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Joe Goodhart (27 KP) rated Batman: The Court of Owls in Books
Nov 30, 2020
I'm going to be upfront here. When I saw this available as an ebook for my Kindle, I was like "Hmmmm..", but then I was thinking "Greg Cox is quite good, but did I really want to read a prose adaptation of Snyder's <i>Court of Owls</i> story from BATMAN?". Reading users' reviews on here told me that it was not an adaptation, but an original tale involving Bats and yet another confrontation involving the Court of Owls. So, yup, I was sold on that point alone!
****
Cox does a brilliant job with Batman! Seriously, I wish <u>he</u> had been writing BATMAN instead of Tom King! The characterization is one that shows us the "I'm Batman!" version, as well as allowing us to see a side of him not always presented well in the comics of late: he has a human side, but he also has a dedication to see cases/mysteries through to the end, as it is what he feels he has to do for the city of Gotham, as well as her citizens. The great thing with the way Cox presented both sides was balanced, neither too much of one or the other.
I also quite liked how Cox returned to the Court of Owl's previous "lair", the one with that marbleized labyrinth and that huge marble owl statue in its center. Reading throughout, it really seemed as if Cox had spent more than enough time reading the source material, taking all of it in, and then presenting his addition to Batman's dealings with the Court of Owls. So, so brilliant!
And, while she was not in it as much as Bats, the little bit that Batgirl/Barbara Gordon appeared was spot on. Her dialogue interactions with Bats are tense, in relation to the case, as well as fun and playful, when the situation called for it. Again, just as his treatment of Batman's character, Cox presents us with a balanced Barbara Gordon, making her inclusion a welcome treat!
As much as I loved seeing both Bats and Barbara, I was equally invested in the supporting characters. No one felt like cardboard or trope-ish. Everyone had roles to play within the story, and the roles were played well and memorable, even after the book was finished! Definitely well appreciated of all the effort invested in both the main characters, as well as the not-so-main folks!
I don't know that this would be considered canonical as far as Batman and the Court of Owls, but it should be! The story flows well, offering an edgy, exciting adventure that succeeds in being memorable as well as being taken as canonical! Good stuff, folks, and one not to be missed! Unless, of course, you don't like Batman, and then, well, it would just be a lot of suck! Just sayin'..
****
Cox does a brilliant job with Batman! Seriously, I wish <u>he</u> had been writing BATMAN instead of Tom King! The characterization is one that shows us the "I'm Batman!" version, as well as allowing us to see a side of him not always presented well in the comics of late: he has a human side, but he also has a dedication to see cases/mysteries through to the end, as it is what he feels he has to do for the city of Gotham, as well as her citizens. The great thing with the way Cox presented both sides was balanced, neither too much of one or the other.
I also quite liked how Cox returned to the Court of Owl's previous "lair", the one with that marbleized labyrinth and that huge marble owl statue in its center. Reading throughout, it really seemed as if Cox had spent more than enough time reading the source material, taking all of it in, and then presenting his addition to Batman's dealings with the Court of Owls. So, so brilliant!
And, while she was not in it as much as Bats, the little bit that Batgirl/Barbara Gordon appeared was spot on. Her dialogue interactions with Bats are tense, in relation to the case, as well as fun and playful, when the situation called for it. Again, just as his treatment of Batman's character, Cox presents us with a balanced Barbara Gordon, making her inclusion a welcome treat!
As much as I loved seeing both Bats and Barbara, I was equally invested in the supporting characters. No one felt like cardboard or trope-ish. Everyone had roles to play within the story, and the roles were played well and memorable, even after the book was finished! Definitely well appreciated of all the effort invested in both the main characters, as well as the not-so-main folks!
I don't know that this would be considered canonical as far as Batman and the Court of Owls, but it should be! The story flows well, offering an edgy, exciting adventure that succeeds in being memorable as well as being taken as canonical! Good stuff, folks, and one not to be missed! Unless, of course, you don't like Batman, and then, well, it would just be a lot of suck! Just sayin'..
Dana (24 KP) rated Batman the Killing Joke in Books
Mar 23, 2018
I really enjoyed reading this comic.
We get the Joker's origin story. He was in a robbery gone wrong and fell into acid because his wife and unborn child died in an electrical fire accident right before the robbery. He was poor, down on his luck, trying to get a job as a comic, and needed some money fast to keep them from losing their apartment. He started off by trying to do an honorable thing and it haunts him for the rest of his life. It is one of the reasons he has gone a bit loony, he cannot face the fact that he is alone in his grief.
We get the reason for Barbara Gordon's paralysis and her origin into becoming the Oracle. (Thanks Joker)
Detective Gordon is attacked by the Joker who is trying to show him how painful it is to lose something he loves. Joker wants to turn Gordon crazy, but doesn't.
Batman does not want his fight with the Joker to end in death, but it will if it has to.
Overall, I really enjoyed this comic and recommend it to anyone who likes the Joker and wants to know more about him.
I love the Joker's last joke, so I'm going to write it out.
Two guys are living in a lunatic asylum and one night they decide they do not like living in an any night they don't like living in an asylum anymore. They decide they're going to escape. So they get up onto the roof and there, just across this narrow gap, they see the roofs of the town, stretching away in the moonlight, stretching away to freedom. The first jumps across with no trouble. The second pauses, he is afraid of falling. The first calls back and says, "I'll turn on this flashlight I've got and you can walk across the beam." The second replies "What do you think I am, crazy? You'll turn the light off once I'm half way across."
I love that joke and the fact that both Batman and the Joker crack up after it.
We get the Joker's origin story. He was in a robbery gone wrong and fell into acid because his wife and unborn child died in an electrical fire accident right before the robbery. He was poor, down on his luck, trying to get a job as a comic, and needed some money fast to keep them from losing their apartment. He started off by trying to do an honorable thing and it haunts him for the rest of his life. It is one of the reasons he has gone a bit loony, he cannot face the fact that he is alone in his grief.
We get the reason for Barbara Gordon's paralysis and her origin into becoming the Oracle. (Thanks Joker)
Detective Gordon is attacked by the Joker who is trying to show him how painful it is to lose something he loves. Joker wants to turn Gordon crazy, but doesn't.
Batman does not want his fight with the Joker to end in death, but it will if it has to.
Overall, I really enjoyed this comic and recommend it to anyone who likes the Joker and wants to know more about him.
I love the Joker's last joke, so I'm going to write it out.
Two guys are living in a lunatic asylum and one night they decide they do not like living in an any night they don't like living in an asylum anymore. They decide they're going to escape. So they get up onto the roof and there, just across this narrow gap, they see the roofs of the town, stretching away in the moonlight, stretching away to freedom. The first jumps across with no trouble. The second pauses, he is afraid of falling. The first calls back and says, "I'll turn on this flashlight I've got and you can walk across the beam." The second replies "What do you think I am, crazy? You'll turn the light off once I'm half way across."
I love that joke and the fact that both Batman and the Joker crack up after it.
Gareth von Kallenbach (965 KP) rated The Lego Batman Movie (2017) in Movies
Jul 12, 2019
You know a movie is going to be hilarious when you find yourself laughing
out loud before the beginning credits start.
It’s no surprise a second film was in development after the massive success
of the first LEGO movie in 2014. The lengthy list of Batman movies/TV
shows that have existed–yes, this film actually addresses each one–always
ask the questions, but never quite answers them. The LEGO Batman movie
will answer them all for you in the best way LEGO movies can–with major
master builder craftsmanship, sarcasm, and slapstick humor.
In serious denial about his loneliness, Batman (Will Arnett) spends most of
his days saving Gotham from the Joker(Zach Gilfianakis), eating alone, and
watching sappy romantic comedies. He never lets anyone get close enough to
him for fear that he will lose them just like he lost his parents when he
was a young boy.
Commissioner Jim Gordon (Hector Elizondo) retires thus handing the baton
and Bat signal over to his daughter, Barbara Gordon (Rosario Dawson). The
newly appointed commissioner decides that Gotham Police Department should
take a more involved approach instead of just relying on one person to
fight crime. Of course, Batman isn’t having it—he works alone!
By this point in the film, Batman has managed to adopt a son, Dick Grayson
(Michael Cera), released the kracken on some of movies most notorious (some
forgettable) villains, and broken up one of the greatest relationships ever
to exist. I don’t want to give away too much because there are some great
cameos.
In true LEGO spirit, this movie addresses the importance of relationships,
working together, being part of a team, and trust. Batman is such an
important character to pop culture–we all have our own interpretation of
him–our ideals, our definition of a hero, and our own moral choices. It’s
nice to have this refreshing and comical take with way more depth,
creativity, and character development than we’ve seen from some of DCs
latest feature films. If you’re not too big on delving into the dark side
and complexity of Batman, don’t fret. Just sit back, relax, laugh, and
enjoy a wonderful movie for the whole family. Be sure and stay till the
end to watch the credits. The reason we all have come to love Batman
throughout the years is addressed and appreciated.
out loud before the beginning credits start.
It’s no surprise a second film was in development after the massive success
of the first LEGO movie in 2014. The lengthy list of Batman movies/TV
shows that have existed–yes, this film actually addresses each one–always
ask the questions, but never quite answers them. The LEGO Batman movie
will answer them all for you in the best way LEGO movies can–with major
master builder craftsmanship, sarcasm, and slapstick humor.
In serious denial about his loneliness, Batman (Will Arnett) spends most of
his days saving Gotham from the Joker(Zach Gilfianakis), eating alone, and
watching sappy romantic comedies. He never lets anyone get close enough to
him for fear that he will lose them just like he lost his parents when he
was a young boy.
Commissioner Jim Gordon (Hector Elizondo) retires thus handing the baton
and Bat signal over to his daughter, Barbara Gordon (Rosario Dawson). The
newly appointed commissioner decides that Gotham Police Department should
take a more involved approach instead of just relying on one person to
fight crime. Of course, Batman isn’t having it—he works alone!
By this point in the film, Batman has managed to adopt a son, Dick Grayson
(Michael Cera), released the kracken on some of movies most notorious (some
forgettable) villains, and broken up one of the greatest relationships ever
to exist. I don’t want to give away too much because there are some great
cameos.
In true LEGO spirit, this movie addresses the importance of relationships,
working together, being part of a team, and trust. Batman is such an
important character to pop culture–we all have our own interpretation of
him–our ideals, our definition of a hero, and our own moral choices. It’s
nice to have this refreshing and comical take with way more depth,
creativity, and character development than we’ve seen from some of DCs
latest feature films. If you’re not too big on delving into the dark side
and complexity of Batman, don’t fret. Just sit back, relax, laugh, and
enjoy a wonderful movie for the whole family. Be sure and stay till the
end to watch the credits. The reason we all have come to love Batman
throughout the years is addressed and appreciated.
Gotham is the kind of show where I wonder whether they tried to save money by just having the interns write the script. It's got that stilted, on-the-nose kind of dialogue that makes me just feel bad for the actors. For a while I thought the quality of the writing varied from scene to scene, but it was really just that a certain few actors (those that play Fish Mooney, Ed Nygma, and Harvey Bullock spring to mind) that were able to transcend the material they were working with, while others struggled and some just seemed to give up.
Season one starts off promisingly enough for a superhero themed crime show. The premise is solid - we get to watch how these superheroes and supervillians come to be. And that is really the draw that keeps me watching - the character driven moments where we see Nygma descend into madness, the Penguin rise through the ranks of the underworld, Mooney wrestle to keep control of her little patch of Gotham. The conflict James Gordon faces in the first season - a Lawful Good character up against rampant, insidious, and impossible to root up corruption throughout every level of Gotham's government is genuinely interesting and feels like a relevant emotional thread that keeps you going through all of the schlocky and improbable events. All three seasons seem to have a firm grasp of their season plot arc and tentpole moments, setting up the next season nicely for whatever main villain and evil will be explored, but I feel like the tone of the show has shifted wildly. The show can't decide if it's gritty or campy, whether it's a comic book or a crime procedural. It handwaves technology and superpowers in a way that fails to establish in-world rules or limitations. So every super power is all-powerful until plot convenient. I also just personally hate the third season "blood virus" arc and the non-canonical Mad Hatter who speaks in rhyming couplets.
Speaking of which, I'd love to tell the writers that a mass of contradictory, plot-convenient impulses does not a strong female character make. Barbara Kean's story arc makes absolutely no sense. Lee Thompkins seems only to exist to push Gordon to do things he wouldn't otherwise, and Selina Kyle is easily swapped out with every spunky street urchin ever.
I almost want to be offended that every single queer character is, or ends up being, a baddie, but honestly I think that's probably just because the antagonists are more interesting and fleshed out characters to begin with. Still, there's some serious issues with representation (shocker). The third season introduces a really icky variant of the Born Sexy Yesterday trope (watch the video by the Pop Culture Detective, it's worth it.)
Still, I think the casting is pretty great, acting ability aside. The costuming is good, although everything is hampered by the show's refusal to nail down any sort of time period. The dream sequences in the first two seasons are beautiful. I love Oswald Cobblepot and Ed Nygma, and I'd love to see the actor who plays Bruce Wayne master more than just his admittedly very good "holding back tears" expression.
If you're looking for something campy, if you like your villians and your superheroes, and if you need something to watch while you fold laundry or go to sleep, I would recommend this show. It's a show that thrives on tired old tropes, but it lifts those tropes from its source material, so fans of comics might enjoy it, or might be aggrieved at the retconning of beloved old character's backstories.
Whatever you do, don't call Nymga insane. He's better now. He has a certificate.
Season one starts off promisingly enough for a superhero themed crime show. The premise is solid - we get to watch how these superheroes and supervillians come to be. And that is really the draw that keeps me watching - the character driven moments where we see Nygma descend into madness, the Penguin rise through the ranks of the underworld, Mooney wrestle to keep control of her little patch of Gotham. The conflict James Gordon faces in the first season - a Lawful Good character up against rampant, insidious, and impossible to root up corruption throughout every level of Gotham's government is genuinely interesting and feels like a relevant emotional thread that keeps you going through all of the schlocky and improbable events. All three seasons seem to have a firm grasp of their season plot arc and tentpole moments, setting up the next season nicely for whatever main villain and evil will be explored, but I feel like the tone of the show has shifted wildly. The show can't decide if it's gritty or campy, whether it's a comic book or a crime procedural. It handwaves technology and superpowers in a way that fails to establish in-world rules or limitations. So every super power is all-powerful until plot convenient. I also just personally hate the third season "blood virus" arc and the non-canonical Mad Hatter who speaks in rhyming couplets.
Speaking of which, I'd love to tell the writers that a mass of contradictory, plot-convenient impulses does not a strong female character make. Barbara Kean's story arc makes absolutely no sense. Lee Thompkins seems only to exist to push Gordon to do things he wouldn't otherwise, and Selina Kyle is easily swapped out with every spunky street urchin ever.
I almost want to be offended that every single queer character is, or ends up being, a baddie, but honestly I think that's probably just because the antagonists are more interesting and fleshed out characters to begin with. Still, there's some serious issues with representation (shocker). The third season introduces a really icky variant of the Born Sexy Yesterday trope (watch the video by the Pop Culture Detective, it's worth it.)
Still, I think the casting is pretty great, acting ability aside. The costuming is good, although everything is hampered by the show's refusal to nail down any sort of time period. The dream sequences in the first two seasons are beautiful. I love Oswald Cobblepot and Ed Nygma, and I'd love to see the actor who plays Bruce Wayne master more than just his admittedly very good "holding back tears" expression.
If you're looking for something campy, if you like your villians and your superheroes, and if you need something to watch while you fold laundry or go to sleep, I would recommend this show. It's a show that thrives on tired old tropes, but it lifts those tropes from its source material, so fans of comics might enjoy it, or might be aggrieved at the retconning of beloved old character's backstories.
Whatever you do, don't call Nymga insane. He's better now. He has a certificate.