Safe Haven for Those Who Demand More

There's an excellent article up at Script Secrets about adapting books to screen. I'd suggest everyone read it while it's posted.

Herr, there does seem to be a certain "damned if you do, damned if you don't" to your philosophy. If a filmmaker wants to add an original character (like, say, Otis or Zod's henchmen from the Superman movies), they'll be attacked for not using a character from the comics. But if they use a character from the comics and try to make a round peg fit a square hole (like William Stryker, black ops commander, in X2 versus Reverend William Stryker in the comics), they'll be blasted too. Look at the uproar over using Gwen Stacy in Spider-Man 3 when we don't even know what role she'll be playing in the story. It's the difference between continuity being a jumping-off point and continuity being a straitjacket.

In the comics, we allow each author to do their own take on a character. Steve Englehart's Batman is different than Frank Miller's Batman (and thank God for that) is different from Greg Rucka's Batman is different from Devin Grayson's Batman. I see no reason why we shouldn't give the same courtesy to Christopher Nolan or Sam Raimi, as long as they're not intent on throwing the comics aside and doing their own thing (I'm looking at you, Catwoman). Especially when said directors are inspired by specific periods in their character's history (Batman: Year One and the Lee/Dikto years, specifically).
 
Zev said:
I guess we're going to have to disagree, but I see Daredevil believing in that he's already damned (he disobeys his father's wishes on a nightly basis, he was responsible for an innocent woman's death if you go with Man Without Fear, which I do except for the stupid Elektra bits and the end where it devolves into a cliched action movie wannabe with Matt Murdock racking up a Schwarzeneggerian body count), even though he really isn't. It's a whole Catholic guilt thing and the pay-off is in Born Again when he finally just says "Why bother?" and then eventually attains his own sort of redemption and salvation.

Yeah, I don't know what else to say there. Sounds viable for a series, though.

I see Matt as having ideals for Hell's Kitchen and for his friends (which is why he should be VERY adamant about not letting his nightlife crossover into the day), but considering himself beyond redemption and thus offering himself up as sort of a sacrifice. After all, both you and I see him as quitting a profitable, cushy life at a reputable law firm to hang out with the scum of the earth. Why he does what he does should be at the crux of the series and a great source for drama.

So you would also want Daredevil only coming out at night, right? That works.

Yes, I definitely would want his motivations to be a major focus.


I'd see his legal activites more as an attempt to help the community. If some kid slips up and gets into a gang, he's going to try to get him off a charge of robbing a liquor store, but he's also going to try and help that kid get off the street. He's going to pay a visit to the parents, either as Matt if they're nice or as Daredevil if they're not. He doesn't have the resources of Bruce Wayne, he can't offer everyone a scholarship or a job at Wayne Industries, but he is a well-respected figure in the community (after the premiere, in which he both sets up the law firm and does something noble to win a good percentage of the Kitchen over to his side) and can pull some strings... maybe even with other superheroes. How much fun would it be to see him pay a visit to Reed Richards and introduce him to a young inventor?

That sounds like a great set-up. Good thinking. :up:

I would prefer that all happen during the pilot, just to get it out of the way and into the meat of the show right away. Of course, later you could do a story arc where Nelson & Murdock fold up and they have to go back to the Big Leagues.

Fair enough. That does sound better than my idea, actually.

Well, except for the Matador. Because, seriously... poor Hornhead has one of the worst Rogue's Gallery in comics. But just so long as they get the five or so decent villains right (and really, all I need for Owl is the HAIR. You can give me the hair, can't you?), I'll be satisfied.

Matador... he's not the same as that guy who looks like a bull, right? No, that's the Man-Bull. Anyway, I can live without those. But the Jester (is that his name?) has to be in it.

The Owl should be more than just hair. He should either have natural claws (he is a mutant, isn't he?) or wear prosthetics and use them. If he doesn't actually fly, he should be trying to figure out how to do so.

Well, I don't want the "Daredevil Vs. Kingpin" stuff to drag on for too long. Eventually it gets to the point where Kingpin has pulled so much crap that the audience will wonder why Daredevil doesn't just put a cap in his ass (or stand aside when the Punisher, who should be another recurring guest star and excellent foil to DD, shows up) or will start thinking Matt is incompetent for never being able to get any dirt on the man who's behind most of the villainous shenanigans.

Again, Daredevil won't put a cap in someone's ass no matter what they do. He's not like other people. Neither is Spider-Man, Batman, or any other goody two-shoes that won't kill no matter what. The Kingpin stuff always drags on. He doesn't have to be in the forefront, however. Hell, after Fisk pulls some 'Born Again' type stuff on him in a later season (2nd or 3rd, maybe?), Murdock can regain his legal license, clear his name of whatever fake charges are put on him, and he'll expose the Kingpin of Crime. Fisk will leave the country and stew for a while, waiting for the right moment to come back and reclaim his throne (which is where the audience gets a break from the Kingpin). While Murdock had been temporarily destroyed professionally and psychologically in the Kingpin's revenge campaign, Fisk did not reveal his secret identity to the public. Just like how Venom doesn't tell people Spider-Man's identity, Fisk wants that information for himself.

I prefer that every season brings something new, a change to the status quo that keeps people tuning in, like Buffy or Angel. If season one is a Moonlighting-esque "will they or won't they?" between Matt and Karen, it should end with them finally Giving In To Their Burning Desires... and then Elektra should come along (or come back, depending on what flashbacks have shown) in season two to add more spice to the pot. By the end of the series, Matt should have won. Hell's Kitchen is a nicer place to live than it was when he first got there. Sure, the struggle never really ends... but that doesn't mean he can't make headway.

That sounds good to me. Thanks for posting. :up:

:wolverine
 
Herr, I'd like to disscuss Leslie Thompkins role in the Batman re-start you and I have been playing around with.

The way I would have her character pan out in the first movie (and this is a very rough planning of her role), I would introduce her early in the movie, round about the time when we see Bruce as a young'en with Thomas and Martha Wayne at the Manor. Depending or not if you would be sticking with the origin-structure of Begins (told through flashbacks, concurrent with Bruce's tutelge) then it would fit in accordingly. Basically, i'd have something not dissamiliar than Leslie coming to Wayne Manor to visit Thomas Wayne (there relationship would be established as a friendly and also proffesional one, both attented and graudated medical school together), to turn down an offer he made to find her a privileged position working under him as a doctor, or something like that. She says that she intends to make it her own way, that she intends to start up a small practice in a clinic, and wont accept handouts. Here at the house she would catch her first glimpse of Bruce.

Later on I'd have her do much of what we should have seen her do in Begins. When Bruce's parents are gunned down and Bruce is under care at the station while the cops investigate, it would be Thompkins who cares and looks after him. Later on, a grown up Bruce would have a friendly but intense relationship with her, as Leslie lectures repeatedly to Bruce that the contempt and anger Bruce wont let go of will only do him hurt, and that vengence is in no way justice, that they are not the same (this would fit in well should you choose to keep the Joe Chill plot thread from Begins intact, but it doesn't have to be a result of that).

Much later in the movie, after Bruce has completed his training and is running around Gotham fully kitted out as The Batman, I would certainly have him pay Dr Thompkins a visit to her clinic, in Crime Alley. Thompkins would have heard rumours of a "demonic vigilante preying on the criminals", and her suspicions would have already alerted to the possibility that it is somehow linked to Bruce's absence so many years ago, so when Batman does pay her a visit, she sussses it is Bruce and while shocked, is all to willing to let Bruce know what she thinks of his new lease on life. To Thompkins, Bruce is still an anguished child inside a grown mans body, and she deems his actions as the the crime-fighting Batman to be a result of that. While she is by no means afraid of The Batman unlike (mostly) everyone else, she beleives that it was partially her failure to treat the emotional scars of the boy that has resulted in his vigilantism.

Thoughts and input?
 
Zev said:
There's an excellent article up at Script Secrets about adapting books to screen. I'd suggest everyone read it while it's posted.

Herr, there does seem to be a certain "damned if you do, damned if you don't" to your philosophy. If a filmmaker wants to add an original character (like, say, Otis or Zod's henchmen from the Superman movies), they'll be attacked for not using a character from the comics. But if they use a character from the comics and try to make a round peg fit a square hole (like William Stryker, black ops commander, in X2 versus Reverend William Stryker in the comics), they'll be blasted too. Look at the uproar over using Gwen Stacy in Spider-Man 3 when we don't even know what role she'll be playing in the story. It's the difference between continuity being a jumping-off point and continuity being a straitjacket.

In the comics, we allow each author to do their own take on a character. Steve Englehart's Batman is different than Frank Miller's Batman (and thank God for that) is different from Greg Rucka's Batman is different from Devin Grayson's Batman. I see no reason why we shouldn't give the same courtesy to Christopher Nolan or Sam Raimi, as long as they're not intent on throwing the comics aside and doing their own thing (I'm looking at you, Catwoman). Especially when said directors are inspired by specific periods in their character's history (Batman: Year One and the Lee/Dikto years, specifically).

I don't owe Sam Raimi any courtesy at all. I begrudgly give Nolan a little bit, since 'Batman Begins' was a good movie and was more faithful to the source material in both details and spirit than most of the other big superhero movies, but there are plenty of reasons not to trust him with this franchise.

The mess they've made with the Spider-Man movies, as an example-- is unforgivable. They spend hundreds of millions of dollars on these films and don't see fit to supply scripts that are either faithful to the comics or good scripts on their own. I think that's actually criminal, and certainly not something I'm going to respect. They took the easiest franchise in all of comics to faithfully make into a hugely profitable movie product, and they still chose to deviate from both the details and the very tone of the Spider-Man saga. I'm not arguing that last statement. Not in here. If I didn't laugh at Movie!Spider-Man, then that means that Movie!Spider-Man wasn't like the real Spider-Man, because Spider-Man is funny-- period!

This is not the place to argue about these issues. I've mostly given up trying to argue this stuff, which is why I opened a thread where people who actually want faithful and quality adaptations can brainstorm. Is there a real point to it? Probably not, but we're going to waste our time on this website one way or another. Some of us want to just imagine what could be, instead of what these greedy, robotic, comics-illiterate Hollywood filmmakers think it should be.

:wolverine
 
Zaphod said:
Herr, I'd like to disscuss Leslie Thompkins role in the Batman re-start you and I have been playing around with.

The way I would have her character pan out in the first movie (and this is a very rough planning of her role), I would introduce her early in the movie, round about the time when we see Bruce as a young'en with Thomas and Martha Wayne at the Manor. Depending or not if you would be sticking with the origin-structure of Begins (told through flashbacks, concurrent with Bruce's tutelge) then it would fit in accordingly. Basically, i'd have something not dissamiliar than Leslie coming to Wayne Manor to visit Thomas Wayne (there relationship would be established as a friendly and also proffesional one, both attented and graudated medical school together), to turn down an offer he made to find her a privileged position working under him as a doctor, or something like that. She says that she intends to make it her own way, that she intends to start up a small practice in a clinic, and wont accept handouts. Here at the house she would catch her first glimpse of Bruce.

Later on I'd have her do much of what we should have seen her do in Begins. When Bruce's parents are gunned down and Bruce is under care at the station while the cops investigate, it would be Thompkins who cares and looks after him. Later on, a grown up Bruce would have a friendly but intense relationship with her, as Leslie lectures repeatedly to Bruce that the contempt and anger Bruce wont let go of will only do him hurt, and that vengence is in no way justice, that they are not the same (this would fit in well should you choose to keep the Joe Chill plot thread from Begins intact, but it doesn't have to be a result of that).

Much later in the movie, after Bruce has completed his training and is running around Gotham fully kitted out as The Batman, I would certainly have him pay Dr Thompkins a visit to her clinic, in Crime Alley. Thompkins would have heard rumours of a "demonic vigilante preying on the criminals", and her suspicions would have already alerted to the possibility that it is somehow linked to Bruce's absence so many years ago, so when Batman does pay her a visit, she sussses it is Bruce and while shocked, is all to willing to let Bruce know what she thinks of his new lease on life. To Thompkins, Bruce is still an anguished child inside a grown mans body, and she deems his actions as the the crime-fighting Batman to be a result of that. While she is by no means afraid of The Batman unlike (mostly) everyone else, she beleives that it was partially her failure to treat the emotional scars of the boy that has resulted in his vigilantism.

Thoughts and input?

Beautiful! Very nice, Zaphod. I'm in favor with pretty much all of it :up:

The only thing I'm "iffy" on is the part where she blames herself for Bruce's state of being. I don't know if that's necessary. I'd show her feeling a bit helpless (with regard to Bruce Wayne), but otherwise thinking positively. She's not a happy-go-lucky person, but in the face of the despair in Gotham and the tragedies she's witnessed and friends lost, she stays committed to her work, refuses to succumb to despair herself and doesn't sanction violence as a solution to any of the major problems in Gotham.

I originally thought of keeping the Joe Chill plot from 'Begins', but I've decided against it. My concept now is no longer what I called an "edited" version of that movie, but something that shares just a few things with it. I'd probably call it "The Batman." No, I don't care that there's a cheap, toy-driven show by that name. If there wasn't a legal reason not to call it that, that's the title.
Anyway, I'd have Bruce's origin basically cover these elements in a movie:
  • Bruce is mostly a serious-minded child (but still appreciative of adventure and detective fiction), but he's happy with his loving parents and Alfred
  • Bruce falls down a hole into a bat-filled cave and develops a phobia of bats
  • Bruce urges his parents to take him to see a special showing of 'The Mark of Zorro,' which is only playing in one theater on Park Row, at night
  • Thomas and Martha Wayne are shot and killed during a robbery outside the theater; the killer is never caught
  • Leslie comforts Bruce, who is left in Alfred's care
  • While Bruce loves and respects Alfred, he resolves to basically raise himself; he specifically trains himself from a young age to be a martial artist (the idea being that he can stand up to criminals and keep them from ever causing loss and pain like his ever again) and a detective (making sure a crime like this will never go unsolved again)
  • Leslie tries to talk Bruce out of the course of action he's set on taking, lecturing about vengeance, justice and the unfairness of the world, and Alfred puts in his two cents on the matter, but Bruce won't be deterred
  • Bruce sets out at age 14 to travel the world and learn from the best instructors all the fields he wishes to master (Kirigi for martial arts, the FBI, Henri Ducard and various legendary investigators for detection, a lot of different people for survival, etc.), respresented by a montage with voice-over from Bruce; this will include time spent with a tribal leader who uses a totemic mask to "become" something bigger than himself
  • Bruce attempts crime fighting in a ski mask and street clothes, failing and going home injured, realizing that a terrifying visage and reputation would have made all the difference
  • Bruce Wayne returns to Gotham City after he feels he's gained all the tools necessary to wage a one-man war on crime in his hometown
  • A bat flies through the window in the study, terrifying Bruce at first, then he feels a surge of anger, then an epiphany; he is not a child, and he is not helpless, and he wishes to turn fear against those who prey on the fearful, who themselves are cowardly and superstitious, and by mastering his own fear (which he's been doing gradually for years, just now experiencing a brief relapse) and actually "becoming" it, he will become unstoppable-- what he's been seeking for over a decade has been underneath this very house all along; "I shall become a Bat."
  • Wayne designs a totemic, fear-inducing costume to tap into both his own power and the fears of those he will hunt, which he bolsters with cutting-edge technology, providing moderate protection from physical confrontations and light protection from firearms, and a sillouette that chills the blood of the guilty before first blood is drawn; meanwhile, he is collecting information on Gotham City as it is now-- who are the major players, who can be an asset to his cause, where to start, etc.
  • The Batman sets out into the night, dedicated to changing the collective paradigm of the criminal underworld

The rest is the stuff he does once he establishes himself as the Batman in Gotham City. The Batman should appear in full costume no later than one third of the way through the movie. The timeline should be mostly linear, rather than alternating with flashback sequences.

Again, good ideas. Tell me what you think of what I've put so far.

:wolverine
 
Herr Logan said:
Beautiful! Very nice, Zaphod. I'm in favor with pretty much all of it :up:

Thank you kindly Herr. I intend to peice together a script treatment for these particular scenario's, and by ''intend'' I refer to the thought of doing so which resides at the very back of my mind, clinging to the thought of one day surfacing and becoming real. So, y'know, dont hold out...

The only thing I'm "iffy" on is the part where she blames herself for Bruce's state of being. I don't know if that's necessary. I'd show her feeling a bit helpless (with regard to Bruce Wayne), but otherwise thinking positively. She's not a happy-go-lucky person, but in the face of the despair in Gotham and the tragedies she's witnessed and friends lost, she stays committed to her work, refuses to succumb to despair herself and doesn't sanction violence as a solution to any of the major problems in Gotham.

Hmm. I understand where your coming from there, and in regard to her character and the determination she sustains in the face of adverstiy, I agree that she should be portrayed as such. I would certainly have her doubting Bruce, and her hopelessness should stem from the powerlessness of her situation as a Dr (treating repeat drug offenders) into the fact that she has failed to help Bruce along the correct path. I wouldn't have her severely depressed though. She is still a fighter.

I originally thought of keeping the Joe Chill plot from 'Begins', but I've decided against it. My concept now is no longer what I called an "edited" version of that movie, but something that shares just a few things with it. I'd probably call it "The Batman." No, I don't care that there's a cheap, toy-driven show by that name. If there wasn't a legal reason not to call it that, that's the title.

That sounds good, and I would prefer this course of direction to that of the Joe Chill plot from Begins. There should be a strong focus throughout the movie on Bruce's frustration and rage at the injustice and unfairness of the legal system in failing to catch and punish the murderer of his parents. It is these emotions which inspire him to become a detective, to prevent such things from happening again.
The title sounds cool aswell.

Anyway, I'd have Bruce's origin basically cover these elements in a movie:
  • Bruce is mostly a serious-minded child (but still appreciative of adventure and detective fiction), but he's happy with his loving parents and Alfred
Would Bruce be shown as becoming increasingly more distant and reclusive a child after his parents murder? Even if he is to be portrayed as a "serious-minded" child before the said occurence, there should still be a notable change in Bruce's behavour, in the time bridging his parents murder and when he first begins hus 'journey'.

  • Bruce falls down a hole into a bat-filled cave and develops a phobia of bats

  • Bruce urges his parents to take him to see a special showing of 'The Mark of Zorro,' which is only playing in one theater on Park Row, at night
  • Thomas and Martha Wayne are shot and killed during a robbery outside the theater; the killer is never caught
  • Leslie comforts Bruce, who is left in Alfred's care
:up:

  • While Bruce loves and respects Alfred, he resolves to basically raise himself; he specifically trains himself from a young age to be a martial artist (the idea being that he can stand up to criminals and keep them from ever causing loss and pain like his ever again) and a detective (making sure a crime like this will never go unsolved again)
So your basically saying that a young Bruce would begin his training to some degree or another before he first set's out from Gotham at 14? How could this be portrayed? Preferably Bruce would be heavy into reading, using his fathers immense library at Wayne Manor to read up and study on the subjects he needs in his journey, such as law, medicine etc. Would he be training physically at this age? I imagine to some degree or another he would be, just not to the extreme he would be later.

  • Leslie tries to talk Bruce out of the course of action he's set on taking, lecturing about vengeance, justice and the unfairness of the world, and Alfred puts in his two cents on the matter, but Bruce won't be deterred
:up:

  • Bruce sets out at age 14 to travel the world and learn from the best instructors all the fields he wishes to master (Kirigi for martial arts, the FBI, Henri Ducard and various legendary investigators for detection, a lot of different people for survival, etc.), respresented by a montage with voice-over from Bruce; this will include time spent with a tribal leader who uses a totemic mask to "become" something bigger than himself
How would you depict Bruce's training in the FBI? I imagine Bruce would study the law and partake in the physical excerise and training of being an agent. Also, he should be well versed in weaponry, even though he will have no use for them later on for the most part.

  • Bruce attempts crime fighting in a ski mask and street clothes, failing and going home injured, realizing that a terrifying visage and reputation would have made all the difference
  • Bruce Wayne returns to Gotham City after he feels he's gained all the tools necessary to wage a one-man war on crime in his hometown
  • A bat flies through the window in the study, terrifying Bruce at first, then he feels a surge of anger, then an epiphany; he is not a child, and he is not helpless, and he wishes to turn fear against those who prey on the fearful, who themselves are cowardly and superstitious, and by mastering his own fear (which he's been doing gradually for years, just now experiencing a brief relapse) and actually "becoming" it, he will become unstoppable-- what he's been seeking for over a decade has been underneath this very house all along; "I shall become a Bat."
  • Wayne designs a totemic, fear-inducing costume to tap into both his own power and the fears of those he will hunt, which he bolsters with cutting-edge technology, providing moderate protection from physical confrontations and light protection from firearms, and a sillouette that chills the blood of the guilty before first blood is drawn; meanwhile, he is collecting information on Gotham City as it is now-- who are the major players, who can be an asset to his cause, where to start, etc.
  • The Batman sets out into the night, dedicated to changing the collective paradigm of the criminal underworld
Splendid! :up:


The rest is the stuff he does once he establishes himself as the Batman in Gotham City. The Batman should appear in full costume no later than one third of the way through the movie. The timeline should be mostly linear, rather than alternating with flashback sequences.

Again, good ideas. Tell me what you think of what I've put so far.

Are you suggesting on having the entirety of the movies events as linear, or only past Bruce's emergence as Batman. If the latter, than I agree. I think the structure of the narrative in the first act of the movie should play out much like that of Begins though.

Great work! Let me know my comments and then perhaps we could peice together one clear plot to the whole thing once all things are sorted.
 
Zaphod said:
Thank you kindly Herr. I intend to peice together a script treatment for these particular scenario's, and by ''intend'' I refer to the thought of doing so which resides at the very back of my mind, clinging to the thought of one day surfacing and becoming real. So, y'know, dont hold out...

I haven't even seen the second half of your Spider-Man movie concept. I don't see myself holding my breath in the hopes of seeing anything from you in a timely manner! :mad:

;) :D

Hmm. I understand where your coming from there, and in regard to her character and the determination she sustains in the face of adverstiy, I agree that she should be portrayed as such. I would certainly have her doubting Bruce, and her hopelessness should stem from the powerlessness of her situation as a Dr (treating repeat drug offenders) into the fact that she has failed to help Bruce along the correct path. I wouldn't have her severely depressed though. She is still a fighter.

I definitely want Leslie to be someone who hasn't become cynical, although she speaks in a slightly cynical fashion. I want her to be one of the Batman's great beacons of hope that motivate him to do his part. Even though she couldn't deter Bruce from his path, she shouldn't blame herself and shouldn't dwell on it. Even if he's turned to violence and scare tactics, he's not the monster he wants people to think he is and he is, in a twisted way, coping with what happened to his family.

You know, it's funny how Leslie's position on the Batman was completely backwards--

Dr. Leslie Thompkins: You seem quieter than usual tonight.
Batman: Every year I come here and wonder if it should be the last time, if I should put the past behind me, try to lead a normal life.
Dr. Leslie Thompkins: Santayana says, Those who forget the past are condemned to repeat it.
Batman: He also said a fanatic is someone who redoubles his efforts while losing sight of his goal.

I could totally see that exchange going in the reverse.

That sounds good, and I would prefer this course of direction to that of the Joe Chill plot from Begins. There should be a strong focus throughout the movie on Bruce's frustration and rage at the injustice and unfairness of the legal system in failing to catch and punish the murderer of his parents. It is these emotions which inspire him to become a detective, to prevent such things from happening again.
The title sounds cool aswell.

Exactly. I think it should be outright stated that Bruce took a path to becoming the World's Greatest Detective because he can't stand the idea that a horrible crime could go unsolved. That, and the more localized motivation of wanting to be able to solve that one case himself. He may never do it, but he refuses to see it happen against and let it go unpunished.

Would Bruce be shown as becoming increasingly more distant and reclusive a child after his parents murder? Even if he is to be portrayed as a "serious-minded" child before the said occurence, there should still be a notable change in Bruce's behavour, in the time bridging his parents murder and when he first begins hus 'journey'.

So your basically saying that a young Bruce would begin his training to some degree or another before he first set's out from Gotham at 14? How could this be portrayed? Preferably Bruce would be heavy into reading, using his fathers immense library at Wayne Manor to read up and study on the subjects he needs in his journey, such as law, medicine etc. Would he be training physically at this age? I imagine to some degree or another he would be, just not to the extreme he would be later.

Yeah, absolutely. I didn't mean to leave any of that out. Bruce was a serious, pensive boy (aside from him being shown jumping around and pretending to swing a sword on the sidewalk directly after seeing the Zorro movie, right before his childhood is swiftly put to death forever.

After the murders, he's almost completely withdrawn and humorless, seemingly beyond help. I think he should be shown having been sent to various psychologists as a child, but ultimately allowed to live his own life, since his schoolwork (after a grace period of a few months after the murders) didn't suffer but instead became almost flawless. In addition, he's been working out in a gymnasium installed in the manor since the age of 10. Perhaps Alfred could suggest he take up an Olympics-type athletic career, since exercise it seems to keep him occupied and relaxed, and he is, from everything Alfred has researched on child athletes in training, just about the strongest, fastest, and most tireless young man in the world (although no one knows this but Alfred and Leslie). Bruce will say he isn't interested in games or glory. He's got goals in mind that have nothing to with trophies and medals.

I figure that throughout the montages and brief scenes of his childhood, Alfred will respectfully offer his opinions and advice, but, respecting his wishes and independence and not presuming it's his place to decide his fate as long as he isn't endangering himself, not push too hard one way or another. Leslie Thompkins, however, will argue fiercely for what she thinks is best for Bruce (to Bruce himself, not just to Alfred), sensing the growing darkness in him and worrying about what he's missing out on as much as what he may be setting himself up for. Each time she is shown doing that, Bruce Wayne, as a child, will calmly and logically explain his reasons and that he will keep doing it his way. Leslie will argue with Alfred over this as well, since she wants him to take a firm hand, but ultimately (after Bruce leaves Gotham) will not blame him. While any good doctor will tell you a 10-14 year-old boy should not be doing college-level athletic training, Bruce is doing well, injuring himself very little, at very wide intervals, and he's filling his head with more knowledge than anyone his age would even dream of taking on. The way he's been learning, he could very well be a great doctor, like his father-- which Leslie wants-- but it isn't Leslie's or anyone else's right to tell him what direction he should take. How can you force a child to stop improving himself if he's not overtly hurting anyone? That's Alfred's way of thinking, and Leslie has to accept it's the only one to accept if Bruce won't change his mind. The Wayne's would have encouraged Bruce to make his own decisions, which is why Alfred doesn't take a strong stand one way or another, and when he reiterates that to Leslie, it finally makes her tone down her objections.

Bruce gets a GED at age 14 and, with Alfred's blessing, leaves Gotham, learning all over the country, at different colleges, and around the world. He won't graduate from any college, but he'll learn a lot and score highly on various tests that will allow him to learn in more specialized environments, like the FBI.

How would you depict Bruce's training in the FBI? I imagine Bruce would study the law and partake in the physical excerise and training of being an agent. Also, he should be well versed in weaponry, even though he will have no use for them later on for the most part.

It would be just like in 'The Man Who Falls,' where Bruce stays in Washington, DC for a while (at age 20), having scored extremely highly on the test to start real training (but poorly on target shooting... while Bruce's aim is probably better than even Alfred's, he doesn't want it on any record that he can shoot a gun well, which he hates doing anyway) and accepted despite not having a college degree.
In the story I mentioned above, he stayed for a few short weeks, learns very little of use, confirms for himself that that he can't work within the system due to it being too restricting and hung up on clumsy procedures. I might revise that slightly so that he learns forensics techniques and spends some time with the Behavioral Science Unit, where he learns a lot about psychological profiling and predicting the behavior of pathological criminals (which will come into play more in future movies, which the more deranged villains of his rogues gallery).

He'll travel the world, learning martial arts, survival skills (including the use of bolas and boomerangs), spiritual philosophies and techniques that will augment his physical and intellectual power (the ability to suppress pain, speed healing, enhance his response time and his physical senses, even more insight on how to read people), and man hunting techniques.

Wikipedia sums it up right here pretty nicely:
Bruce Wayne swore an oath to rid the city of the evil that had taken his parents' lives. He spent his youth traveling the world, training himself to intellectual and physical perfection and learning a variety of crime-fighting skills, including criminology, forensics, martial arts, gymnastics, and disguise. At age 14, Bruce Wayne began his global sojourn, attending courses at Cambridge, the Sorbonne, and other European universities. Beyond academia, Bruce acquired more "practical" skills. While abroad, Bruce learned all 127 major styles of combat, from Aikido to Yaw-Yan. Frenchman Henri Ducard made him an apprentice in manhunting. The ninja Kirigi schooled Bruce in stealth and the ways of the shadow warrior. African Bushmen taught hunting techniques, while Nepalese monks revealed healing arts.

The sequences from 'The Man Who Falls' regarding Kirigi should remain pretty much the same, but while that story didn't go in depth at all into what Kirigi was teaching Bruce Wayne, I think some brief exposition should be put there in the movie, and Bruce should learn most of the stuff he learned from Movie!Ducard in 'Batman Begins' there, meaning the stealth/ninja stuff.
Just like in 'The Man Who Falls,' Bruce will leave after about a year or so instead of staying on to become forged in Kirigi's image. That martial arts master stays up in his temple and has pupils do chores until they're worthy of learning how to fight, and he does basically nothing for the world with his knowledge. While Bruce doesn't begrudge him this, he has no interest in that kind of life. He has a mission, and what he learned from Kirigi is a means to an end (even though there will never truly be an "end"), not a way of life he wishes to pursue. While he learns from those at peace, he will never be at peace. Nothing he learns is for its own sake, but a weapon in his arsenal.

Are you suggesting on having the entirety of the movies events as linear, or only past Bruce's emergence as Batman. If the latter, than I agree. I think the structure of the narrative in the first act of the movie should play out much like that of Begins though.

I was thinking of having the whole movie basically be linear, but I suppose there could be some staggering. It feels like it would be somewhat clumsy. There's nothing in Bruce's training that will come back to haunt him in the first movie, and there's no one except Alfred that Bruce will confide in the way he did Movie!Ducard in 'Begins'. In the comics, Henri Ducard came into Bruce's life and posed a threat in the story arch 'Blind Justice', but Bruce didn't really make any arch-enemies in his global journey. He's just getting an education so he can begin the real fight.

I don't see an ideal way to alternate timeframes. I can see Bruce explaining all that happened to him in those years after he comes back home, but that's not much of a continuity mix-up.

Great work! Let me know my comments and then perhaps we could peice together one clear plot to the whole thing once all things are sorted.

Thanks. Great ideas from you as well, and I look forward to a collaborative treatment. :up:

:wolverine
 
My Treatment for X-men Evolution:

Pilot- Prof. Xavier is introduced as a reclusive billionaire and headmaster of a school.Inside the few students who attend are very normal except for the the fact that they are mutants.Beings with an extra gene that grants them abilities that far exceed whats thought to be human limitations.Together this group of five mutants-Cyclops,Marvel Girl,Beast(pre-blue),Angel,and Iceman- ban together to face threats to humanity and hope to someday overcome the prejudice their kind faces.

The first episode(a two-parter to get all the necessary exposition out of the way) has them face Magneto and his own group,known as the Brotherhood of Mutants(Featuring Toad,Quicksilver,the Scarlet Witch,Mastermind).They have taken over Cape Canaveral and drawn the attention of the world.Magneto proclaims himself leader of a crusade to become the dominant species on the planet before the humans can ever act against them.The X-Men unite and take out the Brotherhood,only to receive mixed reactions from the public.

More later.
 
Abaddon said:
My Treatment for X-men Evolution:

Pilot- Prof. Xavier is introduced as a reclusive billionaire and headmaster of a school.Inside the few students who attend are very normal except for the the fact that they are mutants.Beings with an extra gene that grants them abilities that far exceed whats thought to be human limitations.Together this group of five mutants-Cyclops,Marvel Girl,Beast(pre-blue),Angel,and Iceman- ban together to face threats to humanity and hope to someday overcome the prejudice their kind faces.

The first episode(a two-parter to get all the necessary exposition out of the way) has them face Magneto and his own group,known as the Brotherhood of Mutants(Featuring Toad,Quicksilver,the Scarlet Witch,Mastermind).They have taken over Cape Canaveral and drawn the attention of the world.Magneto proclaims himself leader of a crusade to become the dominant species on the planet before the humans can ever act against them.The X-Men unite and take out the Brotherhood,only to receive mixed reactions from the public.

More later.

Cool pilot. Is this a live action series concept?
How far into the series do you foresee the second generation coming along, if at all?

Thanks for posting, Abaddon. :up:

:wolverine
 
No,it'd be animated,though perhaps done with CG or in some other stylized fashion.My idea would have the season finale feature the team taking on Krakoa.Theyre captured and in the next season Xavier assembles the second team.They'd coexist for a brief period,but afterwards a few of the originals would go( mainly Beast,Angel,and Iceman).The second season would also have Blob join the Brotherhood,Magneto imprisoned,Emma Frost's introduction along with her Massachusetts Academy,and of course Kitty Pryde.
 
Abaddon said:
No,it'd be animated,though perhaps done with CG or in some other stylized fashion.My idea would have the season finale feature the team taking on Krakoa.Theyre captured and in the next season Xavier assembles the second team.They'd coexist for a brief period,but afterwards a few of the originals would go( mainly Beast,Angel,and Iceman).The second season would also have Blob join the Brotherhood,Magneto imprisoned,Emma Frost's introduction along with her Massachusetts Academy,and of course Kitty Pryde.

You gave your imaginary X-Men cartoon the same name as an existing, crappy cartoon. Explain!

Sounds like a solid set-up. I hope your ideas for plots and dialogue are better than that of the actual 'X-Men: Evolution' was. That show was disgusting, and not just because of pathetic add-ons like Spyke the Skater-Boy.

:wolverine
 
Just to get away from all the Batmanning for a moment, here's my proposal for a Daredevil pilot.

We start off with a teaser of Daredevil doing his thing, then flashback to him getting into an accident. Jump forward to the present-day, where he's a lawyer at Nelson & Sharpe. His world is glitzy, all chrome, glass, and high-rises. The world of the Kingpin. He and old school chum Foggy Nelson are given a starmaking case, defending Wilson Fisk against a charge of murder. According to the cops, Fisk found his wife in bed with another man and went into a rage, crushing the man's skull with his bare hands. Fisk claims he's being persecuted, that the cops are deadset on bringing him in because they can't convict him as the Kingpin (who, natch, he isn't).

As Matt and Foggy work together to clear Fisk (Matt thinks Fisk is telling the truth), Matt hears from a private investigator Luke Cage (another supporting character). Cage has tracked down the man that may be responsible for Matt's father's death (Brian Murdock? David Murdock? Damn, I'm too young to be forgetting important things like the name of Daredevil's father!). Cut back and forth between Matt trying to prove Fisk's innocence during the day and searching for his father's killer by night (not as Daredevil, yet, but as Matt Murdock with headscarf as seen in MWF).

Matt manages to free Fisk, whereupon the arrogant Fisk admits that he's guilty... and expects to have a fruitful business relationship with Matt in the future. Matt is shocked. He just got a murderer acquitted. When he tells Rosalind about this, she basically tells him to get over it. They're in business to make money. But not Matt. He quits, telling Rosalind he's in this for justice. In short order, girlfriend Heather Glenn breaks up with him (another recurring character, who shows up once in a while to mess with Matt).

(note: To put Daredevil and Kingpin on even footing, let's technobabble up an explanation for Daredevil not being able to "read" Kingpin. Maybe it's because Fisk's such a good liar, maybe it's because the guy is so damn big, something. It's just bad drama for the good guy to have such an advantage over the bad guy and the bad guy not knowing it)

That night. Matt catches up with the Fixer. He tells Fixer that he's not going to kill him, but instead turn him in. Fixer reveals something that ensures he won't do any jailtime. Matt reaches for him, but before we can find out whether he intends to kill Fixer or turn him over to the police, Fixer has a heart attack and dies. We will never know if Matt was going to take that final step and become a murderer, but this opens up avenues for later parallels where Matt is faced with a similar decision and does the right thing or wrong thing, as the story demands. Matt's decision to kill or not, as seen vis-a-vie Bullseye and Kingpin, is a plot point that should be revisited often to show his character arc. For instance, when Matt drops Bullseye after Elektra's death, intending to kill him, it shows us his descent. When he spares Kingpin's life during the Born Again arc, it shows his redemption.

Matt, now secretly Daredevil, opens up Nelson & Murdock with Foggy and hires Karen. Blaming himself for Kingpin's continued freedom, he vows to bring Fisk to justice, thus giving him a personal beef with Fisk that doesn't totally rip-off Tim Burton's Batman. I mean, HONESTLY...
 
Zev said:
Just to get away from all the Batmanning for a moment, here's my proposal for a Daredevil pilot.

We start off with a teaser of Daredevil doing his thing, then flashback to him getting into an accident. Jump forward to the present-day, where he's a lawyer at Nelson & Sharpe. His world is glitzy, all chrome, glass, and high-rises. The world of the Kingpin. He and old school chum Foggy Nelson are given a starmaking case, defending Wilson Fisk against a charge of murder. According to the cops, Fisk found his wife in bed with another man and went into a rage, crushing the man's skull with his bare hands. Fisk claims he's being persecuted, that the cops are deadset on bringing him in because they can't convict him as the Kingpin (who, natch, he isn't).

As Matt and Foggy work together to clear Fisk (Matt thinks Fisk is telling the truth), Matt hears from a private investigator Luke Cage (another supporting character). Cage has tracked down the man that may be responsible for Matt's father's death (Brian Murdock? David Murdock? Damn, I'm too young to be forgetting important things like the name of Daredevil's father!). Cut back and forth between Matt trying to prove Fisk's innocence during the day and searching for his father's killer by night (not as Daredevil, yet, but as Matt Murdock with headscarf as seen in MWF).

Matt manages to free Fisk, whereupon the arrogant Fisk admits that he's guilty... and expects to have a fruitful business relationship with Matt in the future. Matt is shocked. He just got a murderer acquitted. When he tells Rosalind about this, she basically tells him to get over it. They're in business to make money. But not Matt. He quits, telling Rosalind he's in this for justice. In short order, girlfriend Heather Glenn breaks up with him (another recurring character, who shows up once in a while to mess with Matt).

(note: To put Daredevil and Kingpin on even footing, let's technobabble up an explanation for Daredevil not being able to "read" Kingpin. Maybe it's because Fisk's such a good liar, maybe it's because the guy is so damn big, something. It's just bad drama for the good guy to have such an advantage over the bad guy and the bad guy not knowing it)

That night. Matt catches up with the Fixer. He tells Fixer that he's not going to kill him, but instead turn him in. Fixer reveals something that ensures he won't do any jailtime. Matt reaches for him, but before we can find out whether he intends to kill Fixer or turn him over to the police, Fixer has a heart attack and dies. We will never know if Matt was going to take that final step and become a murderer, but this opens up avenues for later parallels where Matt is faced with a similar decision and does the right thing or wrong thing, as the story demands. Matt's decision to kill or not, as seen vis-a-vie Bullseye and Kingpin, is a plot point that should be revisited often to show his character arc. For instance, when Matt drops Bullseye after Elektra's death, intending to kill him, it shows us his descent. When he spares Kingpin's life during the Born Again arc, it shows his redemption.

Matt, now secretly Daredevil, opens up Nelson & Murdock with Foggy and hires Karen. Blaming himself for Kingpin's continued freedom, he vows to bring Fisk to justice, thus giving him a personal beef with Fisk that doesn't totally rip-off Tim Burton's Batman. I mean, HONESTLY...

Sounds well-thought out and creative, Zev. :up:

I personally would not sign on for this project, since there are too many deviations from the mythos that do fundamentally change the nature of these characters:
Wilson Fisk would never, ever hire a lawyer with a conscience, much less admit he was guilty to such a person, and he shouldn't be in court at all if Murdock didn't make every effort to put him there in the first place;
Vanessa Fisk would never cheat on Wilson while they were married and not separated;
Daredevil didn't drop Bullseye on purpose, even after Elektra was murdered, Bullseye refused to be saved--
These are not unimportant details, they define the characters, and with them changed, these are different characters and may as well be called something else. That's my take on it, anyway. I'm not saying not to run with it, but I'm not sure what else I can say about it.

By the way, Matt's pappy's name was Jack. Battlin' Jack Murdock, they calls him.

As for whether Matt would have killed the Fixer or not, I stand by my conviction that Daredevil should be dedicated to the law and refuse to kill. If he's not insufferably naive and unwilling to do what's necessary, it's just not Daredevil.

:wolverine
 
Herr Logan said:
You gave your imaginary X-Men cartoon the same name as an existing, crappy cartoon. Explain!

Sounds like a solid set-up. I hope your ideas for plots and dialogue are better than that of the actual 'X-Men: Evolution' was. That show was disgusting, and not just because of pathetic add-ons like Spyke the Skater-Boy.

:wolverine


I titled it the same as my own take of how it should have been.Evolution was pretty crappy,but it did have it moments here and there.Especially in later seasons,once they got rid of Spyke.

And you already have an idea of the kind of dialogue I enjoy.:o


Some villains for the first season would be: Arcade,Master Mold,Juggernaught,Black Tom,Trask's Sentinels and Unus the Untouchable.
 
Failed live-action JLA pilot.

I'm not sure what to make of it. On the one hand, the costumes and effects are unquestionably lame, the writing ofter subpar, and how the hell can they call that a Guy Gardner (he looks and acts much more like Kyle Rayner)? On the other hand, it does seem to be a somewhat faithful adaptation of Giffen and DeMattias's JLI, with an emphasis more on schtick and jokes than on the actual superheroics (not surprising, given the budget).

And their Martian Manhunter isn't halfway bad either.
 
Zev said:
Failed live-action JLA pilot.

I'm not sure what to make of it. On the one hand, the costumes and effects are unquestionably lame, the writing ofter subpar, and how the hell can they call that a Guy Gardner (he looks and acts much more like Kyle Rayner)? On the other hand, it does seem to be a somewhat faithful adaptation of Giffen and DeMattias's JLI, with an emphasis more on schtick and jokes than on the actual superheroics (not surprising, given the budget).

And their Martian Manhunter isn't halfway bad either.

To me, you do this? You make me watch this horrible thing?

This isn't a fan film (I can tell because I'm sure a superstar like Miguel Ferrer-- who played the Weather Wizard in an episode of the Superman animated series-- doesn't come cheap), and I had heard an embarassing JLA series pillot had aired on TV. When did this thing air, anyway?

The hell?? Ice just saved a rollerskater who fell in the water by freezing the lake! I used to think such a move would kill the poor bastard, but now I know better!

How much longer is this going to last??

:wolverine
 
Oh no. First, there was mention of that awful Captain America movie and now this. Is there no end? Why hath thou forsaken me, Safe Haven?

The JLA mockery reared its ugly head back in '97 (a CBS vehicle if I recall). I believe it was (thankfully) deemed a failure before actually hitting the air. Licensing issues with the Big 3 handicapped it from the start. However, the idea still could have worked it was just crap execution.

In more positive news, the flow of interesting ideas around this place is continuing nicely. I didn't expect to take to the Marvel adaptations so well. Good stuff, guys.
 
Herr Logan said:
To me, you do this? You make me watch this horrible thing?

This isn't a fan film (I can tell because I'm sure a superstar like Miguel Ferrer-- who played the Weather Wizard in an episode of the Superman animated series-- doesn't come cheap), and I had heard an embarassing JLA series pillot had aired on TV. When did this thing air, anyway?

The hell?? Ice just saved a rollerskater who fell in the water by freezing the lake! I used to think such a move would kill the poor bastard, but now I know better!

How much longer is this going to last??

:wolverine

Criticize MY fanfic, will you? :p

I think it aired in 1997 (and no, I don't know why the Flash is Barry Allen, especially when his personality seems more Wally West. I mean, Barry Allen is blonde, is a big stick in the mud, and has a crewcut, EVERYBODY knows that).

And poor Atom. Everyone else is going around picking up telephone poles and freeing trapped construction workers and he has to get a cat. Hehehe, the indignity of it all... And dear GOD, why did they add goggles and antennae to the Flash's costume? And Fire's disguise is a bit of make-up smeared on her cheek. Oh, HEE.
 
Herr Logan said:
I was thinking of having the whole movie basically be linear, but I suppose there could be some staggering. It feels like it would be somewhat clumsy. There's nothing in Bruce's training that will come back to haunt him in the first movie, and there's no one except Alfred that Bruce will confide in the way he did Movie!Ducard in 'Begins'. In the comics, Henri Ducard came into Bruce's life and posed a threat in the story arch 'Blind Justice', but Bruce didn't really make any arch-enemies in his global journey. He's just getting an education so he can begin the real fight.

I don't see an ideal way to alternate timeframes. I can see Bruce explaining all that happened to him in those years after he comes back home, but that's not much of a continuity mix-up.

Well, there are ways to be breakup the linear narrative of the plot without resorting to Bruce spilling his heart to just anybody he comes accross on his travels, for the sake of a flashback sequence. For instance, I'd open the movie with young Bruce falling down the well into the cave beneath Wayne Manor, just like in Begins, he's attacked by a swarm of bats, and then we cut straight to Bruce firing of rounds at a shooting range as an FBI trainee (he's not a crack shot by far, deliberately of course).

Later on in the movie, when Bruce arrives at Kirigi's monastery, Bruce is forced to wait in the entrance for three months, just like "The Man Who Falls", during which time we cut from a fatigued and slumbering Bruce, slumped against a cold, stone wall in the entrance, to the flashbacks of more of his past life in Gotham, all the time showing on screen what it was that caused him to leave.

Later on, as Bruce meditates in Kirigi's monastery, we cut from a shot of his eye's closed and seemingly at peace, to yet more events from his past.

It would all appear to be coming from Bruce's internal voice, recounting events of what made him go on this journey, while using simple and yet useful directorial devices to tell the story in flashback sequences concurrent with Bruce's training. The only real difference from Begins being that Bruce doesn't tell his mentors his life story as a way for us to see it.

When Bruce completes his training, and returns to Gotham, events would then carry on as linear, since the plot would then start to properly take of in relation to Batman fighting a villainous plot in Gotham.
 
Mister J said:
Oh no. First, there was mention of that awful Captain America movie and now this. Is there no end? Why hath thou forsaken me, Safe Haven?

The JLA mockery reared its ugly head back in '97 (a CBS vehicle if I recall). I believe it was (thankfully) deemed a failure before actually hitting the air. Licensing issues with the Big 3 handicapped it from the start. However, the idea still could have worked it was just crap execution.

In more positive news, the flow of interesting ideas around this place is continuing nicely. I didn't expect to take to the Marvel adaptations so well. Good stuff, guys.

Foresaken?? The Safe Haven hath never forsaken thou!

I'm not even sure the big three would have saved this piece of crap. Hey, wasn't there another series pilot that had more members? I remember seeing a picture that included Blue Beetle and Huntress.

Good to hear you're pleased with the recent developments. :up:

:wolverine
 
Zev said:
Criticize MY fanfic, will you? :p

I think it aired in 1997 (and no, I don't know why the Flash is Barry Allen, especially when his personality seems more Wally West. I mean, Barry Allen is blonde, is a big stick in the mud, and has a crewcut, EVERYBODY knows that).

And poor Atom. Everyone else is going around picking up telephone poles and freeing trapped construction workers and he has to get a cat. Hehehe, the indignity of it all... And dear GOD, why did they add goggles and antennae to the Flash's costume? And Fire's disguise is a bit of make-up smeared on her cheek. Oh, HEE.

Miguel Ferrer was the same basic character in both this and that episode of Superman.

Apparently, the guy who played Atom was the Crypt Keeper. Crazy.

Yeah, this was really, truly terrible. They have only themselves to blame for its failure.

:wolverine
 
Zaphod said:
Well, there are ways to be breakup the linear narrative of the plot without resorting to Bruce spilling his heart to just anybody he comes accross on his travels, for the sake of a flashback sequence. For instance, I'd open the movie with young Bruce falling down the well into the cave beneath Wayne Manor, just like in Begins, he's attacked by a swarm of bats, and then we cut straight to Bruce firing of rounds at a shooting range as an FBI trainee (he's not a crack shot by far, deliberately of course).

Later on in the movie, when Bruce arrives at Kirigi's monastery, Bruce is forced to wait in the entrance for three months, just like "The Man Who Falls", during which time we cut from a fatigued and slumbering Bruce, slumped against a cold, stone wall in the entrance, to the flashbacks of more of his past life in Gotham, all the time showing on screen what it was that caused him to leave.

Later on, as Bruce meditates in Kirigi's monastery, we cut from a shot of his eye's closed and seemingly at peace, to yet more events from his past.

It would all appear to be coming from Bruce's internal voice, recounting events of what made him go on this journey, while using simple and yet useful directorial devices to tell the story in flashback sequences concurrent with Bruce's training. The only real difference from Begins being that Bruce doesn't tell his mentors his life story as a way for us to see it.

When Bruce completes his training, and returns to Gotham, events would then carry on as linear, since the plot would then start to properly take of in relation to Batman fighting a villainous plot in Gotham.

Sounds good! I have trouble constructing ways to mix up continuity sometimes. Thanks for the input. :up:

:wolverine
 
Zaphod, where's the other half of that Spidey movie treatment you promised me?!

I am so fed up with you people procrastinating! I mean, I've been sitting here, neglecting my schoolwork and chores for months, just so I can wait for the material to slowly trickle into this thread. It's monstrous!! :mad:

:wolverine
 
Spider-Man! Bah! We are discussing Batman. Who need's such akward teenage shinanigens when you have the goddamn Batman to work with!

I'm currently working out a few scenario's for 'The Batman' which I think you wont be dissapointed with, we'll see though. They mainly deal with the origin, my notes include Bruce's journey and arrival at Kirigi's monastery, and Bruce under Ducards tutilege, in detail, step-by-step. I think you should handle Bruce at the FBI, since you seem to have a better hand at those sorts of set-ups.

Some things to expect in my 'polished' Spider-Man movie concept:

  • Betty Brant and Liz Allen getting catty over Peter
  • Shocker!
  • Dr Mendel Stromm and Norman Osborne in Oscorpe
  • Graduation to College
  • Flash Thompson running Spidey fanclub
 
Zaphod said:
Spider-Man! Bah! We are discussing Batman. Who need's such akward teenage shinanigens when you have the goddamn Batman to work with!

I'm currently working out a few scenario's for 'The Batman' which I think you wont be dissapointed with, we'll see though. They mainly deal with the origin, my notes include Bruce's journey and arrival at Kirigi's monastery, and Bruce under Ducards tutilege, in detail, step-by-step. I think you should handle Bruce at the FBI, since you seem to have a better hand at those sorts of set-ups.

Some things to expect in my 'polished' Spider-Man movie concept:

  • Betty Brant and Liz Allen getting catty over Peter
  • Shocker!
  • Dr Mendel Stromm and Norman Osborne in Oscorpe
  • Graduation to College
  • Flash Thompson running Spidey fanclub

The Shocker? Not the Vulture? :(

Feh! Shocker would be cheaper, anyway. I just figured the Vulture is much more visually impressive, and by merging his backstory with Mendel Stromm's (like in the animated series), that pulls Osborn into the story loop and sets up his psychological decline early on. It also puts more development into the Green Goblin's gear. If Adrian Toomes was working on advanced, individual flight equipment well before the second movie (which shouldn't take place any more than one year after the first ends), then it's not at all random. Only an extremely eccentric mechanical genius would come up with anything like the Goblin Glider, and they sure as hell wouldn't be manufacturing that for the military. Hell, the very idea of putting soliders on something like that with their ankles completely vulnerable makes me sick, especially when you consider all the anti-source material bull$hit about "realism" the filmmakers blathered on about. Anyway, I think this way works beautifully. If someone else doesn't, then I just have to keep teaching how to be better people.

:wolverine
 

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