wonder woman

Back Issues [JLA Day]: Justice League of America #9

Dr. K1 Comment

To celebrate the release of Justice League (Snyder/Whedon, 2017), DC Comics named November 18 “Justice League Day”. Sadly, this clashes with another pop culture holiday but, setting aside all the drama surrounding that movie, this still provides a perfect excuse to dedication some time to talking about DC’s premier superhero team, which set the standard for super teams in comics by bringing together DC’s most powerful heroes.

Story Title: “The Origin of the Justice League”
Published: February 1962
Writer: Gardner Fox
Artist: Mike Sekowsky

The Background:
All Star Comics (1940/1941) 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 all for the same price as any one comic. The JSA’s roster expanded and changed over the years but the team underwent their most significant change in the late-1950s when then-editor Julius Schwartz tasked writer Gardner Fox with reintroducing and rebranding 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. The 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, a title famous for featuring superhero team-ups. However, the team’s actual origin wasn’t revealed until this issue of their self-titled series, which became one of DC Comic’s best-selling titles. Over time, the JLA’s roster has also changed and many splinter groups and spin-offs have been introduced, but perhaps there is no more iconic line-up than this original roster of DC’s heavy-hitters.

The Review:
I was going to open this review by saying how odd it was that the Justice League’s debut story wasn’t actually a bumper tale about how these seven characters first came together, but quite a few first appearances of famous comic book teams and characters simply started with them already in their superhero role or somewhat established as a team, so I guess it wasn’t completely against the norm. “The Origin of the Justice League” gets off to a rocky start with perennial hanger-on, Lucas “Snapper” Carr, racing to the Justice League’s cavernous headquarters, the Secret Sanctuary, to celebrate a birthday, though he can only imagine which member of the team is to be honoured. When he gets there, he finds Green Lantern, Wonder Woman, Aquaman, and Oliver Queen/Green Arrow in the midst of getting the place and spik-and-span for the party; there’s something a bit odd about seeing Amazonian warrior and peacekeeper Diana Prince wiping down a table like a scullery maid but it’s great to see them making Snapper do menial chores like mopping the floor and cleaning out their display cabinets since this aggravating hipster youth really isn’t fit for anything else. It doesn’t take Snapper long to get distracted, however, when he spies a display case filled with wooden splinters that is directly tied to the team’s first mission. Wonder Woman has the entire Justice League pitch in getting the Secret Sanctuary ready for their event, which is of course to celebrate the anniversary of the first time they came together, and each of Leaguers take it in turns to share the story with their overexcited mascot.

J’onn and Aquaman are the first to encounter alien beings and to be transformed into trees!

J’onn J’onnz starts things off since it was he who first discovered the threat that would unite the world’s greatest heroes. After hearing a “queer report” about people spontaneously having turned to stone, J’onn investigated and found an entire town full of people turned to stone and confronted the source of the petrification: a massive stone giant that proves impervious physical assault. Using his “Martian vision”, the Martian Manhunter learned that the giant came from the alien world Appellax and was one of seven contenders to the throne who came to Earth in a meteor storm with the goal of conquering the planet to earn the title of Emperor (or “Kalar”) of his home world. Although the giant briefly sapped J’onn’s strength after learning of his weakness to fire, J’onn easily used his “Martian breath” to suck up some water from a fire hydrant to extinguish the flames and then attacked the giant’s weak spot with his great Martian strength. With the giant rendered unconscious, his victims returned to normal and J’onn summoned the police to “take the giant into custody” (apparently leading to them smashing the alien rock monster with sledgehammers!) but was transformed into a tree when he investigated the meteor that brought the being to Earth. While swimming through the Indian ocean, Aquaman learned from a dorado of another meteor, one causing panic in the seas after spawning a strange alien creature made of glass who turned underwater life to glass. Although also turned to glass the moment he investigated, Aquaman was still able to call upon his fishy friends to attack the creature, first attempting to shatter it with brute force and then succeeding in defeating the alien by causing massive sonic vibrations. However, when learned of another meteor and raced to oppose its threat, he too was transformed into a tree.

Wonder Woman and Green Lantern overcome their limitations to defeat their alien threats.

Wonder Woman’s arrival on Themyscira was ruined by the presence of strange glittering globs all over the island that unleashed a living blob of mercury that transformed the Amazons into liquid. Calling upon Hera for strength, Wonder Woman whipped out her magical lasso to ensnare the blob-like alien; although she was unable to simply fling it into space since her strength was divided between fending off the creature’s “queer radiation”, Wonder Woman was, inexplicably, able to swing the creature around so fast that it was destroyed by the resulting friction heat. Although this caused her great strain, Wonder Woman was ultimately successful and returned her sisters to normal, but she too was turned into a twisted tree-like being when she investigated the other meteor. Around the same time, Green Lantern was returning to Earth and was startled by the sudden appearance of one of these meteors, and even more shocked when it spawned a gigantic golden bird that systematically began transforming humans and animals alike into ghastly winged creatures using a “white ray”. Since his Power Ring is useless against anything even remotely yellow, Green Lantern was powerless and being partially transformed into a bird-man himself before luring the creature into a nearby waterfall and using his Power Ring to freeze both solid. With the winged terror effectively subdued, all of its victims returned to normal and Green Lantern got them to safety but found himself becoming a gnarled tree at the same time as Wonder Woman!

The Flash and the others help to free their comrades so Wonder Woman can finish off the wood alien.

While in Europe acting as a representative to an Interpol meeting, the Flash learned of a strange meteor falling near Italy and raced out to investigate, finding a flaming humanoid creature transforming humans into similarly blazing monsters. His attempts to whip up a strong wind, douse the flaming alien with water, and snuff it out with sand were all unsuccessful, however, when the creature proved powerful enough to turn these to steam and glass. The Flash quickly discovered the solution was the same as almost every situation he ever finds himself in and he simply ran around super fast to create a vacuum that extinguished the flaming beast, returning its victims to normal, but he wasn’t fast enough to avoid becoming a tree like his fellow costumed heroes. Their great powers rendered mute and their strength inert by the meteor’s radiation, the fledgling Justice League were powerless to stop a massive wooden alien from emerging from its cocoon and compelling them to follow its bidding. Did I say powerless? Well, not quite as Aquaman (of all people) summoned the strength necessary to chip a small piece of wood from Green Lantern’s hand, exposing his Power Ring and enabling him to free J’onn’s face. J’onn then used his Martian breath to free the Flash, who then helped to free Wonder Woman, thereby allowing her to regain just enough control over themselves to easily destroy the wood-like alien by stripping it to splinters with her magical lasso.  

Superman finishes off the last alien with little to no help from the other heroes.

This wasn’t the end for the colourful heroes, however; one last meteor landed in Greenland but, when they flew over to confront the final claimant to Appellax’s throne, they found Batman and Superman already clashing with the alien, this one a jagged, slender ice being. Although the other heroes were content to leave this last alien to the World’s Finest, Superman ran into a spot of bother when the meteor turned out to be made of Kryptonite, leaving him weak and vulnerable. Although his arms and legs were rapidly turning to diamond as a result of the creature, the Batman was able to use his Batplane to get the meteor away from the Man of Steel, allowing Superman to instantly destroy the creature by using one of his many crazy super powers to turn it into harmless coal. In the aftermath, despite none of the individual heroes even remotely learning anything about working as a team or coming together to destroy a threat greater than any one of them with the exception of Batman and Superman (who had already worked together numerous times by this point), the seven superheroes agree to form a the Justice League to oppose any threats to the sanctity of peace and justice. Back in the Secret Sanctuary, Snapper is blown away by the story, and Superman’s solution to the problem; although awestruck, he wants to know even more of the team’s secrets, like how the Secret Sanctuary was built, but is content to set these questions aside and join his masked friends in celebrating their anniversary.

The Summary:
Have I mentioned how much I detest Snapper-bloody-Carr? Jeez, I mean, of all the jive talkin’, hipster teenage characters in comics from this era, he’s got to be the dirt worst. At least he’s not constantly snapping his fingers like a moron throughout this story, but the way he talks just grates on me. Did the writers really think kids would appreciate seeing a character like this mooching off their favourite superheroes? It really blows my mind to think that this was ever considered a good idea; I mean, if you want to toss in a teenager for the young ‘uns to relate to, just use Dick Grayson/Robin! Anyway, luckily, Snapper is hardly in this story and he doesn’t get to take all the glory for himself like in the Justice League’s first issue, but that doesn’t make this story any better, to be honest. Like in their first issue, the Justice League is painfully divided here, and the focus is more on the less popular superheroes, meaning Batman and Superman don’t show up until the very end. To be fair, though, I don’t actually mind this; especially in today’s world, where Batman is everywhere, on every team, all the time and massively overexposed, it’s nice to see guys like Green Lantern and the Flash get a bit more of the spotlight (Hell, all Batman does is get the Kryptonite away from Superman; he’s probably in the story less than Snapper Carr!)

The combination of Snapper, a weak threat, and lack of teamwork make for a mediocre origin story.

Unfortunately, this isn’t really a compelling origin story. The idea that these seven elemental aliens have landed on Earth and are causing havoc has a lot of potential; seven threats for seven heroes to unite against. Instead though, each threat is dealt with individually; while this does showcase the power of Wonder Woman and the extent of Aquaman’s telepathy, it’s really not a good way to justify them forming a team. The only time they even remotely do anything even slightly team-orientated is when they free each other from the wood-alien’s control; they don’t get overwhelmed and need another hero’s help and they don’t come together to face off a greater threat. They just dispose of their individual menaces, get turned into wood like idiots, and then watch on as Superman finishes off the last alien since he doesn’t need their help. How much better would it’ve been if, say, one alien was boiling or freezing the sea, so the Flash had to use friction to help out Aquaman? Or if Wonder Woman had to bail out Green Lantern after his Power Ring proved useless? Or if J’onn faced the fire alien and Aquaman helped him out with water? The primary appeal of this story is paying the same price you would for a solo book and seeing seven superheroes in action, but the action and narrative really isn’t all the compelling; the aliens have no personalities or characterisations or motivations beyond this throwaway desire to rule the world, and they’re all pretty weak. The wood one is built up as this major threat, but it’s disposed of pretty easily, and the ice/diamond one is similarly undone in the blink of an eye by Superman. Honestly, I feel like Starro the Conqueror was a far more credible and League-worthy threat and, if you recall from my review of that story, he was basically a joke as well, meaning I can’t really take this menace that seriously or find the idea that these heroes would ever want to form a team after this lacklustre experience.

My Rating:

Rating: 2 out of 5.

Could Be Better

What did you think to the JLA’s origin story? Were you satisfied with the explanation of how the seven came together or, like me, did you find the threat and motivation incredibly weak? What did you think to the aliens the heroes faced off with and would you have liked to see the heroes interacting a little more? Are you a fan of Snapper Car and, if so, why? Which era or incarnation of the JLA is your favourite and what are some of your favourite JLA stories? Who would you like to see in the JLA some day? How are you celebrating Justice League Day this year? Whatever your thoughts on the JLA, feel free to share them below or join the discussion on my social media.

Back Issues: Flashpoint

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Story Title: “Flashpoint” (comprised of “Chapter One” to “Chapter Five”)
Published: July 2011 to October 2011
Writer: Geoff Johns
Artist: Andy Kubert

The Background:
Robert Kanigher and artist Carmine Infantino introduced readers to Barry Allen/The Flash in Showcase #4 (1956) and heralded the “Silver Age” of comics; this new incarnation of the Scarlet Speedster may have taken the place of his predecessor, Jay Garrick, but it wasn’t too long before the two were coming face-to-face thanks to the concept of the multiverse. Barry fast became one of the most popular and iconic characters to carry the Flash mantle, and his death in Crisis on Infinite Earths (Wolfman, et al, 1985 to 1986) was long-regarded as one of the few permanent fixtures in comics. However, in the ridiculously confusing Final Crisis event (Morrison, et al, 2008 to 2009), DC finally brought Barry back and reinstated him as the Flash, a decision that irked (and continues to irk) many fans of his replacement, Wally West. Though Barry was returned to a world that had largely passed him by, a series of retcons enabled him to slip back into his old role; however, despite having already torn apart and rebuilt the multiverse just five years prior in Infinite Crisis (Johns, et al, 2005 to 2006), writer Geoff Johns decided to shake up the DC Universe with this five-issue event, which was bolstered by a number of tie-in stories. Flashpoint saw massive changes to DC’s timeline, characters, and continuity; it directly led to one of my least-favourite eras of the comics, The New 52, and both compressed, altered, and confused many of DC’s storylines. The story proved quite influential, however; not only was it partially referenced in The Flash (2014 to present), it was also adapted into a well-received direct-to-DVD animated feature, and served as significant inspiration for the Flash’s big-screen solo film.

The Review:
Flashpoint begins and is punctuated by narration from Professor Zoom, Eobard Thawne/The Reverse-Flash, Barry Allen’s long-time nemesis who has a warped hero worship of the Flash that compels him to cause the Fastest Man Alive nothing but pain and misery in a twisted attempt to make him a better hero. A series of little flashbacks establish Barry’s close relationship with his mother early on; he adored Nora as a child and the mystery of her strange and brutal death haunted him even into his adult life, where he became a forensic scientist. Once he was struck by that errant lightning bolt and gained his superspeed, the Flash found a happiness that was missing from his life: friends and colleagues in the Justice League, love with his own wife, Iris West, and a family of fellow speedsters. However, all of that randomly changes for Barry when he’s roused from sleep at the Central City Police Department to find that Central City is under the protection of a questionable hero, Leonard Snart/Citizen Cold, the Flash’s rogues gallery doesn’t exist and, to Barry’s horror, he no longer has his superspeed or identity as the Flash.

Barry finds the world has changed for the worst and that Bruce has been replaced by his violent father!

If that wasn’t bad enough, Iris is in a loving relationship with another man; however, on the plus side, Nora Allen is still alive but, while Barry is overjoyed at being reunited with his beloved mother, his analytical mind immediately sets to work trying to figure out what’s happened to the world; he still remembers heroes like Clark Kent/Superman and the Justice League, but neither of these aspects appear to exist anymore…with one exception: Batman. The story jumps over to Gotham City, now a bustling metropolis with neon billboards promoting “Wayne Resorts and Casinos” and haunted by a far darker and more violent version of the Caped Crusader. While this Batman is far more callous than his mainline counterpart, and perfectly happy with tossing costumed baddies to their deaths, he’s just as driven to hunting down the Joker, and especially motivated as the Harlequin of Hate has kidnapped Mayor Harvey Dent’s twins. His investigation is interrupted by Victor Stone/Cyborg who, rather than judging Batman’s violent methods, invites him to align with a motley crew of alternative heroes and villains in order to oppose Arthur Curry/Aquaman and Diana Prince/Wonder Woman, whose warring nations threaten to destroy the world in their conflict. Batman, however, is uninterested in joining their cause since none of them stand a chance at fighting the Atlanteans and the Amazons, and his disinterest causes many of Cyborg’s followers to cut out as well, leaving the man-machine despondent. Confused and desperate for answers, Barry is forced to endure the frustration of traffic jams in order to travel to Gotham City to ask Bruce Wayne for help. However, when he arrives at Wayne Manor, he finds Alfred Pennyworth missing, the stately home in disarray, and is shocked to discover that this Batman isn’t Bruce…but his father, Doctor Thomas Wayne!

Barry goes to extreme lengths to regain his powers before he loses his memories of the original timeline.

In this world, it was young Bruce who died that night in Crime Alley, turning Thomas into a brutal and sadistic bat-themed vigilante. Believing Barry to be delusional, and angered at his knowledge of Bruce, Thomas breaks Barry’s finger and puts a beating on him, unimpressed with his claims to be the Fastest Man Alive. The conflict with Thomas not only assaults Barry’s body, but also his mind as his memories start to change to align with this new world, one caught in the middle of a war between Atlantis and Themyscira that has devastated large parts of the world. One year previously, the hostile Aquaman and his half-brother Orm Marius/Ocean Master flooded much of Western Europe and, before that, Wonder Woman and her Amazons attacked and conquered London, re-christening it New Themyscira. Barry finds his Flash ring in the Batcave but is shocked to find Thawne’s Reverse-Flash uniform in there instead of his Flash costume and theorises that the maniacal time-traveller must be behind the changes to the timeline. Although initially sceptical of Barry’s story, Thomas is intrigued by Barry’s tragic and twisted history with Thawne, who purposely travelled back in time to cause him anguish by killing his mother and hounding his superhero career, and spurred to help him since restoring the timeline will mean that Bruce never gets murdered. However, the only way they can hope to achieve this is to restore Barry’s superspeed before he forgets everything about the previous timeline, but his initial attempt to recreate the accident that doused him with chemicals and saw him struck by lightning leaves him a charred and scarred mess. Although left in agonising pain from third degree burns over seventy-five percent of his body, Barry is adamant about trying again, with an even bigger bolt of lightning, before his new memories completely override everything he used to be and know. Thomas, of course, thinks he’s a madman for risking his life in such a desperate attempt, but the second bolt of lightning does the trick and Barry’s superspeed and connection to the Speed Force is restored, which has the added effect of speeding up his recovery time. Barry whips himself up a fresh new Flash costume and sets to work trying to figure out what else has changed in this new timeline and who else is available to help; he explains the dangers and mechanics of time travel to a cynical Thomas, that Thawne is afforded additional abilities thanks to his “Negative” Speed Force and has no compunction about screwing up the timeline, which can have serious consequences even if only small changes are made.

Since Superman’s no help, Batman joins the Resistance, but they’re hopelessly outmatched against their foes.

Believing that Thawne purposely orchestrated this new timeline to take the world’s greatest superheroes out of action, Barry discovers that the Kryptonian rocket carrying the infant Superman crashed into Metropolis and killed thirty-five thousand people, and Thomas agrees to be Cyborg’s strategist in exchange for access to classified government information on the rocket that only Victor can supply. Thomas has absolutely no problem with deceiving Cyborg since, if they’re successful, time will be forever changed and none of their strife will have happened or mattered, which is perfectly fine with this jaded, semi-suicidal version of Batman. Cyborg leads the two to a secret underground facility beneath Metropolis, the home of “Project: Superman”, which they sneak into and discover the skeletal remains of a Kryptonian canine and an emaciated, terrified Kal-El who has been routinely tortured, experimented on, and kept out of the sun’s rays his entire life. Batman is less than impressed with Barry’s so-called “saviour”, who has little to no control over his powers and deserts them the moment that General Sam Lane’s soldiers close in. Thankfully, they’re saved by Emily Sung/Element Woman, who chemically incapacitates the soldiers, but Barry continues to be plagued by the physical pain and seizures his new memories cause him; these show a life where his mother was constantly by his side encouraging him, even after his father’s tragic heart attack, and a version of Barry who continuously struggled to find a woman to settle down with. After Colonel Steve Trevor fails to liberate reporter Lois Lane from New Themyscira, the United States President is left with no choice but to employ the full might of the U. S. military, which results in Hal Jordan (who never received the Green Lantern ring in this world and resents the world’s superheroes for not getting involved in the greater conflict) being shot down and killed by the Amazon’s invisible jets. With the entire world on the brink of all-out war, and the United Kingdom threatened by a devastating tidal wave, Barry berates Thomas for writing his world off; arguing that, at any moment, Barry could completely forget Bruce and the former timeline, Barry encourages Cyborg to make contact with the superhero community to defend the world and, although their ace in the hole, “Superman”, has literally flown the coop, they’re joined by Billy Batson and his adopted family, who are collectively known as Captain Thunder in this world. Such is the allure of Batman’s urban legend that all it takes is his involvement and leadership to unite the world’s superheroes in interceding in the battle between Aquaman and Wonder Woman, however they’re betrayed by June Moon/The Enchantress, who forcibly transforms Captain Thunder back into his mortal form so that Diana can run him through with her sword.

Reverse-Flash’s boasting is cut short and Barry is seemingly able to set the timeline right…

It’s here, in the midst of a brutal war with the fate of this alternative world in the balance, that the Reverse-Flash finally makes his physically appearance. Naturally, a vicious fist fight breaks out between the two, but Barry is devastated to learn that it was he who caused this dark new timeline and not Thawne. Thawne “[resets Barry’s] internal vibrations” to reveal that Barry was so distraught after learning that Thawne killed his mother that he pushed himself further than he’d ever gone before, travelled back in time, and called upon the entire power of the Speed Force to prevent that event from ever happening. The result was a fracturing of the timeline in wild and unpredictable ways, and also that Thawne has been “removed from the timeline” so that, no matter what happens in the past, present, or future, he will continue to exist to plague his foe. This means that Thawne no longer has to rely on Barry being alive to ensure his creation in the far future, and nothing Barry does will prevent Thawne from existing. However, just as it seems like Thawne has achieved his ultimate victory, Batman stabs Thawne through the back and kills him, admonishing him for turning his back on the battlefield. Even though Superman makes a dramatic reappearance to join the fight, the war escalates uncontrollably; Atlantis plans to sink the United Kingdom and Enchantress mortally wounds Batman, who begs Barry to set things right. Reluctant to leave the world to its fate, Barry first stops by to talk to his mother, who encourages him to do the right thing since he’s literally sacrificed billions of lives and made the world a complete hellhole just to save her life. Heartbroken, but galvanised by her blessing, Barry intercepts his past self and knocks him from the Cosmic Treadmill but, when he returns to the time stream, Barry finds that there are three separate, competing timelines and a mysterious, hooded woman warns that time has been splintered and that only Barry can help merge them back into one unified timeline. When Barry awakens at his desk, the world appears to be back to normal; the first thing he does is race to the Batcave to talk with Bruce, who is once again Batman and who, surprisingly, reassurances Barry that he’s only human and couldn’t have known that saving his mother would have screwed the world up so badly. In an interesting twist, Barry retains his memories of the “Flashpoint” universe, and leaves Bruce in tears when he delivers him a letter rom his father. However, Barry fails to notice a few changes that have occurred as a result of his time meddling; not only is his Flash suit different, but so is the Batsuit, and all of the world’s heroes have been altered into their God-awful “New 52” forms, but the extent of Barry’s actions wouldn’t be revealed for some time and, for all intents and purposes, this is now the “real world”.

The Summary:
If there’s one reason to read Flashpoint, it’s the gorgeous artwork by Andy Kubert; stylistically similar to Jim Lee and John Romita Jr., Kubert really emphasises the kinetic energy of his characters, which is perfect for the Flash, while still balancing the many secondary characters in a way that’s bold and striking and crafting a far darker and more fearsome rendition of Batman. Each issue is accompanied by supplementary materials about this changed world, such as a world map that shows who controls which territory and where these new groups of alternative characters operate, and line art showing Kubert’s process. Sadly, though, just reading the main five issues doesn’t give you the entire story of Flashpoint; like pretty much every big Crisis and crossover event these days, Flashpoint was accompanied by four one-shots, two preludes, and no less than seven additional tie-in titles that further explored this alternative world and these far darker, less hopeful characters. I haven’t actually read any of these as I never felt compelled to explore it further as I subscribed to Thomas Wayne’s philosophy that it really doesn’t matter what happened to him, Aquaman, Hal Jordan, or any of the other characters changed by Barry’s actions as the timeline is reset at the end of the story. That and I really can’t afford to by the omnibus edition that collects all these issues, I don’t want any of the tie-ins taking up space on my shelves, and I really don’t care for the story enough to want to read any more about it.

Barry really comes across as a hypocritical, selfish asshole in this story.

This really isn’t a great story, or look, for Barry Allen. For someone like me, who grew up reading Wally West’s adventures as the Flash, it was already quite the insult to have him so readily supplanted by his predecessor, but to write a story where Barry’s so selfish that he screws up the entire timeline and, not only that, hesitates to set things right because he can’t stand to lose his mother? Yeah, that’s not a great look. And I get it; he’s grieving and in pain and not thinking rationally, but it’s especially odd that Bruce reassures him that he (as in Bruce) probably would’ve done the same thing…despite the fact that he turned down the chance to see the world and timeline reorganised in his favour in Infinite Crisis. The message seems to be that we have to sympathise with Barry but, while he’s obviously suffered a terrible loss at the hands of one of his worst enemies, it kind of seems like Geoff Johns wrote this twist simply because it’d be too predictable to have Thawne be behind the changes to the timeline. On the plus side, Barry certainly suffers for his selfishness; he’s nearly killed by the lightning bolts he attracts to himself and endures an unimaginable amount of agony from their impact, which is the least he deserves to go through. It’s interesting, though, as Barry feels morally obligated (or, perhaps, guilty enough) to help save this world and even has the gall to lecture Thomas Wayne about condemning the world to die. He even hesitates to undo his actions and is desperate to find a way to save his mother and the world at the same time, but finally being convinced to do, y’know, the right thing and prioritise the greater good and he doesn’t even do that right as it births the New 52 world.

Thomas Wayne’s violent, jaded Batman steals the show and delivers a heart-warming end to the story.

Flashpoint’s nightmare timeline is very different from the mainline DC Universe; it’s full of conflict, loss, and despair. A world constantly on the brink of war, under threat by two warring superpowered nations, and suffering without the world’s greatest superhero. This is a world where the public has lost faith in costumed heroes since they’re reluctant to stand against the forces of Atlantis and Themyscira and many of them have either been killed, maimed, or forced to make unlikely alliances and rely on subterfuge to survive and try to take a stand. However, the allure of Batman’s reputation remains as strong as ever; while Cyborg doesn’t approve of Batman’s violent methods, he knows that the Resistance will only really commit to fighting if Batman is onboard and goes out of his way to try and recruit the Dark Knight in order to spark some small sliver of hope. Thomas Wayne, naturally, steals the show here; his darker costume and demeanour show an alternative version of Batman who’s much older and far more cynical than Bruce Wayne. It’s consistently hinted that Thomas Wayne is in such a dark place that he’s not only completely given up on the world, but he also doesn’t really care whether he lives or dies. For him, nothing really matters anymore as not only was his entire world ripped away from him when he watched his son die before his eyes, but everything could be wiped out at a moment’s notice. He is compelled to help Barry, despite his cynicism, not to save his world, but to undo it entirely, fulfilling both of these goals, and really makes an impression with his surly demeanour, willingness to kill, and glowing red eyes. Sadly, despite appearing to die here and this timeline being erased, Thomas Wayne’s Batman would return later down the line and actually oppose his son as yet another dark analogue to the Caped Crusader, but I have to admit that he was one of the few highlights of this Crisis.

As if besmirching Barry’s character wasn’t enough, Flashpoint resulted in the dreadful New 52 era!

Overall, I really don’t care for this story specifically because it spelt the end for the DC Universe as I knew it and the beginning of my least favourite time in DC Comics, the New 52 run. I just didn’t understand the need to even do this and reset things in such an extreme way when Infinite Crisis had already done that not too long before this was published. As a self-contained, throwaway Flash tale that taught Barry a serious lesson about dealing with his grief, it could’ve worked; hell, even as a longer story the stretched over a few of the Flash titles and shook up the status quo for the Flash might have been more enjoyable, but it falls pretty flat as a reality-warping Crisis event because it’s a mere five issues and is lacking the expansive scope of these events. For me, it just doesn’t work since it paints Barry in such a poor light, and it feels completely pointless to dip into any of the tie-in stories since this was obviously never going to last as a timeline. I absolutely feel this could have worked much better if the Reverse-Flash had been the mastermind behind it and had cropped up a bit more in these five issues; this could’ve been a great showcase to show how depraved and twisted he is and could have presented a nightmare timeline where he’s the hero and the Flash is a villain, but he shows up far too late in the story to really make much of an impression and, despite boasting that he’s effectively immortal, is dispatched pretty easily by Batman and his trusty sword. In hindsight, now that the New 52 has finally been undone, Flashpoint isn’t as bad as it was when I first read it and was struggling to cope with all the rubbish decisions made in that era, but it’s still easily skipped over, I think. Just the idea that Barry, who lectures Thomas on how dangerous haphazard time travel can be, would make such a poor, selfish decision without thought to the consequences really doesn’t warm me to his character and, in many ways, makes him as reprehensible as Hal Jordan was back when he was Parallax. These are the actions of a misguided villain, not a sympathetic hero, and all the heart-warming letters from dead fathers and grief over lost mothers in the world can’t save this utter dreck of a story.

My Rating:

Rating: 2 out of 5.

Could Be Better

Are you a fan of Flashpoint? If so, what did you like about it? If you read the tie-in stories, which ones were your favourite and what did you think to this alternative timeline? Were you a fan of DC’s decision to reset their continuity again? What did you think to Barry’s decision to save his mother? Did you sympathise with him or did it paint him in a bad light? Were you a fan of Thomas Wayne’s Batman? Which Flash or speedster is your favourite? What’s your favourite Flash story? Which of DC’s infinite parallel worlds is your favourite? Feel free to sign up and share your thoughts on Flashpoint below or drop a comment on my social media.

Movie Night [Robin Month]: Teen Titans Go! To the Movies

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In April of 1940, about a year after the debut of arguably their most popular character, Bruce Wayne/Batman, DC Comics debuted “the sensational find of [that year]”, Dick Grayson/Robin. Since then, Batman’s pixie-boots-wearing partner has changed outfits and a number of different characters have assumed the mantle as the Dynamic Duo of Batman and Robin have become an iconic staple of DC Comics. Considering my fondness for the character and those who assumed the mantle over the years, what better way to celebrate this dynamic debut than to dedicate every Thursday of April to celebrating the character?

Released: 27 July 2018
Director: Peter Rida Michail and Aaron Horvath
Distributor: Warner Bros. Pictures
Budget: $10 million
Stars: Scott Menville, Hynden Walch, Khary Payton, Tara Strong, Greg Cipes, Will Arnett, Kristen Bell, and Nicolas Cage

The Plot:
Determined to be a Hollywood star, Dick Grayson/Robin (Menville) will go to any lengths to impress director Jade Wilson (Bell) to notice him and his team! With a few madcap ideas and musical numbers, the Teen Titans try to take the limelight, but when Slade Wilson/Deathstroke the Terminator (Arnett) messes with their plans, the Teen Titans will have to become true superheroes to save the world!

The Background:
About four years after the debut of the Justice League of America (JLA), their teen sidekicks came together to form the Teen Titans, presumably to appeal to younger readers. The team were a relatively consistent presence throughout the 1960s and 1970s but writer Marv Wolfman and George Pérez breathed new life into the concept with characters like Victor Stone/Cyborg and Princess Koriand’r/Starfire, who became synonymous with the team. No strangers to adaptation, the Teen Titans have seen some success in animated ventures; Teen Titans (2003 to 2006) was widely regarded as a popular spin-off of the incredibly well-regarded animated series pioneered by Bruce Timm and Paul Dini. Many long-term fans were therefore put off when the show was retooled into a more kid-friendly aesthetic with the slapstick Teen Titans Go! (2013 to 2022), though many praised the show for its bizarre nature and light-hearted humour. Additionally, the show was popular enough to spawn this feature-length production; universally praised for its metatextual comedy, its gleeful destruction of superhero tropes, and its unhinged comedy, Teen Titans Go! To the Movies also gave finally star Nicolas Cage the chance to portray Clark Kent/Superman after missing out on a live-action appearance in the nineties. With a box office gross of $52.1 million, the film was followed by a reasonably well received straight-to-DVD crossover between the Go! Titans and their more serious predecessors, as well as a couple of other similar features of varying quality.

The Review:
So, like a lot of kids my age, I watched a fair amount of Bruce Timm and Paul Dini’s DC cartoons back in the day; even into my late teenage years, I was enjoying Justice League Unlimited (2004 to 2006), and I really enjoyed the original Teen Titans cartoon. Although never explicitly stated to be a part of the same fictional universe, I always liked to think that Teen Titans was a spin-off from the main DC Animated Universe and I loved how it gave a bit of a gritty edge and a commanding presence to one of my favourite characters, Robin, and allowed him to be in the spotlight in a world where he’s often given the shaft in live-action movies. I’d be lying if seeing Teen Titans Go! for the first time wasn’t a little off-putting for me in this regard; however, it was clearly aimed at a younger audience and I found it to be quite funny the few times I did watch it, the same as Batman: The Brave and the Bold (2008 to 2011), which showcased a more light-hearted version of the Dark Knight but in a fun and action-packed way. There is room for both interpretations of these characters, as much as I prefer the darker interpretations as they’re truer to the original spirit of Batman and his world, and it’s not as if there weren’t other animated ventures that showcased this side of the likes of Batman and Robin, so it was still pretty exciting when a feature-length presentation was announced, especially as it aimed to poke fun at Warner Bros.’ tumultuous history with cashing in on their DC Comics franchises.

The happy-go-lucky Titans are distraught to learn the public and their peers see them as bumbling fools.

Things get off to a loud and action-packed start as Jump City is attacked by the megalomaniacal supervillain known as Balloon Man (Greg Davies), a ludicrous character who is quite literally a gigantic, anthropomorphic balloon who can easily smash his way into a bank and squeeze through small gaps by expanding and contracting his bulbous body. Although Jump City’s police are no match for the inflated villain, the Teen Titans soon arrive to help out; what follows is a fight scene, set to an electric guitar remix of the Teen Titans Go! main theme, that helps to establish the characters and abilities of the titular team for those who are unfamiliar. Robin is the leader, jumping head-first into the fight and partially tearing Balloon Man’s hide with his shuriken; Cyborg (Payton) is the enthusiastic muscle, able to transform his body into all kinds of heavy ordinance; Starfire (Walch) is a naïve, childlike misfit from another world who wields incredible cosmic power but is easily distracted by cute things; Rachel Roth/Raven (Strong) is the dark, stoic enchantress capable of manipulating others and creating constructs out of a black magical energy; and Garfield “Gar” Logan/Beast Boy (Cipes) is the team’s goofball shape-shifter, who delights in monkeying around and transforming into a range of green-hued animals (including becoming a porcupine to pierce Balloon Man’s butt for an extended fart gag). So consumed by their own hype are the team that they completely miss that the Justice League – Superman (Cage), Diana Prince/Wonder Woman (Halsey), and Jon Stewart/Green Lantern (Lil Yachty) – take out Balloon Man and are saddened to learn that both the public, and the superhero community, see them as a team of goofballs rather than “real” superheroes worthy of their own movies. Despite the fact that people “don’t talk” about Green Lantern’s movie, Superman advises the team that they’ll never be seen as anything other than a joke unless they shape up and start acting like real heroes rather than goofing off for food and dance numbers. Despite the evidence lobbied against them, Robin is adamant that he and his friends are not only world-renowned heroes but worthy of their own movie; it’s been his lifelong dream to have his own movie franchise, after all, and he’s determined to prove that he’s worthy of this accolade.

Robin’s so determined to get his own movie that he briefly messes up with the timeline.

Unfortunately, he and his friends are aghast to learn that they’re not on the list to attend the premiere of Batman’s (Jimmy Kimmel) newest film, and even more insulted when the Challengers of the Unknown, of all people, are more known than they are. Thanks to Raven’s ability to teleport them using her extradimensional portals, the team are able to gate crash the screening and steal the Challengers’ seats, introducing them to beloved superhero movie director Jade Wilson. Robin is dejected to see first-hand that he’s not only not slated to appear in a movie, but that the entire superhero community laughs him off as simply a sidekick and a nobody. After dispelling Robin’s depression with a musical number, the team head to Warner Bros. Studios in Hollywood, determined to demand that they get their own movie from Jade. Unfortunately, she’s not interested in the prospect of a solo Robin movie and states that she would only consider it if there were no other superheroes in the world, a dismissive comment that gives him the outrageous idea to travel through time to prevent the world’s superheroes from ever coming into being using their time cycles (because their regular time machine is too “boring”). Thus, the team prevents Krypton’s destruction (using disco-synth, no less), stealing Wonder Woman’s magical lasso when she’s just a girl, cause Arthur Curry/Aquaman (Eric Bauza) to get caught up in trash and drown as a baby, prevent four turtles from coming into contact with radioactive ooze, and redirect Thomas, Martha, and young Bruce Wayne (Kal-El Cage) from going down Crime Alley. As you might expect, this results in the world being overrun by supervillains in the present day and therefore no superhero movies being produced, so the Teen Titans immediately travel back to undo their efforts…resulting in them being directly responsible for Krypton’s destruction and gleefully pushing Thomas and Martha Wayne to their deaths with a smile and a thumbs-up!

Slade’s master plan to control the world brings him into conflict with the Teen Titans.

Since rewriting the space/time continuum did nothing to improve their standing in the superhero community, the Teen Titans resolve to prove themselves the old-fashioned way. Earlier, the others suggested to Robin that they’re not taken seriously because they lack a cool archnemesis with an ominous name and they attempt to address this by confronting Deathstroke (as ever referred to simply as “Slade”) as he steals “the perfect plot device”, the Ditronium Crystal, from Scientific and Technological Advanced Research Laboratories (S.T.A.R. Labs). A bombastic villain who mocks the Teen Titans pose and easily tricks them with simple illusions and distractions, Slade is nonetheless fully capable of holding the team off using only his skill, weapons, and vast array of gadgets. Still, by taking themselves seriously, the team is able to retrieve the crystal on their second encounter, but Slade easily escapes by preying on Robin’s ego and painting himself as his archnemesis. Incensed at their interference, Slade vows to divide the team to take away their greatest advantage, something made considerably easier when jade summons the team to Warner Bros. Studios, impressed by their fight, to start shooting their movie. However, when the others embarrass him by repeatedly pooping in a prop toilet, attacking their co-star and subduing Superman with Kryptonite, causing havoc, and almost destroying her Digitally Ordering Online Movies Streaming Directly At You (D.O.O.M.S.D.A.Y.) Device (Phil Morris), Robin angrily ditches his friends in order to have his own solo movie and shake the stigma of their idiocy from his character. Heartbroken at his decision, especially after they supported his dream all throughout the movie, the team leave him to indulge his greatest fantasies on the set of his very own movie, finally bringing him the adulation he has craved for so long, though all the digital enhancements and action sequences in the world can’t make up for the loss of his friends.

The Nitty-Gritty:
I gather there are a lot of people who dislike the art and animation style of shows like Teen Titans Go!; many comparisons are made to the likes of Steven Universe (2013 to 2019), though I’m not sure why that’s a bad thing as, while I’ve never watched it, I always thought the show was quite popular. Again, it’s potentially because of the nostalgia and love for Timm and Dini’s traditionally dark and moody visual style, and the anime influences seen in the original Teen Titans, but I thought the change in visual direction was a great way to immediately show that Teen Titans Go! is aimed at a completely different audience to its predecessor, and enjoyed the presentation because it, like some of the line-towing humour, reminded me of The Ren & Stimpy Show (1991 to 1996; 2003). Jump City is a bright maze of skyscrapers and beaches, its inhabitants all sport comically oversized heads and cartoonish proportions, and much of the allure of the movie’s visual style comes from the short, sharp movements characters make that remind me of traditional animation techniques such those using construction paper. The movie’s tongue-in-cheek approach is also evident right from the start, as DC’s heroes are chibi-fied in the opening credits to fit with the show’s more exaggerated art style; the movie even appears to ape the traditional Marvel Studios opening by rapidly flicking through pages of Teen Titans comics, only to subvert expectations and show that it’s simply a seagull flicking through a comic book! In this cartoonish world, the DC superheroes are such huge celebrities that they have their own merchandise and movie franchises, just like in the real world, with even the grim Dark Knight playing up to the paparazzi at the premiere of his new film, Batman Again, and heroes like Kara Zor-El/Supergirl (Meredith Salenger) and even Doctor Raymond “Ray” Palmer/The Atom (Patton Oswold) being treated as Hollywood starlets.

The movie is jam packed with references, cameos, and fun musical numbers.

This is taken to the nth level when we see just how many superheroes are being given feature-films and the lengths to which Hollywood is going to milk Batman’s popularity with movies about his loyal butler, Alfred Pennyworth, his high-tech vehicle, the Batmobile, and even his utility belt! Although a hilarious gag at the time, and with some basis in truth given how much Batman content had been produced by 2018, this lands even harder now considering Alfred received his own live-action television series and we even got a Cars-like (Various, 2006 to 2022) Batmobile cartoon! Even the D.O.O.M.S.D.A.Y. Device is a precursor to the stranglehold over the genre that Marvel Studios would get with the onset of Disney+, making the film scarily ahead of its time in its metacommentary. The film also stands out with its fourth-wall-breaking humour; this includes jabs not only at existing DC properties, but also gags like the Teen Titans mistaken Slade for Wade W. Wilson/Deadpool, a parody of the iconic opening of The Lion King (Allers and Minkoff, 1994), references to one of my favourite cartoons, Animaniacs (1993 to 1998; 2020 to present), Superman (Donner, 1978) and the Tim Burton Batman movies (1989; 1992), and the Back to the Future trilogy (Zemeckis, 1985 to 1990), a gratuitous and self-referential cameo by Stan Lee himself, a fantastic jab at the whole “Martha!” debacle during the filming of Batman vs. Superman: Part II by having the two come to blows because their fathers have different names, and having Robin’s team mates embarrass him when they kick the crap out of Shia LaBeouf (James Arnold Taylor). Musical numbers also play a huge role here; we get our first taste of this when Balloon Man insults and shocks the group by claiming not to know who they are (he thinks they’re “lesser members” of the Justice League of the Guardians of the Galaxy), leading to them performing a rap number running down their names, powers, and a bit of their background (“GO!”). Unfortunately, they get so wrapped up in their singing and dancing that they’re completely upstaged by the Justice League. Struggling with his sense of self-worth and disheartened at being mocked by everyone, even the team’s adorable hand-crafted movie fails to cheer Robin up; it takes an amusingly generic “upbeat, inspirational song” to reignite Robin’s spark and renew his enthusiasm (“Upbeat Inspirational Song About Life”). Additionally, Robin’s able to describe his perfect solo superhero through song, resulting in a montage and homages to Batman: The Dark Knight Returns (Miller, et al, 1986),  Batman: The Animated Series (1992 to 1995) specifically designed to emphasise Robin’s competency, cute butt, and totally adult hands (“My Superhero Movie”). When the Teen Titans travel through time to take out their competition, the sequence is brilliantly set to A-ha’s “Take On Me” and Huey Lewis and the News’s “Back in Time”, they play Krypton’s crystals like a DJ deck to prevent the decidedly Donner-esque planet from exploding, and Cyborg, Starfire, Raven, and Beast Boy get themselves kicked out of their own movie by pulling pranks all over the Warner Bros. Studio (“Shenanigans”).

In the end, the Titans come together to defeat Slade and earn the respect of their superhero peers.

Robin is so caught up in finally getting his time in the spotlight, away from the shadow of the Batman and the goofiness of his teammates, that he doesn’t even question Jade’s motivations or inputting the code to the vault as part of his movie’s finale. All too late, he realises that he’s been tricked into opening the actual vault and that Jade has been Slade in disguise all along in a surprising, and amusing, twist. Thanks to his manipulations as Jade, Slade has effectively subdued the Justice League by distracting them with their movies, leaving him free to steal the Ditronium Crystal, insert it into the D.O.O.M.S.D.A.Y. Device, and control the minds of the world’s populace as part of a diabolical scheme for world domination. Thanks to his baby hands and Bat-gadgets, Robin is able to escape the exploding Titans Tower; seeing his home and his friends’ possessions go up in smoke makes him realise how selfish and foolish he’s been but his friends enthusiastically return to his side to aid him in stopping the broadcast of Robin: The Movie to prevent Slade’s plans from coming to fruition. After unmasking Slade before their superhero peers, the Teen Titans are forced to battle the Justice League when Slade uses the D.O.O.M.S.D.A.Y. Device to turn them into his mindless slaves; thanks to a golf cart and Raven’s portal abilities, they’re able to take the Justice League out of the equation but, when Robin engages Slade in a one-on-one fight, Robin’s unable to resist watching footage of his film and is compelled to attack his friends. Robin’s brought to his senses when forced to watch the remainder of the homemade film the Titans made for him, reuniting the team in friendship just in time to battle Slade’s ridiculously oversized robot! Although Slade mocks them and boasts at his invincibility, Robin realises that their greatest asset is their goofball antics and they’re able to take out Slade’s robot using another of their dope songs (“GO! (Battle Remix)”) and an overwhelming combination of their unique powers and abilities. With the world freed from Slade’s control, the Ditronium Crystal destroyed, and Slade defeated, the Teen Titans finally earn the approval and respect of their peers, though Robin’s denied the chance to deliver a meaningful speech as everyone else insists that the movie’s over.

The Summary:
Teen Titans Go! To the Movies is a ridiculously over the top, slapstick romp in this exaggerated and cartoonish spin-off of the darker DC Animated Universe. Everything from the visuals, the gags, and the action is designed to appeal to younger audiences, ones who will delight at the instances of toilet humour and the fun music numbers, yet there’s a fair amount here for older audiences to enjoy as well. From cameos, references to other movies and DC properties, and some surprisingly dark inclusions that might go over the heads of little kids but had my spitting out my drink at times. The overriding narrative of the Teen Titans trying to earn respect for being superheroes is done pretty well, and wisely focuses on Robin’s obsession with being seen as more than a sidekick and worthy of his own movie, though the film doesn’t dwell too much on the wedge this causes between him and his friends. Similarly, the time travel side plot was primarily there as a gag, a funny one to be sure but one immediately undone to focus on the campaign against Slade. I would’ve liked to see the Teen Titans realise their worth in a world without the other superheroes, but it was fun seeing Slade mock them and wipe the floor with them and be revealed to have been disguised as Jade all along. While there isn’t much here for the other Teen Titans to do beyond be goofy, say their catchphrases, and sing and fight alongside Robin, the metacommentary on the influx of superhero movies was amusing and I found myself thoroughgoingly entertained through the film. I always enjoy it when animated movies sprinkle their narratives with little Easter Eggs for adults to enjoy and Teen Titans Go! To the Movies certainly succeeds in this regard, and with including some genuinely funny gags that keep the energy high, resulting in a very enjoyable animated romp.

My Rating:

Rating: 4 out of 5.

Great Stuff

Did you enjoy Teen Titans Go! To the Movies? Were you a fan of the cartoon or did the move towards slapstick put you off? Which member of the team was your favourite and what did you think to Robin’s desire to be taken seriously as a superhero? Did you enjoy the musical numbers and the sprinklings of dark humour laced throughout? What s your favourite incarnation of the Teen Titans? Who is your favourite Robin and how are you celebrating the Boy Wonder’s debut this month? Whatever your thoughts on this film, Teen Titans, and Robin, leave a comment either below or on my social media.

Game Corner [Crossover Crisis]: Mortal Kombat vs. DC Universe (Xbox 360)

Dr. K6 Comments

In April of 1985, the first issue of the ground-breaking, twelve issue Crisis on Infinite Earths (Wolfman, et al, 1986) was published. This event, which was easily the biggest in DC Comics at that point (and for many years), saw the destruction of the “Multiverse”, an infinite number of parallel worlds, and the awkward establishing of one unified DC canon. Over the years, DC have returned to this concept again and again, retconning it, expanding upon it, and milking it to the point of excess but that doesn’t change how influential this massive crossover was. To celebrate this momentous event, I’ll be taking a look at multiversal crossovers every Tuesday in April in an event I call “Crossover Crisis”.

Released: 16 November 2008
Developer: Midway Games
Also Available For: PlayStation 3

The Background:
Mortal Kombat (Midway, 1992) stood out from the competition at the time with its focus on gore and violence and unique digitised graphics; the game was a massive success for Midway and the first real competition for Street Fighter II: The World Warrior (Capcom, 1991) in arcades and on home consoles. However, while the franchise went from strength to strength during the 2D era of gaming, Mortal Kombat struggled to find a footing in the emerging 3D fighter arena, leading to the developers desperately trying to be innovative and appealing in an increasingly competitive business. Since Capcom had seen some success with crossovers with Marvel Comics and other fighting game developers, Mortal Kombat co-developer Ed Boon scrapped plans for a back-to-basics reboot of his violent fighting series in favour of a crossover with DC Comics. While incorporating popular DC characters like Bruce Wayne/Batman and Clark Kent/Superman had the potential to broaden Mortal Kombat’s mainstream appeal, the license carried many restrictions for the developers; Mortal Kombat vs. DC Universe was hampered by a “Teen” rating, which substantially neutered the series’ trademark violence. This, as much as anything, greatly contributed to the game’s mediocre reception; while some found the title surprisingly enjoyable, despite its bonkers premise, others found the gameplay and variety frustratingly tedious. Although the game received a “Kollector’s Edition” release, this was Midway Games’ last project before they went bankrupt and plans for downloadable content were subsequently scrapped. Thankfully, this wasn’t the final nail in the coffin for the franchise; the association with DC’ s parent company, Warner Bros, saw Midway being purchased by Warner and restructured into NetherRealm Studios, and the ultra violent was not only soon back on track but the new studio also eventually found success with the DC license in a separate series of fighting games.

The Plot:
After Raiden and Superman repel invasions from both their worlds simultaneously in their separate universes, villains, Shao Kahn and Darkseid are unexpectedly merged into “Dark Kahn” and the two universes to begin merging, with catastrophic events. With characters from both universes wildly fluctuating in power, representatives from both worlds come together to stop the merger by any means necessary.

Gameplay:
Mirroring the style and presentation of its mainline series, Mortal Kombat vs. DC Universe is a 2.5D fighting game in which players pick from a roster initially comprised of twenty fighters of iconic characters from both franchise’s and battle through the game’s single-player story mode, fight one-on-one against another player or computer-controlled opponent, battle their way through an arcade ladder, or take on a series of increasingly difficult combo challenges. By default, fights take place in a best-of-three format and against a time limit but you can alter these settings (and many others, including the game’s difficulty and the use of blood) in the game’s main options menu to speed up gameplay or make it more accessible to you. Rather than employing different fighting styles and weapon combat like its predecessors, or properly incorporate different variations like in the later games, Mortal Kombat vs. DC Universe takes a very barebones approach to combat and gameplay options: controls are fully customisable but, by default, you can throw with X or Y, kicks with A or B, toss them aside with a generic throw with Left Bumper, block incoming attacks by holding the Right Trigger, dash towards (but not away from) your opponent, jump in or crouch down to attack or avoid incoming attacks, and string together combos by quickly pressing the attack buttons alongside directional inputs. The game includes a practice mode to help you get to grips with this, and a “Kombo Challenge” feature that helps you practice the game’s tricky combo system, but you can bring up your fighter’s moves at any time by pausing the game. It has to be said that combat is quite a hurdle here; you’ll sometimes jump or dash when you don’t mean to, even when using the directional pad, jumping punches can be very floaty and often miss, and the game seems weighted in the CPU’s favour even when playing on the easiest setting as they have no difficulty pulling off some of the ridiculous combos on offer here.

Unleash your Rage, pummel opponents in Free-Fall, or smash them through walls.

Each fighter can pull off a number of unique special moves with simple button and directional inputs (back, back, X, for example, or left, down, B); while these can be stringed together with combos, they can’t be enhanced like in subsequent games as your “Rage Meter” only allows you to pull of the ever-annoying breakers to interrupt combos and attacks when filled to the first tier and activate the game’s “Rage Mode” by pressing RT and LT at the same time. This will put you into “Rage” mode, which powers up your attacks and coats you in a glowing armour that weakens the damage you receive, shrugs off projectiles, and keeps you from being stunned or knocked over. This doesn’t last for very long but it can easily make short work of your opponent, and activating it will even see you unleash a burst of energy that knocks your foe away, so properly timing the burning of your Rage Meter can snatch victory from the jaws of defeat. The game also features a few unique gameplay mechanics: if you grab your opponent with the Right Bumper , you’ll activate “Klose Combat” mode, which sees you pummelling or breaking your opponent’s limbs with successive presses of the face buttons. They (and you) can counter these attacks by pressing the right button at the right time, and these quasi-quick-time events (QTEs) also crop up in the “Free-Fall Kombat” and stage transition moments. In some stages, you can send your opponent plummeting down to a new part of the arena; while in free fall, you can mash different face buttons to deal damage and finish them off with RB, but they’ll turn the tide against you if they hit the right buttons. Similarly, some stages allow you to charge your opponent through a way, whereupon you’re asked to “Test Your Might!” in a tug-of-way style button mashing sequence that inflicts more damage the more of the bar you manage to fill. These mechanics can be fun ways to spice up the somewhat lacklustre in-game combat and definitely open up the otherwise bland and empty arenas a bit more since you can literally smash your opponent to new areas, but they’re a far cry from the stage transitions seen in the Injustice series (NetherRealm Studios, 2013 to present).

While you can get up close and personal with foes, the dull finishing moves will leave you disappointed.

Sadly, that’s about it for in-game options; some stages very destructible elements you can smash into, and all of the game’s characters sport special moves befitting of them (Sub-Zero’s ice blast, for example, and Bruce Wayne/Batman’s Batarangs) but, since the game is hampered by a lower rating, there is very little blood and none of the gore you’d expect from a Mortal Kombat. That’s not to say that Fatalities aren’t present, however, they’re just…what’s the word..?…oh yes! Shit. Unlike in subsequent games, you can’t view your character’s finisher inputs from the pause screen, which makes finishing your opponent a real chore, but very few of these moves are even worth your time pulling off. All of the Mortal Kombat characters can execute two Fatalities that will see them murder their opponent in the most PG way imaginable; while some leave the opponent an exceptionally dry and clean skeleton, most boil down to you simply stabbing, shooting, or crushing them with very little bloodshed. The more morally pure DC superheroes will opt to finish their opponent with one of two “Heroic Brutalities”, though many of these would no doubt leave the foe severely crippled or dead since we see the likes of Clark Kent/Superman driving them into the ground and Barry Allen/The Flash pummelling them at superspeed. Unlike in previous (and subsequent) Mortal Kombat videogames, there are no mini games to distract you and is no in-game currency to earn, no player profile or fighter card to customise, and no Krypt to explore to send your coins. There aren’t even alternate skins for the fighters beyond a very minor palette swap when choosing the same character, and the best the game offers is allowing you to view bios, character models, and endings in the “Extras” menu, all of which makes for a very stripped down title even compared to its predecessor, Mortal Kombat: Armageddon (Midway Games, 2006).

While there’s not much to the arcade mode, the story mode is decent enough, if limited and tedious.

This also means that there are no challenge towers or option combat modes like “Test Your Luck” or tag-team combat to spice up multi-player gameplay; you can play locally or online (well, I assume you can’t do this latter any more) in ranked and “King of the Hill” style matches but the arcade ladder is a standard, ten-fight challenge where the extent of the game’s variety is offering you the choice between facing all Mortal Kombat or all DC Universe opponents or a mixture of the two. Mortal Kombat vs. DC Universe does, however, feature a single-player story mode but, strangely, it only allows you to play as up to eight characters from either side. After picking either the Mortal Kombat or DC Universe story, you’ll take control of a specific character and battle anywhere from three to five opponents as part of the campaign. This remains a great way to familiarise players with the vast majority of the game’s fighters and their unique combos and special moves, but you cannot perform finishing moves when playing the story mode. Although you can’t skip any of the cutscenes, or jump to specific chapters and fights after completion, you can save and quit…which is definitely something, though the game’s difficulty can become frustrating as the computer-controlled characters love to block your attacks, uppercut you out of nowhere, and jump-kick you out of the air, and can seemingly juggle you in an inescapable combo at will! Unlike in later NetherRealm Studios games, the story mode is as basic as it gets; the only time it actually tries anything remotely different is during Major Jackson “Jax” Briggs’ chapter as you’re forced to battle Diana Prince/Wonder Woman without your machine gun, which means you’re robbed of on of your ranged attacks. If you’re defeated, you have ten in-game seconds to choose between continuing and quitting, which is true of the arcade and two-player bouts as well. Unfortunately, winning or losing in two-player mode simply dumps you back to the fighter select screen and, as far as I could tell, there isn’t even a way to select your stage let alone input Kombat Kodes or activate anything interesting to make the fights less of a chore.

Graphics and Sound:
Mortal Kombat vs. DC Universe looks pretty good, for the most part; the character models are very similar to those seen in Mortal Kombat (NetherRealm Studios, 2011), meaning they hold up about as well, but some suffer more than others. Women, for example, look particularly off; sure, it’s great seeing Selina Kyle/Catwoman’s amply cleavage and Lieutenant Sonya Blade’s nipples poking through her top, but they’re all impossibly sexualised and their hair is very blocky and static. Unlike later NetherRealm Studios offerings, character’s don’t have unique intros or dialogue with each other before a fight; the camera simply pans the arena and zooms in to find the combatants ready to go and, while they do have little animations between rounds, these don’t seem particularly unique to any fighter. Post-fight animations are a little more unique, but there’s a definite lack of variety and character in each fighter which reminds me of the cut-and-paste job seen in Mortal Kombat: Armageddon (with the exception of the Joker, who dances and prances all over the place at every opportunity). On the plus side, characters do take battle damage; you’ll see their clothes rip, blood and bruises form on skin, and even uncover Scorpion’s skull as inflict damage on your opponent, which is fun, but the lack of any alternate attires or skins is a major tick in the “Con” column for this barebones title.

Stages are quite bland, but character models and cutscenes are okay, save for the poor endings.

There are some other notable little details on offer, however; when you toss Kano’s dagger at an opponent, it’ll stay stuck in their chest for a bit, you can sheath and unsheathe Baraka’s arm-claws with a press of B, you’ll see Sub-Zero’s icy breath, and there’s even a reference to Star Trek II: The Wrath of Khan (Meyer, 1982) thrown in for good measure. Another thing in Mortal Kombat vs. DC Universe’s favour, however, is that the CGI cutscenes are basically indistinguishable from the in-fight graphics; while the character models might be a little less detailed than in later games and have that action figure sheen that is common in this generation of games, it’s still impressive that there’s little distinction between the two, though the voice acting leaves a lot to be desired (the DC Animated Universe this is not!) and there’s very little to inspire you in the soundtrack, either. Similarly, stages are quite a let-down; the majority of them have this half-and-half theme going on where the DC Universe is split or merging with that of Outworld, NetherRealm, or Earthrealm but, even with that, there’s hardly anything to see or do and the stages are disappointingly bland and empty considering how big they are and the fat that you can navigate them in a 3D space. The likes of Oa, Themyscira, and the Fortress of Solitude probably stand out the most and have a few things to see in the background, but there’s a distinct and disappointing lack of Easter Eggs and visually interesting stages. Probably the most interesting one is the asteroid stage that sees you transitioning above and below thanks to the messed up gravity, but the game continues to bug me with presenting all these passable CGI cutscenes and relegating the arcade mode endings to a series of still pictures with narration.

Enemies and Bosses:
Since this is a fighting game, every character will inevitably be your enemy at some point so it can be useful to get an idea of what each one is capable of by playing through the story mode and completing their arcade ladders. However, there isn’t really too much to distinguish each character; you’ think the Flash would be faster and slippery to control compared to Liu Kang but he really isn’t and, while Jax and Billy Batson/Captain Marvel may utilise powerful grabs, they don’t feel any slower than someone like Kano or Hal Jordan/Green Lantern. Every character has a few simple combos that it’s best to learn so you can leap in, mash X three times or X, X, Y and then hit a special move or a throw to deal some decent damage, and they’re obviously made a bit more unique by their individual special moves. Characters will invariably have a projectile or some kind of range attack, a rush or grapple of some kind, and sometimes even disorientating gadgets like flash or smoke grenades. Some have more special moves on offer than others; Shang Tsung, for example, can toss flaming skulls across the screen and from above, suck his opponent’s health to fill his own, swap places (but not bodies) with them, and pull off a slide while other characters, like Batman, Sub-Zero, and the Joker, have parry moves in their arsenal that can interrupt attacks. Some characters are also a little more versatile than others; Superman can suck enemies in for a big punch, rush at them and smack them out of the air, fry them with his heat vision, freeze them with his breath, and perform flying attacks while Lex Luthor relies on his mech suit to fire missiles and blast away from danger. It’s when playing or fighting against the Mortal Kombat characters that long-time series fans will be at their most familiar: Liu Kang tosses his trademark fireballs and flying kicks, Jax grabs his foe and causes shockwaves, Kane launches himself like a cannonball, Scorpion throws his trademark spear, and Kitana uses her fans and dashes about in the air to be her usual annoying self.

Overcome the largely interchangeable fighters to chip away at the monstrous despots.

The lack of powered-up attacks, unique throws, and the generic effects of Rage Mode mean that you really don’t have to tailor your fighting style all that much against different opponents; Raiden’s abilities don’t really make him all that different from Slade Wilson/Deathstroke as both can be jumped over, ducked under, and attacked even if one has a dash and teleport and the other relies more on ranged attacks. You also won’t have to worry about any secret fighters cropping up in the arcade ladder; what you see is basically what you get but you do have to watch for characters like Sonya stringing together their multi-kick attacks in a cheap-ass combo. The exception to this comes in the form of the game’s big bad, Dark Kahn, who basically just looks like a slightly tweaked version of Blaze from Mortal Kombat: Armageddon and fights with a combination of moves from Shao Kahn and Darkseid. Dark Kahn awaits at the end of the story mode and arcade tower and is easily the biggest challenge you’ll face outside of the harder difficulties and opponents getting cheaper and more aggressive. A lumbering, monstrous foe, Dark Kahn can absorb a great deal of damage, gains armour and invincibility frames, and can drain your health bar to nothing in just a few basic swipes to say nothing of his energy barrier, shoulder charge, rising knee, and Warhammer attacks. Your best bet against him is to soften him up with ranged attacks and projectiles and stay moving; hop in, land a combo, and follow it up with a jump kick and then back away to avoid him stringing together his devastating moves in an inescapable barrage. The same is true of Shao Kahn and Darkseid, who act as sub-bosses in the arcade ladder; individually, they’re almost as formidable as their merged form, with both able to stun you with their hammer, fry you with their eye lasers, and smash you into the ground with a leaping attack. While you can’t play as Dark Kahn or perform your finishing moves on him, you can perform your finishing moves against Shao Kahn and Darkseid but, while both of these characters are unlocked after finishing the story mode (and, confusingly, pressing RB on the character select screen rather than adding them to the roster), neither of them have Fatalities of their own. Ultimately, while these three aren’t as impossible or as cheap as other Mortal Kombat bosses and sub-bosses, none of them really challenge your combat skills beyond relying on hit-and-run and spam tactics much like the previous two Mortal Kombat videogames that just ended with this hulking beast that could wreck you if given a chance rather than something that actually requires a bit more skill.

Power-Ups and Bonuses:
There’s absolutely nothing on offer in this regard in Mortal Kombat vs. DC Universe beyond the individual character’s special moves; this game is severely lacking even for a one-on-one fighter as there are no codes or options to spice up gameplay, no weapons to grab, barely anything to interact with in stages, and characters don’t even get buffs or anything with their special moves the closest they get is teleporting, surrounding themselves in a damaging aura for a bit, or tossing bombs or grenades either close, mid-range, or far away.

Additional Features:
There are fifty Achievements on offer in Mortal Kombat vs. DC Universe; many of these are obtained simply by playing through the story mode, with Achievements popping after certain chapters and completing each (and both) stories. Simpler ones are acquired by performing a ten-hit combat, initiating Klose- and Free-Fall Kombat, and performing one Fatality or Heroic Brutality. Things get a little more complicated and frustrating when you try to perform all of these moments as a handful of them require you to press up, which makes you jump and interrupts the sequence, and in trying to get the 5G Achievements from completing each character’s Kombo Challenge otherwise, you’ll get Achievements for finishing the arcade ladder with all characters and competing in online fights, which are probably impossible to get these days. These involved standard fare that you might expect, as mentioned, and you can fight locally, but beyond unlocking every character’s ending and trying to finish their Kombo Challenges, there really isn’t anything else on offer here once you’ve finished the story mode and a few arcade ladders. There’s no concept art, character models, or extras to unlock, no gear or skins or arenas to unlock, and no downloadable fighters on offer, making for an extremely barebones and lacklustre fighting title that struggles to compete against others in the genre or even its predecessors.

The Summary:  
There was a lot of promise in the concept of Mortal Kombat vs. DC Universe; after the success that Capcom had with their ventures with Marvel Comics, this could’ve been a great springboard to a more mainstream audience. Sadly the game is let-down at almost every turn: everything from the music to the visuals and the depths of the combat is just lacking, to say nothing of the additional features and options for replayability. It’s interesting revisiting this after playing Mortal Kombat ’11 since that game was supposed to be the franchise’s back-to-basics approach but it’s hard to get more barebones than Mortal Kombat vs. DC Universe. Even some of the 2D games had little extras, mini games or cheats or options to tweak the gameplay, but there’s absolutely nothing here, not even alternate skins for the fighters! The story mode is okay; it’s a paper thin excuse to mash these worlds together but it works, but I have no idea why it’s not a twenty-chapter mode that lets you play as each character from both sides. I’m actually a bit lenient on the lacklustre finishing moves; I get that the game couldn’t show spines being ripped out and flash being melted, but I think a little more effort could’ve gone into these and I really don’t like the term “Heroic Brutality”. The Free-Fall Kombat, Klose Kombat, and stage transitions are somewhat interesting, but the stages are so bland and empty that they’re completely wasted here. similarly, the lack of individuality to these colourful characters and the generic nature of their special moves and the Rage Mode really make this probably the most mediocre game in the entire franchise. Ultimately, this feels like a rushed, budget title that was hampered by pressing deadlines and financial pressure and a complete waste of the DC license. If you can get it cheap, give it a try and nab some easy Achievements, but otherwise you’re better off playing NetherRealm’s later games as this is just such a throwaway disappointment of a game.

My Rating:

Rating: 1 out of 5.

Terrible

What did you think to Mortal Kombat vs DC Universe? Were you disappointed by its use of the DC license? What were your thoughts on the game’s story and its depiction of these worlds merging? Which of the game’s fighters was your favourite and why? What did you think to the Free-Fall and Klose Kombat features? Were you disappointed by the lack of special features and the Rage Mode mechanic? Which characters or features would you have liked to see added to the game? Which Mortal Kombat and/or DC Comics videogame, movie, comic, or other piece of media is your favourite? Are you a fan of multiverse stories and crossovers? Whatever you think about Mortal Kombat vs DC Universe, sign up to leave a comment down below or leave your thoughts on my social media and be sure to check back in next Tuesday for more Crossover Crisis content!

Game Corner [JLA Day]: Justice League Heroes (PlayStation 2)

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To celebrate the release of Justice League (Snyder/Whedon, 2017), DC Comics named November 18 “Justice League Day”. Sadly, this clashes with something else I have planned for that date this year but, setting aside all the drama surrounding that movie, this still provides a perfect excuse to dedicating some time to talking about DC’s premier superhero team, which set the standard for super teams in comics by bringing together DC’s most powerful heroes.

Released: 22 November 2006
Developer: Snowblind Studios
Also Available For: Nintendo DS, PlayStation Portable, and Xbox

The Background:
After coming together in November 1959, the Justice League of America (JLA) quickly became one of DC Comic’s best-selling titles. This shouldn’t be entirely surprising considering the team came to be comprised of DC’s most popular characters: 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 (also known as “John Jones”)/Martian Manhunter. The team saw many members come and go over the years but was a constant staple of DC’s library of comic books and soon expanded into other media. Interestingly, the Justice League’s success hasn’t always resulted in the best videogames, though, meaning developers Snowblind Studios faced a bit of an uphill battle right from the start when creating Justice League Heroes. Built out of a modified engine of their critically acclaimed title Baldur’s Gate: Dark Alliance (ibid, 2001), the developers ending up removing features from that game and engine to focus on extending the length of Justice League Heroes, which has more than a few similarities to Marvel: Ultimate Alliance (Raven Software/Barking Lizards Technologies, 2006), which released about a month earlier. Reviews of the game were mixed across platforms, though, and the game was generally regarded as a bit of a mediocre and mindless beat-‘em-up.

The Plot:
The Earth is under attack from the robot forces of Brainiac, who has coerced many of the world’s most notorious supervillains into helping him consolidate the power afforded to him by a mysterious box from the stars. In response, the world’s greatest heroes, the Justice League, leap into action and team up to oppose Brainiac’s plot in a globe-trotting adventure that requires all of their individual abilities and skills.

Gameplay:
Justice League Heroes is a top-down action brawler in which you (and either another player or a computer-controlled partner) battle through a number of recognisable locations from the DC universe as various members of the Justice League. The game’s story is split into a number of missions that see two members of the Justice League teaming up at any one time; a second, human player can join the game at any point from the pause menu, a solo player can freely switch between the two heroes at will by pressing up on the directional pad (D-pad), and you’ll also be tasked with assembling one or more custom teams of two characters later in the story but you’ll never get the opportunity to switch out characters completely or replay missions with different characters. Gameplay in Justice League Heroes revolves almost entirely around beating up endless hoards of robots and aliens and solving some very light puzzles; characters can jump with a press of the Triangle button (and double jump or fly/glide with subsequent presses depending on who you’re playing as), attack with strong and fast attacks with Circle and X, respectively, and can grab enemies or objects with Square and block incoming attacks by holding R1. By entering different button presses (X, X, O, for example), players can pull off simple combo attacks to take out enemies but there are, sadly, no team up attacks to be found here.

The Justice League’s various superpowers are at your disposal and can be upgraded to be more effective.

While every character controls the same except for their ability to fly or glide, each one is made slightly different from the other through their individual superpowers. By pressing L1 and either Triangle, Square, Circle, or X, players can pull off their character’s signature super moves as long as they have enough energy stored up. This allows you to blast enemies with Superman’s heat vision, for example, or turn them into rabbits with Zatanna Zatara’s magic, or smash them with John Stewart/Green Lantern’s massive sledgehammer. Pressing L1 and R1 will see each character (with some exceptions) pull off a more powerful  super special attack which, again, varies per character; Superman, for example, will become stronger while Batman unleashes a swarm of bats to damage foes and Martian Manhunter briefly becomes intangible and invisible. They’re all pretty useful and different enough in their own way, with most characters having a projectile of some sort, a move to boost their attack or speed, or being able to stun or otherwise incapacitate enemies and you’ll sometimes (very rarely) need to use a specific character’s superpowers to bypass obstacles in order to progress. When playing alone, you can also issue simple commands to your partner using the D-pad; this allows you to increase the aggressiveness of their attack or have them focus on defence, which can be useful when teamed with Zatanna as she’s able to heal all team members.

Rescue civilians, activate consoles, and destroy certain targets to progress amidst the mindless brawling.

Overall, I found the computer to be surprisingly useful and competent; if your partner gets downed, however, you’ll have to rush in to revive them but the game automatically revives any downed characters when you reach one of its numerous checkpoints and enemies will often drop health-restoring orbs to keep you ticking over. Furthermore, if you’re able to attack enemies without taking damage, you’ll build up your “Heroic Meter”, which will increase your damage output until you get hit, and you can alter the difficulty of the game and its enemies by selecting different difficulty settings from the main menu. Despite the game being extremely linear, the developers included a helpful mini map, which you can expand by pressing in the right analogue stick. This isn’t always necessary but, as many of the environments are rather drab, grey, similar, and somewhat labyrinthine at times, it’s a welcome addition to keep you on track even during the game’s shorter and more straightforward missions. Unfortunately, the top-down view can be rather restrictive at times; many areas are filled with debris or obstructions and it always seems like you can only see just enough of the area, which can lead to enemies catching you off guard or hiding behind parts of the environment with no way to see them as they don’t show up on the map. It’s not all mindless brawling, either; occasionally, you’ll be tasked with rescuing a number of civilians or hostages, faced with a time limit, or directed to activate consoles to lower barriers in order to progress. As alluded to earlier, these very rarely require you to use the Flash’s superspeed or the Martian Manhunter’s intangibility to get past obstacles and stop fans, lower energy barriers, or deactivate Kryptonite hazards so that you can progress further. Sometimes you’ll also need to destroy a wall or use a character’s flight to progress across rooftops and, in the final portion of the game, you’ll not only have to protect Superman as he smashes through Darkseid’s fortress but you’ll also be faced with an extremely frustrating and confusing teleport puzzle that was the only time I had to actively look up a solution online.

Graphics and Sound:
Thanks to its zoomed out, top-down perspective, Justice League Heroes is, largely, able to get away with hiding any inconsistencies and defects in its in-game character models. Since you never really see your characters up close, the developers can have them talk and drop hints and quips without really needing to animate their mouths and the simple beat-‘em-up action of the game means that characters just need to look somewhat decent when they throw punches, grab cars, or blast out energy beams. And, for the most part, they do; there’s some neat little touches here and there (like Martian Manhunter being able to transform into his true, more monstrous form and the Flash being accompanied by a speed force double and lightning) and characters are always talking so you know when you need to drop or combine Boosts or have a vague idea of how the story is progressing.

Sadly, the game’s environments and enemies tend to be quite dark, bland, and boring.

Sadly, enemies and environments don’t always live up to the colourful and eye-catching depiction of the titular Justice League. It takes a long time for you to battle anything other than Brainiac’s generic robots or explore areas beyond the wrecked streets of Metropolis or the cold, grey corridors of Scientific and Technological Advanced Research Laboratories (S.T.A.R. Labs) and the like. Eventually, though, you do venture into more visually unique environments like the subways, a honeycomb and sap-encrusted hive, the ruins of J’onn’s civilisation on Mars, Gorilla City, a Lovecraftian dimension populated by strange rock creatures and living tentacles, and a version of Apokolips created on Earth but there’s very little variety offered in terms of the enemies or puzzles and hazards you face as you progress. No matter where you are, it’s the same thing every time: defeat all enemies, maybe activate a console, and reach the end of the stage.

Even Ron Perlman can’t salvage the blurry, rubbery graphics of the game’s cinematics.

The bulk of the game’s story (which is about as generic as you can get for a Justice League videogame) is conveyed through CG cutscenes featuring the traditional rubbery-looking graphics you’d expect from a PlayStation 2 game. I did notice some slowdown when there was a lot happening onscreen and, in terms of music and sound, the game is very unimpressive; the voice cast isn’t even the same one as in the popular Justice League animated series (2001 to 2006) and, while I love me some Ron Perlman, he just sounds bored whenever his Batman speaks (I’m also not really a fan of how often Batman is shown in broad daylight).

Enemies and Bosses:
As I’ve mentioned a bit already, you’ll wade through numerous disposable enemies in your mission to stop Brainiac and his lieutenants but none of them are particularly interesting. You’ll battle robots of varying sizes, humanoid wasps, White Martians on the surface of Mars, Gorilla Grodd’s gorilla forces, and Parademons but, once you’ve fought one lot of enemies, you’ve fought them all as they all feature regular foot soldiers who shoot at you and both flying and bigger variants that can take a bit more punishment. Honestly, the only enemies I even remotely found interesting were the weird crab and toad-like enemies you face later in the game and the instances where you battle Brainiac’s skull robots and failed clones of Doomsday because they at least looked a little different.

Many of the game’s bosses require you to fend off minions or destroy or activate consoles to attack them.

Before you can defeat Brainiac, you’ll have to battle a number of bosses; some of these are simply bigger, more dangerous versions of enemies you’ve already fought or Brainiac’s more deadly robots and duplicates. You’ll battle a Brainiac duplicate in S.T.A.R. Labs, for example, but this fight isn’t just about throwing punches. Instead, you have to activate consoles to lower barriers and rescue the scientists against a time limit all while “Brainiac” fires lasers and energy blasts at you. You’ll also encounter some of the more obscure villains from DC Comics’ gallery; Queen Bee has established a hive in the Metropolis subway and is transforming civilians into monstrous insect hybrids and, when you confront her in her throne room, she shields herself from your attacks and rains missiles into the arena that make the floor sticky. She’s only vulnerable when she leaves her throne but your window of opportunity to attack her is hampered somewhat by her minions, her energy blasts, and her tendency to dart across the screen like a madwoman. You’ll also butt heads with the Key, of all people. Like with Brainiac’s duplicate, you have to rescue some scientists against a time limit during this battle but the Key proves to be a particularly elusive and versatile enemy as he teleports around the place and causes hazards to blast out from his dimensional portals.

Grodd and Brainiac use their powers, technology, and minions to keep you at bay.

Similarly, when fighting Doctor Louise Lincoln/Killer Frost, you’re given one minute and forty seconds to destroy three missiles (and five seconds to get away from each before they explode) in addition to battling her and her icy minions. Killer Frost can conjure grunts, form ice shields, and blast at you with ice and icicles, all of which can make battling her quite tricky and annoying as your attentions are constantly divided. After reaching the core of a pyramid-like structure on Mars, Superman and the Martian Manhunter have to battle the White Martian leader; this guy is also accompanied by disposable White Martian grunts and you’re tasked with activating four nearby power nodes to defeat him. Things get noticeably more interesting when the Justice League splits into teams; while one team flies through the upper atmosphere destroying generators on invading spacecraft, another destroys power turbines in Gorilla City and gets into a confrontation with Gorilla Grodd. Grodd primarily uses his staff to attack and is joined not only by an inexhaustible supply of gorilla minions but also a series of energy-firing turrets so it’s probably best to try and keep your distance and stay on the move to emerge victorious in this fight. After battling their own security system in their Watchtower space station, the Justice League then faces off with a larger, more powerful Doomsday clone that, unlike pretty much every other boss in the game, boils down to a question of who can attack hardest and fastest rather than distracting you with tricks and puzzles.

Of course Darkseid turns out to be the true final boss of the game!

Eventually, you’ll breach Brainiac’s main base and be forced to battle his three robot guardians before you confront him; Brainiac is completely protected by an energy shield and is only vulnerable when he rises from his throne and only for a brief window of time. He also likes to teleport you to the far end of the arena, where you’re forced to destroy the generators that power his barriers and take out some minions just to get back up to him, so it’s more a question of patience than anything. As you might have guessed, the moment you defeat Brainiac he is immediately usurped by Darkseid, who teleports you away to a hellish dimension and then converts Earth into a new Apokolips. You’ll need to assemble two teams of four to confront Darkseid, who stomps around his throne room creating shockwaves and plumes of fire along the ground and blasting at you with his powerful Omega Beams. Being an all-powerful New God, his health also regenerates over time, meaning you’ll have to keep pummelling him again and again in order to keep him down. This was, honestly, a bit of a confusing fight; you can grab the “Apokolips Hypercube” nearby, which seems to weaken him and make him vulnerable to your attacks but I also found myself running around with it in my hands and not doing any damage to Darkseid at all and then he just suddenly succumbed to my attacks and was defeated.

Power-Ups and Bonuses:
In almost every area in the game, you’ll find objects that you can grab and use as weapons; some of these are limited to the specifics of your character, though, meaning that you won’t be lifting cars over your head as, say, Oliver Queen/Green Arrow, for example. Still, you can grab post boxes and parking meters and cars and such to bash over enemy’s heads, which adds a bit of variety to the otherwise relentless combat. You can also pick up temporary power-ups throughout each environment to give yourself and your team mate a bit of a power boost so it can be worth exploring a little bit and smashing destructible objects wherever you see them.

Level-up to increase your stats power-up your attacks with Skill Points and Boosts.

The game also features some light role-playing elements; as you defeat enemies, you’ll gain experience points (EXP) and level-up once you’ve earned enough EXP. This will increase your stats and abilities but you also earn Skill Points that you can spend upgrading your character’s superpowers up to five different ranks to increase their effectiveness and duration. Additionally, enemies will also drop various “Boosts” that you can equip at any time; you can also combine Boosts together to create new, more powerful Boosts and equipping these will also boost your superpowers, increase your damage output or defence, or increase the range and duration of your attacks.

Additional Features:
Although the game is extremely linear, there are often some rewards to be found through exploration; generally, these will just be stockpiles of health, energy, or Boosts but you’ll also find be civilians in danger who need rescuing who will drop “Justice League Shields”. Shields can also be found by destroying parts of the environment and you can spend these on skins and additional characters. While you can select any of the unlockable costumes at any time, they won’t actually load until you reach the next checkpoint/area and you can only select to play as the unlocked characters when the game allows you to pick a team of your own. The skins available are quite impressive, though; while not every character gets a skin, some offer bonus boosts to your stats and there’s some fan favourites available here, like Superman’s black suit, Batman’s traditional blue and grey suit, and the Jay Garrick version of the Flash. You can also unlock the likes of Green Arrow, Aquaman (sporting his water hand), Helena Bertinelli/The Huntress, and what I assume is the Kendra Saunders version of Hawkgirl.

Unlock additional characters, costumes, and modes by finding Shields and completing the game.

You’ll notice, however, that neither Huntress, Aquaman, or Hawkgirl have an L1+R1 special move, though I’m not entirely sure why. You can also unlock Hal Jordan and Kyle Rayner but, despite these two being separate characters, they control exactly the same as John Stewart, which is a little disappointing; none of the unlockable characters have alternate costumes either, which is a bit of a missed opportunity in my book. Initially, you can select from Easy, Normal, or Hard difficulties but you’ll unlock two more difficulty levels (Elite and Superhero, on which most enemies will kill you in one hit) and be given the option of starting the game over from the beginning with all of the upgrades and EXP you amassed during your run upon completing the game. Sadly, there’s no option to free play any mission with any character, no versus mode, and no option to play online or with more than one other player but there are a number of cheats that you can activate from the pause menu to give yourself invincibility, infinite energy, all upgrades, and a bunch of Shields to quickly unlock all of the game’s skins and characters.

The Summary:
Justice League Heroes isn’t going to really offer you anything you can’t get from any other mindless beat-‘em-up; the stages and enemy designs can be very bland and boring and there really isn’t much asked of you other than to mash the same buttons over and over and activate a few consoles. Still, as a fan of beat-‘em-ups and brawlers, I found Justice League Heroes to be a pretty decent way of spending an afternoon; there’s a lot of characters available to you and I like that the story mixes the teams up quite often and allows you to put together your own teams, and the game is probably even more enjoyable with a friend to play with. There could have been more options and unlockables available (such as free play mode, maybe some challenges, and a boss rush), the music and graphics can stutter a bit, and the game is awash with dark, boring, grey locations, but, as a repetitive brawler featuring the Justice League, it’s decent enough, though probably not very appealing to those that aren’t fans of the source material and characters.

My Rating:

Rating: 2 out of 5.

Could Be Better

Have you ever played Justice League Heroes? If so, what did you think to it? Were you disappointed by the game’s presentation, selection of villains, and the inability to freely pick characters on the go? Which of the available characters was your favourite and preferred duo? What genre do you think would work for a future Justice League videogame? What version of the Justice League is your favourite and are there any DC superheroes you’d like to see added to the team someday? How are you celebrating Justice League Day this year? Whatever your thoughts on Justice League Heroes, and the Justice League in general, feel free to drop a comment below.

Game Corner [Crossover Crisis]: Injustice: Gods Among Us (Xbox 360)

Dr. K2 Comments

In April of 1985, the first issue of the ground-breaking, twelve issue Crisis on Infinite Earths (Wolfman, et al, 1986) was published. This event, which was easily the biggest in DC Comics at that point (and for many years), saw the destruction of the “Multiverse”, an infinite number of parallel worlds, and the awkward establishing of one unified DC canon. Over the years, DC have returned to this concept again and again, retconning it, expanding upon it, and milking it to the point of excess but that doesn’t change how influential this massive crossover was. To celebrate this momentous event, I’ll be taking a look at multiversal crossovers every Wednesday in April in an event I’m calling “Crossover Crisis”.

Released: 16 April 2013
Developer: NetherRealm Studios
Also Available For: Arcade, Mobile, PC, PlayStation 3, PlayStation 4, PlayStation 5, PlayStation Vita, Xbox One and Xbox Series One X/S (Backwards Compatible), Wii U

The Background:
When it was first released, Mortal Kombat (Midway, 1992) was a phenomenal success for Midway because of its focus on gore and violence, and it offered some real competition for Street Fighter II: The World Warrior (Capcom, 1991) in arcades and on home consoles. For a time, the series seemed unstoppable during the 2D era of gaming but struggled to find a footing in the emerging 3D fighter arena and Mortal Kombat seemed to be in jeopardy after Midway went bankrupt in 2010. The main reason for this was the poor reception of Mortal Kombat vs. DC Universe (Midway Games, 2008), the first collaboration between Midway’s Mortal Kombat and the DC Comics characters owned by Warner Bros. Interactive, which was hampered by age-related restrictions. Luckily, Warner Bros. Interactive stepped in and the team, now rebranded to NetherRealm Studios, immediately set about getting their violent franchise back on track; Mortal Kombat (NetherRealm Studios, 2011) was subsequently very well-received for its “back to basics” approach and, bolstered by the reboot’s success and eager to take advantage of the vast library of characters of their parent company, NetherRealm Studios sought to expand upon the game’s mechanics with a new, all-DC brawler. Although the game wasn’t as bloody and violent as its sister series, Injustice: Gods Among Us was a massive critical and commercial success that was followed up by not only a bunch of additional fighters and skins added as downloadable content (DLC) but also a sequel in 2017 and a critically-acclaimed comic book series.

The Plot:
In an alternate reality, Clark Kent/Superman has become a tyrant and established a new world order after the Joker tricked him into killing Lois Lane before destroying Metropolis with a nuclear bomb. In an effort to stop him, Bruce Wayne/Batman summons counterparts of the Justice League’s members from another universe to join his insurgency and end the totalitarian regime that threatens to subjugate the entire world.

Gameplay:
Just like Mortal Kombat, Injustice: Gods Among Us is a 2.5D fighting game; however, this time you’re able to select one of twenty-four characters from the DC Universe and battle it out in the game’s single-player story mode, one-on-one against another player or computer-controlled opponent (both on- and offline), tackle numerous arcade-style ladders, or take on character-specific missions in Scientific and Technological Advanced Research Laboratories (S.T.A.R. Labs) training scenarios. Just as you’d expect from a Mortal Kombat videogame, Injustice’s fights take place in a best-of-three format (although there are no longer announcements or screen text between each round) and against a time limit, though you can alter these settings (and many others, such as the game’s difficulty) to your heart’s desire in the game’s options to suit your playstyle.

Attack with strikes, grapples, and combos to pummel a number of DC’s most recognisable characters.

If you’ve played the Mortal Kombat reboot then you’ll be immediately familiar with this game’s fighting mechanics and controls, although there are subtle differences: X, Y, and A are assigned to light, medium, and heavy strikes, for example, and may be either punches, kicks, or weapon-based melee attacks depending on which character you’re playing as. You can still grapple and throw your opponent with the Left Bumper (or X and Y and a directional input), dash towards or away from the opponent with a double tap of the directional pad (D-Pad), but now you must hold back on the D-Pad while standing or crouching to block, which can make blocking a bit trickier as sometimes you’ll simply walk or dash backwards when trying to block. If your opponent is crouch-blocking, you can land an attack by pressing towards and A for an Overhead Attack, and string together light, medium, and heavy attacks with directional inputs and your various special moves to pull off quick and easy combos. As is the standard for NetherRealm Studios’ releases these days, you can practise the game’s controls and mechanics as often as you like and take part in a very user-friendly tutorial to learn the basics of the game’s simple, but increasingly complex, fighting mechanics. You can also view your character’s moves, combos, special attacks, and “Character Power” from the pause menu at any time, allowing you to also see a range of information (such as where and how to pull of certain moves, the damage they inflict, and frame data).

Utilise Character Powers and the always-annoying Clash Breakers to whittle down your foe.

Each character has a range of special attacks that are unique to them; these mostly consist of certain projectiles or grapples and strikes but can also include various buffs for your character or to slow down your opponent. Each character also has a specific Character Power that is performed by pressing B; this sees Batman summon and attack with a swarm of bats, Oliver Queen/Green Arrow fire different trick arrows at his opponent, Doctor Harleen Quinzel/Harley Quinn gain various random buffs, and allows characters like Diana Prince/Wonder Woman and Rachel Roth/Raven to switch between different fighting styles and thus access different special attacks. While some Character Powers have a cool-down period, others don’t, but they can also be detrimental to you; for example, Slade Wilson/Deathstroke can briefly give his shots perfect aim but, once the Character Power is expended, he’ll miss every shot until it refills. Another new addition to the game is the annoying “Wager” system; when the Super Meter is filled up by two bars, you can press towards and RT when blocking an attack to play a quick mini game where you and your opponent select how much of your Super Meter to gamble. If you win, you’ll regain some health; if you lose, the opponent regains health; and if you tie then you both lose. Personally, if find these “Clash Breakers” even more annoying than the usual “Breakers” seen in the modern Mortal Kombat games as I never win them and they generally just unnecessarily prolong a fight (and, even worse, there’s no option to turn them off).

Different characters attack and interact in different ways according to their strengths.

In a bridge between the differing character movesets of Mortal Kombat and the “Variation” mechanic seen in Mortal Kombat X (NetherRealm Studios, 2013), Injustice features a limited “Class” system whereby characters are split into two camps: Gadget- or Power-class characters. Gadget characters are generally smaller, faster, and rely on various tricks and weapons in fights while Power-class characters are typically bigger, often slower, and rely more on brute strength. One of the main ways you’ll notice the difference between playing as, say, Barry Allen/The Flash and Cyrus Gold/Solomon Grundy is that they interact with the game’s fighting stages in different ways. As in Mortal Kombat X, you can press the Right Bumper when indicated to use (or attack your opponent with) various environmental hazards, such as firing missiles at them or knocking them into the background. But, whereas Superman will wrench a car out of the air and slam it on his opponent, someone like Dick Grayson/Nightwing will rig the same car to explode or somersault off the environment to get behind their foe rather than try to crush them with a wall.

In addition to powerful Super moves, you can bash your foe into new areas using stage transitions.

As you might naturally expect, there are no Fatalities or gruesome finishing moves in Injustice (not even “Heroic Brutalities”). However, when your Super Meter is full, you can still press LT and RT together to pull off a devastating Super Move; while you won’t see bones breaking and organs shattering like in Mortal Kombat’s X-Ray Moves, it’s still pretty fun to see Hal Jordan/Green Lantern transport his opponent to Oa to pummel them with his constructs, Ares shower his foe with arrows and stamp on them while grown to gigantic proportions, Arthur Curry/Aquaman force his enemy into the jaws of a ferocious shark, and Bane demolish his opposition with a series of throws and grapples, culminating in his iconic backbreaker. Another way the game separates itself from Mortal Kombat is stage transitions; when near the far edge of certain stages, you can hold back and A to wallop your opponent through the wall or off into the background where they’ll be smashed up, down, or across to an entirely new area of the stage which often allows more stage interactions and new stage transitions available for your use.

The story involves multiverse shenanigans against corrupted heroes and features some QTEs.

You might wonder exactly how someone like Louise Lincoln/Killer Frost can survive being blasting through the brick walls of Wayne Manor or go toe-to-toe with the likes of Doomsday but the game’s entertaining story mode explains that, on this alternative world, the tyrant-like Superman has developed special pills that bestow superhuman strength and dexterity to his generals. As is also the standard in NetherRealm’s titles, the story mode is broken down into twelve character-specific chapters, which is again a great way to experience a wide variety of the game’s roster (though Batman does feature as a playable character in two chapters, which seems a bit lazy). You can replay any chapter and fight you’ve cleared at any time, which is great, and skip through the cutscenes after they’ve loaded a bit, and the story mode isn’t all constant fighting either as you’re asked to pull off a handful of quick-time events (QTEs) at various points, such as blasting cars with Superman’s heat vision. The story is a fairly standard multiverse tale of the main canon heroes fighting against their corrupted or misled counterparts but it’s pretty fun and easy to blast through in no time at all.

Fight to earn XP and level-up, unlock additional perks and modes, and take on a series of challenges.

Every time you win a fight, you’ll earn experience points (XP) that will eventually level-up your character profile. This, and performing a certain number of specific attacks, playing through the story mode, and tackling the game’s other modes and mechanics, unlocks icons and backgrounds for your profile card as well as additional skins in certain circumstances. You’ll also be awarded “Armour Keys” and “Access Cards” to spend in the “Archives”, which allows you to unlock concept art, music, more skins, and certain boosts that will increase how much XP you earn, to name just one example. Like in Mortal Kombat, you can also take on ten opponents in arcade ladders in the “Battle” mode; these range from the basic tournament-style ladder to specific challenges against heroes, villains, or battling while poisoned, injured, or with certain buffs (such as a constantly full Super Meter or health falling from the sky). We’d see a similar system be incorporated into the “Towers” modes in later Mortal Kombat games and similar scenarios exist here, such as a survival mode, battling two opponents, or being forced to fight against the computer set to the hardest difficulty.

Graphics and Sound:
Like its violent sister-series, Injustice looks fantastic; there’s almost no difference between the high-quality story mode cutscenes and the in-fight graphics (which, again, makes it all the more frustrating that NetherRealm Studios insist on having character’s endings represented by partially-animated artwork and voiceovers), though it has to be said that the graphics are much more palatable when in a violent fight. I say this purely because I am not a big fan of some of Injustice’s character designs: The Flash looks a bit too “busy”, for example, and Batman’s suit (and cowl, especially) look really janky to me, though I love the representation of Green Lantern and Thaal Sinestro.

In addition to various intros, outros, and Wager dialogue, characters also take on battle damage.

Each character gets a nice little fitting intro and outro for each fight and, between rounds, will perform and quip a variety of taunts to the opponent. In a nice little touch, different character skins get different intros and outros; when playing as the evil Superman, for example, he enters and exits the fight differently to his more heroic counterpart. When playing as different skins, like John Stewart or Hank Henshaw/Cyborg Superman, you’ll also be treated to slightly different dialogue and animations, which is a much-appreciated touch on the developer’s part. Although there aren’t any character-specific interactions in the intros, there are during the Wager cutscenes and, even better, both characters and the arenas will accrue battle damage as the fight progresses! This means that you’ll not only see Selina Kyle/Catwoman’s cat suit rip and her skin be blemished by bruises and blood but arenas will degenerate or change around you the more damage you dish out, which can also allow different intractable options to become available to you.

Stages include a range of recognisable DC locations and take damage as you fight.

Speaking of the stages, Injustice really goes above and beyond to make the best use of the DC license; while it’s a little disappointing to see Arkham Asylum and Wayne Manor feature twice in the game, they are made distinctive by having Joker-ised and night-time variants, respectively (and also being clearly modelled after, and featuring cameos by, the Batman: Arkham (Rocksteady Studios/Various, 2009 to 2015) videogames and villains). Additionally, the use of stage transitions really helps to add a whole new dimension to combat, with some stages featuring more than others (or even none at all), to help ensure that every fight can be a little different. Stages also feature a bevy of other little cameos and DC references, such as the Fortress of Solitude being clearly modelled after Superman (Donner, 1978) while also featuring a portal to the Phantom Zone and a cameo from Starro the Conqueror. Similarly, J’onn J’onnz/Martian Manhunter floats in the background of the Watchtower space station, Floyd Lawton/Deadshot is just hanging out at Stryker’s prison, and Amazons are preparing a boat to launch on Themyscira. Every single stage has a number of intractable elements and changes as you fight, cause damage, or smash foes around, with Gotham City being my favourite as you can battle on the roof with the Bat-Signal and then down to the grimy streets below and then blast your foe back up to the roof using a nearby truck!

Enemies and Bosses:
Injustice helpfully separates its character-selection screen into heroes (on the left) and villains (on the right) but, despite their different alignments (and that their loyalties change due to the multiverse shenanigans of the story), every single one of them will be an enemy of yours at some point as you play through the story, Battles, S.T.A.R. Labs missions, and on- or offline. Consequently, it’s worth keeping track of which character suits your playstyle as some have easier combos and special moves to pull off compared to others, or more useful Super Moves and Character Powers.

Play as, and against, the game’s characters to learn their strengths, weaknesses, and skills.

Additionally, the Class system should also be factored in; Lex Luthor, Doomsday, and Solomon Gundy may be powerful and capable of gaining armour to tank through attacks but they’re also a lot slower on their feet and with their jumps. Superman and Shiera Hall/Hawkgirl are much faster Power-class characters but can also have their own drawbacks at times depending on your playstyle (Superman’s Character Power, for example, simply powers up his attacks rather than being a more offensive move like, say, Areas being able to conjure massive magical weapons). Personally, I tend to lean more towards Gadget-based characters, like Nightwing (who can switch between using quick batons or a longer bo staff to attack) or Green Arrow (whose arrows and bow allow for both ranged attacks and blindingly fast melee attacks).

Take on the corrupted Superman and banish him to the Phantom Zone for his crimes!

Unlike Mortal Kombat, Injustice doesn’t really feature any secret or hidden fights or unplayable sub-bosses or boss characters; the story mode and basic arcade ladder culminates in a battle against the corrupted Superman that is a far fairer and more competitive fight compared to the finales of NetherRealm’s recent Mortal Kombat games. While Superman is definitely a bit more of an aggressive foe, even on the game’s easiest difficulty, he doesn’t gain inexplicable armour, can be stunned, and doesn’t deal ungodly amounts of damage or spam his attacks like a cheap bitch. Additionally, he doesn’t transform into some monstrous final form and, instead, the final battle is a far better use of the skills you’ve built up through regular gameplay rather than forcing you to resort to cheap tactics and tricks.

Power-Ups and Bonuses:
Because it lacks a “Test Your Luck” mode and “Kombat Kodes” for multiplayer fights, there aren’t really any in-game power-ups available to you outside of the various status effects seen in the Battle mode. As before, though, some characters can gain in-game buffs with their special attacks and Character Powers: Lex Luthor, for example, can erect a shield, Doomsday can cover himself in impenetrable armour for a brief period, and Solomon Grundy slows time down and drains his opponent’s health with his swamp gas. However, you’ll earn yourself additional XP if you mix up your fighting style and take advantage of stage interactions and transitions, which will allow you to unlock further customisation options for your profile card, and you can also earn additional skins and rewards by playing and linking up to the mobile version of the game.

Additional Features:
There are fifty Achievements up for grabs in Injustice, with three of which being directly tied to the story mode (50- and 100% completion and succeeding at all of the QTE mini games). Others are tied to the game’s online modes, levelling-up to specific levels, customising your profile card, and finishing Classic Battle with one (and every) character. There are also some character-specific Achievements on offer, including performing every character’s Super Move or a ten-hit combat and winning a fight using only arrows as Green Arrow, or landing at least twelve shots without missing as Deathstroke. Batman is the only character to have two specific Achievements tied to him, though, as you’ll get some G for winning a match using all of his special moves and his Super Moves and for defeating every villain as him.

Injustice included some surprising DLC fighters; even Scorpion showed up!

Another standard of NetherRealm Studios is their addition of further skins and characters through DLC; you can get skins to play as John Stewart, Cyborg Superman, and the Flashpoint (Johns, et al, 2011) Batman, among others, and they’re all easily applicable when selecting a character (no need for extraneous “Gear” here). While the game’s DLC characters have no additional Achievements tied to them, Injustice included some fun and interesting extra fighters; Lobo, General Dru-Zod (who also sports his Man of Steel (Snyder, 2013) look as a skin), Barbara Gordon/Batgirl, Zatanna Zatara, and the Martian Manhunter were all great choices to add to the roster and it was nice to see NetherRealm Studios exercise a little restraint and not overload the DLC with additional Batman characters. By far the most exciting DLC fighter was the inclusion of Scorpion, who sports a Jim Lee redesign and began a trend of DC and Mortal Kombat characters appearing in each other’s games.

Take your fight online or complete a series of increasingly tricky S.T.AR. Labs challenges.

When you’ve had enough of the story mode and regular battle options, you can take the fight online in a series of matches; here; you can participate in ranked and unranked fights and “King of the Hill” tournaments where you watch other players fight until it’s your turn and bet on who’s going to win. The S.T.A.R. Labs missions will also keep us offline, solo players occupied for some time; these are expanded upon when you download the DLC fighters, which is much appreciated and, similar to Mortal Kombat’s “Challenge Tower” mode, basically serve as extended tutorials for each of the game’s characters. You’ll take on ten character-specific missions, with each one getting a little bit of text and maybe a picture to set the context of the mission, and these range from performing certain combos or attacks, winning fights, or completing tricky challenges (such as guiding Catwoman’s cat through laser trip wires, avoiding damage or debris, or racing against Superman).

The Summary:
Injustice: Gods Among Us is a far better marriage of Mortal Kombat and DC Comics than Mortal Kombat vs. DC Universe and a fantastic expansion of the gameplay mechanics and features NetherRealm Studios revitalised their violent fighting game series with in Mortal Kombat (2009). While Injustice is obviously not as gory or violent as its sister-series, that doesn’t make it any less fun and it’s still a very brutal fighter; the Super Moves, especially, and certain character’s outros (such as the Joker’s) are definitely in the Mortal Kombat mould. With gorgeous in-game graphics, a fantastic amount of variety thanks to all of the character’s different special attacks and gameplay mechanics and the stage transitions, and a simple to learn, easy to master fighting system, Injustice is an extremely enjoyable game for anyone who’s a fan of either franchise or fighting games in general. The story is a breeze to get through (thought it is essentially every basic multiverse story ever told in comics) and nicely varied with some QTE sequences; the S.T.A.R. Labs missions and different arcade ladders are much more enjoyable and challenging than in its sister-series and there are plenty of character options, variety, and unlockables to keep you busy. Best of all, the game isn’t bogged down by endless grinding to unlock Gear, skins, or other perks and is a much more user-friendly and accessible fighting game, and overall experience, than its sequel.

My Rating:

Rating: 4 out of 5.

Great Stuff

Were you a fan of Injustice: Gods Among Us? What did you think to it as a blend of Mortal Kombat and DC Comics? What were your thoughts on the game’s story and its depiction of a parallel world terrorised by a corrupted Superman? Which of the game’s fighters was your favourite and why? Did you buy the base game and all the DLC packs separately or did you pick up the Ultimate Edition when it released later? What did you think to the additional DLC characters and skins? Were there any characters or features missing from the game for you? Which DC Comics videogame, movie, comic, or other piece of media is your favourite? Are you a fan of multiverse stories and crossovers? Whatever you think about Injustice, leave a comment down below and be sure to check back in next Wednesday for more Crossover Crisis content!

Back Issues [JLA Day]: The Brave and the Bold #28

Dr. K13 Comments

To celebrate the release of Justice League (Snyder/Whedon, 2017), DC Comics named November 18 “Justice League Day”. Sadly, this clashes with another pop culture holiday but, setting aside all the drama surrounding that movie, this still provides a perfect excuse to dedication some time to talking about DC’s premier superhero team, which set the standard for super teams in comics by bringing together DC’s most powerful heroes.

Story Title: “Starro the Conqueror!”
Published: 29 December 1959 (cover-dated March 1960)
Writer: Gardner Fox
Artist: Mike Sekowsky

The Background:
All Star Comics (1940/1941), brought together eight superheroes from a number of different publishers for the first time as the Justice Society of America (JSA). This not only heralded the birth of the first ever superhero team in comics but also allowed readers to see their favourite characters interacting all for the same price as reading any one comic. The JSA’s roster expanded and changed over the years but the team underwent their most significant change when, in the late 1950s, then-editor Julius Schwartz asked writer Gardner Fox to 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. Though the team debuted in The Brave and the Bold #28, a title famous for featuring team-ups between various fictional and superheroic characters, the team’s actual origin wasn’t revealed until the ninth issue of their self-titled series, which became one of DC Comic’s best-selling titles. As with the JSA and other super teams, the JLA’s roster has changed over the years and many splinter groups and spin-offs have been introduced but perhaps there is no more iconic line-up than the JLA’s original roster that was comprised of DC’s heavy-hitters: 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 (referred to here as “John Jones”)/Martian Manhunter.

The Review:
“Starro the Conqueror!” begins with the odd choice to not detail the first time these superheroes joined forces and, instead, starts off with the seven heroes already having agreed to come together in times of crisis (they each have a signalling device to summon the others). I kind of like this on the one hand as it suggests that DC’s top superheroes already set aside their differences for the greater good without any real fuss and it helps speed things up but, on the other hand, it feels a bit out of place to not detail the first meeting of these heroes. Anyway, the first member of the team to become aware of an impending threat is Aquaman who, thanks to information provided to him by a puffer fish, is learns of the arrival of the gigantic extraterrestrial starfish known as Starro.

Aquaman’s summons is answered by some of DC’s greatest superheroes.

This monstrous being has travelled across the depths of space to Earth with one goal in mind: conquest. To that end, Starro…somehow…transforms three of Earth’s starfish into replicas of itself and spreads them across the world to begin its mad scheme. Aquaman’s summons are immediately picked up and answered by Wonder Woman (who is in the middle of an awkward conversation with her beau, Steve Trevor, regarding marriage), Green Lantern (who, as Hal Jordan, was in the middle of a test flight), the Flash (who quickly disperses of a potentially life-threatening tornado), and the Martian Manhunter (who was simply about to start his vacation…). Each of these introductory panels immediately gives the reader and idea of what each character is capable of: Aquaman can breath underwater and talk to fish, Wonder Woman has an invisible jet, Green Lantern’s ring allows him to perform virtually any task, the Flash is super fast, and the Martian Manhunter can shape-shift. Aquaman’s signal also reaches Superman and Batman but the two are unable to respond right away since Superman is busy taking care of a potentially dangerous meteor shower and Batman is in the middle of stopping a crime spree. You might think that Superman would have spotted Starro’s arrival from space but he was dealing with a great deal of meteors (it’s also entirely possible that Starro caused the meteor shower specifically to distract Superman) and I guess it’s in character for Batman to prioritise Gotham City’s safety over a JLA summons (though a JLA-level peril is surely more threatening for Gotham than a crime spree…)

Green Lantern is able to defeat the Starro duplicate with relative ease.

Regardless, the five heroes meet at the “modernistically outfitted cavern” that serves as the JLA’s headquarters. Having been informed of Starro’s threat and where it intends to strike, the Flash, as the JLA’s chairman, orders the team to split up and it is at this point that the story diverges from the team-based format and instead switches to cover each individual mission. The first sees Green Lantern battling one of Starro’s deputies in the skies above Rocky Mountain National Park; Hal arrives in time to see the gigantic creature but is too late to stop it from attacking a passing air force jet-bomber and relieving it of its payload: nothing less than an atom bomb! Green Lantern is able to save the aircraft when it goes into a deadly freefall but is unable to keep the Starro duplicate from detonating the atom bomb! Thankfully, Hal’s energy shield protects him from the blast and he watches in horror as the creature absorbs the energy released from the bomb. Hal pursues and is nearly blasted from the sky by a scorching beam fired from the creature’s tentacle. However, Green Lantern is easily able to avoid the creature’s thrashing limbs and attacks and reduce it down to a regular starfish by scoring a direct hit on its massive eye.

Starro’s duplicate falls before the might of Wonder Woman and the Martian Manhunter.

Next, the story switches to “Science City” where Wonder Woman and Martian Manhunter (why Diana has to team up with another hero is beyond me…) find another of Starro’s deputies abducting the “Hall of Science”, where the greatest scientific minds of the United States are gathered. The creature intends to bring the scientists into the upper atmosphere so it can absorb their brainpower and knowledge; Wonder Woman attempts to use her magical lasso to prise the creature’s tentacles from the building but ends up being yanked off of her invisible jet and onto the Hall of Science thanks to the giant starfish’s incredible strength. Meanwhile, J’onn uses his super-breath to bombard the creature with fragments of the meteors Superman is destroying and uses the same technique to cause a torrential rainfall when flames from the building threaten his life. Starro’s deputy then attempts to destroy them both by firing bolts of nuclear energy their way but Wonder Woman is, of course, able to deflect them with her magical bracelets and J’onn shields himself using the building’s conveniently lead-lined roof. Diana then whips her lasso around her jet and uses the momentum to forcibly drag the building out of the sky. The effort of battling both heroes at once soon takes its toll on the creature, which plummets from the sky and begins to revert back into a regular starfish.

The Flash makes short work of the final Starro duplicate.

When then join the Flash as he confronts another of Starro’s deputies at Happy Harbour; this part of the story is easily the worst simply because it introduces one of the most annoying and aggravating characters ever conceived: the JLA’s “mascot”, Snapper Carr. Snapper is a hip, super cool teenager with the annoying habit of constantly snapping his fingers all the God-damn time who is shocking to find his family, and the entire town, enthralled by Starro’s trance. For whatever reason (possibly due to being high, judging by the way he speaks!), Snapper is immune to Starro’s influence so he needs to be saved from certain death by the Flash. Despite Starro’s best efforts to vaporise the Scarlet Speedster, the Flash (literally) runs rings around the creature and ultimately defeats it when it tries to hide in the sea. In the process, the townsfolk are freed from their trance and Snapper’s family are able to tell Flash where they were ordered by the creature to head to: Turkey Hollow.

The JLA defeat Starro with ridiculous ease and make Snapper an honorary member!

The final part of the story sees the team reunite to take on the real Starro at Turkey Hollow; despite the defeat of its deputies, Starro remains confident since it was still able to absorb the power of that atomic bomb, the knowledge of Earth’s scientists, and…whatever it is the townsfolk of Happy Harbour contributed to its mind (local Earth knowledge, I guess?) Starro plans to use all that it has learned to force humanity into destroying the world with nuclear weapons and then use the influx of nuclear energy would then allow it to conquer other worlds across the universe. When the JLA arrive, Starro immediately puts its abilities to good use by reading Hal’s mind and turning itself yellow to render itself immune to his power ring but the Flash notices that Starro’s awesome energy ray has absolutely no effect on Snapper (who he, of course, brought along for the ride!) Flash orders Wonder Woman and the Martian Manhunter to distract Starro while Hal uses his power ring as a spectroscope to discover that Snapper is covered in lime from when he was mowing the lawn earlier. Apparently, lime is deadly to starfish so Hal dumps a whole bunch of it onto Starro to weaken it. Martian Manhunter then uses his super-breath to blow a load of calcium oxide (which is, apparently, also lime) onto the creature and thus imprison it within an unbreakable shell of lime. With Starro’s threat ended, Superman and Batman return just in time to see the Flash making Snapper an honorary member of the JLA and…boy, do they look thrilled to be there!

The Summary:
I don’t mind telling you that I am a bit disappointed by “Starro the Conqueror!”; the story started pretty strong but fell off a cliff pretty quickly at the end, becoming little more than a science class rather than a big old fight between Earth’s greatest heroes and an alien menace. I suppose it speaks to the intelligence of the JLA (specifically Barry) to come up with a way to outwit, rather than outfight, the creature and the sudden introduction of lime as the might Starro’s one weakness is arguably no less lame than fire being J’onn’s weakness and yellow being Hal’s and there is a lot of action prior to the finale but still…the entire point of the comic is to see these heroes joining forces and we don’t really get that.

Aquaman is unfairly side-lined and does nothing except alert the JLA to Starro’s presence.

You might be wondering where the hell Aquaman was during this story; despite appearing to be a pivotal member of the team in the early panels, Arthur is little more than an early warning system to alert the team to Starro’s threat. Hell, when Barry is divvying out the JLA’s individual missions, Aquaman doesn’t even get to fight one of the creatures as he’s sent back to the ocean to watch out for any more of the duplicates and, when he does return to the story for the finale, he does absolutely nothing. It’s pretty sad considering the JLA were light on power with Superman out of the equation and when you consider that Arthur might have actually been really useful at Happy Harbour so could have easily teamed up with the Flash for that mission…but then we might never have gotten Snapper-fuckin’-Carr now, would we!?

Hal and J’onn are severely underutilised, with their powers reduced to the bare minimum.

Honestly, Snapper could have been dropped entirely from the story; he’s only there so the teenager readers can act like they’re fighting alongside their favourite heroes, after all, and it’s legitimately sad that he’s more important to the story than Aquaman! Seriously, drop Snapper, have Aquaman and the Flash go to Happy Harbour, and have Arthur get covered in lime while battling the creature in the water and reveal the key to Starro’s defeat. Seems like a pretty simple solution to me. Similarly, it’s pretty disappointing that Superman and Batman don’t play any part in the story at all. I can understand why as Superman’s power alone would probably be able to end Starro’s threat but it’s a bit of a let down that they don’t even join the team for the big climactic battle. Instead, we’re left with the likes of the Martian Manhunter, who is probably just as powerful as Superman if not more so and yet is reduced to simply puffing away with his super-breath. Similarly, Hal’s potential and power is also significantly reduced; his ring allows him to do virtually anything but, in the end, all he really uses it for is to fly about, rescue a falling plane, and zap at Starro with energy blasts.

Starro seems like a threatening villain but end sup being a massive disappointment.

Still, at least Wonder Woman gets a lot to do; she basically does all the work in her team-up with J’onn which, again, makes me question why she has to have a partner and no one else does. The implication may be that it’s because she’s a woman but she’s easily the most dependable and capable superheroine I’ve seen all year; she doesn’t even get bound or anything, which is refreshing. The Flash also gets far more chances to show off his abilities and competence; beyond his super speed allowing him to easily best one of Starro’s duplicates, Barry is portrayed as a decisive team leader and his intelligence is what ultimately wins the day over brute strength. Overall, Starro is just another in a long line of potentially dangerous foes that really don’t amount to a whole hell of a lot. It openly admits that its plot to conquer Earth is the first time it’s ever tried anything like that, exposing its naivety and inexperience in world conquest and battle. Its scheme seems pretty good to start with as it creates duplicates of itself and absorbs power and knowledge but it fails to really do anything with this beyond making itself yellow; it could have spewed flames at J’onn, bound Wonder Woman’s wrists, subjected Aquaman to intense heat, or slowed the Flash down with quicksand but it never does any of that. For all the power and knowledge it has, Starro ends up just being a giant alien punching bag that, arguably, the Flash alone could have defeated and, because of that, it’s simply a piss-poor excuse to see all these heroes band together and even then they spend the majority of the story working separately!

My Rating:

Rating: 2 out of 5.

Could Be Better

What did you think to the JLA’s debut appearance? Were you happy to see five out of the seven joining forces for the first time or would you have liked to see all seven of them getting in on the action? What did you think of Starro as the principal villain and the introduction of Snapper Carr? Which era or incarnation of the JLA is your favourite and what are some of your favourite JLA stories? Who would you like to see in the JLA some day? How are you celebrating Justice League Day this year? Whatever your thoughts on the JLA, feel free to leave a comment below.

Movie Night: Wonder Woman 1984

Dr. K1 Comment

Released: 16 December 2020
Director: Patty Jenkins
Distributor: Warner Bros. Pictures
Budget: $200 million
Stars: Gal Gadot, Chris Pine, Kristen Wiig, Pedro Pascal, and Connie Nielsen

The Plot:
Decades after losing her former love, Steve Trevor (Pine), during the First World War, Princess Diana of Themyscira (Gadot) works at the Smithsonian Institution while covertly helping others in her guise as Wonder Woman. After befriending shy geologist and cryptozoologist Barbara Ann Minerva (Wiig), both Diana and her friend find themselves forever changed when business tycoon Maxwell Lorenzano/Max Lord acquires a mystical artefact, the “Dreamstone”, and begins bringing people’s deepest wishes to life.

The Background:
Following her creation by psychologist William Moulton Marston, Wonder Woman has been a firm staple of DC Comics and an influential feminist icon. Wonder Woman achieved mainstream success as a pop culture icon following Lynda Carter’s portrayal of the character in the 1970s and she finally proved to be a massive critical and commercial box office success with the release of Wonder Woman (ibid, 2017). Although the DC Extended Universe (DCEU) was in flux following the poor reception of Justice League (Whedon/Snyder, 2017), production of a Wonder Woman sequel was officially announced in 2017, with both stars Gadot and Pine and director Jenkins set to return. Rather than produce a direct sequel,Wonder Woman 1984 (or simply WW84) jumped ahead to another unexplored period in the character’s long history, the 1980s, to capitalise on the recent interest in the decade. The film’s release was hampered by the COVID-19 pandemic but WW84 finally saw the light of day at the end of 2020, where it was met with a lukewarm and underwhelming critical response. This, coupled with its limited release, meant the film massively underperformed and brought in only $166.4 million at the box office; however, while many criticised certain narrative elements of the film, Gadot’s performance was praised as a highlight and a third entry in the franchise is was greenlit soon after the film’s release.

The Review:
Like the first film, WW84 begins with Diana narrating a flashback to her childhood where, as a girl (Lilly Aspell) on the island of Themyscira, she competes in a gruelling obstacle course. Although she’s able to hold her own for the most part, she is knocked from her horse at a crucial moment and, in order to catch up, opts to take a shortcut and, as a result, is penalised and reprimanded by her aunt and mentor, Antiope (Robin Wright), who teaches her a valuable lesson that forms the basis for the film’s main theme: that she must be honest and true to herself and that she must have patience in order to succeed in life.

Despite claiming to have left the world of man, Diana is covertly saving lives as Wonder Woman in 1984.

Despite claiming to have walked away from man’s world for a hundred years after Steve Trevor’s death, Diana is living and working in Washington, D.C. and we’re reintroduced to her as she performs various heroic deeds as Wonder Woman in an amusingly edited montage that is both bright and vibrant thanks to the excess of the eighties and comically exaggerated in a way that recalls Superman (Donner, 1978). Although Diana makes an effort to destroy security cameras and move quickly to largely avoid being seen, she does appear in full costume in the middle of a shopping mall in front of numerous witnesses, though the film does make a point to show that her identity is unknown. Still, regardless of the continuity blip this causes (it’s hard to imagine Bruce Wayne/Batman (Ben Affleck) wouldn’t have been somewhat aware of Diana before he first encountered her judging by this film’s events), it’s a fun and exciting way to be reintroduce to Diana that is immediately offset by the emotion of seeing that she’s largely closed off from the wider world.

The insecure and shy Barbara instantly idolises Diana.

Thanks to brief shots of photographs in her apartment, we see that Diana continued to maintain a friendship with Etta Candy (Lucy Davis) and ties with Steve Trevor but is, otherwise, quite a lonely individual. In this regard, she meets a kindred spirit in Barbara Minerva, a quirky, social inept, and insecure geologist who is largely ignored by her co-workers and those around her. Barbara is excited when Diana actually gives her the time of day and the two bond over their interest in history; the two quickly form a friendship, filling the gaps in each other’s lives, and Barbara comes to idolise Diana for being everything she wishes to be.

Max Lord is a charismatic con man obsessed with obtaining power and the Dreamstone.

After foiling a robbery in the film’s opening, Barbara is asked to examine an artefact that was recovered, which claims to be a wish-granted stone, the Dreamstone. Although both are sceptical about this, the stone’s powers turn out to be genuine when Barbara wishes to “be like” Diana and wakes up the next day to find herself suddenly noticed by others, slipping into sexier clothing, and her fortunes generally turning for the better. Sadly, however, her insecurities remain the same and she is easily tricked by the film’s main antagonist is Max Lord, into allowing him to steal the stone for himself. Lord, a prominent figure in DC Comics and, here, is portrayed as a charismatic and silver-tongued oil tycoon and enigmatic television personality who appears to be another corporate, suit-wearing industrialist. Behind his public façade, however, is a is a con man whose oil business is slowly falling apart around him, whose debts are being called in, and who desperately wishes to make his son, Alistair (Lucian Perez) proud of him.

Diana unwittingly wishes Steve back to life and the two pick up right where they left off.

Another consequence of Barbara’s wish is that she develops superhuman strength and agility, just like Diana has, while Lord does the natural thing and wishes to embody its powers, thus turning his fortunes around overnight. The stone’s powers also have a startling affect on Diana when she unknowingly wishes for Steve Trevor to be resurrected; the stone accomplishes this by having his spirit inhabit the body of another man (Kristoffer Polaha). Overjoyed at being reunited with him, Diana and Steve immediately pick up where they left off and, despite how awkward it is for Diana to be taking advantage of a random stranger, this allows the film to present the reverse of the first movie’s concept. Now, Steve is the fish out of water, confused and puzzled by “the future” he has returned to, and it is Diana who has to guide him through navigating the world and the garish style of the eighties.

The Dreamstone’s powers come at a price, weakening the character’s physical and mental health.

Perturbed by the stone’s powers, Diana and Steve set out to investigate it; while Barbara begins to revel in her newfound confidence, abilities, and popularity, possessing the stone’s powers turn Lord into an influential, Donald Trump-like figure and Diana is horrified to discover that the Dreamstone is a construct of the Gods, specifically Mendacius, the “Duke of Deception”. Like all good things, the stone’s powers come at a cost; Diana finds her superhuman abilities beginning to wane, Max’s mind and body starts to deteriorate from the immense power, and Barbara slowly loses her humanity until she eventually transforms entirely into the cat-like Cheetah. The only way to reverse the damage is for them tor enounce their wishes, something none of them are willing to do at first since it would mean losing everything they have desired for so long

The Nitty-Gritty:
WW84 is a much more character-driven film that it’s predecessor; much of the runtime is spent exploring Diana and Steve’s renewed relationship, acclimatising him to the then-modern world, and rekindling their passion. Thankfully, Gadot and Pine still make for a charismatic and engaging duo and the two gel really well together as equals but it can’t be denied that things would have been much less awkward if the stone had literally returned Steve to life rather than having him possess an unassuming stranger’s body Quantum Leap (1989 to 1993) style.

Diana is forced to let Steve go once again in order to put a stop to Lord’s carnage.

Still, on the one hand, spending so much time on Diana and Steve’s relationship does help to further develop her character; she’s clearly still grieving his loss, even after all these years, and doesn’t have much of a social life, though she still uses her abilities to help others as covertly as possible. She forms a real bond with Barbara, perhaps the first real friendship she’s had in some time, and is elated to be reunited with Steve. Her character arc in this film is learning to rediscover her humanity, somewhat, and to let go of the past, something we know from Batman v Superman: Dawn of Justice (Snyder, 2016) that she doesn’t really do after these events but it’s still wonderfully realised here as Diana applies the lesson she learned as a child to her current situation and, however reluctantly, renounces her wish to regain her strength and put the world to rights after Lord’s actions cause worldwide upheaval.

When the action does kick in, it’s exhilarating and thrilling.

This has a detrimental effect on Lord, who begins to suffer more and more physical pain and consequences for playing Wishmaster (Kurtzman, 1997); driven to desperation, he finds himself unable to stop granting wishes and tries to restore himself by absorbing the energy of others, plunging the world into chaos in the process. Ultimately, rather than engaging him in a fist fight, Diana is able to convince him to renounce his abilities after forcing him to relive his own unhappy childhood and reconnect with his son. That’s not to say that WW84 doesn’t have its fair share of action; the opening sequence in the mall is a lot of fun and Diana’s attempt to chase down Max Lord in Egypt seems to be a homage to the seventies show, and Diana’s lasso-based fight scene in the White House was very thrilling, but the scene-stealing sequence is the moment when Diana dramatically swings her way through the storm-swept sky by lassoing onto lighting!

Diana dons ceremonial armour to battle Cheetah in the film’s finale.

Diana’s journey in WW84 is one of gaining strength from these decisions; she demonstrates the ability to turn a jet invisible, acquires the golden armour of Asteria (Lynda Carter), and gains the ability to fly (to the stirring chords of “Adagio in D Minor”) after renouncing her wish and regaining her full powers. This comes in handy for her big showdown with Cheetah; earlier, Cheetah had been able to defeat Diana since her powers were fading, which helped to showcase Barbara as a physical threat to Diana. Drunk on the power and freedom offered by the stone’s powers, Barbara becomes a formidable and fierce adversary and a far cry from the meek character she was at the start of the film. Unfortunately, Cheetah kind of lets the film down a bit in the effects department; even though her fight with Diana takes place in the murkiness of night, the CGI is quite wonky, which is a shame as the practical effects look pretty good. Still, it’s a thrilling climax to the film, which even goes a long way to showing Diana’s compassion as she chooses to save Barbara and even Max rather than just kill them.

The Summary:
Wonder Woman 1984 is a curious film; rather than being bigger and better than the original, it opts to tell a more dramatic, character-based story that focuses more on Diana coping with her grief and loss and learning to let go of the past rather than being a bombastic, action-packed sequel. This is pretty good for Diana’s character development; it’s clear that she is overjoyed to have Steve returned to her and torn between wanting to be with him even if it means leaving the world to its fate and seeing her step into the role of a full-blown hero and saviour is very gratifying. The twist of Steve being the fish out of water this time around was interesting but, at the same time, could potentially have been handled differently or excised entirely in some ways, and I was surprised to find that Barbara’s “geeky, quirky, obsessed” character cliché wasn’t as annoying or aggravating as in other superhero films; it’s perfectly suited to Wiig’s strengths and she pulled off the character’s descent into villainy really well. Thanks to his charisma and magnetism, Pascal successfully walked the fine line between being a scenery chewing character and a cartoonish villain and it was great to see Pine and Gadot’s chemistry back in action. My only real gripes with the film were its length (and even that wasn’t that big a deal as I was interested throughout) and some continuity hiccups with the larger DCEU but, considering the mess the DCEU has become since then, I think I can forgive it and would say WW84 manages to be just as enjoyable as the first film while still mixing things up with its presentation and narrative.

My Rating:

Rating: 4 out of 5.

Great Stuff

What are your thoughts on Wonder Woman 1984? How do you feel it compared to the first film and were you disappointed by it? Were you happy to see Chris Pine return and what did you think to Diana’s character arc in this film? Were you a fan of Max Lord and Cheetah? What are your thoughts on WW84’s placement in the wider DCEU?What are some of your favourite Wonder Woman stories, characters, and moments? How are did you celebrate Wonder Woman Day this year? Whatever your thoughts on Wonder Woman, drop a comment down below.

Movie Night: Wonder Woman

Dr. K5 Comments

Released: 15 May 2017
Director: Patty Jenkins
Distributor: Warner Bros. Pictures
Budget: $120 to 150 million
Stars: Gal Gadot, Chris Pine, Danny Huston, Elena Anaya, Connie Nielsen, Lucy Davis, and David Thewlis

The Plot:
Before taking the mantle of Wonder Woman, Princess Diana of Themyscira (Gadot) was an Amazonian warrior raised in seclusion on an island paradise. However, when American pilot Steve Trevor (Pine) crashes on their shores and brings awareness of a worldwide conflict, Diana finds herself compelled to leave her home and take up arms in a bid to destroy the God she believes is responsible.

The Background:
Created by psychologist William Moulton Marston to be a symbol of the superiority of the female gender, Princess Diana of Themyscira/Wonder Woman has been a firm staple of DC Comics since her debut appearance in All Star Comics #8. With her origins heavily drawing from Greek mythology, Wonder Woman has been portrayed as a warrior and an ambassador for peace and, alongside Clark Kent/Superman and Bruce Wayne/Batman, makes up DC’s “Trinity” as a prominent figure on DC’s super teams, the Justice Society and Justice League of America. Wonder Woman’s popularity has spread outside of the comic books, too; Lynda Carter famously portrayed the character in the seventies television show, cementing Wonder Woman as a pop culture icon, and a big screen live-action adaptation had been wallowing in development hell for decades before Gal Gadot made her first surprise appearance in Batman v Superman: Dawn of Justice (Snyder, 2016). Following that dramatic debut, production of a solo film for the character that would act as a prequel to the larger DC Extended Universe (DCEU) finally got underway and released to widespread critical acclaim. The film was also a massive box office success and made over $820 million in worldwide revenue, which all-but-guaranteed the production of a sequel, and galvanised the character as a feminist icon for an entirely new generation. Since tomorrow is “Wonder Woman Day”, this seems like as good a time as any to shine a spotlight on one of DC Comics’ most popular and influential characters.

The Review:
Wonder Woman begins in the present day, between the end of Batman v Superman and the start of Justice League (Whedon/Snyder, 2017), and is framed by Diana’s narration concerning her past after having a photograph of her time in the First World War sent back to her by Bruce Wayne (Ben Affleck). From there, the film flashes back over a hundred years into the past and to the secluded island paradise of Themyscira where we see a young Diana (Lilly Aspell), emulating the ways of her warrior sisters and yearning to begin her training as a warrior. Diana’s mother, Queen Hippolyta (Nielsen) is vehemently against Diana becoming a fighter; instead she wishes that Diana would be better served learning the ways of peace and tolerance. To emphasise the foils of war and conflict, she tells Diana a harrowing story of Zeus’s son, the warmongering Areas, influencing the hearts and minds of man into bloodshed and his subsequent slaughter of the Greek pantheon. After defeating Ares, Zeus created Themyscira with his dying breath to shield them from the outside world so that their natural ways of peace and love could prosper far away from the easily manipulated ravages of Man.

Diana’s curiosity at Steve’s presence turns to rage when German forces kill her aunt.

Hippolyta also shows Diana the ancient sword, Godkiller, a weapon only the fiercest of Amazons could hope to wield. Despite her mother’s wishes, the young Diana (Emily Carey) is inspired by the stories of battle and glory and secretly trains with her aunt Antiope (Robin Wright) in the ways of the warrior. Antiope is finally able to convince Hippolyta to train Diana “harder than any Amazon before her” to make her powerful enough to stand against Ares when he inevitably finds her. However, while Diana (now played by the gorgeous Gadot) becomes a fierce warrior thanks to this rigorous training, her powers (mainly tied to her magical gauntlets) make her unpredictable and dangerous. It is while lamenting these issues that Diana rescues Steve Trevor after his plane crash-lands in the waters around Themyscira; this action not only brings a man onto the hidden island for the first time since its creation (which is of immediate curiosity and interest to Diana) but also the greater worldwide conflict currently gripping the globe as German forces invade Themyscira in pursuit of Steve. Although the Amazonians fend off and defeat the invaders, they suffer heavy losses thanks to the German artillery and, in the battle, Diana’s beloved aunt Antiope is killed. It’s a great scene to showcase the warrior ways of the Amazons and their incredible prowess with swords, bows and arrows, and to give Diana a personal reason to leave the island and get involved in the War, while also showcasing that, as powerful and skilled as the Amazons and even Diana are, they are not invulnerable.

Diana is puzzled by “man’s world” and the film’s comedy comes from her being an outsider.

Angered at Steve’s presence and the invasion of men, Hippolyta interrogates him using the magical Lasso of Hestia, which compels him to reveal the truth; in the process, and despite attempting to resist, he reveals that he is a spy for the Allied Forces who discovered a plot by General Erich Ludendorff (Huston) to develop a potent and deadly new strain of mustard gas using the research of the disfigured Doctor Isabel Maru/Doctor Poison (Anaya). This story not only establishes the film’s two main antagonist but also Steve’s conviction and bravery as he goes against his orders to steal Maru’s notebook to warn the Allies of Maru’s weapons. Convinced that this World War is the product of Ares’ return, Diana defies her mother’s wishes once more and arms herself with the Godkiller sword, ceremonial armour, and the magical lasso to accompany Steve back to London. This gives the film a chance to be a bit more playful as Diana is a fish out of water in the modern world; confused and intrigued by men, their society and their ways, she’s puzzled by the simplest of things (watches, ice creams, consumerism, romance, vehicles, revolving doors, and the like) and her interactions with Etta Candy (Davis) really give Gadot a chance to shine and add some depth and personality to Diana’s character. She’s a character of great love, curiosity, and conviction but also naivety; even on Themyscira she is something of an outsider, believing fully in the Amazons’ destiny to defend the world from evil and stop Areas, and her character development includes not just becoming wiser in the world of man but also in the ways of her own world and she is forced to learn, the hard way, that the world’s conflicts are far more complicated than the machinations of one singular being, even a God like Ares.

Steve Trevor has seen a lot in his time and is focused on the big picture.

Steve is similarly intrigued by Diana; obviously, he has a near-instant attraction to her (and, truth be told, she to him) and marvels at her island and her convictions but, as charming and charismatic as he is, he is also somewhat world-weary. Having witnessed first-hand the atrocities of war and the folly of man, he believes that all people are capable of unspeakable acts out of their pure nature rather than the influence of a supernatural being, which is a harsh lesson he is forced to teach Diana. Similarly, Diana is disturbed by Steve’s focus on the big picture and adherence to staying on mission, which leaves innocents suffering the cost of the war, but his reasons are perfectly valid and believable: the War is horrendous and brutal and his focus cannot be on saving every single person, only trying to stop the most direct threat and he remains a likable and appealing character thanks to Pine’s fantastic charisma and onscreen chemistry with Gadot and, even in the face of Diana’s amazing abilities he is able to hold his own as a soldier and a hero.

Lundendorff and Maru are real threats but war-time politics are also an obstacle.

Similarly, Huston is as captivating as always in the role of Ludendorff, a brutal German general who enforces his will through strict corporal punishment and high expectations. Thanks to Mau’s potions and elixirs, he is granted a degree of superhuman strength and heightened aggression and Maru herself is a sadistic and hideously alluring villain whose experiments with chemistry produce a gas capable not just of choking the life out of those exposed to it but also eating through protective gear like gas masks. As real and credible as their combined threat is, however, it is the politics of war and society that prove the greatest hurdle in the early going as Sir Patrick Morgan (Thewlis) and others in the upper echelon are more concerned with agreeing an armistice with the Germans than proactively moving against them. Interestingly, the German forces are depicted as desperate, running low on resources, and on the verge of agreeing to the armistice and, disgusted by their weakness and unable to simply give up on the conflict, Ludendorff assassinates them in order to strike his decisive blow against the Allies. This leads to Steve recruiting a rag-tag team of misfits to head to the Front Line and take out Ludendorff’s chemical facilities; despite them being a little rough around the edges, his group is made up of some colourful characters: Sameer (Saïd Taghmaoui), a smooth-talking French spy; Charlie (Ewen Bremner), an expert sharpshooter with a drinking problem and traumatised by his experiences in war; and the Native American smuggler Chief Napi (Eugene Brave Rock), who initially refuses to take sides in the War given everything his people lost colonisers. With these allies, and surreptitious assistance from Morgan, they are able to reach the Western Front for one of the film’s breakout sequences: with the Allies pinned down by gunfire, Diana boldly steps into No Man’s Land to deflect the gunfire and take the enemy trench and, in the process, not only liberate a village from the Germans but also share an intimate moment with Steve.

The Nitty-Gritty:
One of the most memorable aspects of Wonder Woman’s debut in Batman v Superman was her stirring orchestral theme, which her solo movie beautifully expands upon to turn it from a bad-ass battle theme into a rousing, heroic melody that punctuates Diana’s evolution as a character and her actions throughout the film. Given the film’s period setting, there is also a great deal of commentary on the role of women in society at the time; Diana is confused and insulted by man’s opinions and treatment of women, having grown up in a warrior society where woman are strong and independent, and brings (through her words but also simply by her appearance and actions) these principals to the wider world long before they really became a talking point.

Costume design is on point and Gadot looks breathtaking as Wonder Woman.

Wonder Woman shines in its visual aesthetic and costume design; Themyscira is a beautiful environment and full of interesting little elements and a rich lore that is only hinted at in the film. This is, however, largely for the best as Wonder Woman is more focused on the greater conflict of the First World War, meaning it is full of period-accurate costumes, technology, and bleak depictions of the folly and futility of warfare. Amongst these drab and depressing elements, and against the smoke-filled hustle and bustle of London, Diana stands out wonderfully in her amazingly realised and faithful costume. Wonder Woman’s outfit is often one of contention but the DCEU version of the character brought her classic look to screen in the best way possible by infusing it with realistic elements of Greek armour and it’s honestly one of the best and most accurate comic book costumes ever made.

Diana is obsessed with killing Ares to “free” men from his evil and distraught to learn the truth.

The film’s themes of warfare and suffering are potent thanks to its setting; while there are obvious comparisons to be made to Captain America: The First Avenger (Johnston, 2011), Wonder Woman is a very different film to that one and these comparisons are superficial, at best. Instead the focus is on Diana trying to acclimatise to man’s world and her total dedication to ending Ares’ threat; initially, she believes that Ares has taken Ludendorff’s form in order to spread chaos and devastation and is horrified to learn that her mother and Steve were both accurate in how easily men can be corrupted by their own evils and destructive impulses. This by itself would have made for a striking theme about the inherent evil that we are all capable of but, of course, Wonder Woman is a blockbuster superhero film that needs to end with Diana realising her destiny as the “Godkiller” and battling Ares (revealed to have been Morgan all along). As exciting and thrilling as this conclusion is, since it finally allows Diana the chance to showcase the full extent of her powers, it is kind of a shame that Ares is a vague and ominous threat for the majority of the film rather than actually being a tangible antagonist for us to learn about. In fact, we learn very little about Ludendorff or Maru, who are both criminally underused despite giving really good performances. However, it does serve the overall message of the film and the harsh lesson that Diana is forced to learn about human nature; when Ares finally reveals himself to Diana, it is at her lowest moment and he tempts her into joining his cause and destroying humanity but Diana’s convictions to her cause remain steadfast and are further emboldened when Steve comes to exemplify man’s capacity for good by sacrificing himself to end Maru’s threat just as Diana kills Ares once and for all.

The Summary:
Honestly, I didn’t expect to like Wonder Woman as much as I did; I like the character and enjoy her involvement in team-up comics but have never been a massive Wonder Woman fan but the film won me over with its fantastically realised themes of war, and, sacrifice. The First World War setting was an inspired choice and really gave Diana a chance to see first-hand the atrocities of man and the complexities of human nature. Obviously, both her world and Steve’s world came to be true to a degree, with Ares ultimately revealed to have been influenced the human antagonists and inspiring the tools necessary for war, and this merging of these two separate worlds was wonderfully realised in the characterisations of Steve and Diana and their growing relationship over the course of the film. While I would have preferred Ares to be a more tangible threat throughout the film rather than a surprise twist at the end, I cannot fault the movie for its direction, cinematography, or presentation; there’s just as much heart and humour at work in the film alongside some stunningly realised action sequences that portray Wonder Woman as both beautiful and formidable and Gadot does an impressive job of giving some real depth and tragedy to Diana’s character that help to inform her portrayal and overall character arc in Batman v Superman and subsequent DCEU films.

My Rating:

Rating: 4 out of 5.

Great Stuff

What did you think to Wonder Woman? Do you feel it deserved all the praise that it got? What did you think to Gal Gadot and Chris Pine’s performances, the characterisations of Diana and Steve, and their relationship? Did you enjoy the themes at work in the film and the “fish out of water” aspects? Did you see the Ares reveal coming and would you have preferred that the antagonists got a bit more time to shine or were you satisfied with the film overall? What are some of your favourite Wonder Woman stories, characters, and moments? How are you celebrating Wonder Woman Day tomorrow? Whatever your thoughts on Wonder Woman, leave a comment below and check out my review of the sequel.

Movie Night: Zack Snyder’s Justice League

Dr. K11 Comments

Released: 18 March 2021
Director: Zack Snyder
Distributor: HBO Max/Warner Bros. Home Entertainment
Budget: $70 million (on top of the original $300 million production costs)
Stars: Ben Affleck, Gal Gadot, Ray Fisher, Jason Momoa, Ezra Miller, Ciarán Hinds, Amy Adams, and Henry Cavill

The Plot:
Following the death of Clark Kent/Superman (Cavill), Bruce Wayne/Batman (Affleck) scrambles to bring together a team of super-powered heroes when the disgraced New God Steppenwolf (Hinds) arrives on Earth and begins violently searching for the mysterious “Mother Boxes”.

The Background:
Oh God, where to start with this? Okay, so, after the Marvel Cinematic Universe (MCU) became this super successful juggernaut, Warner Bros. scrambled to try and catch up and craft their own cinematic universe. The first step was Man of Steel (ibid, 2013); Zack Snyder was picked to helm the project and steer the direction of the DC Extended Universe (DCEU) and, initially, the results were promising. Despite some mixed reviews, Man of Steel was a financial success but the cracks in Snyder’s vision started to form with Batman v Superman: Dawn of Justice (ibid, 2016). Despite the presence of acclaimed superstar Ben Affleck and reaping a hefty box office, the film divided many due to its pace and bleak tone and Warner Bros. started to get cold feet regarding Snyder’s vision for the DCEU. As a result, they brought in Joss Whedon to lighten the follow-up’s tone and ultimately replace Snyder after the tragic death of his daughter. Despite a similar box office gross to its predecessors, Justice League (Whedon/Snyder, 2017) released to scathing criticism and the film was disowned by even DCEU collaborators. The DCEU chugged along regardless but, very quickly, reports of Whedon’s reprehensible behaviour surfaced alongside rumours that a “Snyder Cut” was all but completed in Warner’s vaults and fans all over the world began campaigning hard for the release Snyder’s original version. While this did lead to a toxic community that I cannot condone, the movement gained serious traction when members of the cast voiced their support and Snyder finally returned to complete the film and was even afforded additional money and resources to film new scenes for his four-hour epic for the HBO Max streaming service. To the delight of Snyder’s fans, Zack Snyder’s Justice League finally released and drew a lot of attention to HBO Max. The general critical consensus, however, was mixed; though reviews praised the film as a coherent story and the culmination of Snyder’s vision, its length and excess were criticised. After the film’s release, Warner Bros. made the decision not to capitalise on its success and fans immediately campaigned to complete Snyder’s vision for the DCEU, despite his lack of interest in returning to the property, proving that some fans are just never satisfied.

The Review:
When I reviewed the original, theatrical cut of Justice League (no, I will not call it “Josstice League”), I gave it a ten out of ten. This was primarily because I am a massive DC Comics fan and, after years (literally decades) of DC’s live-action characters always existing in their own self-contained bubbles, I was just happy to see them all onscreen together and co-existing and felt that this was the most positive thing to take away from Snyder’s rushed attempt to build DC’s cinematic universe. Time, however, has changed this perspective; Justice League is by no means perfect but it was honestly never going to be. Warner Bros. scrambled about trying to play catch up to the MCU and, in focusing on cramming everyone together as quickly as possible and sucking the fun out of many of their most popular characters, they lost me a little along the way. So to say I was excited for the Snyder Cut is to lie, honestly. As much as I enjoyed Man of Steel, Snyder really dropped the ball with Batman v Superman, which was more a collection of ideas and themes than a coherent movie, and I took massive issue with his grandiose vision of the DCEU which jumped from Superman’s origin all the way to Multiversal shenanigans in, like, two films. Still, as a rule, I generally do enjoy a longer director’s cut as you get more bang for your buck and, in that regard, Snyder certainly goes above and beyond to present the closest version of his vision for Justice League as possible, even going so far as to present the film in a 4:3 aspect ratio.

Superman’s death cry activates the Mother Boxes and calls Steppenwolf to Earth.

Zack Snyder’s Justice League begins with an egregiously slow-motion recap of Superman’s dramatic (and, in my view, unnecessary) death in battle against Doomsday. His death rattle (which seriously goes on for about six minutes), echoes all around the world, activating the Mother Boxes stored in Atlantis and Themyscira and sending a beacon out into the void of space with a simple message: Earth is vulnerable. Steppenwolf (now dramatically redesigned into a hulking creature wearing razor-sharp armour that honestly looks just as ugly as his original design but for different reasons) once again arrives to reclaim the Boxes; this time, however, his slaughter of the Amazons is much more brutal, featuring far more Parademons and presenting Steppenwolf as a formidable and imposing force. Indeed, compared to his theatrical counterpart, Steppenwolf is a much more well-rounded and interesting character; in the original cut, he was little more than a means to an end, an obscure and generic bad guy for the titular heroes to unite against in order to save the world but, here, he’s a driven, focused, and aggressive foe who is motivated not just by loyalty to his master and devotion to bringing about “the great darkness” but also desperate to regain his place among the New Gods after losing favour centuries before. Owing Darkseid (Ray Porter) a debt of fifty thousand worlds for his failures, Steppenwolf has been ostracised and forced to toil in endless conquest to regain his place at his master’s side; this desperation and motivation transforms Steppenwolf from a mere disposable hulk and into a surprisingly complex villain who seeks redemption and validation in the eyes of his master and will do anything to appease the will of Darkseid.

Superman’s loss affects each of the characters in different ways.

While the Man of Steel’s loss was felt in the theatrical cut, Superman’s death is a much bigger aspect of the Snyder Cut; carrying the guilt of Superman’s death on his shoulders, Bruce Wayne sets out to build an alliance of metahumans to combat this threat. While Diana Prince/Wonder Woman (Gadot) is reluctantly onboard with the plan and Barry Allen/The Flash (Miller) signs up immediately and enthusiastically, Arthur Curry/Aquaman (Momoa) basically laughs in his face and Victor Stone/Cyborg (Fisher) is busy struggling to reconcile his humanity after a horrific accident leaves him part machine. Furthermore, Superman’s loss is embodied here not just in Bruce’s guilt and desire to honour Superman’s legacy with a team of superheroes but in both Lois Lane (Adams) and Martha Kent (Diane Lane), both of whom struggle to adjust to life without Clark. Since Bruce has already been told that “Lois [is] the key” to reaching Superman, it makes sense to give Lois and Martha a little more prominence in the film, especially as her death is what causes Superman’s corruption in the dark future that looms over Snyder’s films.

Batman is now absolutely focused on bringing together a team to honour Superman’s memory.

Bruce Wayne is, of course, extremely different compared to his characterisation in Batman v Superman. Now driven by an obsessive desire to make good on his promise to unite Earth’s heroes in Superman’s name, he works himself tirelessly to track down the metahumans from Lex Luthor’s (Jesse Eisenberg) file, much to the continued chagrin of his faithful butler and father-figure, Alfred Pennyworth (Jeremy Irons). Since he works closely with Diana to find and appeal to these metahumans, there’s even a little (microscopic, even) bit of romantic chemistry between the two and there’s now a nice little scene of Alfred making tea with Diana and showing her Batman’s new Parademon-absorbent gauntlet (which replaces the original cut’s side plot regarding Batman luring the Parademons out with “fear”). Mostly, though, Bruce remains the same character as in the theatrical cut; he’s still blinkered in his focus on bringing the team together, resurrecting Superman, and preparing the world to face escalating threats but all of his weird little attempts at humour are thankfully gone (sadly, that God-awful “I’m rich” line remains but, thankfully, we get the return of his “I’m real when it’s useful” line).

Wonder Woman now warns the team of Darkseid’s intentions for Earth.

Wonder Woman, however, is noticeably different this time around; more time is spent showing her as a willing ally of Bruce’s and she is also part of a pivotal extended scene that explores Steppenwolf’s previous campaign against the Earth. This sequence, which expands upon the prologue seen in the theatrical cut, shows the forces of man, Gods, Atlantis, Themyscira, and beyond uniting not just against Steppenwolf and his Parademons but also their exalted and imposing leader, Darkseid. Darkseid received only a passing mention in the original cut but, here, Diana’s obvious fear of the New God helps to establish early on that an even greater threat looms behind Steppenwolf’s actions. Furthermore, when out in the field with the team, Wonder Woman directs the fledging Justice League in the best way to attack Steppenwolf and his Parademons, which places greater emphasis on her capabilities as a warrior and leader.

The Snyder Cut retains Aquaman’s characterisation but explores a little more of his world.

Aquaman is largely the same as in the theatrical cut except, unsurprisingly, more haggard and bleak rather than being an obnoxious jock. Though he claims to have no interest in Bruce’s crusade or working with others and has turned his back on Atlantis, he continues to do good and help those in need in his own way to get his hands on more whiskey. Bruce’s warning, though, compels him to return to the ocean and converse with Nuidis Vulko (Willem Dafoe), his former mentor, and ultimately to arrive all too late to help Mera (Amber Heard) defend the Mother Box from Steppenwolf. A couple of odd continuity issues are raised with all this, however, that fly in the face of DC’s directors wanting to align their movies with the Snyder Cut; first there’s Mera’s accent, which jumps from British to American to whatever the hell she likes, and second is the Atlantean’s ability to communicate using dolphin squeaks rather than just talking underwater as they do in Aquaman (Wan, 2018). Regardless, this version of Justice League does a far better job of setting up Aquaman’s solo film by showing more hints towards his world and Aquaman remains the film’s breakout character for me for me thanks to Momoa’s charismatic portrayal of the character.

Though still very neurotic, Barry plays a pivotal role in the film’s events and finale.

Barry Allen also gets a bit more time to shine this time around; this includes the restoration of his encounter with Iris West (Kiersey Clemons) and just more time to explore his awkward, energetic, and socially inept character traits. Barry was very much the comic relief of the theatrical cut and those who disliked many of his annoying character traits will be disappointed to find most of them intact and given more prominence in his increased screen time but I can’t fault Snyder’s attention to detail in showcasing Barry’s superspeed: his shoes and clothes disintegrate, the street is wrecked by his footfalls, and he experiences time in extreme slow motion when utilising the Speed Force. While the Flash loses one of my favourite scenes from the original cut (the “Just save one” moment), he plays a far greater role in not just the rescue of scientists from Steppenwolf’s clutches but also the film’s finale where, faced with defeat at the hands of Steppenwolf’s forces, he summons all of his super speed to travel back in time using the Speed Force and ensure that the invasion is halted.

Cyborg’s role is greatly expanded, making him the heart of the film and fleshing out his character.

Of course, the character who benefits the most from the Snyder Cut is Cyborg; in the theatrical cut, Cyborg is a stoic, confused young man who resents his father, Doctor Silas Stone (Joe Morton), for transforming him into a machine-monster in order to save his life. While this remains at the start of Cyborg’s character arc in the Snyder Cut, Snyder restores not just Cyborg’s importance to the film as the “heart” of the Justice League but also his eventual reconciliation with his father and showcases excised scenes of his promising career as a college football player, his natural aptitude for hacking (which he used to help those in need), and the horrific accident which left him near death. While I’m personally not a fan of Cyborg being on the Justice League, it was clear that there was originally more to his inclusion and importance to the film’s plot; since he’s literally comprised on a Mother Box and Apokoliptian technology, he is afforded numerous abilities and insights into the invading New Box forces and, here, Silas actually guides and mentors him in exploring these abilities (which includes his ability to access every technological device and network and essentially makes him the most powerful man on Earth).

Superman returns, now in a black suit, and galvanises the team.

Finally, there’s Superman; as you might expect, Superman is absent for a massive amount of the film on a small account of being dead. Like Darkseid, Superman looms over the film but as a hero lost and much needed as a symbol for the world’s heroes to properly rally behind. Bruce’s plan to resurrect Superman with the Mother Box is discussed (and edited) far more competently this time around; although there’s doubt about the moral and ethical implications of the plan (mainly from Alfred this time around), Bruce and Diana don’t come to blows like in the original film but the outcome remains the same. Like before, Superman is disorientated upon returning to life and attacks the fledgling Justice League in his confusion; his confrontation with Batman is a little different (and not as good as in the original cut, in my opinion) and there’s more to his return to the Kent farm but, upon regaining his senses, he returns to action as the team’s ace in the hole for the finale. Cavill is an absolutely fantastic Superman and Justice League finally got the character to a place where he is the charming symbol of hope and strength that the world needs and, despite his new black suit, Zack Snyder’s Justice League only expands upon that (of course, Cavill’s natural charisma and the absence of a horrible CGI face play a huge part in that).

The Nitty-Gritty:
One word to describe Zack Snyder’s Justice League (apart from “long”) would certainly be “epic”; Snyder pads the film’s runtime out with not only an abundance of never-before-seen footage, alternate takes, and new content but also an overuse of slow-motion and long establishing shots. To help make the film more accessible to viewers, the film is also split into six chapters, which was probably a great way to view it on HBO Max, and the DVD version of the film is split across two discs but, either way you slice it, this is a slog to get through and I have to believe that Snyder simply milked the extra time and money he was afforded just to capitalise on all the hype surrounding his version of the film. The closest comparison I can make is with his director’s cut of Watchmen (Snyder, 2009), which was similarly epic and ambitious in its scope, presentation, use of music, and its presentation of its costumed adventurers.

Some shots effects, and inconsistencies negatively affect the Snyder Cut.

It has to be said, though, that Zack Snyder’s Justice League has quite a few faults; some of the new special effects shots understandably look worse than others (and Cyborg still looks like dog shit), it’s pretty crazy that Darkseid and his forces just forgot where Earth was for hundreds of years (especially considering how badly he wants the secret of the Anti-Life Equation), the score has been completely reworked to remove Danny Elfman’s contributions (though, thankfully, Wonder Woman’s kick-ass musical theme remains), and many of the new scenes shot exclusively for the film suffer from poor lighting, inconsistent editing, and stand out like a sore thumb to the point where I’d much rather Snyder hadn’t bothered including the likes of the Joker (Jared Leto) when it makes little sense narratively (you’re telling me that in a grim, apocalyptic future where Superman has gone bad the Joker is alive but Aquaman isn’t?) Personally, I have never been a fan of Snyder’s “Knightmare” timeline; it made no sense in Batman v Superman and, thanks to Warner Bros. having no interest in allowing Snyder to fully explore this alternate timeline in Justice League sequels, it makes even less sense to me that he chose to continue pushing this dark vision of a future ruled by Darkseid and a corrupted version of Superman in the Snyder Cut (but, at least, it’s mainly confined to the film’s final moments rather than being awkwardly wedged in the middle of the film like in Batman v Superman).

Snyder’s cut expands and recontextualises many of the film’s existing scenes and characters.

Although many scenes and sequences may be familiar to anyone who has seen the theatrical cut of the film, the Snyder Cut expands upon every single one of these and, in many cases, recontextualises them into this larger narrative. This includes a longer scene of Bruce Wayne meeting and attempting to recruit Aquaman (accompanied by a lengthy song of reverence for the Atlantean), an expanded version of Wonder Woman’s introduction (including the first of a handful of pointless f-bombs), a longer version of Steppenwolf’s attack on Themyscira and the recap of Darkseid’s defeat centuries ago, more scenes of Steppenwolf and his Parademons’ search for the Mother Boxes (including torturing Atlanteans for information and a far better sequence where he acquires the final Box), and even recontextualising the interactions between Lois and Martha with the reveal that General Calvin Swanwick (Harry Lennix) has been J’onn J’onnz/Martian Manhunter all along.

The Snyder Cut restores and dramatically changes excised characters.

One of the main selling points of Zack Snyder’s Justice League, however, is the restoration of scenes and plot threads excised from the theatrical version. This includes characters removed from the original film, like Doctor Ryan Choi (Ryan Zheng), Vulko, Iris, DeSaad (Peter Guinness), Cybrog’s mother, Elinor Stone (Karen Bryson), and more time devoted to side characters like Silas (who now gives his life to mark the final Mother Box) and the origins of the Mother Boxes. One of the benefits of this is that we actually get to see an in-depth look into Cyborg’s expansive abilities (which includes a deep dive into the way he now perceives reality). Much of the Snyder Cut’s hype was also built around the inclusion of Darkseid but, in truth, the character is little more than a cameo; he simply takes Steppenwolf’s place in the flashback of the war between the allied forces of Earth and Apokolips and looms over the film like an ominous shadow as the ultimate threat for the united Justice League. Sadly, despite Snyder choosing to push his Knightmare future throughout the film and concluding it with a tease of Darkseid’s impending retaliation against the Justice League, it seems like we won’t be seeing Darkseid (or any of the New Gods for that matter) in the DCEU again any time soon.

Thanks to the team, and time travel shenanigans, Darkseid is left humiliated.

Snyder’s vision of the DCEU remains extremely bleak in its presentation; for all the characters’ talk of “hope” and the better nature of men, Snyder continues to suck all the life and colour out of these vivid characters. One thing I liked about Justice League was that it did a fantastic job of bringing some life and colour to this world, allowing the costumes to pop out on screen but, here, everything retains the same muted look and sombre tones of Batman v Superman. This is best exampled in Snyder’s instance on garbing the resurrected Superman in his black suit; Superman wore this in the comics after returning to life for about three issues and it was later stated to have helped aid his recovery but, here, no real reason is given for his choice of attire and it honestly would have made more sense for the evil Knightmare Superman to have worn the suit instead. Additionally, Snyder removes the red tint and tumultuous skies from the finale of the film, which admittedly does make the climatic battle against Steppenwolf’s forces easier to see but I feel the original colouring worked a lot better as a reference to the red skies that were are of DC’s various Crises. Speaking of the finale, Zack Snyder’s Justice League slightly recontextualises the ending. Although there’s still an implication that Batman is heading into battle with the intention of dying, it’s not as explicit as in the theatrical cut; what is much more explicit, though, is the feeling of team work between the Justice League as they each play their part in breeching Steppenwolf’s defences (Flash, again, gets way more to do in using his Speed Force charge to help Cyborg interact with the Mother Boxes) before Superman dramatically shows up to again completely lay waste to Steppenwolf. I’m glad that this beatdown is maintained as it was always a glorious showcase of Superman’s return and of the team coming together against a common enemy but, here, things go slightly differently as the heroes fail to stop the unity between the Mother Boxes and prevent Darkseid’s arrival. With no other choice, the Flash enters the Speed Force and reverses time in a beautifully surreal sequence, allowing Cyborg to reject the Apokolips’ influence and Wonder Woman to decapitate Steppenwolf right before Darkseid’s eyes.

The Summary:
I went into Zack Snyder’s Justice League with low expectations. Toxic fans and a rabid, almost cult-like online community had beaten any sort of excitement and wonder out of me. I quite enjoyed the theatrical cut; it wasn’t perfect but, news flash: none of the DCEU has been perfect and few films really are. Knowing that Snyder got so screwed over by Warner Bros. stung and it definitely frustrated me that we didn’t get a concise and more accurate version of Justice League years ago so that maybe the DCEU would be in a slightly better place but it was hard for me to feel invested in the film when it was so self-indulgent and so clouded by negativity and entitlement. In this case, though, I am glad to be wrong; there are many benefits to Zack Snyder’s Justice League. For one thing, it actually feels like a coherent story (even more so than Batman v Superman) and each member of the team is given so much more time to shine and showcase their powers and personality. Thus, when the Justice League unite for the finale, it means that much more as we actually get to know them all a little better and see them grow as a team through their interactions; it’s still a rush job as so much had to be crammed into so few films but, as a big fan I am of DC Comics and these characters, it remains a real thrill to actually get to see Batman, Superman, Wonder Woman, the Flash, Aquaman, and Cyborg all in a big budget, live-action film rather than constantly existing in self-contained bubbles (which seems where the DCEU will be heading again going forward). I’m not a massive fan of Snyder’s vision for the DCEU or many of the decisions he made but it’s better than nothing and not seeing an interconnected series of DC films so, while I was initially hesitant to enjoy Zack Snyder’s Justice League, I have to say that I was pleasantly surprised in the end. Had Warner Bros. not interfered and screwed things up, we probably would’ve gotten a two-and-a-half-hour long film that would have satisfied everyone enough to justify at least one more team effort but it is what it as and at least we got to see the closest approximation of Zack Snyder’s true vision of the film in the end and that’s something to be celebrated rather than simply, selfishly, demanding more.

My Rating:

Rating: 5 out of 5.

Fantastic

What did you think to Zack Snyder’s Justice League? Do you think it lived up to all the hype or was it all style and no substance? What did you think to the additional, extended and recontextualised scenes from Justice League and how do you feel the Snyder Cut compares to the theatrical version? Which of the characters was your favourite and what did you think to their extended screen time? How did you watch the film; in sections or as one long movie? Would you like to see more from Snyder’s DCEU or are you happy with the direction Warner Bros. is taking? What did you think to the whole Knightmare timeline Snyder tried to push and were you a fan of Superman donning the black suit? Whatever you thought about Zack Snyder’s Justice League, good or bad feel free to leave a comment below (even if it is super toxic).