Wednesday, December 30, 2020

Movie Review: Wonder Woman 1984 - The Hope We Need Right Now

 


2020 has been quite a year to say the least, and we could really use something positive as it nears its end. Thankfully, we have a new Wonder Woman film to help with that. Her first film in 2017 was not only the first successful female lead superhero movie but also helped start the DCEU on a much needed winning streak (aside from that Whedon hiccup, but that will be rectified next year). With lead Gal Gadot and director Patty Jenkins guiding the ship again, they bring a film that delivers a message we could use heading into the new year.

For a film that was originally slated for a November 2019 release, the events that take place make it surprisingly more relevant now given all that has happened in 2020 as we see a world plunging further and further into chaos. Even Diana is affected by this, taking obvious physical damage compared to her other previous film appearances. The film shows that even someone like Wonder Woman can be vulnerable in more ways than one. And it ties in to the message of the film: life can't always be what we want it to be and shortcuts can have more consequences than we realize. To apply this to 2020, as much as we'd like things to go back to normal or just pretend like it is when it's not, it'll take time until we're truly there again.

As the trailers show, Chris Pine returns as Steve Trevor in a way more peculiar than how I thought it would happen. Nevertheless, it's great to see he and Diana reunited, with his future shock of being transported nearly 70 years entertaining and comparable to Diana's first visit to man's world. The two share some great heartfelt moments together, but from what we know in present day DCEU films, the borrowed time added to their story makes how it concludes all the more tragic.

Then we have our two main villains:
* I'm not that big of fan of Kristen Wiig, but she really surprised me as Barbara Minerva/Cheetah. Her transformation into the villain reminds me a lot of Michelle Pfiefer as Catwoman in "Batman Returns", going from meek to empowered with a touch of a psychotic break. In a moment where she first acts on her dark nature on someone who sexually harassed her earlier in the film, the score by Hans Zimmer accentuates it with a mix of triumph and terror.
* When it comes to Pedro Pascal as Maxwell Lord, Donald Trump was clear inspiration in his performance. And while it's not a bad performance, it honestly felt laid on a little too thick. Now, I'm all for a Trump lampooning as much as the next guy; I've even brought up comparisons before with Kingpin in "Daredevil" and Lex Luthor in "Young Justice". But those were more subtle jabs compared to how direct it got with Lord in this film. Lord does get some redemption by the end and it shows Diana's ability to bring out the good in people; whether it feels earned or if Diana could be able to do the same for Trump is a different story.

While I did enjoy 1984 as much as I did the first film, on an initial viewing, I think the original is still a little better. 1984 can get a little overboard with the "deus ex machina" moments that play out, but there's still some good in there. Along with the emotional moments between Steve and Diana, we also get the exciting action moments. The best examples are the car chase scene in Cairo and the battle between Diana in the Asteria armor and a full-blown Cheetah Barbara in the climax (though the CGI on Cheetah can get a little iffy in spots), which remind me a lot of the No Man's Land scene and the fight with Ares in the first film, respectively. All in all, Gadot and Jenkins have given us another enjoyable film in my eyes and I look forward to what they bring to the third one.

Whether you're able to safely view it in theaters or stream it on HBO Max, Wonder Woman 1984 is the blockbuster we've needed all year and one that should give us inspiration as we head into hopefully a better one.

Sunday, November 22, 2020

Movie Review: The New Mutants - The Breakfast X-Club

 


Ahh! After two years, it's here! It's time to review The New Mutants!
Originally set to be released in April 2018, this film has been plagued with delays due to reasons ranging from studio politics to a global pandemic. Those waiting for the film began to wonder whether it would ever see a theatrical release or at least just be sent to streaming. The New Mutants did finally hit theaters back in August, but between wanting to keep up some level of social distancing and the film's low critical score, I felt more comfortable waiting for the home release. Now that that's happened and I finally watched it, was the final film in Fox's X-Men franchise worth the incredibly long wait?

As it turns out, it was actually decent. I don't know if my expectations were just low with how it kept getting delayed, but I was surprised with how enjoyable I found it. It's nothing ground breaking, but a lot of the elements in place are executed well, making it a unique entry for the X-Men franchise.
Meant to be a horror superhero film, New Mutants does well in this aspect with some great visual effects as our protagonists experience their darkest memories and having to overcome them to survive. While it does get some decent scares in, I kept having this itch that they could have gone further with it. By the time we get to the climax, the horror aspect dropped down considerably and felt like another superhero movie with a big CGI powered slugfest. Still, if we compare this film to the other horror comic property this year, "Helstrom", I certainly got more out of New Mutants.

Within the world of X-Men, it's very similar to TV shows like "Legion" and "The Gifted" as we once again use a microscope to look at another part of the universe that's not connected to the major characters of the franchise. With our main characters basically in a mutant group home, we get to see how some are unfortunate enough not to be taken in by Xavier. All that said, the film doesn't shy away from connections, as the X-Men are referenced and we get another Mr. Sinister tease that ultimately wouldn't pay off (though I guess that allows Marvel a shot at the character). The setting of New Mutants is contemporary (possibly set a few years before the events of "Logan"), though one of the original plans was to set it during the 90's and feature James MacAvoy's Charles Xavier, and there were times I could see where the 90's setting would have worked. Though to be honest, the film probably would have worked in any timeframe they chose.

Our small cast were all around entertaining, each of them having a distinct background and personality that play off well with each other. My favorites of the film were Maisie Williams and Anya Taylor-Joy as Rahne and Illyana, respectively. The relationships between characters were fun to watch as well as they learn to come together. My favorite in this aspect was the romance between Rahne and Dani, though I have to give a shout out to the budding friendship between Roberto and Sam, even though they weren't able to reach the bromance level they're known for in the comics.

While "Dark Phoenix" ended the main series with little impact, "The New Mutants" shows how much creativity could still be had with the X-Men franchise, even though a future with these characters was gone before it really started. As the last film in the overall series, I can say it closes things out not necessarily with a bang, but with at least a little more flash.
As a whole, I think Fox did the best they could in their 20 years with the X-Men and I thank them for their part on making the comic book movie mainstream and the iconic performances that resulted from their films. But now we look to the future. The ball of limitless potential that is the X-Men is in your court now Marvel, and I look forward to see what you do with it.

My Final X-Men Film Rankings:
1. X-Men: Days of Future Past
2. Logan
3. X-Men: Apocalypse
4. Deadpool
5. Deadpool 2
6. X-Men: First Class
7. X2
8. The Wolverine
9. X-Men
10. The New Mutants
11. X-Men: Dark Phoenix
12. X-Men: The Last Stand
13. X-Men Origins: Wolverine


Sunday, November 15, 2020

Video Game Review: "Spider-Man: Miles Morales" - You're Gonna Go Far, Kid



First the focus of an animated movie, and now his own video game. You're really coming up in the world, Mr. Morales. Set one year after the hit 2018 game, Miles Morales puts his powers and training to the test as he defends New York as its sole Spider-Man while Peter Parker is out of town. Considering Spider-Man games up to this point have all been about Peter and any use of Miles has mostly been his costume as an alternate skin, this is a pretty big deal. And for their second outing, Insomniac Games is able to knock it out of the park again as they expand on Miles' place in this Spider-Man universe they've crafted.

We once again have a truly engaging story as we get a deeper look into Miles' life, family, and friends. You become emotionally invested in Miles' relationships, which makes for another intense climax. Admittedly, the story does have some of the same beats from the first game, but does enough to set itself apart. It all actually kind of reminds me of "Batman: Mask of the Phantasm."
What I really like is how they really establish this as Miles' story. When it comes to Miles in other mediums, it usually seems like he's dealing with problems or villains from Peter's side of things; hell, he barely has his own rogues gallery. Once Peter is out of the game's story, the villains and problems Miles faces are truly his.
One of the things I liked about the last game was Spider-Man being able to walk down the street and interact with the people, showing his strong connection with the city. Miles' game is able to amplify this as one of the side plots with Miles growing his reputation in his new neighborhood of Harlem. The more Miles does for his community, the more the citizens appreciate him and come to accept him as just good as the first Spider-Man and their own local hero. You even get three additional skins due to this.
When it comes down to it, my main takeaway from this story is how important it is to stay connected, be it with family, friends, and the community as a whole, and how just reaching out can go a long way. And in these trying times, it's something we can all take to heart.

While the basic mechanics are similar to Peter's, Miles' body movements show how rough around the edges he is compared to the veteran Spider-Man. When he's swinging, his limbs flail around a bit while sometimes going backwards and he has to try to balance himself whenever he lands on a perch position (also seen during stealth attacks), showing his less graceful acrobatics. On the plus side, his lighter build seems to allow him to go faster and get more air compared to Peter.
But you also get two additional powers Miles is known for. The first is the Venom Blast, a bio-electricity attack that packs some extra punch in combat and speed, and could be used in some pretty ingenious ways. For this power, I usually liked to use it for the bigger enemies or when I started to get ganged up on. The Venom Blast is also a big plot point in the story as Miles learns how to control it, as it can be dangerous to himself and the people he's trying to help.
The other new power is camouflage. Triggering this gives you invisibility for a short amount of time, so you really have to think about when you use it. While it's good to use when you're about to be seen during a stealth mission, I usually like to trigger it when I do one stealth takedown and then take out another grunt right after, depending how close they are.

Much like Peter in the first game, Miles has a good variety of alternate costumes to use. This ranges from the proto-suits, unique designs made for the game, ones for fun, and some alternate versions of the character. While Miles' doesn't have a well known wardrobe compared to Peter, the game designers did a good job giving Miles a library of choice and crafting suits that feel unique to the character. If I had to pick my favorites to use, it would be Crimson Cowl due to its incorporation of a hood on the costume, the "Into the Spider-Verse" suit because I love that movie, and the Bodega Cat suit because it's fun to have a little feline sidekick.

While improving on various elements from the 2018 game, "Spider-Man: Miles Morales" brings a unique gaming experience that make it just as fun if not more so than its predecessor. It could have been easy to write this game off as a spin-off or something to tide us over until Peter's next game, but the end result shows Miles' story is just as important in the grand scheme of things.

Thursday, October 29, 2020

Analysis: "Spider-Man: Maximum Venom" Part Two

 


As we look into the second half of the "Maximum Venom" season, so too do we reach the final post of my long running analysis of the 2017 Spider-Man animated series. Does the season and series go out on a high note? Let's not waste time and dive in.

The fourth hour entitled "Spider-Man Unmasked" mainly focuses on Max Modell's hearing with the Horizon High school board over his experiments with the Venom symbiote. Peter and friends help with Max's defense as Curt Connors acts as prosecutor, his main argument being the safety of the students. Things aren't going well for Max, so in a last ditch effort, Peter suits up as Spider-Man to act as a character witness, citing Max's contributions in his efforts to protect the city. While he seems to be winning them over, Connors then calls out Spider-Man for being Peter Parker. With Max's job on the line and honesty being key, Peter unmasks to the school board (and to Gwen and Anya by proxy). This only drives home Connors' claims of Max's recklessness with his students since he knew Peter was Spider-Man. Having heard enough, the school board relieves Max of duty and places Connors in charge of Horizon. Luckily for Peter though, the contents of the hearing will be sealed from the public, keeping his secret safe. However, they decide that Spider-Man is barred from campus.
In the aftermath, a dejected Max closes himself off from his students. Gwen and Anya are obviously pissed with Peter for keeping his secret from them, though honestly, I'm kind of pissed at the writers for not making them smart enough to figure it out themselves. I mean, when three-fourths of your friend group get spider powers, chances are that fourth friend has them too. They eventually make amends with Peter apologizing to them after getting advice from Mary Jane about being honest with friends. Oh, and they do this all while dealing with mutated humanoid rhinos in Swarm's underground monster fighting league, creating combatants from serums developed by the Jackal and where criminals can watch and bet on the results. And I only bring this part up because it's relevant to what happens later.
In a weird way, "Spider-Man Unmasked" has a lot of important developments, but somewhat feels like filler. I guess I would say this is the weakest entry to this season.

A few weeks pass when we get to the fifth hour, "Generations", and Connors has gone full totalitarian as principal of Horizon. Security bots patrol the halls, school uniforms are imminent, and mysterious packages are being delivered to the faculty lounge by drones. When a lab accident takes down one of the delivery drones, Peter, Miles, and Anya realize the contents are vials of Jackal serum. After sneaking off with the drone's hard drive and taking it to Gwen, they're able to find the warehouse the drones are coming from. The Spider-Team split up, with Peter and Gwen heading to the warehouse while Miles and Anya figure out what's going on in the lounge. Thanks to his Venom Blast, Miles and Anya are able to get past the security in place to find a secret lab and a mysterious machine, only to get knocked out by Anya's stepsister Maria.
Spider-Man and Ghost Spider discover the Jackal and his own secret lab, which he soon enough sets to self-destruct. And it's worth noting that it's an underwater lair, and as the trope goes, underwater lairs always get destroyed. Before escaping though, Gwen is able to access Jackal's files and discovers what he's planning and who he's working for. Peter and Gwen head back to the school to save Miles and Anya, confronting Connors, Maria, and Jackal, as well as Swarm. And it's here we learn the true mastermind they've been working under: Norman Osborn (called it).

So how did Norman survive the finale of season one? Just barely, as he suffered burns across his body and lost an arm and leg. Since then, he's been watching from the shadows planning his vengeance on Spider-Man. He employs Connors, who has had occasional flare-ups from the Lizard formula in his body, promising to fully cure him in exchange for his help. To this end, he sets in the motion the events that would lead to Max's firing and placing Connors in charge of the school, giving Osborn the scientific resources he needs coupled with the money being made through Swarm's underground monster league to reach his final goal. Siphoning off DNA from the symbiote seed and combining it with Jackal's mutation serum, he's transformed into the Dark Goblin (no doubt somewhat inspired by the Carnage based Red Goblin identity Norman took in the comics briefly). Connors, experiencing another Lizard flare-up, begs Osborn for the cure he promised him. Osborn just laughs, saying he never planned to cure Connors. An angry Connors then fully transforms into the Lizard and attacks Osborn, but runs off after being clearly outmatched by the Dark Goblin's strength (and that's the last we see of him).
Wanting Spider-Man all to himself, Norman uses his minions to split up the rest of the Spider-Team:
* Anya takes on her step-sister Maria, who uses a Tarantula based exo-suit. Anya notices Maria forgetting personal details of their relationship, soon enough taking Maria down and revealing that it's the Chameleon in disguise.
* For those who don't remember, this version of the Jackal is Gwen's uncle Raymond. While Jackal and Norman had been enemies back in season one, Jackal decided to work for Norman with his own goal of getting close to his niece so that he can transform Gwen into a Jackal creature like himself. Thankfully, Gwen is saved in time by Miles.
* As for Miles, he takes on Swarm. Through Swarm's exposition about working with Osborn so he can protect his neighborhood and son from the dangers that the Spiders bring, Miles realizes Swarm is his father, Jefferson Davis, unmasking in front of him. An ashamed Jefferson soon flees after realizing what he's done. Honestly, this is the weakest of the "family feud" theme they were going with these fights. Gwen and Raymond's deal had been established in season one and Anya's conflict was based on deception. Making Swarm Miles' dad comes across as a last minute decision. While it seems they didn't want to bring in Miles' uncle Aaron as Prowler since they already established the Hobie Brown Prowler in season two, I don't think they fully thought through the Swarm idea. Jefferson appeared in a single episode back in season one, and his motivation to protect his neighborhood is really lacking because of that; it probably would have helped if there were more Miles focused episodes prior to this. And aside from a couple mentions in the finale, there's unfortunately no resolution to this plotline.

As Peter and Norman fight, Harry enters the fray as Hobgoblin, having been called ahead of time before Peter and Gwen got back to the school. Norman tries the whole Darth Vader "join me" schpeel with Harry, but the son isn't buying what the father is selling. With Peter and Harry getting the upper hand and none of his minions responding, a desperate Norman uses symbiote tendrils to grab more vials of Jackal serum to absorb, mutating further (taller, stronger, more eyes, horns, and spider legs sticking out of his back). The rest of the Spider-Team return to the scene and through a hard fought and very entertaining battle, they're able to get Norman back into the machine to reverse the transformation, turning him from the Dark Goblin back to his human form (though on the plus side, he has both his arms and legs again).
Since Norman's confession was recorded by a security bot, Peter brings it to the school board, showing that Max's experiments were safe and contained had it not been for Osborn and Connors. While I feel this ignores some of the legitimate points Connors did have about safety, we need the happy ending, so Max is reestablished as the principal of Horizon High.
Despite some problems, I'd go so far as to say "Generations" was the best entry of this season with good fights and the payoff of Norman Osborn's return as well as resolution to his and Jackal's storylines.

We now come to the season finale of "Maximum Venom"..."Maximum Venom" (hmm, maybe they were running out of steam by the end).
This hour begins with Spider-Man teaming up with the Avengers and playing a vital role in defeating MODOK. Afterward, Tony offers Peter membership to the Avengers once he's done with school, though he has to think about it since it would involve giving up his personal life.
Later on, Peter, Gwen, and Anya go in search for the Lizard, only to find a resurrected Venom. But before they can find out how he's alive, he disappears. While this is a problem to be dealt with, the Spider-Team doesn't want this to spoil the school dance Horizon is having for Max's return as principal, where Peter brings Mary Jane as his date. It's been building up slowly since her debut in the series, but the chemistry between the two is adorable. They both clearly like each other, and Mary Jane's more outgoing nature plays off well with Peter's awkwardness.
As the dance gets going, Max unveils his latest invention for the occasion: a transdimensional gateway that can not only open up a portal anywhere on Earth, but to far off worlds. When something begins approaching the portal on the alien world, Peter calls for Max to close it. It's then revealed that Venom is in control of Max (which was actually hinted at prior in this episode).
As it turns out, a small sliver of the Venom symbiote survived when Peter destroyed the beacon it sent out at the beginning of the season, hiding itself in the symbiote seed. The sliver then slipped into Max, biding its time and growing inside, eventually being able to use Max as a puppet. After getting all the other students clear, the Spider-Team suits up to deal with not only Venom, but his symbiote sisters then come through the portal: Scream, Scorn, and Mania. Their goal this time isn't conquest of Earth, but annihilation.

Venom is sent through the portal to retrieve the "world killer" as Spider-Man gives chase. Said "world killer" is basically a giant symbiote dragon, which Venom flies back to Earth (destroying Horizon as it comes through the portal) with Spidey hanging on. The symbiote sisters, after taking down the rest of the Spider-Team, retrieve the symbiote seed and give it to the dragon, powering it up to fire destructive laser beams across the city. On top of the dragon, Spidey and Venom continue to fight, with Peter trying to reach Max inside. Despite Max's negative feelings over all his failures fueling the symbiote, Peter is able to give a pep talk that raises Max's spirits enough to take control. Peter and Max, using the symbiote's strength for his own, rip the seed from the dragon. Max then crushes the seed, releasing a large amount of energy from it that not only eradicates the dragon, but also destroys the other symbiotes, freeing Max and the unnamed aliens from their hold. The symbiote threat is finally over.
In the aftermath, Max decides that instead of simply rebuilding and reopening Horizon, that they need to build something new to carry on the goal of creating a better world. To this end, Peter declines Tony's Avengers invitation but asks him to invest in a new tech start-up with his friends: Worldwide Engineering Brigade (W.E.B. (get it?)).
As for Peter and MJ, they meet up the following morning and share a dance that got interrupted when things started to get crazy. They agree on a "first date redo" as Peter returns a kiss on the cheek which MJ gave him before the evacuation.
This story works mostly well as both a season and series finale. The main threat of the season, Venom, gives one last effort to defeat Spider-Man with the world hanging in the balance this time. And considering a big part of this show was Peter attending Horizon High, him looking toward the future after school is a good send-off. I'm almost disappointed there won't be a season four since it would be interesting to see how Peter and the gang run WEB and how it would play into their Spider activities.

So now that it's over, what do I think of the 2017 Spider-Man animated series as a whole? It's satisfactory. 'Spectacular' and the '94 series are still certainly the best, thought I would give this series the bronze. It wasn't everything I hoped it would be, but I was invested nonetheless. There have been quite a number of Spidey cartoons since the '67 series, and I would think that each of them played a part in creating new Spider-Man fans through the decades. This series took quite a few liberties and made some creative spins on the mythos and it wasn't perfect, but you can say that each series that's come and gone has had its high marks and short comings. What I think it comes down to though is respect to the source material and if it captures the core aspects of the character. The struggle of Peter Parker and Spider-Man is trying to find the balance between a normal and superhero life. The 2017 series succeeds in that regard, and that makes it a winner in my book.
As for the future of Spider-Man in animation, I think it may be good to give the character a break for awhile. Let the creative juices build up and come back swinging with something new and hopefully something great.

Tuesday, October 20, 2020

TV Review: Helstrom - Flash in the Pan


Obviously 2020 has been sparse when it comes to the Marvel Cinematic Universe (and seriously, the sooner we get our crap together, the sooner we'll get Black Widow). We've had the final season of Agents of SHIELD last summer and we'll hopefully get WandaVision by the end of the year, but then there's the strange case of Helstrom. The Hulu series focuses on Daimon and Ana Helstrom, paternal half-demon brother and sister with supernatural abilities. This is another Marvel property I know little about and the only character I've had experience with is Daimon from appearances he's made in Avengers comics. Based on this series, I still don't think I know much about these characters.

I'll just get right down to the main problem with this series: it lacks the Marvel flair. Let's put it this way: Ant-Man put a comic spin on a heist movie as Captain America did with political thrillers, just for a couple examples. Other the Marvel TV series like Runaways, the Netflix shows, or even Inhumans to varying degrees brought the comic book feel to their product. Even Fant4stic, with Josh Trank's misguided attempt to create the anti-thesis to Avengers, still felt like a comic book movie. With Helstrom, it's like all the Marvel had been sucked out of it, leaving behind another run of the mill supernatural show with barebones of the comics that inspired it.
Helstrom had already started production when Marvel's TV division had been moved under Kevin Feige and the main Marvel Studios umbrella, making it the last show to be released before said change. So I'm not sure if the series we got was what was intended to be seen or if the oversight had removed larger Marvel universe connections. Honestly, I felt something was wrong when the first trailer came out and there was no mention of Marvel at all. The whole situation comes across as a contractual obligation to be made more than anything. The end teases a second season, though I very much doubt it happens (which kind of wastes Mitch Pileggi's cameo).

As for the show itself, it's not that bad; it's certainly better than Inhumans. There's decent acting for the most part and its mature nature is a nice return to the tone of Netflix shows we haven't seen from Marvel since the last season of Jessica Jones. The first half of the season is a little tough to get through, almost like I was forcing myself to watch. It gets a lot more enjoyable in the second half though with better character moments, some visual effects unique for a Marvel show, and more interesting plot lines, one of which is very disturbing.

When it comes to our main characters, Daimon and Ana lead interesting parallel lives when it comes to their supporting casts and how they use their powers.
Sydney Lemmon is the breakout star of the show as Ana. Lemmon brilliantly brings the character's complex nature to life. She puts on a strong appearance with the fancy clothes, haircut and make-up, only dropping all of that when she's alone; it's what makes the moment where she breaks down in front of her assistant Chris one of the highlights of the season and her character arc to open up to others.
Conversely, Tom Austen as Daimon is the blandest lead to come from a Marvel property, lacking the spark other protagonists have been able to bring to their roles. As Helstrom is like any other supernatural show, Daimon comes across as any other occult expert with a tortured past. The only time I really felt something from his performance is when he lets his mean side out in episode 8.
Another character worth mentioning is Elizabeth Marvel as Victoria, Daimon and Ana's mother. She's possessed by a demon for the most part of the season, and that part produces some pretty generic evil when it comes to that kind of performance. But when she's back in control of her body, she really shines as the mediator between her children and bringing about a sense of hope to the situation at hand.

Helstrom is worth watching for the MCU completionist or horror fan, but it's otherwise skippable.

Friday, October 16, 2020

Movie Review: "Batman: Death in the Family" - Pick Your Poison

 


In 1988, DC Comics left the fate of Jason Todd to the readers. As the second Robin was proving unpopular, DC presented the chance to do away with the character in "A Death in the Family", a storyline published in the main Batman book. After being mercilessly beaten by the Joker and left for dead in a warehouse wired to explode, fans would vote on Jason's survival by calling one of two 900 numbers choosing life or death. While the tally was close, fans decided it was time for Jason to rest. In 2005 though, Jason was revealed to have been resurrected through very convoluted means and had become the new Red Hood, a lethal vigilante. Some say bringing him back cheapens his death, but I feel it actually adds more to the tragedy of the character and Batman's failure to set the troubled youth on the right path. Now in 2020, DC gives us the opportunity to decide Jason's fate again.
"Batman: Death in the Family" is an interactive short film where viewers would decide the path of Jason Todd. It uses the 2010 animated film "Batman: Under the Red Hood" as a reference point with the same animation style, bringing back some of the voice cast, and fleshing out more layers to the story. With the emotional core of its story and a stellar voice cast, "Under the Red Hood" is regarded as one of the best animated Batman films right up there with "Mask of the Phantasm" and "Batman Beyond: Return of the Joker." Returning to that film and adding a few new spins to it got me really excited. It's an ambitious experiment, but unfortunately one that doesn't reach its full potential.

As the film begins, we get more insight into the tensions between Bruce and Jason before the events that lead to his death, even delving a little more into Jason's backstory from the comics with his father having been killed by Two-Face. There also seems to be retconned connections to the "Killing Joke" animated film, with Barbara's character design and images from that film being reused along with Jason's implications that Joker did take things further than just cripple her. What's nice about both these additions is that it helps build the father-son relationship and that Jason's drive to go after Joker is deeper than his own forthcoming pain.

There are three different paths to take after Joker leaves Jason in the warehouse: Batman saves Robin, Robin cheats death, and Robin dies. As I was going through this, I decided to go from best possible option to the worst. In that regard, I first chose for Batman to save Robin and it turned out to be not as positive as you'd think. Jason does survive, but Bruce takes the full brunt of the explosion and succumbs to his injuries. To me, this was a sign that the decisions you make would still have some twists and make for some interesting plot turns.
The "Batman saves Robin" option is without a doubt the best one to take, offering more variety of choices to make as it delves into Jason's inner conflict. The trauma of his experience weighs heavy on him as he struggles between wanting to honor Bruce's dying words and giving in to his baser instincts to put criminals down. What's also nice is that the different paths borrow from more Batman stories than the two this film is based on. This includes many elements of Grant Morrison's run, the "Going Sane" storyline, and in what seems to be a major coincidence, the currently running "Three Jokers" miniseries. Even Tim Drake gets some overdue love in this film.

The next option I took was "Robin cheats death." Jason is still caught in the explosion, but survives, though he is gravely injured and laid up for 72 days. In that time, Jason has come to blame Bruce and the whole Batfamily for what happened to him, eventually running away and going on his own murderous crusade against crime. His appearance resembles that of the villain Hush, paying homage to when he was the potential identity of the character. Unfortunately, this choice and the story that comes from it is an absolute waste. There's no real resolution or confrontation between Bruce and Jason, and the way it does end just leaves you wanting.

Then there's the final option of Robin dying that gave us the full-length film to begin with. As such, all we get is a twenty minute recap of the film as Bruce is telling the story to Clark Kent, AKA Superman. There are only a couple positives I can give this. One, Bruce's narration allows us to delve deeper into his mindset as he was progressing through the story. The other is that they got Nolan North to voice Clark again, which is nice as both he and Bruce Greenwood voice Superman and Batman, respectively, on the "Young Justice" animated series. Plus, the dialogue between the two is classic World's Finest.

Speaking of voice acting, as stated before, it's pretty top notch from returning cast members as well as the new additions. Bruce Greenwood's Batman and John DiMaggio's Joker are still worthy successors to Kevin Conroy and Mark Hamill. Gary Cole is added on providing double duty as Commissioner Gordon and Two-Face, fitting both characters extremely well. Vincent Martella, who had voiced a teenage Jason in the original film, has a much bigger part here since there's no five year time jump for two of the options to bring Jensen Ackles back. While Ackles is missed, Martella does a great job in expressing Jason's wide range of emotions on the journey(s) the character is taken on.

On a last note, "Death in the Family" is rated R and includes a lot more gory violence and it honestly feels unnecessary. "Under the Red Hood" was rated PG-13 and while it got violent and featured much bloodshed, it still felt tastefully done compared to the new film, which could come off as trying too hard.

As a whole, "Batman: Death in the Family" brings the fun of choice but can only deliver barely half of what it could truly offer. If they were going to return to "Under the Red Hood", maybe they could have released a new extended edition similar to what they did with the 2009 animated Wonder Woman film. While you may be better off just watching the original film, "Death in he Family" is still worth at least one go through to experience it both delves more into the lore and diverges from the already classic film.

Saturday, October 3, 2020

Celebrating 30 Years of Treehouse of Horror: Ten of the Best Segments


A staple of Halloween for three decades, the "Treehouse of Horror" anthology episodes are a highlight of every season of The Simpsons. The annual Halloween specials allow the show creators to go really out there, parodying movies and shows that wouldn't work for a normal Simpsons episode as well as featuring more graphic and violent imagery to be present. In any case, there's still some goofy, gory fun.
I've been wanting to do a post like this for a very long time, but held off to get through last year's "Treehouse of Horror XXX" and wait for the subsequent Halloween to be approaching. This won't be a traditional top ten list though. For one thing, I feel an overall list would obviously favor more of the early years. What I want to do is give a fair shot to the whole thirty year history of the specials, selecting what I feel to be the best segments within a three year period (I-III, IV-VI, etc.) that exemplify the funny and scary nature they're known for.
So without further ado, here are what I feel to be ten of the best Simpsons "Treehouse of Horror" segments of all time.


HOMER'S NIGHTMARE
Treehouse of Horror II (1991)

PREMISE: Mr. Burns attempts to use Homer's brain to power a giant robotic laborer.
WHY IT MAKES THE LIST: I don't think I realized before putting this list together just how much this segment really began pushing how graphic these episodes could get. The previous segments up to this point were relatively tame, and then "Homer's Nightmare" comes up and features body mutilation. Burns is downright insane in his quest to replace human workers with robotic ones, stubborn to listen to reason from Smithers and even imagining nothing but his scared assistant's brain floating above his head ripe for plunder. The moments where Burns beats a bagged up Homer with a shovel to shut him up and then later wearing Homer's removed brain on his head like a Davey Crocket hat are both horrifying and hilarious.
But the freakiest part about this segment, especially when I was a kid, was the ending where they showed Burns' head sewn on to Homer's body followed by a "Next time..." bumper acknowledging the change. As a kid, I had no concept of canon so there was a part of me waiting for this next episode to air. To go along with this, there was one brilliant detail I noticed this time around I missed before. See, Treehouse of Horror II had a framing device of Lisa, Bart, and Homer having nightmares from eating too much candy. While Lisa and Bart's dreams had a dissolve effect at the beginning of theirs, Homer's did not, foreshadowing that his nightmare was anything but. 


THE SHINNING
Treehouse of Horror V (1994)

PREMISE: The Simpsons are hired as caretakers at Mr. Burns' mansion.
WHY IT MAKES THE LIST: To many, self included, this is the best Treehouse of Horror segment of all time. A parody of "The Shining", the Simpsons bring many comedic twists to the classic film's scariest moments, including Homer going crazy in just one day compared to how long it took Jack. Though honestly, I think Homer writing all over the walls can be seen as more disturbing than writing the same thing over and over on a typewriter. There are so many laughs to be had from start to finish, featuring one of Homer's best freak-out moments and I'm not afraid to admit I've memorized Homer's lines word for word from when he starts smashing through doors with an axe. Without question, "The Shinning" is the gold standard when it comes to the Simpsons at Halloween.


CITIZEN KANG
Treehouse of Horror VII (1996)

PREMISE: Kang and Kodos impersonate Bill Clinton and Bob Dole in order to win the 1996 presidential election.
WHY IT MAKES THE LIST: As a kid, I didn't really appreciate this one that much. Growing up and understanding politics more, "Citizen Kang" is a real treasure. What really helps this segment is its timelessness and the attitudes toward politics. Replace Clinton and Dole with other presidential nominees through the years and you wouldn't have to change much (although 2016 and this year's election would be an unwinnable challenge). Political jokes aside, it is also funny watching Kang and Kodos impersonating their nominees with no change to their voices and nobody believing Homer about their true identities. On top of all that, this segment brought us the "twirling towards freedom" and "I voted for Kodos" lines that would go on to become minor memes.


HOUSE OF WHACKS
Treehouse of Horror XII (2001)

PREMISE: The Simpson family buys a new house, who falls in love with Marge and attempts to kill Homer.
WHY IT MAKES THE LIST: What I really like about this one is the build-up from fun to scary. We go from the Simpsons enjoying the high tech upgrades to their house to the AI system with Pierce Brosnan's personality falling in love with Marge and attempting to kill Homer and take the family for himself. The guest voice of Brosnan himself really helps with the tone changes the segment goes through as we hear him go from charming servant to obsessive creep. There's a moment I love where he tries to laugh off the situation: "Homer, you're alive!...Which is good." In the end, our villain gets his just desserts when he's passed off to suffer under new owners Patty and Selma.
The near death of Homer is also a good fake out with the blood splattering on the walls. When we do see he survived, it was not unscathed as a large enough chunk of the back of his head is missing where his brain is exposed, the first time we see it a bit unsettling. Though I do enjoy how it isn't just a one-off joke since they call back to it moments later when Lisa points out Homer is attacking the water softener with an axe rather than the house CPU, to which Homer replies "Well, I am missing the back of my head! I think you could cut me some slack?"
"House of Whacks" may be an underrated and overlooked segment in the grand scheme of the Halloween specials, though I think it's one that deserves more recognition.


THE NED ZONE
Treehouse of Horror XV (2004)

PREMISE: Ned Flanders' head injury gives him the power to predict others' deaths.
WHY IT MAKES THE LIST: When you take one of the most wholesome characters on the show like Ned Flanders and burden him with the ability to see visions of people's deaths, it makes for some interesting TV. Admittedly, what's really scary about this segment is just how stupidly incompetent Homer is made out to be. Not only does he cause Ned's injury that gets the ball rolling for the story, but both he and Ned are in varying degrees responsible for the ensuing deaths.
On the funny side of things though, the final moments of the segment are hilarious as the viewer can share in Ned's feelings of frustration and nervousness as he attempts to keep Homer from causing a nuclear meltdown.
I will be frank in saying that the segment doesn't quite live up to its' potential and may have worked better as a "Final Destination" type parody, but the concept and comedy we are given still help "The Ned Zone" stand out.


SURVIVAL OF THE FATTEST
Treehouse of Horror XVI (2005)

PREMISE: Homer and various other male characters find themselves on a reality show where Mr. Burns hunts humans for sport.
WHY IT MAKES THE LIST: As we get into the show's more mediocre seasons, I may tend to select segments that would probably fit in well with the classics. That being said, I'm kind of surprised that it took them sixteen years to do a parody of the "The Most Dangerous Game."
This segment just works on many levels. The idea itself of yet another psychotic version of Mr. Burns hunting various characters and how they're so callously killed is perfect for the Halloween special. The pacing is done well, not feeling too rushed with the humorous moments hitting the mark in quick succession.
Though the part of the segment that is both funny and kind of scary is how they legitimize Burns' manhunt as normal. Not only does Burns' lawyer draw up a document that would protect him in court (followed by being shot by Burns himself), but then you have it broadcast on TV like a sporting event with Terry Bradshaw providing commentary.
At a time when the show was getting stale, "Survival of the Fattest" was a reminder of the greatness that the Simpsons can still bring, Halloween or not.


IT'S THE GRAND PUMPKIN, MILHOUSE
Treehouse of Horror XIX (2008)

PREMISE: Milhouse summons a demon pumpkin who goes berserk when it sees humans carving its brethren into jack-o-lanterns as part of Halloween tradition.
WHY IT MAKES THE LIST: What really helps this one stand out to me is how it completely goes off the rails. As a parody of "It's the Great Pumpkin, Charlie Brown" (with the background and character wardrobe paying homage to this), it initially follows the source beat for beat with Milhouse filling Linus' role of the only one believing in the obscure Halloween figure. Things take a turn though when the Grand Pumpkin actually appears thanks to Milhouse's childlike belief. While the Grand Pumpkin has a delightful demeanor at first, that quickly vanishes when he discovers pumpkin atrocities committed by humans, such as being cooked into food and carved into jack-o-lanterns (we'll just ignore his own head is one), vowing revenge.
A similar parody had been done on Robot Chicken a few years prior to this (which was also good in its own right), but the Simpsons is able to play up the comedy more with the Grand Pumpkin's villainous turn being so unexpected and him having more of a personality. The ending matches the craziness with Lisa using Milhouse's childlike belief to create a Thanksgiving figure, Tom Turkey, to save them. The cycle begins again though when Tom finds out what happens to turkeys.
Whether you see it as paying tribute to or butchering a holiday classic, there's no denying that the Simpsons have left their trademark Halloween stamp on the Peanuts special.


OH, THE PLACES YOU'LL D'OH!
Treehouse of Horror XXIV (2013)

PREMISE: In this twisted parody of Dr. Seuss' children's books, Homer abducts Bart, Lisa, and Maggie and rides around Springfield wreaking havoc as "The Fat in the Hat".
WHY IT MAKES THE LIST: I guess I have a thing when it comes to the Simpsons adapting children's stories. Compared to "It's the Grand Pumpkin, Milhouse", "Oh, the Place You'll D'oh!" cranks the homage levels up with Springfield and the Simpsons' grand cast completely Seuss-ified. And it wouldn't be Dr. Seuss if there weren't constant rhyming, which is the cherry on top in this treat of a segment. Homer as the "Fat in the Hat" is quite entertaining in his psychotic role, bringing a level of hilarious chaos you'd expect from the Joker. The funniest thing though is despite the segment's violent nature, it still probably has more respect for Seuss than a certain Mike Myers movie.


B.F.F. R.I.P.
Treehouse of Horror XXVII (2016)

PREMISE: Lisa's imaginary friend kills her real friends.
WHY IT MAKES THE LIST: Much like "Survival of the Fattest", this is another instance where a segment can come off as a classic during a time of mediocrity (in this case, particularly when it comes to pacing). The idea of an old imaginary friend seeking revenge for being discarded is actually pretty original though. There's true elements of horror in this segment with the deaths shown, first coming off as supposed accidents and then the imaginary friend Rachel reveals herself by straight-up asphyxiating  Milhouse. Rachel is also voiced by Sarah Silverman, who brings the right kind of crazy you'd expect from both character and actress.
From what I can tell, not a lot of people talk about this one, possibly because it's part of what I found to be a pretty lackluster year for the Treehouse of Horror series. In any case, I still say "BFF RIP" is worth a look if you're curious.



MMM...HOMER
Treehouse of Horror XXVIII (2017)

PREMISE: Homer cannibalizes himself after he runs out of food while Marge and the kids are away from home.
WHY IT MAKES THE LIST: We round out the list with what I consider to be the most disturbing Halloween segment in Simpsons history. What else needs to be said? Homer eats himself.
After accidentally cutting off and grilling his finger, Homer tries it and finds he's the taste that can't be beat and begins using piece by piece of himself in various dishes. I'm just going to assume Homer's arteries are so clogged that it keeps him from bleeding out from the process. Marge soon enough finds out (seen in the picture), and her reaction is priceless. Homer is then met by famous chef Mario Batali, who uses the rest of Homer as ingredients across various restaurants. As Homer gifted his body of flavor for the enjoyment of others, he looks down from heaven while eating his angels wings, indicating the cycle continues.

And those are ten of what I consider to be some of the best the Simpsons have brought us from the Treehouse of Horror series. I have to say that watching these back to back has been a lot of fun, and there were so many close choices that I may return with a sequel list. This also allowed me to witness the Simpsons' evolution on an annual basis. The specials and series as a whole has had its ups and downs, but while some have fallen off, I'll keep watching the Simpsons until one of us reaches the end of the line; and I'm half expecting the series to outlive us all.


Friday, August 7, 2020

TV Review: Doom Patrol Season Two - Weird Lite

The inaugural season of Doom Patrol was a surprise hit last year, putting the relatively obscure superhero team in the spotlight and bringing one of the weirdest live action comic book adaptations to date. When it comes to the second season, I don't really have too much new to say. It's still a really great show, retaining much of what made the first season so loved.
The characters are well acted with their best moments shining in their most vulnerable moments. Said moments really make you feel for them and work well with the themes of trauma and mental health the show is about.
The rogues gallery grows further with more villains each bringing their own brand of strangeness. You have the more silly threats in Dr. Tyme and the Scants, the latter of which are microscopic creatures who feed on stupidity. There's also the disturbing and terrifying in Red Jack and our main villain of the season Candlemaker. Candlemaker doesn't have the same charisma Alan Tudyk had as Mr. Nobody last season and is really just a CGI monster, but he still has a scary look coupled with Lex Lang's voice acting.

If there are any new themes this season brings to the show, it's that of legacy, family, and connections, with each of the main characters trying to better themselves.
* The most obvious has to do with Niles Caulder, not just in trying to be there for his daughter, but also hoping to make amends with the rest of the group for what he did to each of them.
* Cliff/Robot Man, trying to prove himself a better father than Niles as well as his own dad, tries to reconnect with his grown up daughter. This plotline is a bit hard to watch, being a bit cringey as well as sympathetic. Though this does bring me to my biggest problem, or rather nit-pick, with the season: Cliff's Flanderization (look it up). He's constantly dropping f-bombs, and while it was a lot more funny in the previous season, it's now like an explosion in a Michael Bay movie. It happens so much that it's lost much of its impact.
* Larry/Negative Man returns to his family after the death of one of his sons, reconnecting with his other son as well as meeting his grandson and great grandson. This was my favorite plotline in regards to the legacy theme, as it brings as much emotion as his arc last season. I think of all the characters, Larry has the most baggage from the life he left behind.
* Rita/Elastiwoman recovers a repressed memory of her mother while Vic/Cyborg kindles a relationship with a woman he met in a support group.
* Jane has a more inner conflict with her other personalities who are growing unconfident in her role as "primary." This leads to another seemingly normal and more well adjusted personality named Miranda to eventually take over. The legacy aspect isn't as prominent here, having more to do with learning more of the traumas that lead the character to who she is today.

Unfortunately, these plotlines and more will remain unresolved until next season, as with the other current DC shows, production had to be shut down due to the pandemic. Only nine of the ten ordered episodes were able to be completed. Part of me wishes this season had been longer like the last season, as then we were able to explore more of the characters' backstories and personalities and connect more with them. But since production had to be shut down, it's probably good we were at least able to get 90% of what was planned.
That said, the finale we did get was probably my favorite of the season, even if it does end on a cliffhanger. With the characters having to face their old imaginary friends, it felt like the episode that embraced weirdness the most. Just a heads up though, without spoiling anything, the more religious will probably be as angry at this as an episode of Family Guy.

Overall, Doom Patrol continues to be one of the best and weirdest DC shows out there, even if we don't get as much this time around.

Sunday, June 28, 2020

Analysis: "Spider-Man: Maximum Venom" Part One


When it comes to the third season of 2017's Spider-Man animated series, sporting the tagline of "Maximum Venom", there's a lot of significance to its production. For one thing, it will not only be the final season of this Spider-Man series, but also marks the end of what could be considered the Disney XD era of Marvel animation. As both "Avengers Assemble" and "Guardians of the Galaxy" wrapped up their runs in 2019, Spider-Man's third season is also meant to bring closure to the somewhat shared universe that the shows encompassed, which means there are a lot of superhero guest stars teaming up with Spidey this season.
There's also a lower episode count and odd release schedule. As opposed to over twenty episodes from the last two seasons, "Maximum Venom" will compose of six hour long episodes, or twelve normal episodes made up into six two-parters, however you look at it. While it would have been nice to watch the whole season over the course of six weeks, they apparently decided to space it out to one new episode a month; while that is kind of ridiculous, it's nothing compared to the wait between new episodes Gravity Falls and Steven Universe fans had to endure.
Given the lower episode count, I considered waiting to talk about the whole season in one post. But compared to the past seasons, "Maximum Venom" is more serialized with significant moments to talk about and includes much less filler. So to keep with the pattern I've done when talking about the series, I'll talk about the first half of the season and give the second half its own post once the final episodes have aired.
With that out of the way, let's dig into "Spider-Man: Maximum Venom".

The season begins with the first hour, "Web of Venom." In the first half, Peter discovers Max Modell in a secret lab where he has created a synthetic symbiote, a non-living clone of the Venom symbiote based on a sample Max still had in his possession. While Max is hopeful for the synthetic symbiote's medical applications, Peter is obviously wary. Things change though when a Technovore, a machine that can eat and incorporate any technology into its being, mysteriously appears in Horizon High. With Spidey's webshooters eaten and any other tech vulnerable to consumption, Max believes the only solution to stop the Technovore is for Spidey to use the synthetic symbiote, in the process revealing to Peter he figured out his identity. They're successful and Peter decides to work with Max on the synthetic symbiote to make sure it's ready to reveal to the public. However, we learn that Dr. Curt Connors, who had just joined the Horizon staff, is the one responsible for the Technovore's rampage, and is acting on orders from an as of yet unnamed employer.
While this is the first time I've talked about Connors over the course of these posts, I should mention that Connors had appeared as the Lizard back in season one in part two of "The Rise of Doc Ock". Since he wasn't the main focus of the story, it didn't seem necessary to bring him up.

In the second half, Connors finds Max's lab and the Venom symbiote sample. Connors confronts Max, using the excuse that he's endangering the students by performing dangerous experiments. While holding the symbiote in its container, it lunges at Connors, scaring him into dropping it and setting it free. The symbiote takes hold of Connors, though since it's only a partial sample, it doesn't cover Connors all over. However, Venom is able to make himself whole again by absorbing the synthetic symbiote off of Peter. Venom then expels Connors, since the symbiote evolved to no longer need a host last season. After Venom makes its escape, Spidey is able to track the symbiote back to the meteor crash site where it first landed on Earth. Venom retrieves a seed and morphs around it, creating a red beam to shoot up into the air (yes, even in cartoons, there has to be a freaking sky beam). With the darkened sky and seismic activity, Spidey and Max believe it's terraforming the planet. Spidey is able to disrupt the process though with a strong enough electrical current from equipment left behind by the crash investigators. All that's left of the Venom symbiote are flakes floating in the air while Spidey retrieves the seed and brings it back to Horizon. However, after his actions are brought up to the school board, Max is suspended while Connors is placed in charge. Meanwhile, in the depths of space, the red beam from Earth goes by large asteroid where we see multiple symbiotes awakening, ending "Web of Venom".

Hour two, "Amazing Friends", sees Peter returning home through his bedroom window as Spider-Man for lunch plans with Aunt May and the Watsons. As he's changing, he discovers Baby Groot (who is just as adorable here) in his closet. It's worth noting that Peter had met Groot and the rest of the Guardians over in their show in a two-parter that involved Thanos and the Venom and Carnage symbiotes. Groot has Star-Lord's Walkman that contains a message from the outlaw for Peter, but the cassette becomes unraveled before the important parts can be disclosed. Groot wraps Peter's webshooter around himself and swings downstairs. Peter rushes down to catch him when he almost runs right into Mary Jane (voiced by the brilliant casting choice of Felicia Day). Ignoring that he referenced her back in season one, this is being treated as the first meeting of the two. There's a brilliant touch when he almost crashes into her as his Spider-Sense triggers and he blushes red. While the Spider-Sense could be seen as warning him about running into her, combining that with the blush implies what I believe is him experiencing feelings he didn't expect; to simplify, it's love at first sight. Since Groot's downstairs, Peter has to keep May and MJ from seeing him and his hijinks, and that results in Peter appearing really strange to the two (yeah, that old bit). Despite this, MJ finds Peter funny and seems to roll with Peter's weirdness, which appears to make Peter infatuated with her even more. Man, after nothing romantic developed with Gwen, I really hope they don't waste any potential with Peter and Mary Jane with what remains of the series.
But back to the plot, Peter is able to catch Groot and takes him to Horizon so he and Miles can try to translate his language since the tape was unsalvageable. When that doesn't work, the two suit up and head to Avengers Tower hoping they'd have something to translate Groot. They encounter Riri Williams, a young superheroine named Ironheart and part of the Avengers intern program, who reveals that the Avengers are off in space on a mission. Unfortunately, their meeting is interrupted by AIM, who want to capture Groot for themselves. While the heroes are able to subdue the AIM soldiers, Groot goes missing. Peter and Riri search for Groot as Miles goes to recruit Doctor Strange to help translate Groot's message. As it turns out though, Strange isn't the only sorcerer involved as Baron Mordo is working with AIM. The first half ends with Groot being captured by AIM while Mordo casts Miles and Strange into a slowly vanishing pocket dimension, leaving Peter and Riri to figure out what to do.

Going into the second half, Peter and Riri are able to trace Mordo's magic to a secret AIM island base, where they are now joined by another Avenger intern, Amadaues Cho, the (ugh) "Totally Awesome Hulk." Admittedly, I haven't read much comics involving the Cho Hulk, but I really hope he isn't as annoying as he is in this show where he keeps bragging about how smart and strong he is. The three infiltrate the base and we learn Mordo and AIM are combining magic and science to use Groot's essence to create and army of Wood Golems (which look like if Groot became a Ghost Rider) to, of course, take over the world. During the battle, Miles and Strange are able to open a portal to get back home, which they then use to lure the Wood Golems into thanks to them inheriting Groot's love of ice cream and the surprising abundance of ice cream vending machines AIM has on location (which makes me wonder if they have a regular vendor to keep those things stocked). Anyway, the day is saved.
With the immediate danger gone, Strange uses a spell to show Groot's memory of Star-Lord's message: a symbiote invasion is on its way to Earth. At that time, the Milano was already being infiltrated by symbiotes, but Star-Lord was able to shoot Groot off in an escape pod before being taken over himself.

This leads into hour three, the aptly name "Vengeance of Venom" (which I will explain soon). The heroes begin to prepare for the invasion, tracking down and informing other New York heroes they can find, including Cloak and Dagger and the rest of the Spider-Team (Spider-Girl, Ghost Spider, and Hobgoblin). Peter himself is informing Aunt May about the impending situation; while she doesn't take him seriously at first, she accepts a case Peter had acquired from the space administration that we find out later contains a sonic weapon for her to protect herself. Afterwards, Peter regroups with the heroes at Avengers Tower to think of solutions to the threat when the Avengers' ship arrives back from space. As you might have guessed, the Avengers onboard (made up of Iron Man, Captain America, Captain Marvel, and Thor) have all been possessed by symbiotes. While they initiate the tower's containment defenses, the symbiote controlling Tony is able to disable it. This is a nice touch that isn't used often with these symbiote invasion stories. Usually in those situations a symbiote takes over a person and basically they become a monster, including heroes. I always found it weird that Spider-Man's symbiote (that would become Venom) seems to be the only one to exploit its host's memories. A symbiote making use of Tony Stark's genius brain is a good change of pace.
Anyway, while Miles is thrown off the tower and Doctor Strange is knocked into a portal to a dimension he intended to banish the symbiotes to, the rest of the heroes are slowly but surely soon infected by symbiotes (with Symbiote Tony also able to track down those in the Avengers database), save for Ironheart and Spider-Man. Riri discovers an even larger ship containing symbiotes on its way to Earth while Peter realizes that the seed from "Web of Venom" was acting as a homing beacon, with the Venomized Avengers being a hunting party to take out the other heroes before the full invasion began. Riri draws the symbiotes away while Peter heads to Horizon to get the seed. Riri herself is soon enough infected though, though she's able to transfer access to the Stark network over to Peter. Peter gets to Horizon but is surrounded by the Venomized heroes. But help arrives in the form of Miles and the rest of the Spider-Team. They hold off the symbiotes as Spidey gets to the seed and successfully destroys it, forcing the larger symbiote ship to reverse course. But while this is a shorter season, it isn't that short. A Venomized Doctor Strange reappears (now going by the title of Symbiote Supreme) and uses the Time Stone to rebuild the symbiote seed and bring the ship back on course. As the rest of the Spider-Team soon become infected as well, Peter finds himself truly alone. He's able to escape though when he falls into the river after taking the blast of one of Harry's pumpkin bombs, hiding and clinging on to a passing ship. Soon enough, Peter watches the symbiote ship appear above New York as it explodes and rains down symbiotes all over the city, taking over any citizens caught in the downpour.

As the second half begins, Peter's first priority is to head home and check on Aunt May. While he is unable to find her, Peter is soon confronted by the Symbiote Supreme and some other symbiote soldiers. When Peter says he won't let a symbiote bond with him again, Symbiote Supreme reveals that they have no intention of bringing him into the fold as they want to destroy him for what he did to Venom. And that's why "Vengeance of Venom" is a perfect name for this story; it not only shows a level of comradery among the symbiote race but also puts a lot of responsibility of these events on Peter's head, making what would have been a routine invasion for the symbiote race a more personal matter.
As Spidey fights off the symbiotes, he is soon saved by a man with energy based weapons that are able to hold back the symbiotes, escaping down to his lair within the sewers. The man's name is Marc Spector, and he was once the vigilante Moon Knight, who had not been seen in months. To keep with the character's reputation of being mentally unhinged, the version on this series is very standoff-ish and given a bit of a doomsday prepper makeover; it works pretty well if you ask me. It also turns out that he only saved Spidey so can use the Avengers Encryption codes to raid a Stark warehouse for supplies. I'm guessing he just assumed Spider-Man would have those since he is a well known hero, even though he's not technically an Avenger; both Marc and Spidey are lucky they had access to that at the moment or this may gone way differently.
Down in the lair, Spidey gets a call from Max, who says he may have a solution before being cut off by unknown means. Spidey convinces Spector to escort him to Max's residence through the sewer system in exchange for the codes he wants. When they get to Max's residence, they find Max has been able to capture the Venomized Groot (and he's still kind of adorable). While analyzing Groot, Max discovered that Groot's anti-bodies have a stronger resistance to the symbiote and that if they were to amplify them, it could create an Anti-Venom they could use to fight back. They need to get to the space administration for materials to do so, but Marc refuses to escort them, claiming he did his part. Spidey tries to convince Marc to help since he was once a hero. Marc then laments that after he lost someone close to him, there was no point in being a hero. Spidey rightfully calls Marc out on that, saying that he uses the loss and memory of his Uncle Ben as motivation and that "with great power comes great responsibility." With no time to waste arguing, Spidey gives Marc the codes he wants and leaves with Max and the captive Groot before guilt-tripping Marc one more time that they could use Moon Knight's help.
Later, Marc is trying to get into a Stark warehouse when he is swarmed by symbiotes. He is saved though by a small group of people fighting off the symbiotes, lead by Aunt May with the sonic weapon Peter left her. May tells him she's looking for her nephew, but brushes off Marc's cynical thought that the symbiotes probably already got him, choosing to remain hopeful. She also talks about the weapon she has has the power to help and that "with great power comes great responsibility". Marc is surprised by the line (putting two and two together when it comes to Spider-Man) as May explains it's what her husband Ben used to say and how she chose to remain strong after his death.
Spidey and Max arrive at the space administration to find it ransacked, but still attempt to find what they need to help Groot. They're soon attacked by the Venomized heroes, but back-up arrives in the form of Marc, now suited back up as Moon Knight after May's pep talk, along with May and her resistance. Max recognizes May's sonic weapon as the object they need for Groot. Max uses the sonic device on Groot and not only are Groot's anti-bodies increased to where the symbiote possessing him becomes an Anti-Venom, but Groot is also able to release a large amount of spores that cover the city, expelling and eradicating the symbiotes from the heroes and civilians.
In the aftermath, Strange takes the Anti-Venom Groot to the Guardians to clear them up (also planning to get the Anti-Venom symbiote off the little tree after thatl) as Spidey is given his props by the heroes while Moon Knight thanks him and his family for the inspiration he needed to be a hero again. Max walks off without saying a word though, as he's been feeling dejected and partially responsible with everything regarding the symbiotes. Back at Horizon though, we see someone retrieving the symbiote seed (I'm going to guess Connors given what we know so far) as we end the first half of the season on a cliffhanger.

The first half of "Maximum Venom" is pretty decent. While I was a little wary since the symbiote invasion has been done to death, I thought it was handled pretty well in this series. Aside from that, I also enjoy the team-ups featured and thought Peter played well off of both Riri (relating to each other for being teen heroes and geniuses) and Marc (both how they process loss differently and how Peter's hopeful nature compares to Marc's cynicism). There are some silly moments like the symbiotes incorporating motorcycles into their being, but it's not that bad. I'm also a little iffy on May seemingly not figuring out Peter is Spider-Man. It might be too early in the season to tell if she's just being coy about it, but having knowledge and means of defense in regards to an alien invasion should probably be clues.
There's quite a bit I didn't mention here and even though I have a feeling some things will pay off more during the second half, I'll bring up any details that turned out important next time. There is quite a bit to look forward to in the second half though. Who is Connors working for? Will we see more of MJ? And are we really done with symbiotes in a season named after Venom? We'll just have to wait and see (though that last question is probably a "no").

Friday, May 22, 2020

Movie Review: "Justice League Dark: Apokolips War" - DC's Endgame


All good things must come to an end. When it comes to the DC Animated Movie Universe, it just seems surprisingly soon. Since I started my blog in 2013, I've been able to give my thoughts on every movie in the series since it started with "Justice League: War" in 2014. While it took awhile for the universe to find its groove, it's certainly had its high points, low points, and everything in between. But it seems the creators are ready to move on, and with "Justice League Dark: Apokolips War" (inspired by comics like Darkseid War and, for some reason, Futures End), we are given a final chapter that puts the emphasis on final.

While this is technically a sequel to 2017's "Justice League Dark" film and has John Constantine as the central character, "Apokolips War" features every prominent character from every movie in the universe, from the Justice League, Teen Titans, and even the Suicide Squad (who are more entertaining here than in their own previous film). It's a star studded line up, and while not every character featured has a speaking role, we still have so many prominent voice actors like Rosario Dawson (Wonder Woman), Jason O'Mara (Batman), Stuart Allen (Robin), Tony Todd (Darkseid), Jerry O'Connell (Superman), Matt Ryan (Constantine), Rebecca Romijn (Lois Lane) and so on and so forth. Such a line-up is just one of the things that shows they went all out for this one. For one, this is the longest film in the series at 90 minutes (trust me, that's pretty long for these films).

More important than that though, with the R rating given, "Apokolips War" holds nothing back with everything that's at stake. The film is the payoff to the post-credits scene of "Reign of the Supermen" with the Justice League taking the fight straight to Darkseid on Apokolips. In any other movie, the good guys win with very little repercussions; this ain't that movie. Things go horribly wrong with our heroes either killed, enslaved by Darkseid, or left to survive on a desolated Earth. Basically, no one is safe and the deaths can get pretty brutal. The violence and action is comparable to "Flashpoint Paradox", but "Apokolips War" gives you more of a sinking feeling. In "Flashpoint", whether you knew the story before or not, it was obvious that the alternate timeline was going to be done away with in the end. "Apokolips War" features the main universe, characters and relationships that we've been following for over six years. While most of the deaths involve characters going down in battle, there are a few that deliver a real emotional gut punch. In either case, there's weight to every death in the cause of saving the world.

Despite the darkness of the film, there are surprisingly some humorous moments to enjoy. Like I said back in my "Infinity War" review, humor is needed to have some levity so it's not doom and gloom through the whole story. Most of the funny moments come from character interaction, but the VIPs in this department are Etrigan and Harley Quinn. Etrigan is in such a drunken stupor for most of the movie that when he does contribute to a scene, it's hilarious. As for Harley, even in the face of Armageddon, she's singing, laughing, and having the time of her life while fighting with her giant mallet.

In all honesty, I don't think everyone will be satisfied with how the DCAMU wraps up. Lots of story potential is now gone and some people's favorite characters won't get a satisfying conclusion. To me though, "Apokolips War" is brilliantly executed and ties in all the previous films in some way. While superhero universes seem never-ending, be it comics, movies, or TV, "Apokolips War" is unique in bringing finality. Without spoiling anything, the ending is somewhat meta in that while this universe is ending, a new one might takes its place. When it comes to the future of the DC animated movie line, I'm kind of hoping they return to stand-alone films at least for a little while. Starting a new interconnected universe so soon after the last would cheapens the ida; the DCAMU at least started eight years after the end of Justice League Unlimited and the original DCAU.
In conclusion, if you've followed these films at one point or another, "Justice League Dark: Apokolips War" is a must-watch to see how the journeys of these characters ends.

And with that, here are my final rankings for the DC Animated Movie Universe (with links to my reviews attached):
1. Justice League Dark: Apokolips War
2/3. Death of Superman/Reign of the Supermen
4. Teen Titans: The Judas Contract
5. Justice League vs. Teen Titans
6. Batman vs. Robin
7. Justice League: War
8. Batman: Hush
9. Wonder Woman: Bloodlines
10. Batman: Bad Blood
11. Justice League: Throne of Atlantis
12. Justice League Dark
13. Son of Batman
14. Suicide Squad: Hell to Pay

Friday, April 10, 2020

Retro Review: DCeased - Final Crisis meets Blackest Night (SPOILERS)


I was going to wait until October to do this review to tie in with Halloween, but with the announcement of its sequel series coming this summer (hopefully), I figured why not get this out ahead of that?
A six issue miniseries released in 2019, "DCeased" is essentially the DC Universe's take on a zombie apocalypse. For awhile, DC wasn't very clear about whether or not this series took place within the main DCU, with its non-canonicity only becoming evident just before the first issue's release. Given I had already added the series to my pullist and the concept did interest me, I decided to stay on board. And considering "Heroes in Crisis" was wrapping up and leaving such a bad taste in my mouth, I desperately needed a good DC event story in some form.
The writer of the series is Tom Taylor, who is most well known for his work on the Injustice video game tie-in comics, so the guy has experience with DC Universes that have gone off the rails. Other works of his that I've enjoyed include a fun Justice League/Power Rangers crossover and two single issue Batman stories that were so good that I think he deserves his own run on the character. Over on the Marvel side, he wrote a decent fourteen issue run on "Friendly Neighborhood Spider-Man", including a touching issue where Spidey helped a Make-A-Wish child fulfill his dream of being his sidekick for a day.
Many have compared this to the "Marvel Zombies" series from DC's main competitor. Personally, I never really had interest in those comics and feel they've been overdone. I did look into it a little to see how it compared to "DCeased", and it doesn't change my opinion much. While "Marvel Zombies" was basically just "all the heroes are zombies", the heart of "DCeased" is that it's a story of survival.
And with that intro out of the way, let's dig into what makes "DCeased" to die for.

It's worth noting that there is narration through the series provided in the form of Lois Lane writing a story to report the events that will transpire, allowing to exposit important information as well as set the tone. So early spoiler, Lois lives through this.
Issue one begins with the Justice League defeating Darkseid after a week long invasion by him and his forces of Apokolips. The team stand over Darkseid, with his jaw broken by Superman and Wonder Woman's lasso around his neck. Superman and Batman tell him to leave Earth and never return as Wonder Woman tries to use the lasso to force him to. Green Arrow chimes in saying it might be easier for Darkseid to say it if Superman hadn't broke his mouth. This is the first instance of both Tom Taylor's excellent dialogue in the series, showing natural conversation and good banter between characters, and Green Arrow being one of the best characters of the story.
Darkseid, however, is still able to speak and removes the lasso before escaping through a boom tube, claiming he has what he came for. Green Arrow worries about how ominous that sounded as Batman gets an alert that Cyborg is missing, not showing up anywhere in the solar system. Other Leaguers question how he would know that, to which Batman replies that given the Apokoliptian technology in Cyborg's body, it would be irresponsible not to keep tabs on him. Superman and Flash follow up asking if Vic knew Batman was doing that and that if he's tracking anyone else as Batman dodges the questions. The morality of Batman being Batman aside, the League have a bigger question of where Cyborg actually is.
We then cut to Apokolips, where Darkseid's minion Desaad has Cybrog bolted to a table through his limbs as Desaad explains about the Anti-Life Equation and Darkseid's desire to use it to enslave all sentient life. Darkseid, arriving on the scene with a Mother Box, already has half of the equation and believes the other half to reside in Cyborg's system. While Cyborg had been using humor to cope with his situation, Darkseid then orders Desaad to remove the hero's tongue, a move that is only a taste of the brutality that's to come in this series. As Darkseid places his Mother Box to Cyborg's chest, Desaad warns his master that by combining his physical half of the equation with the digital half in Cyborg that the process could kill Cyborg and the equation will be lost. Darkseid takes this into account and states that he will "control Victor Stone's end" and "summon death." Cyborg's agony brings about the Black Racer, the New Gods' personification of Death. Darkseid immediately catches the Racer by his neck, saying he has need of him as Desaad sticks a device in his arm that is essentially a blood transfusion going into Cyborg. With this final piece, an Anti-Life Equation appears to Darkseid, but not the one he sought. This is a corrupted version that drives Darkseid so mad that he tries to claw it out of his own head. Desaad teleports Cyborg back to Earth hoping to sever the equation, but it's too late. Darkseid has lost his mind, leading to him punching through the Black Racer and jumping into one of the fire pits of Apokolips, causing a chain reaction that destroys the whole planet. Considering how much of a threat Darkseid and Apokolips are, you know this is serious when an entire planet is done away with in an instant.
But the terror is only beginning as a boom tube drops Cyborg in the middle of Metropolis surrounded by people who immediately take out their phones. Lois' narration states that Cyborg's system automatically connected to the internet and the corrupted Anti-Life Equation in him made its leap to the world wide web. Cyborg's attempt to firewall himself was too late, as the Equation spread through all forms of social media as a techno-organic virus into anyone using it. With all the people around Cyborg on their phones, they all become infected and enslaved, attacking one another as Cyborg watches in horror.
Elsewhere, Superman is meeting with Mr. Miracle and Big Barda to form a plan to rescue Cyborg from Apokolips when Superman's super-hearing picks up screaming. "The world is screaming," he states as he watches chaos unfold on the streets of Metropolis. His thoughts immediately turn to Lois and their son Jon. At the Kents' apartment, Lois is looking for her phone as Jon and Damian Wayne are playing video games. Jon asks Damian to find it with his detective skills, who then points out Jon could just use his x-ray vision. Jon sees it behind a bowl of oranges and is about to pick it up when his father flies in and uses his x-ray vision to destroy both the phone and the TV, telling everyone to not look at the screens (in another context, this could be used to promote limited screentime). Superman says he needs to assemble the League but Lois points out how there may not be a League left. These worries are well founded as Damian is unable to contact his father. The Kents try to reassure him that if anyone could survive this, it's Batman.
Speaking of Batman, down in the Batcave, Bruce has already firewalled his system from the virus and surveying the situation. Gotham is just as bad as Metropolis and the batcomputer calculates 600 million people are already infected worldwide, and with the virus spreading both through the internet and blood to blood transfer, the number will skyrocket to billions. Unfortunately, the internet wasn't disconnected up in Wayne Manor (which is probably a big oversight on Bruce's part) and he initiates an emergency EMP to knock out the power. Bruce races up to the manor to find Alfred with a knife trying to hold off an infected Nightwing and Red Robin. Issue one ends with Bruce trying to fight them, screaming at Alfred to run as Bruce is bitten and scratched by his young wards.

Issue two begins with Aquaman investigating a cargo ship that has veered off course and many of its shipping containers going overboard. He opens a door to discover a horde of infected people inside, with many of them instantly pouncing on Aquaman, sending the hero and his attackers overboard. Meanwhile in Gotham, Poison Ivy is giving encouragement to Harley Quinn to go inside Joker's lair to finally end their relationship. Ivy tells Harley that she's strong enough to do it on her own and that she'll meet her at the botanical gardens afterward. Harley goes in and finds Joker staring at multiple TV screens. As she states that it's over between them, she's unaware that Joker is already infected.
Meanwhile meanwhile, outside Metropolis, Green Lantern, Green Arrow, and Black Canary in their civilian identities of Hal Jordan, Oliver Queen, and Dinah Lance, have decided to go camping to take a break after defeating Darkseid. Hal is complaining that he hates camping as Dinah and especially Ollie give him a hard time for it. After Ollie jokingly inducts Hal into the "Killjoy Corps" (again, I love the character banter in this series), Hal decides to retire for the night and heads to his tent. While they notice Hal's phone light through the tent, Oliver and Dinah decide to make music together, with Ollie using the string on his bow to make a tune as Dinah begins to sing. The performance is cut short when they hear Hal scream and his tent explodes with green energy. An infected Hal has suited up in his Lantern uniform and begins using lethal constructs against his friends, slicing Dinah's back. Oliver shoots a boxing glove arrow at Hal and threatens to use a real one next. Hal is about to attack Oliver with a monster mouth of a construct with sharp teeth when Dinah props up and uses her Canary Cry to stop Hal, the act of which puts the hero down for good.
Back in Metropolis, Jon and Damian have suited up as Superboy and Robin as they go with Superman and Lois to the roof of the Daily Planet as a means to communicate with anyone they can. They can't go inside though, as Superman uses his X-ray vision to see that everyone inside is already infected, including his and Lois' co-workers. Superman's super-hearing picks up on Dinah's scream and heads toward the campsite. Dinah and Oliver are in shock over what happened as Hal's power ring scans for a replacement, instantly going to Dinah and inducting her as a new Green Lantern. This is a good moment that was perfectly set up before with Dinah fighting through her own injury to save someone she loves. Plus, her design is pretty cool as it mixes her own Black Canary costume with the Lantern uniform, including the leather jacket. Dinah says she doesn't want this as Superman arrives and tells them they're going to need it.
Ollie suits up as Green Arrow as he, Dinah and Superman arrive back at the Planet's roof and are informed that contact was made with Batman. Batman explains to them what we already know about how the infection is spreading, but clarifies that they're not zombies. "They're not consumed by hunger. They're not feeding. They're spreading death. They're stealing life. These are the Anti-Living."
At this point, I'd like to point out what I mean with tagline of this review, as I feel this story is a good combination of two past DC events, 2008's "Final Crisis", and 2009's "Blackest Night". "Final Crisis" involved Darkseid succeeding in using the (proper) Anti-Life Equation and is able to spread it through TV, computer, and phone screens. "Blackest Night" is the more similar event to "DCeased" involving the rise of Nekron and the Black Lantern Corps with power rings reanimating the corpses of fallen heroes and villains to spread death to the entire universe. Both events had a real 'end of the world' feel to them and "DCeased" is able to mix the ideas greatly. While I already see "Blackest Night" as one of DC's best events, I feel "DCeased" does a better job with the Anti-Life Equation than "Final Crisis" did, much like how "Forever Evil" better captured "The Day Evil Won" tagline of the event. My point is this makes two stories where concepts from "Final Crisis" were better executed in other stories; I think that shows how mishandled that event was.
Back to "DCeased" though, Batman also reveals that he's been infected himself and in a move of genius is wearing one of Mr. Freeze's suits to help slow the virus down. Alfred is standing behind him with shotgun in hand and a look of worry of what will need to be done. Despite everyone's objections that Batman will find a way out of this, Bruce says there's nothing they can do for him or anyone, and that the only way to save the world is to destroy the human carriers and take down the internet. Bruce then tells Damian that Alfred will give him something, contained in a suitcase with the bat-symbol on it, that Bruce had always wanted to give his son. As Bruce's begins to express regret he won't be able to do it himself, the infection takes hold of Bruce, who smashes the Freeze helmet around his head and turns his attention to Alfred. Alfred cuts the transmission and points his shotgun toward Bruce. Issue two ends with Alfred stating "It shouldn't have ended this way. Not for you. I'm sorry, son", with the last panel of the issue just having the word "BANG". While this was already an alternate universe story, with an emotional ending like that, I think the fact that not even Batman would make it to the end was a sign that no hero was safe and subverts any expectations one would have going in.

Issue three opens with Alfred laying the bodies of Bruce, Dick and Tim side by side in the Batcave, expressing regret that he was unable to save "[his] boys" as he takes the suitcase for Damian and leaves in the Batwing. The scene adds some extra overtones with Lois' narration about how there was no time to process or grieve over all the loss. All anyone could do at the moment was act, which is shown with Alfred flying over Gotham using the Batwing's missiles to take out any of the Anti-Living as he can. Down on the streets, Harley is running away from the infected Joker. Harley picks up a shotgun dropped by a civilian trying to defend himself from other Anti-Living, deciding to stop running and "face [her] monster." In a moment that's been a long time coming no matter what continuity, Harley blasts Joker point-blank in the stomach, putting down the clown for good. Harley feels on top of the world right now, but as she's making her way to meet with Ivy, she's blocked by, as Harley puts it, "Zombie Birds of Prey", made up of infected Batgirl, Batwoman, Huntress, and Catwoman. Harley's not running anymore and decides it's "bird hunting".
Meanwhile in Atlantis, Mera is helping Tempest train when they notice it getting darker, but it's not night. The water is becoming drenched in blood due to the infected Aquaman and his seemingly infected sharks attacking multiple Atlanteans. As the blood spreads, Tempest breathes some of it in and becomes infected as well. The Anti-Living Atlanteans circle around Mera, who uses her powers to push back her would be attackers and the tainted blood. As Mera swims away from the scene, we see Atlantis covered in red, signifying the loss of the nation.
Back in Metropolis, Jon is comforting Damian over the loss of his father as Superman decides he needs to get to his parents in Smallville, only after securing the building to make sure none of the Anti-Living can get to his friends and family in the meantime. Despite his intended mission, Superman stops to help as many people as he can along the way, emphasizing the selfless nature of the character. This includes saving Black Lightning and his daugthers, Thunder and Lightning, from an infected Clayface, telling them afterwards to head to the Daily Planet in the helicopter they're on.
As Superman reaches his family farm, he finds his mother with shovel in hand outside the barn. Martha tells Clark that Jonathan's inside and Superman enters. In a scene with mostly no dialogue outside of an infected Jonathan's grunts, he tries to attack his adopted son. While Superman is able to hold him off easily, the Man of Steel has a solemn look on his face throughout it all, signifying the hurt and regret he's experiencing. After locking Jonathan back in the barn's tornado shelter, Clark returns to his mother and tells her it's time to go. Issue three ends with Martha telling Clark that they can't leave Jonathan, as Superman carries her off and replies with "He isn't here, Ma. He isn't here." Another emotional scene that can be best summed up by Spider-Ham: "the hardest thing about this job is you can't always save everybody."

Issue four begins in the underground lab of CADMUS in Washington DC, where we see Captain Atom and Amanda Waller discussing a plan of action. Ray Palmer/"The" Atom (no relation) has shrunk down into an infected corpse to analyze the virus and how to destabilize it. While the Captain wants to wait until Ray returns, Waller says the order has been given and that they need "to start excising the infection"; by that she means Captain Atom needs to start wiping out all the Anti-Living he can. As the Captain begins taking down the Anti-Living in the streets of Washington, he feels something happening inside of him. It turns out Ray Palmer had become infected himself, hopped over to Captain Atom and began infecting him from the inside. To be clear, Captain Atom is basically a living weapon with atomic energy powers. Him succumbing to the virus has made things go from bad to worse.
Back in Metropolis, Superman and Martha regroup with everyone on the roof of the Daily Planet, as the Kent family immediately embrace each other to mourn the loss of Jonathan. In the first bit of good news, they've managed to set the antennae to broadcast a message to every TV and radio they can reach. Superman plans to go back out and keep saving people, but Oliver and Dinah try to point out that it's too much of a risk for him being infected, even if he just glanced at a screen. Superman reassures them by saying that he's been using his X-Ray vision since the start of the mayhem (smart thinking). Even so, Dinah decides to join him.
Lois begins broadcasting her message, reassuring the people that the Justice League is combating the situation and putting out the call to any heroes to come to the Daily Planet roof if they're able. We see glances of people hearing her, from civilians hold up in their homes, to heroes including Beast Boy, Wonder Girl (Cassie Sandsmark), and Hawkgirl, and even Lex Luthor and Mercy. The message even reaches Themyscira (they have an old time radio), prompting Wonder Woman into action as well; it's also worth noting that Mera has made her way to the island and is granted sanctuary by Queen Hippolyta.
We then cut to Keystone City where Superman and Dinah have found Flash and Kid Flash (New 52 Wally West). The speedsters have been hold up, realizing that either of them being infected would only make things worse, but they agree to be moved safely by air.
Back in Gotham, Harley is trying to hold off the zombie Birds of Prey with her shotgun, only to run out of ammo. Luckily, she's saved by Poison Ivy, who crushes the heroines with vines. Ivy walks off with Harley, stating that "the green will protect [them]."
Back in Metropolis, Lois is still broadcasting when a big threat arrives, and I mean huge: an infected Giganta, tall enough to look over the Daily Planet. Black Lightning and Green Arrow try to hold her back with their powers and arsenal as Superboy blasts her with heat vision. Help arrives in the form of the Batwing, firing missiles at Giganta, only for her to take out a wing. Thankfully, the Batwing is caught by the construct of a hand courtesy of Dinah, as Superman flies a double punch into Giganta that knocks her down to the ground. Wonder Woman arrives and plans to finish Giganta with her sword, only for Superman to stop her, his reasoning being that if they're infected, they could still be saved. Their argument is cut short though as Cyborg arrives and blows a huge hole from ear to ear through Giganta's head. The first time I read this, I thought for sure Cyborg was lost back in issue one, so seeing him alive (and his tongue regrown too) was a nice surprise. While Superman is shocked at what Cyborg had done, Cyborg clarifies that none of the infected are alive.
Damian rushes to the Batwing, expecting to see his father, but as we know, it was Alfred piloting it. Alfred gives Damian the case, revealing a batsuit for the young man. "He said you were worthy of it. That he was proud of you...", Alfred says to Damian. "...and that he should have told you that every day." This is followed up with a crying and trembling Damian being embraced by Alfred.
As the heroes regroup, Thunder gives Barry and Wally her contact lenses; while it'll make their vision blurry, it'll protect them from any screens. Cyborg then explains a bit of what we already know about the Anti-Living, but adds on that they can sense life and have a drive to find it and end it. Things are cut short though when they see Hawkgirl, her wings on fire, falling from the sky. Wonder Woman catches her, who's still lucid enough to tell them about Captain Atom, and he's about to blow.
As Captain Atom is tearing up Washington even worse than how it was already, Superman and Wonder Woman arrive and attempt to remove him from the area before he explodes. But it didn't matter. Captain Atom explodes and doesn't just eradicate Washington. According to Lois' narration, the blast radius is large enough to take out Baltimore, and as issue four ends, Metropolis begins to be engulfed by the blinding light.

So how do our heroes get out of this mess? Well, issue five shows Superman and Wonder Woman, who survived thanks to their physiologies, in the wasteland that was once Washington DC. They head to the ruins of Metropolis and see that Dinah was able to use her ring to place their group in a protective bubble construct, keeping them safe from the fallout as well. As it turns out though, Lex and Mercy also survived thanks to their Lexosuits. Lex calls out to Superman, who thinks Lex is there for a fight. But all Lex can do now is fall to his knees, look up to his enemy and say "Look what happened to our city." Normally you'd expect Lex to blame this all on Superman, but even he isn't that blinded by hate.
With the worst seemingly over, the heroes attempt do what they can to help others. First things first, the League take down all of the internet, from servers, satellites, and undersea cables, leaving the only way to spread the virus is by blood. Two sanctuaries are set up. Wonder Woman is able to convince her mother to allow outsiders on Themyscira, as she, Superman, and Mera lift sections of the seafloor to add more landmass to the island.
The other sanctuary is one they hope to set up in Gotham. A jungle had grown in a week, including an impenetrable thorn filled wall. With Poison Ivy being the obvious architect behind this, Oliver, Dinah, and Damian, now suited up as the new Batman, hope to convince her to help. As they approach the wall, they're attacked by an infected Killer Croc. While they attack with batarangs and arrows, Croc is ultimately taken down via vine impalement. Damian and Oliver are also tied up by vines, and while Oliver tells Dinah to cut them down, Damian has enough forethought to stop her from harming the plants. Harley and Ivy emerge through an opening she made the wall, first wondering why a Robin is dressed as Batman. Damian tells them his father's dead, and even the villains feel sorry for the boy. The heroes are let loose as Damian asks Ivy to allow survivors into her shelter. It turns out Harley had already been "nagging" Ivy into letting others in. Harley tells Ivy that she wants her to be a benevolent queen and have some empathy. Ivy finally relents and lays down her terms, to which the heroes agree: fruit will be given as necessary and anyone who hurts any plants will be thrown outside to the monsters.
So obviously, Damian is still a young man and quite shorter than Bruce. Even so, he's able to wear the Batman suit well. I'm guessing Damian may be a bit older here than in the main continuity though, so any Batboy jokes don't come off so blatant. In any case, he still looks more intimidating than David Mazouz's suit in the Gotham TV series finale.
The Fortress of Solitude has now become a new hub for the heroes, and it's here that Cyborg and Lex are designing arks, each able to fit seven million people, to leave the planet. Superman still wants to fight for the planet, though the consensus is escape is the only means to survive. And if you think Lex is totally playing nice now, he has to get a jab in to Superman with "Losing two homeworlds in one lifetime. How careless." This immediately gets him decked by Lois, possibly breaking his nose. As she notices Jon and Damian were watching, she feels the need to say "Violence is never the answer" to her son. Jon then looks to Damian and says "It looked like a pretty good answer just then." Agreed. Badass mom moment right there.
As the weeks go by, survivors are brought to the sanctuaries in Gotham and Themyscira as work begins on the arks. But just when things seem to be going well, the horror returns. At the Fortress, an infected Martian Manhunter, initially cloaking himself, appears and slices Lex Luthor in half, as well as slash Flash's back. Honestly, this is my one problem with the story. All this time goes by and an infected Martian Manhunter just shows up out of nowhere? Where was he and how long had he been infected? I don't know, it just seems a little contrived.
Anyway, Black Lightning and Firestorm use their powers to put down J'onn, but Barry's gone. The infection has already taken hold and he's running and infecting everyone he can at top speeds. Wally wants to go after him, but Superman stops him, not wanting him to turn too. Superman takes flight, but doesn't plan to catch him. He first makes sure with Cyborg that Flash is really dead, showing that after everything they know and been through, Superman still wants to hold on to hope. Superman's plan is to build up enough speed and meet Barry head on, causing a collision that splits Barry into pieces. But the situation is only made worse, as Barry was able to dig his fingers (literally) into Superman's side. Lois' narration adds to the dread: "That day, we found out what happens when the unstoppable force meets an immovable object...they merge." That is hauntingly poetic.
Superman's Kryptonian physiology helps him fight the infection longer than others, and he uses the time to head back to the Fortress. First he informs Wally that Barry is gone and he's not far behind. Superman asks Wally to connect him and his family to the Speed Force, using Flash Time to allow him to say what he needs to. To Martha, he thanks her and Jonathan for taking him in and instilling their values into him. To Lois, he feels lucky for having loved her and thanks her for choosing him, sharing one last kiss. To Jon, he tells him to have hope, that he'll always be proud of him and that being his father was the best experience he had in the universe.
Issue five ends with Superman attempting to fly out of Earth's atmosphere, hoping to cut himself off from oxygen before the virus took hold. As Lois' narration points out that there may have been a chance had he not stopped to talk to them, it's too late. Just above the Earth, Superman succumbs to the infection. While many powerful heroes and villains had already been infected and caused horrific damage, the Anti-Life Equation taking hold of Superman and being able to use his unlimited feats truly feels like the loss of hope.

Issue six shows Superman's reign of terror beginning, by flying full speed through 432 Park Avenue in New York City, the caption also noting it as the largest residential building in the world. The force of the impact implodes the building and who knows what other kind of devastation on the ground level. At the Fortress, Cyborg says to get the arks ready to leave Earth. Since Superman could take the arks down instantly, it means the heroes need to keep him busy. Damian reveals that Bruce had also left him his plans to take down every major hero, including Superman. Green Arrow brings up that even in death, Bruce had to scheme against them all. Damian points out that there wasn't one for Green Arrow, which causes Oliver to be slightly hurt. Damian has some kryptonite on hand as well, but Wonder Woman points out that Bruce's plans were never lethal and they can't hold back in this situation. To this end, Diana forges the kryptonite into her sword, fusing with Superman's other weakness of magic, and heads off to face Superman with Cyborg and Dinah.
They were only able to build two arks, which they take to the sanctuaries in Gotham and Themyscira, with very limited space and time to save who they can. Damian and Wally gather everyone in Gotham, save for Ivy and Harley. Ivy won't abandon the plants and Harley won't abandon Ivy, so at least they'll all have each other. It's also worth noting that Wally is wearing a new mostly yellow suit, lacking the red pants of his Kid Flash costume. While it could be chalked up to a coloring mistake, a big part of this story is seeing the younger heroes stepping into the roles of their mentors, so a new suit for Wally could be seen as his way of becoming the new Flash.
Anyway, things don't go as easy on Themyscira, as the infected Aquaman arrives to the shores with an army of Anti-Living Atlanteans, and a freaking kraken. Aquaman is quickly taken out with an arrow through the eye, thanks to Green Arrow. "And Batman didn't think I could be dangerous", the archer remarks. "Just fired an arrow half-a-mile through raging winds into the brain of the undead king of the sea while he was controlling the damn kraken. @#&% you, Batman." Great, people already complained about the character stealing from Batman on the Arrow TV series, now he's stealing Robin's infamous line from Titans.


Seriously though, while I already said in the intro Tom Taylor would be great on Batman, rereading this convinces me he needs to take over for Green Arrow too. Anyway, to buy time to load people onto the ark, the Amazons go to war with the Atlanteans. Unfortunately, the longer the fight lasts, the more Amazons become infected as well. Queen Hippolyta, knowing the sacrifice her and her people are making, orders Wonder Girl to the ark as the ship escapes from the war zone. In another poetic line, Lois' narration states that "Paradise held off oblivion."
Meanwhile, Superman continues causing destruction (presumably still in New York), as Diana, Vic, and Dinah arrive. With no signs of life around them, the heroes don't hold back. Dinah beings with a ring construction of a megaphone to amplify her Canary Cry. This only works for so long until Superman is able to power his way through. He tries to get through her shield until Diana swoops in and cuts off Superman's right arm and impaling him with her sword. But Superman still has power to spare, punching through Wonder Woman's stomach. She falls and as Cyborg and Dinah attend to her, Superman flies off to the arks. Cyborg tells Dinah to go stop Superman, revealing that he was always planning to stay on Earth since the virus was still within him.
On one of the arks, Jon sees his father coming with his super-vision. He looks to Damian and asks him to look after his mom, hugging his best friend and saying he'll be a great Batman. Lois tries to stop Jon, but the young man says he knows what he has to do. In similar fashion to his father that symbolizes the passing of the mantle, Jon takes off his jacket revealing his Superboy uniform. Superboy flies out of the arc and heads on a collision course with his father, causing a major boom that knocks them both unconscious, though Superman recovers quickly. Lois' narration points out that Jon wouldn't have been able to stop Superman, but he was able to buy time as the entirety of the Green Lantern Corps arrive, led by Guy Gardner and Ganthet. They face off against Superman, who decides to fly straight into the sun and begins absorbing all its radiation. Through this process, the solar system will eventually grow cold and die. With nothing left for them to do, the Corps place the Earth under quarantine and escort the arks in search of a new world.
Back on Earth, Cyborg holds an infected Wonder Woman in place with her lasso of truth. Cyborg asks if she can speak and she replies "We have a voice." Cyborg then asks if there's a cure to the virus, with Diana revealing, in a true horror movie fashion of a twist, that the cure was in Cyborg all along. "You are man and machine. You are binary. Off and on. Patient Zero and the One. The Alpha. The Omega." Realizing everyone they fought could have been saved, Cyborg looks up to the sky and knows he has to inform the arks. Distraught, he inadvertently let go of the lasso, Wonder Woman is free and rips off Cyborg's head.
So between Superman going into the sun and speaking through Wonder Woman, it does seem that the Anti-Life Equation has a form of sentience. I guess this would excuse the surprise appearance of Martian Manhunter at the Fortress in issue five, but the kind of time it took for him to make his move still feels off. Even if the Equation was biding its time, part of me feels the drive it has to spread death would have overridden any rational thinking and that the way things played out were only done to add more drama at the exact moment there was a chance of hope. While I have been harping on this, it's really a small hiccup rather than a major plothole though and doesn't hurt the story at all.
And so, the series ends with the arks approaching what Lois refers to as "Earth 2" (not to be confused with the multiverse Earth 2) and declares that "the monsters were behind [them] now."

"DCeased" is an awesome well written story. Tom Taylor has a brilliant handle on the characters of the DC universe, capturing the dialogue and emotional moments in a natural way. Being set outside the main DC universe allows it to have major consequences than would normally be allowed in a way that it doesn't feel like things are being done for shock value. The art by Trevor Hairsine is pretty decent, giving a unique feel to this story. There's obviously a dark atmosphere throughout, since there was no recovery time between the Apokolips invasion and the Anti-Living outbreak; hell, the brightest spot I can think of is the final splashpage when the arks reach Earth 2. Some of the art in the relaxed moments can feel a little off, but he truly shines when it comes to the Anti-Living with the horrific transformations of civilians, heroes, and villains.
The Anti-Living are a unique take on zombies. With the way it can spread through the internet, it meant that unless you were completely off the grid, you were susceptible to it. There's also the fact that it doesn't necessarily kill but corrupts the mind and that anyone infected could still be killed by conventional means, even if they may have a little more endurance to begin with. Also, it's mostly fast acting, which does away with the trope of someone being infected but hiding it from others that we see in so many zombie stories.
Admittedly, there is a bit of a pacing problem with our heroes gathering on the roof of the Daily Planet for three issue in a row and no significant progression of the story happening until issue five. I feel it's forgivable though as nothing that happens really feels like filler, and with as much as I wrote on each issue, there's definitely importance with each scene that pays off by the end.
Overall, I highly recommend "DCeased" as a great story for fans of superheroes and horror and easily accessible to new readers.