WOLVERINE versus SABRETOOTH
Fireworks (Marvel/20th Century Fox)
Where: X-Men When: July 2000
Why: Bryan Singer, David Hayter, Tom DeSanto How: Hugh Jackman, Tyler Mane, James Marsden, Famke Janssen

The Story So Far...
For visionary progressives such as Charles Xavier and Erik Lehnsherr, the development of unique genetic mutations in individual humans inspires philosophy of social conscience. As humanity seeks to contain any threat an emerging sub-species might present, the ideals of these two powerful mutants diverge exponentially. For Xavier, the only future can be one of peaceful coexistence between humans and mutants, but in passionate disagreement stands Lehnsherr, whose childhood as a prisoner of WWII Nazi concentration camps leads him to defy a humanity he fears will repeat the past. To each cause are recruited other mutants, forming the X-Men and Brotherhood, respectively.

Standing between the two factions is Wolverine - a wandering loner whose act of kindness toward a hitchhiking girl, Rogue, drags him in to the secret war between the X-Men and Magneto's Brotherhood. Despite his sceptecism for the odds of their success, Wolverine joins the X-Men in their battle against Magneto and his zealous followers, including the mutant linked to his lost past, Sabretooth.

When Rogue is kidnapped by the Brotherhood; Wolverine and the X-Men pursue the villains to Liberty Island, where Magneto intends to use a radiation-based weapon to mutate the gathered leaders of the world on nearby Ellis Island. The X-Men find their counterparts well prepared for their arrival, forcing them into a pitched battle that leaves the X-Men in bondage and brings Wolverine into a long awaited rematch with Sabretooth high atop the Statue of Liberty.

Tale of the Tape...
Strength: Sabretooth 4 (Enhanced)
Intelligence: Draw 4 (Tactician)
Speed: Draw 3 (Athlete)
Stamina: Wolverine 6 (Generator)
Agility: Draw 3 (Acrobat)
Fighting: Draw 6 (Warrior)
Energy: Draw 1 (None)


- Born a mutant late in the 19th century, James Howlett's life would be a long and arduous one. Baptised by death, he would discover his latent mutant abilities during the traumatic murder of his parents during his adolescence.

As a subject of Weapon X, Howlett's mutant healing factor made him the perfect subject for a delicate procedure to brace his skeleton with the unbreakable metal called adamantium. The metal was even added to Howlett's retractable mutant claws, located in his wrists, making them far more effective offensive weapons than their previous bone state. Wolverine first became involved with Weapon X - a project with origins dating back to the 1940s creation of Captain America -

Code-named Wolverine, James "Logan" Howlett would eventually find more permanent station with an invitation into the paramilitary group, the X-Men.
Wolverine's keen tracking abilities, healing powers, fighting skills, and dedicated grit would make him one of the most active heroes in the superhero community, seen in his more recent admission into the Avengers.

- For the feral mutant known as Sabretooth, much of his past and present proves intertwined with that of his arch-nemesis, Wolverine.
Like his opponent; Victor Creed's history has been shrouded in mystery, partly by his own design, but also by the mind-altering interventions of the experimental military project, Weapon X. It was his role as a member of the CIA black ops operation, Team X, that brought both he and Wolverine into the tenth instalment of Weapon Plus, which began experimenting on mutant subjects.

Over the years Sabretooth has struggled far less successfully with his animalistic bloodlust than Wolverine. His penchant for murder and skills as a fighter, tracker, and mutant with healing powers and talons, earned him a long career as a hired mercenary. In later years, Creed flirted with heroic service again, at times joining incarnations of X-Factor and even the X-Men. Bitter tensions with Wolverine and his own dark desires, however, undermined each attempt, eventually culminating with his death by the Muramasa sword, at Wolverine's hand.

Additional: Despite being one of the most popular rivalries in modern superhero comics, the many confrontations between Wolverine and Sabretooth have gone largely unrepresented on the Infinite Wars.

The only previous encounter recorded, thus far, came from Wolverine #50 (2007), the beginning part of a final battle between the two.
The fight; which takes place after Wolverine pointedly storms the X-Mansion where Sabretooth was holding residence; culminated in Sabretooth's decapitation death via the mystic "Muramasa blade" which is supposedly one of the few weapons in the world capable of killing these near unstoppable rapid-healers. To-date, the death has remained intact, despite the much maligned tale.

History: Wolverine (1-0-0)
Math: Draw Ranking: Wolverine (#6)

What Went Down...
After a brief encounter with Magneto himself, the X-Men find themselves bound to the internal structure of the Statue of Liberty, their predicament exacerbated by their strategic positioning to endanger each other in any attempt to escape.
The master of magnetism leaves his grunt, Sabretooth, to stand guard over their foes, returning to the torch to further his sinister scheme.

Terrified by her role as Magneto's surrogate in the machine that could kill him; Rogue's desperate cries echo into the chamber below. Heroically, Wolverine defies the the agony of Magneto's trap, unsheathing his claws directly into his own body in an effort to free himself of his manipulated copper shackles.

Successful, Wolverine falls limp, only to heal rapidly by way of his mutant power. When Sabretooth investigates, he finds not the helpless corpse of his feral foe, but rather the kiss of adamantium plunged into his gut!

Possessing remarkable healing abilities of his own, Sabretooth tosses the smaller mutant through a hole in the Statue's head. The move leaves Wolverine clinging precariously to one of the spikes of the Statue's crown, high above the Hudson.
Sabretooth joins him, clumsily clutching at his ankle to toss him across the top of the statue. Wolverine rolls with it, able to regain a vertical stance.

Wolverine lunges at his enemy, his wild claw swipe a poor leading attack against the intuitive retort of even the seemingly deminished Sabretooth. Despite his silent stupor, the larger of the two fends off rapid close quarters strikes with ease, breaking the deadlock with an uppercut that turns Wolvie inside out!

Growing increasingly angry, Wolverine leaps back at his opponent, again unleashing a series of strikes that are deflected and matched. A break in the exchange offers him a chance to reclaim his stolen dogtags, but the distraction grants Sabretooth a chance to utilize his superior strength. With Wolverine by the throat, Sabretooth launches him toward the edge of the Statue's head!

Hurtling toward certain doom, Logan tosses his arm outstretched toward the Statue's crown for a second time, this time catching the edge with his razor sharp adamantium-laced claws. Their bite on the copper and steel allow him to defy gravity, swinging in an unlikely circular revolution to twist his body back on top of the structure, at the cost of the crown's tip.

Perched atop the thorn, Wolverine points his six metallic claws in the direction of Sabretooth and uses the station to propel himself like a human torpedo!

Despite successfully ramming his claws into Sabretooth's upper chest, the blow fails to slow the beastly mutant. When Rogue; in the process of absorbing Magneto's powers and becoming part of his nefarios machine, lets out a scream; Wolverine is distracted enough to be swatted aside!

He slows his descent buy driving his claws into the head of the Statue, narrowly missing the still bound X-Men inside, Cyclops and Jean Grey.

When Sabretooth peers cautiously over the edge where Logan fell, he assumes the absence of his opponent signals his defeat. Little does he realise, Wolverine has slid down to the ear, hidden beneath the crest of the Statue's crown. Logan claws his way back to the top, while Sabretooth returns to his post to harass a helpless Storm in a reprisal of a previous encounter.

Just as Magneto's machine shatters the Statue's torch and begins to draw from the magnetic energy absorbed by Rogue; Wolverine drops into the internal cavity to challenge Sabretooth anew. This time he has a plan, possessing the visor stolen from Cyclops to prevent him controlling his optic energy blasts.

Using her powers of telekinesis, Jean returns the visor to Cyclops, allowing the beams of his opening eyes to be channeled in the direction of Sabretooth!

The blast sends Sabretooth hurtling through the copper of the Statue's head, toward a hundred foot fall into the Brotherhood's boat, below. The victory allows the X-Men to turn their attentions toward the drastically weakened Magneto, and their endangered teammate trapped in his mutation machine!

The Hammer...
Jean Grey provides the vital assist to Wolverine's plan to allow Cyclops the winning shot in a shared victory for the X-Men!

As you might have guessed based on the date of this post [made a month later]; this week's review is a direct reference to the cinematic release of X-Men Origins: Wolverine.

Hugh Jackman reprises the titular role he made famous in the X-Men trilogy of films, joined this time around by a host of guest characters, including most prominently; Liev Schreiber as Sabretooth, Taylor Kitsch as Gambit, and Ryan Reynolds as Deadpool. As the name suggests, the film delves into Wolverine's mysterious past, casting light on the Weapon X project, and his early life in the 19th century via scenes inspired by the Bill Jemas instigated series, Origin.
[Which was ironically written after the first X-Men movie in order to prevent film stealing or failing this vital moment in comics history].

While the newest X-film does well to draw upon key references from the popular character's comics history, it ultimately falters under similar stresses placed upon the previous instalment in the franchise (X-Men 3: The Last Stand), and bold deviations associated with negative filmic adaptations.

To the latter concern is Deadpool, whose character remains barely intact as a drastically altered variation of the popular anti-hero by the film's close.
Clumsy attempts to reference details familiar to the character -- such as his well known comic book design -- served only to highlight problems fundamental to a series that once pioneered the possibility of comics on film, but has since fallen drastically behind as standards continue to rise.

Mutant Top 25 Playlist
(Site Rank with Debut)
#1 Wolverine (1974)
#2 Sub-Mariner (1939)
#3 Storm (1975)
#4 Beast (1963)
#5 Rogue (1981)
#6 Archangel (1963)
#7 Kitty Pryde (1980)
#8 Cable (1990)
#9 Phoenix (1963)
#10 Cyclops (1963)
#11 Ice Man (1963)
#12 Boomer (1985)
#13 Mimic (2001)
#14 Magik (1975)
#15 Nocturne (2000)
#16 Forge (1984)
#17 Sunspot (1982)
#18 Banshee (1967)
#19 F. Richards (1968)
#20 Apocalypse (1986)
#21 Sunfire (1979)
#22 Morph (1992)
#23 Colossus (1975)
#24 Gambit (1990)
#25 Wondra (1989)Going back to the X-Men films has been a lot of fun!
Despite the surprise success of sleeper hit, Blade (1998); it was this first X-Men film that earned credit for beginning the wave of superheroes on film that has since come to dominate the modern box office. Deservedly so, too.

Though the first couple of Batman and Superman films had earned massive critical and financial acclaim, the prospect of superheroes on film was hardly a proven formula. In fact, by the time X-Men was slated for filming, the industry had already suffered the indignity of the much maligned 1997 disaster, Batman & Robin. Prior to that was also the bizarre mini-reneissance of The Shadow (1994) and The Phantom (1996), neither of which was successful enough to elevate the niche above smaller ventures, ie; Steel (1997).

It's difficult not to look back upon this period of time without seeing the long shadow cast by The Matrix (1999).

As much as Blade and X-Men were defining moments in the modern cinematic movement of comic films, it's impossible to deny the vital role Matrix played in procuring the goodwill of audiences and distributors of this time.

While Matrix earned acclaim for it's overt references to Hong Kong action films, Japanese animation, and science-fiction philosophy; it was still in effect a post-modern superhero origin film, utilizing large contemporary ideas to tell the tale of the birth of a modern superhero.
It's hyper-stylized action sequences and technological feats all spoke a similar language to superheroes, suddenly embuing previously optioned comcis licenses with an increased value, by the broad genre association, and the increasing accessibility of film techniques and technologies to make it all possible.

While it in no way was a pioneer of the design sense, the Matrix built upon the trend of the nineties that had reaffirmed black's status as 'the new black.'
Above the technical difficulties posed by superhuman abilities, was X-Men's most obvious Hollywood hurdle -- adapting the yellow spandex of the time, to film.

Details like costumes were where the parabola of the first X-Men arguably began to dip. To establish the pseudo-realism of superheroes in cinema, one does find it difficult to imagine anything more viable than the black pleather catsuits worn by the X-Men in the eventual film.
Spider-man in 2002; like Superman before him; proved to be the globally iconic exception to the rule, bursting boldly on to the screen in vibrant primary colours as a crucial moment in the on-screen discussion of costume design in superhero films. The beloved hero's undeniable look confused the issue for some who followed. The cast of Daredevil comes to mind, their looks straddling an awkward line between X-Men scale deviation, and Spider-man inspired iconography.

These facts go the long way round to accept and acknowledge the predicament the X-Men film was put in, and how important it was on an evolutionary scale of superhero films. Of course, 2000 is ancient history in a decade that's been busily advancing under the guidance of some exceptionally talented film makers!

Wolverine lumbered into cinemas like an antiquated machine from a bygone era, buckling under the dated notions of gratuitous cameos, a generic visual style, and a fear of intelligence sensical storytelling. The fate of films like this was sealed with last year's blockbuster classics, Iron Man and The Dark Knight.

Iron Man marched boldly into the cinematic arena to join Spider-man in proving just how high a standard comic book designs can be achieved to, in live-action. It also had it's say on the matter of intelligent and mature storytelling techniques, undercut however by the remarkable follow-up to Christopher Nolan's acclaimed Batman Begins, which built on the tone of good and evil in ways that have changed the way superhero movies are observed forever.

Even Singer's own work, it should be said, far surpassed what he achieved with X-Men. The 2003 sequel felt like the film the first wished it was, showcasing the merry mutants in a way that felt much more comfortable and natural. X2 stripped away the dead weight of peripheral villains (Sabretooth, Toad) and enfused the threat of evil with an even greater plausible modus of motivation and tactic.

Ultimately, the films have an opportunity to draw upon the very best seventy years of comics have to offer. The X-Men franchise has been heavily weighted by decades of sub-par storytelling, but the rolling dice of the comics industry offers an ethic to their cinematic cousins of doing as we say, but not always as we do.
Considering the possibility of more stylized, unique, and grounded stories offered by the Wolverine catalogue, anything else becomes difficult to accept.

With it's bloated cast of rejects from the previous X-Men films, utter fear of walking a deliberate conceptual path, and non-commitment to the characters it sourced; X-Men Origins: Wolverine feels like a film that has come from a franchise that helped define the role of superheroes in movies, but has been far surpassed by the projects it opened the door to.

The prospect of seeing Jackman's Wolverine bring to life the samurai monologue of Wolverine's operatic past remains delicious, but tainted by the expectation of an uninspired exercise in familiarity. With these spin-off films, much like good comics themselves, it would be nice to see a more individual tact taken.

Today we looked back at X-Men.
While I don't doubt the significance of the movie to the era, I find it hard to believe that anyone would argue that it hasn't been made obselete by the evolution of more advanced films. It is a product of it's time, but of that time it should remain.

The Fight: 3 The Film: 4

If somehow you haven't seen X-Men, then it's still well worth the investigation, if only for a little cinematic history. X-Men is available on Blu-Ray and standard DVD, as are all the films in the X-Men Trilogy. By using purchase links provided on the Infinite Wars, you help sponsor future entries, while also taking advantage of the price and convenience of Amazon Online. You'll find more films and comics like these in the Infinite Wars Gift Shoppe!

KUNG LAO versus SHANG TSUNG
Warrior Eternal (Threshold Entertainment)
Where: Mortal Kombat: Conquest Ep.1 When: October 1998 Why: Juan Carlos Coto & Oley Sassone How: Paolo Montalban & Bruce Locke

The Story So Far...
For centuries there has existed a tournament held each generation between warriors from two domains. Pitted against the dark denizens of the realm of Outworld; Earth's greatest champions protect the world through the sanctity of the martial arts competition, protected from the invasion of Emperor Shao Kahn's invading armies by law of the Elder Gods.

To be allowed to cross the threshold unopposed, Shao Kahn's fighters must retain victory over ten total tournaments. To steer the forces of Earth in their mission is the protectoral god of thunder - Raiden - who is sworn never to involve himself directly in the affairs of the tournament, acting only as a mentor and cryptic advisor.

Dedicated to providing warriors for the tournament is the Temple of the Order of Light, a faction of martial arts fighting Shaolin monks responsible for training a chosen warrior each generation. Among their greatest disciples was a man named Kung Lao, whose skills took him to the final battle of the tournament hundreds of years ago, where he would face a powerful sorcerer called; Shang Tsung! Fight!

Tale of the Tape...
Strength: Kung Lao 3 (Athlete)
Intelligence: Shang Tsung 5 (Professor)
Speed: Kung Lao 3 (Athlete)
Stamina: Shang Tsung 5 (Marathon)
Agility: Kung Lao 4 (Gymnast)
Fighting Ability: Kung Lao 5 (Martial Artist)
Energy Power: Shang Tsung 5 (Lasers)


- Raised to be a great champion under the teachings of the Shaolin monestery; Kung Lao emerged to become one of the Mortal Kombat tournament's greatest victors.

Possessing both amazing fighting skills as a martial artist, and incredible compassion as a human being, he reigned without killing his opponents. This ethic was eventually his undoing as the forces of Outworld conspired against him, eventually unleashing the force of the Shokan Prince, Goro, who defeated and murdered Kung Lao.
It was then the Prince's turn to reign supreme for five hundred years, before being confronted and defeated by Lao's distant descendent, Liu Kang. Joining Liu Kang in his continued struggles with Outworld is another warrior named Kung Lao -- the last direct descendent of Earthrealm's legendary protector.

- Said to have been taught the mystic arts by the Emperor himself; Shang Tsung has maintained his existence and youth for hundreds of years through the regular consumption of souls. This greedy pursuit has brought the sorcerer into conflict with many warriors, such as the expert swordsman, Kenshi, whom he fooled into unlocking a family crypt within which held the souls of many powerful fighters.

As Shao Kahn's servant in Earthrealm, Shang Tsung oversaw the tournament during Outworld's most promising age. Observing the victory over then-champion, Kung Lao, by the Shokan warrior-prince, Goro; Tsung was responsible for bringing Outworld to the very brink of victory over five hundred years of fighting.

When Liu Kang defeated the champion in the vital tenth tournament of Outworld's tally, he ensured the safety of Earthrealm for at least another ten generations, by law of the Elder Gods. The treacherous sorcerer would not be so gracious in defeat, however, and retreated to Outworld where he and the Emperor began a manipulation to lure Earth's warriors to their dark realm, while plotting an invasion free from the rules of the tournament.

Math: Shang Tsung Ranking: Shang Tsung (#19)

What Went Down...
Under the watchful eyes of the emperor, Shao Kahn, and tje bloodlusting cheers of a crowd of two worlds, the tournament finalists come face to face; Shang Tsung, Kahn's protege in dark arts, and Kung Lao, Earthrealm's last hope.

With his godly fingers crossed, Raiden, nestled within the crowd, witnesses his warrior suffer the opening blow as Shang Tsung leaps into action with an acrobatic cartwheel kick! He follows it with threatening kicks, quickly met with a stalemate sweep kick offensive from the fallen Kung Lao.

Kung Lao sneaks a jab in-between a flourish of arms and legs, scoring a rising uppercut sufficient enough to shake Shang Tsung, but not topple him. The move proves a motivator for the fighting sorcerer, who returns fire with another diving kick, evaded, leading to a string of blows, each blocked.

The pair again face-off in a stalemate of strikes, broken by a connecting roundhouse kick that sends Shang Tsung on an airborne path to his backside!

Enraged, Tsung returns to his feet, launching through the air with a fly kick!
The move gives him the advantage as the fight returns to a fast-paced exchange of close quarters punches and shifting blocks. This time it is Shang Tsung who scores a well placed jab through the forest of strikes.

The advantage is punctuated with another diving kick from the sorcerer, knocking Kung Lao to his hands and knees on the stone arena floor. With the fighter down, Tsung delivers spinning roundhouse kick to knock him onto his back, leaping into the air for another knockout landing. Kung Lao struggles toward a vertical base, but the unrelenting sorcerer mercilessly sinks his boot into Lao's ribs, only to deliver a finishing elbow to his back.

Shao Kahn's demand for a finish inspires Shang Tsung to call upon his mastery of mysticism to attempt to pull the very life essence - Kung Lao's soul - from his body!

On the verge of defeat, perhaps even death, Kung Lao has a vision of his beloved, Geneviere. It is the fire of his passion, and the faith of her love, that grants him the strength to resist the sapping will of Shang Tsung!

He fends the sorcerer off with a defensive whirl of his legs, leaping to his feet again with renewed vigor. Taken by surprise, the mocking sorcerer suffers a jump spinning kick from the recovering monk. Kung Lao fends off Shang's strikes with ease, fighting liking a man with purpose, able now to deliver fist after fist!

An arm wrench flips Shang Tsung to the ground, who leaps back up straight into the path of a jump spinning heel! Unstoppable, Kung Lao unleashes a flurry of tights punches to the gut and face, setting the stage for a finishing uppercut!

Shao Kahn and the crowd alike compel Kung Lao to deliver a final killing blow to his clearly defeated opponent, but though tempted, the monk pauses to reconsider.

In this tournament of life earned through death, he refuses to spill the blood of his enemy. It is a decision he will have to live the rest of his immortal life with, knowing that although he is protected from attack and age as champion, Shang Tsung will forever be there to threaten the lives of those he holds dear.

The Hammer...
Kung Lao wins! Mercy!

If you were with us last year, you'll know all about Mortal Kombat by now, thanks to the slavish attention granted to the series in the lead-up to their video game crossover, versus DC Universe!

During our time discussing the various possibilities of that game, as well as the history behind the series, we covered a lot of topics surrounding the characters and adaptations from the franchise. One that we didn't get to - a key piece of the mid-nineties MK empire - was the theatrical release of two films.

As you might've already guessed, today's feature fight isn't from one of them.
Rather, I thought it more interesting to draw from the less obvious source of Mortal Kombat: Conquest -- the ill fated live-action TV series spin-off!

Despite being rooted firmly in the modern age, Mortal Kombat's premise draws heavily upon details from conventional mythology, combining them with it's own unique backstory. Among the most famous figures in this barely explored facet is Kung Lao -- a character survived by his distant descendents, Liu Kang, and the playable character of the same name, who debuted in MKII.

Kung Lao is the first significant character in Earthrealm's history of defense against the onset of invasion from Shao Kahn and the army of Outworld. We know very little else of Earth's early champions, to say nothing of the less successful warriors who competed to defeat in other tournaments. Not that defeat is omitted from a warrior's tale, quite the contrary. Many fans know of "The Great" Kung Lao through the mythos of first-game boss, Goro, whose claim to fame was becoming champion by defeating (and killing) the former.

All of this loaded particular weight upon the Threshold television venture, because, of course, this meant establishing brand new elements within the cast of heroes and villains venturing out alongside Kung Lao and Shang Tsung.

For a show of it's type, Conquest garnered a reasonable amount of positive attention. Quite rightly, too, if you can make it past the showy impracticality of various fight scenes, gratuitous display of Playboy talent, and generally cheesy fantasy setting. While many of these lesser qualities have come to define the show, like ill-fated fanboy favourite, The Flash, it was niche programming that found it's footing in decent writing and a well honored brand.

As the show developed, so too did the characters, who gradually fragmented in a classically Mortal Kombat fashion to represent a multitude of factions competing in a single arena. Shao Kahn - barred from interfering with Earthrealm until the next tournament - is forced to employ a variety of factions to do his bidding, all the while other elements, like an "imprisoned" Shang Tsung, pursue their own goals. The method allowed the show to pepper episodes with iconic incarnations of characters like; Scorpion, Sub-Zero, Reptile, and of special note, Quan Chi.

Top 25 Kombatants
#1 Shang Tsung
#2 Shao Kahn
#3 Goro
#4 Sonya Blade
#5 Johnny Cage
#6 Noob Saibot
#7 Sheeva
#8 Raiden
#9 Stryker
#10 Kano
#11 Kintaro
#12 Hotaru
#13 Dragon King
#14 Kitana
#15 Quan Chi
#16 Kenshi
#17 Bo' Rai Cho
#18 Sub-Zero
#19 Scorpion
#20 Kung Lao
#21 Baraka
#22 Reptile
#23 Smoke
#24 Jade
#25 Liu KangThe show really does deserve much more than credit for simple fan service. As we've seen first-hand through the Malibu comic series, [ahem, Hydro...] the invention of original characters within a licensed world can lead to utter embrassment. While every bit-player isn't brilliant, Conquest creates it's fair share of memorable figures, many of whom have been requested for transition to the games by a large portion of the fanbase!

In developing these characters, the show did something comics fans could be particularly appreciative of. While it's a standard convention of fiction, despite being very character and concept driven, MK simply doesn't take time to explore it's history.
When tasked about the possibility of looking backward recently, I had to reflect upon my own reticence.

Conquest's exploration into the ancient past is surprisingly subtle. Obvious connectors to the past, like Kitana, find themselves in a bit of a loop of Lucas-grade repetition, reprising roles familiar to anyone who watched Liu Kang's romancing in the films, or canon of the games.
It's the bigger picture that really benefits from this licensed look backward, allowing greater exploration of the politics that lies behind the delicate balance between realms, and the laws of the Elder Gods. A major villain to the final episodes of the show, Kreeya, contributes connective tissue between basic new stories, and this embellished examination of the MK universe.

Unfortunately, if we can abruptly shift the stream of consciousness to the episode spotlighted, things didn't start fantastic.
I can't honestly remember if I've managed to sit through the entire movie-length combination of the first two-parter. Despite beginning with a bang, jumping quickly into the Kung Lao/Shang Tsung fight featured, the subsequent introduction of supporting characters grinds the energy to a halt.

Starting the series with a tournament was a very novel approach, almost reminiscent of Grant Morrison's topical storytelling techniques in Final Crisis, in terms of jumping straight to the important bits. Slightly cheesy montage clips help establish Kung Lao (and Raiden) quite effectively for their immediacy, but the glorious reprisal of Jeffrey Meek as both Raiden and Kahn is a rare glimmer of promise. It's an unfortunate situation that tarnishes what would otherwise be a glowing review of the series.

We're running very late and bordering on incoherrence, so I'll wrap it up here.
January dated posts continue as we endeavour to feature the 2008 year-end top rated heroes, before jumping in to some contemporary reviews for February!

As always, stay tuned, true believers!

The Fight: 4 The Episode: 3

Unfortunately, "Mortal Kombat: Conquest" has been limited in it's release on DVD. Region 2 offers compilation discs, while Region 4 is where you'll have to look to find the entire series (collected across two three-disc sets). You can, however, catch-up on the series future-history through affordable twin-packs of the two films. Or, why not try your hand at Mortal Kombat vs DC Universe? You'll find these things, as well as collected editions of most reviewed issues, in the Infinite Wars Gift Shoppe. Every purchase helps sponsor the protection of our Secret Earthrealm!

BATMAN versus JOKER
(DC/Warner Brothers)
Where: The Dark Knight When: July 2008
Why: Christopher Nolan, Jonathan Nolan, & David Goyer How: Christian Bale & Heath Ledger

The Story So Far...
In a city gripped by crime, the emergence of a symbol to rattle the cages of the corrupt and greedy is a welcome rallying point for citzens besieged. The Batman is the dark knight the city requires, launching himself across the Gotham skyline in an incorruptable crusade against crime.

As he prunes away at the powers-that-be, things inevitably get worse before they get better.
A new breed of criminal, and insanity, coincides with his debut, beginning with the mad psychologist, Dr. Jonathan Crane, and his associations with the far reaching clan of eco-terrorists, the League of Shadows, led by legendary Eastern figure - Ra's Al Ghul. Their attack on Gotham City using a fear enducing toxin is a baptism for Batman, whose own past is linked with that of the League.

Though Dr. Crane escapes his reach, the Batman turns his attentions to the escalating dangers that grip a Gotham City in a vital process of change.
The Police Department begins a natural process of detoxification, struggling against a vaccum of power seized by organized crime boss, Sal Maroni, in the wake of Carmine Falcone's mental collapse. In response, a new Districty Attorney, Harvey Dent, joins the cause as a brighter counterpart to Batman, acting within the confines of a justice system in repair.

There are other personalities, however, that have come to Gotham City.
Other figures analagous to the Dark Knight himself, but dedicated to something much less specific. With a flair for theatricality, and an uncanny knack for mayhem -- the Joker has ushered in a responsive new era to the unstoppable vigilante -- equally as incorruptable, if not as purposeful.
It is an ideology destined for collision course...

Tale of the Tape...
Strength: Batman 3 (Athlete)
Intelligence: Batman 5 (Professor)
Speed: Batman 3 (Athlete)
Stamina: Draw 5 (Marathon)
Agility: Batman 4 (Gymnast)
Fighting Ability: Batman 5 (Martial Artist)
Energy Power: Batman 4 (Arsenal)


- After witnessing the street murder of his parents, the young Bruce Wayne's destiny was forever shaped to be one dedicated to an ideal. Having spent his formative years studying the various sciences, martial arts, and crime fighting techniques, Bruce is ultimately inspired to become the one-man war on the criminal element in Gotham City: Batman.

Perhaps Batman's greatest power is the millions inherited from his industrialist parents, and the various facilities that came with that. They prove crucial in the design and construction of his many weapons, which are typically non-lethal, and have a variety of uses.

Complimented by his keenly strategic mind is Batman's expertise in the martial arts. He is extensively trained in multiple fighting styles, and commonly regarded to be one of the greatest hand-to-hand fighters in the world.
He is also extremely proficient in general urban warfare.

- It has been claimed that he was the victim of one very bad day, which ended with a fall into a vat of chemicals that bleached his skin, dyed his hair, and twisted his face into a permanent grin. The truth of his name and origins remain unknown, but as the Joker, he is one of the most feared killers in Gotham City.

Joker is known to have an aptitude for creating and working with toxins and other chemicals, favouring trademark concoctions that induce uncontrolled laughter, facial distortion, and often, death. Joker is also a proficient strategist, who is said to regularly reinvent his identity as a part of his vendetta against Batman.
The Joker, though not a skilled fighter, is shown to have an inhuman capacity for pain tolerance and recovery.

Additional: The rivalry between Batman and Joker is one of the most famous feuds in comics. Beginning in Batman #1 (1940), there hasn't been a decade that didn't feature an epic confrontation of these two vivid personalities. In many instances, their collision is one of philosophy, as depicted in 2008's feature film adaptation, The Dark Knight. In the film, Heath Ledger's Joker describes their meeting as that of an "unstoppable force meeting an immovable object."

Batman's unwavering dedication to justice as an incorruptable symbol is off-set by Joker's contrasting pledge to anarchic destruction, and the a murderous bent toward all things anti-social, and anti-establishment. In most cases, Joker is rarely without a motivation, even if it remains difficult to understand, even for the legendary Dark Knight detective.

Due to his stern position on lethality and corporal punishment, Batman is often forced to remain reactionary to Joker's twisting plots and reinventions of personality. Only when clues are present can he follow to a physical confrontation, which almost always favours the well trained Batman.

Examples include; Batman #614, Detective Comics #781, Batman #663, Justice League of America #15, Dark Knight Returns #3, & Batman Ep.2.

History: Batman (6-0-0)
Math: Batman Ranking: Batman (#1)

What Went Down...
Foiled in his attempts to kill an incarcerated DA Harvey Dent -- the Joker collides with Batman in the streets of Gotham, only to be captured himself by Lt. James Gordon, who had been working undercover under the veil of his faked death.

Promoted to Commissioner, Gordon enters a darkened interrogation room, now forced to probe the Joker for information on the now abducted District Attorney.
Joker casts doubt on a GPD already heavily under investigation, suggesting Gordon's own people are puppets of Boss Maroni. He taunts Gordon and asks him what it feels like to be alone. The Commissioner shows him just how alone he is.

Turning the lights on, on his way out to 'get coffee', Gordon unleashes the beast.
The Joker's face collides with the metal table in front of him as Batman steps out of the darkness. He's not the bad cop. He's not part of the system. He is the shadow-self of every law abiding civil servant in Gotham, and he's unrestrained.

Joker resists the Batman's physical influence, making light of his decision to "go for the head" first. Batman obliges, bringing his fist down like a sledge hammer on the criminal's printless fingers. Joker shows incredible restraint.

Joker's counter-attack strikes deeper, turning the spotlight on Batman's will to let the cost of his war spill onto civilian casualties. It is a strategy that will pay dividends by the end of the night, but for now, is easily ignored by the focused Dark Knight, concerned only with recovering the abducted Harvey Dent.

Unwilling to concede, the Joker splashes his philosophy around the cell, rejecting the Batman's tempered retort as borrowed phrases from the "normal" world. He professes a joy - a completion - provided only by the escalation of acceptability ushered in by the Batman himself. Joker declares his torture - his disinterest in ever killing the Batman. The Dark Knight's hollow assumptions amuse him.

The clown prince of crime further indulges himself in a philosophy built on everything low and disgusting about humanity. He forecasts the downfall of Gotham's protector, putting their tall poppy syndrome down to a basic human barbarism that would have them feeding on each other, under the right conditions. Under the Joker's conditions. Batman sees fit to disagree.

With the face-to-face revealing more of the Joker to him, the Batman resumes his narrow objective -- uncover the path to Harvey Dent.

Showing further his skill in combat, Joker remains unaffected by the strong-arming of the undeniably stronger of the two. Yanked off his feet and across the desk, Joker is shaken around and pinned to a wall, by the Batman.

The Dark Knight collides physically and verbally with the Joker, professing only one rule in his approach - never kill. Not surprisingly, this becomes the key to ending their opposition. Joker reveals a forced hand - a second hostage!

As if peering behind the mask, the Joker recalls their encounter at a charity ball for Harvey Dent. A scene where he left the Batman to retrieve Rachel Dawes from the window-borne descent he tossed her two. A task Bruce Wayne took up with gusto, driven by emotions attached to his childhood sweetheart.

Endangering Rachel Dawes a second time provokes a strong response.

Batman peels the Joker from the tiled wall of the room and slams him onto the nearby table. Pushed, Batman jams the interrogation room door shut with a chair, knowing his physicality will prove distasteful to the law enforcement watching through mirrored glass. It is the difference between him and them. The chance to go further than society allows. To be one man, incorruptable.

Batman introduces Joker's head to the mirrored glass, with force.
He fills the room with the roar of his one question -- where are there?

Physically out matched, the Joker continues to take the punishment, fighting back with delight, cackling, and juvenile taunts about Rachel Dawes. Batman growls his question, as if it were a demand, between the clubbing blows of his fist.

The Joker laughs.

Mocking Batman's strength, finally Joker agrees to reveal the location of Dent and Dawes, both. Held feebily beneath Batman's gloves fists, Joker has already won, having earnt his escape through the almost unnoticable broken glass dislodged by his head earlier. There is then the matter of the addresses given...

Though legitimate in location, Batman's hasty efforts to rescue Rachel Dawes from the gallons of feul and explosives she's strapped to, will soon learn each path leaves him to play the Joker's game again. Though dedicated to rescuing the woman he loves, his dedication will be his undoing, and mark the creation of a new foe who sees things... both ways...

The Hammer...
For the purposes of satisfying the "comic book fight club," we can declare without any doubt that Batman is the physical victory in this multi-layered confrontation. As we've seen six times in the past, the Joker, though willing to engage in physicality, is a cerebral combatant, no matter his capacity for accepting harm.

While this post is marked December, I'm catching up on the Holiday backlog. Tomorrow marks the Sixty-Sixth Annual Golden Globes, where, Heath Ledger is a red hot favourite to take the post-humous award for best supporting actor in a feature film. It's just one piece of a puzzle that started in July, where many people began forecasting their suspicions of an Oscar nomination.

After writing a lukewarm review of Iron Man, I'm somewhat reticent to admit my doubt over the validity of a Ledger win. I don't want to be that guy, but the more I ponder, the more honesty gets the better of me.

While I've come to believe nomination is a fitting must for the late actor, I remain unconvinced about the immortality of his portrayal. There can be no doubt that he inhabited the role quite well and probably brought a lot to the creation process, but I'm not sure if that was elaborate enough to warrant such lofty, pretentious acclaim. Let those of us of the right persuasion regard him forever as "the best Joker ever," but in the realm that has so long resisted acknowledging superheroes, caution the pretense of popularity.

To further sour my regard, I have to admit, I wasn't quite as taken as it seems much of the world was. Perhaps it was simply a matter of expectation. Batman Begins so specifically revealed the intentions of this generation of the brand that, coupled with familarity with the source material, it became a fairly predictable exercise. Predictable should not be mistaken for bad. In the realm of adaptation, predictable has long been sought after as the epitomy of accuracy. In this respect, The Dark Knight pays dividends, very specifically representing the comics at their best. To that end, I can only hope all involved can be persuaded to continue into a third instalment in a series, and maybe even more.

Regarding the representation of the comics, I have to say the unsung hero of the piece seems to be David Goyer.
[Christopher] Nolan has freely admitted the fanboy-cum-writer-cum-director has been his guide through the largely unfamiliar landscape of Bat-fiction. Coupled with the support of DC themselves, I don't doubt Goyer has been vital to ever creative triumph the films have provided, acting as a crucial facilitator throughout the process. Tales of the Goyer/Nolan garage think-tank seem to support this on many levels of the creation process, including design.

In fact, when I think The Dark Knight and Academy Awards, I'm inclined to think of Christopher Nolan. There are few examples of other films enhanced throughout by the presence of a director as Dark Knight. His familiar, obsessive restrain is felt throughout the picture, acting as almost as strong a presence as any of the actors or characters they portray. He was vital to Batman Begins, but it's in The Dark Knight that I think Nolan reached a new comfort with his vision and the ideas he was channeling. His influence was a triumph that deserves that level of acknowledgment, perhaps in ways rarely reflected by the Academy of Motion Picture Arts and Sciences.

Both Nolan and the film felt somewhat absent from, what I would regard, as the more grounded Golden Globe awards. It was here I felt it more likely to see the film recognised in Best Picture, Best Screenplay, and Best Director formats, where the common indulgence in action might've been more likely than the Oscars.

I now hope the directorial travesty, at least, can be corrected by the Academy Awards. I also feel a Best Picture nomination might well be warranted, even if the film that defined 2008 (and set innumerable records) isn't the critical winner.

Still, in all of this would-ing and should-ing, I suppose it might be nice to communicate my feelings on the film.

If I can frame my reference through reaction, I turn to yet more common place inflections that I despise. One I've mentioned before; the misconception that making the leap from page to film is somehow conceptually restricted; jumps immediately to mind. It is in response to that that I am reluctant to refer to the Joker as a "complex" character, or a difficult character to realise on screen.

The Dark Knight presents one of the most effective versions of the character, revelling in the faith necessary to indulge the concept. It is indeed faith that this character requires, as I believe there is little to nothing that "cannot" be realised in modern cinema [something Watchmen will hopefully display to the majority].

Almost unnoticed were the changes made to this version of the Joker, the most obvious, his now definitive grin-replacing scars. Ledger physically represents little of what we know as Joker iconography. He's not especially slim, svelte, and certainly doesn't possess the exaggerated nose, chin, and grin. While some are not inclined to place weight in physical appearances, I personally feel, as is a trope of cartooning, that much of Joker's character is conveyed through those traits. That said -- we quite reasonably forego those superficial details for a depiction that captures the spirit of the Joker, as much as it innovates.

Particularly to my liking, the internal motivation of the Joker.

To go back to the common misconceptions of the unwashed (fanboy) masses, I turn my scowling brow to the use "random" in contemporary language. This is both a disagreement of semantics and philosophy, because there are indeed those who believe the Joker should act almost without motivation, but I disagree. As in The Dark Knight, I feel the Joker is at his best when he is quite specifically grounded in intentions. Intentions that, more often than not, are indeed influence by reaction, or his own thought processes.

Throughout the film the Joker exists as a reactionary force to Batman, to law, to crime, and to organization of most kinds. Continuing explorations from the comics, the film Joker is almost super-sane, more than he is crazy.
As a writer and fan, I believe Joker should never be without reasons, even if they aren't necessarily obvious to you, or I, or the characters within a story.

Bale, Oldman, and Freeman were back to do more of what they did very well in the first film. Michael Caine still isn't my ideal Alfred, which probably made his reduction to over-sized cameo all the more palatable.

Harvey Dent's role in the film surprised me, somewhat.
Aaron Eckhart (and Maggie Gyllenhall as replacement Rachel Dawes) played quite well in the film, but I was surprised to see Two-Face eventuate so abruptly. I couldn't really complain, except to say that it felt a little abbreviated by the end, undercutting the more traditional climactic conclusion of the Joker/SWAT fight.
Also, I'm not sure if I would've burnt away quite as much flesh as they did in the CG make-up process. That said, artistic choice aside, it was quite good! Eckhart and the script certainly more than made up for '95's Tommy Lee Jones-Schumacher directed farce, but let's not go there.

Keeping me from this review was the necessary meditation to reach a comfortable opinion of the film. I've watched the DVD several times since Christmas to give it as much chance as Batman Begins had to grow on me.
Ultimately, while The Dark Knight sent a message to the world of what a superhero film can be, I still see imperfections. Conceptually and functionally the film is rock-solid, but like Iron Man, it lacked a little bit of oomph to make it unforgettable. Additionally, there were moments that just felt downright beneath the film, like robotic attempts by Nolan to engage the common man (American) that felt clunky and unnecessary. The biggest, the cell phone sonar, which felt a bit overblown for my tastes, like a god awful time-based obstacle in a video game tie-in [which, incidentally, has been allegedly delayed for quality assurance, assuming it will actually happen].

Of course, for every nit-picking negative, there's a multitude of glorious nuggets of joyous subtlty. Among my favourites, Joker's burning fire engine roadblock, and graffiti "slaughter" is the best medicine. In truth, there's just so much to discuss about this film, we couldn't possibly touch upon it all in any coherrent fashion. That is why I by no means consider my score an insult, but acknowledge there's still so much more to come from superhero films - and Batman - on the screen.

Oh, and to voice one more arrogant frustration: the people who told me, before I'd seen it, that the film was close-ended with no clue to a sequel: Damn your peasant eyes! A giant playing card might not have flashed across the screen, but Jim Gordon's closing monologue and the Dark Knight's self-sacrifice more than frame a film with a spine of Batman versus the Cops action-drama.

In particular, I think of scenes from popular inspiration materials, Dark Knight Returns and Batman: Year One, which both pit Batman in exciting struggles with the police. If those Catwoman rumors are anything to go by, maybe we'll get to see the animal-lover in Batman two-fold, as a second driving plot with Selina Kyle, and as a portion of the 'Hunt the Dark Knight' drama, in the form of punching an armored gunman through a brick wall for trying to shoot a cat.

Bloody hell! If that run-on sentence wasn't clue enough, I could just be here all day talking about the Batman films! I didn't even remember to mention that I chose this interrogation scene - of all the fist fights in the movie - because I felt it encompassed so much of what we know from the comics. It was delightful, but also leaves plenty to discuss in the future. Now shut up, I have to go. Hehahaha!

The Fight: 5.5 The Film: 6.5

"The Dark Knight" set all manner of feature film records with it's cinematic release, and continues to redefine the boundaries on home video. If for some reason you don't already have the DVD, then you simply must purchase immediately through the Amazon links provided. It is also available in a two-disc Special Edition which includes thoroughly enjoyable "Gotham Tonight" episodes with Anthony Michael Hall reprising his role from the film. Admittedly, the extras leave a bit to be desired, but do yourself a favour, and just buy one of them. Heck, you'll be doing me a favour as well, by using the purchase links provided! Yummm, themes of corruption!

QUICK FIX: JOKER vs BATMAN
Christmas with the Joker (DC)
Where: Batman Ep.2 When: September 1992
Why: Eddie Gorodetsky & Kent Butterworth How: Kevin Conroy, Mark Hamill, & Loren Lester

THE TAPE...
Strength: Batman 3 (Athlete)
Intelligence: Batman 5 (Professor)
Speed: Batman 3 (Athlete)
Stamina: Draw 5 (Marathon)
Agility: Batman 4 (Gymnast)
Fighting: Batman 5 (Martial Arts)
Energy: Batman 4 (Arsenal)

Math: Batman
Ranking: Batman (#1)

THE FIX...
It was the night before Christmas, and Joker was free,
Having escaped Arkham Asylum, he hijacked the TV!
He kidnapped some guests, for his broadcast event,
A commissioner, detective, and reporter, were present.

In a sprint across the city, the dynamic duo came,
to protect the innocent, and foil Joker's evil game.
A train and cannon, they nearly caused disaster,
but Batman prevailed, fighting toward their master!

The Joker was waiting, when the heroes arrived,
pulling at levers, to unleash his grand surprise.
Giggling, he spun a record, from Nutcracker Suite,
leaving robotic toy soldiers, for Batman to defeat.

His goons beaten, Joker pulled back the curtain,
revealing hostages dangling, whose peril was certain!
With scissor to rope, the clown prince did leer,
and a gift in hand, to spread Christmas cheer.

He tossed the package, into Batman's waiting hand,
with an order to open it, to conclude his nasty plan.
Object and discourage, though Robin did try,
the Dark Knight detective, got a face full of pie!

The Joker burst out laughing, to see such fun,
but he still cut the rope, and proceeded to run!
Batman lept into action, to save the falling few,
intercepting their path, right above a boiling stew!

Batman made pursuit, to prevent further harm,
but with Joker in custody, he fell for false arms!
The villain made haste, as he fled for the stairs,
running toward certain doom, blissfully unawares!

Taunting all the way, Joker made for an escape,
never stopping to notice, a stray rollerskate.
Joker slipped over the rail, in a scene of familiarity,
rescued from his fall, by an act of Bat-charity.
What is it about the Joker and Christmas that seems so fitting?
I figure if we're going to be running this far behind, we might as well make it worthwhile. Hence, not skipping over Christmas, which was my initial intention.

These initial episodes of the much revered animated series really don't do it justice, but there's something undeniably fun about the Joker causing mayhem during the holidays. Live on television, no less! It's this subtlety that I would pick up on in the lead-up toward our (obvious) Dark Knight review.

A commandeered television signal seems like a staple of the Joker's arsenal, and like so much in the two Nolan Bat-films, it gets a suitably logical update in the recent film as hostage tapes. It's a little detail that hadn't really dawned on me until sitting down to think about this instalment, and it's much appreciated.
We are, unfortunately, all too familiar with hostage/terrorist tapes in this era, and it makes for an elegant solution to maintaining a sense of reality within the context of familiar Joker strategums.

Thus, we leave you with this cheery thought on our late Christmas entry! Stay tuned as we continue to astound you with feats of time travel!

Fight: 4 Episode: 4
Winner: Batman

Need to catch-up on your Bat-history? Missed those early episodes? Why not treat yourself to a late Christmas gift by picking up the first DVD set, or the complete collection, via Amazon? Not only do you benefit from the convenience of their low prices and shipping, but also help sponsor future entries in the Infinite Wars. Hussah!