Superhero Media: Danger Mouse

Yes, I watched the entirety of the classic Danger Mouse, and I don't recommend that you do the same. That is not to say that Danger Mouse is bad, which it is, of course, not, just that binging it quickly kind of killed the enjoyment I was getting. The World's Greatest Secret Agent, Danger Mouse, and his mostly-useless assistant Penfold, battle the nefarious foes of freedom across the globe and Willesden Green in mostly unlikely circumstances. Like many programmes of its era, Danger Mouse has dated, mostly around stereotypes and backwards attitudes, especially against Mexicans, for some reason, but it holds up despite being steeped in ideas of Empire. If you can handle wacky, then Danger Mouse is a heady draught, with skouse aliens, giant bananas and more episodes in space than you would think for what is, ostensibly, a spy adventure. 

The jokes are repetitive and often deliberately bad, but there is a charm to Danger Mouse that transcends the surface quality, or lack thereof. Like I said, don't watch a lot of this back-to-back, as it starts to grate after a while, but if Danger Mouse is an old hazy memory or something an older relative talks about a lot, then dive in for a little bit and see how you go. The review of the newer seasons is actually one of the most viewed articles on this blog, so clearly there is a love of Danger Mouse and Penfold to be had out there. Such is the nature of the programme that I really can't recall too much about specific episodes to recommend, though images of sentient bagpipes, golfing Martians and ghost busses haunt my dreams. 

If you really want to game Danger Mouse (might work as a Pulp Alley game?) there are a few free STLs around for 3D printing, I'm eyeing off one of Danger Mouse and Penfold in the X-1 for printing at about 6mm scale, which should look right next to 28mm humans. I've never been one for gaming in a comedic tone myself, but it's worth remembering that Danger Mouse does shockingly little fighting in the programme, mostly resorting to a combination of dumb luck, puns and contrivance. Danger Mouse may be the world's greatest secret agent, but Danger Mouse isn't really the best programme, being very much throwaway entertainment for kids more interested in colour and movement than a maligned classic awaiting reappraisal. Still, I love it and will probably go back for more at some stage. 

Miniatures Finished: Dinoborgs of the world, unite!

Given I was so close to getting all my Bot War stuff done, I just pushed through. I'm also trying to get a Learn to Play night going at work, but that's had to be rescheduled a few times, so these are kind of just done for the sake of it. Much as the Bot War miniatures are really nice, I have gone with some 3D prints here for some of the range that isn't as nice, or just didn't fit with what I was going for.

The mighty Dinoborgs of the Red Star Nations march to war!

The Brontoborg is a transport and mobile fortress, the model has been modified with some Battlefield Accessories ruins and some 3D printed dinosaur infantry to replace the cyborg humans of the official range.

Tricera-Borg is one of the strongest models in the army currently, fast and deadly with some of the best attacks Red Star have access to.

The Raptorborgs are a little disappointing as models, but new ones should be out pretty soon. The design is nice, but they're oddly thin and flat looking.

Superhero Media: Batman Mask of the Phantasm

Generally regarded by fans to be the best Batman film ever made, Mask of the Phantasm was put together by the Batman The Animated Series [BTAS] team, including Bruce Timm, Paul Dini and Kevin Conroy. Something of an origin story, Batman must chase down the enigmatic Phantasm, clear his own name and wrestle with his past as mobsters are killed of in revenge slayings. The mystery elements of Mask of the Phantasm are pretty basic and rather obvious, but the tone, narrative and script make the journey engaging, certainly more so than most Batman films, animated or live-action. In terms of retelling the "origin" of Batman, Mask of the Phantasm focuses on a Bruce Wayne recently returned to Gotham after having trained around the world and, as yet, unsure as to how to proceed. Meeting Andrea, a carefree heiress with a wild streak, Bruce is torn between a path of revenge and one of happiness, which comes to a head when Andrea and her father flee America to escape the wrath of the Gotham crime families. 

Spotted the murderer yet? As I said, it's pretty obvious, but the film is enjoyable nonetheless and, in moments, is positively breath-taking. The reveal of the Batman costume stuns Alfred into silence in what is a brilliant animated sequence and probably one of the best attempts to make a bat costume intimidating for an audience at home. Mostly focused on mobster villains, Mask of the Phantasm also features The Joker, of course, this version given a Jack Napier style origin which is actually pretty neat, if you're going to go and give a cypher a distinct genesis, though you really still shouldn't. Like many of these animated Batman films, the Joker feels like an unnecessary element there because he'll draw more eyeballs more than being needed for the story. This feels especially like a token cast in Mask of the Phantasm, where there are plenty of other mafia-adjacent villains (like Scarface and Tallyman) who would probably fit better. 

All-in, Mask of the Phantasm is probably the best Batman film to date, even with the limitations of animation and a short run time. The action is well-paced and exciting without needing to resort to gore and killing, one of the best scenes involving Joker beating someone with deli meat, just going to prove that "make it R rated" is not the solution to improving the live-action Batman films. As I've said for years, good stories make good films, and Mask of the Phantasm keeps the myth and pace of Batman but also injects humanity and pathos that is much-needed, and the result is practically a masterpiece. I'm not sure that I'd put Mask of the Phantasm on any list of the best superhero films ever made, as whilst it is an excellent Batman film, it doesn't tell a grander story about the human condition like Black Panther or The Incredibles, but it remains brilliant nonetheless. Sadly, Mask of the Phantasm is getting harder to find, but it does come around on Netflix every so often if you want to check it out. 

Drokk the Law!! - Part XVIII

Following on from our last entry, here are all three Kleggs painted! 

Yes, still using the Necromunda tile, that should be remedied soonish if everything goes according to plan, anyway. I'm still lukewarm on the now-defunct Warlord 2000AD line, but these Kleggs are quite nice and even the nasty siocast mold-lines don't show up too badly with Contrast paints and wetbrushing. I also got a set of Fatties that I'll get onto when I can. These models are also huge, bigger than a GW Ogryn, they tower over even my GW kitbash Punks and other more recent models, not to mention Andy's classic GW Dredd range. I like it for the visual impact, though it can make for some comical pictures of games. 

I have also finally started painting my Mercenaries with a view to eventually playing a campaign either at NWA or Across the Board. Here is an old Void civilian that I gave a new base to better suit my JDMG stuff. He can be either a Punk or Juve with handgun (armour optional) making him a 30-40 Credit Mercenary, a good basic inclusion for campaign games. The Kleggs themselves can be Mercenaries, though more in the 200 credit range, so probably not going to see the table all that often. 

Speaking of Mercenaries, until my terrain arrives, they're coming more into my focus for JDMG, as I've painted most of my gangs now and am simply expanding when I get the chance. Although most of them need painting, I can cross a few off the list I posted a few months ago;

Bat Burglar (80)
Fattie (60-100)
Futsie (10ish)
Juve (10-60)
Juve Jimp (90)
Klegg (190+)
Klegghounds (100)
Lone Vigilante (500)
Punk (~95)
Pyrokinetic (225)
Robodoc (50)
Robodog (30)
Sky Surfer (100)
Vid Reporter (25)
Agent (95-300)
Combat Droid (~500)
Gorilla Gangster (125)
Street Judge (150-300)
Chimp (50-75)
Citi-Def Soldier (100-200)
Mutant (20-110)
Wally Squad Judge (100-200)
Assassination Droid (195) 

A few of these options, like the Punks, Juves and Vigilantes, I'll make a several at different credit values just to have a variety, and this gives me expansions for existing gangs as well. So even though I've crossed them off, expect to see a few more pop up as this project progresses. There are also some Chimps, Fusties and a Sky Surfer or two on the work bench on in transit via post, but I won't be counting those until they're here and at least able to be put on a table. 

I don't want to give too much about my terrain away (though observant readers may have spotted a trash pile in the last part of this series), but I have some ideas and some kits en route, so we should see some progress soon. What I do want to do is get some 2000AD-specific imaging and references in there if I can, which at this stage is likely going to be in the form of 3D printed vehicles, graffiti and hopefully some Boing if my plans for realising it work out. Hopefully some more gangs on the way too, if I can find the models I'm looking for. 

Superhero Media: Daredevil - Season 3

It took a while to get here, but mark another Marvel Netflix series as done. All-in, I feel that Daredevil was the strongest of the Netflix series, The Defenders notwithstanding, in that all three Seasons even out better, even if technically Jessica Jones had better individual Seasons. Rounding out the story of Kingpin, the third season sees a conclusion to long-running elements of the programme and introduces a version of Bullseye to the story. Despite all the positives to be had, I was pretty worn out on Daredevil by the end, as it was clear that the writing team actually wanted to be working on a cable crime procedural rather than a superhero series. For example, Dex (Bullseye) spends several episodes in a copy of the Daredevil costume, murdering people (taken from the comics), but at no stage does Matt don the horns again. Look, I know lots of people preferred the black burglar outfit, but he has an iconic costume and if he's not wearing it, that's just kind of stupid.

Fisk being back is a heck of a lot of fun, but his subtle menace and far reach is replaced with an unbelievable level of infiltration of the FBI and plans working so far in advance even Doctor Doom would be rolling his eyes. When the action ramps up, Daredevil shines, especially when Matt goes up against Dex and the pair use everything at hand to deal damage to each other, with the visceral and bloody combat hearkening back to the best fight scenes in the first season. A little too much time is spent on setting up and justifying Dex as a character, which is a waste as Bullseye is always better as cypher, I honestly feel that a version of the "Kingpin's Fist" idea from Ultimate Spider-Man would have made for a better story. The best part of the third season is Foggy, who insists on taking Kingpin down through the courts, almost ending up as District Attorney of New York in the process, giving him the most growth and bringing together his character beats from previous seasons nicely. 

Unlike most of the "last" Marvel Netflix series, there is no crossover episode of Daredevil, which feels like a missed opportunity, especially with a focus around the legal process, Gerry Hogarth would have made sense, if not Jessica Jones being around at some point. In terms of the season being a crime programme, Daredevil is pretty good, but I wanted superheroes when I tuned in, so all-in I found this last entry lackluster. Charlie Cox was a really good Matt Murdock, and the supporting cast was always strong, but this being where it ends makes me feel like the journey wasn't really worth my time. Of course we'll see Matt and Daredevil again as our journey with the MCU continues, but to my mind none of it really matters to the broader plot of this season, if that's what you were watching for. I think it will be a long time before I go back to the Netflix series, but there is still an appeal there.

Superhero Media: Marvels

Probably one of the best Marvel comics ever written, drawn and poured over, Marvels is a must-have in any comics collection, even if the Golden and Silver Ages of Marvel comics isn't typically your thing. Telling the story of the 616 Marvel Universe itself, through the eyes of photographer Phil Sheldon, who undergoes his own personal journey with what superheroes, "Marvels", as he calls them, mean to him and the broader world. Every panel of Marvels is hand-painted by Alex Ross, and could well be his best work ever, even if the subject matter is sometimes as mundane as Gwen Stacy walking down a street. Written by Kurt Buisek, Marvels can be read as just an exercise in classic Marvel trainspotting, and my version does come with a list of references at the back, but the story is more about how what came to be known as the Marvel Universe came together out of a bunch of comics written by different people over a series of years. And if Marvels was just a nostalgia trip, it wouldn't be as great as it is. 

Broken into four issues, Marvels uses specific moments of Marvel history to tell its broader narrative, The Human Torch Vs Namor, the first appearance of Galactus on Earth, the wedding of Reed and Sue and the death of Gwen Stacy. Within these larger events, other things are happening, and not just on the scale of the big superhero fights; Phil has doubts about his marriage, works too hard and finally prioritises his family above his obsession with the Marvels, often providing excellent contrast with the world-shaping events happening around him. Readers of Marvel comics "know" plenty of ordinary people, like J Jonah Jameson, Mary Jane Watson and Willie Lumpkin, but Phil Sheldon is different, because whilst his profession often engages with the Marvels, he himself doesn't know any or really have much to do with them. Though a few small moments with Peter Parker and Danny Keltch are fun for that little twist of the fantastic.

Since appearing in Marvels, Phil has popped up here and there in broader Marvel media, from mentions in the Ultimate Alliance games through to a cameo in The Superhero Squad Show, of all things. Marvels started as an analysis and celebration of the history of the Marvel Universe, but has become an integral part of it as fans have embraced Phil Sheldon and his world and enshrined them alongside the very events he chronicles. I don't honestly expect to see Phil in the Marvel Cinematic Universe anytime soon, but once you know about him, he does pop up here and there, just keep an eye out. Various attempts have been made to recapture the brilliance of Marvels, some of which we'll go on to explore soon, but most of which don't really come close. Rather than decry these efforts though, I welcome any attempt to get back to this place, to take another swing at recapturing the unparalleled magic of Marvels.

Superhero Media: Upgrage

I've heard Upgrade referred to as "the good Venom movie", or at least "a good Venom" movie, and whilst I'll admit that it is a much better film than Venom; there is a lot more going on here than that one notion. Set in a near-future where automation and surveillance are so ubiquitous that criminals are forced to pay hackers to scramble their online identities, most Police are drone pilots and most people have chips in their bodies, Upgrade is strictly more of a Horror film than Superheroes, but it may be worth the watch anyway. Grey Trace is a motor mechanic specialising in old cars who refuses to upgrade to any cyberwear, married to a successful tech professional, when tragedy strikes and he is paralysed in a violent assault. Offered a way to walk again by reclusive tech billionaire, Eron Keen, Grey soon finds himself host to "STEM", a learning AI that can take over his body to do awesome fight scenes and basically just be better than the symbiote in Venom in every way. 

Logan Marshall-Green does a brilliant job of moving like a puppet cadaver in many scenes of Upgrade, and that tends to be the end of most reviews, but as the film was shot in my home town of Melbourne, it actually means a lot more to me than just being cool and fun to watch. You see, part of my Undergraduate Major in Film Studies was focused on Australian Cinema, so I've watched quite a few films made in Melbourne and they always feature two locations, the National Gallery of Victoria and the carpark at Melbourne University. You see, the carpark was the set of the "Last of the V8s" scene from Mad Max, so it's iconic and a bit of a film nerd reference. The Gallery is just a beautiful building, so that's no shocker. Upgrade uses neither building, but opts for some out-of-the-way locations and sections of industrial land that really sell the burgeoning dystopia of the setting, which is fantastic. 

As much as Upgrade is reminiscent of Venom, I got more of a Punisher and Ghost in the Shell vibe from it myself, with revenge not being something Grey wants to do, but feels driven to and the not-quite-cyberpunk-yet milieu of the entire film. Alought much better, Upgrade makes an excellent companion to films like Code 8 and Night Watch, which provide a "darker" setting, but still sit adjacent to the superhero genre in many ways, and could work together along their shared themes of dehumanisation and the entropy of progress. Would STEM be a villain in this world, or is the dial already so far against humanism that wholesale murder doesn't invalidate the possibility of heroic motives? I don't think I'll be going back to Upgrade all that often, other than just to show people something cool that they have not seen, as I did have fun, but there's not a lot to dig down into beyond that. Still, I'll be watching this before I watch Venom again.