The State of Comic Book Films
“I am Iron Man. Think you are the only superhero in the world? Mr. Stark, you’ve become part of a bigger universe, but you just don’t know it yet,” Nick Fury, director of SHIELD. “I’m here to talk to you about the Avengers Initiative.”
Those words, spoken by Samuel L. Jackson at the end of 2008’s Iron Man are words that may have shaken up the way comic book movies are made. On its own Iron Man was a great comic book superhero-based film. It had just about everything you could have asked for in a thrilling, smart, and at times comedic popcorn entertainment action flick. But, those words were the lynch-pin of what Marvel Studio hoped would be the next evolution of comic book movie storytelling. Essentially taking the idea of a fully fledged “universe” and transform that into film.
For years of course comic book character films have been presented as if the characters spotlighted were the only heroes in their world. Oh sure Metropolis got named dropped in Batman Forever, and there is the “This is why Superman works ALONE” quip in Batman & Robin, but in every movie, and even live action television, for the most part (after the series ended, the Incredible Hulk TV show came back in TV movie form a couple of times featuring both Thor and Daredevil, and Smallville has the Green Arrow as a cast member, as well as appearances by other non-Superman supporting characters), done featuring a comic book character whom is part of a bigger comic book universe, it is apparent that for that movie or TV program they are the ONLY super hero on the scene.
Marvel Studios was set to change all of that, and it started in that summer of 2008. Shortly after it appeared Iron Man was a big hit, its sequels were green-lit and pre-production was full steam ahead for other projects that would all go into what will be the first Avengers movie in 2012. The plans were further cemented in that summer’s Incredible Hulk, which included a cameo by Robert Downey, Jr. as Tony Stark telling General Ross that he and a “team” that was being formed could help with the Hulk problem. And now Iron Man 2 has given the Mighty Marvel Movie Society even more steam by being a blockbusting success, and setting the stage for next summer’s Thor film. Oh, and next summer Captain America is set to shake off the aftertaste of the 1990 flop as well.
With Ant-Man, another Iron Man film and The Avengers coming down the pipeline as well, it seems things are running smoothly in terms of Marvel Studios creating a “Movie Universe.” Even with its biggest heavyweights; Spider-Man, the X-Men and Fantastic Four, as well as Daredevil still tied up with other studios as Disney seems content with honoring pre-existing deals.
And DC? Well, there is the follow up to The Dark Knight slated for 2012. As well as the next Superman project which is being “Godfathered” by Batman Begins and The Dark Knight director Christopher Nolan. Oh, and Green Lantern is coming out next year.
While one can expect the third, and Nolan’s final, Batman flick to be a success, maybe not as wild as The Dark Knight as one could chalk a good percentage of its popularity to the “morbid curiosity” surrounding Heath Ledger’s passing, the fact that it will be the final Nolan directed film in the series should trouble a DC movie fan. Where will the Bat-Franchise go from here? Logic would dictate that the next director could pick up where Nolan leaves off, but hey this is Hollywood, and there is enough of a chance of Warner Brothers rebooting the whole darn thing as there are as them letting the next guy continue what Nolan started.
But where does this leave the various projects that have been speculated, and in some cases even gone through the pre-production stage, only to be shut down like the JLA movie? Good question. The hope is that the Green Lantern film becomes as wild of a success as the first Iron Man was. The proof will be in the pudding of course, but at the same time it was clear that Marvel had all its ducks in a row when Iron Man came out. Right now DC/WB is looking at a Batman movie universe where Batman is the only known costumed hero, and Nolan has gone on record as saying he’d like the Superman movie universe to be the same. Okay, so how are you going to rectify that with a possible JLA film? Oh sure movie audiences aren’t that stupid to realize the Batman in a JLA film isn’t the same as Christian Bale’s Batman, or even Adam West’s, Michael Keaton’s, Val Kilmer’s, George Clooney, or heck even Kevin Conroy’s and Diedrich Bader’s. But the fact is, it’s hard to sell two different continuities going on at the same time. Heck, it’s hard even for DC to sell multiple continuities in comic books! Say what you will about Batman Confidential and Superman/Batman, they probably aren’t selling nearly as much as the other Bat-Titles because they are OOC books while all the others are.
Well, that is the current state of affairs with comic book movies. While the next Batman film should bring in the dough that will make Warner very, very happy, and despite the critical responses to Superman Returns one can still say Superman is still a very profitable on-screen franchise, it does seem that DC is still light years behind Marvel in terms of innovation in crafting big screen storytelling. In some cases it might be fine, as DC still holds arguably the two most popular super heroes of all-time in its arsenal, but if Marvel is able to completely pull of what it hopes to with the Marvel Movie Universe, DC will have to change its game plan in terms of how their properties are treated by Hollywood.
Posted by SteveJRogers
Hello Bat-fans, Zach here, and I would like to introduce you to a new segment I like to call “Creator Spotlight”. Twice a month, I will write a lengthy piece about a creator who has strong ties to the character of Batman. Let me present you with our first spotlight, one of my personal favorites, the legendary writer/artist Frank Miller.
Frank Miller is considered to be one of the most prolific and influential comic book creators of all time. Miller has left his mark on some of the most prominent characters in the comic book industry. Miller is praised for his work on Daredevil, Wolverine, Sin City, 300, Spawn, Elektra, Give Me Liberty, and of course, Batman. Miller’s Batman work includes; Batman: Year One, Batman: The Dark Knight Returns, Batman: The Dark Knight Strikes Again and his most recent work on All Star Batman and Robin the Boy Wonder. Miller also wrote the Spawn/Batman crossover in 1994.
Frank Miller’s name has always been associated with two characters, Daredevil and Batman. Miller initially started out in the industry with brief stints with Gold Key Comics and DC Comics. Miller would make his name writing the character Daredevil, who, at the time was on the verge of cancellation. Miller’s first encounter with the dark knight was in 1980, where he drew a Batman Christmas story in DC Holiday Special, in which he had the opportunity of working with another significant Batman creator, Dennis O’ Neil. After leaving Marvel Comics, Miller wrote and penciled Ronin, his creator owned book published by DC Comics. Miller then began writing and penciling Batman: The Dark Knight Returns. Nobody could predict the impact that Miller was about to have on the Batman mythos.
In 1986, DC published Miller’s The Dark Knight Returns, which is often to be considered the comic to bring the grim and gritty Batman. The Dark Knight Returns depicted a new kind of Batman, an old and bitter Bruce Wayne brought out of retirement to stop the latest up rise in crime and chaos. Miller also did all the penciling for the title, which is in my opinion, if anyone else had penciled this book, that special something would have been lost. Klaus Janson did the inking, who had previously collaborated with Miller on Daredevil. The Dark Knight Returns was the first Batman storyline to break away from the previous depictions of the character. In a lot of ways, it revolutionized the way Batman would be written and changed the medium of comics as well.
Following the success of The Dark Knight Returns, Miller began a new Batman project. Batman: Year One was an updated origin, but not a reboot of the character. Year One ran the main Batman comic book series from issue #404 to #407 in 1987. Miller wrote the story while the great David Mazzucchelli provided the artwork. The result was an instant classic. With Miller’s action packed and smoothly paced storyline, Mazzucchelli was able to provide us with some of the greatest artwork that we have ever seen in a Batman comic book. To this day, I still truly believe that Batman: Year One is still the greatest Batman masterpiece.
After a fourteen year break from the character, Miller return to write and pencil the sequel to DKR, The Dark Knight Strikes Again in 2001. The fan reception was rather negative. However, can you truly blame Miller? Fans were bugging him for years to put out a sequel. And while the consensus opinion was that Miller should have left it alone, I still think the final product was quite enjoyable and presented the readers with a very noir like storyline that I thought was rather clever.
After Miller’s negative reviews of The Dark Knight Strikes Again, he once again stepped away from the character, but only for 4 years this time. Miller returned to DC to collaborate with artist Jim Lee on All Star Batman and Robin the Boy Wonder in 2005. The initial fan response was explosive; issue #1 was the number one selling single issue for the year of 2005. However, after constant delays and the controversial characterizations, the book has been received rather harshly. Many fans complain about the bitter characterization of Batman, as well as the lack of action that the issues have contained. I have found this book to be fun and I consider this to be Miller’s form of Batman satire. In my opinion, he seems to be mocking the industry’s dramatic shift in the late 1980’s and how dark comics became. Jim Lee’s artwork remains to be fantastic and while there have only been ten issues since 2005; more are expected to be on the way sometime in the future.
There is no denying the impact that Miller has had on Batman over the years. Miller’s work on Batman set up the style and tone of the Batman comics from the mid 1980’s to present day. He explored the darker side of the character that no one had ever really done before. Much has been said about Miller’s later Batman work, but I cannot think of any other writer I would want writing a Batman comic out of continuity. I definitely agree that Miller has changed over the years, but all writers do. He remains to be one of the most influential creators in the comic industry. His innovative and controversial style will be echoed by comic fans and fellow creators forever.
“Who the hell do you think I am? I’m the goddamn Batman.”
-Batman, All Star Batman and Robin the Boy Wonder
Written by Frank Miller
Well bat-fans, I hope you enjoyed this week’s Creator Spotlight on the one and only Frank Miller. Look for the next Creator Spotlight which will be on the great Jim Aparo. Tune in next time, Same Bat-Time, Same Bat-Blog.
Posted by Zach
What is Kevin Smith doing? That was exactly what I was thinking as I read Batman: The Widening Gyre number three. Just like The Unseen miniseries, the Widening Gyre is unable to keep the momentum from issue two into issue three. And, Walter Flanagan isn’t getting any better.
While Kevin Smith seems to be writing an original piece of storytelling, I find myself wondering where it is all going. Smith seems to have a much different agenda with this book then he had when he recreated such characters as Daredevil or Green Arrow. It seems with Batman, Smith likes to tell little clever stories that can be considered humorous. The Widening Gyre seems to be one of those stories, a book with little consequences. Issue three still does not give us a clear definition of where this story is going. We find Batman’s life in the hands of Cornelius Stirk, when Robin shows up and takes care of the situation. We then cut to a dull written conversation between Batman and Robin; this is where Smith should make up for the “cloudy” plot. Instead, the book’s dialogue is rather boring. The story also continues the relationship between Bruce Wayne and Silver St. Cloud. I am still not quite sure what her purpose is yet, but I’m sure this will be explained before this arc is over. We also learn the name of the other caped crusader, Baphomet. We learn that this caped goat is someone who worships Batman and only wishes to help out. Again, I don’t see what role his character is really playing in this story. He appears when Batman needs assistance dealing with a B-level villain apparently. Aquaman also appears in the issue as Bruce’s “Justice League Crony”, who is shocked to find that Bruce has found a companion who is getting close. This story arc in general just isn’t doing anything for me. I feel that Smith’s best days are clearly behind him. However, I am still curious to see where all of this is going.
The mediocre story is one thing; the artwork is something of its own. Walter Flanagan continues his struggles to draw the bat-family. His art is also becoming much more distracting, inconsistencies are noticeable on every panel in the issue. He has no understanding of the character’s body proportions. Batman is drawn as a big brute in one panel, and drawn as a little midget in another. This book severely suffers because of Flanagan’s artwork.
I find it interesting that the bat-books that do contain Bruce Wayne in them, are far less interesting then the books with Dick Grayson as Batman. This is a miniseries that I just do not see serving a real purpose. If you are a Kevin Smith fan, I would suggest that you read this book. This issue, like most of Smith’s work, hinged on the dialogue, and it wasn’t up to snuff. I thought the story was written very flat and we all know that Walter Flanagan isn’t going surprise anyone. I think that this book just has a poor creative team behind it, and I do not know that things are going to change.
Batman: The Widening Gyre #3:
Reviewed by Zfactor