100 Issues In: Our Top Ten Characters of "The Walking Dead"

2012 has been a big year for fans of “The Walking Dead,” as companies of all kinds are realizing the franchising potential for the hit award winning comic book series. “The Walking Dead” has emerged as hit novels, popular board games, prized collectibles, popular toys, hit video games, a record breaking television series now about to reach its third season, and most importantly, the original comic book series is about to reach 100 issues this July. After ninety nine issues of unmitigated drama and compelling writing with rich characters and gripping horror in the world of the walking dead, Robert Kirkman is delivering issue 100 in July promising surprises, and material that is sure to shock, sadden, and excite loyal readers like myself. In honor of issue 100, we’re counting down our top ten characters of the Walking Dead from issue 1-100.

We warn you, if you’ve yet to complete all ninety nine issues leading in to one hundred, we will spill spoilers about character deaths and plot points, so display caution, and don’t come complaining later on.

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Batman Returns (1992)

Batman-Returns

In the first “Batman,” the dark knight is described and thought of as something of an urban legend. He hides in the shadows, is mistaken for something of a myth, and only arrives to instill justice when the police are outnumbered. In “Batman Returns” Batman is basically the police. You assume for a massive political event in the first twenty minutes of the film, there’d be barricades and strong police force, but Penguin is able to pretty much wreak havoc with the Red Triangle gang, while the streets are left in tatters with no police around. Only does the order get restored when Batman arrives and Commissioner Gordon is left to thank Batman for saving the day while the police are seemingly sitting with their thumbs up their collective butts.

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Batman (1989)

batman-1989After all these years, it’s safe to say that Tim Burton’s entrance in to the pantheon of Batman films is an admirable effort, but one that doesn’t really master the lore or the character. “Batman” is a very fine film. It’s watchable and occasionally entertaining, but there just isn’t too much fodder for the more conscious batman fan in the end. Burton does strive to set up parallels and subtext, but much of it is sadly never touched upon or explored. The psyche of Bruce Wayne is a corner of the Batverse that is never given a spotlight in “Batman,” and while Burton does enter in to corners of his life, there’s not a lot of warmth or interest in what makes him tick. He has a gallery of various armored bodies from around the world, but there isn’t a lot of reason as to why.

How did the armor influence him? Did they influence him? There’s never an indication as to why Bruce is tortured, if he is tortured, and Bruce’s life is depicted by Burton as often very cold and closed off from the world. Rather than the Joker, Bruce becomes the target of inadvertent comedy while Joker’s journey is more menacing and complex. There’s an odd scene of Bruce hanging upside down while sleeping for no particular reason, and in one instance Bruce’s date with Vicky Vale begins with the two sharing a dinner of soup far apart on a dinner table so long they can barely converse with one another. Bruce is of course oblivious to her desire to talk on what is obviously a date. Burton doesn’t often seem very empathic toward Bruce’s life and misses chances to provide insight in to what he’s all about and what makes him function as Batman.

In the prologue there’s a fascinating parallel to Bruce’s fate where we meet two parents and their son trying to catch a cab in Gotham to no avail. Anxious to find transportation they enter in to an alleyway where they’re held at gunpoint by thugs who almost kill the parents. It’s never pointed out how this comes close to Bruce’s own fate, and the poetry of the situation is avoided. Sadly, even with his masterful comedy chops, Michael Keaton can’t keep up with Jack Nicholson for most of the film, and Burton is aware of that, handing the film over to Nicholson for a good portion of the film. Surprisingly, Bruce and the Joker rarely share screen time with one another, so their war for Gotham feels detached and impersonal at times.

The journey of both characters feel like two very different films. The Joker is more centered on revenge while Bruce is more prone to trying to find his place in the world. The Joker views Batman as insignificant and holds no real concern for him, while Bruce doesn’t seem to understand how menacing Joker is until the climax in the city with the giant float. Only in the very final scenes do Batman and Joker duke it out and even then it’s very brief and abrupt. It’s a shame since Keaton is a very powerful actor in his own right while Nicholson can play well off of anyone. In spite of the film’s inherent flaws, “Batman” is still a rather entertaining fantasy action film with Michael Keaton doing quite well in the chair of Bruce Wayne.

His performance is restrained and layered, and Keaton is able to make due with what Burton gives to him. Nicholson has a blast in the role of the Joker and he really does manage to give the character a horrific personality paired with his trademark demented sense of humor. Burton provides a beautiful Gotham that seems boundless in its darkness and skyscrapers. It often feels like a limitless dimension rather than a city, and Burton excels at set pieces and moody locales. “Batman” is an interesting start in to a complicated and varied franchise. Ultimately, “Batman” is not a perfect film as it tends to rely on delivering two separate narratives involving Batman and the Joker rather than connecting them and intertwining their universes as much as possible. While one is a force of justice, and the other is a force for evil, they never quite affect each other’s world until the final moments of the film. While Keaton and Nicholson are dazzling in their roles, Burton never quite finds much to explore with Bruce Wayne, and that’s wasted potential.

     

21 Jump Street (2012)

When all is said and done “21 Jump Street” completely bastardizes the original television series from the eighties. The original show was a dramatic and controversial series that took painstaking turns in to very taboo subjects in America and was the stepping point for Johnny Depp. No one shares that frustration more than I do. But surprisingly enough “21 Jump Street” is still a fun and absolutely entertaining action comedy that is about as close to an American version of “Hot Fuzz” as you can get. While it does use the “21 Jump Street” model to get the premise rolling, it doesn’t really spoof or satirize the show. There’s no one mocking Johnny Depp, or Dustin Nguyen, nor is anyone mocking major episodes of the series. The directors do pay homage to the show with their own nods to the series, but it doesn’t lampoon the show so much as use the framework to tell a new story. A new story that’s incidentally based around a more comic tone.

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Zombies vs. Strippers (2012)

So what do we learn from Zombies vs. Strippers? Zombies who moan “brains!” aren’t specifically limited to eating brains, strippers crave anal sex even during a zombie raid, cameramen will stay focused on a TV host even if they’re being mauled by the walking dead, watching someone eating someone else’s fingers doesn’t set off alarms that something is wrong with them, pole dancing is actually a hidden form of martial arts, cops are nowhere to be found in the city, zombies will pounce on extras but slowly creep up on principle cast members of a movie, strip clubs only play songs without lyrics, strip clubs only employ four strippers at a time, and when you’re bitten in the butt you won’t notice until much later on. All things considered “Zombies vs. Strippers” is a pretty crummy movie.

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Prometheus (2012)

PrometheusBasically what’s hypothesized in “Prometheus” is what if the thing that created us sought out the answers to what created it? And what if in the process of figuring out its own creation, it managed to accidentally create us? And what would happen if the thing that created us in a mission to figure out what created it, actually really wasn’t a God, and pretty much hates out guts for being accidental spawns of its experimentation? It’s a dichotomy and a contradiction that’s worth exploring, because it’s a startling and absolutely crushing notion to comprehend, but not with “Prometheus.”

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Superman vs. The Elite (2012)

I understand what “Superman vs. The Elite” is trying to say and what it’s attempting to convey. We’re in a world where the boy scout in tights in longer in vogue. Now we have a bunch of misanthropic homophobic thugs in colorful outfits who are calling themselves superheroes. And the public is eating that crap up with a spoon. I’m one of the few hold outs who actually love his superheroes like Superman and less like the cynical crapola Garth Ennis spews on to the page. Ooh, he said “faggot,” ooh his superheroes have sex with guys, ooh he’s mocking Batman, he’s so edgy and unique!

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