Superheroes Getting Medieval Again This Summer

Yasmine Putri's main cover of Dark Knights of Steel II #1

In July, as part of DC's new push on its Elseworld's alternate reality settings, writer Tom Taylor and artist Otto Schmidt take us back to the popular Medieval universe of Dark Knights of Steel for a second adventure arc.

Other Elseworlds books being released this Summer include Supergirl: Survive (Kara and Kal-El escaping Krypton’s destruction together) in June and Superman: Father of Tomorrow (Jor-El arrives on Earth instead of Kal-El) in May.

Confessions Of A Superhero (2007)

A fascinating 90-minute documentary looking at the lives of four acquaintances who make their living from dressing up as superheroes and posing for photographs with tourists outside the world-famous Mann's Chinese Theatre on Hollywood Boulevard.

The primary focus of the feature is Christopher Dennis, the Superman of the group, who claims to be the son of actress Sandy Dennis, although her living relatives deny this.

A generally positive person, Dennis seeks to embody all that is good about Superman when he is wearing the costume, and is very protective of the character and all that he stands for.

Living in a hoarder-style apartment, surrounded by Superman memorabilia, there's an inspiring naivety about his personality that borders on autistic, and despite the knocks he suffers, and the darkness from which he has come, he soldiers on.

Maxwell 'Maximus' Allen is Batman, and it's hard to tell if he really has had the shady past he claims (and occasionally contradicts) or if he's a master fantasist. Even his wife is quoted as saying she only believes half of his stories.

What is undeniable, unfortunately, is his anger issues and Maxwell's arc unfortunately peaks with his arrest for threatening behaviour.

The giveaway that this was not going to end well really begins with Maxwell turning-up for his psychiatrist appointment in full Batman costume.

Of course, it's highly possible that that was staged for the film (how could a real psychiatrist allow his sessions to be filmed like that, anyway?), but it's still a jarring moment in the narrative that makes you realise something could be going wrong.

All the street performers are governed by strict laws - including only being able to work for tips, not being able to demand payment etc - and the documentary also talks to the patient police officer who patrols the area, and explains the problems he has with some of the "pan-handlers".

Jennifer Wenger (née Gehrt), as Wonder Woman, is probably the most recognisable of the featured performers, having gotten a variety of acting gigs off the back of this documentary and being a recognisable convention cosplayer.

Her storyline goes from her desire to get away from the stifling confines of her highly religious hometown, through a hurried romance and marriage, to a point in her life where she can see her dreams maybe coming true.

Joe McQueen, as The Hulk, is the final personality of the piece. Like the others, he is an aspiring actor, but living homeless on the streets of L.A. he really has to go the extra mile to prove himself and the film ends with getting a potential big break in a Justin Lin flick.

Despite the set-backs they all suffer, overall the majority of the stories told in Confessions of A Superhero are positive, offering an intriguing glimpse behind-the-curtain at the lives of people you might possibly cross the road to avoid - for fear of being hit up for change.

How Do You Handle Romance In Your Games?

The greatest thing, you'll ever learn,
Is just to love, and be loved in return.

- Nature Boy, David Bowie (from Moulin Rouge OST)

"Mawwiage, that bwessed awwangement, that dweam wifin a dream! ... Twoo wuv will follow you forevah, so tweasure your wuv."

- The Impressive Clergyman (Peter Cook), The Princess Bride (1987)

It's Valentine's Day, so I have a question for my fellow gamers: how do you handle "romance" in your games?

I'm not talking about a quick bunk-up with a barmaid (a cliché of most teenagers' D&D games) but genuine courtship, marriage etc

Has such a scenario ever cropped up in your games or don't your campaigns run long enough to contemplate the need for love and heirs?

Has anyone been involved in a game (non-Pendragon or Blue Rose) where a player has gone the whole hog in his attempts to woo a maiden fair: cards, flowers, dancing, cinema dates, meals out etc?

Since I first started thinking about this aspect of long-running roleplaying game campaigns many years ago, it feels as though the topic of in-game love and romance has become more de rigueur with the younger generation of gamers.

However, that still doesn't mean it's easy to deal with in a satisfying manner.

Romance is a staple sub-plot of many comic books (Comic Book Resources has a list of the 15 most screwed-up relationships, if you need reminding) , but have you, for instance, introduced it into a tabletop superhero campaign?

I know this is something that Aaron Allston advocated through 'blue-booking' in his legendary Strike Force campaign; is this how you would handle romance in your game, would the process be entirely role-played or would there be some mechanics and dice-rolling involved?

Personally I'm in the "more roleplay, less mechanics" camp.

Is romance - either being player-characters or between a PC and an NPC - something you'd even think about or encourage as a gamesmaster or player?

Do characters date? Do their iPhones come with Tinder, Ashley Madison, Grindr etc installed?

Then, from romance, comes the question of children....

While the concept of a generational game is integral to Pendragon, do you think about it in other long-running campaigns?

In a contemporary game have your player-characters become parents and had to deal with daycare, nannies etc while they run off to fight crime? Or is this too close to the real life that they are escaping from in your games?

The delightful Ginny Di has produced a couple of videos on this topic, including a round-up of possible Dungeons & Dragons game mechanics to help navigate this touchy subject:

THROWBACK THURSDAY: How Many 50-Year-Olds Have Superhero-Themed Birthday Parties? Not Enough

The 'Must-Eat League': from left - Richard, Erica, Paul, Jeni, Pete, Me, Nick, and Clare...

The month of celebrations for my half-century (in 2016) came to an end with a superhero-themed meal at the Oriental Buffet in Tonbridge, with a loose comic book-inspired dress code.

You can't really go wrong with an all-you-can-eat dining experience, accentuated by a selection of T-shirts and outfits that ran the gamut from Richard's Batman shirt (he wore the plastic Bat-mask for 90 per cent of the evening as well, which was true dedication to the theme) to Jeni's She-ra costume (complete with gauntlets and headgear) and Rachel's bespoke Marvel comic book dress.

As well as having decorated our table ahead of time with appropriate balloons (several of which also survived the journey home afterwards), my wonderful wife still had one gobsmacking surprise up her sleeve: the best birthday cake ever!

Based on Des Taylor's design from my main birthday present, it was the scumptious, double-decker cake you can see below (created by a local cake aficionado), complete with Acrobatic Flea, Flash, and Supergirl decorations:

BEST. CAKE. EVER!

BEST. WIFE. EVER!

Special mention has to be made of how Paul turned up at our door, before we went to the restaurant. The doorbell rang, and I opened the door to be greeted by The Black Power Ranger!

Apparently he'd changed into his superhero alter ego outside our house (although I still suspect he'd travelled down from London on the train like this, only he'd used super-ninja skills to blend in with the crowd).

Sadly, the costume was too uncomfortable - and totally impractical - for going to a restaurant in. But major kudos for borrowing this outfit and throwing himself into the spirit of the evening!

What Is Seen Cannot Be Unseen: Alice has no clue as to what is happening at this point!

Captain America (1990)

I'll admit upfront that I have a soft spot for the work of late B-movie director Albert Pyun. Having had a couple of interactions with him in my previous blogging life, he came across as a lovely, genuine person.

Following on from my reviews of the last couple of days, it thus felt like time to revisit Albert's 1990 extravaganza: Captain America, featuring Matt Salinger - son of author JD Salinger - in the titular role.

Despite what you may have heard over the years, this adaptation of one of Marvel Comic's core characters isn't actually too bad. Salinger does a pretty decent job as Steve Rogers and Captain America, the costume doesn't look too silly and the production values give it the feel of Lynda Carter's Wonder Woman.

There are some odd changes to Cap's established mythology, with the most bizarre being the transformation of his legendary Nazi nemesis The Red Skull (Scott Paulin) from a German to an Italian (hand-picked as a youth by Mussolini to take part in the Nazi 'super soldier' programme).

The scientist in charge of the experiment, Dr Maria Vaselli (Carla Cassola), clearly hadn't been reading the memos and is horrified to discover that the first test subject is a young boy and so flees the country.

Seven years later, at the height of the Second World War, Vaselli is working for the American Government on its own super-soldier programme with polio victim Steve Rogers selected as the first candidate.

There's flashing lights and sparking machinery - clearly borrowed from Dr Frankenstein - before a Nazi agent kills the professor.

This is quite familiar territory for Cap fans, with him soon finding himself strapped to a Nazi superbomb heading towards the White House (which he manages to redirect at the last moment, of course) that, instead, crash lands in Alaska.

He is discovered 50 years later and refuses, at first, to believe it's now the '90s - until he meets up again with his hometown sweetheart, Bernice, and - after her death - attaches himself to her daughter, Sharon (Kim Gillingham plays both mother and daughter), who he then proceeds to drag into all kinds of danger.

The President of The United States (Ronny Cox) is kidnapped by a cartel of evil industrialists - led by The Red Skull - who opposes his pro-Green stance (they intend to stick a mind-controlling implant in him!) and Cap heads off to Italy to rescue the President from The Red Skull's castle.

There are some nice touches: such as President Kimball having been a little kid who saw Cap save The White House and was inspired by him, and the fact that The Red Skull (whose accent swings from Mafia Don to Count Dracula) mocks Cap as "his brother" (as they were both created by the same experimental science).

The main flaws with Captain America come from the fact that it looks really dated and while there are some stunts and effects they are nothing spectacular. And the same can be said of the script, by Stephen Tolkin. It's very pedestrian and despite the odd moment of inspiration it really isn't much better than a cheap, Saturday afternoon television movie, peppered - for the most part - with clunky, corny dialogue and enormous plotholes.

It even introduces us to The Red Skull's daughter, but she's a total drip compared to Sin, from the Captain America comics, which was a major disappointment as well.

However, Captain America is only 97-minutes long and while great chunks of logic and believability are sacrificed to keep the pace up, it races through the story like a steam train and carries you along quickly to its blissfully cheesy ending.

The Importance of Superheroes

Superman and The Amazing Spider-Man by Ross Andru

Booktube supremo Michael K Vaughan presents a 20-minute video essay on the "importance of superheroes", which I agree with 100 per cent, for the regular Epic Comic Book Wednesday slot on his channel.

Zack Snyder's Justice League (2021)

Building on the foundations laid in Man of Steel and Batman v Superman: Dawn of Justice, Zack Snyder's Justice League is a four-hour epic that sweeps its audience up and carries you along, whether through tightly-scripted character beats or frenetic, supercharged fight sequences.

Gone is the element of "heroic cruelty" that rather tainted the previous two films, this is pure, old fashioned, comic book action, served in a modern, celebratory, style.

Having sworn a pledge on Superman's grave, Bruce Wayne aka Batman (Ben Affleck) teams up with Diana Prince aka Wonder Woman (Gal Gadot) to hunt down fellow metahumans and form an alliance against the coming darkness foretold by Lex Luthor (Jesse Eisenberg).

Eventually they build a team consisting of Victor Stone aka Cyborg (Ray Fisher), Arthur Curry aka Aquaman (Jason Momoa), and Barry Allen aka The Flash (Ezra Miller), to face down the alien warlord Steppenwolf (Ciarán Hinds), who is preparing the Earth for the arrival of Darkseid (voiced by Ray Porter), the definitive uber-bad guy in DC Comics.

I don't want to dwell too much on the previous, theatrical, iteration of Justice League, as reshaped by the disgraced Joss Whedon, when he took over the project after Zack Snyder had to step away due to a dreadful family tragedy.

However, if you have seen that then you will recognise certain scenes and moments in this new cut, but so much of it is new - to us - material that was shelved for the version that was released four years ago.

The general thrust of the story is similar, but better developed, explored, and explained now that it's in the hands of its original creator.

All the characters come across as more three-dimensional, and Cyborg has been elevated from an almost incidental player back to the heart of the story, as Zack and scriptwriter Chris Terrio envisaged him.

Cyborg has been on my radar for as long as I've been collecting comics, as he was a founding member of the Marv Wolfman/George Perez era of the New Teen Titans, which transformed me from a dabbler in comics to a full-on collector and addict.

I have to be honest, though, until this movie, I'd never found him that interesting a character, but Zack (and Chris)  - and, of course, Ray Fisher - have totally turned me round on Victor Stone.

I'd been looking forward to seeing Zack Snyder's Justice League since it was announced, but had always considered it simply an "Elseworlds" alternate take on the characters, and a chance to see what should have been in 2017 under better circumstances.

And I'll watch any big budget superhero flick eventually, because I still can't believe we live in age where the comics I read as a child (and am still regularly reading) are being made into box office-topping blockbusters.

With its prevalence on the silver screen and small screen, the superhero genre has become as ubiquitous as westerns were in the early days of Hollywood and television, the new American (global?) mythology.

However, Zack Snyder's Justice League far exceeded my expectations and deserves all the kudos that I hope were showered upon it.

It may be four hours long, but it doesn't feel it. Never does the pace drag, nor are there any corny or uncomfortable scenes, or substandard CGI creations, to take you out of the moment.

Let's put it this way: about two hours in, I was already planning on watching it again.

Without a doubt, Justice League is Zack Snyder's tour de force.

It's such a pity that Warner Bros - for a minute - decreed that the earlier, inferior, cut of the film remained canon in the DC Extended Universe, when really all copies of it should have been shovelled into the same landfill as the E.T. The Extra-Terrestrial video game.

Yet, while Zack Snyder's Justice League is a magnificent conclusion to the Snyderverse trilogy, it's highly unlikely that we will see the continuation of this storyline and the resolution of the movie's apocalyptic cliffhanger.

Now, it appears as though we are getting into an era where Superman (and the DC Universe as a whole) is under the stewardship of someone who understands the four-colour comics of old and the positive value of superheroes. 

Snyder has had his moment, but now we are moving into the light of James Gunn.

Let's hope his Superman is everything we want it will be.

Batman v Superman - Dawn Of Justice, Ultimate Edition (2016)

My race through the Snyderverse continues with probably its most divisive entry, but for all its faults (and they are plentiful), Batman v Superman: Dawn Of Justice - in all its three-hour, ultimate edition glory - is a surprisingly good superhero movie.

The further we get from the initial hullaballoo around this film, and the more times I watch it, the more I find I get from it.

Like Man of Steel, it suffers from some egregious missteps that, as with the original curate's egg, were allowed by many to spoil the enjoyment of the whole.

But as I grow older, that one troublesome dialogue exchange that spawned a million memes (which we will get to later), doesn't bother me so much. Yes, it's still a dreadfully contorted - and unconvincing - exchange, but is, ultimately, small potatoes in a bombastic three-hour film.

A deranged Lex Luthor (Jesse Eisenberg) turns the world against Superman (Henry Cavill), then engineers a fight between the Son of Krypton and Batman (Ben Affleck), before unleashing a CGI Kryptonian monster, Doomsday, on Metropolis for reasons that aren't exactly explained.

Jesse Eisenberg is a fantastic actor and his young Luthor blends the modern age comic book take on the character with the mad scientist version in the older comics - with a heavy emphasis on the "mad" part.

I think we're supposed to take it that Lex is jealous of Superman's powers, but, despite his Machiavellian machinations, the one part of his scheme that is never truly made clear is his motivation.

While Ben Affleck's Bruce Wayne/Batman is impressive, the stand-out character of Dawn Of Justice is Gal Gadot's Wonder Woman.

Although her presence is only slightly more justified here than Spider-Man's introduction in 2016's Captain America: Civil War, her grin-inducing impact on the audience is about the same.

Her all-too-brief appearances are certainly helped by the incredible Wonder Woman theme performed by cellist Tina Guo, that still make me tingle with geeky excitement every time I hear it.

There are a couple of sequences that felt superfluous, when looked at just in the context of BvS.

However, knowing now that these were planting seeds for the Zack Snyder's Justice League movie (we shall ignore the Josstice League iteration, even though officially it remains the canon version of the film for the DCEU), we can appreciate that moments like Batman's striking 'vision' of the future, complete with Darkseid mise-en-scène and parademons are more than just great fan service

When BvS was first release, I read a number of industry people championing director Zack Snyder's love of comics, which is as nebulous a comment as saying someone "loves books", but whatever the truth of the matter it's clear that he just doesn't really get Superman.

Snyder is on record as saying he likes dark comics with sex and violence in them. And, while I suspect he may have been 'playing this up' for the expected shock value, that just isn't my (and a lot of people's) idea of Superman.

As, hopefully, you read earlier, I enjoyed his Man Of Steel as spectacle, but it didn't deliver a Superman that I recognised or could relate to.

While still quite moody here, Superman is certainly given the space to become a bit more like his positive and heroic comic book portrayal.

His Clark Kent alter ego shines (despite butting heads with a a very negative Perry White in Laurence Fishburne), but Synder's penchant for darker, anti-heroes comes to the fore in his presentation of Batman.

Again, a lot is left unexplained (Batman's been operating in Gotham for 20 years but the Daily Planet is unaware of him? Why - oh why - does he go round branding villains?), but he's got the tech, the brains, the charisma, and the drive to bring the Dark Knight to life.

One of the positive things about Batman v Superman is that it doesn't try to obfuscate the 'secret identities' of its leads for the audience, it's just a given that Bruce Wayne is Batman, Diana Prince is Wonder Woman, Clark Kent is Superman etc, without trying to explain it all (again).

Like Man of Steel, this initially appears to be a triumph of spectacle, but, again, in Batman v Superman (the Ultimate Edition anyway) we have a story that justifies the action and - generally - everyone stays reasonably true to the comic book source material.

However, rising above all the plot holes and strange character choices, the most awful, groan-worthy moment in the whole script is the "Martha" scene.

I'll be honest, if I'd tried to present that - with a straight face - in one of my scripts at university I'd have been laughed off my Scriptwriting degree course.

There was enough cheese in that scene to choke all the mice in North America. Especially coming in such a "serious" and "realistic" take on the superhero genre, it totally takes you out of the moment.

It's bizarre that amidst all the explosions and property damage, all the spectacular superheroics and tension, the line that stays with you - because it grates so much - is something so mundane and corny.

But that aside (and it could so easily have been avoided by changing the line to something about his "mother", which Bruce would have reacted to in much the same way) Batman v Superman - Dawn Of Justice is definitely a step in the right direction from Man of Steel and paves the way for Zack Snyder's Justice League.