"He's making a statement about something."

No, no, I totally got that. I just really don't like the "comics don't need to follow the reality rules" approach, especially when there's no conceit in the narrative to properly explain the "why" of it. Superman can do almost anything because he has powers gifted by his alien D.N.A., sure. The Flash can bend space…

Well, that's fair enough. But while I'll certainly agree that R.I.P. is probably the strongest arc in Morrison's run, I can't abide calling that story a masterpiece. It's a goofy, over-the-top funhouse ride, but ultimately it thinks it's more clever than it is.

Well, at least Morrison had the balls to push the idea to its most extreme iteration… And his use of that version of the character in JLA made perfect sense (after all, what other iteration of Batman could possibly hold his own on a team that includes Superman, Wonder Woman, the Flash, and Green Lantern?). But…

I disagree so, SO much with that… but you seem like a pretty intelligent guy, and I respect your opinion on it.

They probably won't realize THAT until/unless Batman v. Superman or Justice League bombs, they scrap their DC Cinematic Universe AGAIN, and eight years later some talented young filmmaker comes to them with a pitch for a bright, fun Superman movie— an approach so extremely unusual by that point that it strikes them…

Consistently? Probably not.

I'm not surprised Snyder would say that there probably are people in the buildings, 'cause the guy is kind of a trolling asshat (just look at his comments re: Batman and Superman vs. Marvel and Ant-Man). But I don't buy it; in the Man of Steel BTS materials, he even admits that they were going to include shots of the…

I've been making this point for a couple of years now. The Internet will not listen. Apparently it's just more rewarding to bitch about all the people Superman supposedly killed (whom we never see and probably aren't there) than it is to give a moment's thought to the context of the scene.

I gotta say, looking back at it, the best thing about this story is that it shows Batman both at his most indomitable and his most human. It's a damn shame that DC latched so tightly onto the first trait while almost completely ignoring the second… especially considering how often it's cited that it's his humanity…

Chris Nolan actually cited "The Man Who Falls" as his and David Goyer's biggest inspiration for their take on Bruce Wayne in Batman Begins. That in and of itself would make the story invaluable in my eyes… but it is a DAMN good read, too. I wouldn't call it better than Miller's work, necessarily, but it's at least as…

Yeah, but that was $650 million on a $225 million budget, not including promotional costs. And studios only get, like, half of the box office.

Good God, Kevin Smith writes the absolute worst Batman I have ever read.

Funny… they tried to use grim 'n gritty on Superman, and it didn't make much money at all. So did they try to brighten the character up with a sequel? No— they threw Batman into it, so the grimness supposedly would be justified.

Well, to be perfectly, 100% fair to Ben Affleck, I'm pretty sure it was Zack Snyder (derivative hack extraordinaire) who decided that this Batman would be right out of The Dark Knight Returns. He seems to think that, since his movie has Batman fighting Superman, it should literally be an adaptation of that book's fight…

I don't feel like Batman was ruined by Frank Miller. I just think he was pushed in a different direction, given harder edges and a more neurotic psychological profile… which sometimes worked out fantastically (The Dark Knight Trilogy put this interpretation to good use) and sometimes… well, less so (Miller himself…

Definitely one of the finest Batman stories ever told. Simple, effective, even haunting. It's no surprise it almost didn't come to be; the best art always comes under fire from the people with the money to make it happen but without the wit to understand it.

(*in best Hans Moleman voice*) I saw Fantastic Four…

Well, she could always have just gone back to Themyscira after the war… I mean, that's how they explained the time jump between season one of the Lynda Carter T.V. series (which was set in World War II) and season two (which was set in the present day).

You think it's unsettling in animation? Just wait until the Supergirl pilot hits. Her first fight with the episode's villain— an alpha-male douchebag named Vartox— culminates with him straight-up choking her out before she's saved by a government strike team. They try to keep the moment short, but it's genuinely…