Tag Archive: batman


The Ultimate Team-Up

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April 24, 2010

Originally Published: October 23, 2009, on 1050ESPN.com (now ESPNNewYork.com)

I had promised this a while ago, but due to unforeseen circumstances, breaking news, and surprise interviews, this review has been pushed back for weeks. Now, finally, without further ado, here is my review of Batman/Superman: Public Enemies.

It is one of the best titles to come out from DC in a long time and it gives a fresh look into the psyches of their two heavy lifters, Batman and Superman. Aptly titled Batman/Superman (or Superman/Batman, not really sure since they use a Superman symbol inside a giant bat), this series, started by comic book veterans Jeph Loeb and Ed McGuinness five years ago, has seen some of the most interesting situations the Dark Knight and Man of Steel have ever been thrown in. From alternative universes to Lex Luthor’s presidency, Batman/Superman never has a dull moment while the limits of the DC Universe’s logic are always pushed to the limits.

Because of the success of this series’ run, DC Animation felt it would be prudent to strike while the iron was hot. Considering that the storyboards were already in place for the most part since this story was to have been done on Cartoon Network before the Justice League series was cancelled, it only needed minor tweaking to turn what would have been a two or three episode arc for the half hour cartoon into a full 67-minute feature.

Thus, we have Batman/Superman: Public Enemies. Following the story arc where Lex Luthor is president and puts a bounty out on the heads of our two favorite heroes, Public Enemies is a testament to DC Animation when they get it right.

This cartoon was the comic come to life. There were some parts cut out like the Superman from Earth-2’s visit, but they were all for the sake of keeping the story crisp and free of clutter. I understand that, but when the movie is only 67 minutes, would 10 more minutes of animated story straight from the comic killed you? The animation style looked just like the drawings from the comic and having veteran voice actors reprise their roles from previous DC cartoons like Kevin Conroy as Batman, Tim Daly as Superman, and Clancy Brown as Lex Luthor made fanboys everywhere jump for joy.

The only real problem I had with the cartoon was that it didn’t depict the motivations of our heroes nor did it say why they interact with each other the way they do like in the comics. Of course, the lack of thought bubbles is a problem when taking something from a comic, but it is such an integral part of the comic that Public Enemies doesn’t feel as deep as it should. With the uniqueness of the relationship between Batman and Superman being a large part of the book, it made the cartoon feel a little empty without being able to properly depict that.

Also, the scene that was added where Luthor makes out with Amanda Waller was grossly unnecessary. With everything else that was cut to keep the story as streamlined as possible, that addition made no sense.

When you consider the awesome special features for the 2-disc special addition (that also comes with a sweet Batman figurine!) including a sit down with Andrea Romano (casting director for DC Animation), Bruce Timm (executive producer), and Kevin Conroy (voice of Batman), and two Adventures of Superman cartoon episodes from the late 90s and the $19.99 price tag seems well worth it.

Minor character development problems aside, this was an awesome movie and the special features make it all the more worth it. Include the great voice acting and animation and this is a must buy for any DC Comics fan.

Batman/Superman: Public Enemies gets a 4 out of 5.

-Ray Carsillo

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No Escape, No Asylum

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April 20, 2010

Originally Published: September 4, 2009, on Lundberg.me, 1050ESPN.com (now ESPNNewYork.com), Examiner.com, and Comicvine.com

After many delays, Batman: Arkham Asylum has finally arrived. Written by long-time Batman comic and cartoon writer, Paul Dini, this original Dark Knight tale might not only go down as the greatest comic book video game to date, but it is my current choice for the 2009 Game of the Year.

The basic premise of the game is that our hero has caught the Joker once again after he broke free to wreak havoc on Gotham. As Batman helps the Arkham guards escort the Joker to his comfy corner cell, the Joker, in a unique haphazard way all his own, breaks free from their grasp and reveals that his true plot was to lure the Dark Knight into his grandest trap yet, an asylum run by the inmates.

Now the Dark Knight must fight his way through some of his most fearsome foes on their home turf along with a few hundred of Joker’s cronies from Blackgate Prison (that just so happened to be transferred to Arkham in time for Joker’s “surprise party”) as he tries to restore order in the most chaotic situation he has ever been immersed in.

Any Batman fan immediately knows the implications when any story arc will weave its way through Arkham Asylum, never mind an entire video game plot. This is where Batman drops off his degenerate villains after he disrupts their “master plans” to destroy, torment, or conquer Gotham, no matter what they might be. So for the Dark Knight to be surrounded by hundreds of these thugs, lowlifes, and insane super-criminals for an extended period of time, does not bode well for the Caped Crusader as his mind will be tortured just as much as his body.

The look for this game is anything but torture for the player though. The first and most striking aspect of this game is how beautiful it looks. From the gothic architecture of the Old World style buildings of Arkham to the movement of Batman’s cape, the graphics for this game are unreal. You could, for a minute, forget you are playing a game and fool yourself into thinking you’re watching one of the movies.

After you examine the looks for a game, the next thing most people notice is how a game sounds. With an orchestral theme worthy of the movies and superb voice acting from many of the same people who voiced the characters from Batman: The Animated Series including Poison Ivy, Killer Croc, Harley Quinn, and, of course, Batman and the Joker and you have the most pleasant audio experience you could hope for from any video game.

So the peripherals for the game are superb. But what about the gameplay? I can say with full confidence that this was the most engrossing and intense game I have played in a long time. From the FLAWLESS fighting mechanic where you can just string together amazing, free-flowing, bone-crunching combos on thugs to truly stepping into the Dark Knight’s boots as you prey on unsuspecting, gun-toting criminals from the shadows and stringing up goons from gargoyles as a sign for others that you are coming for them and no amount of Joker face paint will save them from your righteous vengeance, there is not a more pleasurable gaming experience to be had from any game I’ve played in the recent past.

Not to mention that the more foes you pummel, the more gadgets and combo moves you can purchase with experience points to give yourself an arsenal truly worthy of Gotham’s Guardian. It is a great feeling to take a thug out of a fight permanently by breaking his ankle or dislocating his shoulder with some upgraded counter moves or bringing an armed henchman to his knees from the shadows with a special sonic emitting batarang without him even knowing you were ever there.

The only weak point the game might have is in replay value. Although it is wonderful to explore every nook and cranny of the massive Arkham Island, once through is really enough to get the full story. There are special collectibles that the Riddler leaves in order to try to test your detective skills, but any decent Batman fan should be able to crack the references rather easily on the first time through.

There is an extra challenge mode where you can step into the boots of the Dark Knight (and the purple wingtips of the Joker if you pick up the PS3 version) as you try to either pummel as many thugs as you can while building up a high score or sneaking around and taking out as many thugs as stealthily as you can as you race the clock, but they grow stale quickly so the only drawback would be that this game just doesn’t give you enough to keep bringing you back for much more.

In the end, the game probably offers a solid 15 hours of gameplay even if you solve all of the Riddler’s riddles and the live up to the challenges of the Challenge Mode. The game is a beautifully crafted masterpiece that plays out like an awe-inspiring comic arc. I would’ve liked more villains to fight aside from Croc, Ivy, Bane, Harley, Zsasz, Scarecrow, and Joker considering their referencing almost 40 villains as you progress through the asylum with special emphasis on Mr. Freeze and Clayface’s cells, but I guess that just means we’ll have to have a sequel to this spectacular gaming experience.

Ratings are based on a scale of 1 to 10 with 10 being the best.

Graphics: 10.0: From little details like battle damage to your batsuit as the game progresses to the way your cape flows as you run across Arkham Island makes Batman: Arkham Asylum the most beautiful game I can remember seeing in a long time.

Audio: 10.0: Bringing back a lot of the original voice talent from Batman: The Animated Series brought back some great memories from my childhood as Mark Hamill and Kevin Conroy are the definition of the Joker and Batman. Along with a musical score worthy of a motion picture and the audio couldn’t help but bring a smile to my face.

Plot/Plot Development: 9.0: Although the plot was superb and the development of things kept you guessing at every turn, I dock a point because I’ve seen the “Batman trapped in Arkham” line before, just to a lesser degree. It has never been flushed out like this, but I had flashbacks at certain points of the game to the Knightfall storyline and a few episodes of the cartoon. It was still spectacular to see it portrayed like this though.

Gameplay: 9.5: Only a couple of minor glitches that I can remember if I accidentally swung around a corner too tightly or was forced into a corner by a crowd of thugs. These can be forgiven though considering how smooth the fighting engine is and there is no greater feeling than swooping down from a gargoyle and stringing up a thug as he screams for help.

Replay Value: 5.0: The Riddler collectibles are easy to find, especially as you go back after unlocking certain devices for your utility belt and the Challenge Mode isn’t very challenging so this is the only aspect I thought the game lacked in. Batman: Arkham Asylum is very much a one and done kind of game.

Overall (not an average): 9.5: Aside from the replay value, this game is spectacular in every aspect. It is my choice for the 2009 Game of the Year as of right now and I can’t stress enough that any video game fan, not just Batman fan, will probably fall in love with the awesomeness of this game. I would’ve liked more villains for a longer game also, but I’m just being picky.

Batman: Arkham Asylum is out now for PS3, Xbox 360, and PC.

-Ray Carsillo

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The Godfather of the Modern Comic Book Movie

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Originally Published: August 21, 2009, on 1050ESPN.com (now ESPNNewYork.com)

Michael Uslan is hailed as the Godfather of the modern comic book movie and is probably, inadvertently, solely responsible for the path in life that I have taken (now Mom and Dad know who to blame).

He is the Executive Producer of every Batman movie, animated and live-action, since the 1989 classic starring Michael Keaton and Jack Nicholson and directed by Tim Burton. He also executively produced Catwoman, Constantine, National Treasure, Where in the World is Carmen Sandiego?, Swamp Thing, and is currently working on a Captain Marvel movie, a new Shadow movie with Sam Raimi, and, of course, Christopher Nolan’s third Batman movie.

He is also one of the foremost comic book experts around today and is the writer of September’s highly anticipated Archie #600 that begins a six-issue story arc where after 60 years the character will finally propose to Veronica.

The fact that someone so involved with the comic and movie industry was able to take some time out of his schedule for me meant that I was going to get my money’s worth. So below you can download the lengthy conversation I had with Michael as I picked his brain about everything from multi-pronged media campaigns for summer blockbusters to his thoughts on the recent death of the Dark Knight.


CLICK HERE – to listen to Part 1 of my interview with the Godfather of the modern comic book movie, Michael Uslan.


CLICK HERE – to listen to Part 2 of my interview with the Godfather of the modern comic book movie, Michael Uslan.


CLICK HERE – to listen to Part 3 of my interview with the Godfather of the modern comic book movie, Michael Uslan.

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The Return of King Tut

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April 18, 2010

Originally Published: April 12, 2009, on 1050ESPN.com (now ESPNNewYork.com) and Lundberg.me

I usually like to use my column here as a chance to inform people and maybe entertain at the same time. I usually like to use my column as a force of good. I also usually don’t have the clarity of mind when driven to such a rage by bonehead maneuvers by the powers-that-be to properly channel it into a semi-coherent comic book rant. This article goes against that norm, though.

The powers-that-be in this case happens to be DC Comics, which also happened to be the subject of my last semi-coherent comic book rant after they killed off Batman.

Even with the death of the Dark Knight well behind us and being about one-third of the way through the “Battle for the Cowl” story arc, DC still has several titles that deal with the Dark Knight by using the spin that these are simply excerpts from Batman’s greatest case files (after all, Batman kept meticulous records). These titles are the Batman/Superman crossover and Batman: Confidential.

For the most part, I’ve enjoyed these titles as you see interesting spins on Batman’s first team-up with Superman against Lex Luthor or a different take on the Joker’s origin story. However, recently I’ve been noticing a trend becoming quite clear after the events of the recent 3-issue story arc in Batman: Confidential.

This trend is the integration of long-forgotten villains or villains introduced through non-comic book media into the comic canon.

The most recent example is the villain King Tut. For those who are not familiar with the many forms of Batman in the media through the years, King Tut is a villain who never appeared in the comics, but was a fabricated villain for Adam West’s 1966 Batman series. Victor Goodman was an archeologist obsessed with the legends of King Tut. While moving part of his King Tut exhibit into the Gotham Museum of History, an Egyptian urn was dropped on his head and when he awakened, he imagined himself as the ancient Egyptian ruler (As was the motif for the show, the villain was always played by a celebrated actor or actress; in this case, the split personality archeologist Victor Goodman was played by Victor Buono). WHAM!

The obviously bad idea that, 43 years after King Tut’s appearance in the campy TV show, the brass at DC felt it was a good idea to bring this character into the comic storyline is a clear sign of desperation in terms of writing. It symbolizes a lack of confidence in their planned re-launch (when they bring the Dark Knight back sometime within the next six months) that they are adding campy 60s villains to one of the most celebrated rouges’ galleries in comics. ZZZAP!

The next thing you know, we’ll be seeing Vincent Price’s “Egghead” character (a man with an egg-shaped head, pale complexion, and an obsession with poultry embryos) or Roddy McDowell’s “Bookworm” (a really ticked-off librarian and a Riddler knockoff) with his “Book-Mobile” causing Batman and Robin about as much difficulty as they did in the 60s (also, both never in the comics). BONK!

“What about characters that did appear in the comics and the TV show?” you ask. What? Like False-Face (master of disguise character), who only made one appearance in the comics (Batman #113, February, 1958; a bad year of villainy for the Dark Knight as it was also the year Calendar Man made his infamous debut) before people said he was nothing more than a toned-down Clayface? (False-Face would be re-imagined again when the animated series Batman Beyond used him as an international spy, but he failed there, too) He was used in the TV show only because he was a jewel-thief and not a murderer which played better for 1966’s primetime audiences and his costumes were easier to construct using the technology for the time (he was played by Malachi Thorne of Star Trek fame and nearly sued the producers of Batman for refusing to put his name in the credits in order to sell the illusion that False-Face could be ANYONE; in the end they settled on his name appearing in the end credits of the last part of his two-part arc). BAM!

If Louie the Lilac (played by Milton Berle, a gangster obsessed with lilacs and the color purple; basically a cheap Joker knock-off because Berle refused to wear any heavy make-up for a different character) makes an appearance, I may have to swear off Batman comics like I did with Spider-Man after his most recent re-launch. OOF!

To prove my point, with the “Battle for the Cowl” re-launch effort underway, old one-shot villains are re-emerging for no reason whatsoever. Jane Doe, Adam Bomb, Anarchy…do any of these names ring a bell? No? Of course not! They are being dragged out of obscurity and into the limelight for no reason except for DC to show you how much they’ve screwed up over the past 70 years and that maybe you can hope they’ll just kill them off in one fell swoop and promise to do better in the next 70. KER-SPLASH!

And let’s not forget Composite Superman who only appeared in a two-part arc in June and July of 1964 before his recent return in Batman/Superman a couple of months ago (basically a Bizarro rip-off that is one-half Batman and one-half Superman). One of the worst concepts ever, but DC brought him back for a one-shot story. THWOCK!

I love the history of comics. I love where comics have come from to where they are today. I understand why the characters in the 60s, no matter what the medium, no matter the level of success or failure, are important. That is why I am so furious that it seems that DC feels the need to try to re-justify a time period long since past by re-introducing these characters and re-working them for modern audiences into a canon they no longer fit into. POW!

The Joker has lasted 70 years for a reason. Clayface wasn’t an original villain, but he has proved to be one of the most popular even 50 years later. There are reasons why some characters fail and some succeed and these reasons usually translate over time so there is no reason to believe that a character that failed in the 50s and 60s will translate to today even with some re-tooling. When DC makes major plot decisions like this, all I see is the tarnishing of my memories of the 1960s Batman and the watering down of modern Batman stories. It is unnecessary and, as tacky and campy as the 1960s Batman was, moves like these are even more so.

-Ray Carsillo

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The Death of a Batman

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Originally Published: January 18, 2009, on 1050ESPN.com (now ESPNNewYork.com)

A sure fire way to sell comics is to hit readers with something they would not see coming. Even with the rumor mills swirling, most comic readers won’t believe it until they see it. Well, the unthinkable has happened. Almost 70 years after his first appearance in Detective Comics #27, in issue #6 (of 7) of the Final Crisis series, Batman has been killed off by DC Comics. Supposedly, this was well in the works, but Warner Bros., a major stock holder in DC Comics and publisher of all Batman related movies and television programs, had nixed his demise due to the summer blockbuster, The Dark Knight, pulling in over $500 million dollars and proving Batman was at the peak of his popularity.

Written by a master of comic book controversy, Grant Morrison, the final pages of this issue would be the possible final pages of the Caped Crusader. Here is how Morrison’s controversial vision unfolded. Gotham’s Guardian, after having foiled every plot by Darkseid to manipulate the Dark Knight into helping Darkseid create an army of mindless soldiers with Batman’s unique skill set, confronts Darkseid in his earthly stronghold. After exchanging words, the two stare each down in the style of a Wild West duel at high noon. Batman, going against every fiber of his character to never use a gun and to never kill, pulls out the weapon that murdered the New God, Orion. It was a gun that fires Radion bullets. Radion, of course, is the only substance that Darkseid and the other “New Gods” are weak against, much like Superman is weak against Kryptonite. In the battle between man and god, Batman’s trigger finger was faster than Darkseid’s Omega Beams (imagine Superman’s heat vision multiplied by 1000). Batman’s shot was pretty impressive for someone who never used a gun. Unfortunately, Darkseid also got his shot off and vaporized the Dark Knight. The issue ends with Superman carrying Batman’s charred carcass from the stronghold.

If there is anything that has been consistent with these major death/re-launch events is that they provide a temporary boost in sales before a sharp decline sets in as people usually respond unfavorable to the replacements to these heroic icons. There are three major ones from “The Big 2” that stick out in my mind as failures.

The first two were in 1993 when Superman died and Batman had his back broken by Bane and was replaced by Jean Paul Valley, better known as Azrael. The public outcry for Superman to return was immediate and led to one of the worst story arcs in his history as DC struggled to find a way to bring him back. When Batman was replaced, and DC worked to correct it, it at least led to some of the more memorable story arcs in his recent history with the Knightfall and KnightsEnd arcs where it detailed his rehab to come back and wrest the title of Batman back from Azrael who had gone mad with power.

The third is the very recent re-launch of Spider-Man where he sold his marriage with Mary Jane to Mephisto (the devil) to save Aunt May’s life. This was one of the worst implemented re-launches in comic history and Spidey’s sales have suffered greatly because of it. With a horribly written four issue story arc called One More Day, Marvel rewrote over 20 years and 250 issues worth of continuity. How do you think the conversation between Marvel executives go when this decision came down? I think it would go something along the lines of a Guinness beer commercial.

Marvel Exec. 1: How do we re-launch Spider-Man and save Aunt May?

Marvel Exec. 2: This is a tough one. We need something that will do the character justice and stay true to him while making sure our readers understand why we made our decision to do this.

Marvel Exec. 1: Let’s just have him sell his marriage to Mephisto and we’ll go from there.

Marvel Exec. 2: Brilliant!

Marvel Exec. 1: Brilliant!

Everything I knew about Spider-Man, that I had learned over my 23 years, was gone in a matter of four weeks. Since the re-launch, Marvel has been reduced to using gimmicks like Spider-Man meeting President-Elect Obama to try and push sales and save one of their most beloved heroes.

A major issue DC has, is now that Batman has passed on, how do they keep Batman, Detective Comics, and all other Batman related series going without the main character, or at least until they decide to bring Batman back. They have already announced the I AM BATMAN story arc beginning in March that will encompass all existing titles as Robin, Nightwing, Damian (Batman’s illegitimate son with Talia Al’ Guhl), the newly resurrected Jason Todd (card carrying member with the revolving door of death), Alfred, Batwoman, Batgirl, Catwoman, and everyone else who might have any claim to the cowl duke it out to see who will inherit the mantra of the Dark Knight. My money is on the current Robin, Tim Drake. He has the best detective skills of all the candidates and was closest to the dearly departed.

Another dilemma that could (and should) arise is that once DC realizes the error of their ways, how do they bring back someone they had vaporized? In the very same issue, Superman was in the future (read the rest of Final Crisis to understand why) and as he was about to return back to the present, Brainiac 8 of the Legion of Superheroes in the 31st century, revealed to Superman a device called the Miracle Machine. This device was created in the 29th century by the Guardians of the Universe, the same guardians who created the Central Power Battery for the Green Lantern Corps. With the experience of creating devices powered by one’s will, the Guardians created this device that was so powerful, that the simplest thought entered into the Miracle Machine, could be made into reality. Of course, such a powerful device is kept under constant watch by the Legion of Superheroes and only a select few even know of its existence. Here is your obvious fix to bring Batman back once DC sees their sales plummet. Send Superman to the future (since he seems to be there every year or two anyways), grab the machine, think Batman back into existence, and the problem is solved. I know it is ridiculous, but these are the kind of things that fit right into revolving door of death in comics.

The landscape of comics is always changing, but this might be the straw that breaks a lot of backs. This ranks up there with some of the worst storyline moves ever made in comics history and I am sure I am not the only one that is shaking their head in disbelief. I would not be surprised to see some of the worst backlash in comic history from this. Batman is at an all-time popularity high with the comics, movies, video games, merchandise, and anything else you can stick a Batman emblem on in the public domain, and DC has just sent their cash cow to the hamburger factory for no apparent reason. Keep looking here as this situation continues to unfold in the coming months.

-Ray Carsillo

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