Changing the racial identity of characters has become a contentious issue amongst fans of superhero comics and their adaptations in other media. The awful practices of casting white actors to play people of color, or of turning previously non-white characters into white characters, is all too common in movie adaptations of books, cartoons, TV shows, or even real life stories -- but rather surprisingly, superhero comics and their adaptations have mostly avoided this problem.
In comics, the controversy takes a different direction. Several white characters have become non-white, mostly in movies, and sometimes in reboots. Michael B. Jordan as Johnny Storm in the new Fantastic Four; Helena Bertinelli aka the Huntress in the New 52; Nick Fury in the Ultimate Comics line and on screen. These are changes that agitate some readers -- but realistically, the changes don't go far enough. Superhero comics have a cultural bias towards white characters that has everything to do with their institutional history and nothing to do with what makes sense to the stories.
On the occasion of the film's 25th anniversary, ComicsAlliance represents our in-depth commentary and review of Tim Burton's Batman '89, the father of modern superhero cinema. Originally published in 2011 as part of our exhaustive Cinematic Batmanology series (which also included a massive five-part analysis of Christopher Nolan's The Dark Knight), this piece by Chris Sims and David Uzumeri strips the fan favorite Batman '89 down to the bone to get at what works, what doesn't work, and what's just plain crazy about Burton's enduringly influential film.
I was an unabashed fan of the 1989 Batman movie around the time of its release (particularly after it hit VHS), but the years have worn down my appreciation of it, and quite a few aspects of it don't entirely stand up to the scrutiny of a critical lens anymore.
There are a few pieces of media related to the film, however, that I feel just as positively about as I ever have. The Prince soundtrack, for one. And for another, the Sunsoft-developed game for the Nintendo Entertainment System that included a few cutscenes with lines from the movie, and largely ditched its plot otherwise. I took a stroll down memory lane with it, and it still holds up.
There may be no better proof of just how much pop culture can shift in a quarter century than the above, 20-minute video Warner Bros. produced in 1988 to show ancient movie distributors who were not so sure a film about a dark, intense Batman would be something anybody would want to watch -- which is pretty funny considering just how massive and influential the film turned out to be.
In the summer of 1989, primed by "Kiss" and "Alphabet St." and "Sign 'O' the Times" to expect brilliance from the first taste of new Prince music, I raced out to buy "Batdance," the first single to be released from his soundtrack to Tim Burton's Batman. It seemed like a great idea at the time.
I remember my feeling of dazed disappointment the first time I heard "Batdance" lurch to an end. "Batdance" isn't even a song, as such, but a cluster of unrelated chunks of underdone rhythm tracks, ineptly pasted together with chopped-up samples of film dialogue, a couple of lines flown in from other songs, Prince singing the hook from Neal Hefti's '60s Batman theme, and (in its album mix) a very aggressive guitar solo that has almost nothing to do with what's going on around it. Prince and Batman together? How could that not be awesome? What just went wrong here?
In celebration of the 25th anniversary of Tim Burton's Batman movie, The Arkham Sessions takes a break from analyzing the psychology of Batman: The Animated Series to pay special tribute to the legendary film that influenced the style, music, and dark themes of the animated show. Consistent with her measured, analytical approach to the characters and stories of BTAS, Dr. Andrea Letamendi offers psychological conceptualizations of Burton's Batman and Joker with the help of co-host Brian Ward.
Is the film, as Burton once described, a story about the intertwined paths of Batman and the Joker, culminating in a "fight between two disturbed people?" Furthermore, how does Keaton's Bruce Wayne compare to Kevin Conroy's version when it comes to the maintenance -- or fusion -- of multiple identities? How is Nicholson's Joker more destructive and dangerous than Hamill's? Listen to this special edition of the The Arkham Sessions and reminisce about Batman '89 in a whole new way.
Three of Hollywood's biggest industry guilds have submitted an amicus brief in support of the Kirby estate in the case of Lisa Kirby V. Marvel Characters. The brief urges the Supreme Court to hear the case, as the guilds believe the outcome will have major implications for the film industry.
The latest trailer for producer the Michael Bay-produced, Jonathan Liebesman-directed Teenage Mutant Ninja Turtles gives us the most clarity we've seen yet on the new film based on on Kevin Eastman and Peter Laird’s enduringly popular characters. While fans may never accept the lusciously lipped, Shrek-like designs for the TMNT, some may be relieved to learn the apparent fact that the Japanese villain Shredder will not be played by the distinctly non-Japanese William Fichtner, as previously reported.
I'm not a big fan of Tim Burton's 1989 Batman movie, which is celebrating its 25th anniversary this week, but there's definitely one thing that I think it did right. Burton's Gotham City, redesigned for the screen by Anton Furst, is absolutely beautiful. The Academy Award-winning production art direction is stylish, terrifying, visually engaging and arresting on a level that the rest of the movie has a hard time living up to, creating a world that looks like Batman could exist there.
It's also one of the movie's lasting influences on the world of the comics. Ever since Furst and Burton unveiled their version as a backdrop for the Joker blasting Prince from a boombox while trashing an art museum and Batman blowing up a chemical plant with his remote-control car, Gotham has adhered to their vision of the city, transforming from the bustling stand-in for New York that it was before and becoming its own unmistakable entity. And in true comic book fashion, the comics accomplished this by blowing everything up and starting over.
As we reported on ComicsAlliance last week, Rosario Dawson has joined the cast of the Netflix Daredevil TV show in a guest role -- but Marvel won't say who she's playing. Bleeding Cool guessed Elektra. Our own Matt D. Wilson suggested Milla Donovan. Multiversity Comics put their money on Maya Lopez. Speculation is rife, and nobody really knows anything.
The only clues we have to go on are Dawson herself -- a New Yorker in her mid-30s with Afro-Caribbean roots -- and a brief description of her role; "a dedicated young woman whose quest to heal the wounds of Hell’s Kitchen brings Matt Murdock unexpectedly crashing into her life, while her own journey forever alters the course of his battle against the injustices of this broken city."
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