I've just had the game crash to the desktop about 5 times in a row in the same location. Only difference is that this is the first time I have come here through story progression, rather than being later while finishing up the Riddler stuff. Sorry for bumping and old post, but I seem to be having the same problem, in the exact same spot. Same thing 5x in row now.Īnybody experience something like this or even better, know the solution? I jump off a ledge in that secret passage, right before the old wheelchair, and bam! Batman shuts down and Im back at my desktop. Im cleaning up the riddles after I just beat the game and its crashing everytime I get to the same place - Medical Facility - Lower Corridor. The DC superhero universe may be confusing and tonally mercurial, but in Phillips’ and Reeves’ hands there is an arthouse nuttiness to it that is at least unexpected, adventurous and rousing.Anybody who played the game on the PC, did you experience any crashes in the same spot over and over? It is an unlikely prospect – and yet five minutes ago, nobody would have put money either on Gaga and Phoenix serenading each other like madcap songbirds caught behind Arkham’s grimy prison bars. Perhaps then, Phillips is playing the long game, waiting for Joker and Batman to settle into the same key and tempo sometime towards the end of the decade, after hero and villain have found themselves tumbling ever more ardently into mutual harmony through intervening, ever-encroaching episodes. There is precedent here for the studio to find success through tuneful gothic melancholia.
BATMAN ARKHAM ASYLUM CRASH MOVIE
That will probably never happen, but let us not forget that Matt Reeves’ singular, darkly nonchalant The Batman would never have been the same movie had the film-maker not decided to half-inch Nirvana’s Something in the Way as the basis of pretty much its entire score. Of course, what fans really want is for Phoenix’s Fleck to somehow end up battling Robert Pattinson’s Batman in a future episode, since these are pretty much the only two DC big screen characters that aren’t either universally hated or greeted with a chorus of “meh” whenever they turn up. What better framing for Joker part II than to imagine Fleck meeting Quinn for the first time in Arkham Asylum (just as in the comics) while flocks of wide-eyed inmates provide an unhinged chorus? This could be Batman meets The Singing Detective, a florid and far-out opportunity for the sequel to prove that the previous episode was mere fiddlesticks in comparison to its illustrious successor. If Joaquin Phoenix is really being lured back to star once again as Arthur Fleck, for a reported $20m no less, he’s going to want to know that Phillips has designs on taking this one even further into the realms of nutty 80s fever dream.
BATMAN ARKHAM ASYLUM CRASH DRIVER
To students of the grubby but starry-eyed 1970s and 80s cinema of Martin Scorsese, Joker manifested as a gorgeous and unexpectedly spiky paean to the era of Taxi Driver and King of Comedy, a period when the inner turmoil of desperate men competed with the crash, bang, wallop of blockbuster cinema. Why would Todd Phillips go out on such a limb, with the creative world his oyster following Joker’s unexpected success?Īnd yet in many ways, delivering the sequel in a heavily stylised genre makes a certain sort of sense. We previously learned that Lady Gaga will star as the Joker-verse iteration of Harley Quinn – perhaps Margot Robbie struggles to hold a note? – a revelation that caused most commentators to ponder whether there must surely be some mistake. Reports suggest that Brendan Gleeson, famously an accomplished fiddle and mandolin player, is joining the cast of Joker: Folie à Deux, which is due out in 2024.
So it is something of a surprise to learn that the Hollywood trades are repeatedly describing the forthcoming sequel to the Oscar-winning Joker as a musical. Alison Bechdel, she of the Bechdel test, saw her introspective and gruelling graphic memoir Fun Home transformed into a Tony award-winning Broadway musical in 2015.īut actual superhero musicals? There’s the ill-fated, rightly obscure 1983 Australian comedy The Return of Captain Invincible, starring Alan Arkin and (remarkably) Christopher Lee, but it is certainly not a populous pantheon. Spider-Man: Turn off the Dark, Little Orphan Annie, Josie and the Pussycats – all were inspired by, or were synonymous with, the printed page before making it to the big screen.
Comic books that have become stage musicals, well yes – there are quite a few of those. The history of Hollywood comic-book musicals is not a long and garlanded one.
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