Et non, vous ne rêvez pas. Après plus d’un mois déconnecté de la toile et surtout après un mois sans article sur Absolute Zone, Bigorneau est de retour, pour toi, cher lecteur. Car, je ne sais pas si tu l’as remarqué, mais entre des listes de noël et des déclarations d’amour, ça faisait bien longtemps que tu n’avais pas lu un article 100% comics, 100% super-héroique, 100% geek ! Ne t’inquiète pas, je te prépare plein de surprise, pour toi. Et ça commence dès maintenant :

“-Tiens, toi qui kiff les super-héros, j’ai vu Batman ce week-end.
-Batman ? Le film ? La série tv ? un animé ?
-Euuuh, c’était un dessin animé…
-Lequel ? celui de Timm, BTAS ? The Batman ? ou The Brave and The Bold ?
-Euuuuuh, je sais pas… il me semble que c’était “l’Alliance des héros”…
-Ah ouiii ! En fait, “l’Alliance des héros”, c’est le titre VF de la série “The Bra…
-Non mais, j’m'en fout, c’est mon frère qui regardait.
-ah… “

Pour la défense du type, il y a eu énormément de DA/films sur le personnage.
Entre les films de Burton, ceux de Schumy (caca inside) ou de Nolan et les 3 séries animées, de qualité inégales, on pourrait se perdre (comme le font les gens qui tombent le dimanche matin sur FR3 alors qu’ils cherchaient le télé achat de TF1). Allez, un petit cours de rattrapage s’impose.

C’est dans les années 90, juste après la sortie du Batman de Tim Burton, que l’idée d’une série animé sur le personnage du chevalier de Gotham nait. Une série animé, dans les années 70, avait déjà vu le jour. Mais pour cette série, la Warner voulait quelque chose de plus sombre, adulte, tout en plaisant aux enfants. Grâce au talent de Bruce Timm et de son équipe, la série débarque en Septembre 92 sur Fox TV. En plus d’être une réussite artistique (puisque le contrat de base est rempli), c’est aussi une réussite au niveau des audiences, puisque la série (diffusée en “access”) est franc succès. C’est la première fois que l’on voit sur les écrans une série de cette qualité, à la fois scénaristique (rappelons que la série est considéré comme la meilleur adaptation du personnage de Bob Kane) mais aussi graphique (Bruce Timm est devenu à la suite de cette série l’un des pionniers de l’animation). La série s’arrêtera au bout de trois saisons (même si elle ne peuvent pas réellement être distingués). Après s’être occupé de Superman (avec STAS), Bruce Timm reviendra sur Batman pour lui offrir une quatrième saison, avec de nouveaux personnages, de nouveaux designs et une animation encore plus fluide.

La série The Batman arrive sur les écrans en 2004. Surfant sur la vague crée par Batman Begins de Nolan (comme l’avait fait BTAS sur le Batman de Burton d’ailleurs), la série rompt completment dans son style avec la série de Timm. En effet, en plus d’avoir un style plutôt japan et enfantin (la mode de l’époque), l’histoire se plaçait dans une continuité à part et revisitait plus qu’elle s’inspirait des comics. Oui, parce que dans The Batman, les origines et les designs des personnages sont légèrement modifiés (Comme celle de Mr Freeze par exemple). Après 2 saisons plutôt bien accueillie, la qualité (des scénarii surtout) se gâte. Les scénaristes n’ont plus de bonnes idées, réutilisent les même personnages et font n’importe quoi. Après 2 saisons franchement mauvaises, la 5ème est dernière saison apparait plus comme “The Batman and the Justice League”. Superman, Green Lantern et j’en passe font des guest (plus ou moins bons). La série aura un succès mitigé, et ne sera pas franchement une réussite artistique.

Après la décevante Legion of Super-Heroes (qui n’as pas eu le succès voulu), la Warner a décidé de créer une toute nouvelle série animée sur un super-héros. Et qui de mieux que Batman pour remplir le contrat ? Seulement ici, ce n’est ni un copié collé de BTAS ou de The Batman. La série s’inspire d’une période bien précise : le Silver Age, et plus particulièrement la série qui va donner le nom au DA, The Brave & The Bold, parus entre 1955 et 1983. Cette série réunissait à chaque numéros 2 héros différents qui combattait un ennemi commun. Et le pitch va être repris pour la série mais avec un personnage centrale qui est Batman. Cette série apparu en 2008 sur les écrans et encore en production puisque la 1° saison vient de s’achever aux USA, et qu’une seconde saisons est prévue. Et, en France, la série est diffusé sous le titre (ridicule) de “L’Alliance des Héros” sur France 3.

Pour résumer :
-La série de Bruce Timm est un chef d’œuvre absolue, que ce soit en terme de scénario, de réalisation et d’adaptation (puisque rappelons le, c’est LA meilleur adaptation de Batman). Les 4 saisons sont sortis aux USA, ainsi qu’un sublime coffret intégrale (que je possède) (hihihi)
-The Batman n’est pas totalement à jeter mais casse (vraiment) pas trois pattes à un canard. Ça sent vraiment trop le produit “pour faire vendre du Batman”. (à oublier quoi)
-Batman The Brave & The Bold (ou l’Alliance des Héros en VF) est une très bonne surprise, oscillant entre épisodes dantesques et des épisodes sympatoche et surtout avec un design très sympa qui rappelle le Batman des années 60. C’est vraiment un grand plaisir de voir cette série, en esperant avoir encore plein d’épisodes de qualité !! Ne manquez pas ça les copains ! (mais pas en vf (beurk)).

The BatBigor, qui est bien content d’être de retour (pour vous jouer un mauvais tour)

Blackest Night: Superman #3
Written by James Robinson ǀ Art by Eddy Barrows

Robinson abandons the horror-movie sensibilities of the first issue for more of the superhero fisticuffs we saw in the second.  It’s enjoyable enough, I suppose, but I’ve always maintained that Eddy Barrows’ artistic strength lies in his ability to depict horrific scenes.  The same could be said for Blackest Night as a series.  I suppose.

Verdict: Check it out.

The Brave and the Bold #28
Written by J. Michael Straczynski ǀ Art by Jesus Saiz

The Flash travels back in time to World War II Belgium.  Meeting the Blackhawks poses a complex moral question – when is it right for a man to kill another man?  Is it ever right?  JMS packs more depth into this one-shot than most writers achieve in a story arc.

Verdict: Must have.

Final Crisis Aftermath: Dance #6
Written by Joe Casey ǀ Art by Chriscross

Dance was an enjoyable mini-series all in all.  Unfortunately, I think the series peaked the issue before, as its conclusion wasn’t as satisfying as I had hoped it would be.  This may stem from my expectation that the Super Young Team would eschew all the product placement thrusted on them for good ol’ fashioned Japanese honour.  Chriscross’ return was also not as brilliant as I had hoped – he didn’t ink his own pencils this issue, so that may have something to do with it – the overall product looks rushed beyond the opening pages.

Verdict: Check it out.

Justice League of America 80-Page Giant #1
Written by Rex Ogle, J.T. Krul, Rich Fogle, Josh Williamson, Chuck Kim, Derek Fridolfs, Amanda McMurry ǀ Art by Mahmud Asrar, Adrian Syaf, Eric J, Bit, Justin Norman, Jon Buran, Daxiong

More please!  Everything a good Justice League story needs: epic, unbelievable feats of heroism, and unafraid of a little whimsy.  A simple time-travel device sets up five thoroughly entertaining stories of superheroes outside of their comfort zones – Hal Jordan and Red Arrow in the Wild West; Superman and Dr Light in Feudal Japan; Vixen and John Stewart in King Arthur’s court; Zatanna and Black Canary in 1930s NY; Green Arrow and Firestorm in World War II; Steel and Wonder Woman on a pirate ship – for fish out of water, they feel surprisingly at home!  This comic came out a few weeks ago, but sold out before I heard about it.  Order it in if you have to – it’s worth it!

Verdict: Buy it.

Acabei de inventar uma nova brincadeira!

Descubra quem está ajudando batman a lutar nessa cena da nova animação:

Logo, a resposta!

Quem descobrir ganha uma caixa cheia de Mauro-Cola!

Escrito por J. Michael Straczynski, Arte por Jesus Saiz, Colores por Trish Mulvihill, Publicado por DC Comics.

Y comienza la esperada corrida de J. Michael Straczynski en Brave and The Bold y el resultado fue este número 27 que deja un gran sabor de boca, pero con graves desaciertos. Me explico a continuación.

Antes de empezar esta reseña, diré que esta historia comienza y termina en este mismo número, pero sin embargo, parece ser que forma parte de una historia más grande. Como siempre, esta reseña va con Spoilers. Enterado estas.

La historia comienza con Robby Reed (Dial “H” for Hero) y su abuelo llegando a un motel de Ciudad Gótica. Camino a su cuarto, vemos a Travers Milton, un perdedor cualquiera. En otro lado, vemos al Joker haciendo un monólogo y planeando (por fin) asesinar a Batman.

La forma en como presenta JMS a Travers Milton es genial. Porque nos hace ver que es una persona cualquiera que no tiene motivos en la vida, pero que sin embargo, más adelante nos mostrará un lado distinto de él mismo. El monólogo del Guasón es GENIALMENTE bien escrito, sin embargo, el Joker parece tener plena conciencia, contradiciendo la psique del Joker actual.

Robby y su abuelo, están viendo las noticias y se enteran de todo lo que el Joker esta haciendo. Mas tarde, mientras piensa en ello, no resiste mas y usa el dial, y se convierte en Mental Man… y mira el futuro. Mental Man se mira horrorizado y después vemos a Robby en la cama… aún temeroso.

El H.E.R.O. dial es un misterioso dial (marcador) que te convierte en un superhéores por corto tiempo. Cada vez que lo usas, el dial te convierte e un superhéore con un diferente nombre, traje y poderes.

Travers entra al cuarto de Robby a robar y se lleva el dial. Usa el dial y se convierte en el superhéore Star. Travers empieza la aventura de ser un supe-héroes y lo bien que lo hace sentir. Hasta que se topa con Batman. Batman le dice que se ande con cuidado porque esta es su ciudad.

Aqui no queda claro quien es el que está bajo la capucha de Batman: Bruce o Dick. Pero por la forma paranoica de comportarse (al “obtener” las huellas de Star poniendose una lamina en el guante) me hace pensar que es Bruce. Y entonces, que el Joker esté tan lúcido, me hace pensar que ésta historia está fuera de continuidad.

Batman y Star entonces hacen equipo, conteniendo todo el caos que el guasón está sembrando. Sin embargo, Star da su vida por la ciudad y muere. Batman entonces le regresa el dial a Robby y aquí viene un (inesperado) giro en la historia. Robby le confiesa que él dejó que le robaran el dial, porque lo que vió cuando se convirtió en Mental Man es que, el siguiente que lo usara iba a morir. Él se siente mal, pero Batman lo calma.

El ultimo diálogo de Batman con Robby la verdad es algo que no va con el personaje oscuro que es el Caballero Nocturno.

A pesar de que el cómic es excelentemente escrito, con diálogos inteligentes y sobre todo, con una carga filosofal y humanista, hace que este cómic valga la pena de leer. Sin embargo, al ser Batman el protagonista (y con la situación actual que vive el personaje gracias a Grant Morrison) pareciera ser que, esta historia es mas como una historia Silver Age. Incluso el uso de H.E.R.O. dial. Pero al terminar de leerlo, y con ese aire de Silver Age que tiene la historia, es cuando te das cuenta lo Silver Age que luce el estilo de arte de Jesus Sainz (que vale la pena decir que es SOBRESALIENTE). Lo cual le cae perfectamente a esta historia.

Este comic vale mucho la pena de seguir por lo inteligentemente que está escrito. Creo que JMS tiene un toque sin igual para dotar a sus personajes de una personalidad bien definida en pocas páginas.  The Brave and The Bold es una lectura recomendada (sobre todo si estas alejado de la continuidad Morrisiana). De mi parte, regresará a mi lista de cómics mensuales.

One of the problems I’ve had with recent iterations of the DC ‘big event’ has been the fact that, whilst labouring away trying to find a new angle, the stories seem to have increasingly forgotten the significance of the genre they’re in. This might sound somewhat hypocritical of me as it seems like I’m judging titles for being ‘too much’ like their predecessors whilst not innovating and, part of that’s true in a way, as any kind of feedback I can offer on these books is going to be subjective.

It’s obvious that Grant Morrison, Geoff Johns, Mark Waid, et al. have a fondness for the legacy of these characters – it’s just…they have an odd way of showing it. The biggest problem with 52 is that it is, to be frank, boring. It deals with characters not in the mainstream whilst offering very little explanation of who they are or why Superman, Batman and Wonder Woman are absent. The other problem is that, in an attempt to be striking, the characters that are familiar are pushed in directions that never seem comfortable – such as Black Adam’s ‘is he/isn’t he a dictator‘ subplot. There’s never enough weight for this to actual appear as a feasible storyline, in fact, as the story progresses it begins to feel more and more like a case of a character being made to fit a ‘direction’ simply for the sake of it.

The two Countdown spin-offs were even worse with their characterisation however, to add insult to injury, neither of these titles actually managed to feature any kind of conclusion whatsoever.

I expected something better from these titles and, oddly enough, I found these very things  – i.e. characterisation – were all to be found in greater degrees in Johnny DC titles such as Batman: The Brave and the Bold and DC Super Friends.

DC Super Friends #3

It’s odd that two titles designed to promote a cartoon and a toyline respectively should resonate more strongly in terms of how these characters think and act than anything currently taking in the mainstream storyline.

Perhaps there’s a lesson to be learnt from this.

Dr. Horrible brought Neil Patrick back to the world of Geek following his appearance in the Harold & Kumar franchise, but it seems that he’s definitely here to stay as he takes on the role of Gotham City’s Music Meister on Batman: The Brave and the Bold. In a show that captures not only the coolness of Batman but the fun and retro whimsy, it seems like there can finally be a musical outing for the caped crusader that won’t seem awkward or misplaced. We hope.

John Burlingame has the info:

Ready for a superhero musical? Usually the answer is, no, no we’re not. There’s been only one superhero musical of note: “It’s a Bird, It’s a Plane, It’s Superman,” which didn’t last four months on Broadway in 1966.

Admittedly, $40 million is being spent on “Spider-Man: Turn Off the Dark,” coming to Broadway next year. But even with Bono and the Edge doing the music, that’s a creative crapshoot, as conventional Music Meister in the grips of Batman wisdom has always been that it’s enough trouble persuading audiences to believe in flying crime-fighters wearing colorful tights, much less breaking into song.

Still, the producers of “Batman: The Brave and the Bold,” the animated series that airs Friday nights on the Cartoon Network, are confident enough in the first Batman musical — titled “Mayhem of the Music Meister!” — which they’re unveiling to fans Friday at Comic-Con International in San Diego before its airing when the series returns for its second season in the fall.

In this most lighthearted take on the Caped Crusader since the Adam West series of the 1960s, “How I Met Your Mother” star (and upcoming Emmy host) Neil Patrick Harris voices the villain the Music Meister.

“It was always in the back of my mind that a musical would be a fun thing to do,” says James Tucker, producer of the series. A musical theater fan, he enlisted his co-producer Michael Jelenic to collaborate. Together, they came up with what Tucker calls “a bare-bones framework of a plot to hang the songs on. We didn’t want to do ‘Les Miserables’ or ‘Sweeney Todd.’”

Batman, along with fellow heroes Green Arrow, Aquaman and Black Canary, and villains Gorilla Grodd, Black Manta and Clock King are powerless to resist the voice of the Music Meister, who naturally plans to control the world. Over five songs that occupy 18 of the show’s 22 minutes, the plot is revealed and foiled, along with a love-story subplot that fans of the DC comics will recognize and maybe even find touching.

This all started in July of last year, when Tucker and Jelenic met with “Batman” composers Lolita Ritmanis, Michael McCuistion and Kristopher Carter (all of whom won 2001 Emmys for scoring an earlier animated series, “Batman Beyond”). It would be up to the trio — who together have scored hundreds of Warner Bros. superhero cartoons dating to 1991 — to make it all work musically.

Ritmanis, who had the most experience working on musicals, acknowledges that she was “a little gun-shy,” knowing Music Meister belting that they had only three months to do what often takes a year of writing and rewriting. Yet, she says, “for us to be in on the beginning phase was thrilling, because usually we come in at the very end,” providing underscore that punches up the action dramatically or quietly supports the dialogue.

“They knew what they wanted the songs to do,” McCuistion adds. All three composers were impressed that the producers were following musical theater tradition in using songs to move the story forward. Tucker and Jelenic — neither of whom had any songwriting experience — went off to write lyrics, which the composers later set to music within specific musical styles.

Says Jelenic, “When we conceived a musical, we didn’t necessarily want to wink at the audience. We wanted it to stand on its own — yet some of the lyrics are really absurd.” He hopes it works for audiences on multiple levels.

The opening song, which introduces the Music Meister, needed to be part “Guys and Dolls,” part Stephen Sondheim, McCuistion said. Ritmanis got to write the big ballad “If Only,” in which several characters yearn for their imagined soul mates.

The biggest challenge was the finale, which Tucker says demanded “a big, over-the-top, Busby Berkeley feel,” yet at the same time, Carter adds, needed to function as a grand “tango of death.” There is also a rock number and a funny patter song in which all the villains complain about Batman.

Harris was everyone’s first choice as the villain, since he had done voices for “Justice League” and “Spider-Man,” and proved his musical mettle onstage in such productions as “Rent” and “Assassins.” Tucker saw him in “Sweeney Todd” at the Ahmanson Theatre in 1999 and remembered how good he was.

“Eighty-five percent of this episode is music,” says casting and voice director Andrea Romano, “so we Music Meister jumpsuited needed somebody who was going to be able to handle this quickly and easily. Neil just flew through his session. It really was a perfect marriage of role and actor.”

Luckily, most of the other regulars were talented singers, notably Grey DeLisle (Black Canary) and James Arnold Taylor (Green Arrow). Diedrich Bader, who regularly voices Batman, stepped aside for Jeff Bennett to sing in the final number.

Tucker thinks this concept would never have worked on the earlier Warner Bros. comic book shows, many of which he worked on as designer, storyboard artist and director. All were too serious in tone. “Brave and the Bold” was just different enough.

“We wanted to free up Batman to be fun again,” he says. “This show has been so wild and out of the box that we can do a musical and no one will question it at all.” The studio even agreed to hire a 28-piece orchestra, similar to that granted to the composers of “The Simpsons” and “Family Guy” but nowadays considered a luxury in children’s animation, which is usually scored with synthesizers and samplers.

Could the Music Meister return in another Batman musical? Ritmanis answers with a smile: “I have an idea that maybe he could return on Broadway.”