Author Archives: Joe

February 4, 2019

Bucky O’Hare and The Toad Menace

By Joe

bucky and the toad menace Bucky O’Hare is best known for the cartoon series Bucky O’Hare and The Toad Wars. It was a short-lived series that spanned a mere 13 episodes. It’s greatest contribution to pop culture seems to be the NES game it spawned under the same name. That show appeared in 1991 and was gone within a year. A few VHS releases followed and eventually a Region 2 DVD in the new millennium, but aside from that the series is gone. Merchandise essentially vanished once the show was cancelled. The game was well received, though I have never seen numbers on how many copies were shipped. It fetches a fairly high price in this day and age on the resale market, but nowhere near the highs of some of the truly obscure NES releases.

Basically, the only official Bucky O’Hare related anything to remain in circulation this whole time has been the graphic novel Bucky O’Hare and The Toad Menace. Likely an intentional play at the name of the cartoon, Bucky O’Hare and The Toad Menace gathers the original run of six Bucky stories and pairs them with the following two from the UK only release of comics by DC Thomson.

Bucky debuted in the pages of Echo of Futurepast

Bucky’s original debut came in 1984 in the debut issue of Echo of Futurepast, a prestige independent comic by Neal Adams’ Continuity Comics. It was an expensive book due to the use of high-quality glossy paper. It was also an independent release and part of the creator boom in the 1980s in which many artists and writers fled from the big publishers for the independents where they could retain control over their own characters and art. The original Bucky stories were written by Larry Hama and illustrated by Michael Golden. Eventually, stand-alone issues were released in 1986 as well as a trade compiling all of the stories. Likely to coincide with the television show was the next run of comics that started in 1992 in the aforementioned DC Thomson run. Those issues were created by a different team of writers and artists though they still utilized Hama’s characters that eventually debuted in the animated series like Al Negator and Bruiser.

Bucky O’Hare and The Toad Menace arrived in 2006 via Vanguard Productions. It was around this time that Neal Adams was trying to resurrect the brand and even commissioned a CG short to try and market the property for either a movie or new show. It went no where, but the trade has remained in print and is currently being sold in various places including through Boss Fight Studio, who as you are likely aware of if you’re reading this, is creating new toys based on the property. The release is a manga styled release, meaning it’s just quite small (about 7″ tall) and in black and white. In 2007, artist Michael Golden did a special release which is just the regular Vanguard release but with a new black and white dust jacket printed by IDW. It was signed by Golden and numbered and bundled with some other stuff to be sold at conventions. It’s the version I have, but in terms of content there was no difference. It’s still the Hama/Golden issues plus two UK issues created by the team of Peter Stone, Andre Coates, and Joel Adams (Neal’s son).

Bucky’s first cover appearance.

The comic is an interesting revisit for fans of the cartoon. It starts off essentially the same; Bucky O’Hare and his crew are being pursued by the Toads and are out-gunned. The forces trailing Bucky and the crew of the Righteous Indignation do not initially know who they’re following, but once they do realize they have a real opportunity to take out their number one enemy. The story beats progress almost the same with the toads attacking and killing the chief engineer of the Righteous Indignation, Bruce, the Berserker Baboon. In the process, they damage the ship’s warp-drive which is powered by a photon accelerator. Elsewhere, on Earth a young boy named Willy DuWitt has created his own photon accelerator. He activates it at the same time Bucky’s crew activates their compromised unit causing a disruption in the space-time continuum which transports Willy to Bucky’s ship and pulls him into the story.

From there, it becomes a rescue mission as Bucky and his gunner, Dead-Eye Duck, visit Willy’s world and while there the toads board their ship and kidnap First Mate Jenny. It’s in the rescue of Jenny that the comic takes a different turn with Bucky and Android First Class Blinky encountering a strange god-like mouse. Following the conclusion of the first six issues, the next two essentially pick-up where the animated series does following the debut introductory story and ends with the introduction of Bruiser, oddly printed on the back of the reverse cover.

Golden’s artwork is very detailed but also very busy.

As a comic story, it’s easy to see what Hama was going for with Bucky. It’s serious in tone, but also satirical. Bucky makes numerous comments about insurance and unions and he even makes Willy sit down to fill-out some forms before they can welcome him aboard as their new engineer. There are lots of jabs at ineffective bureaucracy, most highlighted by Bucky and his crew of four being the only real Toad resistance in the galaxy. The council that controls the galactic government is shown to basically be in an endless argument about how to deal with the threat and are penny-pinchers to the extreme. They also reside on the planet Genus behind an elaborate network of defense satellites so they’re clearly withdrawn and that’s part of their inaction. The Toads, meanwhile, are shown via a story projected by Blinky to Willy that brings him up to speed on what happened. They created a sophisticated A.I. known as Komplex that was given too much power. It lobotomized its creators, and then convinced the general population to follow its orders. Then the world became industrialized so much so that the surface of the planet is no longer even visible beneath layers of factories. The Toads send their massive tankers all across the galaxy to suck up magma from other worlds leaving them desolate when done.

The first TPB from Continuity to collect the complete Bucky O’Hare works.

The story is very similar to what would follow in the cartoon, but is deployed in a more serious manner. In the cartoon, Bruce gets sucked into the photon accelerator rather than killed by the Toads. Bucky is surprisingly diplomatic in his approach, shedding no tears for their fallen crew-mate. The Toads and Dead-Eye speak freely of their desires to kill each other, and several Storm Toad Troopers do indeed meet their maker. It’s not gratuitous, but it is fun. There are obvious Star Wars influences as well with Dead-Eye even using the term lightsabre and a model Tie Fighter being shown in Willy’s bedroom.

Michael Golden’s artwork is almost hyper-detailed with a lot to process. This trade release is in black and white, and I’m not sure if it’s more cluttered as a result or less so. There’s lots of technological bits in the backgrounds and tons of line-work. It’s sometimes overwhelming, but I still find myself drawn to the actual character designs. They’re just so fun, and there isn’t a design I really don’t like. I do wish the Toad Air Marshall received more attention or some larger panels as he’s often squished into small panels. He’s a little bigger than his cartoon counterpart and wears a large coat, but he’s still covered in various medals. The artwork by Joel Adams is far simpler and there’s a lot more white on those pages. It’s not as detailed though, but still attractive and Adams does a good job of keeping the characters largely on model with Golden’s art.

Bucky’s adventures continued in the UK in 1992 where characters like Pitstop Pete made their debut in print after first appearing in the cartoon.

The mouse character is never named with most fans just referring to him as the Omnipotent Mouse. He’s an interesting character that never made it into the show, perhaps because he was hard to relate to. He feels like a distraction, though his message is largely that of a pacifist. Perhaps that would have been an arc Hama would have pursued had the comic continued with Bucky taking on the role of a pacifist. He’s not presented as being as murderous as Dead-Eye, but he certainly doesn’t seem to have any qualms about taking the life of a toad. There’s some nice tension between Dead-Eye and the witch Jenny that’s not played up in the show, though Dead-Eye expresses some mistrust towards her in both. I also like how cozy Jenny is with Willy as she’s affectionate like a typical cat would be, but when done through a more human-like being it’s rather humorous. Willy’s parents in both media are portrayed as activist hippies more concerned with their own business than paying attention to their son. They can’t relate to his pursuit of science just as he can’t really relate with them. The first six issues end with him getting stuck in Bucky’s world, but the next issue has him back in San Francisco with the detail of how he got back left unexplained.

Since Bucky O’Hare was initially just one part of an anthology comic that contained multiple stories, this release feels a bit shorter than most 8 comic collections. It’s 193 pages, but there are some duplicate pages where a story ends and another picks up as well as character bios. There’s also one page that is just plain duplicated for no reason, a printing error that I’m curious if is still present with more recent printings. The format is not ideal, but it’s not bad either. I think I’d prefer a larger release as that might make the panels feel less busy, but I actually enjoy the black and white look. The first six issues are fairly easy to come by at an okay price-point, but the UK issues are not. Some day I would like to own the entire 20 book run, but for now I have other priorities in life.

The Michael Golden edition beside the old NES box, for comparison.

The slipcover side-by-side with the what is underneath.

Reverse of the slipcover and the TPB.

A quick look at the interior art which is all in black and white.

If you have ever been curious about the origins of Bucky O’Hare, this is an easy recommend. If you purchase it from Boss Fight Studio it will only set you back 10 bucks, plus shipping. Cheaper alternatives may exist in the used market on eBay and other like websites. It’s a mostly fun, breezy, read with some satisfying parts, and some less satisfying parts. Mostly though, you’ll likely be left wanting to read the other issues that followed. It’s a shame we can’t get reprints of those, but it’s probably a licensing issue between Continuity Comics and DC Thomson. And there also isn’t a tremendous appetite for Bucky O’Hare in 2019, but maybe we can change that.

Leave a comment | tags: bucky o'hare, continuity comics, dc thomson, echo of futurepast, joel adams, larry hama, michael golden, neal adams | posted in Comics

February 1, 2019

Batman: The Animated Series – “Trial”

By Joe

btas trial Episode Number: 68

Original Air Date: May 16, 1994

Directed by: Dan Riba

Written by: Paul Dini and Bruce Timm

First Appearance(s): None

“Trial” could be described as one of our first big payoff episodes for the series as it draws heavily on the events of season one. After spending considerable time developing Batman’s rogues’ gallery, Paul Dini and Bruce Timm decided to play around with them like a kid diving into a toy box for this episode as many of Batman’s foes are brought back for an ensemble episode. It also refers back to “Shadow of the Bat” and Gotham’s new district attorney, Janet Van Dorn (Stephanie Zimbalist, replacing Lynette Mettey, and also the daugher of Alfred voice actor Efrem Zimbalist Jr.), who was first introduced there as a hard-nosed and rigid authority figure. Here her personality is essentially doubled-down on as we find out she has a strong dislike for Batman and Gordon’s reliance on the vigilante in combating the crime infecting Gotham. Her dislike of Batman is a bit more practical than that of Detective Bullock’s as Batman’s clearly breaking the law, or at least bending it, with his vigilante antics and it makes her job considerably more difficult. And since she is at odds with Batman, it only makes sense to lean into that conflict as the backbone for this episode.

Goth DA Janet Van Dorn assumes the spotlight for her second appearance. She also has been slightly redesigned to appear more youthful.

“Trial” opens in a court setting. Pamela Isely (Diane Pershing), better known as Poison Ivy, is facing incarceration beyond just treatment at Arkham Asylum and Van Dorn is arguing for life in prison. Ivy is able to avoid jail-time due to her capture being at the hands of Batman, who naturally isn’t present to even testify against her. The judge sends her back to Arkham, not an outcome Ivy probably wanted but it’s still better than prison. When the media approaches Van Dorn following the verdict, she uses the camera time to blast Batman calling him a disgrace and placing the blame for the presence of criminally insane rogues in the city on him. She’s also not afraid to let Commissioner Gordon know how she feels, but as always, he’s willing to stand-up for Batman viewing him as their best weapon in the fight against crime. Batman even drops in on their little meeting, presenting a gang leader as a present (who is wearing a skull shirt that seems to resemble a certain Marvel character’s logo). When Van Dorn challenges him to take off the mask and put on a uniform, Batman says nothing and departs. She takes a batarang from the perp as a parting gift, I guess?

At Arkham, a somewhat somber looking Poison Ivy is returned to her room. Her pal Harley Quinn (Arleen Sorkin) tries to cheer her up, but she has little success. She mentions something big is about to go down though that will likely lift her spirits. We then see some zombie-like orderlies and doctors milling about and The Mad Hatter bursts into the picture to reveal he’s used his mind control cards to subdue them as chaos breaks out.

Van Dorn and Batman find themselves tied together by the real foes of Gotham.

A fatigued Van Dorn is shown arriving at a restaurant for dinner. Her date this evening is none other than Bruce Wayne. If Bruce is romantically interested in Van Dorn or just looking to get inside the head of someone who could either be friend or foe to Batman is not shown. Given his dedication to his Batman persona, it wouldn’t surprise me in the least if it was the latter. A waiter (clearly voiced by Mark Hamill, which is an unintentional piece of foreshadowing) comes to the table to tell Van Dorn she has a phone call. She never returns, and soon Batman is summoned by Gordon to find out the DA has been kidnapped. A ransom note was left behind containing a riddle. Batman deciphers it and heads for the court-house where he’s jumped by Poison Ivy and Harley Quinn.

Janet Van Dorn finds herself locked-up in Arkham. As she demands to speak with someone, she’s greeted by the former district attorney, Two-Face (Richard Moll). They’re having a little trial and need Van Dorn to act as a defense attorney with Two-Face the acting DA. Her client? None other than Batman. And to make things more interesting, Van Dorn’s fate is to be tied to that of her client. As Killer Croc (Aron Kincaid) dumps Batman in the cell with her, she complains about their situation and suggests Batman is where he belongs. Batman has no interest in debating his existence with Van Dorn.

Batman’s jury hardly seems fair and impartial.

The two are lead into the court room, where a bunch of raving inmates jeer the presence of Batman and Gotham’s DA. Harley Quinn is there to taunt Batman revealing she stole his belt. The Ventriloquist (George Dzundza) with a newly reconstructed Scarface (also Dzundza) are acting as the bailiff and the jury is rather stacked against Batman as it contains: Poison Ivy, Harley, Mad Hatter (Roddy McDowall), Killer Croc, Scarecrow, and The Riddler (Scarecrow and Riddler are not voiced in this episode). The judge? Well, it has to be The Joker (Mark Hamill) who is looking resplendent in a black robe and wig.

After Dent makes a rather brief and to the point opening statement, the trial gets underway. The Mad Hatter is the first witness who blames Batman for creating him. Van Dorn is able to expose his sick side rather easily, recalling the events of his debut and his obsessive pursuit of a woman who spurned his advances. Harley is the next, and Van Dorn is quick to point out she’s improperly influencing the judge who is laying his head in her lap (they apparently made up). Van Dorn gets no where with that complaint, but during her questioning of Quinn she actually reveals her origin for the first time as a doctor at Arkham perverted by The Joker. She also reveals that Joker ratted her out during his last capture, which enrages Harley and forces Croc to carry her out kicking and screaming.

Harely and Joker are shown to have a still combustible relationship, but Harley just can’t seem to dump the clown.

Poison Ivy is next up, and her past with trying to murder Harvey Dent is once again brought up. Van Dorn accuses Ivy of having more love for plants than humans, and when Ivy denies that, Van Dorn begins taunting her by plucking the petals off a flower. This sets her off, and Ivy attacks Van Dorn and the two have to be separated. Van Dorn then composes herself for her closing remarks, claiming she now sees that it wasn’t Batman who created these villains, but the villains are the ones who created Batman. Her argument is apparently persuasive, and the jury actually finds Batman innocent. Joker is quick to point out that this is a court composed of the violent and depraved, and as such, they’ll still sentence Batman to the same fate that would have befallen him had he been guilty. Quoting Porky Pig’s “That’s all folks,” Joker strikes the bench with a rubber chicken and the two are dragged away.

The straight-laced Van Dorn is forced to contend with the crazies of Arkham, something she proves she’s capable of.

The rogues drag Batman to an execution chamber where the electric chair awaits him. Joker enters dressed as a preacher now as Batman is taken out of his strait jacket and placed in the chair. It’s at this point Van Dorn remembers the batarang in her jacket from earlier, and she takes out the only light in the room with it. This gives Batman the only opening he needs as he slips out of his confines and returns to the shadows where he is oh so comfortable being.

The tables have now turned, and Batman lets them know they’re now locked-up in there with him (perhaps a nod to Watchmen?) as he starts picking them off. When he grabs Croc, Joker reaches for Scarface’s miniature, but functional, tommy gun and opens fire. When Scarface warns Joker that he’ll hit Croc, he responds with “What’s your point?”

This seems like a bad situation for Batman to find himself in, but as usual, he’ll make the best of it.

Batman grabs Van Dorn and the two attempt to escape, but are met by a scythe-wielding Scarecrow on the stairs. Batman is able to parry his strikes, which result in Scarface losing his head, and dispatches of the villains closing in on them. They escape to the rooftop where The Joker awaits. Joker ropes Batman and tugs him off the building with the rope affixed to an abutment that allows Joker to swing from the other end. He tries to take Batman out with a giant mallet, but as always, Batman is able to escape and take him out in the process. By now, the police (who have been tracking Batman’s location this whole time) arrive to clean up the mess. In a brief sequence to close things out, Van Dorn admits to Batman she sees a need for him in Gotham, but adds she’ll still work to create a Gotham that no longer needs Batman. He responds with a smile and a simple “Me too.”

“Trial” is a fun examination of how Batman and his adversaries are connected. Van Dorn’s argument that the cartoonish villains of their world are created by Batman is a common one, while the episode makes the case that it’s the other way around. The reality is that the two are forever intertwined. A criminal act created Batman, but Batman has certainly had a hand in creating some of the villains he combats (Van Dorn even references Joker’s creation which follows that of Batman ’89). It’s a fun little debate, and getting a bunch of villains together in one place is also equally fun and basically the impetus for Batman: The Movie. I like seeing how the villains also play off each other, though Croc is back to being a dim-witted piece of comic relief who just wants to throw a rock at Batman. Having Harley’s origins touched upon is a nice little nugget and something that will be explored down the road. I could certainly nitpick how easy it was for Mad Hatter to gain access to his special cards or how Van Dorn is a great shot on her first try wielding a batarang, but this episode is pretty packed as-is (supposedly, this plot was considered as the first movie, but was scrapped in favor of Mask of the Phantasm) and had it spent any additional time on such details it would likely not have worked out as well. The script is also delightful, making this perhaps the most quotable episode of the series. The only gaffe, plot-wise, is the presence of Killer Croc in Arkham when it was established in “Sideshow” he’s not insane, just a bad guy.

Preacher Joker is one of the fun little touches in this episode.

Dong Yang Animation does a nice job with this episode having to animate so many unique characters at once. They even went through the trouble of portraying the villains in jumpsuits initially, rather than taking the easy way out and just having them in costume from the start. Bruce Wayne also gets a new look as he’s ditched his old brown suit for a sharp-looking gray one that seems to be his new default look. The drab backgrounds of Arkham are juxtaposed against the colorful costumes everyone sports and it creates a nice look. I also really enjoyed Joker’s various attires and the toy collector in me wouldn’t mind an action figure of Judge Joker and Preacher Joker. Van Dorn also received a subtle make-over from her prior appearance. She wears a blue suit now and appears a bit more youthful than before. There are a couple little production gaffes, like a character’s mouth moving when it shouldn’t and Riddler just disappearing, but nothing glaring enough to take away from the overall presentation.

“Trial” is a good second season episode that really takes advantage of the lore and backstories established in season one, and even elsewhere. It’s the type of episode I like to see in a show’s second season, and for a show like Batman that typically focuses on stand-alone stories, I always get a little rush of excitement when past events are mentioned.

1 Comment | tags: arleen sorkin, batman, batman the animated series, dc comics, diane pershing, harley quinn, janet van dorn, killer croc, mark hamill, poison ivy, richard moll, the joker, the mad hatter, the riddler, the scarecrow, the ventriloquist, two-face | posted in batman the animated series, Comics, Television

January 25, 2019

Batman: The Animated Series – “A Bullet For Bullock”

By Joe

bullock title card Episode Number: 67

Original Air Date: September 14, 1995

Directed by: Frank Paur

Written by: Michael Reaves

First Appearance(s): None

Episode 67 brings us a bit of a re-tread as it’s another unlikely pairing of Batman and Detective Harvey Bullock (Robert Costanzo). This one is based off of Detective Comics #651 written by Chuck Dixon, though he doesn’t have a writing credit on the episode. Batman and Bullock have had a bit of a combative relationship throughout this series. Bullock distrusts Batman because he wears a mask and operates outside the law. He views him as a freak, just one who happens to be on their side as opposed to being like Joker or Two-Face. Batman just hasn’t cracked yet. There’s also likely some jealousy on the part of Bullock due to Commissioner Gordon placing more trust in his pet bat than he does the police force. Batman also gets to blatantly work outside the confines of the law, something Bullock would likely love to do. The animosity, up until now, has seemed mostly one-sided with Batman largely ignoring Bullock’s rants and insults. He even expressed some admiration for the detective, or perhaps respect is a better word, when he investigated him during the events of “Vendetta” when Killer Croc tried to frame him. When Bullock needed help in that episode, Batman came calling. Bullock needs help again, only this time he’s not being framed and he’s going to reach out to Batman personally. I’m not sure if there is more to mine from this relationship, and this episode was not a particularly memorable one for me, so it was one I was more eager to re-watch for this feature than others. And after just doing our first episode of 1994, we’re already doing our first one from 1995! That’s because this episode was held back for awhile, relative to production order, as it ended up being the 84th episode to air. And if you know you’re Batman: The Animated Series, then you know that means it was the second to last episode of the series to make it to air. Are we really that close to the end?!

We’re going to find out that Harvey Bullock is a guy with more enemies than friends.

First of all, this one begins with the intro for The Adventures of Batman and Robin, even on the recently released Blu Ray edition. I had spot-checked episodes when I reviewed the set and found the season one intro to be in use through-out, but apparently I didn’t check well-enough. That’s because, by air date, Fox considered this to be part of the fourth season. When watching in production order, the episodes are all over the place and it was only Fox’s Seasons 3 and 4 (which was a scant 5 episodes) that contained the new intro.

The episode opens at night with Bullock walking the streets of Gotham likely heading home. Someone tries to take him out with their car, but fails. Bullock gets a look at the vehicle and fires off a shot, but the culprit escapes him. Either later that night or the following night, the Bat Signal lights up the Gotham sky summoning the Batman. When Batman arrives at police headquarters he finds not Commissioner Gordon, but Bullock. Bullock tells Batman that he needs help as someone is trying to take him out. He further explains he doesn’t want to go internal because he doesn’t want Internal Affairs nosing around in his business. This prompts Batman to question if Bullock is on the take, which insults the detective as he denies he’s ever taken a dime. He just suggests his methods of investigating perps isn’t always in agreement with company policies. He tosses in a “we’re the same” message Batman’s way which insults Batman. He declares he’ll help, but makes it clear they’re not the same.

Bullock needs help and he knows who to turn to.

This exchange was rather interesting. Batman is pretty thorough, so I’m not surprised he’d question if Bullock was taking bribes even though he’s previously said he’s a good cop. Expecting an honest answer had he been is probably a bit fool-hardy though. Batman’s disgust at Bullock’s notion though that they’re similar in their methods rings rather hollow. What could Bullock do that Batman would not? Aside from obviously not sharing the same discipline for physical fitness, I’d assume they’re pretty similar. Batman is constantly breaking and entering, conducts searches without a warrant, and threatens witnesses and suspects on the regular. Unless Bullock has a history of shooting first and asking questions later that isn’t explored, it would seem they’re quite similar. Get off your high horse, Batman.

Bullock gives Batman a copy of his case file on a floppy disc and Batman takes it back to his comically gigantic computer at the Batcave (seriously, does he have vision problems or something?) and shares some info with Alfred. Bullock, having handed the data over, goes home to his apartment where he’s confronted by his landlord Nivens (Jeffrey Jones) over his filthy living habits. Bullock pays him no mind though and is his usual rude self, further demonstrating that he’s the type of guy that probably doesn’t have many friends.

Sometime later, Bullock and Montoya (Liane Schirmer) are shown busting up a gang of bank robbers. One flees to the roof, and Bullock chases after him armed with a shotgun instead of his usual revolver. He’s about to take a bullet to the back when Batman swoops in for the save. Bullock is less than grateful about being baby-sat by Batman and asks him if he’s found any suspects. Batman has not, and Bullock tells him to meet him later while he takes care of the perp. Batman does his usual disappearing routine in mid-sentence.

Bullock’s homelife.

Bullock then arrives home and finds someone is in his apartment. He enters with gun drawn to find Batman, who’s inspecting the threatening letters he’s been sent. The two talk about the case, with Batman suggesting whoever is after him may just be trying to put a scare in him as he doesn’t think this is the work of a professional. Bullock makes a good point that it doesn’t matter if the guy is a pro or not, for had he succeeded in running him over the other night, he’d still be dead. Batman takes off, and Bullock is left to himself. The next night, he’s shown leaving a donut shop and heading for the subway. While waiting for the next train, someone shoves him from behind into the train’s path. Bullock gives the typical terrified look, but then rather unceremoniously just gets out of the way and back onto the platform. At work, he’s visibly shaken up and Montoya takes notice. She tells him he looks terrible, then corrects herself that he always looks terrible and he just looks a bit more terrible today. Bullock reacts appropriately and Montoya tries to laugh it off. She asks him what he’s doing for New Years, and he quips back “the same thing I did for Christmas: my laundry.” Apparently, Bullock lives a rather lonely life.

Batman seems to have a strong dislike for Bullock. I guess 65 episodes of being treated like dirt by the detective took its toll.

As the snow starts falling, Batman makes an appearance. He tells Bullock he has a lead: Vinnie the Shark. A drug-dealer who was on the verge of cementing his empire, Vinnie was taken down by Bullock and even threatened him openly in court. It would seem Vinnie was a model prisoner at Stonegate and was let out after serving 8 years of a 10-20 year sentence. Batman instructs Bullock to pay a visit to Summer Gleeson, who had recently conducted an expose on the crack houses of Gotham (nice city). When Bullock objects to being bossed around by Batman, Batman gets grabby. He reiterates the importance of figuring this out to Bullock, and tells him he has other leads to chase before disappearing out the window.

Batman knows how to get what he wants.

Bullock drops in on Gleeson (Mari Devon) who is editing something for the news. She’s not thrilled to see Bullock, but tells him to come back in an hour. As Bullock leaves, he notices her office and decides to sneak in. Elsewhere, Batman swoops in and picks off a drug-dealer who just completed a transaction (he’s apparently unconcerned about the kid running off with some drugs) and takes him to a rooftop. He tells him he wants info on The Shark, but when the dealer insists he has no knowledge of what he’s up to, Batman tosses him off the building. He uses his grapple-gun to stop his fall and barely pulls him out of the way of a passing truck, before getting the guy to sing. See, Batman is no worse than Bullock! Meanwhile, Gleeson catches Bullock making a mess of her office and orders him out. He tries to tell her someone is trying to kill him, but he’s apparently burned his last bridge with her.

Vinnie The Shark gets the drop of the Dynamic Duo 2.0 for a moment, but it’s a brief moment.

Out on the street, Bullock tries to hail a cab, but with no luck. Apparently they don’t think much of him either. Batman pulls up in the Batmobile and grabs Bullock by the shirt collar and hauls him in, which seems unnecessary. Bullock has a few moments to wonder at the instruments in the Batmobile before the two get down to business. Batman has tracked The Shark to his hideout where a new drug ring is operational. The two enter and quickly have a car dropped on them. Or rather, the hollowed out, frame-less, husk of a car. Batman gets them out of the mess with his smoke bombs, and he and Bullock successfully take down Vinnie The Shark and all of his men. As Bullock cuffs The Shark, he tells Batman that he had to be the guy and thanks him for his help, but of course, Batman has vanished before he can get that out of his mouth.

Lots of gunpoints in this episode, this one the most threatening.

At police headquarters, Bullock interrogates Vinnie (Gregg Berger) and demands to know why he sent him those letters. Vinnie insists he has no idea what Bullock is talking about, and some concern appears on Bullock’s face. Later on, Bullock is entering his apartment building when a masked man wielding a gun sneaks up from behind. Trembling, the man insists he didn’t want it to come to this and that he tried to make Bullock leave town, but now he has no choice. Bullock indicates that he recognizes the man, but can’t figure out who it is. Needless to say, it’s not looking good for him, which is when Batman drops in and kicks the would-be assassin knocking the gun from his hands. Batman hauls him to his feet and yanks off the mask to reveal it’s Nevins, Bullock’s landlord. Nevins starts rambling on and on about how much he hated Bullock and just wanted him to leave while Bullock looks rather dumb-founded. He eventually sheepishly cuffs Nevins and suggests to Batman that he owes him one. Batman demurs, suggesting Bullock has enough problems to sort out before taking off.

“A Bullet for Bullock” ended up being another unlikely pairing of Batman and Bullock while also serving as a bit of a character study of Bullock, which helps to differentiate it from “Vendetta” some-what. It’s more of a straight-forward team-up as well with both Batman and Bullock combining their brains and their brawn to take down one of Gotham’s criminals, even if it ended up being a different criminal than who they were after. Though since Bullock entered The Shark’s hideout alongside Batman and without a warrant, I wonder if they ended up taking him down at all? It adds to the relationship by revealing that Batman really dislikes Bullock, maybe even as much as Bullock dislikes him. Batman comes across as a hypocrite, while Bullock’s characterization as a gruff, rule-bending, cop is reinforced. It’s also shown that Bullock is a pretty lonely guy and his tough demeanor likely pushes people away. He’s basically a slave to his job as he doesn’t even have time for simple upkeep. When he returns home to find Batman in his apartment, he starts chowing down on a slice of pizza that was apparently left out all day on his kitchen table. Sure it reveals that Bullock is a slob, but also that maybe he doesn’t even leave himself enough time to go grocery shopping.

Oh, it’s just his crazy landlord. Haha – who doesn’t want to see Bullock dead?

The tone of the episode is definitely noir, and Shirley Walker’s score goes for that right from the start. It’s a very jazzy score with a liberal use of horns. The action sequence at the end at Vinnie’s hideout in particular uses a hot jazz type of track that I wonder if it’s intended to serve as a theme for Bullock. It’s something I’ll be on the lookout for going forward. I could not recall him having a theme prior to this, but I could be mistaken. Studio Junio animated this episode, and I must say, I’ve really enjoyed their work on this series. A lot of shots of Batman feature a little blue triangle on the side of his nose. It’s a subtle touch that most studios don’t bother with, but it adds nice definition to Batman’s face. The coloring is also just really well-done here and I am a sucker for a snowy setting. Batman’s interrogation scene with the drug-dealer is also really well-animated and for an episode with minimal action, it does contain a lot of excitement thanks to the animation.

“A Bullet for Bullock” is ultimately mostly a re-tread of an idea, but it does at least offer something new. I don’t think it’s as successful or as good of an episode as “Vendetta,” and the punch-line ending it goes for is a bit off-brand for the show. It’s an episode more intent on spotlighting the relationship between Batman and Bullock while also showing a side of Bullock previously not shown. It’s less interested in the mystery of who is threatening Bullock as the writing doesn’t offer any nuggets for the viewer to track in an attempt to solve they mystery itself. Which is fine, as mystery has never really been the show’s strength. In the end, this is an unnecessary episode, but it has entertainment value so I wouldn’t call it unjustified in its existence.

1 Comment | tags: batman, batman the animated series, chuck dixon, harvey bullock, robert costanzo, studio junio | posted in batman the animated series, Comics, Television

January 21, 2019

Boss Fight Studio’s Bucky O’Hare – A Wishlist for What’s Next

By Joe

blinky bucky deadeye It’s been over two years since toy maker Boss Fight Studio announced it had acquired the Bucky O’Hare license from Continuity Comics and intended to do a new line of action figures based on the dormant property. It was about a year later that the first two figures arrived: Bucky O’Hare and First Mate Jenny. Since then they’ve been joined by Dead-Eye Duck and the Storm Toad Trooper as well as variants of the heroes. Recently, the next figure in the line went up for pre-order in the form of Bruiser, the Beetlegeusian Berserker Baboon. He’s a big one, and as such he’s going to retail for more than the $35 that fans have grown accustomed to checking in at $55. Is he worth it? Impossible to say at this time since he’s not available, but Boss Fight’s Andrew Franks took to Twitter to rally Bucky fans to pre-order this sucker. This is a small property from a small company and it’s likely pre-orders are utilized to determine how viable a figure actually is. If they come in below a certain threshold then it’s possible the figure never goes into production. And if that were to happen with Bruiser what would that mean for the line as a whole? Does it end here with four figures? Does the company instead shift focus to smaller scale figures and continue the line ignoring all of the big guys?

What are you waiting for?!

All good questions and questions I obviously cannot answer. Next month, Boss Fight Studio will be appearing at New York’s Toy Faire event for the first time. This feels like a big deal for the company and it’s assumed that Bruiser will be on display for public viewing for the first time beyond the pictures the company has shared online (and for the record, he looks pretty damn great). We’ll also likely find out the status of previously unveiled variants such as Stealth Dead-Eye and Aniverse Bucky. Boss Fight also hinted at more reveals which could be as exciting as a new character in the line, or perhaps new repaints (it feels like a given that the Storm Toad Trooper will receive at least one re-paint).

I have been tremendously pleased with this line, and while Bruiser isn’t the character I would have selected as the next in line, I’m excited for him as well. He won’t be arriving until the end of the year though, which means it’s quite likely he’ll be the only new figure added to this line in 2019. For my part, I’ve continued to support this line via the pre-order method even if it’s not the best decision for my wallet. Boss Fight charges up-front for pre-orders (you can also order from Big Bad Toy Store which does not) and doesn’t offer any kind of discount for doing so meaning savvy consumers benefit from waiting for an eventual sale or promotion of some kind. Since this property has such a small following, Boss Fight is in a position where it probably has to get as much as it can from the few hardcore fans out there that will buy almost anything Bucky related, since they’ve gone without for nearly 30 years.

He sure looks nice next to Bucky.

Naturally, as a huge fan of this property and this line, I want it to continue well past Bruiser. What Hasbro released alongside the animated series in the early 90s is a pretty solid approximation of the core characters and I’d like to see BFS get to all of them. There are also characters that Hasbro never got to that I would also love to see. I’m not sure what a realistic lifespan for this license truly is, and I’m almost certain I won’t get all that I want, but here’s hoping the best of the best get converted into plastic. Including Bruiser, the line currently contains 4 heroes and one villain with that one villain being generic army fodder. Bucky O’Hare and the Toad Wars is rather light on stand-out villains, but there are still more to be had. And given that current ratio, it’s no surprise that my next most-wanted figure comes from the ranks of the rogues:

That bright purple and neon gun is delightfully garish.

Al Negator

Al Negator is mostly a villain, though really he’s just a mercenary for hire. He loves money, a trait all sleazasaurs apparently possess (or maybe Dead-Eye is just racist) and he often finds himself in the employ of the Toads. He possesses a very 90’s look with neon green accents enhancing a very bright violet skin tone. The gold armor puts him over the top in the looks department as well. He’s also quite noticeably larger than most of the mammals, though hopefully not so much that he would necessitate the higher price point of Bruiser which is why I rank him ahead of someone like Toadborg. It’s my assumption that Boss Fight Studio would prefer its next figure in the line to fall into the $35 range so as not to give off the impression that $55 is the rate going forward.

If released, Blinky would easily be the smallest figure in the line.

A.F.C. Blinky

The resident android on board Bucky’s Righteous Indignation is A.F.C. Blinky, which stands for Android First Class. He’s an adorable looking little robot with a head that is basically just one giant eye. When he was released in Hasbro’s line, his coiled limbs had a bendy quality and I’m curious if BFS would attempt the same. Despite the lack of a face, he’s fairly expressive in the cartoon and comic and BFS would likely include different eyeplates to demonstrate that. He’d definitely be a small figure and actually the smallest in the line so there would be no need to worry about a higher price point. He’d also likely come with the same rocket pack the Hasbro toy featured, since that was also his mode of transportation in the video game. He’s just always been among my favorites from the show/comic, so naturally I want a new figure to add to what I have.

The Toad Air Marshall was among the many cartoon villains totally incapable of performing his job properly.

Toad Air Marshall

He’s the signature bad guy and also one who gets a bad reputation since his peg-warmer status with the old Hasbro line is what is often cited as killing the line. It’s not his fault Hasbro didn’t know what it was doing in regards to case ratios back then, and for what it’s worth I think his old figure holds up quite well. It captured the look and personality of the character, even if the articulation was pretty dreadful. A newer version would likely reposition his head so it’s not on his chest. He’s very hunched over in Larry Hama’s artwork, but not to that drastic a level. He would also be a fun one for different faceplates as he often is sent into a rage. He would likely also be taller than only Blinky and would sit comfortably in the traditional price range.

The Hasbro toy was based on the artwork on the left, while the artwork on the right appears to be Hama’s artwork updated to be more in-line with the look of the animated series.

Toadborg

Yes, I want Boss Fight to hit us with back to back villains. Following smaller scale figures in Blinky and Air Marshall with a Deluxe one in Toadborg feels like solid placement. And I suspect that the fan base would have more enthusiasm for Toadborg than it does Bruiser. No disrespect to Bruiser, but he’s no one’s favorite character and is often excluded from a lot of the supplemental media (he wasn’t even in the original comics, but then again, neither was Toadborg). Toadborg, on the other hand, is basically the Toad version of Darth Vader: part toad, mostly machine. His old figure was pretty underwhelming, and I’m curious what a figure from BFS would look like. The original Hama artwork seemed to exclude the rather large, yellow, hunk of metal on his back the cartoon featured, but later versions of the art would see it included. I tend to prefer the Hama version of the characters to what ended up being adapted for television, but in the case of Toadborg I’d actually want BFS to lean more into the cartoon. And if his chest could open to reveal the remnants of the toad he once was inside, all the better!

Mimi feels like a fan-favorite deserving of her first ever action figure.

Mimi LaFloo

Yes, it’s at this point that I’d like to see Boss Fight stray from the Hasbro formula and give us someone all new. Now, most probably would expect Willy DuWitt here, and while I won’t argue against him being essential, he’s also not one of my favorites. Fans expect Willy, and they’ll want to complete Bucky’s team, so maybe preempting him with a new character is an easy way to create sales in a previously unreleased one in Mimi LaFloo. Mimi is the captain of The Screaming Mimi and she debuted in the animated series in the episode “Home, Swampy, Home” as a Bucky denier of sorts. He won her over when he helped free her and several other mammals from Toad captivity and she went on to pilot her own frigate. She feels like a bit of a fan-favorite to me, though that’s impossible to say, and this line could use another female character. Plus she’s way more interesting than Dogstar.

Oh Willy, always needing rescue.

Willy DuWitt

Okay, now we can do Willy. I see no reason to stray from the Hasbro mold with him and he should come in his Bruce costume with a removable helmet. If it’s easier, his helmeted visage could just be another head. And hopefully BFS could do better than Hasbro where his glasses are concerned. He’d probably have to come with his squirt gun, but maybe BFS could also include his non-canon rifle that he assembled in the NES game.

The coolest member of Dogstar’s crew.

A.S.C. Rumblebee

One of the great teases to arise from the internet are the promotional images of Hasbro’s Wave 2 that never saw release. Rumblebee was to be a part of that wave, and he was my favorite design onboard the Indefatigable, the frigate captained by Commander Dogstar. Rumblebee would be a tricky design, as his bulbous rear could swing in-between his legs to create a canon. He’d be a fun one to design with some challenge, but I think BFS is up to task.

Komplex is another design that varies greatly between mediums.

Komplex

Really the only major villain not released, Komplex would likely be another Deluxe figure in the $55 range or more. Since Komplex is largely relegated to television monitors, a figure would naturally include that as part of the Komplex-To-Go. He’s also another character that differed quite a bit from Hama’s initial designs. I’d largely want BFS to reference Hama’s art for the body, while including swappable “screens” that contain a Hama accurate depiction of Komplex’s “face” and an animated series version, assuming their license allows for that.

What other toyline boasts ninja space ducks?

Kamikaze Kamo

Another figure slated for Hasbro’s second wave of action figures, Kamikaze Kamo is basically too fun to ignore. A four-armed, ninja, space, duck – who doesn’t want a figure like that?! Two of his arms are mechanical too, so you can tack on cyborg to that list of adjectives as well. He’d potentially be a cheaper figure to produce as some of Dead-Eye’s parts could be re-used. And maybe that’s a road BFS will need to travel down if it wants to produce more than one new character per year. And having a Kamikaze Kamo would lend itself well to another figure…

Apparently, he was to be called Iguana Don at one point.

Sly Leezard

Kamikaze Kamo’s nemesis is the evil Sly Leezard. A sorely needed additional bad guy who wold immediately pair well on a shelf with the ninja. He’s basically a samurai, except he has no code of honor, so he would be another sword-wielding character with a bright color-pallete like fellow reptile Al Negator.

If all of those figures were produced, that would put the line at 14 total figures, which feels like a reach at this point given the new output of one figure per year. Bruiser being the lone figure for 2019 doesn’t mean that’s how it’s always going to be, but do I really see this line lasting 10 or 12 years? Honestly no, but it would be pretty cool if it could. And of course I’d want it to continue beyond this group. There’s still the rest of the Indefatigable to consider like Dogstar and Pitstop Pete. There are also characters that never made it to the cartoon like the Omniscient Mouse and Rocket Rodent, who actually never appeared anywhere except in concept art. Would fans want characters that never appeared in the cartoon or even the comic in plastic form? Hard to say, but if the line actually got to the point where BFS was considering such characters then that means it was pretty successful.

Ultimately, I think in order for this line to really take off it’s going to need a boost from other media. Be it a new cartoon or revived comic, Bucky O’Hare could really use more exposure. I’ve been encouraged by the coverage I’ve seen for this line of toys on the web as it’s always positive. That likely helps lure in toy collectors not familiar with the property who just see some fun, well-designed, figures. It’s those casual collectors that may be less enthusiastic for $55 figures, but hopefully Bruiser does what Boss Fight Studio needs him to do and this line carries well beyond him.

3 Comments | tags: action figures, andrew franks, boss fight studio, bruiser, bucky o'hare, continuity comics, hasbro, larry hama, mimi lafloo, toadborg | posted in Comics, Television, toys

January 20, 2019

Dragon Ball Super: Broly

By Joe

Dragon Ball Super: Broly

The first movie under the Dragon Ball Super umbrella is one that sets out to take what was previously non-canon and adapt it into the main series. The most recent two Dragon Ball Z films; Battle of Gods and Resurrection ‘F’, ended up being the start of Dragon Ball Super which is now well over 100 episodes into its own series and several volumes of manga as well. It was last year that the series took a pause, seemingly coming to an end, only for this feature to be announced soon afterwards. Over the summer it was revealed that the subject of the film would be the infamous Broly, a character created for the prior Dragon Ball Z films that is either a fan-favorite or fan-hated character, depending on who you ask. In that universe, Broly was the featured villain of three separate films, and according to this humble blogger only one of those three films was any good. Broly is simply an all style and no substance villain. He’s big, mean, and powerful, but he has no real motivations beyond wanting to annihilate the hero of the series, Goku, whom he despises because he made him cry when the two were infants. Yup, you read that correctly.

Finding out that Broly would soon be adapted for his fourth film and presumably brought into canon left me with mixed feelings. Those feelings quickly shifted to positive ones though as what reason did I have to really doubt series creator Akira Toriyama? Broly already had the look, and aside from the reason for hating Goku being quite lame, the rest of his origin was fine. There was enough of a skeleton there that could be fleshed out into something worthwhile. And after doubting that there was anything left in this franchise, I’ve been proven wrong time and again by the last two features and basically the entirety of Dragon Ball Super. Toriyama, and those working with him, seem to have a handle on what sets this world apart from others. It’s the humor, as well as the action, that makes it go. The series can’t stop to take itself too seriously, or else it will betray what it is. Anchoring the series on the Goku and Vegeta characters is also fan-service at its best. It’s their differences as characters that works so well. It meant taking away most of what once made Vegeta a villain, but Dragon Ball Super has managed to make him likable and understandable without also softening him too much.

Broly is re-introduced in this one as canon with a tweak to his base design.

Before I go any further, it is worth pointing out just where this film follows in the grand scheme of things. If you’re like me and have been following Dragon Ball Super via the dub that airs weekly on Toonami then you’re going to have some things spoiled for you. This film takes place after the events of Dragon Ball Super so far, so it’s after the Tournament of Power which has yet to officially begin. If you watch the Japanese dub of the show, then no problem as you saw the finale almost a year ago. For us just watching on a standard cable package, it means having the events of that tournament some-what spoiled. And I mean that very loosely as the setup for that tournament is that all of the universes who lose are destroyed. I don’t think any viewer expects the universe inhabited by Goku and his friends to be wiped out and have the story end there, so the fact that this film even exists is only the most mild of spoilers. The film doesn’t go into any detail about how that crisis was resolved, so I didn’t feel particularly spoiled by anything. Only the fate of one character would really count there, so if you want absolutely nothing else spoiled you may want to stop here as I can’t really discuss this film without mentioning that character at least in passing. There’s your final warning.

King Vegeta’s court where Paragus is informed on the fate of his son.

Okay, with that out of the way we can freely talk about Dragon Ball Super: Broly! This is a review, not a synopsis like I did with my DBZ movie feature from last summer, so I don’t aim to spoil anything pertinent to the film beyond just going over the general plot and setup. If you’re a longtime fan, you’re probably most curious about how this new Broly (Vic Mignogna) equates with the old. He’s a different character, but it is also largely the same. The film begins several years before the present day when planet Vegeta was still a thing. In addition to seeing the early days of Broly, we’re also treated to something previously untouched upon and that’s the transfer of power over the universe from King Cold (Jason Douglas) to his son, Frieza (Christopher Ayers). It’s fun seeing that acknowledged, though it’s not particularly thrilling. Broly himself though is soon introduced as a baby, and like the prior Broly, he seems to have incredible untapped power. King Vegeta (Christopher Sabat) appears jealous that this child rivals his own infant son, also Vegeta (Sabat), and it may explain what he does next.

The flashback also contains a brief look at young Goku in a somewhat touching scene.

Like the prior Broly, this one will find himself banished from planet Vegeta. His father, Paragus (Dameon Clarke), suspects the king did it out of jealousy, but the king claims he did it out of fear over what Broly is capable of. A power so terrible cannot be controlled and he could destroy them all. It’s hard to say what the truth is, but Paragus refuses to see his son exiled to a barren world alone. He steals a spaceship and chases after him all while swearing revenge on the king who did this to him and his son. We also get another peek at Goku’s father, Bardok (Sonny Strait), and even meet his mother, Gine (Emily Neves). It retcons the events of Bardock’s solo film a bit, and also shows us a softer side to the character which provides some context for how Goku (Sean Schemmel) came to be so different from other Saiyans. We also get to check in on a toddler Vegeta and Radditz, which is amusing, and see the destruction of planet Vegeta from another angle. There’s even a mention of a brother to Prince Vegeta that I was not aware of. I don’t know if that’s mentioned at all in the episodes I have not seen, or it could be a hint at something to come in a future movie or series.

The design for Broly’s father, Paragus, is also still in-line with his old portrayal only now he’s aged up. He’s also still a dick.

After the lengthy setup, the film jumps to the present day and finds Goku and Vegeta sparring. They’ll soon find out that Frieza is up to not good, and his stealing of the Dragon Balls from Bulma’s (Monica Rial) lab is what sets the plot in motion. That will get all of our main players to Earth, including a now fully grown Broly and his father, where the action takes place.

Goku and Vegeta showing off their trendy new winter duds.

To no one’s surprise, the majority of this film is action as the two heroic saiyans take on Broly. Broly is depicted as actually kind-natured this time around, but his power drives him mad. It’s a subtle change from the previous version we’ve seen, but it’s handled far better and this character actually has meaning. He’s a sympathetic character, much more so than before, and one the audience isn’t necessarily instructed to root against. His design is only a little different from his old one, but he has a slightly more refined look. There’s some grit there as well and he actually looks like someone who has lived his whole life in exile. He’ll find some sympathetic characters which help add to his story, and overall I think he’s a fine addition to the cast this time.

Vegeta demonstrating his mastery of the Super Saiyan God form.

The action is the main attraction, and after the slow-paced opening I am happy to report that no action was spared as a result. This is a meaty film, and by its end you may even start to feel exhausted. It keeps upping the visual ante along the way though, so it never gets boring. New tricks are unleashed, some more abstract than others. My favorite was a first-person camera in the middle of the fight that really pulled me in. It sounds like a gimmick, but it worked really well to see the lightning-quick action unfold from such a perspective. It was also tastefully utilized, so it didn’t overstay its welcome. There’s plenty of big spots, and also some rather brutal ones. Nothing is gratuitous though, and overall if you’re a fan of action this is one satisfying and spectacular film. There is also less emphasis on fan-service this time around when compared with the last two films. There’s no effort to get all of the old gang back together and the cast is actually fairly trim. This one simply has a story to tell and a battle to feature.

The film is visually stunning, but there are moments where I felt like I was watching a cut scene from Dragon Ball FighterZ.

The film is still mostly done in 2D with digital hand-drawn animation, the design of which was handled by Naohiro Shintani instead of Tadayoshi Yamamuro who has done virtually all of Dragon Ball previously so all of the characters have a slightly altered look to them, though I wouldn’t go so far as to say they appear off-model. Those hand-drawn parts are delicious for the eyes and Dragon Ball has never looked better. The movements of the characters are so fluid and sharp, and the slightly muted color palette is reminiscent of the manga more so than the actual anime. Vegeta’s battle suit, in particular, uses a more navy color than a bright blue and Goku’s orange gi is just slightly pale. This being Dragon Ball, there’s also lots of bright greens and blacks and some cute character designs amongst the villains. There are instances of obvious CG, most noticeably when space ships are shown. It’s also still used in battles, but it’s less of a distraction than in past films. There are still times though when I felt like I was viewing a cut scene from a video game as opposed to an anime. I wouldn’t go so far as to say those moments were jarring, but the hand-drawn stuff is just so flawless that I wish they just tried to stick with that as much as possible.

Arctic settings are among my favorites in Dragon Ball. The brightly colored characters just look great against a cool backdrop.

The music composed by Norihito Sumitomo is also quite bombastic and in-time with the visuals. Some of the main themes, in particular Broly’s and a character I won’t mention by name as it would constitute a spoiler, include a chant in the song where the name of the character is spoken. It further adds to the fighting video game feel of some of the visuals and I’d consider it ludicrous if this were any other property save for maybe Mortal Kombat. It manages to add to the spectacle of everything. Also, some old favorites return though it’s worth mentioning this movie doesn’t feature an opening credits scene like the old ones. I kept waiting for it to pop-in, until I realized it wasn’t coming. It’s probably for the best, though I did kind of miss it.

If you’re looking for some of the old Broly you know (and love?) you’ll get that here as well.

Ultimately, I was left feeling like seeing Dragon Ball Super: Broly on the big screen was very much a worthwhile experience. This film was designed for that setting, and I really enjoyed my time with it. I was surprised to find it actually showing at quite a few theaters in my area, and further surprised to find many shows sold out. Thankfully, I was planning on seeing this alone as I couldn’t find two seats side-by-side anywhere. The machinations of the plot are pretty contained so if you haven’t bothered to watch Dragon Ball Super you shouldn’t have too much trouble getting into this and and figuring out what’s going on, so don’t let that be an obstacle. If you ever cared about Dragon Ball, then you owe it to yourself to catch it on the big screen.

4 Comments | tags: akira toriyama, anime, broly, dragon ball super, dragon ball z, frieza, funimation, goku, manga, toei, toonami, vegeta | posted in Dragon Ball Z Movies, Film

January 18, 2019

Batman: The Animated Series – “Sideshow”

By Joe

sideshow Episode Number: 66

Original Air Date: May 3, 1994

Directed by: Boyd Kirkland

Written by: Michael Reeves, Brynne Stephens

First Appearance(s): Goliath, Billy the Seal Boy, Richard, May and June (none who will reappear)

We have arrived at the first episode of production season two! Fox broadcasting seems to consider the 5 episodes that aired in September of 1993 as the first of the second season, but this was the first produced. It was also the second episode to debut in 1994, with the first being production episode S02E05 “House and Garden.” The episode is credited to Michael Reeves and Brynne Stephens, though the story is very similar to one written by Dennis O’Neil for Detective Comics #410, with one pretty significant departure being the main villain of the stories. For this episode, it’s Killer Croc (Aron Kincaid) and he’s going to get a chance to be more than the punchline he started to become. Even though he was Batman in disguise back in “Almost Got ‘Im,” I still get the impression that version of the character is what people think of when they hear the name Killer Croc. The other villains in that episode certainly don’t bat an eye at his limited thinking skills making the performance feel authentic. That’s not the case for his first appearance in “Vendetta” when he’s a cold, hard, killer. We’re back to that version of Croc for this one, except he’s going to meet some people who might change how he feels. It’s as close to a deep dive as we’ll see from Croc, and while I don’t think of this as a particularly strong episode of Batman, it is at least interesting from that perspective.

Croc is about to give a lesson on crocodile anatomy.

The episode opens on a train. Killer Croc has been declared sane and is thus responsible for the many crimes he’s committed. He’s being transferred from Arkham to a penitentiary, but the cops didn’t take the assignment seriously enough. In the cabin, Croc demonstrates the strength of his jaws by biting through his restraints, much to the horror of the cop riding along with him. Before he can get a shot off at Croc the giant takes him out and escapes to the roof of the train, because that’s where everything always leads when the setting is a train. On the roof waiting for him is Batman. Evidently Batman felt the cops needed some added security to make sure Croc got where he needed to be. Batman is a pretty smart guy, but what would have been smarter would have been for him to recommend some different restraints.

Croc is quite ticked to find Batman on the train, and the two tangle. As Croc was fleeing the confines of the train though he was shot in the shoulder with a sedative. Batman cautions him about trying to fight with that coursing through his veins, but Croc doesn’t seem like the type who takes his doctor’s advice, let alone Batman’s. The two end up tumbling off the train and Batman is left unconscious. Croc grabs a giant boulder intending to smash Batman’s head, in a way making Batman’s false story about him come true, but the sedative has taken effect and he misses his target. Stumbling away, he ditches his prisoner attire and tries to put some distance between he and the Batman.

It’s odd to see an episode of this show take place out in the sunshine.

It’s at this point I feel like I should mention how this episode looks. I am watching it in HD, as I intend to watch every episode from here on out, which may be leaving a greater impression than it did previously. This episode though really stands out because it takes place almost entirely during the day and away from Gotham out in the countryside. It’s so weird to see Batman battling in daylight with nothing but green and brown in the background. We’ve seen Batman in a forest setting before, but usually at night. This must have been an expensive episode to produce given the new backgrounds and new characters to come.

Croc gets rescued by a kid that looks like a seal. That’s certainly different.

Croc and Batman are going to trail each other in the woods. Eventually, Batman will take a nasty fall that will deprive him the use of his grapple gun going forward, allowing Croc to escape. He takes a fall himself into some rushing water, and likely compounded with the sedative, it looks like he could be a goner if not for a nearby boy, a seal boy at that. The kid is named Billy (Whit Hertford) and his arms and legs are deformed to resemble flippers like that of a seal. He swims in after Croc and another guy, the much more physically imposing Goliath (Brad Garrett), helps get Croc to safety at a nearby farm.

When Croc awakens he finds himself in the company of “freaks.” A hunchback by the name of Richard (Kenneth Mars) introduces himself and the others, which include conjoined twins May and June (JoBeth Williams) in addition to Billy and Goliath. They were once part of a circus freak show, but once they earned enough money they stopped living that life and moved out into the country to be away from those who would pass judgement on them due to their unusual appearances. They view Croc as a kindred spirit, and while he does thank both Billy and Goliath for their aid, he still seems guarded.

Croc getting to know his new “family.”

The troupe is rather welcoming and they offer Croc lodging and food. He starts to see how he can take advantage of them and spins his own sad tale about being a fellow freak. He’s still wearing the remnants of the police shackles and uses those to his advantage to claim he was bound and held captive as a freak as well forced to eat fish heads. They buy his story hook, line, and sinker. At dinner, Goliath some-what foolishly lets it slip they’re also sitting on 50 thousand dollars which further intrigues Croc. That night while the others are sleeping, he noses around through the place in search of the money eventually finding it stashed in a pipe organ. As he holds the security box he looks around at the old freak show memorabilia decorating the place indicating that maybe he’s having reservations about stealing the cash. Before we can find out, Billy finds him and asks what he’s up to. Croc claims he’s just looking for a blanket and Billy offers to help. When he hops away, Croc puts the money back where he found it. Does he intend to come back for it?

Goliath and the others accept Croc’s story with no questions asked.

Outside, Goliath is sleeping on a pile of straw having offered his bed up to Croc. Batman sneaks over and placing a hand over Goliath’s mouth he wakes him. He tells Goliath he’s looking for someone half-man, half-crocodile, and Goliath glances towards the building. Batman then assumes Croc is in there, and saying as much aloud causes Goliath to attack. Thinking Batman is one of the men who imprisoned Croc unjustly, he tells Batman that Croc is one of them. When Batman tries to reason with him it fails. He tells Goliath he doesn’t want to hurt him, and in response Goliath says, “You won’t.” That’s pretty bad ass, Goliath.

Batman has his hands full with these two.

The commotion causes everyone else to run outside. Batman has his hands full with Goliath, but he seems to gain the upper hand. Once Croc joins the fight though he’s overwhelmed, and the two toss him into a caged wagon. Croc, proving once again that he really isn’t as dumb as we think, has the presence of mind to take Batman’s belt before locking him in the cage. Batman tries telling the others that Croc isn’t who he seems to be, but they view the shackles on his wrists as evidence that it is Croc who is telling the truth.

Croc seems to enjoy this view.

With Batman locked up, Croc tells the others they need to get rid of him or more will come. He grabs a pitchfork and is preparing to spear Batman when the others protest. They don’t want to see Batman murdered, and they quickly come around and realize that maybe Batman is telling the truth. Croc isn’t going to just walk away though and leave Batman breathing, so he pulls some smoke bombs from Batman’s belt and tosses them at the feet of the troupe. The gas released causes them to fall asleep, and Croc puts them all in another caged wagon and is forced to chain Goliath to one of the bars.

Croc makes a brief attempt at convincing the others Batman must die, but he’d rather just gas them.

As they wake up, Richard questions Croc why he’s doing this, but doesn’t really get an answer. Croc just suggests that they’re all lucky he hasn’t killed them. He returns to the home for the money and also grabs a hunting rifle. While he’s busy doing that, Batman is able to reach and remove a block from behind the wheel of the wagon he’s being held in while Goliath and Richard work at freeing themselves. When Croc returns with the gun, Batman slams his shoulder into the side of the wagon causing it to roll at Croc and over him and smash upon the rocks along the shore of a nearby river. Now free, he and Croc can do battle in the water and around the grounds.

Billy and the others are able to get free as well, and when Croc vanishes into the lumber mill, Billy offers to show Batman a secret way inside to get the drop on Croc. Batman takes his advice and meets Croc inside where the two battle until they fall out and into the river. They end up on a water wheel, with Croc above Batman as the wheel turns and he runs out of room. He gets crushed between the wheel and the building, though we don’t actually see it happen. The force of the wheel against the building causes it to break, and an unconscious Croc falls into the river below where Batman is waiting to drag him to shore.

Croc is heading back where he belongs.

The next morning the police arrive and Croc is once again chained up. This time he’s bound to a dolly with a cage over his head and a strait jacket for good measure. He won’t be getting out this time. As the police prepare to airlift him out of there, Billy approaches and does the predictable “Why?” routine. Croc responds by telling Billy it was he who told him he could be himself out here in the woods, and that’s just what he did. The chopper lifts him out of there as Batman looks on.

“Sideshow” is a solid take on Killer Croc. He’s a killer and a dangerous one at that. He’s not insane, just a bad guy. He’s given a chance to maybe reconsider that and ultimately doesn’t take it. Though really, in order to play up that angle more this episode would have needed to be longer or arranged differently. Croc doesn’t spend much time with his new “family,” making the whole “Why?” routine at the end feel rather forced. He doesn’t truly get a chance to reform, but that also could be because he never would have anyways. We saw him attempting to steal the money and he only replaced it when he got caught. Sure, I suppose he could have murdered Billy and ran off without anyone knowing until morning, but it also makes sense that he wouldn’t want to leave a mess behind. Chances are, if he just steals the money and runs the others who won’t come after him or bother alerting any authorities. Where as if he were to murder one of them, and a child at that, things likely would go differently.

The episode perhaps could have been strengthened with a time jump in the middle. Batman can’t find Croc so he returns home for the Batwing while Croc gets to further build a relationship with the others. Had it been Croc who first found Batman instead of Goliath, we could have seen a desperate Croc trying to hide Batman from the others and try to preserve his new life. Then again, I just think that was a story they didn’t want to tell and preferred to keep Croc in the “evil” bucket. His parting words with Billy further affirm that. And on a show where many villains are sympathetic, it’s actually not bad to have one who’s just a nasty person.

We’re now into the show’s second form, The Adventures of Batman & Robin, but to keep things simple we’re still just going to stick with Batman: The Animated Series.

Dong Yang Animation handled this one and it might be their best work yet on the show. I mentioned all of the work this one likely took to create because of the new setting and characters, but in addition to that it’s also just really well animated. There’s a sequence where Batman pulls himself onto a ledge and collapses to the ground in exhaustion and the animation on his cape looks so fluid and perfect. It’s easy to draw Batman’s cape when he’s swinging around Gotham and it’s open like a pair of giant bat wings, but when it’s just limp and falling over him that’s tough to pull-off. And while I definitely prefer the dark-deco look of Gotham to other settings, it’s a nice change of pace to see something different here.

Ultimately, this was an episode I wasn’t too excited to revisit, but I actually liked it better than I remembered. The forest setting is a touch off-putting because it’s so different, but I warmed to it. The parts spent with the former circus troupe are actually quite brief, and while they’re perhaps far too trusting of someone they just met, it’s also easy to see how they could view Croc in a sympathetic light. And Croc plays the role of bad guy quite well. This will never be my favorite or among my favorite episodes of the show, but it’s a worthwhile episode to watch and an interesting way to begin our journey into season two of Batman: The Animated Series.

1 Comment | tags: aron kincaid, batman, batman season 2, brad garret, dennis o'neil, dong yang, kenneth mars, killer croc, seal boy, the adventures of batman and robin | posted in batman the animated series, Comics, Television

January 11, 2019

Batman: The Animated Series – “The Worry Men”

By Joe

the worry men Episode Number: 65

Original Air Date: September 16, 1993

Directed by: Frank Paur

Written by: Paul Dini

First Appearance(s): None

Well, it’s taken awhile, but we’ve finally arrived at the final episode of season one. The 65 episode order was initially meant to be it, but the show was such a hit that Fox ordered another 20. It terms of air date, this episode is part of season two, but I suppose it doesn’t matter. Since the order for another 20 came during production on season one, it makes me think this was never intended as a potential series finale. It stars a returning villain, who is also one of the lesser villains of the show, and is really a very stand-alone type of episode. Not a bad one or anything, just not what one would expect of a finale.

The episode opens at a social gathering. The host is Veronica Vreeland (Marilu Henner) and she has just returned from a trip to the rain forest. And just in case she didn’t get a chance to tell anyone, she is making sure people know via her attire. Bruce Wayne is in attendance and he’s hanging by the bar with a new face, Hayden Sloan (LeVar Burton), a stock broker who is a bit worried about the current economic climate. As he voices his concerns to Bruce, Veronica approaches to inform the pair that she has a way to get rid of those troublesome worries – little dolls. Sloan is understandably dismissive, but Veronica insists she bought them from a native while on her trip and swears by them. She’s even giving them out as party favors. Above, a man decked out in Mayan attire is snooping on the proceedings down below, and Bruce apparently takes notice and excuses himself.

Veronica Vreeland is back to do what she does best – throw parties!

The man continues to spy on the party-goers, until Batman surprises him. He says nothing as Batman questions what he’s doing and responds by throwing a bladed device in Batman’s direction. He has no problem avoiding the projectile and has a little retort ready for him to show he is not impressed. They do a little dance, and the Mayan Shaman eventually connects with a ball that at first misses Batman, but then bounces around to hit him from behind. I don’t know what it’s made of, but apparently it’s enough to at least knock Batman down allowing the fellow to make his escape.

At home, Bruce tells Alfred about his interesting evening. When he questions what a man dressed as a Mayan Shaman would be doing spying on a social gathering, Alfred asks if this is some question being posed by The Riddler. Bruce shares all of the info he can, while Alfred finds one of Veronica’s little dolls in his jacket and asks what it is. Bruce explains how it’s supposed to take away your worries, and Alfred is about as dismissive as Bruce regarding it, but just for fun he puts it under Bruce’s pillow.

Bruce with one of Veronica’s worry men dolls.

The next morning, Bruce strolls into work in a sunny disposition while his secretary, Dana (Vernee Watson-Johnson), expresses some concern over the phone to someone. She has a briefcase for Mr. Wayne, but seems reluctant to give it to him. He takes it though and heads into his office. There he opens it to find it’s full of cash, smiles, and then places it outside his window on a ledge. He then sits down at his desk to flip through some mail when Dana comes in to once more express concern about him carrying around so much money. Bruce has no idea what she’s talking about, and she goes on to explain that he called her from his car and told her to withdraw 20 million dollars and put it all in a briefcase. Bruce is still confused until the man in the Mayan attire appears, snatches the briefcase, and takes off.

In the Batcave, Batman watches the news as Sloan is arrested for embezzlement. He, along with a few others from Veronica’s party, are in hot water over disappearing funds. Bruce is on the list as well, though apparently his loss of money hasn’t resulted in arrest, yet. Noting the connection, Batman decides to seek out Veronica and finds her on a small cruise ship with a large briefcase of her own. He surprises her and offers to help her with her luggage. Veronica is surprised and a bit unnerved in the presence of Batman, but she doesn’t resist. Batman opens the case to find her jewelry, and she’s just as surprised as he is. Then, three men dressed like jaguars board the ship. Batman is able to fend them off, and failing to get the suitcase, they choose to flee. Veronica is confused and angry and decides to take her frustrations out on her little worry men dolls she has pinned in her hair. Batman stops her from tossing them overboard, and instead questions her about them. She tells Batman how she bought them from an english man in the rain forest, and Batman removes the backing on one to find a microchip.

At the Batcave, Batman analyzes the little worry men pulled from Veronica’s hair and determines that the device inside them is intended to hypnotize people when they’re most susceptible to hypnosis – during their sleep. Alfred apologizes for his role in getting Bruce to lose 20 million bucks, but Batman seems unconcerned. He knows there is only one man who could pull off this scheme – The Mad Hatter.

Our true villain revealed!

At an old, defunct, costume shop, The Mad Hatter sits with his ill-gotten goods. He’s pretty jolly, until his men return empty-handed. They tell him what happened, and Mad Hatter even notices that Batman was able to tear away a piece of one of their masks which will undoubtedly lead him to their lair. He gets rather angry, but then cheers up remarkably quick. He’ll be ready for Batman.

They should just be happy he didn’t make them put on Alice in Wonderland costumes.

And just as The Mad Hatter predicted, Batman does trace the garment to the old shop. It’s a shop that Batman says has been closed for years, but costumes for recent rogues appear inside including Clayface and Riddler. No matter. Batman enters and confronts The Mad Hatter and soon finds himself being attacked by mannequins of some of his more famous foes. There’s a Penguin-like toy that tries to stab him, a rolling Riddler with a machine-gun, a Harley Quinn marionette, and a giant Joker Jack-In-The-Box with a pretty big knife. The three jaguar men are there as well, and they’re able to over-power Batman allowing for The Mad Hatter to explain his scheme like all villains should. He tells Batman how he was released from Arkham, and determined to start a new life free of crime, he needed money. He used what little he had on this scheme, and he brain-washed the native he met down there to help him (that’s the guy in the Mayan costume). The other three are just gutter-trash, per The Mad Hatter, and with that all out of the way he now wants Batman’s cowl as a parting gift, except Batman won’t let him just take it.

That looks dangerous.

After being booted away by Batman, The Mad Hatter orders his men to put Batman in a nearby guillotine. As the blade falls, Batman uses his legs to stop it and is left in a very uncomfortable and quite precarious position. As The Mad Hatter pushes down on the blade, Batman pulls out some sonic device that, when activated, seems to break the hypnotic spell the other men were under. The jaguar guys, having apparently heard what Mad Hatter called them, attack him. They’re about to do some real damage when the shaman stops them, insisting the police should take care of him. The Mad Hatter thanks his former slave, and then pulls a gun on him that he had been hiding in his rather large hat.

The commotion between The Mad Hatter and his former henchmen provided enough of an opportunity for Batman to escape. It would have been nice to see how he got out of that mess, but maybe it’s also better we didn’t see since that was quite a pickle. The Mad Hatter ventures into the darkness of the storage room to find him, and a Batman mannequin gets sent at him as a decoy, allowing for the real Batman to take him down from behind.

At Wayne Manor, Bruce explains to Alfred what happened after. The man The Mad Hatter encountered and brainwashed in the rain forest was allowed to head home, and apparently Wayne is paying for the tickets. Before he left he gave The Mad Hatter a parting gift, and we’re taken to Arkham to see what it is. As The Mad Hatter tosses and turns in his bed, his pillow is disturbed to reveal a little Batman worry man.

The Shaman’s parting gift for The Mad Hatter.

“The Worry Men” starts off on shaky ground. A rich person being taken advantage of has been done before on this show. At least this time they brought in Miss Vreeland, who is a bit annoying, but also interesting. She represents what Bruce would be if he didn’t care about his family’s legacy and since she at least means well in this episode she’s less a villain than she was in “Birds of a Feather.” I remain surprised at how often The Mad Hatter appeared in season one. He’s not one of my favorites, but Roddy McDowall is so good in the role that it’s hard for me to dislike him. He is a villain with no redemption, which makes it easy to bring him back again and again. That said, this is actually his final appearance as the featured villain of an episode until The New Batman Adventures. He’ll appear in season two with most of the other villains in “Trial,” but otherwise is reduced to cameos.

I will say, this episode does look pretty great. Dong Yang continues to improve upon its prior work and I’m excited to revisit their season two episodes to see if this level of quality carries over. Batman looks especially dramatic in his rooftop battle with the Mayan Shaman, and there are a lot of new characters in this episode and none look short-changed. The lighting in the final act is great, and this one received quite a nice boost from the recent HD transfer.

That puts a wrap on season one. We’ve done 65 weeks of Batman, with still 44 to go so it’s not as if we’re nearing the end. It feels like quite a milestone though, and I’d regret not pausing to mention it. That means that there will still be a lot of Batman in 2019, but also that this feature will end in 2019 as well. This has been fun for me though and I look forward to getting into season two, even though I’ve seen those episodes multiple times as well. I definitely feel less familiar with them though than I do with season one, and we have some good ones still to come so I will see you back here next week for our first episode of season two: “Sideshow.”

1 Comment | tags: batman, dc comics, marilu henner, roddy mcdowall, the mad hatter, veronica vreeland | posted in batman the animated series, Comics, Television

January 4, 2019

Batman: The Animated Series – “Read My Lips”

By Joe

read my lips Episode Number: 64

Original Air Date: May 10, 1993

Directed by: Boyd Kirkland

Written by: Alan Burnett and Michael Reaves

First Appearance(s): Scarface, The Ventriloquist

For the second week in a row we have a rather unusual villain for Batman to tangle with. Some would even say comical, but in the case of Scarface, the execution is better. The unique nature of Scarface makes this a memorable episode. It’s title card some-what gives away the villain’s twist, but I’ll still suggest making sure you’ve either seen this episode already or you’re familiar with this foe before reading this.

“Say hello to my little friend,” takes on new meaning with this Scarface.

The episode opens on a boxing match. When the fight concludes we see the money that the fight generated getting moved around amongst the bowels of the arena, until a trio of muggers intercept it. They beat a hasty retreat to the roof of the building. When a truck stops at a nearby red light, the robbers jump off the building to land in the back of it unseen. The truck is then able to simply drive away when the light turns green as the police arrive on the scene. The robbers return to their hide-out where they greet their boss, who like many villains, dwells in the shadows. They boast of their success, while the boss, Mr. Scarface (George Dzundza), assures them this is only the beginning.

Following that declaration we get a trope. Spinning newspapers detail the new crime wave hitting Gotham, and it’s all flummoxed the commissioner. Gordon is shown at his desk when Batman emerges from the shadows of his office to give him a startle. He tells Batman they’ve been unable to get anywhere with this new gang and hands Batman a VHS some amateur home video maker passed along which shows the gang in action. Batman says he’ll take a look before vanishing as he always does. It’s the second episode in a row that begins with a crime, a shadowy boss-figure, and Gordon essentially passing it onto Batman.

Scarface and his “dummy” make for quite a pair.

At the Batcave, Batman analyzes the tape Gordon handed him along with Alfred. He remarks the thieves are clever and careful to make sure they’re always masked and wearing gloves, which strikes me more as common sense as opposed to cleverness, but I’m not the expert here. Batman is able to notice a tattoo on one of them revealed when he crashes through a fence (further proving my thought this isn’t the work of clever men) and his sleeve is torn. The man is a behemoth, and the tattoo is of a rhino breaking out of a cage. Batman turns to his trusty tattoo database, which looks more like a collection of mudflap designs, and finds a match linking the tattoo to a fellow who goes by the name of Rhino, who could have guessed?

Batman confronts this Rhino (Earl Boen), who is out for an evening stroll and dressed like a classic gangster. Rhino thinks Batman is trying to provoke him into a fight, but he won’t bite. Batman tells him he has him confused with the police and that he wants answers. Batman comes off as rather threatening here, a nice edge for him. Rhino, despite just claiming he wouldn’t fall for it, does indeed try to inflict some harm on Batman, but he just sidesteps him. The commotion attracts the attention of a police cruiser and two cops pop out to see what’s going on. Batman takes his leave and the cops are able to have a little fun at Rhino’s expense. He shuts his mouth and leaves, but proving he has the physique as well as the brains of a rhinoceros, he heads straight for Scarface’s hideout.

Batman pursues him from the rooftops and watches through a skylight as Rhino confronts a rather meek looking individual. He demands to see Scarface, but the bald, little man with glasses (Dzundza) insists that the boss is sleeping and disturbing him would be a bad idea. Rhino needs only to mention that Batman is nosing around their operation to get the man to rouse Scarface. He disappears into a bedroom and Scarface can be heard chastising the man for waking him, but he reluctantly gets up. As he emerges from the bedroom, it’s revealed that Scarface is a dummy, and the other guy is a ventriloquist which causes Batman to make his shocked face with the half-circle eyes.

Rhino fills Scarface in on what happened, causing Scarface to think they have a squeeler among them. A rat-faced looking guy (who goes by the name Ratso and is voiced by Neil Ross) is alarmed by Batman snooping around and makes the mistake of speaking his concerns to the ventriloquist and not Scarface, which nearly gets him killed. Scarface soon returns to his room, leaving Rhino, Ratso, and Mugsy (Joe Piscopo) to talk amongst themselves. When Ratso questions the relationship between Scarface and the ventriloquist, Rhino points out that it’s Scarface who is the brains of the operation implying he is fully onboard with this setup as presented.

The ventriloquist turns out to be rather meek and pathetic, by villain standards.

Batman waits until later when everyone is asleep to infiltrate Scarface’s bedroom. There, he cautiously approaches the dummy as it lays in bed with the covers drawn up to its chin. He taps the dummy on the nose and its eyes spring open, startling Batman. He then merely closes them, and probably silently calling himself silly for being so cautious around a dummy, resumes his sleuthing. He doesn’t seem to uncover anything when the ventriloquist comes in to check on Scarface. Batman is able to grab him from behind, covering his mouth, and pulls him into another room for questioning. He approaches the interrogation as if the ventriloquist was the brains behind the whole thing. When the ventriloquist appears to be playing dumb, Batman instructs him that he may think he’s a dummy but not to speak to him as if he is one. Scarface starts calling out from his bed, and the ventriloquist gets real concerned. He starts sweating and pleads with Batman to let him go insisting that Scarface tells him nothing. Batman does, as the ventriloquist goes to attend to his boss, Batman plants a listening device on the ventriloquist’s tux which was hanging on the door. In Scarface’s room, the ventriloquist is clearly nervous as he converses with Scarface, who notices that something is up, but seems to accept the explanation of a bad dream. As the ventriloquist closes the window from which Batman had entered, he sees the caped crusader swinging away.

Even when he isn’t being watched, The Ventriloquist still acts like Scarface presents a real danger.

At the Batcave, Batman explains multiple personality syndrome to Alfred. Alfred has the good line of noting that even for Batman this Scarface is a bit of an odd one. Batman references his old mentor Zatara and how he taught him how to toss his voice, but remarks that this ventriloquist puts him to shame. He even claims the computer can’t tell that the two voices belonging to Scarface and The Ventriloquist originate from the same person. Thus far though, he also notes that The Ventriloquist was not lying when he said that Scarface shares nothing with him regarding his plans and he remarks he’ll just have to keep listening until something comes up.

And something does, as Scarface gathers his boys about a job he’s got. They’re going to knock-off a shipment of platinum which is currently just sitting on a cargo ship in Gotham harbor. Scarface warns that he feels a double-cross is coming and makes sure his boys know that if one of them turns on him they’re dead. They head out for the job and it’s going rather well for them. They pull up in a small boat alongside the ship and cut through the hull. Inside is a huge stack of platinum arranged in a pyramid and they just start unloading it. Batman arrives and first takes out the one man remaining in the boat before entering. He dives in and takes out the smaller man, but Rhino puts up a fight. He’s able to get behind the stack of platinum and actually shoves it over onto Batman. The camera pans over to show Batman’s hand sticking out of the pile of platinum bars.

Now this is something you don’t see every day.

Batman once again proves he’s no normal man as he wakes up inside Scarface’s hideout dangling by his wrists from the ceiling. That stack of platinum really should have killed him or at least mangled him, but he seems fine. The villains have foolishly left his utility belt in place so we’ll have to see if that proves to be a big mistake, but for now his hands are bound. Below him are a bunch of mannequin parts and they’ve been sharpened to a point and look mighty nasty. Scarface and his men are standing around him ready to let him know he’s been got.

Scarface informs Batman that they set him up. The Ventriloquist filled him in on what happened and Scarface found the planted microphone on the suit. It would seem like Batman is in a bad spot, but he tells Scarface he was able to gain access to his hideout thanks to some inside help. Scarface, being a stereotypical gangster, gets agitated at the thought of a rat in his midst. He starts looking around suspiciously, while Rhino insists he’s not the rat and Scarface agrees noting he’s too stupid to be a betrayer. Batman plays coy, but when Scarface appears ready to end the discussion by dropping he reveals his source – The Ventriloquist. Scarface takes the bait, and immediately turns on his handler. He orders his men to take him out, but they’re understandably reluctant to shoot The Ventriloquist given what that would mean for Scarface. When they won’t do it, he decides he will and The Ventriloquist even helps Scarface point his adorable little tommy gun at his own face.

I know he’s just a puppet, but that’s still a bit unsettling.

Meanwhile, Batman demonstrates his proficiency at throwing his voice. In order to further provoke Scarface, he imitates The Ventriloquist and further riles him up. While everyone is distracted, Batman is able to free himself from the binds on his wrists. When it looks like Scarface is about to execute his handler, a whirling batarang severs his hand at the wrist. Batman then swings in to dispatch of the lackeys, though Rhino puts up a good fight. Batman at first tries to take him head-on, which is futile, and then resorts to misdirection to take him out. While dealing with Rhino though, Mugsy is able to grab a machine-gun. He opens fire at Batman, but misses and hits the Scarface dummy which had fallen to the ground. It gets riddled with bullets until Batman takes the guy out with another batarang to the forehead, which lucky for him didn’t get lodged in his skull. A weeping, hysterical, Ventriloquist picks up Scarface’s remains and cradles them in his arms as the camera pans out from high above.

At Arkham, two doctors are shown discussing the progress of their newest inmate in what appears to be a workshop. The other patients are all working on various crafts and one of the doctors approaches our pal The Ventriloquist from behind. He offers some praise on the work he’s doing, which he politely thanks him for, before moving on. Once the doctor is gone, the ventriloquist reaches for a wood-carving blade and turns his work over in his hands to reveal the face of a dummy. Plunging the blade into the dummy’s cheek, he drags it along leaving a wicked scar.

The episode ends basically the only way it can.

“Read My Lips” is able to better straddle the line of comedy and thriller than the prior episode, “Fire From Olympus.” The plight of the character who is simply referred to as The Ventriloquist is perhaps a stretch, but plausible. Fiction writers have been having fun at the expense of those suffering from multiple personality syndrome for years, but doing it through a dummy is definitely one of the more eccentric methods. The actual dummy, Scarface, would be adorable if he weren’t so homicidal. He has a little pin-striped suit and fedora to go with his tiny gun. He even has a cigar affixed to his mouth to complete the look, which is apparently removable since he doesn’t have it while he “sleeps.” It’s amusing to see how his subordinates treat him, some being more into it than others, and even Batman is a bit unnerved by the dummy. George Dzundza is awesome as both Scarface and The Ventriloquist and I would have guessed the two roles were played by different actors. The little callback to Zatara is also nice, as I always like it when the show acknowledges some continuity, though Batman being able to perfectly imitate The Ventriloquist’s voice is a bit of a stretch.

Scarface was also right when he said at the start of the episode that this is only the beginning. He seemed to be a favorite of those who worked on the show as he’ll get to reappear more than once. He was given a makeover for this show, as he’s more of a comedy bit in the comics, and The Ventriloquist was as well going from a character who kind of stunk at ventriloquism to someone who is perhaps unrivaled. The Ventriloquist will even get a more in-depth look in the much later episode “Double Talk” where he tries to move on from Scarface. We’ll even eventually find out he has an actual name in Arnold Wesker, though it was never mentioned in this episode with Scarface preferring to just refer to him as Dummy.

Really the only thing I don’t like about this episode is more an issue of placement. It’s very similar in format to “Fire on Olympus.” Shadowy new villain emerges at the beginning, Gordon brings along Batman, Batman does some sleuthing, Batman gets trapped, Batman eventually wins, and the villain is shown in Arkham to close it all out. I suppose that’s a template for a great many episodes of this show, but it’s more obvious when back to back episodes follow the formula so closely. And I could have done without the pile of platinum falling on Batman. That would have been a nasty end for Batman, and sometimes I feel like the show is insulting my intelligence when it does something like that. Why not just have Rhino knock him on the head or maybe bear hug him into passing out?

My issues are minor, this is ultimately a fun episode. Maybe not a top 10, but possibly a top 20. Scarface is a ridiculous sight to behold, but ultimately a compelling villain. Hopefully I’ll still feel the same way after I re-watch his other episodes.

1 Comment | tags: arnold wesker, batman, dc comics, george dzundza, scarface, the ventriloquist | posted in batman the animated series, Comics, Television

December 28, 2018

Batman: The Animated Series – “Fire From Olympus”

By Joe

fire from olympus Episode Number: 63

Original Air Date: May 24, 1993

Directed by: Dan Riba

Written by: Judith Reeves-Stevens and Garfield Reeves-Stevens

First Appearance(s): Maxie Zeus

I hope all of that Christmas cheer the past month has re-energized you for another heaping dose of Batman. We’re not planning any more breaks until this thing ends right around this December, which feels crazy to think about. Our re-entry episode this week is a weird one, to say the least. Batman is going to tangle with Maxie Zeus (Steve Susskind), a head of a shipping company turned smuggler who also happens to think he is the god, Zeus. We’re used to seeing Batman tangle with foes who are obviously insane, but none make it quite so obvious as this guy.

Meet Maxie Zeus, the goof-ball with a cool staff.

The episode opens in a shadowy area of Gotham at night with Commissioner Gordon checking his watch apparently waiting for something to go down, and something does. A couple of sharp-dressed men are seen accosting a smaller gentleman, Yanni Stavros (Nicholas Savalas). They’re not very friendly and make reference to a “boss” not being happy with Stavros. Stavros is an informant, and whoever these guys are working for caught wind of what was going to happen. They chase him into an alley filled with used tires and Stavros is pinned between a whole pile of them and his assailants. A car pulls in and a shadowy figure emerges. Using quite flowery language, the figure expresses outrage that he has to journey to the mortal plane to deal with this problem and raises his arm. Condemning Stavros to Tarturus, a flash of lightning blasts the little man alerting Gordon (who is standing outside a Greek establishment of some kind). Gordon runs over to find Stavros, but no one else.

At the hospital, a nurse informs Gordon that the many rubber tires helped shield Stavros from the lightning strike. Gordon asks if he heard her right, because as far as he could recall the skies were clear that night. That’s what she’s going with though. Unfortunately, Stavros is in a coma so he can’t confirm the details at the moment. At police headquarters, Gordon shares this information with Batman before asking if he’s familiar with some new kind of weapon that’s basically a lightning canon. Batman is very familiar with it, and wouldn’t you know, the damn thing was recently stolen while in transit. Stavros works for Maximilian Shipping Lines and he likely would have known about the item and has a record of selling shipping schedules to smugglers. This seems like a pretty obvious lead for Batman to investigate.

Maxie’s assistant and lover Clio is pretty sick of the whole Zeus thing.

At the top of a very high building, our assailant dwells. Maxie Zeus, head of Maximilian Shipping Lines, has built his own Olympus atop this building. His assistant Clio (Bess Armstrong) is trying to impress upon him how reckless his actions have become. She reveals that Max is a smuggler and he’s never been caught, which is what she partly blames on his new god-like feeling of invulnerability. She also reveals that they’re a bit more than just boss and subordinate, and she pleads with Maxie to drop this Zeus stuff, but he won’t hear it. The man truly believes he is Zeus, and when the Batwing shows up alongside his home he is overjoyed to see the coming of his brother – Hades.

Batman is a bit unsure of what he walked into, but he remains his usual stoic self. Zeus beckons him in and even dismisses Clio, referring to her as his muse. Batman is not interested in pleasantries and cuts to the chase and asks Max if he knows anything about the stolen weapon. This angers Max who deems this a mortal problem and he questions why Hades would think he who can summon lightning bolts of his own would ever have interest in such a device? He gives Batman a demonstration of his interesting lightning staff as he melts down a little sculpture. He orders Hades to return to his domain and to never return unless summoned. To make the point clearer, he gestures to his “harpies” which are stone gargoyles with guns for eyes. They move at his command and aim at Batman, who gets the message and takes his leave. At ground level, Clio, having failed in an attempt to get Max’s handlers who happen to be the two guys who accompanied him in dealing with Stavros to intervene, looks up and sees the Batwing leave and bemoans the condition her boss/lover is in.

Most villains are not this happy to see Batman.

At her home, Clio is paid a visit by the old Batman where she reveals Max’s sad story. Well, it’s not that sad. He got into smuggling and she blames the stress of the gig as leading to his insanity. She hasn’t given up on him though and agrees to help Batman infiltrate his business and take him down. She drives the Dark Knight over to the main building, but as she enters Max’s goons confront her and take her prisoner.

Having disposed of Zeus, Maxie summons his lackeys Alex (Savalas) and “other guy.” Maxie rolls out the electronic canon that Batman and the police are looking for and intends to demonstrate his might. He fires the weapon at a patrolling police blimp causing it to burst into flames and fall from the sky. Clio is there to witness the horror and attempts to reason with the man once more. He teases for a moment that the fog inside his thick skull has lifted, only to snap-back into Zeus mode and declare Clio unfit to be in his presence. He has Alex affix her to the front of the canon; the next shot will obliterate her for sure.

Before Max can settle on a target though, he takes note of Batman/Hades on a security camera. He activates a trap door which drops Batman into a lavishly decorated room. He taunts Batman over an intercom and watches as he tangles with his “hydra,” which is just a very large snake. We’ve seen Batman handle gators before, so a snake seems like small potatoes. It manages to get its coils around Batman, but he pulls a spray canister off his belt that knocks the reptile out. As he gathers himself, he hears some grunting from down the hall. A warthog bursts through the wall, which seems less threatening than even the very large snake. Batman ropes it, but the warthog pulls him around the room causing him to crash through a window. Maxie thinks that has taken care of his “brother,” but we know better as several stories below Batman demonstrates he has superhuman shoulder joints by hanging onto a ledge.

Not his best idea of the episode.

Maxie then returns to the business with the canon. Taking aim at nothing in particular, he prepares to fire it and end Clio’s existence. Before he can do so, a batarang slams into the console. Maxie looks up to see the shadowy figure of Batman atop the building and orders his men to take him out. Alex expresses doubt, apparently he was fine with tying a woman to the end of a canon but attacking Batman is where he draws the line, which causes Maxie to train his “harpies” on him. Alex takes refuge in a swimming pool, while Batman topples the gun-toting statues. This leaves Batman to tangle with Maxie, which he is more than capable of handling even with Maxie armed with that lightning staff. He disables the canon and frees Clio, but by doing so he turned his back on Maxie. Maxie regains his lightning staff and fires upon Batman knocking him from the building. Satisfied that Batman is no more, Max returns to his throne and inexplicably leaves his staff out of arm’s reach. As he prepares to once more fire the canon, Batman re-emerges and grabs the lightning staff. Like a child who just had his favorite toy torn from him, Maxie screams out “That’s mine!” as Batman hurls it into the canon. Maxie jumps after it and grabs onto the end protruding from the canon. Electricity courses through him eventually causing him to fall many, many, feet and land with a sickening thud on a concrete ledge below.

At last, Maxie is home.

Surprisingly, Maxie Zeus survived the fall and we next see him being wheeled through Arkham Asylum. He’s been allowed to keep his headdress apparently as he’s wheeled on through bound by a strait jacket. As he is pushed along he takes in his surroundings and mistakes various other inmates (who aren’t in Arkham-issued jumpsuits and instead are in full costume) for gods. Poison Ivy is Demeter, a pseudonym she had used herself in a past episode. Two-Face is mistaken for the Roman god Janus, the god of beginnings and ends who was depicted with two faces. And Joker is mistaken for Hermes the trickster. As he’s left in his own cell, he’s actually quite happy and convinced that he is truly in Olympus now.

When I was a kid, “Fire From Olympus” was one of my least favorite episodes of Batman: The Animated Series. I thought Maxie Zeus was just too lame, too over-the-top, and just plain stupid. He’s a villain that would have been a better fit for the 60s Batman show and not this more grounded entrant. As an adult, I hate it less. I view it now as more of an off-beat episode. It’s a bit silly, which in turn allows it to entertain in a way most episodes of this show do not. I still hesitate to call it good though as Maxie lacks an emotional component, but not for lack of trying. The writers try to make Maxie sympathetic, and rely on the Clio character to drum-up some of that sympathy, but in the end he’s a criminal driven insane by his own criminal actions. And Clio isn’t just an innocent bystander, she’s complicit in his crimes as well as she is the one who shields him from justice. She could have turned him in years ago, but probably enjoyed the lifestyle afforded by Maxie’s criminal activities. He’s obviously quite wealthy to have such a dwelling and lightning-blasting staffs are not created overnight and for cheap. Had the episode followed more of a Joker template it might have been better served.

Joker gets to sneak in a quick cameo in this one along with Two-Face and Poison Ivy.

For those interested in Greek and Roman mythology, I assume this episode is a bit more fun. Maxie makes many references in his speeches as he’s quite consumed by his Zeus persona. The performance by the late Steve Susskind as Zeus is easily the episode’s strongest point as he brings a theatrical presence to each scene he is in. I am far removed from learning about all of that stuff, but even I was entertained by the numerous references. It is a bit confusing to see Greek and Roman references used interchangeably, and I suppose purists of one over the other might even be annoyed at that. All of the lines are spoken by an obviously insane and confused man, so I suppose that’s the in-episode justification for the slip-ups.

If you’re more like the child version of me, then you’re probably happy to know that this is the lone appearance of Maxie Zeus in the series. Even though I am more receptive in my older age to this episode, I am quite fine with this being the only appearance of Zeus. He’s not really the kind of villain we need to check-in with. I suppose it would have been entertaining to see him play a role in an upcoming episode where Batman finds himself inside Arkham, but there are plenty of other villains available to do the heavy-lifting. Had he returned as a featured villain in another episode he likely just would have been trying to steal something else that could be connected to Greek mythology and it would have just been filler. An episode where he regains his sanity and wrestles with his other persona also probably wouldn’t matter much considering he’s just not sympathetic enough. As a one and done villain, he’s at least memorable for his goofy alter-ego and kids probably thought his lightning staff was pretty cool. That’s better than being the Sewer King or Boss Biggis, at least.

1 Comment | tags: batman, dc comics, greek mythology, maxie zeus, olympus, steve susskind | posted in batman the animated series, Comics, Television

December 27, 2018

Boss Fight Studio Storm Toad Trooper (Bucky O’Hare)

By Joe

In case you haven’t noticed or do not frequent this blog, I have quite a passion for Christmas. As a kid, my enthusiasm was directed at the holiday thanks in large part to the toys and such. As an adult, that enthusiasm has been transferred more towards the season and the build-up to Christmas. I like to indulge in it, but once Christmas comes and goes it leaves me feeling rather blue. This year though, December 26 had a bright spot when a package from Boss Fight Studio arrived at my doorstep containing the latest from the toy maker’s Bucky O’Hare line – the Storm Toad Trooper.

Boss Fight Studio has designated the Storm Toad Trooper as figure number 7 of its Bucky O’Hare line, but due to the presence of variants in the line, it’s actually sculpt number 4. This gives BFS a release schedule of a tidy 2 new sculpts per year so far. For what is essentially a niche line that’s pretty reasonable. This isn’t Hasbro with a Marvel license, after all. Plus these suckers aren’t exactly cheap, so having time to save up is not a bad thing, especially for an army builder like this one. This figure represents the first villain of the wave, and as it is of the lowly trooper (described as “Laser Fodder” on the card) there is a temptation to buy more than one. Like the more popular Storm Troopers from the Star Wars universe, these bad boys are all bark and no bite. They couldn’t hit a moving target to save their life and are constantly brushed aside by the good guys of the series. And while they strike a mean pose, our heroes are likely only shaking in their boots when encountering a horde of them as opposed to one.

The Storm Toad Trooper stands a tick under 4.5″ and is about as tall as Jenny. He’s noticeably taller than Dead-Eye and Bucky (when ignoring his ears). As far as the source material goes, it’s a bit hard to say as the toads of the cartoon are often hunched over, but it looks about right. These figures, as far as I know, are done to the specifications laid out by series creator Larry Hama who had figures in mind when he originally designed them. The cartoon may have possibly used a slightly different scale, of that I don’t know, but it passes the eyeball test. Because these are to Hama’s designs, the Trooper is different in the area of color scheme with his animated counterpart. Those characters wore a blue suit, but these guys sport a black one like the blister card picture. They’re also more detailed as the show simplified some of the designs a bit for animation, a common practice. Just comparing him with the blister art and he looks pretty damn exact with the only difference I see being a tank on his rifle that isn’t present on the toy’s version.

As the principal grunt of the Toad army, the Storm Toad Trooper has a Hasbro equivalent from the old line. Despite his lowly status, it was one of my favorite toys from that line because of how much I enjoy the design of this character. He’s very expressive and has a fun, toon, look to his mouth and eyes. The dark green helmet that sits flush along the pale green skin of the head is just so pleasing to me. The green and black also works well together, and the gold and pink accents in the belt and eye lens really pop. I love the hot pink of the weapons too as it’s such an of its era touch and I’m happy no one decided to try and update the look with something more real world, or opt for the light blue occasionally used by the cartoon. Speaking purely on aesthetics, he might be my favorite of this line so far and that’s no small praise given the rest.

Moving beyond just the look of the figure reveals so much more. Boss Fight Studio made the helmet removable, which feels like a brave move given how flush it’s supposed to sit on the character, but it looks fantastic. You would have no idea it’s removable just by looking at it, but it’s relatively easy to pop off and it snaps back on in a very satisfying manner. Underneath the helmet is a detailed headsculpt with camouflage-like green spots. There’s a gap in the head for the helmet to snap into, so this isn’t a toy you would display without headgear, but given how well the helmet works I’m not sure if it would have made sense to try and accomplish this in another fashion. He comes with three additional hands to go along with the stock weapon-holding hands. Two open palms and a pointing finger, which feels fairly standard. His weapon outlay is a bit more robust as he comes with a rifle, pistol, and sickle-shaped bayonet. He can hold the bayonet like a weapon, or it can be attached to the rifle by removing a piece of the rifle’s stock, which I suppose could then double as a grenade. The weapons click into his belt nicely, and his hands are all easily removable which is an aspect of these figures that seems to be improving with each new figure. In addition to all of that, he also has a second head, which is a first for this line as the previous figures just had swappable face plates. The second head sports a different expression, though both could be described as angry and aggressive. There’s also a hat he can wear instead of the helmet.

The articulation and build quality is what consumers have come to expect from this line and Boss Fight Studio in general. All of the joints are affixed to plastic ball joints which make posing easy. The ball joints also practically ensure you won’t accidentally break your figure when posing, as they’ll simply pop off if too much force is placed upon them. I found this figure to be pretty free and easy right out of the box, which was nice as both Bucky and the standard version of Dead-Eye were not for me and required a breaking-in period. The odd shape of the shoulder “pads” this figure sports make his arm movements a bit more restricted than the other figures, but I haven’t found it really inhibitive. The legs have a bit less motion at the hips when compared with the others, but this guy’s gigantic feet still allow for some different posing options in spite of that as he’s so easy to stand.

The second head didn’t like the helmet.

Nothing is perfect though, and I did find a few shortcomings with the Storm Toad Trooper, though nothing that would cause me to reconsider my purchasing decision for even a moment. For one, his rifle is oddly shaped and difficult to pose. I wish it had a handle behind the trigger, but this is how the gun was also supposed to look. I had to work at it a bit to get it to look okay, but I think the figure actually looks better with the pistol in hand instead and the rifle affixed to his back. The second head also gave me some trouble. I was never able to get the helmet to seat on it properly. It’s possible if I hit it with a hairdryer I’d have more success, but it wasn’t something I tried. The hat is also tough to get on as it doesn’t really click-in nicely like the helmet. With some effort though, I did get it to sit properly on the second head. As long as it fits on one I’m happy.

Still probably not a threat

They got you now you rascally rabbit!

Like the other figures in this line, the Storm Toad Trooper retails for about $35. Knowing fans were likely going to want more, Boss Fight Studio offered an “army builder” two-pack for $65. It doesn’t feature any different packaging or anything (which I should add, the default packaging is awesome and resealable, a strong point for this line), it’s just an order for two figures, but the 5 dollar savings is a nice gesture on their part and it prompted me to buy two for myself. The inclusion of the hat and second head made it an easy call as it’s possible to display both figures I acquired while having them look different. I’ll stay at two for now, but I expect re-paints to come along eventually which could tempt me further. An obvious re-paint would be to make the figure blue and yellow to better reflect the cartoon while the Bucky O’Hare arcade game contained different color variations that would be more drastic and possibly more eye-catching. The animated series also featured the characters Frix and Frax, a pair of twins that wore Storm Toad Trooper uniforms but with an admiral-styled hat instead of a helmet. Such a variant would be more costly for BFS as it would require new heads, but it would be another opportunity for a two-pack as fans would want a figure for Frix and one for Frax. It’s likely something they’ve considered or will consider, though I don’t know if I would go so far as to say it’s likely.

The Storm Toad Trooper is an excellent addition to Boss Fight Studio’s Bucky O’Hare line. He looks great among the other figures and the addition of the hat and second head make buying two feel like a necessity. The build quality is excellent, and just like the other three figures it’s easy to make a case for this being the best one yet. I look forward to seeing what’s to follow for this figure in the form of variants and re-paints, as you know there’s at least one to follow. As for the line itself, Boss Fight Studio has already announced that the next figure will be Bruiser and he’ll be going up for pre-order in January. He’ll be the first figure to really bust the mold on this line as far as size goes as he’s much larger than the other characters. As such, Boss Fight Studio has already announced he’ll retail for more than the others, but the prototype they’ve shown off is something special to behold. They also teased another sculpt is pending approval by Continuity Comics so it looks like the company is on-track to maintain its output of two new sculpts per year and I can’t wait to see what’s next. In the meantime though, I’m quite happy with what I have and I’ll be looking to come up with some fun displays between now and then.

2 Comments | tags: action figures, boss fight studio, bucky o'hare, continuity comics, larry hama, storm toad trooper, toys | posted in Comics, Television, toys

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