Batman over the years: Kane to Noland

The Batman series has had its ups and downs through out the years. Because of this, I have decided to acknowledge how far the series has come since its creation from Bob Kane. Rather than telling the story of the Dark Knight of Gotham from start to finish, I have decided to just post a picture that I found on http://www.geektyrant.com. You’re welcome.

Click image to enlarge!

Which was your favorite era of Batman? Let us know in the comment section below!

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Hedge Fund – Super Rich Super Heroes in The Great Recession

Guest Written by Mark Gundle

In a global sense, the economy isn’t exactly firing on all cylinders. Massive debt, shrinking job markets, unfair tax brackets, and slow deaths of the middle class in several countries are all contributing to the continuing unrest and discomfort that are plaguing people across the globe. Four years after the US government announced its financial crisis that seemed to take the whole world with it, not much has changed for the common man. Progress, while being made, is being made at a snail’s pace. With all this weighing on the shoulders of those not taking home six-figure paychecks, it’s only natural to want to escape from the world for a bit, which could be part of the reason that summer flicks have been making record amounts of money. In particular, The Avengers and The Dark Knight Rises have broken records in record time.

Which brings us to the point of this little article today, children; in a struggling economy, what do we make of heroes whose superpower is basically an infinite money cheat?

The recent trend in comic book films has been to make the characters relatable to the audience. Granted, Marvel has been doing this for far longer a time than DC (since at least the early 1960s, when a young high-school student got bit by a radioactive spider), but DC has definitely tried to pick up on that trend in recent years, and doing so has been one of the reasons for the New 52 relaunch. Yes, this is the company that has the unreachable bastions of cardboard-personality perfection that are Superman, the Martian Manhunter, Green Lantern and the like, but give credit where it is due; at the time they were created, that’s what people wanted (a case could be made against Superman, though, as he was a MUCH less empowered being during his first run in the late 1930s). Relatable characters are a thing now. And as far as movies go – especially recently – they’ve gone the extra mile to ensure that. The Spider-Man movies have always had Peter Parker’s everyman lifestyle at the forefront in some way, Christopher Nolan’s Dark Knight trilogy has examined Batman as being much more like any of us than practically any previous incarnation, and every movie leading up to The Avengers has had their eponymous characters have at least one very vulnerable, very human moment that everyone in the audience could connect to, and helps to build the all-important suspension of disbelief (no, seriously, it’s crucial).

But money? It’s a hit. Take the two most popular characters from the summer’s two most popular franchises. You know who I’m talking about. Don’t play that game.

Tony Stark. Iron Man. He’s a cool exec with a heart of steel, as his 60s theme song puts it, and nobody watching the films would really disagree. We look at Tony Stark and we see one of the common people; someone who would rather be at an AC/DC concert than the opera, and who would spend all day tinkering in his garage if given half a chance. So let’s take a look at his checking account, eh?

Assuming the infographic  is true, this is a guy who has enough personal wealth to trump some national GDPs put together. He’s constantly tinkering with the Iron Man, and such tinkering does not come cheap. He already has a top-of-the-line house, a whole fleet of luxury cars, and the production capital to build one of these suckers in his garage, and that’s BEFORE building the Mk. II prototype. For me, the suspension of disbelief isn’t broken by him having all this. The suspension of disbelief is broken when he continues to build the blasted things, each one an upgrade on the last.

Keep in mind that, prior to this, he sent his company into an economic nosedive by shutting down the weapons division it was famous for. As a board member, it’s likely that he was paid in stock rather than cash, so that would have severely curtailed his income. His stock crashes, and while it could be assumed that it eventually picked back up, we’re still dealing with a guy who is spending MASSIVE amounts of money on one-off suits of powered armor, with costs going from $80,000,000 for an unarmed steel prototype to a jaw-dropping HALF BILLION for the latest model (in fairness, though, War Machine wasn’t really his doing).

For all of his cool and all of his awesome, where the HELL is he getting this kind of money? With any luck, it’ll be explained, but holding out hope is foolish; this is a country where even presidential candidates don’t have to share their tax returns, right Mitt?

Anyway…

Bruce Wayne. Batman. He had an infographic himself for the Dark Knight iteration of the character, and while it’d be SIGNIFICANTLY cheaper to get those wonderful toys, it’s still a heart-attack inducing nine figure sum we’re looking at. Not something your average schlub could scrape together working overtime, that’s for damn sure.

Christopher Nolan’s Batman, however, gets major points for actually addressing Wayne’s wealth in all three movies; he’s head of the company because he bought a majority shareholding, there’s a scene or two dedicated to business upkeep, and the most recent movie has him robbed of his billions and his company on the brink of failure (two seemingly-independent events, mind you). In the most basic sense; this incarnation of Bruce Wayne, while still stupidly rich, does NOT have a limitless bank account, and these movies work harder than any other work before them to prove that. Even using the stuff already on hand is a bit of a double-edged sword; yes, he wasn’t blowing away millions by his lonesome, but the stuff in his storage shed is STILL worth more than any of us will ever make ever. $10,000 for communications? $18,000,000 for a tank? $1,000 for a BULLETPROOF JOCK STRAP?

But hell, compared to other versions of the character, this Batman is SLUMMIN’ it. He didn’t really pay out of pocket for much of his equipment, and generally seems to be a much more bare-bones type of crime fighter. His car’s not as tricked out, his plane’s not as capable, his suit’s not as invincible, and his cave is still VERY much a cave instead of a secret high-tech hideout in comparison to other versions. And while Bruce himself had just about all of it in storage beforehand, his company still suffered. Funds channeled from R&D into a super-secret hedge fund, the CEO putting on the appearance of a careless tool, and using company money to supply an all-out assault on crime has left Wayne Enterprises on the brink of bankruptcy.

And in a world where even juggernauts like Freddie Mac get cast down from their gilded thrones, that’s probably the LEAST responsible thing to do.

But that’s not the point of this article, to debate business sense or to say that either Batman or Iron Man aren’t heroes. If they weren’t, we wouldn’t love them. The idea here is to ask why, given that it’s such a sensitive and yet such an important issue in today’s world, they can still be relatable. Did I answer my own question? Yes and no. Yes, it can make folks rather uncomfortable, and not making mention of the Stark / Wayne / McDuck money pool is probably a good idea from that angle. No, that doesn’t mean that by not addressing the no-limit credit cards means we’re just going to assume that these guys are just regular Joes who got lucky. Remember; many of us are scraping to get by, and rather than use the money to better the lives of people in the simple /obvious / risk of death-free way, they spend untold millions on miniature nuclear reactors and Sound-O-Vision to clean up the streets the hard way. As Alfred points out in The Dark Knight Rises, Bruce could have kept his company afloat by putting his Bat-toys on the civilian market. And while Obadiah Stane was an evil money-grabbing bastard, he did have a point in saying that the miniaturized Arc Reactor could save the company; that thing alone would have pulled up the company’s stock back to par and then some, even if used for the wrong reasons.

I found it funny that the most popular superheroes of 2012 are the ones that are closest to irrelevance, as far as the all-too-precious relatable factor is concerned. And while both companies do bang-up jobs at present their characters as ordinary human beings, they conveniently neglect to address how big a part the silver spoons they were born with played in their ability to transcend the ordinary and place them in the super pack.

Batman: The Dark Knight Rises Review

Written by Mark Gundle (Guest Writer)

It’s a rare thing to see the “threequel” perform as well as its two predecessors. Spider-Man 3, JurrasicPark III, Superman III, and many others have brought ruin to their franchises. Fortunately, such a trend has been bucked in recent memory, a notable example being Toy Story 3, and another notable example being the third Lord of the Rings film (11 Oscar nominations can’t be wrong, folks). Much of this comes from trying to outdo the second film in the series. So what, then, could one expect going into The Dark Knight Rises, knowing what a truck-flipping juggernaut The Dark Knight turned out to be? As it turns out, going in expecting it to be as good or better wasn’t too far off the mark.

Taking place eight years after The Dark Knight, the film sees Batman’s return to action as a masked terrorist called Bane emerges to destroy the city, implied to be the first since the conspicuously-absent-from-mention Joker. Knowing the police are in way over their head, the reclusive billionaire takes up the cape and cowl one more time to save the city. Complicating his quest for justice are the sultry Catwoman, and the mysterious corporate mastermind Miranda Tate, who has big plans for a joint venture with Wayne Enterprises.

The story, while somewhat predictable to those familiar with Batman canon (most specifically the No Man’s Land, Knightfall, and of course The Dark Knight Returns story arcs), does introduce a few new elements that had more than a few hardened Bat-Fans guessing and occasionally voicing their disbelief right in the theatre. It chugs along at a decent pace, pays great respect to both the source material and the series’ established history, and has (vague spoiler ahead) the single most satisfying conclusion to a trilogy this writer has EVER seen.

And as with any good movie, the story’s only as good as the characters that are caught up in them. Christian Bale turns in another great performance as the raspy-voiced Batman, though this time I found his performances as Bruce Wayne to be far more engrossing and engaging than the ass-kickery that was the Caped Crusader. Michael Caine, Morgan Freeman, and Gary Oldman all return to their roles with equal drive, and they’re all every bit as fun and heartstring-tugging as they were in the last two nstallments. Tom Hardy does his best with a mask that leaves only his eyebrows, eyes, and body to perform and enunciate for him, and I personally found it a good bit of work, despite the naysayers. But special mention has to go to Anne Hathaway, who not only transcended everything I’ve seen her in, but has done the previously-impossible and trumped her predecessor Michelle Pfeifer as the defining image of Catwoman.

Further, Christopher Nolan’s stated preference to practical effects over CGI helps add to the realism of the film and further engages the audience, and it’s a choice that has worked well over the series and doesn’t disappoint here. They got the Bat (Batman’s latest wonderful toy) to actually fly, they got buildings to actually explode, and it all helps further the world-building that the cast and crew create. Sure, they could’ve used a computer. Sure, they could’ve done it all in a computer lab. And while none of it quite lives up to the Holy Shit Quotient provided by flipping over a semi-truck, they do plenty to bring the poor, unsuspecting viewers along for the ride.

One thing I could complain about, however, was the score. Hans Zimmer is a genius, make no mistake, and I’ve never heard a score of his I didn’t absolutely love. But as has been said before, music is supposed to complement a film, not overwhelm it. Not every moment needs a blaring band to back it up, nor does it need to be an especially complicated piece; the music in Batman Begins was an odd mix of subtle and explosive, The Dark Knight’s score nailed the formula set by its predecessor, but this latest installment feels like it’s constantly hammering you with EMOTION! GRAVITAS! FEEL THE NOIZE!!

All told, the final installment is worthy of the Dark Knight name, and more than worth the price of admission. Don’t wait for the DVD. Don’t go and Redbox it. Go and see Batman’s final fight as it was meant to be seen.

But if you’re reading this review, odds are you weren’t going to wait anyway.

FINAL VERDICT: 4.9/5