The Animated Series Redux: Mask of the Phantasm

Anyone who read my thoughts on Batman: The Animated Series shouldn’t be too surprised that I’m writing about it again, being that it is my favorite take on the character.  Based on the massive success the series had seen to that point, Warner Bros. approached the creative team (Bruce Timm, Paul Dini, and series writer Alan Burnett) a few months into the run of the first season about doing a feature-length animated film.  In the early stages of production, Warner Bros. decided that the film would have a theatrical release rather than being straight to home video (as most animated films are).  This change resulted in a condensed schedule, requiring the film to be finished in about eight months, as opposed to the average 18 months to two years that animated films typically demand.  The finished product was released on Christmas Day in 1993, titled Batman: Mask of the Phantasm.

 

DVD Cover Art

While the film was part of Batman: The Animated Series, and what would become the bigger DC Animated Universe (DCAU), and retained the trademark "Dark Deco" style the series is known for, it was in stark contrast to what the actual series had offered thus far.  It focuses on a villain outside of Batman’s normal Rogues Gallery: The Phantasm, a dark, grim figure who terrorizes aged Mafioso.  Using flashbacks, it also serves as an origin of Bruce becoming Batman for the first time, something B: TAS hadn’t done in the actual series.  But more than all of that, the film is a love story.

 

Young Bruce and Andrea

Batman (or maybe more specifically, Bruce Wayne) has had several romantic partners through the years: Julie Madison (the very first), Vicki Vale, Catwoman, Jezebel Jet, and (arguably the most significant) Talia al Ghul.  However, no story (at least that I’ve ever read) has been a LOVE STORY.  Mask of the Phantasm is probably as close as you’re going to get.  The flashbacks of the story detail a pre-Batman-Bruce first meeting Andrea Beaumont, the would-be love of his life.  Their first encounter comes when Bruce, visiting his parents’ graves, recounts the vow he made to them to purge Gotham City of all crime.  He overhears Andrea speaking to someone, which is revealed to be the grave of her mother.  The two begin a relationship that unfolds over the course of several months, bringing Bruce to the point of giving up his war on crime before it ever begins.

 

"Please! I need it to be different now. I know I made a promise, but I didn't see this coming. I didn't count on being happy."

Following Bruce’s proposal for marriage, and her initial acceptance, Andrea leaves a note for Bruce stating that she would be leaving the country with her father (and mafia associate) Carl Beaumont.  This is a result of her father’s dealings with the mafia ending poorly and being forced to go on the run.  The loss of Andrea is the final determinate factor for Bruce to make the transition to Batman.

 

Best image in the film

Years later, the mysterious Phantasm appears in Gotham and begins systematically killing mafia leaders in the city and, due to The Phantasm’s similar appearance to Batman, the Dark Knight is targeted by the Gotham City Police Department as the main suspect.

Now, one thing I have not done at all in this series is complain, so I’ll go ahead and rectify that.  My main problem with this movie is the involvement of The Joker.  I like The Joker, sure.  Who doesn’t?  But he’s never been my favorite of Batman’s villains.  And the main reason for that is because of overexposure.  And it’s instances like his shoehorned inclusion in this film that have turned me off to the character.  His scenes are great, as always.  Mark Hamill is fantastic at voicing him, as always.  But, thinking in terms of the plot, it feels forced and leaves a bad taste in my mouth during every viewing of this movie.  He’s Batman’s arch nemesis, so naturally he is going to appear frequently in adaptations of Batman stories across various media (films, video games, television shows, et al.).  He’s a great marketing tool as well.  Ask anyone on the street to name a Batman villain and the majority will say “The Joker”.  So having him in the film is probably a sales motivated decision, but it really is quite unnecessary.  Rant over.

 

The Joker imposing himself on someone much like he imposes himself on this film

Ultimately, Batman deduces that The Phantasm is NOT Carl Beaumont as most of the story has hinted.  Seeking revenge for the death of her father, it is Andrea who returned to Gotham as a bringer of vengeance upon the mafia.  The final target The Phantasm/Andrea has is The Joker, who is revealed to have been a low-level mafia enforcer in his pre-Joker days and is implied to be the one who actually “pulled the trigger”, so to speak, on her father.

 

The Phantasm

I mentioned in the entry on B:TAS that the series took inspiration from the World’s Fairs of the 1930’s.  The climax of the film goes beyond inspiration and flat-out takes place in the ruins of the Gotham City World’s Fair.  While Bruce and Andrea had visited the World’s Fair in one of the flashback sequences on one of their first dates, the climax portrays a run down, dilapidated version having long since been out of commission and now serving as home to The Joker.  In probably the only piece of comedy in the film, Joker and Batman have a Godzilla-esque fight in a miniature of Gotham City.

 

Batman and The Joker fighting in mini-Gotham at the World's Fair

The Joker at the mercy of Andrea/The Phantasm

Andrea vanishes with The Joker, presumably to exact her revenge on him, which leaves Batman in a state of defeat, having lost the love of his life again, despite her dark moral turn.  Back in the Batcave, Alfred assures Batman that Andrea was beyond saving.  Just then, Batman notices a glimmer in the darkness of the cave.  Finding a locket containing his and Andrea’s picture, the hope that she is alive is re-instilled in him.

 

Andrea's locket

The final two scenes of the film establish the lovers coping with the situation.  First, Andrea, on an ocean liner, is approached by a stranger asking, “I’m sorry, did you want to be alone?” with Andrea responding, “I am.”  The second is of Batman simply standing on a rooftop, noticing the Bat-Signal in the sky, and swinging off to continue to live up to the vow he made to his parents all those years ago.

 

Gotham's protector

The film pretty much broke even at the box office, costing $6 million and bringing in about $5.6 million.  Creators of the film believe the limited release (as in a low number of theatres) and next to no promotion of the film even existing as to why it was not as successful.  Considering the wild success the film saw once it hit home video (VHS in May ’94, DVD in ’99 and ’05, no Blu-ray release as of yet), I think that they are probably correct in their line of thinking.

Twenty years after its initial release, Batman: Mask of the Phantasm continues to appear of “Best of” lists for animated films, superhero related or otherwise.  My one complaint aside, the film is extremely satisfying for me and, of the handful of Batman animated films, I would rank it as the best.

As always, thanks for reading!

-Josh

Sources: excerpts from primary source interviews; Wikipedia

Batman, related characters, and images in this blog are owned and trademarked by DC Comics, a division or Warner Bros. Entertainment, Inc. 

Twilight of the Superheroes: Kingdom Come

The American comic book industry has generally always been a cultural barometer.  Comics of the 1940’s and 50’s epitomized post-war optimism. Those of the 60’s reflected the growing interest in science.  In the 70’s, hot button issues such as drugs and the Vietnam War were at the forefront.  In the 90’s, things were pushed to new, extreme boundaries.  Violence became a main point, not a result, of the plot of many comics.  Those who grew up idolizing the iconic period of time known as The Silver Age of Comics (regarded as taking place from 1956 to 1970) considered the 90’s to be a dark time in the comic industry, by and large.  Batman had traded in his traditional gray and blue costume for an all-black version, Superman had died and come back to life (this time, with a mullet.  No, not joking), and everyone everywhere had pouches on their costumes.  It was weird.  Many comic creators poked fun at the absurdity of just how out-of-hand things had gotten.  In my opinion, none did it better or on a more grand scale than Mark Waid and Alex Ross in Kingdom Come.

In 1996, Alex Ross formed the concept of the story (which was probably itself based on Alan Moore’s never published “Twilight of the Superheroes”, but I digress) and pitched it to DC Editors.  Writer Mark Waid was assigned to the project due to his extensive knowledge of the DC Universe.  Paired with Ross’ gorgeous gouache painted art style, Waid’s plot depicted a world 10 years into the future of the DC Universe.  Superman is in seclusion following the death of Lois Lane.  Many other heroes have either retired or died.  A second and third generation of heroes has risen in their place led by Magog, who harbors disdain for Superman.  The plot is played out to the reader through the narration of Norman McCay, an aged pastor who is led through the story by The Spectre, a supernatural being.  As Magog and his forces continue to increase the brutality with which they bring “justice” to Earth, they accidentally trigger a nuclear event when Captain Atom, a hero capable to harnessing nuclear energy, is killed.  Due to this, Superman comes out of retirement (not without some coaxing from Wonder Woman) and rebuilds the Justice League.  The first person he attempts to recruit is, naturally, Batman.  Visiting Wayne Manor, Superman finds it in a damaged and disheveled state.  Superman ventures down into The Batcave, calling out to Batman, who responds with his first line in the book, “I bow to your superior wisdom.”  Learning that Batman’s secret identity was revealed some years ago, Wayne Manor has come under attack by the likes of Bane and Two-Face (and probably many more).  Superman asks Batman, who is now nearly crippled and reliant on a powered exoskeleton, to join him to fight the “new guard” of heroes, but Batman declines, citing Superman and other super-powered individuals as being part of the problem the world faces today as well as harboring resentment toward Superman for abandoning the world ten years prior.  After Superman leaves, Batman’s network of allies (Oliver Queen AKA Green Arrow, Dinah Lance-Queen AKA Black Canary, and Ted Kord AKA Blue Beetle are revealed, hinting that Batman has a plan of his own.

 

The New Justice League

Initially comprising of Superman, Wonder Woman, Flash, Green Lantern, Hawkman, Power Woman, The Ray, (all pictured above) and the former Robin, now going by Red Robin, the new Justice League combats the threat of the new ultra-violent heroes and villains and begin to lock them away in a specially built prison called The Gulag.  Meanwhile, it is revealed that Lex Luthor has organized the "Mankind Liberation Front".  Along with Catwoman, The Riddler, Vandal Savage, King (leader of the Royal Flush Gang), and Ibn al Xu'ffasch (the son of Bruce Wayne and Talia al Ghul), Luthor and the MLF work toward the end of all superheroes, old and new.  Luthor reveals that Batman (he literally shows up wearing a business suit, but is still referred to as “The Batman”.  It doesn’t get better than that) and his allies (who are nearly all non-powered heroes) have aligned with the MLF to stop the Justice League.  This all turns out to be a ruse to learn Luthor’s true plan which involves the brain-washing of Billy Batson AKA Captain Marvel.  Following the imprisonment of Luthor and company, Batman tips Superman off to the unstable nature of Captain Marvel.  As a riot breaks out in The Gulag, Wonder Woman leads the Justice League to stop the villains as Superman rushes into battle with Captain Marvel leading to the second most awesome splash page in the comic.

 

The Final Battle

Followed by the most awesome when Batman and his Outsiders join the fight.

 

Epic

The final battle ends with the United Nations sending three nuclear missiles to decimate the superhero population (WHICH THE AVENGERS WOULD BLATANTLY RIP OFF 15 YEARS LATER, but I digress…).  Superman is able to break the mind control of Captain Marvel which allows for Marvel to make the sacrifice of detonating the final (Batman and Wonder Woman stopped the other two) missile before it hits.  In the aftermath, the remaining heroes give up their lives of vigilantism to help the world as humans.  With Wonder Woman becoming a teacher to help educate some of the reformed heroes of the new generation, Batman and Superman come full circle with their lives, adopting the professions of their fathers as a doctor and a farmer, respectively.

  

In the epilogue of the story, which takes place one year after the final battle, Superman and Wonder Woman meet Batman at a superhero themed restaurant called “Planet Krypton”.  The Trinity discuss how their lives have been altered and, before they have the chance to reveal it, Batman deduces that Wonder Woman is expecting a child.  “Always the detective,” Wonder Woman quips and in turn surprises Batman by asking him to be the child’s godfather.  The scene ends with Superman telling Batman that “I know I trust you.  Despite our differences over the years…  I always have” and the two most powerful men in the world hugging it out.  Super Friends, indeed.

I try to give my insight on the art of a particular book when writing about it.  I’ve read Kingdom Come many times.  I’ve seen the art of Alex Ross even more.  But no amount of words I could string together would do it…  Justice.  So, I’ll simply give you a couple additional images.

Batman's former sidekick, now Red Robin

Aquaman declines joining the new Justice League

The return of Superman

I realize this is an odd choice as a topic for a Batman-based series.  He doesn't even appear until about one-fourth of the way into the book and doesn't appear in costume until about the last 20%, but Kingdom Come is a Batman story just as much as it is a Superman story or a Wonder Woman story.  While the book worked to show that a generation of heroes who were considered to be “too old” to be cool or relatable were in fact still relevant, it also tells the story of humanity and its place in the superhuman world.  When you have a pantheon of heroes in Green Lantern, the Flash, Aquaman, Wonder Woman, and indeed Superman, who is worthy enough to stand beside (and oftentimes in front of) them?  Batman, a human.

As always, thanks for reading.  See you next time!

-Josh

Sources: excerpts from primary source interviews; Wikipedia

Batman, Justice League, and related characters, and images in this blog are owned and trademarked by DC Comics, a division or Warner Bros. Entertainment, Inc.

The Long Halloween

Jeph Loeb and Tim Sale.  In my book, they’re the Lennon and McCartney of comics.  Their work on quasi-origin story Superman: For All Seasons, a four-issue series that uses the themes of Spring, Summer, Fall, and Winter, gives readers a look into the life of Superman when he is not wearing the cape.  The Marvel “color books” (Daredevil: Yellow, Spider-Man: Blue, and Hulk: Grey) are stories to which I direct any reader looking for a comprehensive look at any of those three characters.  Loeb, who already had a background in film and television, went on to become Executive Producer of the superhero-based television series, Heroes, for which Sale was also a frequent collaborator, providing artwork for the first season of the show.  All of those works came after The Long Halloween.

In the early 90’s, Loeb and Sale had done three Halloween-themed stories for DC Comics, each starring Batman.  Based on the popularity of those three stand-alone stories, DC Comics Editor (he is also a comics LEGEND and, like myself, a Tulsa native and Will Rogers High School alum) Archie Goodwin approached the duo at the 1995 San Diego Comic Convention.  Goodwin stated that he enjoyed their portrayal of mobsters in their Batman work and wondered if they would be interested in doing more of the sort.  As Loeb describes it, Goodwin and Sale went on to have an entire conversation while he was “stuck with this black-and-white dream of a Gotham City that was controlled by Guys with guns, Dolls with lipstick, and Shadows who had shadows.” 

Continuing Frank Miller’s work from Batman: Year One, the story sees a young Batman working closely with Captain (not-yet-Commissioner) Jim Gordon and District Attorney Harvey Dent to take down Carmine “The Roman” Falcone and his criminal empire.  Falcone is played as a typical mob leader who very well could have been called The Godfather and we wouldn’t have known the difference (if it ain’t broke, right?), but sports three scars on his right cheek.  We might learn where those came from later on.  First appearing in the aforementioned Batman: Year One by Frank Miller, Falcone has a penchant for wearing carnations on his jacket lapel.  Mass murder and general unsavoriness, sure.  Bad taste?  Not even close.

 

'The Roman' as he appears in The Long Halloween.

I’ve often theorized that Christopher Nolan took about six or seven Batman stories, threw them in a blender, strained it, and called it The Dark Knight Trilogy, but it is undeniable the influence (at least on Batman Begins and The Dark Knight) that The Long Halloween has.  Take the Batman-Gordon-Dent relationship for example.  This story is built on the backbone of that triumvirate working together to defeat crime in Gotham City.

Loeb employs the use of “triplets”- repeating the same, or a variation on the same, line of dialogue- in his writing style.  When Falcone is able to secure the ability to launder money through a bank, Batman’s internal monologue reads, “Somewhere in this city, I know ‘The Roman’ is smiling.”  When the bank official that tried to stop him is killed, the monologue continues, “Somewhere in this city, I know ‘The Roman’ is laughing.”  And, after Batman and Dent set ablaze the hidden stockpile of cash that Falcone is hiding (another image used in The Dark Knight, albeit the money burning was performed by The Joker in the film), the monologue ends with “Somewhere in this city, ‘The Roman’ isn’t laughing anymore.”

The more identifiable “triplet” is the statement of believing in something.  Throughout the series (all thirteen issues), I’m not sure how many variants on the phrase are used, but the most lasting are by Batman: “I believe in Jim Gordon.  I believe in Harvey Dent.  I believe in Gotham City.”  Many will recognize the second version from, you guessed it, The Dark Knight.  In the comic, it is used as a sentiment from Batman, whereas in the film, it is part of Harvey Dent’s re-election campaign.

Now, like I said, the genesis of The Long Halloween is Batman, Gordon, and Dent teaming to take down a criminal empire.  The true plot, however, is a murder mystery.  Over the course of the story, which takes place from June of one year to Halloween night the following year (so about 17 months), the Caped Crusader investigates Holiday, a murderer who (initially) has been killing members of the Falcone Crime Family, but only on various holidays.  As the story continues, Batman and Gordon begin to suspect Dent of being Holiday.  The various crime families turn their attention to Dent as well, with one of the mobsters throwing acid in his face, disfiguring the District Attorney.

The artwork in the book is criticized at times, but I think that it’s brilliant.  Sale’s use of shadows and minimalism on characters like Batman, Catwoman, and The Roman works in stark contrast to some of the more detailed figures such as The Joker, Poison Ivy, and District Attorney Dent’s alter-ego.

Probably my favorite image in the entire book.

My biggest complaint about the story is that there isn’t enough of it.  A continuation, I mean.  Loeb and Sale did go on to do a sequel titled Dark Victory, which I will most definitely write about in the future, but I love stories about gangsters, so I would have loved to see more of The Roman in this same style.  My wish has slightly come true in that Carmine Falcone, looking a little more contemporary, recently made a return to comics in the current weekly series Batman: Eternal.

 

'The Roman' returns in Batman: Eternal (2014).

In my last post, I stated that this is possibly my favorite Batman comic of all.  As I do a lot, I jumped the gun.  The Long Halloween isn’t my favorite (don't worry, you'll find out what is soon enough).  It’s definitely in the top three, though.  It’s a detective story, it’s true to the character, it’s an origin for my second favorite villain, so it’s got all of the necessary pieces.  It served as inspiration for one of the most critically acclaimed superhero films of all time, The Dark Knight.  If I haven’t convinced you to go out and pick up a copy, I don’t know what will.  Maybe flip a coin?

Check back on Friday for a look at Mark Waid’s “twilight of the superheroes”, Kingdom Come. 

Thanks for reading!

-Josh

Sources: excerpts from primary source interviews; Wikipedia

Batman, related characters, and images in this blog are owned and trademarked by DC Comics, a division or Warner Bros. Entertainment, Inc.