He then explains, in great and confusing detail, why the likes of Batgirl (and, it’s assumed, Kyle) are dead but Batman and the billions of others are alive. Conveniently, this is because those latter examples died before the timeline reset; but anyone killed afterwards is really, truly dead. This does tie into Green Arrow’s grief and anger as he’s devastated at being forced to kill his best friend, despite having no choice as Hal was clearly mad with power and had appointed himself judge and jury over all lives and timelines. Green Arrow gets into a physical and ethical debate with Batgirl regarding this as Batgirl simply wants to live, just as the other anomalies want their worlds and lives back, and they briefly defend Parallax since he promises to give them everything they want. Though impressed by Batgirl’s spirit, Green Arrow echoes Warrior’s sentiments and believes Parallax isn’t qualified to make these decisions since it defies the natural order, but Oliver is distraught at being forced to take such extreme actions and this informed his characterisation for a while in the aftermath. Sadly, this comes far too late in the main story to be as impactful as it could be. I’m sure it’s fleshed out more in a tie-in comic but it’s noticeably lacking here, just like Warrior’s desire to undo Hal’s corruption and restore the Green Lantern Corps, which ends up being just one of many sidebars that aren’t resolved in the main story.

Extant and Waverider don’t make for compelling characters, making the story more dull than exciting.

As Zero Hour features time travel shenanigans, it makes sense for it to be confusing story and that the likes of Metron and Waverider must rattle off a lot of exposition. It gets frustrating as every issue reiterates a lot of this information, and if you’re not a big fan of Waverider, like me. I liked the twist that Extant was a gestalt entity comprised of different time-based powers and people, reducing him to an energy-based being with no real identity who sowed destruction for this own ends. I quite like Extant and feel he got short-changed here as he was rendered completely impotent once Parallax emerged from the shadows. Consequently, I think Zero Hour would’ve been far better and more coherent if Parallax had been the antagonist from the start, going around time destroying and absorbing power from the likes of Extant, the Time Trapper, and Waverider, just to give the story more focus and really emphasise how shocking it is when the JSA are de-aged and killed and characters are erased. This would’ve been a natural evolution of his original turn when he destroyed the Guardians of the Universe and would’ve made for more drama as his former allies lamented his madness and struggled with fighting him, rather than Extant constantly unmasking to be different people, and could’ve even seen Hal’s past self confronted by his future, corrupted counterpart. While the art is okay, Zero Hour suffers from having far too many characters crammed into every panel, making it difficult to keep track of who’s still around or not. I liked the depiction of entropy erasing characters and timelines, especially as a metaphor for DC literally streamlining their time, but the execution was lacking as it left Hawkman a combined entity rather than simply resetting him and I always come out of this story wondering what the purpose was beyond being a cluttered celebrating of DC’s colourful characters. Sadly, it falls very short and everything that happened in it was rewritten eventually, with even Parallax being redeemed, making the entire story forgettable and pointless.

My Rating:

Rating: 2 out of 5.

Could Be Better

Were you also disappointed by Zero Hour: Crisis in Time!? Were you able to follow all the time-based nonsense and exposition? Are you a fan of Waverider and Extant or did you also find them dull characters? Which of the deaths was most impactful or senseless to you? Were you a fan of Hal’s turn as Parallax and do you agree he should’ve been the sole villain here? Did you like the changes made to DC following Zero Hour? Which Crisis event was your favourite and what are some of your favourite cosmic events? Tell me what you thought about Zero Hour: Crisis in Time! in the comments and donate to my Ko-Fi to suggest other Crisis events for me to cover.

Back Issues [Robin Day]: Batman #440-442 / The New Titans #60-61

Dr. K1 Comment

In April 1940, about a year after the debut of Bruce Wayne/Batman, DC Comics introduced “the sensational find of [that year]”, Richard “Dick” Grayson/Robin. Since then, many have assumed the mantle and the Dynamic Duo have become an iconic staple of DC Comics.

Story Title: “A Lonely Place of Dying”

Story Title: “Part 1: Suspects”
Published: 31 August 1989 (cover-dated: October 1989)
Writers: George Pérez and Marv Wolfman
Artist: Jim Aparo

Story Title: “Part 2: Roots”
Published: November 1989 (cover date)
Writers: George Pérez and Marv Wolfman
Artists: George Pérez and Tom Grummett

Story Title: “Part 3: Parallel Lines!”
Published: 28 September 1989 (cover-dated: November 1989)
Writers: Marv Wolfman
Artist: Jim Aparo

Story Title: “Part 4: Going Home!”
Published: December 1989 (cover date)
Writers: George Pérez and Marv Wolfman
Artists: George Pérez and Tom Grummett

Story Title: “Part 5: Rebirth”
Published: 2 November 1989 (cover-dated: December 1989)
Writers: George Pérez and Marv Wolfman
Artist: Jim Aparo

Quick Facts:
Initially created to literally replace Dick Grayson as Robin, readers came to dislike Jason Todd when he was reimagined as a bratty street kid, leading Jim Starlin and Dennis O’Neil to dramatically kill the new Robin off in the iconic “A Death in the Family” (1988). While Jason’s death haunted Batman for years, a new Robin debuted almost exactly one year later in this five-issue crossover story. Created by Marv Wolfman and Pat Broderick as the opposite of Jason and possessing keen deductive skills to rival Batman, Timothy “Tim” Drake saw a dramatic redesign for the character and was popular enough to not only get his own solo book, but also be widely considered the best incarnation of Robin.

The Review:
Our story opens with the Batman in bad shape and tussling with the Ravager, a sadistic masked psychopath who’s been on a killing spree. Although the Batman’s cut and bruised from the Ravager’s attacks and knives, he turns the killer’s golden chain against him and sends him plummeting off dam. Limping to the Batmobile. Batman stumbles back to Wayne Manor, where his faithful butler and father figure, Alfred Pennyworth, cares for him as he struggles against a fever, exhaustion, and his wounds. In his frazzled state, Batman completely missed that a mysterious individual photographed his fight and has been following his career for some time. An avid fan of Batman and the Dynamic Duo, this individual notes that Batman’s been getting more reckless and violent since Jason’s death and longs for the confident, compassionate Batman of old. These concerns are echoed by Alfred, who candidly expresses worries for Bruce’s mental health, which has severely impeded his judgement and impacted his physical health, though Bruce ignores these concerns and suits up for another night’s patrol. Following the Ravager’s failure, his shadowy employer, baited by a voice from a radio that’s actually his own delusions, arranges a trap for the Dark Knight by manipulating mob boss Gerry Syke. Naturally, the Batman shows up, triggering a firefight. While dispatching Sykes’ mooks, Alfred’s words rattle around Batman’s head (“think with our heads, not with our fists”) and he realises he’s been too distracted to see the obvious clues (everything related to the Ravager and the break-in points to the number two in some way) and that former district attorney turned scarred crime boss Harvey Dent/Two-Face is back in town! Meanwhile, Batman’s mysterious teenage stalker tries to contact Dick Grayson/Nightwing, learning from a concerned Princess Koriand’r/Starfire that Nightwing left the Teen Titans, leading him to discover that Dick returned to Haly Circus.

Concerned for Batman’s welfare, fanboy Tim Drake tries to persuade Dick to return as Robin.

Dick is heartbroken to learn from Harrison “Harry” Haly that the circus has been struggling financially and suffered some bizarre accidents, though he jumps at the chance to be part of their swansong show. Although the teen briefly panics when hot-headed lion tamer Wilhelm is suddenly killed by a lion, he’s amazed when Dick swoops to ensnare the beast, though it’s the final straw for Haly. While pondering the strange “jinx” cursing the circus, Dick spots the teen as he’s chased by some of the staff and is amazed to learn the boy not only knows his true identity but also suspects drunkard Harry the Clown doped the lion. However, Dick masquerades as Harry and tricks little person Pedro and circus strongman Samson/Mister Muscles into revealing they were behind everything as part of a plot to buy the circus for peanuts. After helping Haly out by becoming a co-owner, Dick confronts the teen, who shows him pictures of Batman and begs him to return to his mentor’s side as Robin, concerned that Bruce is on a downward spiral without him. Back in Gotham City, Batman and Two-Face brood over how best to lure each other out, with Two-Face stressing over the best way to concoct a scheme related to the number two that will both kill his foe and net a profit, vetoing every suggestion with a flip of his coin. Simultaneously, Batman mulls over Two-Face’s possible targets, ruling out the obvious and trying to think of an enticing target for the villain. Ironically, Two-Face settles on kidnapped twin child actors Alan and Richard Wright and flips out when he learns that Club Gemini is holding a poker tournament with a $22 million grand prize. Thus, the two are compelled to abandon their plans to address the other situation, unable to deny their obsession towards justice and greed, respectively, resulting in the kids being saved and Two-Face missing out on the cash thanks to a coin toss.

Inspired by Batman and Robin, Tim reluctantly steps up to save Batman from himself.

Meanwhile, Dick brings the boy, Tim Drake, to Wayne Manor, where Alfred is as amazed by the boy’s knowledge as Tim is awestruck by the opulent abode. Encouraged by them, Tim reveals that he first met Dick on the day his parents were killed. Though traumatised by the murder, Tim was fascinated by the Batman, who comforted the grieving Dick, and had recurring nightmares of that night. Thus, when Tim saw Robin performing Dick’s patented quadruple somersault on television, he realised that Bruce and Dick were Batman and Robin and avidly followed their careers, inspired to hone his body and mind. Believing Batman and Robin need to live again, Tim begs Dick to reclaim his mantle but Grayson refuses, having established himself as Nightwing. Indeed, Nightwing is angered at the suggestion and races off to Batman’s aid, believing Robin should stay dead, much to Tim’s dismay. Although Alfred’s rattled by Tim’s probing questions, he can see how much Batman and Robin mean to the boy and shares some insight into Bruce and Dick’s tumultuous relationship, revealing the two are as stubborn as each other. This stubbornness is what drives Batman to lead Nightwing to him through surreptitious means rather than simply asking for help, though he orders Nightwing to hold back when he (as in Batman) scopes out Two-Face’s possible location. Inside, Batman’s disturbed to find the house literally turned upside down. Struggling to figure out what it means, and constantly snapping at Nightwing and almost calling him “Robin”, Batman refuses to rest until he figures out what’s going on, meaning they walk right into Two-Face’s trap and become so distracted by the mystery that they’re caught off-guard by the bombs Dent planted in the house, leaving them trapped beneath the rubble and Two-Face practically giddy with manic glee.

Though reluctant to take on a new partner, Batman’s impressed by Tim and agrees to a trial run.

Although Alfred insists that they must stay in the Batcave and trust that the heroes will overcome the situation, Tim refuses and dons Dick’s old Robin costume, convincing the grieving manservant to help. After overcoming his self-deprecating madness, Two-Face exits the building and blows up another charge only to be attacked by the new Robin. Though amazed to see the Boy Wonder alive, Two-Face spitefully fights back with a brick and a piece of scrap metal, compelling Alfred to intervene. This allows Robin to send Two-Face slinking away with a punch and to shift the wreckage and free Batman and Nightwing, though Batman is unimpressed and chastises the boy. Once outside, however, Alfred and Nightwing praise Tim’s deductive instincts, bravery, and physical skill, though Batman refuses to endanger another youth. When Tim stresses the importance of Robin to keep Batman from being reckless and to send a message to the underworld that the Dynamic Duo are more than just flesh and blood since “Robin” is as much a symbol for justice as Batman or even regular police officers. Tim then further proves his worth by revealing he slipped a tracking device on Two-Face, allowing the three to confront Dent at a scrap yard, where Batman reveals he truly does care as he freaks out when it seems like Robin and Nightwing are killed and seemingly accepts Tim as part of the team after apprehending Two-Face. Back at Wayne Manor, the four discuss the situation further, with a reluctant Bruce begrudgingly admitting that Tim made some good points and agreeing to take it one day at a time since Tim still needs to earn their trust, despite all his enthusiasm. The story ends by revealing that the voices Two-Face was hearing were not only real, but belonged to a bed-bound Joker, who relishes the chance to kill Robin again…

Final Thoughts: 
I’m somewhat biased towards “A Lonely Place of Dying” as the fifth part was the first Batman comic book I ever owned outside of the annuals and collections I picked up here and there. Consequently, while I was aware of Dick’s tenure as Robin, I had little experience with Jason and this was my first, true Robin origin story, meaning Tim has a special place in my heart as perhaps the best to ever don the pixie boots. I was very invested in this era of Batman, meaning Jim Aparo is the artist I most associate with “classic” Batman adventures. While his art is as sublime as ever here, I am disappointed by how rigid everyone, especially Batman, appears at times. When the characters leap into the action, they pop off the panels but, when at rest or pondering Two-Face’s next hit or what’s to do about Tim, they often appear lifeless and stilted. I’m also a little confused about the age gap between Dick and Tim. Tim states he’s thirteen years old and that he met Dick when they were both kids. The art makes it seem like there’s only a couple of years between them in the flashback, yet Dick is a full-grown adult, and Tim is somehow a teenager. Still, “A Lonely Place of Dying” has some fascinating insight into the nature of Batman’s relationship with Robin, with it being explicitly stated that Batman has become more reckless and violent since Jason died and that he needs a partner to keep him from driving himself into an early grave. Batman’s reluctance to take another partner is understandable given what happened to Jason, but his pig-headedness is fuelled by this guilt, blinding him to how close he’s come to death in the time since Jason died and how the legend of the Batman has grown beyond his control to make Batman and Robin a necessity.

Tim might be a little too perfect at times but he’s a far better fit for Robin than Jason.

“A Lonely Place of Dying” is another great example of how Two-Face is often a litmus test for new Robins, being just dangerous enough to be a formidable threat but not as dangerous a challenge as, say, the Joker. I loved how obsessed Two-Face was by his compulsions, how he drove himself to madness figuring out the perfect bait for Batman and couldn’t fight the urge to flip his coin or chase a more enticing target. I liked that he was duped into thinking he’d gone mad and that his scarred side was talking to him and how close he came to ultimate victory thanks to how distracted Batman is by his grief and arguing with Nightwing. Naturally, this story is a showcase for newcomer Tim, who’s depicted as the polar opposite of Jason and even Dick, being a more cerebral and emotionally stable youngster thanks to being inspired by Batman and Robin and coming from a normal (if somewhat wealthy…and crucially alive) family. Tim may have fantasised about being Robin, but never dreamed it would be possible; his goal is simply to reunite Bruce and Dick. However, Tim doesn’t hesitate to take up the mantle when his idols are in danger and argues passionately for the role, easily winning over Alfred and Dick and, eventually, convincing Bruce, too. As much as I like Tim, though, he does come across as a bit too perfect here. It’s impressive that he deduces Batman and Robin’s identities, but he only does this because he has personal experience with both so that gave him an edge. Tim says that he’s kept up with his studies and worked out a bit, but Alfred compares him to Dick in his prime at one point, which seems a bit ridiculous as Tim’s no circus acrobat and only bests Two-Face by sheer luck and determination. Still, he’s shown to be likable, capable, and enthusiastic and greatly impresses Nightwing, making Tim a far better fit than the rebellious Jason. While Tim wouldn’t get his iconic custom costume until he passed Bruce’s trials, this was a great introduction to the new Robin and went a long way to establish Tim as one of the best to serve in the role.

My Rating:

Rating: 3 out of 5.

Pretty Good

Did you enjoy “A Lonely Place of Dying”? Were you disappointed to see a new Robin debut just a year after Jason’s death? Did you like Tim at the time or did you think he was a little too perfect? Do you like seeing Two-Face used as a litmus test for Robins? What do you think of the idea that Batman needs Robin to keep him from going off the deep end? Which Robin is your favourite? Whatever your thoughts on “A Lonely Place of Dying”, and Tim Drake, leave a comment below and donate to my Ko-Fi to suggest other Robin stories for me to cover in the future.

Back Issues [Sci-Fanuary]: Detective Comics #225-226

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January celebrates two notable dates in science-fiction history: “National Science Fiction Day” on January 2 to coincide with the birth of world renowned sci-fi writer Isaac Asimov, and 12 January being when Arthur C. Clarke’s HAL 9000 was created. Accordingly, I dedicate January to celebrating sci-fi in all its forms.

Story Title: “The Strange Experiment of Dr. Erdel”
Published: November 1955
Writers: Joseph Samachson and Jack Miller
Artist: Joe Certa

Story Title: “The Case of the Magic Baseball”
Published: December 1955
Writer: Jack Miller
Artist: Joe Certa

Quick Facts:
Largely known as the “soul” of DC’s premier superhero team, the Justice League of America (JLA), the ridiculously overpowered (and yet strangely vulnerable) J’onn J’onzz debuted in Detective Comics courtesy of former research scientist Joseph Samachson. Though typically at the forefront of JLA-centric stories, J’onn is one of DC’s most underappreciated heroes, despite his prominence in various animated and television ventures.

The Review:
Our first introduction to J’onn J’onzz, the shapeshifting “Manhunter from Mars”, begins in the fittingly high-tech (for the time) observatory of “famous scientist” Professor Mark Erdel. Professor Erdel has just completed his greatest creation yet: a “robot brain” he hopes will allow him to explore the mysteries of the cosmos and other dimensions. Professor Erdel eagerly activates the machine and sets off a cacophony of lights and electrical energy, though even he isn’t sure if the machine is reaching into “space—time–or the fourth dimensions!” Presently, the professor’s musings are answered as a strange alien being appears courtesy of his awesome machine: a muscular, green-skinned figure in a blue cape and matching boots. Identifying himself as J’onn J’onzz, the enigmatic figure boasts incredible psychic powers, which he uses to read Professor Erdel’s mind and quickly learn our language. However, J’onn opts to simply ask how he’s been transported from “the fourth planet from the Sun” and is impressed by the professor’s ingenuity. However, J’onn asks to be returned home forthwith, only to learn that it could take Professor Erdel “weeks–months—even years!” to “change the thinking plot of the brain” and return J’onn to Mars. Still, J’onn doesn’t seem too upset and quickly decides to adapt his appearance fit in for his extended stay, warping his flesh and attire with his “chameleon-like powers” to resemble a common Earthman. Professor Erdel’s so amazed by this, and his visitor, that he suddenly suffers a debilitating heart attack. Although J’onn believes Martian “Xymo serum” could cure the professor, he never gets the chance to retrieve it as Professor Erdel is too weak to do anything but apologise for stranding J’onn on Earth before he dies.

Stranded on Earth, Martian J’onn J’onnz decides to play detective to pass the time.

Realising he’s stuck on Earth for the foreseeable future as it will take his people years or centuries to complete their interstellar “Star-Ride” experiments, J’onn throws on a hat and coat and explores his new home. J’onn visits the seashore to use his incredible mental powers to extract gold particles from the sea to fund his travels around the world (since I guess he can’t fly just yet?) in an incorporeal form, marvelling at our skyscrapers, monuments to war, and “ancient-wheeled vehicles”, concepts and technology that Mars has abandoned for a thousand years. Becoming visible, J’onn reflects on humanity’s crime epidemic (another concept Mars made obsolete through “enlightened science”) and decides to help, visiting the local police station as “John Jones” and requesting to become a police detective. This goes ridiculously well as, after a few off-panel meetings, J’onn is immediately hired by the “Chief of Detectives”! It’s not clear what qualifies J’onn to be a detective, and the story doesn’t even show him fabricating documents or using his mental powers to convince the cops to accept him. In fact, J’onn’s more concerned with people smoking cigarettes since fire is his one weakness. J’onn “J’onz’s” first case sees him use his intangibility to pass through a wall and apprehend some gunmen and get the drop on trigger-happy Tom Taylor. J’onn’s lieutenant then tasks him with watching star baseball pitcher “Big” Bob Michaels, fresh out of prison and seemingly a target for mobsters seeking to ruin his chances at a comeback. Hanging around outside Bob’s apartment, J’onn uses his telepathy to listen in as Bob receives a threatening phone call from the Devon mob warning him to purposely lose his upcoming game or have his career ruined before it can properly begin.

J’onn telekinetically aids a star pitcher from being abused by devious mobsters.

To his credit, the defiant Bob refuses to go along with this demand as he’s determined to rebuild his life. Pondering Bob’s fate, J’onn uses his uncanny powers to take a mental peek into the future and predicts victory for Bob and his team, the Flamingos, if the star pitcher goes unmolested. Eager to see this vision become reality, J’onn attends the big game between the Flamingos and the Wonders, where Bob attracts much media attention. Devon and his mobster buddies also attend the game, relishing Bob’s obvious discomfort and confident that he’ll play ball (no pun intended). Watching on, J’onn employs “a little Martian molecular hypnosis” (what we’d now just call telekinesis) to aid Bob, snagging the baseball in mid-air and driving it straight into the catcher’s mitt for a strike. Each time the nervous Bob pitches, J’onn pushes the ball to the catcher, much to the delight of the crowd and the irritation of the mob, who suspect that Bob is double-crossing them by playing to win. When Bob steps up to bat, J’onn again intervenes and ensures he hits a spectacular home run, securing a dramatic victory for the Flamingos. Enraged, the mobsters reach for their guns and prepare to make Bob pay for his insolence with his life, only to be tripped by the invisible Martian Manhunter. Detective John Jones then apprehends the Devon mob, who are summarily charged with attempted bribery and blackmail.

Final Thoughts: 
Like many readers, I’m sure, I haven’t read any of the Martian Manhunter’s solo adventures prior to these issues. There’s a good reason for this as many of J’onn’s solo ventures typically die out as the character is historically unsustainable in his own book and works far better as the heart and soul of the JLA. With the JLA, the Martian Manhunter is a keen mind, a moral compass, and a powerhouse when needed, bringing an outsider’s perspective to the team and carrying a great deal of emotion after losing his home world. Naturally, his debut stories came five years before the first appearance of the JLA so you don’t see any of that here, but that’s not all that’s missing. J’onn’s world is said to be very much alive and so technologically and intellectually advanced that they’ve abolished all war, evolved beyond our “primitive” means of transportation, and have eradicated crime. Oddly, J’onn laments that his people won’t be able to rescue him for years or even centuries as they haven’t mastered space travel yet, which seems to go against how amazingly advanced J’onn makes Mars out to be. Additionally, J’onn is a super nice guy and ridiculously understanding, barely sparing any time mourning his fate or being separated from his world. Indeed, he’s impressed by Professor Erdel and intrigued by his new home and doesn’t seem put out at all by being trapped on Earth.

Although a visually fun character, J’onn’s debut fails to do him justice.

The Martian Manhunter is certainly a powerful character, even in his debut issues, though his abilities are mostly limited to mental powers and intangibility. J’onn can render himself invisible and intangible at will, with no apparent limitation on how long he can stay in this state. Although now known for being a shapeshifter, the Martian Manhunter only uses this ability once to assume a human guise, a form he basically sticks to for the rest of these two stories. If this ability has more possibilities, we don’t see them here, meaning you’d be forgiven for thinking these were bog-standard detective stories at first glance. The Martian Manhunter makes great use of his invisibility and intangibility to surprise goons and helps Bob Michaels out with his telekinesis, but I don’t get why he didn’t just go to the Devon mob directly and proactively stop them. This might’ve given the story a chance to showcase J’onn’s weakness to fire, which he talks about, but we never see. Or, perhaps, showcased his shapeshifting powers to bee effect as he could’ve impersonated someone. There’s also no sense that the Martian Manhunter can fly or has superhuman strength and speed, though personally I don’t mind this so much as I think it’s better when J’onn’s powers are focused on his mental abilities. Still, these are awful stories to read that completely fail to take advantage of their unique premise or the incredible abilities of the Manhunter from Mars.

My Rating:

Rating: 1 out of 5.

Terrible

Did you enjoy the Martian Manhunter’s first appearance? Do you agree that his incredible powers were misrepresented here? Were you surprised to find Mars is still populated at this point? What are some of your favourite J’onn J’onzz moments and sci-fi comics? Agree or disagree with me in the comments and donate to my Ko-Fi to suggest other Martian Manhunter stories for me to review.

Back Issues [JLA Day]: JLA #43-46

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To celebrate the release of Justice League (Snyder/Whedon, 2017), DC Comics named November 18 “Justice League Day”. Setting aside all the drama surrounding that movie, this provides a perfect excuse to spotlight DC’s top superhero team, which set the standard for super teams.

Writer: Mark Waid – Artist: Howard Porter

Story Title: “Tower of Babel, Part 1: Survival of the Fittest”
Published: July 2000

Story Title: “Tower of Babel, Part 2: Seven Little Indians”
Published: August 2000

Story Title: “Tower of Babel, Part 3: Protected by the Cold”
Published: September 2000

Story Title: “Tower of Babel, Part 4: Harsh Words”
Published: October 2000

The Background:
In the 1940s, All Star Comics brought together eight superheroes from different publishers for the first time, birthing not just the Justice Society of America (JSA) but also the first ever superhero team in comics, allowing readers to see their favourite characters interacting for the same price in a single issue. The JSA’s ever-changing roster underwent their most significant change at the late-1950s, when then-editor Julius Schwartz had writer Gardner Fox with reintroduce and rebrand the team as the Justice League of America (JLA) to capitalise on the popularity of the American Football League and Major League Baseball’s National League. Clark Kent/Superman, Bruce Wayne/Batman, Diana Prince/Wonder Woman, Hal Jordan/Green Lantern, Arthur Curry/Aquaman, Barry Allan/The Flash, and J’onn J’onzz (or “John Jones”)/Martian Manhunter debuted as the JLA in The Brave and the Bold #28. Their origin story became a best-seller and the initial line-up of DC’s heavy-hitters is arguably the most iconic, which is exactly why they were at the forefront of the team’s revamp in the 1990s. Spearheaded by Grant Morrison, the new JLA title also became a best-seller and greatly inspired their celebrated animated adventures. This new team battled the likes of White Martians and the adaptable supervillain Prometheus, whose unexpected victory over the JLA laid the foundation for this widely regarded story. Marking the beginning of Mark Waid’s memorable run on the book, “Tower of Babel” had long-term repercussions, was critically acclaimed, and was even loosely adapted into a pretty decent animated feature.

The Review:
Although I grew up reading odd issues and random annuals from the 1970s and 1980s, this is the Justice League I mostly closely associate with. Superman (fresh off his brief stint as an energy being), Batman, Wonder Woman, Wally West/The Flash, Kyle Rayner/Green Lantern, Aquaman (in his best, most intimidating look), and even Patrick O’Brian/Plastic Man being included for some visual variety and laughs made for an impressive and powerful incarnation of the team. “Tower of Babel” pits this team against Rā’s al Ghūl, the “Demon’s Head” who fronts the League of Assassins and believes humanity is a danger. His anger at an aide accidentally dooming the Javan tiger to extinction only precipitates his latest plan to wipe out humankind, which begins with him playing spiteful mind games with his respected adversary, the Batman (whom he reverentially refers to as “The Detective”), by exhuming his parents. Rā’s then dispatches his daughter, Talia, to strike the Martian Manhunter with an explosive shell of strange nanites. Nearby, the Flash and Wonder Woman desperately fight a mysterious and aggressive forest fire, only to be amazed and horrified when the source turns of to be J’onn, his body engulfed in perpetual flames that the Flash extinguishes with his fantastic speed. Aquaman and Plastic Man are then attacked within the United Nations, Aquaman being gassed by a substance that makes him deathly afraid of water and Plastic Man frozen and shattered into a dozen pieces!

Batman’s horrified when Rā’s targets the JLA using his secret contingency plans!

The injured or affected JLA members are brought to their Watchtower space satellite by their teammates. Superman analyses the nanites infecting the Martian Manhunter and discovers they’ve forced his body to combust in air. Crippled by fear toxin, Aquaman’s condition deteriorates as he rapidly dehydrates and, though the Flash pieces Plastic Man back together, they’re unable to restore him. Realising that the JLA is being targeted, Superman coordinates with John Henry Irons/Steel and Barbara Gordon/Oracle to keep their reserve members are safe but Batman abruptly refuses to help. After switching to Clark Kent to use his sources at the Daily Planet for a possible lead, Superman and the staff are astonished to find that all text has become incomprehensible! Superman races to curb the ensuring madness, learning from Oracle that the aphasia’s caused by ultrasound waves, which he successfully disrupts by retrofitting some Brainiac tech. Finally, Wally and Diana find Kyle woke up suddenly blind, which understandably causes the artist great distress. Although Aquaman figures out that the League of Assassins are tracking their signal devices, his warnings come too late and Diana is trapped within a never-ending battle simulation courtesy of a virtual reality chip. The Flash is also shot with a “vibrational projectile” that induces epileptic seizures at lightspeed and Kyle, directionless and berserk without his eyes, is easily subdued by a begrudging Talia. The world is plunged into chaos as the stock exchange collapses, gang wars break out, planes narrowly avoid collision, military services grind to a halt, and hospitals are rendered useless. The Batman angrily confronts Rā’s in his modern-day Tower of Babel, where Rā’s relishes the chaos and threatens offers to resurrect the Waynes using his rejuvenating Lazarus Pits.

The JLA is left aghast and traumatised by Batman’s betrayal.

Despite clearly being tempted and overwhelmed by the proposition of being reunited with his parents, the Batman attacks in a rage but is horrified when Rā’s brandishes synthetic red kryptonite. Subdued by Rā’s’s troops, Batman fails to warn Superman who is caught completely off-guard when he arrives to help Wally, Diana, and Kyle with Martian Manhunter (wearing a special Atlantean water suit). Although Batman escapes Rā’s and Talia seems displeased at being her father’s lapdog, Superman’s crippled with agony when the rock turns his skin transparent and overloads him with solar energy. Alarmed that Rā’s has stolen his secret contingency files and turned them on his allies, Batman desperately tries to contact Aquaman with a solution, only for Rā’s to further disrupt communications. Luckily, Batman fools his pursuers with a fake death and Plastic Man finally pulls himself back together to teleport the JLA back to the Watchtower. There, Arthur is sustained by a telepathic illusion courtesy of J’onn, Plastic Man removes the chip lodged in Diana’s brain, and Superman focuses long enough to destroy the device tormenting the Flash. Finally, Diana and J’onn work with Kyle to deduce that his ring was slipped on him during sleep and that his blindness was caused by a post-hypnotic suggestion; by focusing, Kyle’s sight returns. The shellshocked JLA discuss Batman’s actions, their faith in their teammate shattered, with Superman feeling especially betrayed. Despite knowing the JLA distrust him, the Batman gathers them in Antarctica to infiltrate Rā’s’s tower, demanding the team work together to end the worldwide disruption. The battle is incredibly brief as Superman simply explodes in a burst of power, bringing the tower down and demanding an explanation from his comrade, only to be stonewalled by Batman’s stubborn nature.

Although Rā’s is stopped, the JLA are fractured by Batman’s questionable actions.

Despite the tower’s destruction, a disgruntled Talia informs the JLA that Rā’s is still a threat, leading Batman to split the fractured team up to handle each crisis. While Green Lantern, Plastic Man, the Flash, and Wonder Woman stop a chemical attack in Rhapastan, Batman explains to Superman that he created fail-safes after the alien tyrant Agameno swapped their consciousnesses with a gang of criminals. Finding little comfort in that explanation, Superman echoes Plastic Man’s uncharacteristically stoic and enraged demeanour by leading Batman through Rā’s’s stronghold. Though Rā’s prepares to retreat in frustration and Superman’s held off by the red Kryptonite, he covers his escape by dropping the Waynes’ coffins! Luckily, the restored Aquaman and Martian Manhunter pull both Superman and Batman’s parents from danger, leaving Batman free to pursue his adversary. While Rā’s escapes, his assistant, Doctor Kant, isn’t so lucky and takes the brunt of Batman and Aquaman’s retaliation, while Wonder Woman convinces Rā’s’s agent out of unleashing his chemical agent. With the danger over and the JLA back to full strength, the team debate what to do about Batman. While the Dark Knight awaits their decision, Superman questions whether they should have safeguards against their powers being manipulated. Aquaman believes the team should be based on trust, the Flash reluctantly thinks Batman has a point, and J’onn somewhat echoes this sentiment. When Arthur challenges J’onn’s loyalty to the Batman, pointing out that he once had similar dossiers, a fight almost breaks out between them, though J’onn ultimately votes in favour of Batman. While Kyle’s also not happy about what happened, he recognises that their powers are potentially dangerous and also votes to keep Batman on the team. However, while Wonder Woman agrees in principle, she refuses to fight alongside someone she can’t trust and Plastic Man coldly agrees. Although the deciding vote comes down to Superman, Batman makes the decision for them and quits the team without a word while they’re debating.

The Summary:
Like I said, this was a great time to be a JLA fan. The artwork was always really good in these comics and the team gelled really well together visually and with their contrasting personalities. It’s a very nineties period for the JLA, of course, with guys like Aquaman and newcomer Kyle Rayner offering very different interpretations of classic characters. I’ve always loved this version of Aquaman, though, with the harpoon hand and dishevelled appearance. Kyle is and will always by my favourite Green Lantern and I enjoyed the dichotomy he brought to the team as he obviously felt a little out of his depth and often deferred to his superiors as a result. These are characteristics reminiscent of Wally’s early days as the Flash, which led them to eventually form a tight friendship, but much of Kyle’s characterisation at this time was proving (or at least realising) that he’s worthy to hang with the big boys. Plastic Man was something of a wild card, for sure, especially due to his goofy nature and bizarre abilities. “Tower of Babel” showed that there was more to him than just being a wise-ass, though, as he’s so traumatised by being frozen and shattered (and by the Batman’s actions) that he drops the jokes and dismissively votes against Batman. Indeed, this story shakes the foundations of the JLA as, up until this point, they’ve all fought together on the understanding that they can trust each other. I’m pretty certain they all know each other’s strengths, weaknesses, and secret identities, for example, and feel they’re more than just colleagues. Thus, when they discover that Rā’s al Ghūl’s plot is due to Batman’s secret contingency plans, the team rightfully feels betrayed and angry, with Superman noticeably upset since he knows Batman the best and has worked with him the longest.

The JLA is divided and rattled by Batman’s betrayal and questions his trustworthiness.

Thus, the main enemy in “Tower of Babel” is essentially Batman, while technically also being the group’s insecurities, and more accurately being the devious Rā’s, who disrupts them to facilitate his latest scheme. The JLA is caught completely off-guard when Talia and her troops ambush them, wielding weapons designed specifically to neutralise their powers or otherwise subdue them. While I believe Batman’s plan was always to non-fatally pacify his teammates if they go rogue or were manipulated, some of his contingencies are very questionable. J’onn, for example, bursts into flame when exposed to air, something that would be both physically and emotionally traumatic for him considering his fear and weakness to fire. Aquaman is almost killed by dehydration when fear toxin variant made him deathly afraid of water, forcing J’onn to put him at ease with a telepathic vision so he could be safely placed in water. The Flash had it pretty bad, too, forced to endure what felt like days of torturous seizures in less than half an hour, while Superman’s powers raged thanks to red kryptonite. Similarly, it seems Wonder Woman would’ve eventually been so lost in her endless combat that she would’ve perished and Kyle was extremely distressed when he was duped into making himself blind. Seems to me that Batman could’ve just as easily used virtual reality environments for all his allies for a similar end, so it’s likely Rā’s al Ghūl perverted his countermeasures. Either way, the JLA are outraged at both the experience and the betrayal, believing Batman misled them and cannot be trusted. Even if he was right, since the JLA are mind controlled every other week and have extremely dangerous powers, the characters are angry at the deception. I doubt their reaction would’ve been much better had they known about Batman’s fail-safes, but it certainly would’ve lessened the sting since they put a lot of trust in him as their strategist and smartest mind.

A classic story that deconstructs the JLA and had far-reaching consequences.

This ethical quandary hangs over “Tower of Babel”, creating tension and animosity within the group for the finale, where they can barely function as a cohesive unit and are extremely reluctant to listen to Batman. Though he’s horrified by what Rā’s al Ghūl has done, Batman offers no apology and little explanation. He believes he was right to create contingencies and won’t be swayed from the belief, kick-starting a long-tunning theme of Batman being a stubborn, paranoid, and somewhat unethical character whose efforts to prepare for every scenario alienated his nearest and dearest. Interestingly, “Tower of Babel” doesn’t suggest what Batman’s back-up plan was if he went rogue (though it’s implied to be the remaining JLA) and barely gives him a chance to counteract Rā’s al Ghūl’s actions since the Demon’s Head keeps messing with their communications. I would’ve liked to see more of the world being plunged into chaos but I think “Tower of Babel” wisely focuses on the JLA and how they’re affected by Batman’s actions. The entire point is to fracture DC’s greatest superhero team, which literally happens by the end when the Batman walks away without hearing a verdict, but has knock-on ramifications as tensions are high amongst the others. I enjoyed seeing the team struggle to decide Batman’s future since they were personally disgusted and angered by the betrayal but recognised the need for fail-safes, and also how black-and-white the decision was for Aquaman and Wonder Woman, who felt the betrayal outweighed the risk. “Tower of Babel” easily ranks as one of the top JLA stories for a reason and it’s a great deconstruction of the team and exploration of their powers, weaknesses, and the fragile ethics that hold them together. It had far-reaching consequences for all involved and is well worth a read, especially for fans of this era of DC Comics.

My Rating:

Rating: 3 out of 5.

Pretty Good

What did you think of “Tower of Babel”? Do you consider it a classic JLA story or do you think it’s over-rated? Which of Batman’s contingencies do you think was the worst to suffer through? Did you enjoy this incarnation of the JLA or do you prefer a different line-up? Do you think Batman was right to have contingency plans or do you agree that he crossed a line? How are you celebrating Justice League Day this year? Whatever your thoughts on the JLA, feel free to share them below, check out my other Justice League reviews, and go donate to my Ko-Fi to suggest other JLA stories for me to cover.

Back Issues [Brightest Day]: Green Lantern Vol 2 #7

Dr. KLeave a comment

Although February 2014 was dubbed “Green Lantern Day” (because, by the American calendar, the date matched the sector of space assigned to Earth in DC Comics “2814”), the significance of this date has passed as the years have changed. Instead, I celebrate the October 1959 debut of perhaps the most popular Green Lantern, Hal Jordan, who first appeared.

Story Title: “The Day 100,000 People Vanished!”
Published: August 1961
Writer: John Broome
Artist: Gil Kane

The Background:
In July 1940, Martin Nodell and Bill Finger debuted Alan Scott, the first Green Lantern, a magically empowered railroad engineer who became a founding member of the Justice Society of America (JSA). However, following the successful reinvention of the Flash in 1956, fighter pilot Harold “Hal” Jordan became the first of a whole corps of Green Lanterns. Widely regarded as the greatest Green Lantern, Hal soon amassed a colourful domestic and intergalactic rogues’ gallery, though none are more prominent than Thaal Sinestro, Created by John Broome and Gil Kane and modelled after British actor David Niven, Sinestro was formally the most celebrated of the corps before it was revealed that he enforced peace through a dictatorship, disgracing him and positioning him as Hal’s mortal enemy since Hal exposed Sinestro’s true nature. A Machiavellian foe, Sinestro joined the villainous Legion of Doom and Injustice League, led his own yellow-hued counterpart to the Green Lantern Corps, and has regularly waged war against not just Hal, but both the Earth and the entire universe! As Hal’s greatest  villain, it should be no surprise that Sinestro has regularly appeared in cartoons and videogames, and was even brought to life by Mark Strong (with scenery-chewing relish) in the much maligned live-action adaptation. 

The Review:
Hal’s first encounter with the devilishly alluring villain who became his most recurring and dangerous foe begins on the West Coast of the United States, specifically the town of Valdale, where Green Lantern is scheduled to attend the opening ceremony of the new boys’ settlement house. Luckily for him, Hal’s too busy tying up another case so he’s unexpectedly delayed, meaning he’s absent when the bustling metropolis is suddenly enveloped in an ethereal light (not unlike an aurora borealis) and a strange thunderclap sound, which causes all 100,000 residents to disappear! After learning of this phenomenon, Green Lantern investigated and confirmed to his friend, mechanic, and confidant, Tom Kalmaku/Pieface, that Valdale’s inhabitants have vanished. Green Lantern’s doubly concerned as the incident occurred at nine o’clock, exactly when he was scheduled to be in Valdale but, before he can ponder further, Hal’s suddenly sent a bit queasy by a mind blank. It turns out this wasn’t just a bout of nausea and that Hal’s “astral self” was summoned across the galaxy to Oa, the home of the Green Lantern Corps and their enigmatic alien masters, the Guardians of the Universe. Brought before his masters, Green Lantern was told of Thaal Sinestro, the Green Lantern of sector 1417, a fearless native of Korugar who used the awesome, nigh-unlimited power of his power ring to satisfy his vanity with a throne. Sinestro had people line up and plead for his aid, quickly bored by their petty squabbles and requests and desiring more. When one of his people questioned him, chastising his arrogance and accusing Sinestro of being mad with power, Sinestro flew into a rage and shot down the complainant (non-fatally, it turns out).

Hal is dispatched to thwart a renegade Green Lantern’s plot to attack the Guardians.

Sinestro then decided to depose the ruling council of Korugar and establish himself as the planet’s dictator who forced his people to live peaceful lives or be mysteriously removed from society. Upon discovering Sinestro’s totalitarian ways, the Guardians admonished him and stripped him of his status as a Green Lantern before banishing him to the antimatter universe of Qward. However, the Guardians later learned that Sinestro rallied the malevolent “Weaponers” of Qward to strike back against his former masters and destroy Green Lantern. Thus, Sinestro developed a “viso-teleporter” to transport Green Lantern to Qward, and the Guardians instruct Hal to journey to the antimatter universe to confront the renegade Green Lantern and save those he’s captured. Since his usual route to the antimatter universe is blocked, Hal reasons that Sinestro will attempt to target him again so he uses himself as bait, turning the residents of Coast City invisible, and is soon forcibly transported to Qward. Although Green Lantern easily shields himself from the Weaponers’ attacks, Sinestro forces him to surrender in exchange for returning his captives home. Sinestro encases Hal in a yellow bubble, rendering him powerless, planning to destroy him once his power ring runs out of charge. Despite his ring being ineffective against yellow, Hal’…somehow…manipulates a clock to trick Sinestro into thinking time has passed faster than it actually has. Once he’s freed from his bubble, Green Lantern zaps Sinestro, washes away his allies, and pins Sinestro to a wall with green needles. Sinestro mocks Hal’s morals and lack of killer instinct and arrogantly reveals that he cannot be punished for his crimes since he’s been banished to Qward. However, Hal gets the last laugh by imprisoning Sinestro in an impenetrable bubble of green willpower before returning home to inspire Valdale’s youngsters with a speech about how good will always triumph over evil.

The Summary:
I’ve always liked Sinestro. I grew up in the 1990s, so I have a bit of a thing for dark doppelgängers of righteous heroes and Sinestro’s one of comic’s most memorable and visually interesting corrupt counterparts to a beloved hero. However, I haven’t read many stories that feature the character and many Green Lantern stories I’ve read either don’t feature him or take place during one of his many real or faked deaths. However, I definitely feel I’ve been spoilt by the likes of Emerald Dawn II (Giffen, et al, 1991), which went into far greater detail about Sinestro’s complex character and his unique relationship with Hal Jordan. Emerald Dawn II set a new standard for their dynamic, casting Sinestro as Hal’s mentor and the greatest of the Green Lantern Corps, only for it to be revealed that he wasn’t just a pompous, arrogant taskmaster with high standards but also a totalitarian dictator who enforced order with an iron fist. You can imagine my surprise, then, to find Sinestro’s first appearance was a twenty-page story based around a bizarre plot to teleport Hal into the antimatter universe. Now, I’m no expert on Qward or the Weaponers; it’s entirely possible Green Lantern had run-ins with them in the past, hence why they’d relish Sinestro’s aid. However, they are the most useless and ineffective people I’ve ever seen. Sinestro doesn’t even utilise their tech, instead creating his own devices, and they blindly follow the charismatic devil as he conjures a clock and boasts about how he’s going to destroy their enemy rather than just doing it. I’d be questioning Sinestro’s effectiveness the moment his viso-teleporter transported a bunch of randomers to my home world, to say nothing of asking why Sinestro doesn’t just pluck the power ring from Hal’s finger or suffocate him to death inside his yellow bubble.

Though visually and thematically interesting, Sinestro is little more than an inconvenience here.

On the plus side, a sizeable portion of the story is spent exploring Sinestro’s backstory, even if it is just the highlights. The idea of a celebrated and formidable Green Lantern falling from grace and abusing his power is a powerful one and perfectly places Sinestro as Hal’s polar opposite, especial as Hal is such a bland do-gooder during these days. He’s the unscrupulous bastion of “right” and “good”, eagerly obeying his masters and opposing Sinestro simply based on the Guardians’ warnings. Sinestro shows a glimpse of how dangerous a Green Lantern can be if they become obsessed with power, first constructing a “sumptuous headquarters”, then forcing people to beg for his help, and finally deposing the ruling government to become absolute authority on Korugar. It’s not stated how long Sinestro ruled his people, but he presumably would’ve continued enslaving his people had the Guardians not stopped by to check on him. His punishment is severe, but strangely humane, with the Guardians simply banishing Sinestro rather than executing him despite it being implied that he executed anyone who spoke out against his rule on Korugar. The Guardians also shoot themselves in the foot since, although they can teleport individuals to Qward and observe the antimatter universe, they “have no power there” and thus cannot intervene when Sinestro plots his revenge. Thanks to a one-way cosmic “back door” of sorts, Hal does return home but cannot truly punish Sinestro because Hal’s too righteous to take a life and Sinestro cannot leave Qward. Thus, Hal leaves Sinestro in what sounds like a fate worse than death but, to me, seems like a prison he’ll easily escape from, making for a pretty lacklustre ending. Everyone starts somewhere, that’s for sure, but Sinestro’s first appearance is an unfortunately forgettable, villain-of-the-month story that really should’ve been given the entire book to be told. Sinestro has a great look, with his devil-red skin, pencil-thin moustache, and striking black-and-blue colour scheme, and his backstory is certainly intriguing. However, it’s undercooked and basically a throwaway story that’s memorable only for introducing one of DC Comic’s best villains, whose future plots definitely extended further than clock-watching!

My Rating:

Rating: 2 out of 5.

Could Be Better

What did you think to Sinestro’s debut story? Do you think the Weaponers of Qward should’ve been portrayed as a greater threat? What did you think to Sinestro, his backstory and characterisation? Were you disappointed by how pedestrian Sinestro’s first appearance was? What are some of your favourite Sinestro stories and moments? Which Green Lanterns your favourite and why? How are you celebrating this pseudo-Green Lantern day today? Whatever you think about Sinestro, or Green Lantern in general, leave your thoughts below, drop me some change on Ko-Fi, and go check out my other Green Lantern content.

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

Dr. KLeave a comment

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

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.

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.

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 [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!