Tagged: Green Lantern

Dennis O’Neil: How Green Is My Arrow?

Green Arrow was never really a loner. When he first appeared in More Fun Comics #73 he already had a young partner whose nom de arrow was Speedy and whose other name was Roy Harper. As GA – other-named Oliver Queen – sauntered through the years, he formed alliances with another greenish hero, Green Lantern, and, maintaining the color-motif, Black Canary, with whom he had a full-out, bells-and-whistles romance. And he was a member in good standing of the Justice League of America, comics’ first…what? – superhero club, I guess.

So no, Ollie, as we are pleased to call him, was never a loner, but I never thought of him as a clubman, either. He was this guy who did what he did and had occasional friends and associates.

Now he is enjoying what are undoubtedly the largest audiences of his life as the title character of a network television series. For whatever (corporate?) reason he’s lost an adjective and is now known as plain old Arrow. And Roy Harper – you remember Speedy – is still in the picture and so, sometimes, is Black Canary and then there’s John Diggle and a cop friend and the lovely computer whiz Felicity and, recently, a guest superhero in the person of The Flash and…Golly! It must be getting crowded in the Arrow’s subterranean headquarters, there in Starling City.

Well, what did we expect? It’s television and television drama, with no current exception that I can think of, is built around families. These are not necessarily biological families – in fact, they are seldom that. But they have a clear family dynamic.

Cop shows are good examples: There’s the father/mother figure – often a bit grumpy, and usually bearing an elevated rank – and sometimes an aunt/uncle avatar – those cadaver-cutting medical folk, for instance – and occasionally the young guy/gal who, while lovable, is not yet fully formed professionally – and don’t we adore the youngsters in the house? – and finally, and most important, the brother-sister combos, the heavy lifters who get the jobs done.

You could find a family on the flight deck of the Starship Enterprise and in the streets of Dodge City, and in the corridors of the Jeffersonian, whatever that is. I’m not a fan of sitcoms, but there are probably some in laughtrack land, too.

Way, way back in the early 1940s, the producers of the daily Superman radio program added young Jimmy Olsen to regulars Clark Kent, Lois Lane and Perry White and he’s been a part of the – yes! – family ever since. Those loner private eyes that were in vogue back then didn’t know that their days were numbered.

Now, we have Arrow and his cadre of virtuous ass-kickers saving Starling City. Literally: in a recent episode, that’s what they said they did – saved the city.

But do they pose for group photos at Christmas?

 

Mike Gold: Committing Suicide

So now we’ve got most of the Suicide Squad movie cast – Tom Hardy as Rick Flagg (who probably won’t be turning into Bane), Will Smith as Deadshot, Margot Robbie as Harley Quinn, Cara Delevingne as Enchantress, Jared Leto as The Joker and maybe – just maybe – Oprah Winfrey as Amanda Waller. Jai Courtney will be playing Captain Boomerang, not to be confused with Nick Tarabay, who plays the part on the Arrow and Flash teevee series.

Warner Bros’ dedication to the complete separation of television and movies is why they’ve been the go-to studio for such great superhero movies as Catwoman, all but the first two Superman movies (and only half of the second), the third and fourth Batman movies, Steel, Jonah Hex, Green Lantern, and, oh yeah, the theatrical version of Constantine. Maybe Tarabay’s Boomerang will take a vacation from the Flash and Arrow shows (et al) around the time of the Suicide Squad movie, but the actorectomy will still annoy the faithful… as will the different Flash and Green (or not) Arrow performers. It is the faithful who now drive the bus. Our hyper-excited word-of-mouth makes for nine figure opening weekends.

They can change Amanda Waller performers all they want. They’ll never run out of black actors, and thus far they’ve employed so many in the role they can fill all the empty seats at New York Jets games.

In fact, I’m very pleased to see the Suicide Squad getting the big-budget treatment. It’s a good concept, one that came out of the Legends series I named and edited. This version was created by ComicMix columnist and massively talented writer John Ostrander, who also created the aforementioned Ms. Waller. And for the record, ComicMix reviewer Bob Greenberger edited that book. So expect to see the ComicMix crew at the mandatory night-before screenings.

I’m not the only person who has raised the question of how much is too much. I can’t fault Hollywood for Hulking-out on a fad: that is what Hollywood does. Can the market support all this? Even if the “product” is uniformly great – and good luck with that ­– there’s only so much of one thing to go around. I just hope we get excellent Wonder Woman and Doctor Strange flicks.

Warner Bros. must learn the lesson that has worked so well, so fantastically well, for Disney’s Marvel Studios. They must respect the source material and they must show that respect on the screen at all times. It’s not good enough to simply have wonderful CG – we get that on Doctor Who. It’s not good enough to have name actors. You have to play the material for the faithful – establish your characters and treat them sympathetically.

Of course they’re creating their own reality. We do that all the time. But to quote another ComicMix columnist, Dennis O’Neil, “sure it’s phony science – but it’s our phony science.”

When it comes to writing from the sense of wonder, truer words were never spoken.

 

 

Martha Thomases: Would Batman Drive A Ford?

In a story in the business section of Monday’s New York Times, there was a discussion of product placement in self-published (or small publisher-published) e-books.

Naturally, my first thought was, How can this be applied to comics?

First, let me start with a few definitions. There is a difference between product placement, such as having a character on White Collar drive a Ford Taurus and so-called “advertorial content,” or specially produced web content about the Ford Taurus driven on White Collar. One is a lucrative part of the creative process, and the other is, essentially, a licensed deal.

Comics have a long tradition of licensing characters to advertisers. Baby boomers have fond memories of the one-page adventures that showed how something as simple and delicious as a Hostess fruit pie could help solve crime. More recently, DC produced a bunch of ads for Subway showing how the avocados in their sandwiches helped Green Lantern save galaxies.

As far as I know, there have been no explicit acts of product placement in mainstream comics. Perhaps I’m being naive. In any case, if there are, they are not very effective in that I have not noticed them.

Would they make any difference? Would you, average consumer, be more likely to be a Ford Taurus if you saw Batman drive one? At least on White Collar, we see an actual car drive through an actual city, even if it is Toronto. One can observe the product being used by a flesh-and-blood human being, albeit an attractive, well-dressed one.

Not every appearance by a real product in entertainment is the result of product placement. Stephen King will often mention plebeian items like Excedrin or Turtle Wax in his books, and these mentions ground the characters in some semblance of reality. No agency is shelling out money for this. If they did, they would demand approval.

In any case, product placement in mainstream superhero comics would probably be too expensive to be worthwhile. Warner Bros. is not going to let Batman drive the aforesaid Taurus in the comics without first making a hefty profit for letting him drive one in the movies. The same goes for Disney.

That’s not parallel to what the Times story was about. In the story, the author got paid to include mentions of Sweet’n’Low in her book.

I’m not a big fan of artificial sweeteners, but I know a lot of people who are. They often have strong feelings about which brand is their favorite. I could probably read that book without noticing the placements. At the same time, I probably wouldn’t think, “This character has such a rich and satisfying life, one I, too, would like to have. I suppose I should eat more Sweet’n’Low.”

Would product placement be good for independent comics? Maybe. At the very least, it could help some creators make a profit, something I strongly support.

Would it compromise artistic integrity? It probably depends on the product and the creative team, and the way the deal is negotiated. For example, I’m writing a story now, in which my protagonist, a knitter, struggles to find her true calling in a complex world. I wouldn’t accept a deal with the United States Army for her to enlist and find meaning in her life, not for any amount.

But hand-dyed cashmere? In a heartbeat.

Who am I kidding. I would do it just to look at the color guide.

 

John Ostrander: Too Much

I read recently that Dan Brown’s book Inferno has been optioned for a film. Brown is most famous for The DaVinci Code that was subsequently made into a film by Ron Howard starring Tom Hanks as Brown’s character Robert Langdon. I’m not a big Brown enthusiast, but I bought Inferno. I needed something to read, was looking for some light entertainment, and that was the best that was available.

I read it and sort of enjoyed it, as is the case with me for most of Mr. Brown‘s books. There were some very good scenes and taught suspense and/or action sequences but Brown also has to have his twists and often these start to strain credulity. That was very much the case for me in Inferno and I thought that the climax and resolution veered into science fiction. I like science fiction but this was not really a SF book. The story got to be too much.

“Too much” is also part of the theme and the plot of the book.

Central to the whole concept of the book are the theories of The Reverend Thomas Robert Malthus who lived in the late 1700s/early 1800s. His theories involved the rate of population growth and the ability to feed everyone. He said “The power of population is indefinitely greater than the power in the earth to produce subsistence for man.” A Malthusian catastrophe occurs when the number of people in a given area exceeds the ability to feed them.

In the past, plagues and natural catastrophes would cut down on the population. One theory suggests the Black Death so reduced the amount of people in Europe that the survivors actually wound up having more prosperity and this led, in part, to the Renaissance. In theory.

But we’ve gotten better at keeping people alive; people live longer – at least in first world countries. And that will put a further strain on resources – not just food but water and other resources.

Brown isn’t the only person who has dabbled in Malthusian theory. In DC’s Green Lantern, the planet Maltus was originally the home of those who would become the Guardians – who created the whole Green Lantern Corps. Maltus had a severe overpopulation problem; the planet’s name of Maltus is so close to Malthus that it’s inconceivable to me that the writer wasn’t referring to him.

Central to Brown’s plot is that, according to Malthus’ projections and given the rate of increase in the world’s population, it becomes a mathematical certainty that the Malthusian catastrophe of overpopulation will occur in about fifty years.

That in itself is pretty depressing. Add to that environmental catastrophe and the view gets bleaker. (We’re not going to debate climate change here; deny it if you wish but do it elsewhere. And while you’re at it, deny the Earth is round.) There are climate scientists who think we’ve already gone past the tipping point and we can only mitigate the damage, not stop it.

It’s not that there aren’t solutions to these problems but those solutions are themselves difficult, complex, perhaps draconian and involves the world acting in concert. It will call for drastic change. That looks very unlikely. I don’t think there is the political will to achieve it; politicians these days are concerned almost exclusively to keeping their constituents happy. We will have to be in the crisis before we will address it realistically and that will be too late. The world Dan Brown writes of in Inferno will be well on its way to becoming Green Lantern’s world of Maltus.

And to think I picked up Inferno for a little light reading.

John Ostrander: Telling The Story

We distinguish “pop culture” from “High Culture” usually because the main objective of “pop culture” is to entertain while “High Culture” looks into the human condition. It can entertain and should. Tragedy should entertain but in ways that are different from, say, Guardians of the Galaxy. But that is not its primary purpose.

That said, pop culture can also look into the human condition, into the world around us, and “hold a mirror up to nature.” That line is from Shakespeare who is very High Culture now but in his day was disparaged by some as being “too popular.” He appealed to the groundlings – those in the cheap seats – and that is part of the reason, I believe, that he is still so playable today. He knew that to reach someone’s mind and heart you first had to get their attention. The best way was to tell them a story.

That was a lesson that was also taught to me by our own Denny O’Neil. He has been a large-scale influence in my life. I was a fan when he wrote some seminal stories in the Green Lantern/Green Arrow book. The Green Lantern series had low numbers at that point and he was given an opportunity to write it; I once read that he liked the assignment because it was no fail. If he saved the book, that was great. If it got cancelled anyway, management would assume that the book was in a downward spiral and couldn’t be saved. In a way, he couldn’t lose. So he added Green Arrow, got Neal Adams as artist, and took a new path.

That has also influenced my career path; I liked taking on the B list characters. You could play with them, change them, without too much objections by the Higher Ups. You could take chances you might not be able to do with flagship titles. Don’t get me wrong; I would have loved to get a crack at a regular Superman or Batman gig (I did write some stories with the characters but never a regular book) but I found The Spectre to be wide open and Tom Mandrake and I crafted over 60 issues of which I am proud. It’s been one of the highlights of my career.

While ultimately Green Lantern/Green Arrow did get cancelled, Denny set a standard. He taught me that you could write about important subjects, about the issues surrounding that time, and create something that entertained as well as make you think. He addressed racism, drugs, even the environment (among other topics); that wasn’t being done at the time. He showed me what the potential of the medium could be.

He’s never forgotten, however, that the purpose of Pop Culture is to entertain. We were working on a project together with me as writer and he as editor. The purpose of the project was very definitely to make a comment on the subject of guns and gun violence. His direction was very clear. He told me that, in comics, “You can say anything you want but first you have to tell a story.” This wasn’t a pulpit and preaching isn’t narrative. Our first job was to tell a good story. That’s what the reader was paying to get. That was the job. It still is.

 

REVIEW: Green Lantern the Animated Series

gl-animated-series-4645763Warner Bros. was counting on a home run from the misfire that was the live action Green Lantern film. As that film was in production, the animation division was producing their first CGI-animated DC series, also featuring the hero of space sector 2814. Arriving on the Cartoon Network with much fanfare, the Green Lantern: The Animated Series ran from November 11, 2011 to March 16, 2013 for a total of 26 episodes. I disliked its look and found little reason to watch when it was apparent it had little resemblance to the source material. I gave it a second look when Warner Archive recently released the entire series as a 2-disc Blu-ray set. I have not changed my opinion.

The series immediately takes Hal Jordan (Josh Keaton) away from Earth and his sector to send him to “Frontier Space” and establishes the Guardians of the Universe actually have limits to their sphere of influence which makes little sense. He’s partnered with Kilowog (Kevin Michael Richardson), who apparently is no longer needed to train recruits and they jet around space in a spaceship, The Interceptor, which also makes no sense. The ship comes complete with an artificial intelligence, Aya (Grey DeLisle), who takes humanoid form and as she gains independence actually goes from ally to threat in one of the few interesting touches in an otherwise wretched series.

Why are Hal and Kilowog dispatched to the edge of space? Because Red Lanterns, led by Atrocious (Jonathan Adams), are picking off these fringe GLs as an act of revenge for his homeworld being destroyed by the Manhunters. During one of their first encounters, Razer (Jason Spisak) abandons the Reds and accompanies the Corps aboard the Interceptor. The series also features various familiar Guardians and members of the GL Corps.

And just to keep things colorful, we get a bunch of Blue Lanterns, Star Sapphires, and good ol’ Larfleeze (Dee Bradley Baker) of the Orange Lanterns. The relationship between Carol Ferris (Jennifer Hale) and Hal is as tense as in the comics but doesn’t really make either character more interesting. In fact, the writing is perfunctory and not very interesting and it could be the unfamiliarity of the writing staff led by Michael F. Ryugan, Jeremy Adams, and Jim Krieg. Milestone and DC Animated writer Matt Wayne is the only comic veteran on hand.

I will credit the final episode, “Dark Matter” as a cosmic adventure that does a good job raising the stakes but it’s too little, too late.

I love Green Lantern and he’s probably my favorite of the DC heroes which may be why I am so hard on this series and the film. Such incredible potential is continually squandered.  Of late, the various incarnations are so busy being sweeping in scale while leaving characterization in the dark.

The transfer to Blu-ray is excellent with great audio and video. Being from Warner Archive, there are no extra features.

Green Lantern: The Complete Animated Series Due March 18

greenlanternbd-e1394289635469-4154592Warner Archive Collection continues to treat fans to Blu-ray™ releases of popular animated television with Green Lantern: The Comlete Animated Series coming March 18. The complete 26-episode series – on Blu-ray™ to best display the series’ stunning CG artistry – is now available for pre-order via Amazon.

Green Lantern: The Complete Animated Series is Warner Bros. Animation’s latest take on the intergalactic missions of Hal Jordan and his comrades in the Green Lantern Corps. Beautifully rendered on a breathtaking scale, Green Lantern: The Complete Animated Series is Warner Bros. Animation’s first completely CG-animated series.

Josh Keaton leads the way as the voice of Hal Jordan/Green Lantern, alongside voice-acting stars Kevin Michael Richardson (as Kilowog), Grey DeLisle (as Aya) and Jason Spisak (as Razer). The stellar guest cast includes Robert Englund (A Nightmare on Elm Street), Ron Perlman (Hellboy), Clancy Brown (The Shawshank Redemption), Wayne Knight (Seinfeld), Juliet Landau (Buffy the Vampire Slayer), Kurtwood Smith (That 70s Show, Resurrection), Phil Morris (Smallville), Brian George (Seinfeld) and many more.

Executive produced by Sam Register (Batman: The Brave and the Bold, Ben 10), and Bruce Timm (Batman: The Animated Series), Green Lantern: The Complete Animated Series is produced by Giancarlo Volpe (Star Wars: The Clone Wars) and Jim Krieg (Justice League: The Flashpoint Paradox).

In addition to Blu-ray releases of Beware the Batman and the upcoming Green Lantern: The Complete Animated Series, Warner Archive Collection (WAC) has also recently distributed a DVD collection of Marine Boy, Season 2. WAC is also set to distribute The Jetsons: The Complete Third Season on DVD later this spring.

Dennis O’Neil: The Evolution of Religion and Mythology

Gotta get this sucker written tonight because tomorrow or the next day I may have to resume watching the snow fall and fall and fall and fall…

So: what some benevolent publisher should do (and surely benevolent publishers do exist) is to put put a book that examines the way mythology/religion have evolved quite similarly.  Both began with stories that were. by our standards, crude, with little characterization and virtually all the meaning carried by the plot.  Then, very gradually, the storytelling forms began to vary, the story content change, the narrative structure mutate…But hey!  Enough.  I’m not going to write the frigging book, at least not here and now.

If such a book were to exist, though, it might include. perhaps as an appendix, a discussion of how a certain kind of movie is evolving much as its source material evolved a half century or so earlier.  I refer, as you astute hooligans have already guessed, to superheroes.

The first superhero stories tended to be short – there were several of them in your 10-cent comic book – and the heroes were…well, they were the good guys.  The ones that beat the bad guys. Characterization, insofar as it existed, tended toward the sketchy.  All the heroes were white and waspy, and the minorities were small in number and often the kind of stereotypes that might make those of us with delicate sensibilities cringe – not because the writers and artists were bigots, but because they didn’t know better.  You could tell which heroes were which mainly by their powers: the Flash could run fast, Green Lantern had a magic ring, Hawkman had wings that enabled him to fly, et cetera, et cetera…Most of them also had double identities, also white and waspy: rich guys with no jobs, or scientists,or journalists – nary a trash collector or milkman in the lot.
The form – comic books –  soldiered on through good times and bad, growing more sophisticated year by year, and gradually those complete-in-one-issue stories were supplanted by elaborate serializations.  Genuine characterization entered those colored pages, and “adult” themes, and one morning I woke up and my benighted profession was being covered by the New York Times and taught in major universities and – ye gods! – I was respectable.

That was comics.

And movies?  I did mention movies, didn’t I?  Somewhere back there?

Well, yes I did.  But that topic might be a bit ungainly to be contained in the small bundle of verbiage remaining in the 500 words (more or less) I promised to deliver each week to Mike Gold back when ComicMix was in its birth throes.  Let’s table movies  until next week.  For now, some of you better get to the ATM because you’ll probably need to buy salt or to pay hardy young men with shovels because the weather people are predicting more of the same.  Then you can lie back, cuddle up with a mug of hot chocolate, gaze through the window at all that glistening splendor, and hope there are no power failures.

Next week: the cinema.

REVIEW: “Justice League: War”

justice-league-war-cover-art-e1387743048998-9548276The Warner Animation series of direct-to-disc features has apparently said farewell to the past as this week’s release of [[[Justice League: War]]] and May’s [[[Son of Batman]]] are both from the New 52 era. A pity given how many cool stories remain unadapted. Readers who picked up Justice League #1 in August 2011 were treated to a brand new take on the tried and true characters from DC Comics, but it was clearly early in their collective careers. It was the first time many were meeting one another and dealing with the threat of Darkseid from Apokolips.
batman-parademon-6955535A fresh start but far from a clean one but discussions of that title and the entire New 52 belong elsewhere. Right now, we’re examining the latest feature from director Jay Oliva to see how well it stands up on its own. He’s working from a script by Heath Corson, making his DC animated debut after writing Scary Godmother: Halloween Spooktacular and six episode s of Aim High. He hews closely to Geoff Johns’ opening six-issue arc, keeping a lot of the action and dialogue but had to make accommodations when it was decided Aquaman would be jettisoned for Captain Marvel (okay, he’s now called Shazam, which sucks). As a result, the story is about seven heroes coming together for the common good but it’s really about Vic Stone’s transformation from promising teen athlete to cyborg warrior, using him as an audience identification figure.

jlfoursome1-e1391375430911-5720487We open in Gotham City as Green Lantern arrives to deal with a parademon, believing it to be the urban legend Batman. When the real Dark Knight shows up, Green Lantern is surprised and then stunned to realize he’s just a guy in a suit. They don’t like one another but have to put that aside to deal with the growing number of parademons. Elsewhere, more parademons are threatening Washington DC, Central City, and Metropolis, leaving behind mysterious boxes that baffle scientists and heroes alike. Vic Stone comes to Central’s S.T.A.R. Labs to chew out his father for missing the big game – again – and is on hand when things go boom. Meantime, in Washington, Steve Trevor is bringing Wonder Woman to meet the President but things get delayed when the uglies arrive.

ww-protest-e1391375477288-6983527In time, we learn they are leaving Mother Boxes behind in an attempt to terraform Earth, paving the way for Darkseid to take control. Humanity would be repurposed into becoming parademons to grow his army. There’s lots of fighting, lots of bickering, quipping, and things blowing up before the heroes prevail.

jlw_act_d_05715-e1391375523962-2092320For us to believe these larger-than-life figures can exist, everything else around it has to make perfect sense. Instead, time and again, the story has gaps of logic or basic science that make you go, “aww, come on! “If Batman has been studying Superman before they encounter one another, he would either have a plan or come prepared because, you know, he’s Batman. Instead, we waste several minutes watching them duke it out. When Air Force One is breached by the parademons, apparently there’s no decompression in the cabin. And if we’re talking terraforming then why are the boxes being placed in these specific places and nowhere else on Earth? Or if they’re on all seven continents, we should address who is dealing with the parademons there and the effects on Earth’s environment. Nope, not touched on at all.

flash-gl-e1391375571498-9352140Instead, we get a Captain Marvel who is as gosh wow as Billy Batson is a brat, never once displaying the wisdom of Solomon. Oliva decided to play off the magical thunder and has it crackling around him and Marvel occasionally hurls bolts of lightning which is interesting but doesn’t serve the character well. Similarly, Wonder Woman comes across as a bumpkin, making proclamations about new discoveries with the earnestness of Jethro Bodine.

darkseid1-e1391375622742-8227259Overall, the origin story works pretty well if the action is prolonged at times in lieu of actual conversations between the characters. We get hints of a vast new playing field and it’s interesting to see that not all of them are convinced banding together more than once is a good idea – something that would be worthy of exploring in another film since the comic is long past that point.

cyborg1-e1391375665453-5875250Interestingly, the character design this time around is from former DC artist Dusty Abell and he once more gives everyone pointy chins and adds extraneous details to GL’s uniform while mangling Flash’s chest bolt. WW’s outfit is a departure from the source material and sort of works. For a fresh take on these heroes, they look remarkably similar, unlike the radical re-envisioning Jim Lee brought to the printed page.

img_3642-e1391375723941-4087620The New 52 vocal cast works pretty well with Alan Tudyk making for a surprisingly good Superman while Jason O’Mara does equally well with Batman. Christopher Gorman’s Flash, Justin Kirk’s GL, and Shemar Moore’s Cyborg are just fine. Michelle Monaghan needed to tone down her Amazon Princess.

The video release comes as a combo pack with a Blu-ray, DVD< and Ultraviolet copy. On the Blu-ray there are several featurettes starting with Deconstructing Justice League: War with Jay Oliva & Jim Lee as the two “meet” for the first time and dissect several sequences from the film, comparing print to animation and you learn some interesting things from it. There’s a surprisingly thorough look at Lee’s professional life in Creating Heroes: The Life and Art of Jim Lee, touching on his development as an artist and his time at Marvel before leaving to form WildStorm (nee Homage) and Image Comics. Finally, there’s Justice League: War Act D – From animatic to pencil test which has side by side by side comparisons of the same Act D scenes, which is interesting for those into art and animation.

Rounding out the disc is the usual preview of the next video, May’s Son of Batman, with O’Mara once more voicing the Caped Crusader and loosely adapting Grant Morrison’s storyline. Then there are four animated episodes which leave you scratching your head at the choices. These include  Justice League Unlimited Season 3 “Destroyer”; Batman: The Brave and The Bold Season 2 “The Malicious Mr. Mind”; Young Justice Invasion: Destiny Calling Season 2 Part 1 “Happy New Year”; and Young Justice Invasion: Destiny Calling Season 2 Part 1 “Earthlings”.

Watch the first clip from “Justice League: War”

  • News
  • January 6, 2014

When the powerful Darkseid and his massive, relentless forces invade Earth, a group of previously unaligned super heroes – misunderstood and, in some cases, hunted by the authorities – discover the only way to fend off the attack will be to work together as a cohesive unit. Batman, Superman, Wonder Woman, Green Lantern, Flash, Shazam and, in his origin story, Cyborg combine their respective talents in an all-out battle to save the planet. Based on the 2012 graphic novel, “Justice League: Origin,” by Geoff Johns & Jim Lee, Justice League: War provides a glance into the world before the Justice League was created, and offers the initial animated incarnation of DC Entertainment’s “The New 52.”

The clip features Batman and Green Lantern meeting for the first time while simultaneously dealing with both a renegade parademon and the local police. Jason O’Mara (Terra Nova) and Justin Kirk (Weeds) provide the voices of Batman and Green Lantern, respectively.

GL-Parademon

Justice League: War arrives via Blu-ray Combo Pack, DVD and Digital HD on February 4, 2014.

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