The One Thing the Fourth Batman Movie Got Right

The fourth Batman movie, which in many circles is considered one of the worst movies in and outside of the comic book world, apparently made a call that, about a decade later, seems to be a prescient call.

For a Wonder Woman Movie: Two Important Issues

Thanks to Megan Fox making the proclamation that she has no interest in playing the title role in the project that Warner Brothers has been trying to get off of the ground for the last 10 years, there has been a lot of discussion about the 3^rd member of the DC Comics Universe Trinity – as well as her strengths and weaknesses.  I had a post about why Wonder Woman as a movie was not a good idea ready to go, but with the latest discussion about her, I realized that the reasons I had originally stated in the post boiled down to two of the most basic requirements for creating a working superhero, especially one for public consumption.

Analysis: Definition of a Modern Mary Sue Character

Oftentimes, when creating characters for a story, there is a tendency to create one character that is supposed to be better than the rest of the characters in the created universe.  This is the character that the audience is supposed to identify with; to support the character’s endeavors; and to fawn (and fan) over.  But there is a fine line between creating a over-arching protagonist and creating a character that is so overwhelming overflowing with affirmative traits that the other characters pale in comparison.  This character is often referred to as a Mary Sue.

Analysis: Faceless Enemy. Example: G.I. Joe (The Animated Series)

When looking at Faceless Enemies, one cannot help but turn to one of the most popular franchises in the 1980s, “G.I. Joe.”  When regulations designed to keep TV shows from being 30 or 60-minute long commercials for products were relaxed, Hasbro teamed up with Marvel and Sunbow (and later DiC) to to create this cartoon series.

The Story of G.I. Joe (The Cartoon):

During the Cold War between the two superpowers of the United States and the Soviet Union, a mysterious new organization would rise to power.  Made up of former mercenaries, foreign soldiers, and terrorists of many stripes, they would form COBRA, a ruthless terrorist organization with plans of conquest and world domination.  Establishing bases in the farthest reaches of the Earth, COBRA would use their superior resources to gain even more power by deploying weapons that no ordinary nation could defeat easily.  Unable to combat this new threat to world peace, the United States would organize a special mission force that could meet COBRA on its own terms and win.  This special force would be staff with the most highly trained soldiers that the US had to offer, as well as civilian specialists and American intelligence agents.

Together, they form…G.I. Joe.

Analysis: Faceless Enemy. Example: “Eragon”

In the Faceless Enemies analysis, I talk about some of the general failings of using a large army as a shortcut for Antagonism and how this diminishes the underdog status of the protagonists.  In this post, I will show how the premise of the Faceless Enemy applies to Eragon (the motion picture).

The Story of Eragon:

Having crushed all of his opposition during the battle between the powerful dragon riders, Galbatorix would then turn his attention to the other pockets of resistance that would stand in his way.  So, he raises an army to crush his enemies upon seizing power, including an alliance of village fighters known as the Varden.

Years pass, and Galbatorix now rules the land of Alagaesia.  The Varden have a stronghold outside of the imminent reach of Galbatorix’s army.  It has been prophecized that the Dragon Riders will rise once more to combat this threat, and the Varden wait patiently for this day.

Analysis: The Faceless Enemy

The Premise: In any given movie where the enemy has to outnumber the protagonists, the main body of the enemy is reduced to a bunch of troops who wear the same uniform.  The main purpose of these soldiers is to provide the shortcut to antagonize the innocent civilians.  Most of all, they are to be cannon fodder for the protagonists later on in the film.

A Few Notes – And a Quick Update

In reviewing the first season of the reimagined Battlestar series, I am finding that there are themes and analysis that are better suited for their own posts than trying to contain them in the episode deconstructions – especially since the themes (and, unfortunately, the tropes) happen to recur in the series very often.

I am currently working on several analysis posts which have been inspired by the original Galactica and the reimagined version. They will be finished shortly, and then we can return to our regularly scheduled deconstructions.

Movies That Hate You – Independence Day

On July 2, 1999, a radio signal detected by SETI begins a chain of events that will alter the course of human life on Earth. An alien fleet arrives and begins hovering over many of Earth’s major cities. Although most of the world is ready to welcome the unknown travelers with open arms, a television systems expert discovers a hidden plot to destroy the world. Rushing to Washington, D.C. to warn the President, David Levinson manages to get the President and his staff out just before the strike.

July 3, 1999. The forces of the Earth attack the alien ships hovering over the cities. The battle, although fierce, was a debacle for the humans; the alien ships were equipped with force shields that simply deflected any enemy fire. Captain Steven Hiller of the Black Knight Squadron would record the only live kill during this battle at the cost of his own plane. He would also capture the alien pilot of the ship and transport it to Area 51. President Whitmore, from his makeshift HQ within Area 51, orders a tactical nuclear strike on the ship over Dallas, with no success.

Analysis: The Tropes of Women of Color in Sci-Fi – Version 5 (The Tragic Mistake)

Description of the Trope: Unlike Version 4, where the woman of color plays an active role in the story and displays at least a modicum of actual agency, this version will either lack agency and/or an active or proactive role in the story.  Instead, while the story will talk about the importance of the character, the character will basically act as a backdrop for some kind of foreshadowing into the darkness – OR – will remain in the background until the time comes for her to die.

Analysis: The Tropes of Women of Color in Sci-Fi – Version 4 (The Tragic Warrior)

Definition of the Trope: Unlike many of the other Tropes in question, The Tragic Warrior is one that hurts the most and smashes the dreams of viewers of color like a ton of bricks. Often times, Tragic Warriors are smart, intelligent, savvy, and strong. They tend to be the lead warriors on the front lines or leading groups into battle. Their skills are rarely questioned, their orders always trusted, and their instincts usually right.

Unfortunately, before the end of the show, the Tragic Warrior will meet an ignominious death at the hands of a treacherous enemy. This will usually happen before the beginning of the third act, when their skills would be at their most useful.