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- 11/17/17--14:14: _A Wrinkle in Time T...
- 11/17/17--15:24: _The Gifted Casts Sc...
- 11/17/17--16:02: _Marvel Comics Names...
- 11/17/17--17:30: _How Justice League ...
- 11/17/17--17:46: _An Introduction to ...
- 11/17/17--23:49: _Marvel Gathers Infi...
- 11/18/17--14:01: _For The Man Who Has...
- 11/18/17--15:15: _The Punisher: Frank...
- 11/18/17--15:36: _Aquaman: The 1984 F...
- 11/18/17--16:06: _Marvel's Punisher C...
- 11/18/17--18:33: _Justice League and ...
- 11/19/17--00:56: _The Punisher: The S...
- 11/19/17--16:30: _Harry Potter Movie ...
- 11/19/17--23:47: _The Flash: What a F...
- 11/20/17--04:57: _Doomsday Clock: The...
- 11/20/17--11:23: _Classic Robotech Co...
- 11/20/17--12:00: _Vixen Takes on Prom...
- 11/20/17--15:29: _The City of Brass b...
- 11/20/17--16:12: _Justice League’s He...
- 11/20/17--20:25: _Supergirl: Who is M...
- 11/17/17--14:14: A Wrinkle in Time Trailer, Poster, News and More
- 11/17/17--15:24: The Gifted Casts Scream Queens’ Skyler Samuels
- 11/17/17--16:02: Marvel Comics Names C.B. Cebulski New Editor in Chief
- 11/17/17--17:30: How Justice League Explains The History of the DC Universe
- 11/17/17--17:46: An Introduction to Brandon Sanderson's Stormlight Archive
- 11/17/17--23:49: Marvel Gathers Infinity Gems With Classic Wolverine
- 11/18/17--14:01: For The Man Who Has Everything: The Superman Stories of Alan Moore
- 11/18/17--15:15: The Punisher: Frank Castle's 15 Most Humbling Moments
- 11/18/17--15:36: Aquaman: The 1984 Fan Film
- 11/18/17--16:06: Marvel's Punisher Comics Reading Guide
- 11/18/17--18:33: Justice League and What Comes Next for the DCEU
- 11/19/17--00:56: The Punisher: The Secret of Frank Castle's Alias
- 11/19/17--16:30: Harry Potter Movie Streaming Guide: Where to Watch Online
- 11/19/17--23:47: The Flash: What a Flashpoint Movie Means For the DCEU
- 11/20/17--04:57: Doomsday Clock: The Impossible Watchmen Sequel
- 11/20/17--11:23: Classic Robotech Comics To Be Republished
- 11/20/17--12:00: Vixen Takes on Prometheus in Justice League of America #19
- 11/20/17--15:29: The City of Brass by S.A. Chakraborty Review
- 11/20/17--16:12: Justice League’s Henry Cavill Contracted for One More Superman Movie
- 11/20/17--20:25: Supergirl: Who is Mon-El?
Selma director Ava DuVernay tackles the fantasy genre, adapting the classic novel, A Wrinkle in Time.
A Wrinkle in Time, the much-anticipated feature film adaptaion of the beloved Madeline L'Engle novel, is in the post-production process, which means we're starting to get some serious looks at what this movie will look like.
Here's everything we know about the movie:
A Wrinkle in Time Poster
A new poster for A Wrinkle in Time has been released. While it’s been months since the film unveiled itself with a Comic Con teaser trailer in July, expect more promotional movement from this film, notably with a new trailer that's set to debut on Sunday, November 19 on ABC during the AMAs.
A Wrinkle in Time Trailer
The crowd at Disney's D23 Expo on Saturday got the first glimpse anywhere of footage from A Wrinkle in Time, as director Ava DuVernay was joined onstage by cast members Chris Pine (Alex Murry), newcomer Storm Reid (Meg Murry), Mindy Kaling (Mrs. Who), Reese Witherspoon (Mrs. Whatsit) and Oprah Winfrey (Mrs. Which).
Asked why this ended up being her next feature after the acclaimed Selma, DuVernay replied, "I saw myself in it and saw so many different kinds of people in it," adding that she was thrilled to make a film for Disney and "wanted to put together a cast that looked like you (the audience), that looked like the real world."
All the cast members expressed their delight at working with DuVernay, with Oprah saying about her role, "Ava told me it was one of the wisest beings in the universe and an angelic celestial being, and working with Reese and Mindy, who would say no to that?"
The trailer itself is a blend of the creepy and the fantastical, the ominous and the delightful, and if all goes well this dark sci-fi fantasy could be something special.
Here's first trailer for A Wrinkle in Time!
A Wrinkle in Time News
The latest sneak peek? These images, courtesy of Entertainment Weekly, of Reese Witherspoon, Mindy Kaling, and Oprah as Mrs. Which, Mrs. Whatsit, and Mrs. Who.
Director Ava Duvernay said of the casting of the three women:
My whole process with this film was, what if? With these women, I wondered, could we make them women of different ages, body types, races? Could we bring in culture, bring in history in their costumes? And in the women themselves, could we just reflect a fuller breadth of femininity?
Entertainment Weekly also has a photo of the young lead, Storm Reid, along with Duvernay on set. "She’s got the sweetest, warmest heart, and all that I saw every day was just a further blossoming of the good that is Storm Reid," Duvernay said of the young soon-to-be star. "She’s appropriately named. She’s a force."
When the movie wrapped principle photography in March, DuVernay shared a bunch of photos to commemorate the occasion.
Principal photography for WRINKLE IN TIME wrapped last night! An epic adventure. I loved each and every minute. xo! pic.twitter.com/D3z5J6KBIz
— Ava DuVernay (@ava) March 12, 2017
— Ava DuVernay (@ava) March 12, 2017
— Ava DuVernay (@ava) March 12, 2017
— Ava DuVernay (@ava) March 12, 2017
— Ava DuVernay (@ava) March 12, 2017
— Ava DuVernay (@ava) March 12, 2017
— Ava DuVernay (@ava) March 12, 2017
— Ava DuVernay (@ava) March 12, 2017
— Ava DuVernay (@ava) March 12, 2017
— Ava DuVernay (@ava) March 12, 2017
Thanks to the truly beautiful crew of WRINKLE IN TIME and our studio for standing with me every step of the way. Extraordinary experience. pic.twitter.com/1Zyxg39fgO
— Ava DuVernay (@ava) March 12, 2017
WRINKLE IN TIME. In theaters. April 6, 2018. %uD83D%uDC51 pic.twitter.com/8CQ9o1BAgR
— Ava DuVernay (@ava) March 12, 2017
A Wrinkle in Time Movie Release Date
A Wrinkle in Time is scheduled for an April 6th, 2018 release date, so mark your calendars!
A Wrinkle in Time Cast
A Wrinkle in Time has found its Meg Murry! According to The Hollywood Reporter, Storm Reid, who made her feature film debut in 12 Years a Slave, will play the lead role in the film adapation of the beloved Madeline L'Engle book.
Reid is a relative newcomer to Hollywood, but has already built an impressive resume. In addition to 12 Years a Slave, Reid has also booked some television roles and the lead role in American Girl: Lea to the Rescue. She also appeared in Sleight, a sci-fi drama that made waves at Sundance.
Reid is the latest addition to a majority non-white cast, with the production also reportedly looking for a non-white actor to play the major role of Calvin O'Keefe, Meg's classmate and fellow adventurer.
A Wrinkle in Time has cast three talented actresses in major roles...
Reese Witherspoon and Mindy Kaling have been cast as Mrs. Whatsit and Mrs. Who, respectively. They will join Oprah Winfrey, who has been cast as Mrs. Which in the feature film. In the book, Which, Whatsit, and Who help Meg and Charles travel across the galaxy to find their missing father. The central roles of Meg and Charles have yet to be cast.
Deadline reports that Chris Pine has joined the cast as Mr. Murry. The Star Trek alum (who we'll see as Steve Trevor in next summer's Wonder Woman) plays the husband of Gugu Mbatha-Raw as Meg Murry and Charles Wallace's mother, Dr. Murry, in the adaptation of the beloved Madeline L'Engle novel. Dr. Murry is a scientist who, along with her husband, comes with the notion of the wrinkle in time. When the book begins, she is anxious over the disappearance of her husband.
Mbatha, who most recently appeared in Free State of Jones, but previously held the recurring role of Martha's sister on Doctor Who and gained critical praise in the lead role in Belle, will also voice Plumette in the much-anticipated live-action Beauty and the Beast movie coming out next year.
A Wrinkle in Time Movie Story
For those unfamiliar with the 1963 children's book (if those people do, in fact, exist), A Wrinkle in Time tells the story of Meg Murry and her little brother Charles Wallace as they travel through space and cross dimensions to find their missing scientist father with the help of a mysterious Tesseract. Oh yeah, and there's a kid named Calvin there, too. The book is the first in a larger series.
A Wrinkle in Time Movie Director
Disney secured Selma director Ava DuVernay to direct its upcoming movie adaptation of A Wrinkle in Time, according to Deadline, back in February.
DuVernay is best known for her direction of Selma, the Oscar-winning film depicting Dr. Martin Luther King Jr.'s historic civil rights march. The film drew both critical and viewer praise, and all on a relatively small budget of $20 million.
A Wrinkle in Time isn't the only exciting project DuVernay has on the table. She's also being courted by Amblin to direct Intelligent Life, a science fiction story about a U.N. worker trained to represent mankind in the event of an encounter with alien life. The script is from Jurassic World director/writer Colin Trevorrow. DuVernay is also currently working on original drama series Queen Sugar for the OWN network.
DuVernay's involvement with the project is not only a win for A Wrinkle in Time fans waiting for a worthwhile adaptation, but a boon for behind-the-camera diversity in Hollywood — especially when it comes to relatively big bidget projects. A Wrinkle in Time will mark the first time in history a black female director will direct a film with a budget of $100 million. It's about time.
A Wrinkle in Time Movie Writer
If DuVernay's involvement weren't enough to get you excited about this adaptation, there's also the fact that A Wrinkle in Time's screenplay was penned by Jennifer Lee, aka the writer and co-director of Frozen. Could this be the A Wrinkle in Time adaptation we've all been waiting for?
More information as we get it.
Scream Queens alumna Skyler Samuels is set to recur on Fox Marvel mutant drama The Gifted.
Fox’s The Gifted will soon see the arrival of another beleaguered mutant member of its ragtag fugitives. The series, loosely-based on Marvel’s X-Men comic book and movie continuities, has cast Skyler Samuel, the former star of the network’s nixed horror drama Scream Queens, for what is being called a key role.
Scream Queens has cast Skyler Samuels for the recurring role of a “mutant refugee,” according to Deadline. The yet-to-be-named character – who arrives with a mysterious past – possesses the dangerously potent mutant ability of a telepath. It is unclear at this point where she will fit in the show’s dynamic, centering on an alliance of convenience between the family of a former prosecutor of mutants (Stephen Moyer), who joins a group of mutant freedom fighters – led by solar-emitting Eclipse (Sean Teale) – after their children (Natalie Alyn Lind and Percy Hynes White) are discovered to be mutants.
For Skyler Samuels, this role in The Gifted will round out a trifecta of TV roles under the Fox umbrella, with her starring role in the 2015 debut season of Scream Queens and her 2014 Season 4 role on FX’s American Horror Story, with the latter two under the purview of Ryan Murphy. She’s previously starred as the title character in the short-lived 2011 ABC Family girl-with-cat-powers series, The Nine Lives of Chloe King, the 2010 ABC crime drama, The Gates, along with film roles in 2015 comedy The DUFF and 2014 comedy Helicopter Mom.
Speculation regarding Samuels’s role on The Gifted could be narrowed down by a list of female telepaths with pasts qualifying as "mysterious" in the annals of Marvel Comics. While notables like Jean Grey and Psylocke are well occupied by Fox’s X-Men movie franchise, an interesting pick may be Rachel Summers, the daughter of Cyclops and Jean Grey from the future of an alternate universe. That character is also the sister of Nate Grey (a.k.a. X-Man) and, more intriguingly, the half-sister of Nathan Summers, who is better known as the cybernetic-armed badass Cable.
With Cable set to make a monumental movie debut, played by Josh Brolin, in 2018’s Deadpool 2, the addition of Rachel Summers to The Gifted would be an expedient move in the name of brand synergy. – Of course, this is just indulgent speculation on my part and it ultimately depends on how deep down the Marvel rabbit hole the series will dare to venture.
The Gifted airs on Fox on Monday nights at 9 p.m.
Marvel hires their comic book wartime consigliere.
Marvel Comics unexpectedly announced the departure of Axel Alonso as Editor-in-Chief today, and named C.B. Cebulski as his replacement.
Alonso joined Marvel after a stint as a heralded editor at Vertigo, where he oversaw titles like Hellblazer, 100 Bullets,and Preacher. At Marvel, he began editing X-Men and Spider-Man books before helping launch the MAX mature readers line. He became EIC in 2011, and has led the company since.
Cebulski started his comics career as a manga editor before joining Marvel, bringing his manga sensibility and contacts list to the company. He edited the soon-to-be Hulu adapted Runaways, and wrote a well-received semi-follow up, The Loners, and worked on a number of other high-profile Marvel projects. He eventually was promoted to Talent Liaison, where he scouted the world for artists to join Marvel's team, before being named Senior Vice President for International Business Development, working on licensing Marvel properties around the world.
As Editor-in-Chief, he plans to be a vocal advocate for all talent at Marvel. “We always hear about the writers and artists, but people forget the inkers and the colorists and the letters,” Cebulski told the New York Times.“Each of them is an artist in their own right.”
Cebulski's worldwide relationships have helped open doors at Marvel for international artists who, in many cases, rose to fame once there. It's hard not to see this as a response to Brian Michael Bendis' departure earlier this month. Bendis is an artist's writer - despite the fact that he covers their art in so many words, he's extremely well liked by some of Marvel's superstars, and there was no doubt worry at the highest levels about him bringing many of his collaborators to DC with him.
For more baseless speculation about the creative future of the comics industry, stick with Den of Geek!
One scene in Justice League holds the keys to the entire DCEU.
This article contains Justice League spoilers.
Justice League crams an enormous amount of DC Comics mythology into its relatively modest two hour runtime. But there's one scene in particular, and it's just a brief flashback, that finally breaks the DCEU wide open. Up until now, we've only seen little corners of the DC Universe in these movies.
When you're talking about what makes the DC Universe the DC Universe, there are a few key ingredients. In addition to the usual breed of superheroes and supervillains, there are alien races, ancient societies, and the simple fact that mythological gods and legends are as real as your neighbor. There's a legacy of heroism that stretches back for centuries, and that's hard to explore in a relatively new cinematic universe. We've had many of these explored individually in the DCEU movies leading up to this, but Justice League does more than give us proper introductions to Aquaman, Flash, and Cyborg, it unites all of the key elements of DC Universe history and expands the DCEU in ways we didn't think possible. And it does it all in just a few short minutes.
There's a great Lord of the Rings-esque battle sequence involving the armies of men, Atlantis, Themyscira, and others taking on Steppenwolf and the hordes of Apokolips. In that group, I'm pretty sure we see some gods of the Greco-Roman pantheon. One guy in particular would seem to be Zeus, throwing lightning at the opposition. While Zeus would make sense (after all, Ares was a key antagonist in Wonder Woman), there's a chance that it's not Zeus at all, and rather someone even more important to the DC Universe.
Is Shazam in the Justice League Movie?
Could the bearded lightning-thrower actually be Shazam? I initially dismissed this since lightning projection isn't traditionally part of his power set, but ever sine Geoff Johns and Gary Frank rebooted the character in 2012 it has, so this would make sense.
This could either be the ancient wizard Shazam who bestows his powers on a worthy champion from time to time, although in many versions of the story, he was a hero himself in ancient times. So this could either be the wizard or one of the people who becomes the heroic Shazam avatar (one of whom is Black Adam, who will eventually be played by Dwayne Johnson, and the other is the character formerly known as Captain Marvel, who will be played by Zachary Levi in the upcoming movie). If this is the case, it adds another important element that has been missing from the DCEU that is something most people associate with DC Comics: the concept of legacy heroes.
Who is the Alien Green Lantern in Justice League?
We do get a look at a key piece of DC cosmic mythology during that battle that has nothing to do with the already established alien worlds of Krypton, Apokolips, or New Genesis with the first DCEU appearance of a member of the Green Lantern Corps. While Hal Jordan or John Stewart are still nowhere to be found in the DCEU, we do know that the Green Lantern Corps has been around and engaged in the fight against Apokolips since ancient times. Who is this alien GL?
This would appear to be Salaak, the Green Lantern of Space Sector 1418 (for the record, Earth, our solar system, and probably a few others, are Space Sector 2814). If it isn't actually Salaak, it's probably another GL from the planet Slyggia who patrols Sector 1418. It doesn't look like he survives, which makes me think that either Salaak won't make it to the Green Lantern Corps movie, or this is just a different resident of Slyggia.
Is There a Justice League Dark Connection?
There are several parallels to the Lord of the Rings saga in Justice League, and nowhere is that more apparent than when we learn the history of Steppenwolf and the Mother Boxes. Steppenwolf is looking to unite the Mother Boxes, which have been split among the races of man, which sounds an awful lot like the various rings of power were distributed between the races of Middle-Earth. But here, instead of elves, dwarves, and men, we have Amazons, Atlanteans, and, of course, men. The fact that two of the Mother Boxes ended up with the ancestors of Wonder Woman and Aquaman is sensible enough, but when we're talking about the ones entrusted to men, there might be another key piece of DC mythology, which itself was spun out of one of our classic stories.
While not credited as such, that is almost certainly King Arthur on the right, which isn't necessarily a DC connection, but then the fella in the horned helmet looks very much like the DC version of Sir Bors "the Laughing Knight." If you've ever read Grant Morrison's Seven Soldiers of Victory (and if you haven't, you really should), they were a key part of fighting off a very different kind of invasion in their day, alongside the Shining Knight (who doesn't appear in this movie). It's a loose connection, but in just a few seconds, Justice League manages to also tie in elements that could be useful if they ever get that Justice League Dark movie off the ground. Or better yet, they should just make Seven Soldiers of Victory.
And while I admit this is cheating as it doesn't directly come from this flashback scene, there's also a throwaway line from Diana about how "the age of heroes...would never come again." From what we see on screen, she might just be referring to the time when the armies of Themyscira and Atlantis fought side by side with mythological gods against cosmic New Gods. But I do wonder if this could also mean that there was another age of heroes, one that would have happened after the World War I events of Wonder Woman and before the events of Man of Steel. Could the DCEU have had a Justice Society in the days of World War II? It's a longshot right now, and there's nothing else to indicate that's the case, but given how much else they've managed to cram in here, I have to wonder.
What is an Oathbringer and why should you care? We break down Sanderson's epic fantasy saga for you.
Ten planned books. 286 chapters. More than 1.2 million words.
Brandon Sanderson's fantasy epic series, The Stormlight Archive, is already daunting and — with this month's release of Oathbringer, the third installment in the series — it's not even halfway through it's run.
Epic fantasy series can feel overwhelming before you dive into them, but, in the case of Sanderson's Stormlight Archive series, the risk is well worth the reward. Let me contextualize Oathbringer for you within the world of Sanderson's work, and explain why now is the perfect time to dive into The Stormlight Archive...
Enter the Cosmere...
We are living in a glorious time for stories and storytelling, but this means there are more stories than ever demanding our time and attention. This is why interconnected storytelling worlds and recycled narratives have become so popular. Who has time to get narratively invested in a new world, characters, setting, or series? It's much easier to delve into something you already care about.
This is also why Sanderson's books are such a worthwhile investment of your time and interest. From his debut novel, Elantris, back in 2005, Sanderson has been quietly building a shared fictional universe. Elantris, The Stormlight Archive, and the Mistborn trilogy are all part of the Cosmere, a huge fictional universe that is home to almost every book that Sanderson has ever written.
Each book/series on Sanderson's resume takes place on a different planet — with its own culture, politics, and magical systems — in the same universe. That's incredibly ambitious on Sanderson's part and endlessly fun for readers. While it is in no way necessary to read all of Sanderson's books in order to understand and enjoy the respective series, it is a pretty rewarding reason to check out Sanderson's work past his fantasy opus, finding Easter eggs along the way.
Enter The Stormlight Archive...
So I've convinced you to dive into Sanderson's work, but what the heck is The Stormlight Archive even about? I'm glad you asked...
The story starts with The Way of Kings (2010), which introduces us to Roshar, a planet where violent storms shape everything. These "highstorms" sweep from east to west across the continent, leaving destruction in their wake, and, like all environments, have shaped the respective cultures, religions, and societies that make up this world. These storms are also integral to this world's magical system, as they imbue Roshar's gemstones with Stormlight, an energy that powers much of this world's magic.
Most of the action in The Way of the Kings follows three main characters: warrior Kaladin, ruler Dalinar, and scholar Shallan. Each story in TheStormlight Archive gives us a set of flashbacks centered around a different character's story. In The Way of Kings, we learn about Kaladin's past. In Words of Radiance (2014), we learn about Shallan's past. In Oathbringer (2017), we learn about Dalinar's past.
Sanderson plans to have a total of 10 books in the series, separated into two major story arcs. The first five books will make up one long story, with the second five books serving as a "sequel" of sorts to that first story, following different main characters.
The world of Roshar is incredibly intricate, with every small detail having weight. Sanderson wrote hundreds of thousands of words worth of worldbuilding before The Way of the Kings was even published, and it shows.
While the action of the first book is more or less confined to two kingdoms within Roshar, it expands out from there in the subsequent two novels. Oathbringer centers around the struggle to unite Roshar's many countries against Odium, a god-like being with plans to destroy all of human civilization. #AchievableGoals
Sanderson talked to Tor about his worldbuilding aspirations in an interview following the release of The Way of Kings:
I consider Roshar my showpiece for worldbuilding, and as such I wanted everything about it to display some of the best of what science fiction and fantasy is capable of: new ecologies, new cultures, cultures that feel real but that at the same time are not just earth analogues. Because of that, I've done a lot of work to individualize and distinctify a lot of the various cultures on Roshar.
Now, that said, creativity is really the recombination of things you’ve seen before. We as human beings, by our very nature, can’t imagine something we’ve never seen. What we can do is take different things we’ve seen and combine them in new ways. That’s the soul of creativity. It’s the unicorn idea—we’ve seen things with horns, and we’ve seen horses. We put the two together and create something new, a unicorn.
As I previously mentioned, Oathbringer, the third book in The Stormlight Archive series, was released this month. It is the middle book in the first five-book half of this larger saga and, from where I'm standing, the perfect time to get invested in this world.
Many readers are hesitant to start unfinished series, but I am a big believer in the journey being part of the experience, especially when it comes to fandom. Sure, it's nice to have all installments of the book published before you start, but where's the fun in that? You don't get to take part in the speculation, the anticipation, the waiting in lines at bookstores with fellow fans.
In the age of bingeable TV, there tends to be an undervaluing of the wait, the anticipation, the period of processing the media you just consumed as its own entity before moving onto its next part.
Besides, Sanderson is no George R.R. Martin (sorry, George!). He is incredibly prolific. In the span of five years, he finished the final three books in the Wheel of Time series following the death of James Oliver Rigney, and wrote several original novels, including his young adult Alcatraz series; standalone fantasy Warbreaker; and the final installment in his Mistborn trilogy.
In other words, barring any unforeseen circumstances, we can expect to see the next installment of The Stormlight Archive series in 2020, as Sanderson has set an ambitious one installment per three/four years rate — and has actually delivered on it, despite his other projects and commitments.
So what are you waiting for? If you love Game of Thrones or are slowly dying inside waiting for the final installment in The Kingkiller Chronicles, try diving into the rich, magical world of Brandon Sanderson's The Stormlight Archive. It could be the start to a whole Cosmere of adventures.
Avengers: Infinity War is already starting to influence Marvel Comics in 2018.
Marvel teased a big event coming in 2018 with art and an announcement that appears to tie into Avengers: Infinity War. "Countdown to INFINITY" is a promotional picture that shows Star-Lord, Wolverine, and Captain Marvel each holding a different Infinity Stone.
Wolverine Classic reappeared in the pages of Marvel Legacy #1, taking the Space Stone from a Frost Giant trying to steal it from SHIELD for Loki. The Guardians of the Galaxy are currently on the hunt for the stones in the pages of their own comic. I'm...not entirely sure how Captain Marvel got the Reality Stone, but I don't believe it was in the pages of her book.
It sounds like Marvel will be gathering a new team of Avengers to wield the Infinity Stones timed to coincide with the movie. They even brought back classic Infinity Gauntlet artist Ron Lim to draw this promo.
Here's the text they sent along:
Power. Space. Reality.
Three stones collected.
Who will hold Infinity?
The countdown begins this February!
For more on Avengers: Infinity or whatever they call the eventual crossover, stick with Den of Geek!
Maybe the DCEU should consider adapting an Alan Moore Superman story in the future.
Alan Moore’s body of work for DC Comics isn’t exactly small, but its impact far exceeds the actual page count. Whether it was the psychedelic horror of Swamp Thing, the violent madness of Batman: The Killing Joke, or the industry changing Watchmen, the importance Moore's DC Comics output can't be overstated.
He's probably not a writer you immediately associate with Superman, though. Mr. Moore only wrote three proper Superman stories (although he would revisit many of the character’s tropes with Supremefor Image Comics in the late ‘90s), but they’re all essential reading. Moore's Superman stories all came within roughly one year of each other, at a time when Superman’s popularity was waning among fans already looking for more mature takes on superheroes, like the work of Chris Claremont, John Byrne, Dave Cockrum, and others were doing at Marvel on Uncanny X-Men, or that Marv Wolfman and George Perez were bringing to The New Teen Titans at DC.
Superman himself was the most powerful he would ever be, (the power levels of this era are often referred to informally as “juggling planets,” although that’s not something I ever remember actually seeing in a Superman comic) with eyes that “watched quarks at play” and a level of invulnerability of such a level that he “bathed in the heart of the sun, careless at the mile-high geysers of flame.” Perhaps as a result, the comics themselves, the occasional standout tale by Cary Bates, Marv Wolfman, or Elliot S! Maggin aside, were becoming increasingly formulaic and dull, despite continued artistic contributions from legends like Curt Swan, Murphy Anderson, Kurt Schaffenberger, Gil Kane, or Keith Giffen.
Between 1985 (when the first of Moore's Superman stories was published) and 1986 (the last), DC was in the midst of a massive continuity housecleaning known as Crisis on Infinite Earths. One of the end results of Crisiswould be a Superman with more manageable power levels, less of a reliance on bizarre sci-fi concepts, and a creative team consisting of some of the hottest names in the business telling more grounded tales theoretically more suitable for modern audiences.
But it was the virtually all-powerful pre-Crisis Superman that Alan Moore and friends got to play with and subvert. And to hear Moore tell it (or to read his work on Superman love-letter Supreme), he wouldn't have had it any other way. "What it was with Superman was the incredible range of imagination on display with that original character,"he said in a 1996 interview. "A lot of those concepts that were attached to Superman, which may seem corny and dated now, were wonderful at the time. The idea of the Bottled City of Kandor, Krypto the Superdog, Bizarro, all of it. These are fantastic ideas, and it was that which kept me going back each month to Superman when I was ten. I wanted to find out more about this incredible world with all of these fascinating details."
Of course it was those very aspects of the Superman legend that would be swept out of Superman continuity a month after Moore's final Superman story. He still added a few "fascinating details" of his own in his time, though. Here's a quick look at them.
“The Jungle Line”
DC Comics Presents #85 (1985)
In the 1980s, Superman was unquestionably the face of DC Comics, starring in four monthly titles: Superman, Action Comics, World’s Finest (a team-up book with Batman, the title of which will be nicely utilized for the upcoming Flash/Supergirl TV crossover), and DC Comics Presents. DC Comics Presents would pair Superman with another hero (or heroes), usually a more obscure character, and DC Comics Presents #85 marked Swamp Thing’s turn.
In 1985, only two DC Comics characters had ever made it to the big screen for a feature film. Superman had three under his belt (although the quality of those movies was already in decline, with 1983’s Superman III leaving a bad taste in everyone’s mouths), while Swamp Thing had his first big screen outing in 1982, with a flick directed by Wes Craven. They don’t seem like prime team-up candidates in any case, though.
“The Jungle Line” is far less famous than Moore’s other two Superman stories and his essential, defining run as writer of Swamp Thing's monthly book. But check out the talent that brought this one to life with him. Rick Veitch (Moore’s ultimate heir on Swamp Thing) provides pencils with the legendary Al Williamson (Star Wars, Flash Gordon, you name it) and Tatjana Wood (who also provided colors for Moore’s Swamp Thing and the Grant Morrison Animal Man era) on colors.
In short, Superman has been poisoned by a piece of Kryptonian fungus that made its way to Earth on a tiny hunk of meteorite. Now he’s losing both his powers and his mind as his body dies. Mad with fever, “the Man of Tomorrow is heading south to die.” After wrecking his car, a hallucinating Supes wanders into the bayou (as one does), where he attracts the attention of Swamp Thing.
Superman doesn’t do any actual heroics in this one. The story kicks off with him already seriously ill and hallucinating before it gives us a brief flashback establishing how this happened. Superman accepts he’s going to die, but then he encounters Swamp Thing, who cleanses and heals his fevered brain. Moore’s Superman stories routinely put Kal-El in situations he can’t punch his way out of and “The Jungle Line” is probably the most passive Supes is in any of these outings.
There may or may not be something to be said about a fungus causing Superman to trip his indestructible balls off while it takes a mellowing, peaceful green sensation to bring him back down:
Keep in mind that about a decade later, when Garth Ennis and Steve Dillon were steering John Constantine's adventures, ol' Swampy counted this little number among his party tricks...
So, yeah, draw your own conclusions.
Interestingly, this is the only time I can remember seeing the Bronze Age Superman with a five o’clock shadow. After he has been healed by Swamp Thing, he uses his heat vision reflected off a mirror to shave. This little trick is generally credited to John Byrne's Superman reboot of 1986 with the Man of Steel limited series, but here it is in all its glory, just over a year before that story hit the stands.
Other than that, this is unquestionably a pre-Crisis Superman story (Crisis on Infinite Earths reached the halfway mark the same month “The Jungle Line” was published). Moore proves himself thoroughly literate in Silver/Bronze Age Superman lore by referencing obscure bits of Kryptoniana (in this case the Scarlet Jungles of Krypton, which had been kicking around the margins since the '50s). Moore's love of obscure Super-history is something we’ll see again in “For The Man Who Has Everything” and “Whatever Happened to the Man of Tomorrow.”
“The Jungle Line” is collected in DC Universe by Alan Moore (available through Amazon here) and would fit in chronologically roughly between Swamp Thing #39 and #40 if you're going by publication order, although it isn't reprinted in any of the actual Swamp Thing volumes. It doesn't matter, though. You don’t need any prior knowledge of Moore’s ongoing Swamp Thing series in order to appreciate this. It's admittedly the weakest of the Moore Superman tales and doesn't approach the weirdness Moore and Veitch were delivering in Swampy's solo title.
Side Note: Can anyone tell me who the astronomer who does the necessary scientific exposition on page 3 of this story is supposed to be? He’s identified as “Dr. Everett,” but Veitch/Williamson draw him like he’s supposed to be someone a reader would recognize. If you have some insight, drop me a line in the comments or on Twitter, and I’ll update this story.
"For The Man Who Has Everything"
Superman Annual #11 (1985)
If the creative team of “The Jungle Line” didn’t kick your ass, then the team behind Watchmenshould do the trick. Dave Gibbons steps in for art duties on this one, a solid year before the ultimate Moore/Gibbons story, Watchmen, would arrive in June of 1986.
This one is really the main event for this article. “For The Man Who Has Everything” is one of the finest Superman stories ever told, one of the most perfectly crafted superhero stories in DC Comics history, and one of the best stories Moore ever put his name on.
You have to consider when “For The Man Who Has Everything” was published in order to fully appreciate its impact. With the occasional exception, the Superman comics of the early 1980s were extraordinarily pedestrian affairs, so “For The Man Who Has Everything” surely stood out from its peers. But even for today's more demanding readers, and in an industry that has spent the past thirty years chasing its tail looking for the next Watchmen, if “For The Man Who Has Everything” were published today, it would still hit with the force of a Kryptonian haymaker.
The story plays loosely with the “imaginary story” device that was popular in the Superman titles from the 1950s through the early 1980s. Simply put, they were “what if” tales with no place in continuity, often dealing with hypotheticals like "The Story of Superman Red and Superman Blue" or the original "Death of Superman" (the one that had nothing at all to do with Doomsday).
But Moore and Gibbons chose not to simply tell a “what if Krypton never exploded” tale, which would have still allowed them plenty of opportunity to play around with the darker take on a hypothetical Kryptonian present. Instead, their story of a Krypton that survived and a Kal-El who lived his life on it is happening only in Superman’s imagination, while a very real battle involving Wonder Woman, Batman, and Robin rages around him, with his very life at stake.
As he did in “The Jungle Line,” Superman once again finds himself a victim of alien plant life. The issue’s villain, Mongul (who had famously tangled with Superman a handful of times in the pages of DC Comics Presents), describes the Black Mercy as “something between a plant and an intelligent fungus” which “attaches itself to its victims in a form of symbiosis, feeding from their bio-aura.” The telepathic plant “reads them like a book, and...feeds them a logical simulation of the happy ending they desire.” It shouldn’t be fatal, but why would you fight a parasite that gives you a convincing illusion of your heart’s desire?
Superman’s fondest wish is, of course, a Krypton that was never destroyed, and where he has lived twenty-something years of his life and raised a family of his own. Perhaps in a sign that he subconsciously suspects something is wrong, this "dream" life isn’t free of complications. His mother, Lara, died of “the eating sickness,” while his father, Jor-El, was disgraced after his predictions about Krypton’s end failed to come to pass. As a result, Jor-El is courting religious and cultural extremists who have taken root on Krypton, while Kryptonian citizens decide to take out their frustrations with the House of El by beating Kara Zor-El (who only actually appears in one panel of the story) nearly to death.
“For the Man Who Has Everything” once again takes Superman off the board as an action hero for the majority of the issue, as he’s trapped in a fantasy world created by the Black Mercy. But Superman doesn't need to hit stuff in order to solve his problems, and he begins to shake off the effects of the Black Mercy once he realizes that this world can't be real. It's heartbreaking when it happens, though...
Superman woke up from his bad fungus trip in “The Jungle Line” feeling like he had conquered an inner demon (unaware that he was assisted by Swamp Thing), perhaps spiritually refreshed in the way that experimentation with certain psychoactive substances has been known to affect people.
Here, he wakes up righteously pissed off, and with good reason. He just lived about 25 years in his head and raised two children there. Waking up to find they aren’t real, ummmm...he doesn’t take it very well.
Quick note: Dave Gibbons also did the lettering for this issue, which gives us such unforgettable onomatopoeia as “THRUTCH” and the above “SSSHIZZZZZIIT”
While the idea of Superman basically losing his shit on Mongul like this may seem like old hat to people who just expect their Kryptonians to behave like video game protagonists most of the time, it's really much more effective when it only happens rarely. When written properly, Superman, even in action, is a calm, level-headed guy who uses violence as a last resort. He's got a long fuse, but when it goes off, well..."burn."
Moore and Gibbons effortlessly weave references to Kryptonian history throughout the story, including a quick mention of Fort Rozz, which was also made famous on the SupergirlTV series. And right on the first page, there’s a sideways reference to Moore’s previous Superman story, which was published exactly two weeks earlier than Superman Annual#11. As an exhausted Kal-El returns home, he contemplates reading his children “another Scarlet Jungle story before bed.” Maybe that story is a variation on "The Jungle Line" and this is a manifestation of Supes' unconscious from his previous adventure.
While its basic elements and structure are timeless, "For The Man Who Has Everything" is a story that really does work best within this particular era of Superman. Superman isn't just a hero to Earth, he's an intergalacticaly recognized figure. The Black Mercy gets to him because he just assumes it's a birthday gift from some alien civilization he has helped out on one of his countless adventures. Saving worlds, even alien worlds, is just a day at the office for this Superman. The kind of inner turmoil that nearly 30 years lived inside his mind that the Black Mercy gives him is something else entirely. The story gives us a wonderful contrast between Superman as a physical, interstellar man of action, and the mortal, human soul that lies within.
While Superman is obviously the central character here, the rest of DC's Trinity shouldn't be ignored, either. Dave Gibbons draws perfect renditions of Wonder Woman, Batman, and Robin. Batman is a suitably aloof, analytical "Mr. Spock" for the tale, but far from the brooding paranoiac we've come to expect in recent years. Wonder Woman is given not one, but two fist-pumpingly badass moments, since she's the only one in the Fortress with the raw power to stand up to Mongul. She's as comfortable with her demigod status and has a worldly, almost laid back personality that I don't believe was really a factor in 1985. It’s somewhat fitting, too, that the Watchmencreators chose Robin, the least powerful of the bunch, to ultimately defeat Mongul.
Take a brief moment and imagine an alternate universe where Moore and Gibbons didn't take on Watchmenin 1986, but rather spent a year or so as the creative team on Supermanor Action Comics. Holy moley, that would have been something.
“For The Man Who Has Everything” was also adapted as an episode of Justice League Unlimited. It's a shame that we'll never see anyone with the guts to try and do this as a movie.
You can find “For The Man Who Has Everything” in DC Universe Stories by Alan Moore.
A note about Superman's birthday.
"For The Man Who Has Everything" contains what I believe is the first mention of Superman’s birthday falling on February 29th (if I'm wrong, yell at me in the comments), traditionally known as Leap Day. It's unknown whether this was a sly reference to Superman being "able to leap tall buildings in a single bound," an editorial mandate, or Moore/Gibbons playing with the idea that if Superman only has a birthday every four years, it explains why the guy still fits into the same tights he did back in 1938. The February 29th date was utilized for Superman’s 50th anniversary celebrations in 1988, too.
But Supes has had several birthdays established. For one thing, Clark Kent's birthday would always be the date the Kents found baby Kal-El in a rocket. Geoff Johns and Gary Frank's Superman: Secret Origin put Clark Kent's birthday on December 1st. What Kal-El's actual Kryptonian birthday would be in relation to Earth's own trip around the sun is only relevant if you want it to be, but some accounts place it in October while others put it on June 18th (coincidentally, that's the birthday of the first actor to portray Superman, the great Bud Collyer). Action Comics #1 has a June, 1938 cover date, but probably actually hit newsstands in late February of 1938. There was no February 29th in 1938, though.
Alright, I spent way too much time on that. We've got one more story to get to...
"Whatever Happened to the Man of Tomorrow?"
Superman #423 and Action Comics #583 (1986)
I’m going to tread lightly here, but it has to be said: “Whatever Happened to the Man of Tomorrow” is a great Superman story, but it’s no “For The Man Who Has Everything.” Just a word of warning...it's impossible to talk about this one without spoilers, too, but I'm trying my damndest to keep this light on those. No matter what, as with "For The Man Who Has Everything," you should absolutely read this comic.
This story marks the official "end" of the Silver/Bronze Age Superman, as well as Julius Schwartz's 15-year tenure as editor on the Superman titles. The decision to treat the final issues of Supermanand Action Comics before John Byrne’s Man of Steelreboot (the word used at the time was "revamp" because there was no such word as "reboot") as if they were actually the final Superman stories was a brilliant one, and it's difficult to imagine anything this ballsy ever being allowed by DC's corporate masters ever again.
Schwartz wanted to get Superman co-creator Jerry Siegel to write the final story (Siegel was also the author of one of the finest Superman "imaginary stories" of all time, 1961's "The Death of Superman"), but he was unavailable. Over breakfast with Alan Moore, Schwartz casually mentioned his plan and was told "if you let anybody but me write that story, I'll kill you." Have you ever seen Alan Moore? I'd take that seriously, too. Schwartz felt the same way. "Since I didn't want to be an accessory to my own murder,"he recalled, "I agreed." Perhaps in a final attempt to hedge their bets, the tale is billed as one of those famous "Imaginary Stories" but it's ultimately up to the reader to decide whether it suits their needs.
Moore is paired not with a Watchmenor Swamp Thing artistic collaborator this time around, but Curt Swan. Swan is unquestionably the Superman artist of the Bronze Age, and he is indelibly associated with this era of the character. There is something almost jarring to seeing Alan Moore helping to steer "traditional" Curt Swan Superman illustrations down a darker path, but really, nobody else should have been allowed to draw this story. It all helps with the illusion that this is indeed the abrupt end of Superman's nearly 50-year publication history.
But there’s something aggressively downbeat about the proceedings, and it’s far from the triumphant sendoff that one might expect (for a more optimistic look at what Superman’s final days might look like, you can and absolutely should seek out Grant Morrison and Frank Quitely’s All-Star Superman). Nearly every important piece of Superman's supporting cast makes an appearance in these 48 pages, and it doesn't turn out well for the vast majority of them. Superman breaks down and weeps at one point after a masterful piece of emotional manipulation by the creative team that is equally as effective on the reader.
Even a formerly comedic character like Bizarro gets a chilling makeover, while the new, aggressively cybernetic Brainiac/Luthor team is an effective, if subtle, piece of genuine (if Comics Code approved) body horror. It’s not something you would normally see come from Curt Swan’s pencil, which makes these moments even more effective than they might have been from a Rick Veitch or a Dave Gibbons. Superman does take a life in this story, and this story has found itself cited in wrongheaded "See? Superman does kill sometimes, bro" defenses. It's no accident what he does, to be certain, but his self-imposed penalty is a suitable consequence.
There are a handful of parallels to Watchmenworth noting, too. There's the weight of decades of superhero adventures that the reader may or may not be privy to, and a creeping sense of middle age dread and inevitability informing our hero's actions. The ending reveals Lois Lane and her disguised/retired husband living a life of domestic bliss a decade removed from the events of the story. This faintly recalls Night Owl and Silk Spectre’s future from the conclusion of Watchmen, while Clark’s decision to become a mechanic in his post-superhero career is reminiscent of how the Golden Age Night Owl spent his retirement in Watchmen, as well. These might be coincidental, especially since the final issue of Watchmenwouldn't see the light of day until well over a year after this story.
But as any Superman story should, it ends on a hopeful note...and with a wink. "Whatever Happened to the Man of Tomorrow"is available in a deluxe edition, or you can just (say it with me) get it in DC Universe Stories by Alan Moore.
It has been said that Mike Cecchini spends too much time thinking about Superman stories. Worship Rao with him on Twitter.
Frank Castle may be this slick, overly-competent killer of bad guys, but even he gets embarrassed from time to time.
Even though The Punisher is now the star of his own Netflix series, let's not forget that Frank Castle has been building bodycounts for over forty years. He’s starred in many fantastic storylines and has become one of the more iconic heroes in Marvel history.
He’s had several movies, a handful of video games (including one of the best arcade brawlers ever), cartoon appearances, and more. He’s taken up the mantle of Captain America, turned black one time, became an angel, became a Frankenstein, befriended Archie Andrews, and even killed Gwar.
Okay, they were called “Warg,” but same thing.
The thing every Punisher writer – especially Garth Ennis – always has to push is how unflappable and badass Frank is. He’s the coolest guy ever and punks out everyone in his way. When he does lose, he at least goes down with his dignity, whether it’s via losing a knock-down-drag-out fight with Daredevil or simply refusing to fight back against Captain America. His pride has almost as much plot armor as he does.
Still, there are some times where Frank Castle gets clowned and looks like a fool. Moments that he’d choose not to remember. Here are 15 of those moments...
TAKING BAD ADVICE
Amazing Spider-Man #129 (1974)
Gerry Conway and Ross Andru
Frank’s first appearance is a wonderful debut. He’s tricked into going after Spider-Man, thinking him to be a criminal. They fight a couple times, things get relatively smoothed out, and they go their separate ways with Frank focusing on THE WAR.
It’s just...man. Nobody’s perfect and we’re all susceptible to misinformation, but look at that guy. Look at the Jackal. Imagine that guy trying to convince you that Spider-Man is a bad guy who needs to be murdered. Imagine taking his word at face value without questioning how you’re getting your intel from St. Patrick’s Day Gollum.
You dropped the ball, Frank.
SUDDEN HULK FIGHT
Incredible Hulk #395 (1992)
Peter David and Dale Keown
In at least two alternate realities, Frank’s been able to actually kill the Hulk. One time he snuck up on him while he was asleep in Banner form and the other time he shot him through the eye with an arrow tipped with one of Wolverine’s claws. In terms of main continuity, Frank’s first meeting with the gamma giant didn’t go so well.
Hulk, in his Banner-minded phase, returned to his old alter-ego of Mr. Fixit, the Las Vegas bodyguard. The Punisher was in town, after the same threat, but heard rumors of the legendary Mr. Fixit and figured he was probably worth shooting down. Frank isn’t about wasted motion.
When they finally clashed, Frank opened fire and was a bit surprised that Fixit’s “body armor” could withstand his bullets. He kept upping the ante on his weaponry until flinging a grenade at him. One of Hulk’s buddies knocked it back and it certainly would have blown Frank to kingdom come had the Hulk not snatched it out of the air and stared him down.
Too bad we can’t see things from Hulk’s point of view. I’m sure Frank’s expression was priceless.
Anyway, Hulk then proceeded to knock him out with a flick of a finger.
STAY OUT OF GOTHAM
Punisher/Batman: Deadly Knights (1994)
Chuck Dixon and John Romita Jr.
The Punisher has crossed paths with Batman a handful of times during Marvel/DC crossovers. In the '90s, they had two team-up stories. One was actually about Frank working with the Jean-Paul Valley version of Batman and later coming to blows with him. Frank got the best of EXXXTREME Batman and found himself admitting – almost as if realizing it was an editorial mandate – that he did it via cheating.
The follow-up story had Bruce Wayne back as Batman as the two of them went up against the alliance of the Joker and Jigsaw. While Batman took down Jigsaw, Frank cornered Joker with intent to put a bullet in his brain. Batman stopped him and let the Joker run off into the distance. He was letting the worst criminal free, but he wasn't letting him die.
Frank, understandably, dropped his gun and punched Batman in the face.
Batman responded by claiming that, “I let you have that one because you probably think I deserved it.” As childish as that sounded, Batman backed up the claim by easily catching the next punch, throwing the Punisher into a pile of boxes, and telling him to get out of his city or else he’d be going to Arkham.
Frank sulked off, claiming that Batman and the Joker deserve each other.
Wolverine #186 (2003)
Frank Tieri and Terry Dodson
Ugh. Just because I’m writing this list doesn’t mean that I think every entry is actually good or well done. For instance, this one.
Garth Ennis, who is a fantastic writer much of the time, has a tendency to write stories about how a military-trained antihero badass is able to humiliate and outright destroy any and all tights-wearing superhero pretty boys. It happened a LOT with the Punisher and Wolverine tended to be a regular target. This included a team-up in Punisher’s book that ended with a fight where Punisher shot Wolverine in the balls, blew his face clean off with a shotgun, ran him over with a steamroller, and then left him there. Ennis just savaged him there.
But turnabout’s fair play and at the time, Frank Tieri was writing Wolverine’s comic. He decided to respond to Ennis by having Wolverine get his win back. Now, bringing in Tieri to counter Ennis is like bringing William Hung to a rap battle and it already started off a bit petty with the bullshit claim in the recap that Wolverine tends to beat up the Punisher more often than not. Uh huh.
The entire issue was dedicated to a fight between Castle and Logan in an empty mall and it’s actually a fun and great-looking battle. The two humorously beat the crap out of each other and tossed insults until Wolverine won out by tossing Frank through a window.
Then, with Frank motionless on the cracked sidewalk, Wolverine proceeded to discover – much to Frank’s sudden embarrassment – that some magazines of dudes in speedos had fallen out of the Punisher’s bag. Despite Frank’s desperate claim that they were just suspects (a reference to Murder by Death) Wolverine made fun of him and left him to be taken in by the authorities.
Seriously, Tieri’s best comeback to the excessive steamroller beatdown was, “Yeah, but...but the Punisher’s totally gay! So there!”
JLA/Avengers #1 (2003)
Kurt Busiek and George Perez
JLA/Avengers was the final Marvel/DC crossover before the two companies turned their backs on each other for good. The comic treated it as the first meeting between worlds, so when the Justice League looked through the Marvel universe, it was a bit eye-opening for them. Green Lantern and Aquaman saw the horrors of Dr. Doom’s rule in Latveria. Martian Manhunter and Wonder Woman saw the ruins of Genosha. Superman saw the aftermath of a Hulk rampage.
In each instance, Batman told them to stay the course and NOT interfere.
Then he and Plastic Man saw the Punisher gun down drug dealers in New York City. Batman decided to go against his own advice. According to Plastic Man on the next page, Batman spent twenty minutes beating the crap out of the Punisher, just to save the lives of those criminals.
I'LL BE DAMNED. VAMPIRES.
Marvel Team-Up #8 (2005)
Robert Kirkman and Jeff Johnson
The first meeting between the Punisher and Blade was sort of adorable in terms of how in-over-his-head Frank was. The two watched a mob deal go down below. Blade, an admirer of the Punisher, tried to explain that one of the parties was made of vampires. Blade explained that he too is a half-breed vampire and is essentially to vampires what the Punisher is to criminals. While Blade was pretty jazzed to be on a rooftop with Frank, Frank was a bit too close-minded.
Vampires? Don’t be ridiculous. Blade was probably just a violent nutjob, no better than the mobsters below. Frank even shot him in the back to very little effect. Blade shrugged it off and Frank figured it was merely Kevlar. Blade spent minutes trying to explain who he was to Frank’s unbelieving ears.
Then the vampires started feasting on the human mobsters. Blade’s targets took out Frank’s targets. All the while, Frank just glared wide-eyed and shocked at the carnage. He finally broke the silence to ask Blade if he wanted help. Blade simply smiled and jumped off the rooftop.
“No. I got this.”
BLEEDING HEART PUNISHER
Mark Millar and Jim Mahfood
There have been a handful of joke What If stories done based on turning the Punisher concept on its head. One time he was a stern figure who made the Blob go to sleep without dinner while Dr. Doom had to sit in the corner and think about what he did. One time his family survived instead and became a family of gun-toting sociopaths.
In Wha...Huh? Mark Millar got to do a two-page story where Frank ranted in his narration about the rich owning the poor, sweat shops, and how hurtful such labels as “criminals” are to people who live without privilege. All while watching an old lady get stomped on by two armed gang members. Frank tried to see eye-to-eye with them, but then suffered from a literal bleeding heart as they opened fire on him.
Frank died, feeling bad that these poor youths would have murder on their souls for the rest of their lives.
Marvel Zombies vs. Army of Darkness #2 (2007)
John Layman and Fabiano Neves
Marvel Zombies vs. Army of Darkness had Ash Williams tossed into the ill-fated Marvel side-universe while shit went down. Zombie Sentry infected the Avengers and the Zombie Avengers went on to devour anyone in sight while spreading the virus. Amongst the early madness, Ash came across the Punisher, who seemed kind of dismissive about the whole apocalypse going on.
Proving himself a bit too close-minded from his lack of humanity, Frank proceeded to gun down a collection of mafia-based villains even after Kingpin explained that they needed to work together to survive the zombie outbreak. He even chose to ignore the plight of Thunderball, who despite being a villain, was shown to be a buddy of Ash’s.
With a wave of zombified heroes and villains coming at him, Frank told Ash to stand to the side and toss him a loaded gun when commanded. Ash figured he had enough of Captain Kill-Happy and ran off to do his own thing.
Frank didn’t notice this until running out of ammo. He was swarmed and infected immediately.
SHE’S A LITTLE RUNAWAY
Runaways #26 (2007)
Joss Whedon and Michael Ryan
Joss Whedon openly hates the Punisher and here we get to see that play out in a comic.
The Runaways went to New York to meet with the Kingpin under the guise of a criminal syndicate. The underaged team was cornered by the Punisher, who had no qualms with shooting teenagers, admitting it wouldn’t be the first time. As he argued with Chase and pointed a gun at him, Molly – a mutant tween with super strength – surprised Frank with a punch to the gut.
While Frank underestimated the Runaways, Molly overestimated Frank and figured he had powers himself. Instead, he stood there, paralyzed in pain with only his military willpower keeping him standing as he declared to himself that a soldier doesn’t fall. All the while, Molly pleaded for the others to forgive her, though they each had their own opinion on whether or not to be proud of her actions.
Several issues later, as the arc finished up, Frank was shown to STILL be struggling to remain on his feet.
Eminem/The Punisher (2009)
Fred Van Lente and Salvador Larocca
For some reason I may never understand, there was a Punisher/Eminem team-up comic that involved them taking on Barracuda. On his way to take down Barracuda (who Eminem grew up with), Frank shot up Eminem’s entire entourage. Soon after, Eminem beat Frank down with a pistol and unloaded it into Frank’s chest.
Turned out Barracuda was hired by the Parents Music Council to assassinate Eminem. Through a little indirect teamwork, Frank and Eminem were able to defeat Barracuda and seemingly kill him with a chainsaw. Then Frank abandoned Eminem on top of a sheet of ice over a frozen lake and offered to go kill the Parents Music Council for hiring Barracuda.
Yeah, you may have stood tall at the end, but you still got punked out by the Real Slim Shady. That’s on your permanent record, man.
Punisher Annual #1 (2009)
Rick Remender and Jason Pearson
Early on in Rick Remender’s Punisherrun, the Hood resurrected a bunch of dead supervillains and gave them an ultimatum: either they killed the Punisher within 30 days or his magic would wear off and they would go back to being dead. Two of those villains included Letha and Lascivious, a pair of female wrestlers/villains who were killed by Scourge back in the day. Letha was granted the power to make people aggressive and Lascivious could make people fall in love.
Their powers failed to work on Frank due to his emotional emptiness. Luckily, when Spider-Man entered the fray, Letha was able to set him off and make him want to murder Frank. Punisher vs. Spider-Man wasn’t a new concept, nor was mind-controlled hero vs. hero. In the end, it didn’t work out and it returned to the old trope of Spider-Man going, “I’m not going to let you kill them!” while Frank rolled his eyes.
That’s when Lascivious figured to make Spider-Man fall in love with Frank and never let him go. While Frank was very, very uncomfortable with what was going on, the two wrestler ladies escaped and remained as free as their ass cheeks.
While Frank certainly had a bad time, he got it better than Spider-Man. Without getting into it, Spider-Man may have had sex with a Doc Ock tentacle in broad daylight.
Deadpool Kills the Marvel Universe #4 (2012)
Cullen Bunn and Dalibor Talajic
There was a miniseries called Deadpool Kills the Marvel Universe which...that’s actually pretty self-explanatory. An alternate universe version of Deadpool became aware of his fictional status, went violently insane, and decided to take out every hero and villain over four issues. It wasn’t very good.
Deadpool killing the Punisher was the cover image for the final issue and it made sense. Frank already starred in Punisher Kills the Marvel Universe back in the '90s. It was like a passing of the torch.
As the fourth issue began, various villains were shown mindlessly committing a mass suicide. Punisher took advantage of the madness by sniping Deadpool through a window and rushing to the scene before he could regenerate. Instead, Frank found the dead body of the Puppet Master dressed up like Deadpool.
Deadpool appeared behind Frank with one of the Puppet Master’s voodoo dolls with a tiny skull insignia on the chest. Helpless to stop himself, Frank was compelled to put his own pistol to his head and pull the trigger.
Afterwards, Deadpool bragged about being better at “killing the Marvel Universe” by using a Puppet Master doll of Galactus to cause some damage on a cosmic scale.
AND MORE DEADPOOL
Uncanny X-Force #29 (2012)
Rick Remender and Julian Totino Tedesco
Uncanny X-Force was about a team that would go around killing threats to mutantkind before they could act first. Deadpool was somehow the conscience of the group. In one adventure, they ended up decades into the future, where the world was run by X-Force in a Minority Reportsense. If anyone was even thinking about committing a violent crime, X-Force would hunt them down.
One member of the future team was an elderly Frank Castle. At one point he warned Deadpool (present version) about an incident that would start a huge war. Rather than come up with any other kind of way out of it, Frank told him to kill Daken, kill the kid version of Apocalypse, and kill the never-before-mentioned son of Archangel. Deadpool groaned at this advice and proceeded to make fun of all this kid-killing.
Then it got personal.
“Look, for what it’s worth, I always hated you. You are a boring, two-dimensional, self-serious relic from the ‘70s. Oh, and Chuck Bronson called – he wants everything he ever did back.”
Frank angrily pulled a gun on him and Deadpool was able to stop him by pointing out the kind of havoc that would cause through history.
Thunderbolts #22 (2014)
Charles Soule and Carlo Barberi
I easily could’ve made this list into just “dumb Punisher stories” because “Punisher was in a dumb story” means he theoretically should be embarrassed. But it doesn’t really work like that because usually characters don’t admit that they’re in a bad story and if they do, it’s after the fact. It’s not like in Grounded, Superman was all, “Man, this is the stupidest shit ever. I miss fighting Zod.”
Even though the brief status quo in the '90s where Frank Castle was reborn as an angel who went around shooting demons was indeed silly, at the time, Frank acted completely on-board with it because the guy writing it at the time thought it was super cool. Granted, once it was passed on to the next writer, Garth Ennis quickly buried the entire concept while going back to “mortal who shoots mortal criminals” storyline.
Years later, Frank joined the Thunderbolts. In one story, Frank fought the unstoppable goddess Mercy and got beaten by her so badly that his body was mangled beyond medical hope. The rest of the team returned from an adventure in Hell (which involved screwing over Mephisto in a legal agreement) and realized that there was nothing they could do to help him.
Said Hell adventure involved Deadpool sneaking into Heaven to steal an angel feather to go with his new pimp hat. Don’t ask. The feather reached out and healed Frank completely.
None could understand it. Deadpool pointed out that it was like the angel feather recognized Frank and wanted to be with him. Almost like there was some kind of history between Frank and angels.
Frank simply grumbled, “I don’t want to talk about it.”
DON’T MOCK THE SHOCKER
Superior Foes of Spider-Man #17 (2014)
Nick Spencer and Steve Lieber
Superior Foes built up the Shocker as a big loser in the villain community and...well, he pretty much is. His name is Shocker. You can’t live that down no matter how cool your costume looks.
In the final issue of the series, the various mob factions in New York were converging for a big battle for supremacy. Like a moth to light, the Punisher made his way there (and may have stopped for a cronut after hearing good things from his Uber driver) to wipe out the whole lot of them.
Instead, the Shocker arrived, in a Shocker version of the Spider-Mobile, while yelling, “DON’T MOCK THE SHOCKER!” If you’re wondering, that was a direct reference to the bizarre, kid-friendly Spidey Super Stories comic from the '70s.
Shocker then used his gauntlets to blast the Punisher off into the distance before bringing unity to the NYC underworld.
There isn’t a single part of that scenario that didn’t hurt Frank.
Like everyone, Frank Castle isn’t perfect. No matter how badass and serious he’s supposed to be, he can’t be the best of the best in every single situation. Even the ultimate soldier has to stumble now and then. Sometimes you lose. Sometimes you get disrespected. But you keep on with your mission and hold your head high because at the end of the day, you still have dignity to your name.
Yes. Exactly. This guy knows what's up.
Gavin Jasper has his fingers crossed for Franken-Castle in Daredevil season 3. Follow him on Twitter!
Plunge the depths of fandom with this enjoyable Aquaman short film, "The Cast of the Angler."
Because Jason Momoa's full debut in Justice League is so much fun, we thought we'd take a moment and share with you a forgotten low-budget flick featuring the fish-communicating character. Originally released in 1984, Aquaman: The Cast of the Angler is a wonderfully enjoyable short created by filmmakers Jeff Klein and Thomas Farr for a measley $10,000. Despite the miniscule budget, the effort has the feel of one of the era's superhero TV productions (not as good as the Wonder Womanseries but way better than The Amazing Spider-Man).
In the link to the video on his YouTube page, co-creator Thomas Farr gives viewers some much-needed insight into this project's creation and subsequent emergence on the convention scene:
Jeff Klein and I made this during film school for 10 grand. We won Best Fantasy Film from the Los Angeles Film Teachers Association and Best Picture CSUN Film Showcase. DC Comics gave us permission to shoot the film (Thanks Jenette Kahn DC Comics 1979-2002) The movie was pirated and sold as a TV pilot. I accidentally found it at a comic book convention in the 90's (as a double feature with another super hero pilot).
After the film was screened we had a few Hollywood companies approach us wanting to make Aquaman into a show. New World Pictures brought us into meeting, optioned the material, and basically didn't talk to us afterwards. The show never happened. Jeff and I will always be proud of the film. We had written a million dollar script so we shot a few scenes as a trailer/short. No money for effects it has a "Six Million Dollar Man" look with the feel of the old Batman series of the 60's. We were ahead of our time. We always knew this could be a great property. Hoping the new movie is fun and exciting.
While we are personally thankful that a 1990s Aquaman series didn't happen (especially given how TV handled the Justice League pilot), The Cast of the Anglerhelps us look at one way the character could translate to the small screen. WB execs, take note:
The only problem here? We love the campy seriousness of this adventure and want to see more. Ultimately that's the trouble with fan productions like these, far too often they are exploding with joyfulness that is sorely lacking in carefully polished studio productions. These days Aquaman has left his punchline status behind him (well, mostly), but it's nice to revisit his goofy past sometimes as well -- as this video perfectly illustrates.
Does Jon Bernthal as The Punisher on Netflix have you hungry for more Frank Castle action? These are the comics you should read next.
And death has come to Netflix. Jon Bernthal's Punisher has been unleashed on the world and finally, after three live action attempts, fans finally have the Frank Castle they deserve. It's about damn time, too. You would think the elegant brutal simplicity of the Punisher would have been easy for Hollywood, but no. But here we are, so let the body count begin.
But long hard roads are very familiar to the Punisher. For decades, starting in Amazing Spider-Man #129 by Gerry Conway and Ross Andru, the Punisher has been trying to eradicate crime in the Marvel Universe. In the '80s and '90s, his popularity peaked and the character starred in three monthly titles, countless mini series and specials, and tons of guest spots.
In recent years, a murderers row of comic creators have lent their talents to the Punisher saga, adding to the bloody legend of Frank Castle. So without further ado, strap on the Kevlar as we present the finest and bloodiest Punisher tales of all time!
Punisher: Circle of Blood
Before 1986, the Punisher was relegated to frequent guest roles. Now, some of these guest spots were pretty damn awesome, such as Frank Miller's use of the character in the writer's unforgettable Daredevil run, but until Steven Grant and Mike Zeck delivered the Punisher's very first solo series, he never took the top spot.
In Circle of Blood, the Punisher told the New York underworld that he had killed the Kingpin. This resulted in a bloody turf war that allowed the Punisher to rack up the body count. When things got too incendiary, Castle had to clean up his own mess.
Grant created the formula for all Punisher tales to follow while Zeck inspired visual storytelling that would guide the character for decades. And let me tell you, this bad boy still holds up to modern comic standards. Truly, Circle of Blood kicked off the Punisher's solo legacy and holy shit, would it make for a killer opening season if Netflix gives Punisher his own series.
Punisher: War Zone
In the early '90s, Marvel was publishing three separate Punisher titles. When Punisher: War Zone hit in 1992, you would have thought that the vigilante would have been over exposed and tired. Well, the creative team of Chuck Dixon, John Romita, and Klaus Janson proved that wrong right out of the gate.
In this unforgettable story, Frank Castle goes undercover to systematically take the mob apart from the inside. The only problem is, Frank falls in love with a mobster's daughter. Sounds like a wacky comedy, but oh dear, it wasn't. There is a body count and a half as Dixon proves why he is considered one of the greatest Punisher writers in history.
This story was sort of like The Sopranosdone Marvel style, but with Frank Castle in the picture, Paulie Walnuts wouldn't have been cracking too many jokes, he would have just been twitching in a dark alley from a high caliber slug to the guts.
Welcome Back, Frank
Hey, remember when I said there never could be too much Punisher? Yeah, I lied. By the late '90s, a market glut and piss poor storytelling did what no hitman could ever do, they nearly killed the Punisher. Some of the worst Punisher dreck was published during that period. There was even a series where the Punisher became an angel! As in, an honest to goodness heaven sent angel.
But when Preachercreators Garth Ennis and Steve Dillon introduced their take on the Punisher, fans said yes to Welcome Back, Frank. Welcome Back Frank was a return to the Punisher's roots, a hard hitting killing spree that was as brutal as it was funny. Ennis and Dillon introduced a ton of unique characters to the Punisher mythos and reminded fans of why they fell in love with Frank Castle and his bloody knuckled world in the first place. It even featured the Punisher punching a polar bear in the face, and if that won’t sell you on Welcome Back, Frank, nothing will.
Born and Beyond...
Let's be honest, any Punisher tales with Ennis' name attached as writer is worth your time. He is the greatest Punisher writer of all time and had a ridiculous long run with the character. When Ennis first started on the Punisher, he presented some action packed but often humorous stories. In the middle of his legendary run, Ennis turned on a dime and shifted tonal gears making his Punisher one of the grimmest and most potently violent monthly comics in Marvel history.
"Born" is an intense Vietnam War story that served as the kickoff of Ennis' second act as Punisher writer, and the stories that followed took him back to the streets of NYC. This time, though, he toned down the over-the-top violence and humor of the "Welcome Back, Frank" era in favor of more grounded, even more brutal stories that had little to do with the Marvel Universe at large. Kind of like his Netflix series.
Comics just don't get much darker than this. One story in particular, "Slavers" starts out like a typical Punisher story, but ends as Frank Castle learns the reality of human sex trafficking and vows to bring down Russian sex slavers. It's one of the most brutally honest and unflinching real world stories Marvel has ever published. If you want comics that have the flavor of the Netflix series, these are the ones to read.
Punisher: Enter the War Zone (2011-2012)
Famed crime and comic writer Greg Rucka's Punisher doesn't speak much, but he doesn't have to. During Garth Ennis' long run on the Punisher, Frank Castle didn't have too many interactions with the Marvel Universe. But during Rucka's time as writer, the Punisher got involved with Daredevil, Spider-Man, and the Avengers, the latter of which tried to bring Frank Castle down once and for all.
These stories introduced the character of Rachel Cole, a woman who used to serve under Frank Castle in the US Marines. Cole's entire wedding party, including her parents and husband, were killed in a mob hit gone wrong during her reception. This bride of death became one of the richest supporting characters ever to appear in a Punisher comic and her time with Castle was unforgettable. Rucka basically focuses on those the Punisher influencd during his endless war and in doing so, gives readers a realistic idea of what kind of force of nature Frank Castle truly is.
After a disappointing opening weekend for Justice League, we consider how WB might rebuild the DCEU and its shared cinematic universe.
It’s fair to say that Warner Bros. and DC fans are having a rough weekend. While the final box office numbers for Justice League’s opening weekend are still days away, it’s already clear that the superhero extravaganza event—the one that a studio sprinted toward making—is going to open south of the nominal $100 million-line. In sunnier weather, the estimated $96 million is nothing to sneeze at for a three-day gross. But when this is the number attached to a movie that cost about $300 million to produce following reshoots (and not counting marketing expenses), it’s pretty dismal. Especially if Batman v Superman: Dawn of Justice’s multiplier is anything to go by, then that opening number might amount to 50 percent of Justice League’s entire domestic take. (In other words, it may only gross about $200 million in the U.S.).
To put this in perspective, the aforementioned and highly frontloaded Batman v Superman: Dawn of Justice opened at $166 million while setting up the theoretically even bigger Justice League movie in its title. It was supposed to be the dawn of a new age. And by extension, no movie featuring Batman in the last decade has grossed less than $158 million in its opening weekend. Until now. By comparison, Marvel Studios’ own maiden voyage of a team-up movie, The Avengers, grossed a then-record shattering $207 million in its opening, and with nary a character as popular as Batman to boot. Even Marvel’s “B-player” Thor just opened Thor: Ragnarok this month to $122 million, a number that may only be about $25 million higher, but looms like Mount Everest in terms of brand value.
So yes, DC and its fans had a bad weekend. Still, this too shall pass, and like a beleaguered Gotham City district attorney, I can promise you that the dawn is still coming. It’ll be here tomorrow morning, in fact. So after the dust settles, the question is where does this leave the DC Extended Universe? Well, only studio executives can know for certain, but the news is not entirely doom and gloom.
This is not the end of the DCEU. Aquaman is in the can and has a nice yearlong post-production process to be refined. Wonder Woman still has a decent shot at making real waves at the upcoming Academy Awards, and Patty Jenkins and Gal Gadot are already preparing to shoot Wonder Woman 2 for release in 2019. Wonder Woman is proof positive that good superhero movies continue to do even better business, and WB has a whole stable of these caped folks at their disposal. But things are definitely about to change.
Chasing Marvel Ends
When Zack Snyder and Harry Lennix strolled into San Diego Comic-Con’s Hall H in July 2013, Man of Steel was barely a month old. Yet with a box office opening that left WB executives cold and ready for some Shakespearean power plays (and which at $116 million looks ironically appealing today), it was clear some last-minute and frenzied reworking was done, for Snyder and Lennix were on hand to reveal that a Man of Steel sequel would really be a Batman vs. Superman kind of affair.
Obviously WB was eager to jumpstart a shared multi-franchise behemoth as broad and lucrative as what Kevin Feige built with his Marvel Cinematic Universe, which is still the envy of all other studios in Hollywood. However, it is now apparent that rather than growing the cultural and financial worth of the Superman brand by placing Batman into his sequel, the rush to build a comparable model of crossovers and team-ups with DC's trinity has at least had a diminishing effect on Batman’s appeal. To the point where the direct sequel to Batman v Superman, and the reason for rushing into a “versus” film in the first place, opened to a grim a November holiday.
Just as Man of Steel’s numbers led to a reckoning at WB, it is inevitable that Justice League’s smaller intake with a higher price tag will also lead to a sea change. Warner Bros. has already backed away from Zack Snyder’s vision for this universe. Painting BvS in his own image, Snyder was too entrenched in Justice League’s production after that 2016 film opened to big numbers (but a chilly critical and audience reception) to be replaced. And yet, WB was still able to curtail the original plan for Justice League, which was to be a two-part film event, into a streamlined and fairly standard one-and-done movie. And given that Snyder was not there to complete his vision for League, it is almost impossible to imagine him coming back for a Justice League 2.
Further, it is hard to see any sort of Justice League sequel or crossover coming in the near future. Having already backed away from rushing a Justice League 2 into production like the studio had with its first entry, WB has also spent months laying the groundwork to distance themselves from the desire to emulate the Marvel model of a constant overarching narrative.
This was crystallized in August when it was revealed that WB is developing a standalone Joker movie with director Todd Phillips and Martin Scorsese as producer. It was made explicitly clear that Jared Leto would not be playing the Clown Prince and that it would not be associated with the DCEU. While the fate of that particular movie remains murky—WB is also developing a Joker and Harley Quinn movie that would presumably include breakout Margot Robbie and Jared Leto—the message is clear. They’re backing away from doing serialized movies that lead to big events like Justice League or Avengers.
Personally, I suspect this is going to become increasingly the new normal for DC movies. Warner Bros. sank well over a third of a billion dollars into Justice League and diminished the popularity of their biggest non-Harry Potter brand as a result. Justice League2 currently has no release date and is going to be placed on the backburner indefinitely. And it’s easy to guess the studio might even be gun shy about doing any crossover movie in the next few years that could be gleaned as a sequel to BvS and Justice League. Which means that Flashpoint—a Flash centric movie wherein Flash meets different versions of Justice League members in an alternate timeline while resetting his own reality, a la X-Men: Days of Future Past—is probably going to be quietly put on the shelf.
I am not saying we will never get a Flashpoint movie, but a Justice League-centric film with actors the audience has yet to fully warm to in the next three years? Don’t count on it. WB has already eased audiences into terminology like “standalone” and “director-driven” movies. These massive team-ups are going to be taking a break.
Who Still Gets a Movie?
But by extension, it is also going to be curious who keeps their solo movie and who does not. With any course correction, studios are going to need to reevaluate where resources go. And when $150 million is considered making a PG-13 superhero movie on the cheap, that is a lot of resource to reconsider.
First of all, those hoping for a proper Man of Steel sequel should probably put that dream to rest. Despite being arguably the most recognizable superhero in the world, the Last Son of Krypton has proven to be an elusive property for Warner Bros. in the last three decades. Bryan Singer’s Superman Returns sputtered out in 2006, and Zack Snyder’s Jesus-obsessed quasi-trilogy with the birth (Man of Steel), the death (BvS), and the resurrection (Justice League) has been met with indifference. Not clearing $300 million domestic made Man of Steel a disappointment, but the third straight movie with him as a central figure will make far less than $291 million in the U.S. Granted none of these movies have been particularly amazing. Nevertheless, to a studio that is being asked to spend another $200 million on a character who hasn't soared with audiences in this century… that becomes a problem.
From a corporate perspective, BvS did everything the studio had been trying to do with the character for 20 years: he fought Batman, he acted like Batman, and then he died. It didn’t make him or the League founded in his name more popular. Superman is likely going on a sabbatical, especially if there are no team-up movies on the horizon.
The question is where does that leave the rest of the Justice League? Honestly, I suspect the fate of Ezra Miller’s delightful Flash and Ray Fisher’s intriguing Cyborg lie in the hands of Aquaman. It is conceivable both of them will be put on hold as WB considers its options. But Wonder Woman was a bigger hit than anyone could predict for a variety of reasons, and that is reason enough to not shy away from the non-Batman characters. If Aquaman works, especially with audiences, the other two will have a better shot at still getting their solos. David Sandberg's Shazam is deep in pre-production and will begin filming early in 2018, so has a shot at making its 2019 release date if the studio doesn't put the movie on hold after this weekend (which at this point is anyone's guess). But the good news is Aquaman is directed by James Wan, who unlike Zack Snyder has made only crowd pleasers for the last decade.
As for various other developing DCEU properties like Justice League Dark and Green Lantern Corps., those too may be facing a lengthy stay of action until Aquaman comes out. I wouldn’t expect the Corps. to make their 2020 release date, at the very least.
Until then, WB will focus on what works, which right now is Wonder Woman and Batman movies. Patty Jenkins will probably have even more freedom on Wonder Woman 2, as she will be less beholden to phantom team-up movies, and WB will continue building their little Batman mini-universe. It is hard to predict if Joss Whedon will stay on the Batgirl movie as director given his recent PR troubles, or which if any of the Joker movies get made, but I imagine movies starring both characters will happen. Batman remains ever a safe bet, and the Joker is the most popular villain ever. That plus Margot Robbie as Harley Quinn are why Suicide Squad was a hit despite not being a particularly good movie. And that goodwill is why WB will probably power through and make Suicide Squad 2 happen.
But speaking of Batman…
Expect New Faces
As this massive retooling gets underway, it is also fair to say that Justice League is going to be the end of the DC road for some of its stars. As has long been rumored, Ben Affleck is done as Batman. We’ve heard from a reliable source that he has been out since last spring at least, and that Matt Reeves wants to choose his own lead for the solo Batman movie. If there was any waffling on this, it’s definitely moot after Justice League’s performance. We can’t comment on recent rumors that Jake Gyllenhaal is the new Bruce Wayne, but Reeves is definitely going to make his Batman movie, which is honestly where the Dark Knight is most effective as a character.
Also, if there are no Superman sequels in the near or distant future, and Justice League 2 is at least a half-decade off, it is also probably safe to assume Henry Cavill and Amy Adams are going to part ways with the DCEU. Cavill has said he wants another Man of Steel movie, but it is difficult to imagine the star of the upcoming Mission: Impossible 6 waiting indefinitely in the wings for a cape. And quite honestly, the frequently Oscar nominated Ms. Adams has not had much to do since the first Man of Steel. It is easy to imagine she could be by now looking for the exits.
Where does this leave the rest of the faces of the DCEU? From Jared Leto to Jason Momoa, it is hard to say. Only Gal Gadot as Wonder Woman has really caught audiences’ imaginations. But if she is the warm face of the DCEU, then it is conceivable many of those around her are replaceable.
The DCEU will survive. But expect it to look very different after this weekend.
Who is Pete Castiglione on The Punisher? Yes, we know it's Frank Castle, but there's some interesting Marvel history here.
This article contains mild spoilers for The Punisher.
As Marvel's The Punisher on Netflix opens, we find a Frank Castle who has tried to put his personal war on the underworld behind him. Bearded and haunted, Frank spends his days on a construction site, tirelessly wielding a sledgehammer, and his nights reading Moby Dick. But Punisher historians might find some significance in the alias he chooses to hide from the world: Castiglione.
Castiglione is an Italian name, which essentially means "castle." That's no surprise. But this isn't the first time in the character's history that name has been connected to The Punisher. In late 1990, The Punisher: War Journal comic by Mike Baron and Mark Texeira had a three-part story called "The Sicilian Saga." In it, Frank has to lay low after killing the son of a corrupt politician (not coincidentally, it's Senator Stan Ori, a minor character on the Netflix series), and he chooses to head to Sicily, since that's where his father was from. Of course, while he's there, he can't help himself, and ends up in conflict with a local mob family, the Besucchos.
I'm fairly sure this story was the first time it was confirmed that Frank was of Italian descent (although his ability to hold a grudge sure feels Sicilian to me). In any case, it's definitely the first time we learned that "Castle" was just an Americanization of his father's real family name, Castiglione. In any case, this is a pretty deep cut for the show to reference, and the inclusion of Senator Stan Ori shows it was no accident. What's more, in a later episode, Frank talks about how his deceased wife's grandmother was Sicilian. So while it's never made clear if TV's Frank Castle is Italian-American, his wife certainly was, and that could help explain why he took on an Italian version of his last name as a cover story. For a (somewhat) complete guide to Punisher easter eggs on the Netflix series, click here!
Mike Cecchini is a nice Italian boy who says horrible things on Twitter all day.
A handy guide for where you can watch the Harry Potter movies online right now. Accio, Harry Potter films!
If you're anything like me, then you watch the Harry Potter film franchise on the regular. Sadly, Freeform can't always be having one of their Harry Potter weekends. (Apparently.) For all of the other hours of your life, here a handy guide to where you can stream the Harry Potter movies online. It's almost like magic...
Harry Potter and the Sorcerer’s Stone
The one that started it all. Jump into Harry's first year at Hogwarts School of Witchcraft and Wizardry. Make new friends. Defeat trolls (in the dungeon). Side-eye that twitchy Professor Quirrell.
Harry Potter and the Chamber of Secrets
The adventure continues under director Christopher Columbus' reign. In Harry's second year at Hogwarts, students (and cats) are ending up petrified. The Chamber of Secrets has opened. Will Dobby the House Elf and Fawkes the Phoenix be able to help Harry save the school? Probably.
Harry Potter and the Prisoner of Azkaban
Arguably the best of Harry's more standalone adventures, the third film in the series is many fan's favorites as it introduces Sirius Black and the rest of the Mauraders (though, frustratingly, leaves out much of the specific backstory). Alfonso Cuaron stepped in as director, adding a gritty, whimsical, dark tone to the franchise. Hogwarts would never be the same.
Harry Potter and the Goblet of Fire
Did you know that Hogwarts wasn't the only school in the wizarding world? Neither did Harry... until the Triwizard Tournament, which sees the Hogwarts champions pitted against challengers from Beauxbatons and Durmstrang. Bonus elements: Cedric Diggory, Quidditch, teen romance.
Harry Potter and the Order of the Phoenix
The one where Harry turns into an angsty, angry teenager. (If that wasn't obvious from the promotional art above.) Come for the promise of some prophecy Professor Trelawney has been mumbling about, stay for the epic duel between dark and light that takes place in the Department of Mysteries. Actually, don't stay for that. It gets really sad.
Harry Potter and the Half-Blood Prince
Voldemort's rise is in full background force during Harry's sixth year at Hogwarts. Students are being pulled from school. Families are being murdered. Weasleys are in danger. What is Harry doing to distract himself from the scary times? Cheating in potions, of course, with the help of the mysterious Half-Blood Prince.
Harry Potter and the Deathly Hallows — Part 1
My favorite film in the franchise, Deathly Hallows Part 1 is a serious shift in tone for the Potter franchise. Harry, Hermione, and Ron are on the run on search for Horcruxes and it is pretty bleak. There's lots of camping, roaming the English countryside, and listening to the wireless. We also get a Hermione/Harry dance number set to Nick Cave's "O Children." What more could you want from a movie?
Harry Potter and the Deathly Hallows — Part 2
The final, epic conclusion to the franchise. Deathly Hallows Part 2 is the most action-packed of the Potter series, but that won't keep you from the feels. They will hit you like an Unforgivable Curse and they won't let go.
Fantastic Beasts and Where to Find Them
Welcome to the wonderful world of the expanded Harry Potter film universe! 2016's Fantastic Beasts and Where to Find Them is undoubtedly the first of many. And not just the approximately three to three thousand Fantastic Beasts movies to come (the number varies depending on when you ask J.K. Rowling basically), but many other spin-offs as well. We'll be sure to keep them all updated on this page.
If it ever happens, The Flash movie is going to follow the Flashpoint story, and that makes perfect sense for the DCEU.
Now that audiences have been properly introduced to Ezra Miller's version of Barry Allen in the Justice League movie, maybe we'll finally get to see The Flash solo movie. Keep in mind that this is a movie that has already lost its release date and burned through two directors and several scripts, so you shouldn't hold your breath for it, but the plan right now is that The Flash movie will be an adaptation of the famed Flashpoint comic book story.
For those who don't know, Flashpoint was a 2011 comic from Geoff Johns and Andy Kubert which saw Barry Allen travel back in time to prevent his mother's murder by Eobard Thawne, the Reverse-Flash. As a result, a Butterfly Effect-esque "flashpoint" causes the DC Universe to develop in a radically different way. But the roots of Flashpoint go even further back, to another Geoff Johns written Flash tale.
The Flash: Rebirth was a 2009 story by Geoff Johns and Ethan Van Sciver that brought Barry Allen back from the dead. While its focus was finding Barry a place in a DC Universe that he had been absent from for over 20 years, it also revisted his origin story. Rebirth was the first time the now familiar elements about his mother's murder and his father being imprisoned for a crime he didn't commit were added to the Flash mythos. Rebirth and Flashpoint are the two bookends that have defined Barry Allen's journey since then, not only in comics, but in TV and animation.
So it's really not all that surprising that we're going down this road again with The Flash movie. It was already established in the Justice League movie that Dr. Henry Allen (played by Billy Crudup) is doing time for the murder of his wife, and with Rebirth and all its attendant elements considered the definitive Flash origin story, there's no reason why Ezra Miller's interpretation of the character should be any different. But making his first big screen adventure Flashpoint is raising some eyebrows.
For one thing, it was only last year that The Flash TV series did its own version of Flashpoint, and the broad strokes of that story and its repercussions accounted for a significant chunk of the show's third season. The key difference there was that the repercussions of Barry's actions were, compared to the comics, fairly minor. The TV Flashpoint was used to tell a more intimate, personal story, and the results weren't as world-changing as the ones in the comics. And that larger scale potential for Flashpoint is where the movie comes in.
In the comics, after saving his mother's life, Barry wakes up in a world where Atlantis (led by Aquaman) and Themiscyra (led by Wonder Woman) are waging war on each other. Bruce Wayne never became Batman, but Thomas Wayne did, in order to avenge the murder of his son (the less said about what happened to Martha Wayne in the Flashpoint reality, the better, but needless to say, the DCEU may be headed toward an even more cringeworthy "Martha" moment if they decide to do a really faithful adaptation). Kal-El's rocket was found by the government, who raised a tortured, frightened, frail alien child in an underground bunker to keep his powers from manifesting in the light of the yellow sun.
In other words, the first big screen Flash movie has the potential to double as an alternate reality Justice League film. Keep in mind that the Justice League movie was originally announced as a two-parter, back during that brief period where splitting major blockbusters (like the final Harry Potter and Hunger Games films) into two movies was the fashion. Then it was revealed that Justice League and Justice League 2 would be standalone films. Then Justice League 2 lost its release date. Meanwhile, The Flash movie, which had long been scheduled for March 2018, has gone through a parade of directors and scripts, with Warner Bros. clearly struggling to find the right approach for one of their key characters.
Complicating things further, the The Flash TV series has a devoted fanbase, and there's going to be perceived competition between the two interpretations, despite the best intentions of Warner Bros and DC Films. The TV series was able to execute Flashpoint because it waited until the show had two full seasons under its belt, and audiences already had a deep connection to Barry, his struggle to come to terms with the fate of his parents, and his battle with Reverse-Flash. By the time the Flashpoint movie comes around, moviegoers will likely only know Ezra Miller's Barry Allen from the time they spent with him in Justice League.
But let's set that aside for the moment and give the DCEU the benefit of the doubt. Ezra Miller's Barry Allen is a lot of fun in Justice League and it should be easy for fans to warm up to him. There are some visual tricks on display that certainly couldn't be executed on a TV budget. So let's just take a minute to consider what a big screen version of Flashpoint could look like.
While both Wonder Woman and Justice League indicate a shift away from the unintentional hilarity of the constipated Batman v Superman, the DCEU still strikes a more somber, serious tone than chief competitor Marvel Studios. Flashpoint, with the almost (but not quite) dystopian elements like the threat of a war between two mythical kingdoms that could engulf the globe, and the impossible choices Barry has to make between saving his loved ones and doing what's right for all of reality, are all elements that would feel right at home in the DCEU.
Flashpoint allows the studio to explore elements of Barry Allen's origin story without falling into the traditional "first superhero movie" structure. And its potential for notable superheroic guest stars also sets it apart from the TV series, which will help negate those concerns about having a piece of intellectual property competing against itself. No superhero movie has yet dealt explicitly with alternate timelines or realities, and that would help Flashpoint distinguish itself even further from the competition.
Conveniently, Flashpoint could serve as something of a placeholder for Justice League 2, with roles for Jason Momoa, Gal Gadot, Ray Fisher (Cyborg was a major part of at least one pre-Flashpoint draft of the movie, and he features in the comic version of the story), and even Henry Cavill if DC Films really wants to explore that world.
But what about Batman? After all, Batman remains the world's most bankable box office superhero, and putting him in a superhero movie seems to be something of a safety valve for Warner Bros. when testing out new franchises (Suicide Squad) or giving a shot in the arm to a character that the studio feels is underperforming (Superman). While Bruce Wayne is taking a dirt nap in the Flashpoint reality, we do already have a big screen Thomas Wayne, in the form of The Walking Dead's Jeffrey Dean Morgan. The idea of putting Mr. Morgan in a modified Batman suit and teaming him up with Ezra Miller's Barry Allen seems pretty appealing, and it would certainly sell some tickets.
DC Films has mostly chosen to establish the broader DC Universe with films like Batman v Superman, Suicide Squad, and Justice League rather than focus on traditional origin stories and standalone films (Wonder Woman is an exception, because after 75 years, she deserved a proper introduction on screen). Flashpoint broadens the scope further, and allows for the introduction of time travel and Multiverse theory, both of which are key components of the DC Universe. It's another bold choice, and with the right director (names like Robert Zemeckis and Matthew Vaughn have been connected to the project), it might just work.
Of course, with Justice League struggling at the box office, Flashpoint seems slightly less likely today than it did last week. It will be interesting to see how WB adjusts. In the meantime, we await word of a release date.
Mike Cecchini is here for any and all live action versions of The Flash. Race him on Twitter.
Geoff Johns and Gary Frank's Doomsday Clock #1 hits stores this week, and it's like we never left the world of Watchmen.
How, exactly, is anyone supposed to make a sequel to Watchmen, the single most celebrated graphic novel in history? The lead-up to DC's Doomsday Clock has felt less like the hype that usually surrounds your average comic book event story, and more like the release of a blockbuster movie. From a marketing standpoint, the stakes are certainly high enough. A Watchmen sequel is a difficult thing to justify to fans. So while Doomsday Clock may not have a nine figure budget behind it, and is unlikely to sell nearly as many copies as your average blockbuster sells tickets, it still feels safe to say that there’s a lot riding on this.
Watchmen, like Star Wars, also had a series of prequels released (in the form of 2012’s Before Watchmen), and those fell prey to some of the same problems. Even at their best, and despite an assortment of top notch talent, Before Watchmen was obsessed with making connections and absurd overtures to the events of the main work and never felt like it was truly a part of that world. But just as the Star Wars franchise learned from those mistakes, Doomsday Clock feels like it belongs to the recent wave of big screen legacy sequels. Like Creedor The Force Awakens, Doomsday Clock is set years down the line from the classic stories, introducing a handful of new characters who immediately feel at home, and is so visually perfect and fluent in the franchise’s language that it can’t feel anything but authentic.
One key that makes Doomsday Clock feel like a completely organic extension of the original series is Gary Frank’s art and Brad Anderson’s colors. Frank, long regarded for the remarkable realism he brings to superheroes without sacrificing their dynamic elements (if you haven’t read his collaborations with Geoff Johns on Superman, I can’t recommend them highly enough) turns in what might be the best work of his career. Even with the frequent use of Watchmen’s trademark nine-panel grid, the sense is never that he’s actively imitating Dave Gibbons, but the art and color makes even a crowd scene as evocative of this world as Rorschach’s mask.
For Doomsday Clock writer (and DC Entertainment President and CCO) Geoff Johns, who spoke with reporters at New York Comic Con last month, Gary Frank was “the only artist” he felt was right for the story. “If Gary doesn't want to draw it,” he recalled telling DC brass, “then I'm not going to do the book.” He took a similarly hard line when he approached the artist. “I have to tell this story but I can only tell it with you. I can't tell it with anybody else. Gary's not an artist that's like: ‘I can't wait to draw Wolverine.’ He just doesn't care. He wants to draw a good story.” Frank was so impressed by Johns’ pitch that he agreed.
And Doomsday Clock #1 is indeed a good story.
Opening seven years after the final pages of Watchmen, the world is closer to destruction than ever, long buried secrets have been revealed, and it’s not clear who is a greater danger to the population - the world’s governments or the people rioting in the streets. Watchmen was a slow burn, introducing its characters at a comparatively lethargic pace, letting background details do much of the heavy lifting to let you know that you aren’t in a world you're familiar with. Doomsday Clock doesn’t need that luxury, and rather than build to its apocalyptic scenario, it lays it out on page one, and its mysteries have to be heard above the chaos. Rather than the paranoia that was a hallmark of its predecessor, there's an urgency here that is appropriately evocative of a ticking clock. We open on what would appear to be a story's final act, and only then do we start to get a picture of what's happening.
Doomsday Clock aims to feel timely, and while some of the dialogue in the opening pages occasionally tries a little too hard to make the parallels between the November 1992 of the Watchmen universe and the increasingly chaotic real world of today, that settles down considerably once the stage is set. “I think that there's a demand for political content in this story and I think to avoid it would be disingenuous, trying to do something with Watchmen,” Johns said. “It's about story structure, thematics. If we're going to do it and use the characters, we need to respect where the material came from and what they were trying to do with it.” In fact, the rapid fire nature of the reveals early on mirrors the "what horrible thing have I missed this time" feeling most of us have every time we hit our newsfeeds.
Much of the publicity surrounding Doomsday Clock, and the hardest pill for Watchmen purists to swallow, has been over the promise that it will bring the world of Watchmen into conflict with the core DC Universe. That’s only alluded to in the first issue, and it’s far too early to tell how well that element of the story will work. But Geoff Johns has long had a reputation for doing the seemingly impossible at DC Comics. An incomplete list of difficult tasks he has accomplished (alongside artistic collaborators like Ethan Van Sciver, Gary Frank, and others) includes the resurrection of Hal Jordan and the subsequent elevation of Green Lantern to the kind of sweeping space opera it hadn't been in years, bringing Barry Allen back from the dead after a 20 year absence, and the effective "fixing" of the entire DC Universe in the space of 80 pages with 2016's Rebirth special, without the messiness (or bad publicity) of a reboot event. But for the moment, without any additional distractions, the first chapter of Doomsday Clock has already done the impossible and made me believe that the story of Watchmen’s world didn’t have to end with the execution of Adrian Veidt’s plan.
Doomsday Clock arrives in comic shops on November 22. We’ll have more details on it throughout the week. I’ll answer spoiler-free questions on Twitter until release day, too!
We've got details (and covers!) of the Robotech comics that will republished by Titan Comics.
When Robotech debuted back in 1985 it was accompanied by a trio of comic book series by Comico, adapting the eighty-five episode series. After Robotech went off the air, several companies including Eternity, Academy, Antarctic, and Wildstorm all contributed memorable, if sometimes flawed, stories to the Robotech universe. Many of those titles have been long out of print and fans who have recently gotten into the franchise, like yours truly, have had a really tough time tracking them down.
Back in 2016, Vice President of Marketing Kevin McKeever revealed the entire back catalog of Robotech comics would be released by Titan Comics, who are currently publishing the newest entry in the Robotech comics saga.
In an upcoming episode of the Robotech podcast, RoboSkull Cast, President of Animation at Harmony Gold, Tommy Yune revealed just how Titan plans to release the old material. They plan on going in chronological order, starting with the Comico run of the Macross saga.
All of these will be released in what Yune referred to as, "omnibus phone books." Thanks to Titan Comics we've got a look at the cover of the three Macross Saga collections which you can see below, including the solicit listing for the first volume and some pages.
After the Macross Saga and Sentinels comics (including Prelude to the Shadow Chronicles) are released Titan will then move on to the Masters comics. Yune also confirms Titan does want to republish the very obscure Robotechcomics. Yes, even the one shots.
Stay tuned to Den of Geek for all things Robotech!
Shamus Kelley can only hope the Robotech Crystal Dreams mini comic will be released down the line. Oh yeah, getting SUPER obscure. Follow him on Twitter!
The best villain of the current Justice League of America run returns for a throwdown with Vixen.
Steve Orlando and Hugo Petrus first collaborated on 2015's Midnighter, one of the best comics of the New 52 era. It was so perfect because it made Prometheus, a villain introduced in Grant Morrison's JLA, such a colossal badass. It was also perfect because Orlando, Petrus and ACO made the fights a glorious symphony of violence, illustrating Midnighter and Prometheus's fight computer brains in a way that was innovative, creative and vividly fascinating all at the same time.
So imagine the glee in the air when Prometheus (and Midnighter bit player Afterthought, the precognitive fighting expert) showed up in Orlando and Petrus's Justice League of America. There aren't many better teams to be writing and drawing these characters, and as you can tell from the preview DC sent over, they are working it really well. Here's what they have to say about this issue, the second part of the story arc:
JUSTICE LEAGUE OF AMERICA #19 Written by STEVE ORLANDOArt by HUGO PETRUSCover by CARLOS D’ANDA“SURGICAL STRIKE” part two! Joined by the precognitive villain Afterthought, Prometheus brings the fight directly to the JLA’s Secret Sanctuary in Happy Harbor! With her team on the ropes, Vixen goes toe-to-toe with Prometheus, whose demands are simple: destroy the Tantu Totem before the whole world and submit to chaos, or watch everyone in Happy Harbor die!
Take a look at the preview pages. There's a LOT of Lobo punching and being punched in here.
The City of Brass is the start to a gorgeous new fantasy series based in Middle Eastern history and mythology.
We need diverse stories in our fiction more than ever, which is why The City of Brass, the first book in a historical fantasy trilogy set in the Middle East, is such a breath of fresh air. An epic fantasy series with no white people? See, Hollywood; it is possible.
The City of Brass, S.A. Chakraborty's debut novel, follows Nahri, a young woman living in 18th-century Cairo, and Ali, a young prince living in the djinn city of Daevabad, as they struggle to stay alive, keep the ones they love protected, and use their political power in responsible ways. They are only moderately successful in achieving those goals.
Most of the historical fantasy's 500-page story is set in the magical city of Daevabad, an ancient metropolis with political and cultural divides just as old. The eponoymous city of brass, Daevabad is a character in its own right (I know, I know), and the exploration of the different groups of magical peoples who call it home is one of the best aspects of this debut novel.
Currently ruled by Ali's family, Daevabad is a city on a knife's edge. The opressed shafits — aka the half djinn, half human population — are forced to live in terrible conditions, while the pureblood djinn get a bulk of the city's resources, power, and freedom. The political framework of this world is so intricate that, at times, it can be confusing. In those moments, I would recommend flipping to the glossary at the back of the book.
However, even at its most confusing setting-wise, the character-driven storytelling of the book is easy to follow and engaging. Of particular interest to this reader was the familial relationships between Ali, his father, and his two older siblings. Past that, Chakraborty subverts the patterns of a love triangle to tell a refreshingly realistic story of love, desire, and the dangers of under-communication.
While this book is mostly being marketing as one with a single, female narrator, the dual narrator set-up ended up being one of my favorite aspects of the storytelling. While the fierce, stubborn Nahri serves as the outsider perspective as we explore Daevabad and djinn culture, self-serious scholar Ali is the insider, humanizing the hierarchy while never apologizing for its injustice. Ali is endlessly struggling to understand his own privilege and to balance exercising his own power with the love he has for his powerful family.
Both characters are young (this book walks the line between young adult and adult), which makes the mistakes they make and the eventual lessons they learn all the more believable. These are two characters who try to do their best, but who are only human, so to speak, in their naivete.
Ultimately, they must both choose between doing what they suspect is right and doing what they know is best for the people they love and/or themselves. It is this balance of the political and the personal and, more importantly, the recognition that the two are inextricably intertwined that Charaborty does best.
Chakraborty is also an admirable action scene writer, infusing complex fight scenes with character and world-building. Check out this excerpt, courtesy of Tor, which sees Ali fighting Dara, an extremely powerful djinn with a connection to Nahri:
The Afshin's [Dara] calm was gone and with it, much of the reserve Ali now realized the other man had been showing. He was actually an even better fighter than he’d let on.
But the zulfiqar was a Geziri weapon, and Ali would be damned if some Daeva butcher was going to beat him with it. He let the Afshin pursue him across the training room, their fiery blades clashing and sizzling. Though he was taller than Darayavahoush, the other man was probably twice his bulk, and he was hoping his youth and agility would eventually turn the duel in his favor.
And yet that didn't appear to be happening. Ali dodged blow after blow, becoming increasingly exhausted—and a little afraid. As he blocked another charge, he caught sight of a khanjar glinting on a sunny window shelf across the room. The dagger peeked out among a pile of random supplies—the training room was notoriously messy, overseen by a kindly yet absentminded old Geziri warrior no one had the heart to replace.
An idea sparked in Ali's head. As they fought, he started letting his fatigue show—along with his fear. He wasn't acting, and he could see a glimmer of triumph in the Afshin's eyes. He was clearly enjoying the opportunity to put the stupid young son of a hated enemy in his place.
Darayavahoush's forceful blows shook his entire body, but Ali kept his zulfiqar up as the Afshin followed his lead toward the windows. Their fiery blades hissed against each other as Ali was pushed hard against the glass. The Afshin smiled. Behind his head, the torches flared and danced against the wall like they’d been doused in oil.
Ali abruptly let go of his zulfiqar.
He snatched the khanjar and dropped to the ground as Darayavahoush stumbled. Ali rolled to his feet and was on the Afshin before the other man recovered. He pressed the dagger to his throat, breathing hard, but went no further. "Are we done?"
The Afshin spat. "Go to hell, sand fly."
The City of Brass is filled with action-packed, character-driven scenes like this one. Chakraborty packs an incredible amount of storytelling information into every page. This makes for a rich reading experience, but, remarkably, never a tiring one.
The City of Brass can drag a bit at the beginning; Nahri doesn't make it to Daevebad into a fifth of the way into the book. As previously stated, the rules and organization of this world can become overwhelming at points. It won't cause you to disengage with the story, but it might make you frustrated that you don't understand the world better — a good sign as far as "issues" go.
The Daevabad Trilogy will continue with The Kingdom of Copper. In the mean time, I highly recommend diving into the world of The City of Brass. Chakraborty's debut is a rich historical fantasy world which works as escapist fiction, while also drawing topical parallels to our current sociopolitical situation.
Come for the lush fantasy setting, stay for the ways in which Chakraborty smartly subverts everything from the YA love triangle to the glorification of royalty to the idea that historical fantasy can only take place in settings that look like medieval England with people who only look like Sean Bean.
Superman actor Henry Cavill updates on the status of his contract, hinting that a more “feel-good” movie appearance is next.
Warning: Some SPOILER content for Justice League ahead.
While Justice League‘s $96 million weekend domestic debut ($185.5 million foreign,) may have failed to deliver on the appropriately-astronomical forecast for the embattled, $300 million-budgeted, megamovie, it did correct the DC Extended Universe ship to a course of levity and, at a trim two-hour runtime, brevity. Moreover, with the film having reinvented the Man of Steel himself, actor Henry Cavill hints a more sanguine Superman for the future.
Speaking to The LA Times, Cavill reveals that he is currently contracted for one more Superman movie appearance. While he did not specify if it will be fulfilled in Justice League 2 (which, as far as we know, is still on the table,) or a Man of Steel solo sequel, he clearly believes that the future for his version of Superman will veer away from the initial doom and gloom that dominated his previous turns. Addressing the post-Justice League DCEU playing field, Cavill states:
“There’s a wonderful opportunity to tell the Superman story. Now there is a fantastic chance to show Superman in his full colors and tell a very complex, character-driven movie that is based on story and have that wonderful sensation of hope and happiness. A feel-good movie with lessons laced in there as well.”
Cavill’s Superman debuted in 2013’s Man of Steel with director Zack Snyder – armed with a story developed by The Dark Knight Trilogy visionary Christopher Nolan – attempting to curb the character’s big blue boy scout image with a darker, pathos-centric introduction. His return in 2016’s Batman v Superman: Dawn of Justice devolved into morose hero-on-hero movie mayhem, leading to a version of the character’s famed comic book demise. Yet, Justice League saw a resurrected Superman embracing his super-heroic destiny, armed with smirks and one-liners, with an emphasis more on super power and less on glower. As Cavill contends:
“I think there’s an opportunity for these heroes to be represented in a way in which everyone can access. It should be funny. You should be able to take your kids to it.”
Indeed, Justice League proved that death was just the reset button that Cavill’s Superman needed to activate his previously-dormant power of super-humor. That aspect is attributed to pinch-director Joss Whedon, who, having stepped in for a tragedy-stricken Zack Snyder, brought megamovie experience from Marvel's first two Avengers movies for tonally-resetting reshoots. Because of that, Cavill believes that audiences were able to truly see him as Superman for the first time.
“I’ve always enjoyed the traditional, very classic view on Superman in the comic books,” Cavill says. “I think there’s an enormous complexity to that character. I know when I was working with Joss he and I saw eye-to-eye on some of the aspects of Superman. That paragon of hope. That ideal. That wonderful feeling of, ‘Oh, good, Superman’s here!’ I have also developed a very personal and protective relationship over this character, and it was just lovely to have the opportunity to smile and feel good.”
While the Justice League 2 will likely move forward, in spite of the perceived box office setback, it would really be interesting to see Cavill have another go in a Man of Steel solo sequel, specifically one with an over-the-top sci-fi-centric villain like Brainiac, showing him in his more colorful form. It could mirror Marvel’s tonal course correction with Chris Hemsworth’s Thor in Thor: Ragnarok. After a downer of sequel in 2013’s Thor: The Dark World, Ragnarok refocused Thor’s powerful-but-goofy persona in an engaging, empathetic manner. Likewise, Cavill’s Superman can continue to establish more nuance to his character by embracing his absurd invulnerability and his overwhelming powers while cracking the occasional joke, rather than fixating on the internal Kryptonite of his emotional struggles.
Justice League, featuring a more mirthful Superman, can be seen at theaters right now.
Who is Mon-El on Supergirl? We have a relatively simple history of one of the most confusing characters in the DC Universe.
Warning: This article contains potential Supergirl season 3 spoilers.
You know what my first thought was when that mysterious rocket crashed in the Supergirlseason 1 finale? I’m not joking. “Wouldn’t it be cool if Mon-El was in this rocket?” Well, guess, what? Mon-El was in that pod, and played by Chris Wood, he has been dividing the Supergirl fandom for over a year now!
You know what this isn’t? A comprehensive history of Mon-El. Why? Because that would be really long, confusing, and potentially tedious. I’m just going to hit a few high points, specifically ones that I think might be relevant for Supergirl fans.
For one thing, keep in mind that Mon-El was originally introduced via the Superboy comics (there was a kind of “test” Mon-El story that ran in Supermana little earlier, but I’d rather not confuse things further), in 1961's Superboy#89 by Robert Bernstein and George Papp. Essentially, Superboy finds a rocket with a boy who looks a bit like him, speaks Kryptonese, and who apparently came here from Krypton.
Since he has no memory, they go with the name Mon-El, as he landed on a Monday. Simple, right? Of course not.
See, it turns out Mon-El wasn’t Kryptonian at all, but from a planet called Daxam, and his actual name was Lar Gand (you know, the name his father used on the TV show). In the comics, the common Earth element of lead is as deadly to Daxamites as Kryptonite is to Kryptonians, and it doesn’t take long for Lar Gand to get sick. But unlike Kryptonite, which only has adverse effects when in close proximity, once a Daxamite has been exposed to lead, that’s it, they’re done for. The solution was for Superboy to stick poor Mon-El in the Phantom Zone, where he’d have no physical form, and therefore couldn’t die of lead poisoning. Or age. Or anything else.
Look, I’m not sure I get it, either, but that’s the explanation they gave us, and it was good enough for readers in 1961, so don’t yell at me, OK?
The cure for fatal Daxamite lead poisoning was eventually discovered one thousand years later, and Mon-El was freed from the Phantom Zone by the Legion of Super-Heroes, the team of teenaged heroes from the future that Superboy used to have adventures with. Mon-El became the resident Kryptonian-level powerhouse on the team when environmental complications (Earth ended up with faint traces of Kryptonite in the atmosphere) meant that Superboy couldn’t travel to the future to hang out with his pals anymore. The Legion still had a dark-haired, caped badass of their own, though, and Mon-El was a prominent member of nearly every incarnation of the team through the years.
Those in-story/environmental complications eventually gave way to editorial ones, which made Mon-El’s story trickier. In 1986, DC Comics rebooted the Superman mythology completely, and with that, they eliminated his entire history as Superboy. Among other implications, this meant that Superboy never spent any time in the future as a member of the Legion of Super-Heroes, which screwed royally with that team’s continuity. But it also meant that young Clark never encountered his “big brother” and named him Mon-El, sent him to the Phantom Zone, where he would be freed by the aforementioned Legion.
So what’s a guy from Daxam to do?
This was an enormous headache, and one that took years to resolve...and really never was to anybody’s satisfaction. It would take entirely too long to get into here, but the poor writers, artists, and editors in charge of the Legion and Mon-El had to do all kinds of gymnastics to explain things, which resulted in something like three different versions of Mon-El appearing over the course of a the next 15 years or so.
I’ll get back to one of these down below, but stick with me.
Eventually, because DC Comics continuity is a fluid thing, they allowed young Superman to have something of a history with the Legion again, and offered an updated version of Mon-El’s first appearance, one that involved a non-costumed teenage Clark Kent. It’s actually a wonderful little short story, written by Geoff Johns with art by Eric Wright. This played nicely with the elements already implied in the original Mon-El story, such as the loneliness of a young Clark Kent (who would desperately want to meet someone like him) and the inherent tragedy of Mon-El (who immediately loses the only friend he has). It's like a deleted sequence from Superman: The Movie or a lost episode of Smallville. In fact, come to think of it, how the heck did Smallvillenever play around with Mon-El considering how much of the rest of Superman's mythology it got to?
The reintroduction of Mon-El as part of Superman’s history set the stage for him to (temporarily) take over in Metropolis while Supes was busy dealing with some other stuff during the ongoing New Krypton storyline. There are several characters and concepts from New Kryptonthat have made their way onto the SupergirlTV series in various forms, but this Mon-El storyline prominently featured such season 2 characters and concepts as Guardian (who isn't Jimmy Olsen in the comics), Cadmus, and the Science Police. I wish I could recommend these stories more highly, but I found them a little talky and bland. Your mileage may vary, of course.
Now, remember what I said about that period where DC Comics editorial mandated that Mon-El and the Legion weren’t allowed to have connections to Superman’s history?
One solution was to change the very inspiration for the Legion in the first place. They had previously been inspired by the legend of how a young Superman took up the mantle of earth’s protector long before he was old enough to drink or vote. Once that was off the table, it was revealed that they were inspired by the legend of someone called Valor.
Who is Valor? That would be Mon-El...ermm...Lar Gand!
The villains of last year's CW DC TV crossover were the creepy looking aliens known as The Dominators. The Dominators were the villains of a DC Comics story called Invasion, and continued to bedevil the Legion for a number of years, as well. One of the points of Invasionwas that the Dominators were experimenting on humans in order to determine why Earth has so many metahumans running around stopping their plans all the time...and they wanted to find out if they could create their own.
So, Lar Gand’s Mon-El identity had been retconned out of existence, and he was going by the nom-de-superhero “Valor” while fighting alien menaces in our time. Valor played a major part in stopping the Dominators during Invasion, and liberated one of their superhuman farms. He then helped them colonize other worlds, and those worlds eventually became the home planets that gave birth to many of the members of the Legion, and thus “the Legend of Valor” was born as the inspiration for the Legion a thousand years in the future. It’s kinda neat, right?
Now, with the introduction of the Dominators, imagine if the CW decided to play with a varition on this story as the basis to seed a Legion of Super-Heroes TV series of their own, down the line. After all, we know that the Legion exists in SupergirlTV continuity, and the Legion are about to make their debut this year. I mean, it's pretty far-fetched, but then again, so was the idea we'd ever get to see a character like Mon-El on TV in the first place!
Supergirl has its own distinctive take on the Mon-El story, one that has very little in common with his comic book roots, which is fine. But considering that season two ended with him sent to a mysterious place, well...who knows who he could bring back with him, right?
Mike Cecchini would trade every single superhero movie coming for the next five years for one awesome Legion of Super-Heroes TV series. Hire him to executive produce one on Twitter.