Look Development - Justice Brigade

Here is our Look Development Shot for Animation Process and Practice on the Animation course at Manchester Metropolitan University.
We based our work on a piece of concept art from Captain America Civil War.
The music in this piece is Standoff by Henry jackman from the Captain America Civil War Soundtrack.
https://www.youtube.com/watch?v=BGD_THHYTys&list=PLhqqvo3y1qZ1srt0PRvAf_OE-rgsMT6qe&index=11

test 4

test 3

Test Render

Ref Footage

Look Development: Test Piece

Look Development

For our new project, we were asked to pick an image to inspire us to create a completely finished scene which would have depth, a camera move, some form of animation and be longer than 3 seconds. This could be an establishing shot or a big 'money shot', but it was meant to be a finished shot which would come out of a look development process and be used to pitch the project we've developed.

When I thought of a money shot I knew I wanted to do a big action setpiece with a fight scene and so I chose this concept art from Captain America Civil War as I liked the dynamic poses in the image as it captures a sense of movement and showcases an entire fight similar to a comic book splash page.

 I looked at these scenes from both Captain America: Civil War and Avengers: Age of Ultron to help further develop my idea, particularly focusing on the shots where all the characters take up the frame.

For this project, we were allowed to work in groups and I felt like this would be the best way to move forward as this is how many people work within the industry. I wanted to carry on in the medium of 2D and so in my group, there is another 2D artist, but our group also has a 3D artist as we were all eager to explore 2D 3D integration. We chose to animate the characters in 2D but have them placed inside a 3D environment.

We looked at different examples of 2D characters moving in a 3D environment as well as the use of multiplane and decided that we would have the characters on different planes within the 3D scene and have the camera track through them as they are fighting.

Finished Character Animation - School Dayz

Lip Syncing

X Sheet

Live Action Reference Footage

Character Designs

Impala V Cheetah

Here is my final film for my personal summer animation project.

Summer Project

I've decided that I will begin a project to keep myself busy over the summer break, as well as help me to improve my animation skills and knowledge in the ToonBoom Harmony software.

I decided that I wanted to do a chase sequence similar to Coyote and Roadrunner or Tom and Jerry and that I wanted the short to take place in the wild in Africa as I felt like this wasn't a setting seen much in cartoon shorts. After doing some research I decided to use the Cheetah and the Antelope as my characters, specifically, the Impala breed of antelope as this is the breed most commonly found in Africa and hunted by Cheetahs.

Here I started off with a Cheetah in quite realistic proportions, and then I went about simplifying the features, keeping what gives the cheetah their distinct look, but allowing me to create a clean, animatable design. I decided to make the eyes a simple almost pear shape to them, as well as adding the addition of a brow to allow for more humanistic expressions.





















For the Impala, again I started off with a more realistic proportioned design, but this time, rather than simplifying the design as I went along, I opted to create an extremely simplified design and to then combine the best of both into my final design.

Unit X Key Post 3: Reflection

Over this unit, I learnt how to use programs such as Adobe After Effects, Nukex, and Adobe Flash. After Effects was the most useful for this project as I was able to use it to create the special effects for the video.

I looked into the story of Giselle and the theme of Underworld, seeing that the Underworld in Giselle featured ghosts. I also looked at different types of Underworlds such as a criminal Underworld and thought of looking into the Manchester Underworld when we realised that Manchester had a physical underworld we could explore.

After attending a Projection Mapping workshop I was excited by the idea of being able to utilise it in our project and went into some further research in looking at how would be best to incorporate it into our project. I found the software needed as well as developed a plan which I pitched to the group however, I felt that this plan was ignored which I wouldn’t have minded too much if I felt it was in favour of another idea, however I felt that the group ignored it without really having a thought out idea to replace it.

The idea we went with, was based on an artist that Lauren found and showed us that she said we could try. I suggested that we could film people walking around and change them into ghosts in Adobe After Effects during Post Production. I suggested that the background be a still image and then we could project the ghosts on top of the environment. We soon realised, however, that projecting white light this would just lighten the area of the image being projected onto, so we changed our idea to use a screen for a section of the piece and to extend our image with prints.

A workshop in Adobe After Effects was put on which helped me get a handle on the software such as how the layers work in the timeline and how to apply special effects onto each clip such as green screen as well as animating the different transformation options.

The photographers went out around Manchester and took photos of some more spooky/ dingy areas of Manchester for us to use for the backdrop of our film. The Filmmakers then went about shooting and directing the video of us walking. At this point, I informed them that we shouldn’t be wearing black or dark colours to help stand out from the background, as well as informing them that it would be best to film individual ghosts separately. The footage from this shoot couldn’t be used as the camera kept shaking and hands kept coming in the shot as the filmmakers kept holding the camera when it was already on the tripod. Due to this, Samantha and I had to re-film this sequence on our own, which was initially to be used as test footage to practice the special effects, however, we ended up using his for the final footage. The effects I then used were Difference Matte, Brightness and Contrast and Gaussian Blur. Additionally I also added in a fog effect found on YouTube. The sound for the video was then created by the filmmakers using free sounds they found online.

When it came to setting up the exhibition, my group seemed intimidated by the size of the 50” screen we were given and did not believe that we could produce the prints large enough, and so they opted to change put our idea. The new idea still kept the screen work me and Samantha had produced, but instead of extending the image, we would have other photos that the photographers had taken dangling down around the screen on different levels to help create a chaotic atmosphere. I didn’t particularly have a problem with the idea, however Samantha and I felt like it was quite late in the game to change our idea like this as I believed that our original idea was possible. Additionally I felt that the images floating around the screen were hard to make out as the room was quite dark and our group had opted to black out our area to separate our space.

References:
https://www.youtube.com/watch?v=-oZT7ZWEPGM

Super 8 Workshop

Unit X Key Post 2: Lines of Enquiry

Continuing with the Unit X project, my group and I have met up on multiple occasions to discuss and explore our ideas. We went to the Museum of Science and Industry to have a look at their underground exhibit in the old sewers, however upon arrival; we learnt that the exhibition had closed a few months prior after being there for many years. Following this minor setback, we decided to opt for looking at the slightly more rundown areas of Manchester.  

One of the photographers shown us work by the photographer Alexey Titarenko who uses long exposures to create a ghosted effect with the image. We started to explore this idea through film, since the brief asked for a depiction of movement, but rather than actually shooting with long exposures, we would create the ghosted effect in Post-Production. This led to the switch from projection mapping onto an installation, to projecting onto a wall as we were not sure how to wrap the ghosts around an object effectively and none of our group members had any real experience in creating a sculpture/installation to project onto.

We came to the idea of rather than projecting an entire image onto a wall, we would print out a still background and project the moving ghosts on top of it as if the ghosts were moving within the environment. We eventually realised however, that when white light is projected onto the image, rather than actually appearing white, it would simply light the image up in that area. To remedy this we opted to place our image on a television monitor instead. To keep the size of the image that we wanted, we have chosen to feature only a section of the image on the screen and a have a larger printed image surrounding it to help extend our environment.

As the background was going to be still, this was taken by the photographers who went around Manchester to find abandoned looking or derelict places that would have features we could incorporate into the ghosts movement. For instance, they had to make sure that a wall would be the focus of the shot, yet still have enough of the floor for the ghosts to appear to move around in a 3D space. The filmmakers would then go about filming the actual footage of the ghosts walking across the screen, which would then be given to the animators to edit. To go about the filming we all pitched in to be the walking ‘ghosts’ whilst the film makers directed us in how to walk across the screen such as if they wanted us to walk sadly or to run across the screen. We went to film it in front of a dark background with the ‘ghosts’ dressed in lighter colours to help us stand out from the background. As the camera would be in a locked position, a Difference Matte was then used to separate the ‘ghosts’ from the background by mating out the background from a still image of the background. The keying on the Difference Matte was done badly to miss parts of the ghost off to seem more spiritual; the brightness is upped to create a white outline, and a Gaussian blur is placed onto the ghost so that it glows and finally the ghost is made to be translucent by decreasing the opacity of the object. Additionally the ghost then had to be positioned on the image as if the ghost was actually moving around in the environment of the photograph which was done key framing movement at certain points, as well as making the ghost appear as if they are walking through walls.

For our exhibition we have been told we will receive a 47” screen for our moving image which we will then get the exact measurements for and print of our entire background image to the correct scale and cut out the hole where the screen will go and present it around the screen as if it’s one whole image.

Even though my group have gone through a long process to get to this finalised idea I am confident in our ability to pull it off as we work together as a group.

Adobe Flash Workshops

Unit X Key Post 1: Research

As part of Unit X we were placed in groups across three different courses, Animation, Film and Photography, and were given 6 different themes to choose from. We decided to choose the theme of underworld which is related to the English National Ballet’s production of Giselle. Giselle features a girl who is betrayed by the man she loves and upon death finds herself in an underworld where she can make men dance until they die. As part of the theme we are only to use the plot of Giselle as inspiration rather than to adapt the story itself, so taking Underworld as our theme we have been encouraged to think outside of the box, with the link to the ballet coming from the inclusion of movement.

As part of the unit, we were given the chance to sign up for workshops to learn new techniques, one of the workshops I signed up for was Projection Mapping. This is where images are projected onto objects rather than onto rectangle screens, allowing for the ability to transform the object. I had originally wanted to sign up to this workshop after seeing an example on a family trip to Disney World where images are projected onto and morph Cinderella Castle, however I soon realised that this would have potential for the group project as being that we are media students, we are very used to producing screen based work, and so the projection mapping would be away for us to carry on within our practices whilst being able to try something new and to make our work look different to the usual flat screen. We were taught in the workshop with a software called Millumin which is a software on Mac to buy, however we were told the basics of the software apply to all projection mapping software, and so I was able to find a free software called VPT which works on a Windows system. Some further research has also given me ideas of how to go about different directions with the projections, as well as assuring me that much can be accomplished with a single projector.

I also attended workshops in Super 8 filmmaking which was about the type of cameras used in the 1970s and 80s for home videos at the time as they were a cheap way to film something although as it is less common now it has grown to be more expensive to buy and develop the film. I wasn’t entirely sure of how I would be able to relate this to my own project but found the workshop both interesting and entertaining. I also attended some workshops in Adobe Flash where I was able to get a feel for the software and saw how I may possibly be able to apply some techniques into making the projected image for our projection mapping.

As well as workshops,, I was given the opportunity to attend archive visits, the one I signed up for was to look around the university library’s own archives. As interesting as I found many of the things on show, I did not really find this all that useful towards my group’s project unfortunately, however I did take note that it is possible to search for further items within the archive and so I may use this to find something for the project that will be of use.

Attempting to think outside of the box, I approached the theme of underworld from more the aspect of a criminal underworld or a city’s underworld and started to think about what would be considered Manchester’s underworld. A possible direction to look into was that of secrets, as in what is going on underneath the Manchester we take at face value. We also found that Manchester has an actual underground, where all the old caverns underneath the city run as well as the old sewers. My group will be attempting further research by going to the underground exhibit at the Museum of Science and Industry.

Combining these things together I had the idea to create a miniature model of Manchester and projection map buildings onto these models and then have the morph into the Manchester underworld.

Contextualising Practice Essay

How does the context in which a work is seen in alter its meaning and interpretation?

Adapting Under the Hood into an Animated Feature.

I am writing to explore how adapting the comic Batman: Under the Hood (UTH, collected as Batman: Under the Red Hood) into the animated film Batman: Under the Red Hood (B:UTRH) alters the meaning and interpretation of the story.

Robin is synonymous with the name Batman, having only debuted a year after his mentor, so when the original Robin, Dick Grayson, became Nightwing, DC introduced a replacement: Jason Todd. Unlike Dick, an optimistic acrobat who grew up in the circus, Jason was a street kid with attitude. According to Batman editor Dennis O’Neil “They did hate him.” when referring to fan reaction towards Jason (Pearson, 1991:21). This shows that the fans didn’t like changes to what had been the norm for 40+ years, Jason was the complete opposite to Grayson. Many didn’t seem to like that Todd was a replacement to Grayson’s Robin, who Batman had fired, as they didn’t see him worthy of this.

Eventually O’Neil had the idea to let fans decide whether or not Jason should die with a vote, an idea Batman writer at the time Jim Starlin jumped on, having wanted to kill off the character for some time, finding the idea of a teenage sidekick ridiculous (Best, 2003). The four part A Death in the Family, followed Todd searching for his mother, only to be kidnapped by the Joker. The second issue ended with the iconic scene of the Joker savagely beating Jason to the brink of death, before leaving him in an exploding building. The next page asked fans whether or not the character should die by voting. With a difference of 72, Robin was killed, making fans responsible for Batman’s greatest failure (Starlin, 1989). This was controversial, with many people seeing the vote as a publicity stunt centred on killing a child. Additionally numerous news outlets were stating this Robin to be Grayson, the well-loved character many of the public had grown-up with, upsetting many people (Langley, 2012).

In 2005 writer Judd Winick decided on following up this story with UTH, which would see Batman exploring the mystery of a new criminal in Gotham by the name of Red Hood. It is eventually revealed to be Todd, back from the dead, and out for Joker’s blood (Winick, 2011).  This was controversial for bringing him back after fans had voted on the death (JayToddz for the masses, 2010), as well as the means by which he was resurrected, a retcon tied into the then current companywide crossover event Infinite Crisis. Despite this, the story is important within the larger Batman mythos for bringing back such an iconic character, and the story itself, is generally well liked by fans. Judd Winick himself had originally said that he was more focused on the story between Batman, Bruce Wayne, and Jason Todd than the how, what and why of his return (Newasrama, 2005).

The DC Universe Animated Original Movies line were being used to adapt popular comic book stories into animation. Writer Judd Winick approached producers Bruce Timm and Alan Burnett with his story and within a 45 minute pitch over the phone (Warner Bros. Home Entertainment, 2013) Winick had addressed how to fix all the problems with the story that had Timm had thought of such as addressing the length and the context.

As with most comic storylines, UTH was tied to many other storylines going on in the comics at the time, like Infinite Crisis, as well as directly following on from the Batman Family crossover War Games that set up the Black Mask as Gotham’s crime overlord as well as explained the absence of characters such as Robin and Batgirl. In film however, the status quo at the beginning of the story is to be considered the norm, as such these characters weren’t referenced to help streamline the universe. Additionally, the comic relies on readers to know about the Batman mythos, they were expected to know that the Joker had killed Todd, although it happened 17 years prior (Starlin, 1988). When translating into a film however, the medium relies on a tight, self-contained story due to it reaching a larger audience unfamiliar with the source material, as well as not being a continuous ongoing story. To fill the viewer’s in on what’s necessary to the plot, the film would have to also adapt A Death in the Family. This was done briefly in the opening of the film, removing Jason’s mother from the scenes, focusing solely on the information importnant to UTH.

Furthermore, the original story was two separate arcs spanning more than a year with other stories in between (Winnick, 2005), whereas the film treats the story as a whole. This meant that the film would have to skip this gap as it isn’t relevant to the story of Jason’s return affecting Batman. This fact is what led to the disappearance of Nightwing halfway through the film, after originally only being in the first comic arc. This was due to him dealing with the destruction of his city Bludhaven in the comics, an event which was felt within UTH, but was again cut from the film due to both its ties to Infinite Crisis and irrelevancy to the actual plot. In the comics Dick was busy in New York City having re-evaluated his role of Nightwing after the War Games story (Grayson, 2006a&b), whereas in the film, he was explained away with a leg injury after the first battle with Jason. To try and make up for this, Nightwing does receive a cameo in the films closing montage showing us that he’s back in action. Additionally Nightwing’s opening scene features a criminal explaining that he was the original Robin, both to his partner and the viewer, to help explain his place within the story.

Although Winick has said that the particulars of the resurrection weren’t what he was interested in, the means by which Jason Todd was returned to life would be an integral change to the film. Rather than being explained within the story itself, Todd’s resurrection is recounted in an epilogue featured in Batman Annual #25. Here, it is explained that due to Superboy Prime punching the barrier between realities, ripples are sent through time which leads to Jason coming back to life six months after his death. This is the main tie in to the event Infinite Crisis as Superboy Prime is initially seen doing this in another tie in (Wolfman, 2006). After Jason digs his way out of his coffin, he goes into a coma for a year as a John Doe patient, upon awaking he escapes and lives on the streets for a year, with no memories, before being found by Talia al Ghul. After caring for Jason for yet another year, she decides to throw him in the rejuvenating Lazarus Pit of her father’s to restore the boys mind and memory. The movie however opts to go the much simpler route by having the Lazarus Pit be what actually brings Jason back to life, avoiding any ties to Infinite Crisis. Additionally, rather than Talia being the one to help Jason, she is replaced by her father Ra’s, and demoted to a cameo in the Lazarus Pit sequence. Again this helps streamline the story by reducing the film’s character count as well as not having to spend time introducing viewers to a character they may not know. This is an integral change to the film as Batman goes straight to Ra’s when searching for answers to Jason’s return, who recounts this story in flashback. This is far more straightforward than the comic where Batman travels the country, speaking to resurrected heroes, looking for answers. Batman goes to Ra’s in the film due to his ties with Jason’s death, he had been the one the dynamic duo were going after when the Joker kidnapped Todd, rather than searching for Todd’s mother.

The film reshuffles many events from the comics around as it is now one whole story, for instance in the comic Black Mask hires Mr Freeze to serve as a distraction to the Red Hood near the start of the story, whereas the film has Mask break the Joker out of Arkham Asylum towards the end of the film. From here, the Joker is then kidnapped by Todd who proceeds to beat him with a crow bar, reversing the situation form years earlier, putting the Joker in place for the final confrontation between the Red Hood and Batman. The Source Material shows Todd having the Joker tied up throughout most of the story, with the crowbar scene taking place much earlier before the finale. Similarly, rather than hiring the Secret Society of Super Villains to actually take down the Red Hood, an original group of assassins, The Fearsome Hand of Four, are sent, this helps keep down the running time of the film by having them simply be assassins, rather than established supervillains unknown to the audience. The team’s inclusion in the original was also a further tie in to Infinite Crisis.

Due to the set up with the death of Jason at the start of the film, much of the mystery of who the Red Hood is disappears, replaced with suspense, as such, the film doesn’t need to wait for the reveal to Batman that Jason is alive to explore their relationship together. This allows for the flashbacks to be more evenly spaced throughout the film than in the comic.

The film comes to a dramatic conclusion with a scene between Batman, the Red Hood and the Joker, which in parts is adapted word for word from the comic. In the scene, Jason asks Bruce why the Joker is still alive after he took Jason away from him. This is a rather important theme the story explores as the Joker has been accountable for hundreds of deaths since his debut in 1940 across ranges of different media (Langley, 2012), had the Joker been killed many years ago, these Deaths could have been prevented. Batman’s response in this story is that ‘if I allow myself to go down into that place… I’ll never come back.’(Winnick, 2011:308) even though Jason argues that he doesn’t have to kill any other villain just the man who killed his son. Batman’s argument here is that after allowing himself to kill the Joker, he doesn’t feel like he would be able to stop killing criminals as he is already in a  dark place and cannot afford to get any darker. Not long before killing Todd, the Joker had been responsible for paralysing Barbara Gordon and using graphic pictures of her to attempt to turn her father Commissioner Gordon insane (Moore, 2008), so after these attacks on Batman’s allies, Batman is seen to go after the Joker with intent to kill, failing only because someone seemingly got there first, allowing the Joker to escape death and Batman’s clutches once again (Starlin, 1989). It is interesting to note that upon hearing that Tim Drake, the third Robin, is dead, Nightwing beats the Joker to death and is happy he’s gone. The Joker is quickly resuscitated by Batman (Dixon, 2002a) and Dick is left feeling guilty and questions his role as a hero, however he does not start killing other villains, and is able to stop at the Joker (Dixon, 2002b). It could be argued that since Dick was trained by Batman, his reaction to killing the Joker could also be applied to Bruce, however Dick is a much lighter character, and although he was pushed over the line, it would be easier for him to come back from that line once coming to terms with what he did.

 The comic ends with the building the characters are in exploding and it is left ambiguous whether or  not there are any survivors, all three of course survive and are featured in later comics but this is not revealed within the story itself, whereas the film shows Batman finding the Joker in the rubble with Jason having disappeared. Bruce then returns to the Batcave where Alfred asks whether they should take down the memorial to Jason, to which Bruce responds ‘This doesn’t change anything. It doesn’t change anything at all.’ (Winick, 2011:173) a scene which ended the story’s first part in the comics. Placing this at the very end of the story, and then following it with a scene of Jason putting on the Robin costume for the first time signify that the emotional backbone of the film lies in the relationship between Bruce and Jason.

The story of Under the (Red) Hood explores how the return of Jason effects Batman personally. The way in which the story is told to fit within the medium however, can alter the meaning and interpretation, the removal of scenes and characters allowed for a tighter story that’s emotional backbone was of Bruce and Jason’s relationship, rather than that being a part of the larger story, as in the comic. Placing the context of Jason’s death however at the beginning of the film takes away the mystery of the original story, leaving only suspense behind.

Word count: 2185

Resource List

Film

Batman: Under The Red Hood, (2010) Directed by B. Vietti, [DVD] Burbank: Warner Home Video.

Comics

Dixon, C. (w) Randall, R. (p.i) 2002a. “You Only Laugh Twice.” Joker: Last Laugh v1 #6. DC Comics.

Dixon, C. (w) McCarthy, T. (p) Kesel, K. (i) 2002b. “Red, Fright.” Nightwing v2 #63. DC Comics.

Grayson, D. (w) Hester, P. Chang, C. (p) Parks, A. (i), 2006a. Nightwing: Mobbed Up. Nightwing v2 #107-111. DC Comics.

Grayson, D. (w) Hester, P and Chang, C. Alves, W. Marz, M. Walker, B. (p) Parks, A. Wagner, E. Ramos, R. (i), 2006b. Nightwing: Renegade. Nightwing v2 #112-117. DC Comics.

Moore, A. (w)  Bolland, B. (p.i) 2008. Batman: The Killing Joke, Deluxe Edition. Deluxe Edition. DC Comics.

Starlin, J. (w) Aparo, J. (p) Decarlo, M. (i) A Death in The Family. Batman v1 #426-429 (Dec. 1988- Jan.1989). DC Comics.

Winick, J. Starlin, J. Loeb, J. (w) Mahnke, D. Lee, P. Davis, S. Battle, E. Aparo, J. Lee, J.(p) Nguyen, T. Smith, C. Ramos, R. Faucher, W. Stucker, L. Morales, M. Decarlo, M. Williams, S. (i), 2011. Batman: Under the Red Hood. Batman v1 #617-618, 635-641, 645-650 Batman v1 Annual 25. DC Comics.

Wolfman, M. (w) Jurgens, D. (p) Ordway, J. Smith, C. Thibert, A. (i). 2006. “Heaven.” Infinite Crisis Secret Files and Origins #1. DC Comics

Books

Langley, T. 2012. Batman and Psychology: A Dark and Stormy Knight. 1st Edition. John Wiley & Sons.

Edited By Pearson, R. and Uricchio, R., 1991. The Many Lives of the Batman: Critical Approaches to a Superhero and His Media. Routledge. London.

White, M. D. 2008. Why Doesn’t Batman Kill The Joker?’ In White, M. D. and Arp, R. (eds.) Batman and Philosophy: The Dark Knight of the Soul. Hoboken: John Wiley & Sons, pp. 5-16.

Websites

JayToddz for the masses. 2010.  Robin's Requiem: The tale of Jason Todd. [ONLINE] Available at:http://fuckyeahjasontodd.tumblr.com/post/898206718/robins-requiem-the-tale-of-jason-todd. [Accessed 20 March 2016].

NEWSARAMA. 2005. Spoiler Sport: Hello Again. [ONLINE] Available at:https://web.archive.org/web/20070415164406/http://www.newsarama.com/DC/Countdown_more/Batman_Hello.htm. [Accessed 21 March 2016]

Best, D. 2003. JIM STARLIN [ONLINE] Available at: http://www.adelaidecomicsandbooks.com/starlin.html. [Accessed 22 March 2016].

Online Videos

Warner Bros. Home Entertainment. (2013). Batman: Under the Red Hood - First Look. [Online Video]. 05 February. Available from: https://www.youtube.com/watch?v=CplIfJVAy_0. [Accessed: 29 February 2016].

Images

No Author, (no date), Jason’s confronting Two-Face. [ONLINE]. Available at: http://the-artifice.com/wp-content/uploads/2015/03/Robin_Jason_Todd_004-300x516.jpg [Accessed 27 March 16].

Jim Aparo, (1988), The Joker beats Jason to death. [ONLINE]. Available at: http://images-cdn.moviepilot.com/images/c_limit,h_555,w_640/t_mp_quality/htt4spybv1riqquxhluv/why-the-joker-isn-t-jason-todd-debunking-the-batman-vs-superman-theory-the-joker-beats-595626.jpg [Accessed 27 March 2016].

Jim Aparo, (1988), Batman carrying dead Jason from Batman #428 [ONLINE]. Available at: http://images-cdn.moviepilot.com/images/c_fill,h_450,w_700/t_mp_quality/xk5saekhhft7qrhelrti/will-jared-leto-s-joker-recreate-batman-a-death-in-the-family-in-the-suicide-squad-ro-380493.jpg [Accessed 27 March 16].

Warner Bros. Animation, (2010), Batman carrying dead Jason from B:UTRH [ONLINE]. Available at:http://www.worldsfinestonline.com/WF/dcuam/redhood/media/24.jpg [Accessed 27 March 16].

Warner Bros. Animation, (2010), Nightwing crouching on a ledge in B:UTRH (28417350) [ONLINE]. Available at:http://wallpapercave.com/wp/vvTCHd6.jpg [Accessed 27 March 16].

Davis, S., (2006), Jason's mind restored from the Lazarus Pit [ONLINE]. Available at:http://vignette4.wikia.nocookie.net/batman/images/5/53/Lp.PNG/revision/latest?cb=20111021020413[Accessed 27 March 2016].

Warner Bros. Animation, (2010), Jason resurrected from the Lazarus Pit [ONLINE]. Available at:http://41.media.tumblr.com/3e0a6c9b7ce6a5eb203071a63f4ea374/tumblr_nchqz0ABnR1tncgpvo6_1280.jpg[Accessed 27 March 2016]

Mahnke, D., (2006), Secret Society of Supervillains attack Red Hood [ONLINE]. Available at: https://s-media-cache-ak0.pinimg.com/originals/ac/10/74/ac10749ff199c5540e3a8a5222fe3879.jpg [Accessed 27 March 2016].

Warner Bros. Animation, (2010), The Fearsome Hand of Four [ONLINE]. Available at:http://vignette3.wikia.nocookie.net/dcmovies/images/d/df/Fearsome_Hand_of_Four.png/revision/latest?cb=20150403233005 [Accessed 27 March 2016].

Battle, E, (2006), Jason with a gun to the Joker's Head [ONLINE]. Available at:http://2.bp.blogspot.com/-NRAKOdVLCR4/Vt_3MQ8mKSI/AAAAAAAAMoY/OFFyXUe6MMw/s16000-Ic42/RCO019.jpg [Accessed 27 March 2016].

Warner Bros. Animation, (2010), Jason with a gun to the Joker's Head [ONLINE]. Available at:https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGP5-9OkT06S6tCGli0_nj83_aSZ4DPpHMfDLl7Mz0ykYKrNe8iDSSjtruQ_pytuWamfxJlIOBlJMBpL8WR9Q4bY5cNHCt0swK1f2_muMXDWbqE0yOkbXSlNiy7lxIwzcDNi2wxEq_NPg/s1600/Batman-Under-the-Red-Hood-dc-comics-28417108-1280-720.jpg [Accessed 27 March 2016].

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