The Axiom-man/Auroraman: Frozen Storm Kickstarter has fired off the launch pad and is already off to a crazy phenomenal start. Thank you to everyone who’s pledged support to these two prairie heroes. You’re going to be in for one heck of a ride.
This Kickstarter supports not only Frozen Storm, but also The Adventures of Auroraman No. 1!
I co-wrote the mini comic at the back of Auroraman No. 1 that will lead into Frozen Storm, a superhero novel with action and suspense start to finish. Fans of The Axiom-man Saga won’t want to miss out on this adventure.
It’s been a pleasure working with Jeff Burton on this project and I can’t wait to share with you the story we concocted for Frozen Storm.
Like all writers, I’ve read countless books over the years. Some were awesome, some so-so, and even the ones that weren’t that great I still appreciated for the story even if the writing needed some work. Out of all those books, some have impacted me in different ways both personally and professionally.
Here is a list of 5 books in no particular order that have influenced my writing. I’ve stuck to fiction for this list instead of any writing how-to book. (To purchase the books, simply click on the book’s title.)
Stone of Tears by Terry Goodkind – an ultra long read, but worth every page. The dude knows how to paint pictures in your head with his words and, aside from Stone of Tears being a killer story, it was this word-painting that stuck with me and set the bar for how I paint pictures for the reader in my own work. Not saying I’m anywhere near Terry Goodkind’s caliber, but his great description definitely stuck with me over the years.
Batman: Knightfall by Dennis O’Neil – The first superhero fiction book I ever read and my favorite book of all time. (Yeah, I have a soft spot for superheroes, as you well know.) This book got me in Batman’s head in a way the comics didn’t, and humanized him in a way I could relate to on different levels. It also showed me superheroes didn’t have to be confined to four-color comics or to movies. Clearly, this influenced me later on when it came time to write The Axiom-man Saga.
The Summer I Died by Ryan C. Thomas – Easily the most brutal book I’ve ever read, and I don’t mean brutal as in bad. Not only is it an intense story–people kidnapped by a madman–but the violence level in this thing is through the roof. I loved reading it, and I hated reading it. Ryan made you live each terrifying and painful moment his characters went through. Like live-live. Crazy. But it showed me how to get nasty with violence when needed and how to draw the reader in when it came to someone getting hurt, and it reemphasized for me the importance of ensuring the reader is indeed in your characters’ shoes and not outside of them no matter what is happening.
The Notebook by Nicholas Sparks – Such a bittersweet love story, and it was this book that demonstrated the difference between a romance book and a love story book. It was the love story between the characters that impacted me the most, not their romance, and nowadays when I write two characters in love, I play up the love story angle versus the romantic one. I did this in my book, April, written under the name Peter Fox. To me, love stories have so much more heart than romances.
Left Behind by Jerry B. Jenkins and Tim LaHaye – Aside from the entire series being an interesting story of the Earth’s last days before Christ’s return, the writing takeaway from this book–and the rest of the series–were the constant cliffhanger endings to each chapter. It was just non-stop, and since I’ve read them I’ve done my best to cliffhang each scene and each chapter in my own books. Even cliffhang the ending of book one of a series to get the reader pumped for book two. Cliffhangers keep those pages turning.
So there you have it. A quick list of 5 books that impacted me as a writer. There are more, but I’ll save those for another post.
What books have influenced you as a writer? Sound off in the comments below or send me a note here.
One night, Gabriel Garrison was visited by a nameless messenger who bestowed upon him great power, a power intended for good. Once discovering what this power was and what it enabled him to do, Gabriel became Axiom-man, a symbol of hope in a city that had none.
One night, after a routine patrol, a mysterious black cloud appears over the city. Flying over to investigate it, Axiom-man is stopped short when the cloud’s presence shakes him to the core. An electrifying fear emanates from the cloud, and he can barely get near it. Quickly, the cloud takes flight and leads him on a wild goose chase throughout the city, only to flee from him in the end. Almost immediately after the cloud’s appearance, a new hero arises, Redsaw, clad in a black cape and cowl. The people, now enamored with this new super-powered marvel, seem to have forgotten about Axiom-man and all he’s done for them.
Except something’s wrong. That same fear that emanated from the cloud drips off Redsaw like a foul smell and Axiom-man can barely get close to him without feeling ill.
What is Redsaw’s agenda and who is he? And why is it every time Axiom-man gets close to him, it feels as if his powers are being sucked away?
As if that wasn’t enough, Gabriel’s day job hasn’t gotten any easier. His co-worker and the woman he adores, Valerie Vaughan, has little interest in him, and his boss has made it clear that one more day late to work will be the day he cleans out his desk. Then there’s the new trainee, Gene Nemek. What is his fascination with Redsaw, and why is he never around when Redsaw appears?
From flying over city streets and soaring at dizzying heights, to balancing a secret identity with destiny, Axiom-man must discover what Redsaw’s presence means and how it ties into the messenger’s life-altering visit before the city—and the world—are enamored with an evil that has haunted the cosmos since the dawn of time.
This newly-revised special edition includes an introduction by the author, a bonus short story that takes place right after the novel, and the essay, “The Axiom-man Origin and Why I Write Superhero Fiction.”
Welcome to the Axiom-man: Tenth Anniversary Special Edition.
Author’s note: This essay originally aired on this blog prior to the file purge of 2014. It is now being rerun for your reading pleasure. Please note Zomtropolis is no longer available as a free on-line serial and will be released in paperback and eBook in the near future.
Zombies are monsters. At least, that’s the standard definition. Someone dies, rises, has a taste of human flesh and so hunts down the living and, once the prey is caught, chows down and eats their guts. Oh, and they’re ugly, too, slowly rotting away with each passing day.
That’s the standard version of the zombie and the one most are familiar with.
It’s the one I knew of when I first discovered them, but as for their main backstory, I didn’t know what that wasy.
See, I grew up in a household where horror and monsters where off limits. This was a good thing, in that I didn’t have to view creepy faces, see blood and guts, watch people get killed, or be subject to dark forests like other kids I knew. I was probably saved hundreds of hours of nightmares as a result. This absence of horror made for a happier childhood, in that regard. My dad always said, “If you want to watch horror, watch the news.” And he was right, and still is. We live in a sad world with villains in it that outmatch most of what we create in books or on screen.
At the same time, being so sheltered was a detriment to a well-rounded upbringing because later on, I was naïve about a lot of things, including the darker side of life, both in terms of what humans were capable of and scary images.
My first exposure to monsters was seeing a ripped-from-a-magazine picture of Freddy Krueger lying in the playground in elementary. The image of a disfigured man with bubbles on his skin was so foreign to me that I had occasional nightmares from that single image for years. I never saw an actual Freddy movie until I was eighteen and living on my own, but I got to tell you: going to the video store to rent one sent up all sorts of red flags and I was scared to watch A Nightmare on Elm Street for the first time.
But zombies, werewolves or vampires growing up?
At most I saw the Halloween episode of Highway to Heaven where Michael Landon was a werewolf for part of it. Scared me to death. Same with that other episode with the devil.
Highway to Heaven. Good show, from what I remember, and it was allowed in the Christian household I grew up in for its message. It was also this growing up in a Christian household and the zero tolerance policy for horror and monsters that shaped my life, not only in terms of what I couldn’t see, but how I reacted when faced with the horrors that pop up in life now and then.
In fact, I only got into horror because of something painful that happened to me. It was in this place of darkness that I found comfort in other dark things for a long time.
Later, when I incorporated writing about zombies into my writing career, my view of the undead and fandom of them wasn’t your typical horror fan’s. It wasn’t the blood and guts that excited me or their spooky nature, the whole things-that-go-bump-in-the-night thing.
Instead, it was rooted in my first love: superheroes.
And they still are.
I’ve never viewed zombies as “horror monsters” in terms of how I create and write them. To me, they’ve always been supervillains, and I think it’s this definition of them that is more accurate: they are “super” because they can’t die via conventional means—only by the removal of the head—and are certainly not part of our everyday lives, and they are “villains” because of the evil act of eating others they commit.
When I set out to write my first zombie book, Blood of the Dead (book one of the Undead World Trilogy) I didn’t want to write a standard zombie novel about a virus, people dying, people coming back, people surviving. I’ve never been one for formulas in my fiction and have always tried to do something new with each tale. Once the story was done, it immediately birthed unusual plans for the sequel, Possession of the Dead: angels, demons, giant zombies some fifteen stories high, shamblers and sprinters, shape shifting zombies and the consequences of the time travel ending of the first book. The third, Redemption of the Dead, incorporated all these unusual elements, while neatly dealing with the time travel issue and ensuring it was paradox-free, which, as a major time travel fan, was something important to me. But all along, as these books were written, the zombies were supervillains to me, with my main cast—Joe, Billy, August, Des, Tracy—being superheroes in their own right, especially Joe and Tracy. While Joe was an excellent shot with the gun, tough as nails and grim, Tracy was a highly-skilled marksmen and fighter. Likewise, they had the tendency to rescue people versus just letting people die.
The story certainly would not have been what it was without my love of the superhero genre and my sheltered upbringing. Doing zombie stories this way also enabled me to tackle Zombie Fight Night: Battles of the Dead, with a kind of comic book sensibility, that is, classic characters—ninjas, samurai, robots, Vikings, and more—and pit them up against the undead in Bloodsport-like battles, each fight with a purpose that served the overall story being told between each bout.
The supervillain angle—I like it. I grew up with it, being a huge fan of Super Friends, the Christopher Reeve Superman flicks, the Tim Burton Batman movies, even the Spider-Man TV show. To be honest, I can’t imagine writing monsters any other way other than as supervillains because that’s what they are to me.
Any monster is, actually, and I explored this idea in the series of anthologies I edit called Metahumans vs. The first two are Metahumans vs the Undead and Metahumans vs Werewolves. For the uninitiated, metahumans are superheroes are the same thing. The idea with this series was not only to showcase independent superheroes, but also put them up against a new kind of supervillain that isn’t used that often in comics or cartoons: monsters.
Before you accuse me of this article being a giant commercial for my undead work—for free serial zombie fiction, see my on-line novel, Zomtropolis at www.canisterx.com, wink wink, nudge nudge—there’s a point to all these examples, and that is this: not to let stereotypes and archetypes be a guide for your fiction, in this, we’re talking about undead fiction.
Why do zombies have to monsters via the standard definition? Why can’t there be something more to them?
I fully realize we live in a very commercialistic society, where most of what’s produced is made because it’ll make the most money. For me, this is a shallow way of approaching storytelling. It’s selfish, it’s limiting, it’s, frankly, wrong. Art—which includes writing—should be about honest expression, about pushing boundaries and trying something new. Will this new thing always be popular? No, but the fact that it is new is important and shows the artist behind it has put thought into it and expressed something from within versus simply a formula of what would sell.
Let’s look at the typical zombie formula.
1) a virus sweeps the world, killing people
2) these people rise from the dead as flesh-eating machines
3) a group of people were somehow not infected—which may or may not be explained
4) this group must survive in a half-destroyed world with limited resources—are our armies really that incompetent that the surviving military couldn’t defeat creatures who are stupid and slow?—and battle amongst themselves and against shambling zombies
Did I miss anything?
While this is fine for the skeleton of a story, it doesn’t make much for the meat of it. There needs to be more. Reasons for things need to be given. A new spin on these four main ideas needs to be taken otherwise it’s just the same story being told over and over again, the only difference being the people’s names and locales.
“Well, that’s what the audience expects?” you say. They expect that because that’s what we’ve been giving them.
Ever read a book or see a movie and go, “Now that’s a new way to do it?” I have. It’s an amazing realization and elevates the work in question to a whole new level upon seeing it.
Some possible fixes to the aforementioned zombie formula, off the top of my head:
1) Why is it always a virus? Why not something supernatural? Or something from space? Something from Earth? Something mechanical that gives the illusion of people back from the dead? I edited an anthology called Dead Science, which challenged the authors to create unique science-gone-wrong-based origins for the undead. The stories they came up with were fun and original.
2) Shamblers and sprinters seem to be the order of the day. Some have ventured into smart zombie territory. What if they had super strength? What if to kill them it wasn’t cutting off their heads but it was their guts—source of hunger—that needed to be removed? What if they were giants? What if part of the cause of them dying also shrank them and you had zombies so small they were like bugs and could get all over you so quickly like ants that you had no hope of survival?
3) Seldom is it explained why the group of survivors were immune to the zombie virus. An explanation for their survival needs to be included? Was a vicinity thing? Did the cause of the undead only affect people indoors? Outdoors? Is the whole world taken out or just a part of it?
4) How come the world is always destroyed within a few weeks of the outbreak? Have you noticed this or is it just me? While I realize people act like animals under panic—we’ve all seen riots on the news—all these cities with broken everything, over-turned cars, bodies everywhere, graffiti, everyone suddenly in torn clothes, etc.—I just don’t get it. What about our military? Wouldn’t the countries’ forces combine to eradicate a common threat like a zombie outbreak? How could even a horde of zombies take out a guy with a machine gun unless they’re oh-so-slow moving bodies somehow got in a sneak attack? What about planes and bombs?
I won’t admit to having read every zombie book or seen every zombie movie, but it seems to me the element of realism has been taken out. It’s always been my view that a book or comic or movie—whatever—needs to be grounded in reality somehow, the whole “what if this happened tomorrow for real” thing. To add such an element to a book—regardless of how out-of-this-world the circumstance is—suddenly brings that fantastic circumstance into our world and puts the reader right in the middle of the tale because he/she can completely understand why things happen a certain way. Life isn’t full of conveniences, tidy plotlines and clichéd ideas. It’s a mess with tons of twists and turns.
Shouldn’t our stories reflect life?
The argument is people want to escape. For me, that’s just an excuse to get out of a life that isn’t the one you wanted. How about turning that on its head and reading stories about lives like yours, that aren’t the way the characters wanted, and you draw strength and encouragement from that? There’s lots to be said about relatability and seeing people in the same boat as you, whether they’re real or not, whether the world they inhabit is yours or not.
But I realize that trying new things and going against the grain is countercultural, especially in the West. I realize that to propose writing zombie fiction as something other than zombie fiction flies in the face of decades of tradition.
It just seems, though, that these standard ideas have become so ingrained in us that we’re afraid to move or operate outside them. Afraid to grow. Afraid to step off the beaten path and blaze a new trail.
Batman v Superman: Dawn of Justice (2016) Written by Chris Terrio and David S. Goyer Directed by Zack Snyder Runtime 151 min. 4 out of 5
After witnessing the battle between Superman and General Zod in Metropolis, Bruce Wayne takes it upon himself to ensure the Man of Steel isn’t a rogue alien who might one day enslave the human race. In the meantime, Lex Luthor has sworn to ensure humanity’s survival by securing for himself Kryptonite, which is later discovered to be the one thing that can weaken Superman. Worse, Luthor has a secret project tracking metahuman activity across the globe, which prompts Diana Prince to obtain the confidential data he has on her. To complicate matters, Luthor has also acquired the body of General Zod and creates from it an unstoppable killing machine—Doomsday, a being more powerful than even Superman. It’s going to take Batman, Superman, and Wonder Woman to take down the beast lest the city—even the planet—is destroyed by this destructive force.
Okay, this is a first impression review, with some processing time after.
Batman v Superman is a comic book movie, and not in the campy sense. It has the feel of DC’s direct-to-video animated features and there’s an atmosphere to the movie that superheroes belong in the world created.
The downside to the flick is it doesn’t work as a stand-alone film. There’s no strict A to B to C to the story. It’s more an introduction of story elements that will all play out in future DC movies instead. It’s like the first part of a giant graphic novel, and it is my hope that years down the road when all the other DC movies are released, what we will have is one massive story instead of what is usually given to us in today’s superhero flicks: each one a self-contained tale with subplots running through them that culminate in team-up adventures. If indeed DC’s plan is to make one giant movie, then that’s something never attempted before and never in the superhero genre. If this is the case, that’s brilliant and should be applauded. It’s jarring for moviegoers, but once they catch onto what’s going on, they’ll no doubt be amazed. After all, we do like our epics both on the big screen and TV.
Superman/Clark Kent. Once again, Henry Cavill delivers as the Last Son of Krypton. In fact, I think his performance is a step up from his previous outing in Man of Steel. That first flick was about Superman finding his footing, and while there is still some of that here, it’s more about the world finding its footing now that Superman is on the scene. You can tell Superman has become a beacon of hope to the world despite how some might view him as a threat. He’s bigger, stronger, and carries with him that air of awe and wonder Superman should. We’re not supposed to relate to this god-like being, but instead look up to him as something and someone to aspire to, and Superman is very much coming into that form as the flick goes on. As for the Clark Kent side, reporter Clark in this flick was pretty much just Average Joe. There wasn’t all that much involved in creating a clear line between Superman and Clark Kent, that strong sense of two separate people. I wish there was, but I also see how Average Joe works better in the reality established in these movies than someone who’s an over-the-top nerd. At the same time, it would’ve been nice to see Clark trip over his own feet or bump into a desk or something to really give off that whole there’s-no-way-this-guy-can-be-Superman thing. There was also one scene I had so hoped for in this movie that never came and that was the classic Clark ripping his shirt open to reveal the S. Perhaps in another movie.
Batman/Bruce Wayne. When Ben Affleck was cast, I got behind it right away. I’m an Affleck fan and knew he could deliver on what would be a worn-out Bruce Wayne, which would eventually give way to a worn-out Batman. What can I say? Affleck did a superb job. He did the playboy thing—though he could’ve played up the douche bag part a bit; yet at this point in his life, a cocky playboy might not be in the cards for him—and also did well when it was just him and Alfred. As Batman, this is the Batman we’ve been waiting for. Finally, oh finally, we got to see the comic book Batsuit and a Batman who’s fighting and action was the stuff that made the Arkham games so darn good. He also played the detective, which was never really in the other movies. And the bat-atmosphere? That part where he’s hanging in the corner in the dark and the light shines on him? Spooky and gorgeous. I also enjoyed the final fight and how Batman was portrayed. His limits as a human being with gadgets was shown, which is good, because I’m tired of stories where Batman somehow saves the day instead of the beings that are so much more powerful than him. I’m really excited for the forthcoming Bat-flicks with Ben Affleck in the lead.
Diana Prince/Wonder Woman. Small hero part in this movie, comparatively speaking to the two male leads. As Diana Prince, Gal Gadot was mysterious and intriguing. There was also a sense of detachment about her which, once you learn who she really is, makes perfect sense since she’s from Themyscyra. When the Wonder Woman reveal happened, she stole the show. Sorry Superman and Batman, you were outshone big time. She had a heroic entrance—which is so important in superhero movies—a killer score, and was completely badass when she got down to business and helped in the fight against Doomsday. What was also interesting is while the movie didn’t get too much into who she was, she stilled carried her own weight and felt fleshed-out anyway. Of course, this could all be in my head since I know who Wonder Woman is and enough of her backstory to fill in the gaps. With the Wonder Woman movie in production as of the writing of this review, I know I’ll be one of the first in line when it comes out. She was that good.
Lex Luthor. If Jesse Eisenberg is good at one thing, it’s playing the prideful I’m-smarter-than-everybody-else-in-the-room guy. And, yeah, that’s who Lex Luthor is. He’s a genius, and despite what he tells the public, has a contempt for humanity because he thinks he’s above it. Of course, the paradox is that he himself is human. In that regard, Jesse Eisenberg did a fine job. However, I still feel he was too youthful for the role since Lex is older than Superman in other incarnations, and Lex—as crazy as he can be sometimes—is more of a reserved crazy than someone more animated. It was this animated part that brought Lex down, in my opinion. Crazy is fine. Smart crazy is even better, but this kind of Joker-esque displays that happened now and then were out of place. Maybe given the ending Lex’s personality will change and he’ll be more reserved. We’ll see.
Lois Lane. Amy Adams works for me. She does the hard-nosed journalist thing quite well, and the standard Lois Lane thing of getting herself into hot spots so only Superman can come to the rescue. I don’t mind this trope so long as it isn’t all the time. Her role in this flick wasn’t a main one like in Man of Steel. She was more part of Superman’s support team despite her entanglement in some of the later conflicts in the movie.
Alfred Pennyworth. What can I say? Jeremy Irons did a good job as Alfred, who is also Batman’s co-combatant. Sure, he didn’t don a costume and get out there and fight bad guys, but helped Batman from the Batcave as a sort of special ops overseer. More importantly, he acted as Bruce Wayne’s conscience and wasn’t afraid to go up against him when he disagreed with something. As much as Robin’s job is to keep Batman grounded, it’s Alfred’s job as well, and since he is older than Bruce, he can provide wisdom in areas Bruce isn’t familiar with. Good choice having Jeremy Irons in the role.
There were a few moments in the film where I wished things had gone in a different direction, but that could just be my taste as opposed to my ideas being better.
Unfortunately, WB and DC marketed this movie as one thing and what it was was something different. Once you get over that hurdle and see Batman v Superman: Dawn of Justice for what it’s meant to be in the greater DC Universe, then a lot of pieces fall into place and it’s highly enjoyable.
In light of yesterday’s release of Axiom-man Episode No. 3: Rumblings, below is the updated reading order for the saga. In short, it’s real easy: full-length book, episode, full-length book, episode, etc. While there are a few short stories that take place throughout, the main storyline follows the books.
Axiom-man Episode No. 0: First Night Out Doorway of Darkness Black Water (short story) Episode No. 1: The Dead Land There’s Something Rotten Up North (short story in the anthology, Metahumans vs the Undead) City of Ruin Rite of the Wolf (short story in the anthology, Metahumans vs Werewolves) Episode No. 2: Underground Crusade Outlaw Episode No. 3: Rumblings
Axiom-man has been captured and locked inside an enormous electric cage. Within? A small city and residential zone. Who made them or for what purpose, he doesn’t know. One thing is certain, however: he is trapped and at the mercy of those who took him captive.
The intentions are soon made clear with the appearance of two super-powered beings: the tank-like Battle Bruiser and the playful femme fatale Lady Fire. Soon the battle begins and Axiom-man is forced to survive against those with powers that rival his own. And it seems these two new metahumans are only the beginning. Something is brewing beneath the surface of reality, something sinister that will change the course of history and Axiom-man’s life forever.
Watchmen: The Ultimate Cut (2009) Written by David Hayter and Alex Tse Directed by Zack Snyder Runtime 215 min. 5 out of 5
After the Comedian has been murdered, lone remaining vigilante Rorschach begins an investigation into his old acquaintance’s death. Since most superheroes were banned from existing after some legislation several years before, he looks up old allies and even old enemies in his quest for the truth. Slowly, he begins to unravel a plot that could bring about a disaster unlike anything the world has ever seen before.
Based on what some would argue is the greatest graphic novel and superhero story of all time, Watchmen written by Alan More and Dave Gibbons, this movie adaptation was years in the making. Not this specific rendition, but from what I know, the book was optioned way back when it came out in the ’80s but never got off the ground. One of the reasons was very few filmmakers had the guts to touch it because Watchmen is such a revered work amongst comic fans and even in some literary and academic circles.
Enter director Zack Snyder (Dawn of the Dead (2004), Man of Steel, 300 and more), whose eye for detail and a knack for visual storytelling takes on the gargantuan project and does his best to faithfully adapt Watchmen to the big screen. Him and his creative team nail it, in my opinion, and adapt the book the only way something like Watchmen could be adapted: panel-by-panel. It was the safest route but also the smartest. Some changes were made—like the ending—but for the most part, the book is translated completely as is to the big screen. Even the director’s cut includes additional scenes and animated clips from Tales of the Black Freighter interspersed throughout just like the graphic novel has bits of the pirate comic peppered throughout the main narrative.
Watchmen asks the question: what would superheroes be like if they existed in the real world? Whether they are of the superpowerless variety or something more Superman-like ala Dr. Manhattan, you get an honest portrayal of superheroes in real life, all centered around the mystery of the murder of one of their friends.
This story is about as down-to-earth as you get regarding superheroes in real life, and depending on the angle you’re coming from, can be equal to or more so than Kick-Ass in that regard.
Each character in the flick matched their character in the book, all the way from the crazy-yet-cynical Comedian (Jeffrey Dean Morgan), to black-and-white-justice-seeking Rorschach (Jackie Earle Haley), to idealistic-yet-obsessed Nite Owl (Patrick Wilson), to insecure-but-strong Silk Spectre II (Malin Akerman), to misguided-but-you-can-see-how-he’s-right Ozymandias (Matthew Goode), and a supporting cast that makes every moment believable.
The Watchmen story is so dense that the fact they were able to take the twelve-part series and showcase nearly all of it in around three and a half hours—I’m talking about the ultimate cut of the movie, which includes Tales of the Black Freighter and a bunch of additional footage not seen in the theatrical release—is pretty impressive. What’s amazing about the Watchmen narrative and thus the movie is the incredible amount of history for the characters that needed to be shown without bogging down the main story, which was the Comedian’s murder. You get to know these characters intimately, their pasts, their present and in some cases, their future.
Zack Snyder’s knack for visuals gave this flick its own flavor and tone thanks to the color filters on the film. The score is fantastic. The action scenes were well done and quickly-paced, using brutal fighting techniques and the right amount of blood.
Watchmen is certainly not your traditional superhero flick. It’s a superhero drama and is meant for an audience who likes to have some thinking along with their superhero slugfests. As a comic book fan, I appreciated the movie’s faithfulness to the graphic novel, the overall story of Watchmen, and how each person involved really seemed to take this movie seriously. Nothing was tongue-in-cheek.
Watchmen ranks right up there as one of the greatest superhero movies of all time. If you consider yourself a superhero fan, then you should check it out. It’s a serious look at the genre through the lens of a clever story with amazing characters, all of which you feel like you’ve known for ages instead of just for a few hours on the screen.
Superman/Batman: Public Enemies (2009) Written by Stan Berkowitz Directed by Sam Liu Runtime 67 min. 4.5 out of 5
The Man of Steel has been framed for the murder of Metallo.
Now on the public’s radar as a wanted man, Superman must team up with his greatest ally—and closest friend—Batman, to clear his name and show the public what really happened the night Metallo died. But before he can do that, he must survive an onslaught of superheroes and supervillains alike, all of whom have come to cash in on the bounty for his capture.
Meanwhile, a giant kryptonite meteor is on a collision course for Earth, making things even worse for the Man of Steel who has no way to stop it, especially since the President of the United States, Lex Luthor, wants to destroy it himself with nuclear missiles.
Will the Earth survive and will Superman restore his good name?
This movie, based on the graphic novel by Jeph Loeb and Ed McGuinness, Superman/Batman: Public Enemies, is a comic book fan’s dream come true. Not only does it feature all of comicdom’s two most popular icons, but also a super supporting cast consisting of Power Girl, Captain Atom, Major Force, Black Lightning, Starfire, Katana and a host of other familiar faces, including, but not limited to, Captain Cold, Mr. Freeze, Bane, Lady Shiva and a ton of others.
The story is solid, simple, but enough to really showcase each character: Superman as the one who doesn’t kill; Batman as the disgruntled detective; Lex Luthor as the glory-seeking, power-mad President—it totally works. The pacing was bang on and not once was I bored. Even the humor was in-step with the rest of the movie and didn’t come across like jokes from left field. Case in point, the giant robot in the end would’ve come across as goofy had not an explanation been given for the way it looked.
There was a good give-and-take between Batman and Superman in this flick, too, both in their banter with one another, their approach to doing things, and also in saving each other’s bacon. Sometimes it seems that whenever the two team up, it’s always Batman that saves Superman. It was awesome a balance was finally struck between who helps who and when.
I’m a huge fan of Ed McGuinness’s rendition of Superman and to see that they mimicked that art style in this feature made this fanboy happy. His Superman is big and strong and powerful. His Batman is top notch, too, same with the other characters.
Of course, having Superman voiced by Tim Daly and Batman voiced by Kevin Conroy only adds to it as these guys were the voice talent behind these characters on their respective animated series. I really wish they would’ve been used for all the animated movies, but sadly that’s not the case and, of course, there’re different behind-the-scenes reasons as to why that is. Regardless, each actor captures each character perfectly, their tone, inflections and presentation reflecting the hero they’re supposed to portray.
Superman/Batman: Public Enemies was one of the early feature-length DC animated movies and still holds up to this day as a classic.
