I’m probably starting to sound like a broken record here, but Spider-Man 2 for the PS2 is still one of my all time favorite video games. It did the open world/mission-based thing incredibly well while also offering all kinds of Spidey-based add-on powers and moves to keep things interesting as you swung through NYC, stopping occasionally to kick a criminal’s teeth in. There was a connection to the movie of the same name, of course, but not a huge one, which is great for me because I think the middle of that movie stinks.
As I mentioned when I talked about the trailer for Spider-Man: Shattered Dimensions — which I erroneously referred to as Dark Dimensions for some reason — I really wanted to like Ultimate Spider-Man which took many of its cues from Spidey 2, but also seemed to dumb things down more than I liked. Since then I’ve kind of shied away from the franchise after not hearing great things about games like Friend Or Foe and Web Of Shadows. But, when some of my friends who are far more into video games than I started telling me that Amazing Spider-Man — based on the film reboot I still haven’t seen — might just be the next Spidey 2, I was definitely interested and actually got a copy of the game for Christmas.
And it’s close, but it didn’t really hit all the same notes for me. In fact this game, while a lot of fun and challenging at times, really didn’t seem to offer much in the way of new gameplay experience. I’m far from an unbiased voice in this conversation, but the game itself really just felt like an updated version of a game that’s nearly a decade old. There’s nothing particularly wrong with that, but I was really hoping for something that would take a great game, update it for a new console and also add a lof of new goodness on to it. I mean, the open world style of games have been around for a long time and yet this one didn’t seem to add much to the sandbox.
And yet, I still had fun with the game. I’ve mentioned plenty of times here and there that my daughter Lucy actually really got excited about this game. For a few weeks she liked watching the old 60s Spider-Man cartoon, but then lost interest but still liked the character. She saw me playing Amazing Spidey and really dug it. In fact, one of the reasons it’s taken me so long to finish this game is that I basically stopped playing it when the kid wasn’t awake. Also, not for nothing, but when a toddler is yelling at you to play a game, it can take away some of the fun.
So there was an added level of doing something cool with my daughter that she dug while also going through a game that I liked for the most part. Again, it’s not a bad game by any means, but I was just hoping for more. Even though it didn’t do everything I wanted, I still had a great time web-swinging around a digital New York City, trying to figure out where I’ve been and where I can throw down with some bad guys. I even enjoyed the main storyline which does a cool job of mixing a zombie outbreak story and some crazy big mech robot stuff. That’s all aces in my book.
I’ve already moved on to my next video game which actually happens to be Spider-Man: Shattered Dimensions which is much more of a straight-ahead action game than an open world sandbox. I think I’m getting the hang of it and it’s a lot of fun to mash buttons while kicking bad guy butt and also hopping from timeline to timeline while experiencing one cohesive story. Fun stuff so far. I’ll probably review it when I finish, which might be another five months, we’ll see!
I have a green, briefcase-esque McDonald’s lunchbox somewhere filled with tiny figures. There’s a combination of Happy Meal toys, those clear egg offerings you could get for a quarter or two at the grocery store and other random tiny toys. These might have seemed like rejects, but all together I could have some pretty epic battles, even though most of them had zero points of articulation.
Two of the toys in there came from Galoob’s line of Trash Bag Bunch toys which were basically blind boxed (bagged, really) minifigures packed in bags that disolved when placed in water. TBB figures were basically the same as MUSCLE or Monster In My Pocket toys but more fully painted and with that additional gimmick. The story, such as there was one, pitted gun-toting heroes against crazy monsters. The Trash Bag Bunch hit on two popular kid trends of the time: gross stuff and environmental stuff. What’s dirtier than trash? And yet, the good guys — called Disposers — are dedicated to keeping the world clean while the Trashor bad guys fight “dirty and mean!”
I don’t remember this commercial at all, but man, look at how fantastic it is? I’d love to see an entire movie focusing on these kids and how the Trash Bag Bunch winds up helping the main kid stick up for himself…or find treasure or whatever.
I know I’m incredibly late to the party on this one, but the way the Kindle works with the Kindle App for iPhone is pretty fantastic. I’ll be honest, I’ve only just recently started using my Kindle Fire to read actual books. For the most part, I’ve been using it to read comics. Even for that, I tend to only check it out every few weeks — maybe once a month — and then get back to the piles and piles of unread books and trades I have lying around. But, I just downloaded a book I’ve been really interested in checking out and have been reading through it every chance I get.
But, as you may know, my wife, daughter and I just went down to Pennsylvania to visit a theme park called Sesame Place with some friends. Those places might not seem like the best locales to get any quality reading done in, but I was pleasantly surprised to discover it’s as good as any and that’s all thanks to the Kindle App for iPhone. As long as you make sure to synch your devices, the one tells the other where you last left off, so you get to keep your place no matter which device you’re using. It’s fantastic!
Before moving on too much more, I do feel the need to make one thing clear: I’m not one of those overly-attached-to-my-phone parents who barely takes his eyes off his phone while out with the kids. I only turned the Kindle App on when I was waiting for the others to do their thing (not a big ride fan and also had a bit of a stomach ache at one point). Then, back at the hotel, I simply went back to the Kindle Fire, picked up where I had left off on my phone and continued on.
While sitting there waiting for half the gang to ride a ride and the other to check out the gift shop I couldn’t help but stop and imagine how much this technology would have blown my mind as a kid. I was an even more avid reader in my youth than I am now (specifically books, though I guess I still read a lot of comics and trades these days). I’d go to the library, get a stack of books and plow my way through them. I’d also go to the book store — first Thackery’s, a local Toledo place that clased, then Barnes & Noble and Borders — and get things that looked interesting or I had heard about, starting the piles that I’m still working through today.
I was never more focused on what books I had, though, than when my family and I were going on a trip. The idea of being without something to read haunted me. I have no idea if it ever actually happened or not (probably did which fed into the fear) but eventually it was not an issue because I would use whatever extra suitcase space I had to bring an extra book, magazine or comic to keep my habit fed.
The ability to carry a number of books all in a device that weighs less than one of those old Pocket paperbacks while having a secondary device that I already carry with me everywhere that I can also read on is amazing. Too often we take the tech we have for granted, so this is me taking a few paragraphs to not only reflect back on my old reading habits, but also give a big old thumbs-up to Amazon, the Kindle Fire and the Kindle App team for making a killer combination of functionality and radness. Good work, folks!
When Flashpoint was first announced I was pretty curious. I’m a big fan of alternate reality stories and that’s what this is. Flash (Barry Allen) wakes up in a world where he simply does not exist as a superhero and instead, Captain Cold is Central City’s champion. People like Batman, Aquaman, Wonder Woman, Superman and Cyborg still exist in this world, but they’re very different from how Barry and the reader remembers them. The fun of a story like this — especially as a reader who knows the history of the universe pretty well — is finding out why certain heroes are different, why some are the same and why some brand new ones exist. It sounded a lot like Marvel’s Age Of Apocalypse which swept through the X-books back in the mid 90s. And, much like that event, this one wasn’t contained in just one book and spread out into six trades’ worth of minis and one-shots exploring this brand new world.
Of course, when the whole Flashpoint thing was announced, we in the general public had no idea it was going to lead to the complete and utter dissolution of the DC Universe I’ve been reading since I was 9. Like a lot of people I was bummed when I first heard that, but it’s been a few years and I’m a 30 year old father, so who has time to worry about that kind of stuff? With my one-time negative look at Flashpoint and New 52 long gone, I figured it would be fun to actually get back to the book and see how it was. I mean, I dig Johns’ stuff a lot and he’s a longtime Flash fan and writer, so it’s gotta be pretty cool right?
Well, yeah, for the most part. It’s kind of your basic “guy stuck in an alternate universe story” but like I said, that’s the kind of thing I dig. This one is packed with fun takes on the DC characters like breaking Billy Batson into six different kids who combine into Captain Marvel and also a brewing war between Aquaman’s Atlanteans and Wonder Woman’s Amazons. And of course, the whole thing’s a race against time where the one person remembering the old reality is starting to forget it and other characters tell him he needs to succeed, that it doesn’t matter who dies because if Flash succeeds, this world will have never existed.
Much as I liked this story, though, I’m hesitant to go after the other five trades. The problem with these big events is that you can’t ever tell which tie-ins are worth reading. The reality of the situation is that a ton of them are put out as a cash grab to make more dough off of the main story. When it came to something like Blackest Night, the main stories were great, but the tie-in stuff was dicey-at-best and mostly unnecessary. The problem is that, the way these things are put together, even if a really cool idea is developed in one of the off-shoot books, it won’t really matter in the larger scheme of things because the main writer is already doing his or her thing and probably has the story all the way plotted out. I remember there being some pretty creative uses of light powers in a few of those tie-ins, but they wound up not playing any kind of larger part in the story because, at the end of the day, they’re basically afterthoughts. So, what I’m saying is, “Are any of the other Flashpoint books worth checking out?” I’m probably not going to pay much money for them, but if I get a few recommendations, I’ll keep an eye out while on Sequential Swap or whathaveyou.
After finishing Flashpoint, it seemed only natural to move into the New 52 book starring the same character. I’ve said before that Barry Allen isn’t exactly the most interesting character in the world to me, though I did start taking a shine to him with Flash: Rebirth. I think it’s because there’s such an uphill battle there for me as a reader my age. See, for my generation of DC readers, the Flash was always Wally West. Barry was a guy who — as my pal Ben Morse has said a number of times — was at his most interesting when he died. Aside from that he was this Silver Age goober who wore a bow tie and was always late meeting his girlfriend. I didn’t really know about his deeper cuts (on trial for murder and whatnot), but that was the impression I had. The nice thing about the New 52 is that it’s given me the mental break I needed to look at Barry as an all new, fresh character, not someone being dusted off by a creator with a love of those older stories.
One of my favorite things when it comes to reading stories about these heroes that have been around forever is when a writer can take that character’s powers and explain them in a new way or do something new with them. Flash and his fellow speedsters are kind of the poster children for this idea. They started out simply running fast, but then they could vibrate through things, tap into the Speed Force and much more. Super speed is also an interesting power because it’s easy to understand on one hand — dude’s fast — but has additional layers to it. I actually remember two instances of hyper speed powers behing shown that have taken up residence in my brain. One was a moment in someone else’s comic (I believe) where everyone in the DCU is watching TV and Wally goes out and gets his girlfriend/wife Linda’s dry cleaning between words of s sentence. Another was the way the real world must slow down for you when you’re super-fast, to the point where most normal people seem like statues. That actually came form an episode of Batman: The Animated Series starring Clock King called “Time Out Of Joint.” Both of those instances gave me a much better idea of what it much be like foFlash to function in the real world.
Anyway, one of the neat things that writers Francis Manapul and Brian Buccellato do in this book is explain Barry’s powers with a slight twist (at least as far as I’m concerned as an every-now-and-then Flash reader) and that is by showing that Barry can practically see the future because he can think through every scenario so quickly that he’s already imagined all the outcomes well before they actually happen (like how Midnighter is with fighting, but with everything). It makes perfect sense and yet I’d never thought of it before. Moments like that are really fun to me as a reader.
So you’ve got a cool exploration of powers while also reintroducing some of Flash’s Rogues in fun and creative ways (the new Top!), plus I can actually buy Barry as a CSI guy now because, well, why not? I know there’s all kinds of explanations that could be given on how he caught up on modern police techniques in the previous DCU, but him going back to that job after returning in Rebirth just didn’t wash with me. Anyway, I also really dig how Manapul handles the artwork on this comic. His style is a little bit loose, on the cartoony side, but it’s also incredibly fluid, which fits the concept perfectly. I’m becoming less and less a fan of huge numbers of panels on a page, but Manapul and Buccellato use that concept to great effect in this book, often to point out every little thing Flash notices. As far as I’m concerned, this book succeeds at everything New 52 was supposed to do: updating old, dusty characters in modern ways that can be appreciated by brand new readers and longtime ones alike. It kind of reminds me of what a lot of animation folks do when adapting comics to TV: cherrypicking the best ideas and making them their own.
The question I ask myself at the end of every trade-reading experience is whether I’m going to keep that particular book, pass it on to someone else or put it up on Sequential Swap. This has been an interesting question to answer with the New 52 books. A few — like Scott Snyder’s Batman — have been instant “Keeps,” while others that I won’t mention have been total slogs I never even got all the way through, so they get tossed on the “Dump” pile. But, a lot of the ones, like Flash, Superboy, Supergirl and Teen Titans wind up in a weird kind of limbo. I liked what went down in the first volume, but if there isn’t a solid storytelling arc that comes to a decent conclusion or blows me away in some other manner, they get to keep their spot in my collection. But if there’s a ton of creator changes, an abrupt cancellation or things just fizzle out in general, there’s no point in keeping them on board. For now, though, the first Flash volume and others like it get a pass for now.
When I got a press email about review copies of Texas Chainsaw DVDs being available for review, I almost didn’t respond. I get several of those a day and only reply back to ones I’m really interested in reviewing. First off, I only have so much time and don’t want to spend time watching things I don’t think I’ll like. Sure, I’ll probably miss out on some unexpected greatness doing this, but it leads into the second reason which is that I do feel a real responsibility to write a prompt, timely review when a company goes out of its way to send me a review copy. I don’t want to be that guy who asks for free stuff, but never fulfills his part of the agreement by actually reviewing the material.
Anyway, I gave Texas Chainsaw a watch and didn’t fall in love with it, but it definitely has some interesting idea kernels in there that kind of burrowed their way into my brain. Unlike the 2003 remake or its 2006 prequel The Beginning which worked with a new universe based on the original Tobe Hooper film, this version of the story is supposed to be a direct sequel to the original 1974 film. To let you know this, the film picks right up with a montage that pretty succinctly sums up that film and then moves right into a scene of the local sherif trying to get the Sawyers out of the house. Just as things look like they might end peacefully, in rolls Burt Hartman with his redneck posse, their own guns and a few Molotov cocktails. Soon enough, there’s a firefight and the whole house goes up in flames. Nearly every Sawyer dies except for a little girl who gets saved and goes off to live with another family.
Cut to today (or some mysterious time) when Heather (Alexandra Daddario) discovers that she’s inherited a house in Texas that belonged to her birth grandmother. What she doesn’t yet know, but soon discovers after travelling to the house with her friends, is that she’s actually a Sawyer and her cousin Leatherface is living in the basement. Leatherface winds up getting out and making short work of her friends. Heather gets away to the cops where she informs the hunky young deputy of what’s going on, but it turns out said deputy (played by Clint’s son Scott Eastwood) is actually the son of now-Mayor Hartman! Burt and his buddy try to go for some off the books justice against Leatherface which doesn’t work out too well for them.
Many of the problems with the film stem from basic writing and production choices. First off, the timing is all kinds of crazy. They make a big deal of saying the date of the events of the original, but then firmly set this movie in 2012. That’s tricky if you know that the original took place in the 70s and are then curious why Heather isn’t in her 30s or 40s as she was supposedly a baby in the events following the first film. I’ll be honest, this didn’t bother me much until I read Brian Collins’ review over on Horror Movie A Day and really realized how sloppy that made things. I was also really confused as to who all those extra people hanging around the Hewitt house were in the beginning. It’s great that they gave cameos to some of the original cast members — Gunnar Hansen (OG Leatherface), Bill Mosely (from TCM 2), Marilyn Burns (Sally) and even Grandpa himself John Dugan — but it added an extra layer of confusion for me. If they’re such a tight nit family, where were they before? How’d they hear about the troubles so quickly?
The script — which I assume was written and re-written several times by many different people — also suffers from some really corny bits. For absolutely no reason, Heather’s best friend Nikki (Tania Raymond) is constantly after Heather’s boyfriend Ryan (Trey Songz). Heather winds up never finding out about any of this and the only purpose seems to be to make you not like either of them and also get them out of the house for a bit, but it just comes off as rote, typical slasher stuff. Another problem that arose from this relationship is that Nikki gets Ryan out to the barn with the idea that something monstrous has happened, but it’s before they discover that someone is actually murdering their friends and acquaintances so it just comes off as overly meta.
My biggest problem with the movie involves pretty significant spoilers, so skip this paragraph if you want to stay pure. A huge part of the movie revolves around Heather discovering that she’s part of this murderous, psychotic, cannibalistic Sawyer family. One of the idea kernels that I was most intrigued by was how Heather would deal with the idea of being related to those folks. Is this an examination of nature versus nurture? Will Heather turn out to be evil because it’s in her DNA? Will she fight it and stay good? Those were the questions that started appearing in my bead Pop Up Video style. There’s a weird turn where Heather realizes she’s related to Leatherface and also finds out what happened to the rest of the Sawyers (also that she is one) and then instantly teams up with Leatherface. Who, I will remind you, is a man who killed her friends with a chainsaw (he cut one dude in half at the waist in a pretty great gore scene), tried very hard to kill her before seeing a particular birthmark and also sews human faces onto his own face (another pretty great scene, by the way). You get kind of caught up with this as the mayor is trying to kill Leatherface, but when he and Heather get back home and she tries to dab his face — the face he’s wearing on his face — you come back to your senses and none of it washes. I completely understand being adopted and how that can mess with your head, but if I found out that my birth parents were psychotic murderers, I’m 99.9% certain I wouldn’t instantly switch to their side. I also wouldn’t throw him a chainsaw and say, ugh, “Do your thing, cuz,” especially after he almost killed me with the same weapon.
And yet, the movie does a lot of things I like. It’s slick looking, though not as much as the remake. Nothing can really capture the look of the original, so I don’t have as much of a problem with it this time around. I also appreciate how much went into the gore scenes which all seemed to be at least mostly practical. In addition to those there are some legit creepy moments that got me a little twitchy like one where Heather’s looking at a picture of a relative and the reflection ghosts over her own face and the whole thing looked really great and weird and scary. I also liked how they played with some of the conventions associated with this franchise. There’s no dinner scene for one thing. And while it does include a hitchhiker who’s not exactly a good dude, they still do something different and fairly important with him, so it feels more earned.
And yet, there’s still so much goofiness and badness. I really wish they hadn’t used the same actors for the sherif and soon-to-be mayor in the past and present. They look exactly the same and it gets distracting. Same goes for naming the lawman Sheriff Hooper. I get it, you want to pay homage to the original’s director, but when you’re already dealing with so many elements that put horror fans out of the drama, don’t add another one like that.
While the movie itself comes up short, there’s a lot to love on this DVD. The special features are plentiful on this one and sure to please whether you really like this movie on its own or you’re just a fan of the original. Most of the features fall into either retrospective and practical sections. While all of the retro stuff features current footage from this film there are constantly references back to the original film and how this one was trying to pay homage to it in various ways. Take the one called “The Old Homestead” for instance. It’s about the house from the original movie which the crew scanned both in real life (the building is a restaurant somewhere) and the film and did their best to recreate it. Now, I noticed some of the more horrific elements were supposed to be homages, but my memory stinks, so I didn’t realize how far they went to recreate the scene. The coolest aspect of this featurette though was seeing the actors from the original who were in that scene I didn’t like at the very beginning come in and basically relive their experience as if they were transported back to 1974. You get even more from the original gang in “Texas Chainsaw Legacy.”
Meanwhile, there’s a lot of interesting technical stuff expressed on the screen. One called “Resurrecting The Saw” focuses on the producer and writers talking about actually bringing the franchise back and the 3D cameras involved in shooting. The writers straight up say they wanted to go for a vibe where Leatherface is the hero and this lynch mob is the bad guy, partially (I’m extrapolating a bit here) because the mob goes against our sense of fairness and the justice system in this country. Not sure if they nailed that one, but it was interesting to hear where they were coming from. The writers also talked about how much bigger the original script was with more kills and more 3D but a lot got changed. I think a lot was left unsaid here and would love to hear what all four credited writers thing about how this movie turned out.
You’ve also got “Leatherface 2013″ which focuses on Dan Yeager and his super-intense experience while playing the renowned crazy person, something that might have made him go a little batty himself. “Lights, Camera, Massacre” gets into some of the complications of shooting in 3D (which seems a bit moot since you’re watching a DVD without that option) and “It’s In The Meat” gets into a lot of the gore special effects. So there’s really a lot to sink your teeth into as a TCM, Leatherface or horror fan.
I think my opinion of the move might have changed a bit after watching the behind the scenes stuff. You can really tell that most of the people involved with the film really had the best intentions and there are a ton of good things going on from the gore and Yeager’s performance as Leatherface to the set design. But then you remember something like “Do your thing, cuz,” and wonder if there wasn’t a producer or studio person sticking their head in a bit too much and making changes.
I think Texas Chainsaw might be the kind of movie that I can enjoy a lot more the second time around. I try to keep my head clear of bias when watching anything, but that’s not all the way possible, is it? You can’t help but let your memories sneak in while watching something referring to old favorites. Now that I know about the Sawyer’s hanging out at the beginning and what happens with Heather, it will be less of a shock to watch again. I find when some things are blunted like that, you can enjoy them more on a second watching.
One of the more confusing aspects of DC’s New 52 initiative is that some books seem to carry over completely from the old continuity while others have gone in radically different directions. This only confuses older continuity geeks like myself who aren’t quite sure how all these Robins can fit in the same world now that Batman’s been around for a lot less time. You’re also dealing with a Teen Titans-less world in the way that most people know them, so where does that leave Batman and his relationship with Nightwing? It’s a slippery slope indeed, but not on the creative side. They’re setting everything up how they want to, it’s the continuity guys and gals who have to do their best to not slide into the infinite game of “what if” and instead just read these new stories as if they’re being told to us for the first time without any existing information. That’s how I tried to go into all three of these book and I had varying degrees of success with that.
I actually had the most trouble with Batman & Robin and not necessarily because I was comparing it to the books I’m familiar with, but because I didn’t really know what was going on for big chunks of the story. I mean that in both a confused-story kind of way and in a “That’s not how I think Batman should act” way. The story confusion came from the book’s main adversary, Nobody. I had no idea who this guy was and wasn’t sure if he had been around in the previous continuity or not. Now, this might seem contrary to my earlier statement that I was trying to put such things out of my mind, but the reason I kept wondering is because it took so long to explain who he was and where he came from. I didn’t want to know if he existed previously because I wanted to compare him to the original, I wanted to know if I was already supposed to know about this guy or not, information that wasn’t presented to me as a reader until pretty far into the tale.
While that confusion was at play, I also keep looking at this guy claiming to be Batman and feeling like he wasn’t jibing with the idea of the character I’ve had in my mind after over 20 years of comic reading. He spends most of the book telling his son — and current Robin — Damian not to follow him out on patrol because it’s too dangerous. He expects Damian to just listen to him and do what he says which anyone could tell you would not happen. For one of the smartest guys in the DCU, this recurring element — which he was doing to protect his son — just felt stupid and feeling smarter than Batman is not a reaction I like having while reading one of his comics in particular.
Artistically speaking I’m a pretty big fan of Patrick Gleason. He’s definitely got his own style and it works well on a book like Batman & Robin. The fact that I thought it also worked well in the Green Lantern Universe shows how diverse he can be. My one complaint in this department would be that some of the more zoomed-out panels seemed to lose definition. I’m not sure if that’s on his end or the coloring/inking department, but it was something I noticed, as if getting further away in some panels made everything lose focus.
Meanwhile, I had a great time reading Batwing, though it’s definitely an intense comic. If you’re already familiar with some of Winick’s DC work, it should come as no surprise that this book about, essentially, Africa’s Batman is packed with equal parts superhero craziness and social and political elements. In this case, the star of the book, David Zavimbe, is not an orphan who fights for justice, but a former child soldier trying to make up for some of the atrocities he committed in his younger days. As much as I love the classic Batman origin, I’ve got to say, Batwing’s actually rings a little truer to me than Bruce’s.
The story in this first volume revolves around the murder of several former African superheroes who collectively referred to themselves as The Kingdom. Though he’s fairly new to the superhero game, David does his best to figure out why these people are getting offed, which puts him into direct conflict with a real bruiser named Massacre. What I liked about the pacing of this story is that you continue to learn more and more about what’s going on, but there’s always more questions in the works. As we learn about David’s past, you can’t help but wonder why he decided to start wearing a costume or how long he can really do this with such rage and anger inside of him. Plus, there’s the more obvious mystery of who’s killing The Kingdom and more importantly why? These are the kinds of things that keep you coming back for a serialized story like this. I was satisfied enough with the given answers that I want to come back and give the second volume a shot to see how things pay off.
I wasn’t sure if I was going to like the art in this book, but found that it really fit with the story being told. I’m really bad at explaining these things, but Oliver has a style that almost makes his figures look like they’re three-dimensional objects superimposed on painted backgrounds. Does that make sense? Sometimes that kind of style — where the two elements look so disparate — takes me right out of the story, but in this case it brought a more grounded realism that really fit the tone of the book.
Finally we have the one comic that most people tend to agree on as being one of the best monthly comics from DC these days: Scott Snyder and Greg Capullo’s Batman. After hearing a lot of the hype, already being a fan of Snyder’s non-superhero work and listening to him talk about the character on Kevin Smith’s Fat Man On Batman Podcast, I decided to finally jump in and see what all the fuss was about. And man, I agree with every good thing everyone’s saying about this book. It’s just fantastic.
The basic approach to this story is actually somewhat similar to what Grant Morrison did with Batman: R.I.P. and the Black Glove in that Bats discovers a long-standing group of bad guys who come out of nowhere only to come after the Dark Knight. Putting the comparison aside, though, this one is really a lot of fun and offerse a ton of Batman goodness to sink your teeth into.
I don’t want to get too deep into the details because I really don’t want to spoil anything (even though I’m probably the last person on earth to read this book), but one of the aspects I liked about this comic is that it’s really Batman’s story. Sure he interacts with Robin, Nightwing and Jim Gordon, but this is about him trying to figure out Gotham’s connection to the Court of Owls and how his own family ties into all that. Like I said above, I like continuity and Snyder’s doing a heckuva job building an all new one that more fully connects Batman and Bruce Wayne to Gotham City in ways that are both inventive and fun (from a reader’s perspective, I’m sure Bats doesn’t think all this is fun).
Speaking of fun, the visuals in this book are a delight to look at. I don’t have much experience with Greg Capullo’s Spawn work, but he certainly has the chops to nail Gotham in all its weirdness. The skyline looks interesting, but so do new additions like Talon and the Court of Owls masks. I liked staring at these pages as much as I did reading them. His style’s kind of cartoony in places, but I think that does a lot to break some of the tension and darkness of a story that’s not exactly smilesville.
At the end of the day I’m left feeling lukewarm, pretty interested and overly psyched about these books in that order. Batman & Robin didn’t do a lot for me and is already set up for a Sequential Swap. Meanwhile, I like the Batwing book mostly because of the creator and think it would have worked equally well as a creator owned Image book or something along those lines. Lastly, Snyder’s Batman does an amazing job of taking an existing character that I know and love and doing something that really adds to the mythos while also setting all of that in a new universe I’m growing to understand. I not only can’t wait to get the second volume, but also want to get his other Batman stuff like The Black Mirror and Gates Of Gotham which he co-wrote or plotted or somesuch. This guy is legit, you guys. Super legit.
I’ve been reading an advance review copy of Gael Fashingbauer Cooper and Brian Bellmont’s pop culture flashback-fueling book The Totally Sweet 90s: From Clear Cola to Furby, and Grunge to “Whatever”, the Toys, Tastes, and Trends That Defined a Decade (review coming closer to the book’s June 4 release date). It’s funny how the 90s feel like a very set thing in my brain and yet I went from being 7 to 16 in that decade and have several different stages of pop culture development both in general and for me personally. Anyway, one of the subjects in the book kicked off a very distinct memory in my brain: Gak.
If you’re not familiar, Gak was a slime-like substance created by Nickelodeon that was kind of like Flubber, but instead of making you bounce around, does allow you to make pretty convincing fart sounds. I don’t think I had any Gak myself, though I do remember playing with it at my friends’ houses. My parents probably appreciated that is it seemed like a pretty messy toy. As a dad now, the idea of my kid playing with Gak gives me a bit of a headache. I remember it smelling funny and leaving your hands kind of greasy.
This commercial is pretty great and remind me of my childhood. This was the early 90s, so it was still okay to market a toy to children as something cool that adults would not approve of. This was also the hay day of gross toys which included everything from Trash Bag Bunch to Dr. Dreadful, so it was perfect timing. Man, good times.