Batman: Death In The Family Opening Title Seq...
The clip features the stylish opening title sequence to the animated short, which was designed by writer/producer/director Brandon Vietti, and executed by Supervising Technical Director Matt Girardi and his team at Warner Bros. Animation.
Batman: Death in the Family | Opening Title Seq...
Interactive movies are similar to certain video games and adventure books in which the audience can influence or change character decisions and plot points. These kinds of movies have been around for decades, but they are slowly becoming more prevalent an popular. Two recent interactive Netflix movies are Black Mirror: Bandersnatch and Unbreakable Kimmy Schmidt: Kimmy vs. the Reverend, which were both well received by critics and fans of the respective TV shows. cnxps.cmd.push(function () cnxps( playerId: "486cd964-67b3-47ec-b056-84d97adf0844" ).render("d9ba229925f44117aae495a60518e6a6"); );Earlier this year Warner Brothers announced that they would be releasing and animated interactive movie based on the comic book Batman: Death in the Family, which was famous for killing off the Jason Todd version of Robin. According CBR this new movie is going to be a prequel the 2010 movie Batman: Under the Red Hood, and actors Bruce Greenwood and John DiMaggio will be reprising their roles as Batman and the Joker respectively. Actor Vincent Martella will be voicing the Jason Todd version of Robin. Now Warner Brothers has revealed the movies opening title sequence for the movie.It is fitting that this movie is going to be interactive because, the original comic also had an interactive element. In 1988 DC asked fans to vote by calling 1-900 numbers to decide if Jason Todd would live or die, and the fans decided to kill the second Robin. Who knows what fans will be able to choose this time? Tags
Batman: Death in the Family
Bruce Greenwood
John DiMaggio
Warner Brothers
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The clip below features the stylish opening title sequence to the animated short, which was designed by writer/producer/director Brandon Vietti, and executed by Supervising Technical Director Matt Girardi and his team at Warner Bros. Animation.
"Batman: Death of the Family" is a 23-issue comic book story arc first published by DC Comics in 2012 featuring the fictional superhero Batman and his family of supporting characters. The arc spans several titles featuring characters of the Batman family including: Batman, Batgirl, Batman and Robin, Catwoman, Detective Comics, Nightwing, Red Hood and the Outlaws, Suicide Squad, and Teen Titans. The story involves the return of Batman's archenemy, the Joker, and his plan to destroy all of the people Batman has come to rely on over the years: the multiple Robins, Batgirl, Catwoman, Alfred Pennyworth, and Commissioner James Gordon. The title is a reference to the classic Batman story arc "A Death in the Family" (1988), in which the Joker murders Jason Todd.
In Batman and Robin #15, Batman's son Damian defies his father's orders to remain in the Batcave and investigates Alfred's kidnapping. The investigation leads to Gotham Zoo where Damian is captured by Joker. Joker accuses Damian and the other members of Batman's family of being a burden that prevents Batman from being the best foe for Joker. Joker tells Damian that his and Batman's greatest fear is being responsible for the other's death. Joker then presents Damian with Batman in Joker makeup, and states that Damian must kill Batman before Batman kills him.[18] Unwilling to kill his father, Damian chooses death, but the Joker kills Batman before he can deal a fatal blow. Damian passes out from Joker venom and Batman is revealed to be a fake; as Damian recovers from the toxin, the Joker presents him with a cloche (concluded in Batman #17).[19]
Batman #13 was generally well received for its plot which was considered to be fittingly horrifying and filled with tension representative of the Joker's return. Snyder's incarnation of the Joker was praised for incorporating historical elements of the character and his dialogue, while providing a new perspective on the character.[37][38][39] IGN's Benjamin Bailey said that the story would be part of a classic Batman story,[38] and Comic Book Resources' Ryan Lindsay said the issue is the type of introduction every story deserves.[37] Batman #14 was also well received. Comic Book Resources' Greg McElhatton enjoyed the sense of isolation that emphasized the effect on Batman of not having his supporting cast, Batman's narration and the dialogue between Batman and Joker.[40] IGN's Joey Esposito said that the writing created a realistic threat of danger to the established characters, and appreciated the further increase in tension. Esposito also praised the Joker's final monologue.[41] In contrast, Newsarama considered the issue could be too verbose, but said that the story had great pacing.[42] Batman #15 received positive reviews, but is the lowest graded issue in the Batman tie-ins. Reviewers noted that the story continued to be strong, but was marred by confusing elements created by dialogue structure, unexplained actions such as Batman's glove being removed off panel during a confrontation with Joker, and small artistic inconsistencies.[43][44] Newsarama's David Pepose praised the opening narration, but was critical of the lack of involvement of the Batman family considering their central purpose in Joker's plan,[45] and Esposito said that the story was masterfully told, highlighting the Batman/Joker dynamic.[44]
Van Vooren also was seen in bed in a white negligee in the opening title sequence to introduce Ten Thousand Bedrooms (1957), the first movie Dean Martin made after his split with Jerry Lewis, and she portrayed Baroness Katrin Frankenstein in the X-rated Flesh for Frankenstein (1973), a 3D film produced by Andy Warhol.
This meant Gotham's poor never got the help they needed, and super-smart orphan Edward Nashton had to grow up in squalor. Seeing Bruce getting showered with sympathy after his parents' deaths enraged Edward, who reckoned having the Wayne family's riches made the loss easier to endure than it had for other orphans. Edward grew up to be the Riddler, intent on taking revenge on the city's elites.
The creators of Only Murders turned to the title titans at Elastic, the filmmaking team behind the Game of Thrones intro sequence, to add to the mystery and leave an exciting new Easter egg in the opening credits each week. Sometimes, even if you discover the animated incongruity in each intro, deciphering what they mean can be just as tricky.
By the time Batman v Superman: Dawn of Justice: Ultimate Edition was released, Zack Snyder had already made a case for having some of the best title sequences in the business, but the opening credits of his 2016 superhero epic features some of his best work yet. Bouncing between the murder and funeral of Thomas and Martha Wayne, the first few minutes of the second entry in the DCEU does two things very effectively: it sets the tone of the three-hour epic that will follow and establishes the emotional and mental state of Bruce Wayne leading into his fight-to-the-death with Superman later on in the movie.
What's more interesting, however, are Snyder's comments on the death of Batman's parents. The decision to include the Waynes' murder again onscreen was met with outcry by fans, because, c'mon, it's not like it's not been covered in previous adaptations. Apparently, that opening sequence was vital to the moment Batman shows Superman mercy.
"When we were shooting the title sequence, that whole idea about, 'Do we really need to see the death of the Waynes again,' is a big thing to take a shot at again. But you realize you need it, because it actually pays off. And I really wanted to do it all the way."
Unlike with most western shows, the opening is actually animated from the get-go to specifically match the particular J-Pop single that's been chosen for the show. Cartoons here have approximately two minutes less screen-time on air than in Japan, so there's really no time to cram in an opening title sequence that's more than maybe 30 seconds long. So they're generally just a random collection of clips from the show spliced together with some forgettable incidental music. Again, in Japan the record labels have a tightly-knit connection to the show's production, so those extra two minutes are wisely used to promote whatever artist they feel would be a good fit for the show. It's not a cultural preference, per se; it's a business-minded practice. 041b061a72