Tom Peyer Talks Captain Kid And Adult Wish Fulfillment

July 27, 2016

Comics aren’t for kids any more – or so the cliché goes. But in an industry where Bone and Princeless are anomalies, and Armageddon occurs every Wednesday in the pages of the latest superhero epic, it’s easy to remember where that cliché comes from. Comic book readers have gotten older – and it was that fact that led to the creation of Captain Kid, a new series from AfterShock Comics. Co-written by Mark Waid and Tom Peyer, and illustrated by Wilfredo Torres with colors by Kelly Fitzpatrick, Captain Kid follows the adventures of Chris Vargas, a middle-aged man with the ability to transform into a teenaged hero at will. The first issue hit comic shops today, and I spoke with Tom Peyer (Hourman, Legion of Super-Heroes) about the new series.

Nikolai Fomich: Tom, what’s the secret origin of this project? Where did the idea for Captain Kid come from?

Tom Peyer: Back around 2002 or so, I was thinking about how superhero comics had changed from their early days. The biggest difference was the audience. It had gotten a lot older. When kids ruled comics, there was a lot of wish fulfillment; young readers could imagine themselves as Batman’s sidekick, Superman’s cousin, Billy Batson’s alter ego, Superman’s pal. It seemed the older readers weren’t having their wishes fulfilled but rather their fears confirmed in the form of dead loved ones, bloody vendettas and mini-apocalypses. What if a middle-aged reader could transform into (I thought then) a teenaged mutant? Wouldn’t it feel good?

I mentioned this idea to my friend Mark Waid, and he urged me on. But being me, I did nothing until late last year when he said he’d write it with me. That was the push I needed after 13 years of sloth.

Tell us more about Captain Kid’s alter ego Chris Vargas. Who is he and why will readers resonate with him?

He’s a nice guy, 45, single, in a media job that’s hanging by a thread. His mother died recently and he lives with his dad, who’s deep in mourning. He likes to consume pop culture and hang with his friends, like a college kid. His teeth are starting to go, his knee hurts, and his chest feels the brunt of all the cigarettes he used to smoke. And he can turn into a 15-year-old kid with super-powers, which makes up for a lot.

Writers such as John Broome, Gardner Fox, Otto Binder, and the great Edmund Hamilton used the Flash, Superman, and other characters to reflect very adult concerns in stories told for children – concerns such as aging, weight gain, marital problems, and becoming a lion (well, OK, maybe not that last one). How have these authors influenced your work, both in general and on Captain Kid?

That’s like asking how the alphabet has influenced my writing. I was exposed to those writers at such an early age, and I read so much of them, I’ll probably never know what they did to me. I remember that when I was around six years old I read a couple of Superman stories that were pretty heavy: Jerry Siegel’s “The Two Faces of Superman,” in which a duplicate of our hero is raised by criminal parents who secretly hate him, and “The Son of Bizarro,” in which the Bizarros have a child, give him up, and want him back. An upsetting amount of parent-child tragedy in those two stories.

You’ve worked with Mark “Brainiac 6” Waid many times before, on comics like The Flash and Green Lantern: The Brave and the Bold, The Amazing Spider-Man, and Legion of Super-Heroes. What’s your collaboration process with Mark, and what do you think makes it so successful?

We’ve been talking on the phone several times a week for more than two decades. If I write a story, we talk it over. If he writes a story, we talk it over. We fell into this shorthand based on old comics. “It’s like when the teens of Midville help defeat the Astounding Separated Man.” “Right, but what if we added Kid Flash beatniks?” “As long as it doesn’t get too Hank-McCoy-with-his-feet-painted.” We also speak in regular sentences.

I understand that you and Mark have a difference of opinion regarding whether or not you would stay teenaged and super-powered forever. How do you and Mark differ on this, and how has that difference affected your collaboration?

If I could turn into a super-powered 15-year-old, I’d check back into my own life now and then just to see how my friends and family are doing. If Mark could turn into a super-powered 15-year-old, I’d never hear from him again. I should probably be offended, but I can’t blame him for being honest.

Beyond generic super-strength and flight, Captain Kid has a very unique power – he can read electromagnetic media. Why did you and Mark choose this power for your co-creation?

That’s a Waid contribution. To me, science is the branch of knowledge that deals with rays that turn people into gorillas. That’s because I learned everything I know from Silver Age comics. Waid, on the other hand, has read books. So he can come up with things like “electromagnetic powers.” I don’t know what he’s talking about.

Wilfredo Torres (The Shadow: Year One, Jupiter’s Circle) will be drawing and inking the series. How did Wilfredo get involved and what has working with him been like?

Wilfredo’s art is just what Captain Kid needs. It’s a humanist approach, with none of the hyper-detailed macho posturing of so much comic art. And it’s very fluid, clear, and appealing to look at.

You’re also working with colorist Kelly Fitzpatrick, whose work I enjoyed on Batman ’66. Talk a bit about what Kelly’s brought to Captain Kid.

Like Wilfredo’s art, Kelly’s color brings story clarity and is a pleasure to look at. And colorists, like letterers, are at the back of the production line, which means there’s never enough time left for them to do the job because we at the front took too big a bite. And I’m pretty sure there are times when Kelly has to sacrifice sleep and a normal life to keep us going, but you’d never know it to look at the work. And this applies as well to our lettering team, A Larger World.

Captain Kid will be released by AfterShock Comics, a new indie comic book company that launched a year ago. How has has writing for them been different than writing for DC or Marvel?

Probably the biggest difference is, we can just tell our own story without worrying about the other titles. We don’t have to truncate or alter plans because Scranton, PA has been made radioactive in Second Sight (to use an example I just made up). I’m not suggesting that we’re definitely not in a shared universe – I don’t know if that conversation has happened – but AfterShock allows us to focus on our own plans. I think that makes for better stories.

Finally, what other upcoming projects are you working on? Anything else for AfterShock?

I have another idea, so check back in 13 years.

Captain Kid #1 is on sale now from AfterShock Comics.

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Joss Whedon Considers Return to Marvel for Black Widow Film

Jon Barr - TV Editor

July 27, 2016

Joss Whedon, the writer-director of the two Avengers films, may be looking at a return to Marvel. Whedon had previously said he never wanted to direct another Marvel movie, but his thoughts have changed – in a way. He’s not looking to steal either of the Infinity Wars films from the Russo Brothers, or bring the Inhumans back to the table. Instead, Whedon has his sights on a solo Black Widow film.

In an interview for IGN, Whedon had this to say about the idea:

I think that character really is very interesting and very earthbound, so it’s the kind of action that I got to do less of with somebody like Thor or The Vision. When you get into your ‘Superman’ territory its harder to maintain the gritty action that the Russo brothers do so brilliantly and she’s got that kind of thing and [you can] really do a spy thriller. Like really do a good, paranoid, ‘John le Carré on crack’ sort of thing. That would be really fun.

This would be a great way to reincorporate Whedon into the Marvel squad. Joss Whedon is probably best known for his television series Buffy the Vampire Slayer. It’s a fantastic action-comedy series featuring a strong, ass-kicking female protagonist. And Black Widow didn’t really get fleshed out as a character until Whedon’s work in Avengers. So a female-led action film seems like it would be right up Whedon’s alley.

Now that’s not to say Whedon has received nothing but praise for his work on Avengers. Fans weren’t nearly as happy about the character in Avengers: Age of Ultron, as she mostly functioned as Hulk’s love interest. In fact, Whedon got so much hate that he was chased off Twitter. On top of all this, there don’t seem to be any concrete plans at Marvel for a Black Widow film. With so many MCU Phases and films mapped out, who knows if and when we’d see this happen. But if anyone could make it work, and if any director deserves at another shot at superheroes, it’s Joss Whedon.

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Review: ‘Ghostbusters International’ #7: Peck With A Pack

Anthony Wendel

July 27, 2016

While Ray, Peter, Winston, and Kylie are ghost hunting in Ireland, Egon remains in New York and finally gets to the bottom of a mystery he’s been chasing since college… about a powerful Scandinavian spell book. That’s right, Egon gets all the answers… and he may wish he hadn’t.

Writing

Just as it seems like the Ghostbusters will simply continue their international tour and just bust ghosts at different landmarks, this issue comes in and really moves things along. On top of helping to advance the plot, there is a truly emotional story here for a character who really doesn’t get much development. It takes you by surprise, and it was exactly what this story line needed to help keep the readers engaged. Top marks to writer Erik Burnham for making this issue one of the better reads for the month. Also, putting Peck in a proton pack was a very entertaining and amusing sight to see. Especially when its pointed out how horrible he is at it.

Artwork

The ghosts, creature designs, and special effect artwork as always finds a way to steal the attention of the comic. The design and presentation of the head Banshee really made her look like she was a force to be reckoned with. Artists Dan Schoening and Luis Antonio Delgado really are a great team who have trained eyes for detail.

Conclusion

This is exactly what this series needed. The plot comes in like a wrecking ball and delivers a healthy dose of intrigue while at the same time having a very somber and emotional story line. It’s packed to the brim with a lot in a short amount of time and the fans will enjoy every bit of it. Especially if Peck has to strap on a proton pack again to offer some assistance.

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Review: ‘Jem’ #17: Change Is Coming

Anthony Wendel

July 27, 2016

Still reeling from the shattering conclusion to DARK JEM, JEM AND THE HOLOGRAMS regroup–desperate to find a path forward. Meanwhile, THE MISFITS find themselves with a unique problem… one lead singer too many!

Writing

After a major storyline where the characters experience a lot, there is usually an issue which takes a moment to assess what just happened and where they need to go from here. This is one of those issues. Now, this doesn’t necessarily make it a bad read and in fact it’s a great one, but there is still a lot of dialogue setting up a major change which may happen in the next issue.

Writer Kelly Thompson makes sure to point out even though the Holograms and Misfits were able to team up last issue, they are far from friends. Instead, it shows Kimber and Stormer, who are caught in the middle of it may have to choose sides whether they like it or not. Given the fact a Mistfits spin-off series was just announced there is a possibility what happens next will greatly affect their relationship. This makes it a really engaging read.

Artwork

Artist Sophie Campbell has temporarily left the series, and Jen Barlet has come in to take her place. Her art is sound and her work with the expressions of the characters is particularly noteworthy. Just wondering why Aja’s bandage kept disappearing and reappearing on her arm every other panel. Small compliant but it is noticeable.

Conclusion

The issue is a good chance for the characters to take a moment to breath and get ready for what is going to happen to them next. By the look of it something big is going to occur, so you’ll need to check out this issue to understand the full impact of what will happen in part two.

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Hey Hollywood, ‘Stranger Things’ is How You Do Nostalgia Right

Larry Taylor - Managing Editor

July 27, 2016

Stranger Things is a marvelous experience for anyone who grew up devouring Stephen King’s early works, for anyone who adored the supernatural Spielberg and 80s kids movies; it’s nostalgia to the nth degree. And, there’s references aplenty to more recent works for the younger crowd. But, at the same time, in all its homage and callback gory, Stranger Things still manages to be something wholly unique. The Duffer Brothers’ story is full of fresh characters, great performances, and a whip-smart balance of horror, comedy, and thrills.

It’s the sort of story Hollywood should take note of, and ditch their reboot culture.

Hollywood is so terrified of new entities and original properties in their summer blockbuster slate, where they make pretty much all the money for their entire year, that they insist on dumping increasingly lackluster sequels and reboots on us. Quantity over quality. This year, however, it seems the returns might be diminishing enough for studio fat cats to rethink their boring plan. Ninja Turtles 2, ID4-2, Tarzan… pretty much anything without the gold-stamped “Marvel” or “Pixar” label has been met with mediocre reviews and middling box-office numbers. Even Star Trek Beyond, easily the best of the three films in the franchise reboot, underperformed compared to the other two. Ghostbusters is mildly successful (it has a long way to go to make up that budget), but the movie itself is just okay.

Rebooting and remaking existing properties has been a successful template for a long time. It unearths all those feels for the 25-50 crowd, adults who have kids now (and, more importantly, money) and want nothing more than to share the things they once loved with their children. Reboots and remakes and sequels also require little to no brain power these days; just throw together a screenplay, hire some stars, and voila! All the money! So we get reboots of Poltergeist, a “prequel” to The Thing, a new Nightmare on Elm Street, Evil Dead, and so on and so forth.

But maybe audiences are tiring of these reboots and sequels enough that studios will take more than a sideways glance at the success of #StrangerThings. It’s another Netflix hit, and it succeeds on two levels that would seem impossible to fit within the same narrative structure: nostalgia and originality.

This isn’t a remake of E.T., or Poltergeist, or Alien, but it has elements of all those in its bones. And Firestarter, and Close Encounters, and dozens of other films and stories from our past. Part of the fun watching Mike, Dustin, and Lucas work with Elle, Chief Hopper, and Joyce Byers to find the missing Will Myers, all the while fending off evil government entities – led by a creepy silver-haired Matthew Modine – is spotting all the references. You spot the E.T. callbacks and the Firestarter/Carrie mashups and you smile, but at the same time you’re engaged in a story that’s all its own. That’s where it differs from Hollywood’s big-budget tentpoles; it creatively stokes our nostalgic fires. It respects its audience.

Take Ghostbusters, for example. The women are great, and the story…okay? But the cameos from the original cast members are all lackluster, and they’re obvious attempts to shoehorn characters from our childhood into a new movie with no real motivation other than having audiences say “Hey! It’s Bill Murray!” Did you see Dan Aykroyd as the cab driver? That was… forced, wasn’t it?

Stranger Things manages to challenge us to find the Easter Eggs rather than just throwing them at the screen with no rhyme or reason. Spotting Evil Dead posters in the bedrooms, perking up at the sound of a pop song, or trying to nail each and every nostalgic callback works like a game within the story. It energizes viewers, it engages them further into the plot, but it’s not all there is to it. In the midst of all the callbacks, there is a honest to goodness original story with original characters. They’re inspired by past characters, but the actors – from Winona Ryder to David Harbour, and all the kids at the core – bring fresh perspective. It’s challenging, and fun, and not for one second does the viewer drift off in between references, waiting for the nest Stephen King nugget or Dan O’Bannon name reference.

Hollywood will continue to reboot and remake existing properties into oblivion, make no mistake. But perhaps Stranger Things will get to at least one studio exec in charge of these tentpoles, and they will try to ape off the success of this in a fresh new way. Doing what Stranger Things has done in 8 episodes is not easy; mixing nostalgia and original storytelling takes time, and effort. And that might be where studios lose their focus.

Just redoing Poltergeist is much easier.

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‘Bojack Horseman’ S3 Review: Bojack Keeps Running

Jon Barr - TV Editor

July 26, 2016

Bojack Horseman has gotten its formula down. The fact it wasn’t nominated for a single Emmy defies logic. Over the course of two seasons, the show has toed the line between comedy and drama, showing more depth than most any animated series. Bojack Horseman boasts wonderful writing and incredible performances, with a knack for both visual gags and witty dialogue. This latest season of Bojack Horseman manages to get every character and element back together, matching the high-quality we’ve learned to expect from the show. But don’t think the show is nothing but laughs all around. If this season teaches us anything, it’s to expect Bojack’s self-destructive nature to cause heartbreak at every turn. Even more so that the former seasons, Bojack Horseman leaves no dark corner of its universe unexplored.

The show’s third season came out this Friday, July 22nd, and picked right up from the devastating events of the second season. Now that Bojack has (technically) starred in Secretariat, he’s off promoting the film, vying for an Oscar. Unlike the second season, where Bojack’s struggling to make the movie he wants, he’s now waiting to see how the world will react to this new, serious actor version of him. There are, of course, several hilarious episodic misadventures, such as a trip to New York, crashing a wedding (rehearsal dinner), and dealing with a dead prostitute. There’s also plenty of heartbreak and crushing defeats, for Bojack and everyone in his life, as their lives are tied together in funny, painful ways.

Many of the characters this season got fleshed out in more interesting ways. Obviously, the focus of Bojack Horseman is Bojack, and the show keeps a riveting, razor focus on Bojack as he deals with the fallout from last season. Bojack’s struggle with validation is emphasized, as he deals with his work outside of Horsin’ Around. We learn about his other failed television series, The Bojack Horseman Show, and how his Secretariat role might reinvent him. Princess Carolyn is finally in charge of her own agency, but the season shows her struggling to keep it afloat, while also hoping for a semblance of a good relationship. Diane and Mr. Peanutbutter are still working through their marriage, and Todd’s old girlfriend returns to make him deal with maturity.

While many of the fantastic elements from the past two seasons are present, season three is still distinct. This season, Bojack Horseman takes on more of a continuous narrative, rather than more episodic television. The other two seasons definitely did this to a degree, but season three is almost entirely the same story throughout. It makes the humor-centric episode feel weaker, relying more on serious storytelling. On the flip side, the dramatic plotlines are enhanced, as we see longer stories with more thought-out execution. From Mr. Peanutbutter’s relationship with his brother, to Bojack’s regrets about sleeping with Penny, we get more gravitas from this season. That’s not necessarily a bad thing, as the show does do drama well. But it does make the humor seem more hollow, as we know what’s beyond the horizon.

This less humorous approach also changed the way characters function in the show. Season three really lets Amy Sedaris shine as Princess Carolyn, Bojack’s agent and former lover. The season digs more into their past, contextualizing their relationship in a new compelling way. On the other hand, Todd (Aaron Paul) is dropped into more serious, serialized storylines, like his relationship with Emily (Abbi Jacobson) and his new cab agency. The more dramatic plotlines work well for Princess Carolyn, but not so much for Todd. Then there’s Mr. Peanutbutter (Paul F. Tompkins), who still functions primarily as a lovable joke factory. He does have more to do this season, like his marriage struggles, and his relationship with older brother Captain Peanutbutter (Weird Al Yankovic). But he’s still a comedic character, first and foremost. It’s the reason people love Mr. Peanutbutter, and what made fans love Bojack Horseman in the first place.

The best parts of this season are how we see the people Bojack has broken. Seasons one and two gave us great insight into Bojack’s self-destructive nature, with both comedy and drama. But part of why this season feels more serious is because it’s not just about him anymore. We see how Bojack’s actions actively hurt others, and how his apologies don’t fix anything. Not just with the bigger characters, like Diane or Todd, that we always see hurting. There are many people Bojack has left devastated – like Penny, Sarah Lynn, Kelsey Jannings, and Character Actress Margo Martindale. This season focuses on how sometimes, it’s not always about Bojack, and how this focus tends to blind him. The second-to-last episode, especially, highlights this self-centered view on his actions. Whether or not he feels sorry doesn’t matter – what matters is that it won’t stop until he’s dead.

Most importantly, the third season makes Bojack ask himself what he wants. Finally free of just being the star of Horsin’ Around, he now has decisions to make. He could be the Oscar winner, throwing big parties every night. But part of him also wants a family, or someone who’s there for him as a person/horse. It’s why he goes after a relationship with his new publicist (Angela Bassett), and why he keeps latching on to Princess Carolyn in times of trouble. It’s not a new concept for the show, but it’s explored in better depth this time around.

Overall, Bojack Horseman‘s third season is different than the other two. It’s not a bad thing, by any means, but that difference is evident in every episode. There’s always some deep sadness behind every joke. As much as we want happiness for the leads, they’re not always the good guys. Bojack Horseman doesn’t stop being funny, but now the price is higher. If you’ve seen the previous two seasons, then you know exactly what you’re in store for. The series doesn’t shy away from sadness, but fully embraces both its humor and hopelessness. It’s hard to say what to expect from season four – perhaps it’ll be more gut-busting laughter, or gut-wrenching moments of heartbreak. Or maybe it will be the season where Bojack Horseman finally earns a victory. Until then, he’ll have to keep running – and we’ll be here, anxiously waiting to see what happens.

STAND-OUT PERFORMANCES: Will Arnett, Amy Sedaris, Paul F. Tompkins, Kristen Schall, and Angela Bassett

STAND-OUT EPISODES: “Start Spreading the News,” “Fish Out of Water,” “Old Acquaintances,” and “It’s You”

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Review: ‘My Little Pony: Friendship is Magic’ #44: The Evil Of Ponies

Anthony Wendel

July 26, 2016

“Ponies of Dark Water Part 2” Our favorite ponies have gone bad and are loving every minute of it! When Twilight seeks to conquer Equestria for herself, the Cutie Mark Crusaders may be the only hope for salvation!

Writing

Trouble keeps adding up as the Mane Six keep indulging their dark sides. Of course Pinkie Pie’s dark side really isn’t really evil, as she’s just forcing people to be entertained whether they like it or not. It kind of makes her act like the Joker except without using guns. Wait, she does have the party cannon.

Twilight and Rarity on the other hand are an actual threats and Luna even has to step in and go head to head with Rarity to stop her from destroying the place. Also, Fluttershy is leading an army of battle hungry animals. Yes, you read it right. This issue is insane with all the mayhem which is created and Thom Zahler should give himself a hand for it.

Artwork

Tom Fleecs’ art really helps to show all the chaos which is unfolding. The pop culture Easter eggs which make the series so much fun are back in full force as well. Also, the final page is a fantastic splash page which many fans were overjoyed to witness.

Conclusion

The story is solid with all of the characters going bad and it ends with some actual tension with the cliffhanger. Now all the creative team needs to do is find a way to fix things. Usually it will involve magic, but given the surprises the team likes to use, it sometimes is hard to guess what will happen next. Hopefully it won’t get wrapped up too quickly but given the fact the next issue is the end of this story line there is a good chance this will happen.

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A Legit Boss For A New Era – Fresh Faces Lead The Way

Mat Douglas

July 26, 2016

The WWE makes a lot of promises. Promises of change, a new beginning, and ‘something you’ve never seen before’. Rarely those promises are fulfilled, until last night. A second attempt at a ‘brand extension’, having separate rosters for RAW (WWE’s flagship show) and SmackDown seems to have breathed new life into the world of Monday Night RAW.

RAW of The New Era — The RAW roster of the new era
photo: WWE

Last night was the first night of the new era of RAW, with Stephanie McMahon and Mick Foley in the ring addressing the RAW roster. Three matches were announced, along with a new championship title. Two fatal four way matches, in which the winner would face Seth Rollins for the new WWE Universal Championship at SummerSlam in August.

Why is there a new championship title, you may ask?

Dean Ambrose, the current WWE Champion, was drafted to SmackDown and retained the title this past Sunday at WWE Battleground. The participants of these matches included Cesaro, Kevin Owens, Roman Reigns (fresh off his 30 day Wellness suspension), along with a new arrival. Drafted from NXT, the former NXT Champion, Finn Balor. One other match was also announced. Current WWE Women’s Champion Charlotte would defend her title against Sasha Banks.

Typically any match involving the current champion and Roman Reigns would end predictably. The WWE has been pushing Roman Reigns forwards as “The Guy” for some time now. So his involvement in one of the fatal four way matches would lead you to believe that Roman would face Rollins. You would also believe that a current champion, that would be Charlotte, would be defending her title going into the WWE’s second biggest show of the year in SummerSlam.

You would be wrong, and wrong in the way that you are ecstatic to be wrong.

Balor vs Reigns - The New Era — Balor puts the boots to Roman Reigns
photo: WWE

In a shocking turn of events, Finn Balor, making his main roster debut, would win one of the fatal four-way matches while Roman Reigns would unsurprisingly win the other. While Finn Balor vs. Roman Reigns may not set the world on fire, it was a better match than most expected. Finn Balor would surprisingly defeat Roman Reigns via pinfall and will be part of the main event at SummerSlam for the newly minted WWE Universal Championship. This match was last of the night, and by logic, would be considered the main event…it was not.

Prior to the Reigns vs. Balor showdown, Charlotte would face Sasha Banks for the WWE Womens Championship. Charlotte has been champion for 300 + days since winning the title last year from Nikki Bella. This was also Sasha’s first one on one match for the title since Charlotte became champion, and they would tear the house down. Both women went at each other with everything they had. Both women pulled out every stiff kick and high risk move at their disposal. Even the requisite interference from Charlotte’s protege, Dana Brooke, was brushed aside when Banks would “pull a Guerrero”, making it look like Brooke hit her with the title, and Brooke would be tossed from ringside. Sasha Banks, in a stunning upset, would make Charlotte tap out to the Bank Statement and become the new WWE Women’s Champion in a match that sets a clear tone for the women in NXT and on the main roster on both RAW and SmackDown. The standard has been set, the bar has been raised, it is time to step up if you plan to compete in the WWE Womens’ Division. To think, barely 3 years ago, the WWE Divas matches were a “bathroom break”, and now they are co-main eventing WWE programming.

Monday Night RAW airs weekly at 8pm on USA

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REVIEW: ‘Batman: The Killing Joke’ falls short of source’s intensity

Felix Albuerne

July 26, 2016

Batman: The Killing Joke is as ambitious an effort by Warner Bros. Animation as any in their history with bringing iconic DC Comics stories to life in animated form. The minds and talent charged with adapting Alan Moore’s quintessential Joker story treat the source will great reverence. If it was in the book, it’s in the animated film version.

That reverence for the source, however, does cause the production a number of problems. Also, the practical need to expand the story in order to create a legitimate feature film causes other issues.

In short, while the film ultimately is compelling and memorable, it falls short of the heights of intensity reached by Moore’s original work.

What’s it about?

The film version of Batman: The Killing Joke actually tells two stories. The main story, which takes up roughly two-thirds of the film’s running time, is Moore’s original tale in its entirety. The Joker (voiced by Mark Hamill) escapes from Arkham yet again, and sets out to prove a terrifying point.

Using Commissioner Gordon (Ray Wise) as his test subject, he’s out to show that all it takes for even the most moral and upright person to be just like him is “one bad day.” After kidnapping Gordon from his daughter Barbara’s apartment, he subjects the commissioner to an array of torments certain to break Gordon’s mind.

Not the least of these horrors is, of course, the terrifying violation for which this story is infamous: Joker’s bloody and twisted treatment of Barbara, left helpless after a gunshot wound.

The other story, which is entirely new, focuses on Barbara Gordon (Tara Strong), and a defining moment in her Batgirl career shortly before the Joker shows up at her door. While working to run down an upstart mobster (John DiMaggio), Barbara finds herself at odds with Batman himself, and forced to question her motivations for putting on the cowl and fighting at his side.

New elements feel tacked on

Before purists judge harshly the filmmakers’ choices regarding additions to the film version of “Batman: The Killing Joke”, it’s important to remember that Moore’s original story was a one-shot, less than 50 pages long. As literally as this production adapts Moore’s material, the film without the new material added would have clocked in around 45-50 minutes. Too long for an animated short, but far too short for a feature.

Director Sam Liu (Justice League: Gods and Monsters) also clearly recognized the need to more fully develop the Batgirl/Barbara Gordon character. Without her, the film has no noteworthy female presence or character to speak of. Additionally, because she’s made so vital in the film’s first act, Barbara’s eventual fate has the potential to be much more impactful.

That said, the production arguably could have found ways to better integrate the new material for the sake of story flow and pacing. As executed here, the expanded Batgirl-centric material simply feels tacked on. There’s an identifiable moment in the film when it transitions from that narrative to the “main” story, and the shift is jarring.

More (Moore?) isn’t always better

Batman: The Killing Joke is not suddenly flawless once it gets into the material directly adapted from Moore’s work, either. Certain structural elements that work within the framework of printed pages disrupt narrative flow when utilized in a film.

Specifically, Moore’s use of flashbacks to establish Joker’s memories of his pre-criminal life do not work as well on film. In this version, they feel like speed bumps, preventing the film from maintaining tension and building momentum.

Voice talent comes through

What is exceptional about Batman: The Killing Joke is exactly what audiences would expect to be exceptional: the voice talent. Mark Hamill and Kevin Conroy cemented their status among fans long ago as “the” definite voices of Joker and Batman, respectively. Their pitch-perfect work here adds yet another memorable cinematic moment to that shared history.

Tara Strong, best known to Batman fans for her voice work as both Batgirl and Harley Quinn, also delivers stellar work here. However one may feel about the Batgirl story in the film and the direction it takes, there’s no denying its a complex, emotionally demanding role. Arguably, Strong’s fine work here is, in fact, her finest with this character.

Worth seeing?

Batman: The Killing Joke is certainly worth seeing, especially for Batman fans. Despite its flaws, it’s still one of the best films to come from WB Animation’s line of DC Animated features. It’s also a milestone story in the evolution of the Batman-Joker mythos, as important as stories such as “Batman: A Death in the Family” and “The Dark Knight Returns.”

See it on the big screen if you can — you’ve got one more night to do it. Otherwise, enjoy it at home when it comes to digital. Also, if at all possible, read the source material first. It may heighten your sense of the additional material feeling intrusive. But it will certainly add to your appreciation of the production’s effort to honor its inspiration.

Batman: The Killing Joke

Starring the voices of Mark Hamill, Kevin Conroy, Tara Strong, Ray Wise, John DiMaggio, Robin Atkin Downes, Brian George. Directed by Sam Liu.
Running Time: 76 minutes
Rated R for some bloody images and disturbing content.

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‘The Killing Joke’: The Most Shocking Thing Is How Disappointing It Is

EJ Moreno

July 26, 2016

‘Killing Joke’ Is The Pinnacle “Batman vs Joker” Story And This Adapation Underwhelms Immensely

How do you get a R-rating from the MPAA and never truly earn it? Just ask the creators of ‘Batman: The Killing Joke‘.

Based on the controversial Alan Moore graphic novel of the same name, the film adaptation of this iconic tale honestly didn’t live up to the hype. The voice acting was outstanding and the animation was stunning but something about the entire piece just felt bland. ‘The Killing Joke‘ had so much to live up to and at times, it almost delivered but it didn’t go far enough.

Possibly the most memorably shocking thing about ‘Batman: The Killing Joke‘ is the relationship change between Batman and Batgirl. Gone are the days where she is just a sidekick and now we get some sexual tension between the two. Many online have vocalized their distaste for the change and how it ruins the character but I thought it worked within this story. The prologue where these changes occur adds something to Batgirl; this was the writers attempt at humanizing her. What they did was turn her away from being a stereotypical young love-drunk girl into someone who is craving darkness in her life. It is a departure from the Barbara Gordon that you have come to know but it worked within this narrative.

Other than changing the emotional attachment of Batgirl, the film stayed close to the graphic novel. Even going as far as re-creating the most iconic scenes in some of the film’s most awe-inspiring moments. Seeing Tourist Joker with the gun in his hand at the door of Barbara Gordon on the big screen was an incredible moment for fans. Sadly, the ‘Killing Joke‘ stayed so true to the original piece that it never pushed the boundaries within the film.

“Sometimes I remember one way and sometimes another, if I am going to have a past I prefer it to be a multiple choice.”
-The Joker

Reading something and watching it have two different effects on you so they needed to be handled differently. That being said, the material handled within the graphic novel needed to be showcased differently in film format. Intensity needs to be heightened and the story needs more of a cinematic scope. Sadly, ‘The Killing Joke‘ movie just didn’t have the same emotional and shocking feeling to it.

I watch a lot of these animated DC films and I’ve grown used to the boundries they could push like director Sam Liu’s ‘Justice League: Gods and Monsters‘ but this didn’t push hard enough. Maybe they needed to go as far as showing more of the assault on Barbara or slip some animated nudity during the sex scene between Batgirl and Batman. Maybe the violence needed to be a bit more brutal or the language more foul. Writer Brian Azzarello boasted that he “added more controversy” but all that was there was weak thrills.

Another complaint with the project actually goes all the back to the source material. I’ve never personally cared for a Joker backstory. This backstory is in place as an attempt to show Batman that The Joker and him are exactly the same; both dark humans who just had one very bad day. A character like Joker needs no origin or added sympathy; he’s a sick and twisted man with no clear plan. ‘The Killing Joke‘ adds sorrow to the character as a means to explain why he is the way he is. There’s an odd juxtaposition in the story where on one hand, The Joker is a rapist/murderer but on the other hand, he is a man who lost his wife and unborn child. If the film adaptation would have left these flashbacks out, I think it would have flowed better.

It was great to have the acting of Kevin Conroy, Mark Hamill, and Tara Strong together again. And how awesome is it that a DC Animated Original Movie got an R-rating and a theatrical run? Even if it was just another average film for the studio, the fact that DC did such an amazing fan service like this is commendable.

Did you see ‘Batman: The Killing Joke‘ yet?

Let me know what you think about the film in the comments below!

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Writing

Artwork

Conclusion

Writing

Artwork

Conclusion

Writing

Artwork

Conclusion

What’s it about?

New elements feel tacked on

More (Moore?) isn’t always better

Voice talent comes through

Worth seeing?

Batman: The Killing Joke

‘Killing Joke’ Is The Pinnacle “Batman vs Joker” Story And This Adapation Underwhelms Immensely

“Sometimes I remember one way and sometimes another, if I am going to have a past I prefer it to be a multiple choice.” -The Joker

“Sometimes I remember one way and sometimes another, if I am going to have a past I prefer it to be a multiple choice.”
-The Joker