Superman/Batman: Public Enemies (2009)

The title sequence for my film, Superman/Batman Public Enemies, is an all-digital sequence for an animated movie. It uses lots of bright, primary, flat colors. It focuses mainly on the colors most heavily associated with its two main characters; red, blue, white, black, and yellow. The sequence uses iconography associated with the characters that appear in the movie such as the bat icon of Batman and the stylized “S” for Superman. Another visual theme throughout the sequence are strong diagonal lines to insinuate action. In addition to these, it teases the appearance of Captain Atom, another DC character, by showing a 3D rendering of an atom using his colors. The sequence also heavily features American icons such as the flag, the silhouette of the White House, the Statue of Liberty, and the use of generic stars throughout. Although the visual elements are simple, they are effective in communicating the visual style of the movie to come and act as a hook for the viewer.

The title sequence alternates back and forth between transitions, where all the elements move in sync to give the appearance of camera movement, and shots where only some of the elements on screen move. The transitions are engaging and fun to look at, but when only some of the elements on screen move it’s not as entertaining. Also, I think that some of the more static shots are held just a bit too long for the amount of text on the screen.

The last visual component, the type, is probably the least bold. The typeface is a font that looks stenciled and is either black or white depending on the background. I understand that its primary function is to convey information but I still think the font is boring. It also just sits on the screen. It doesn’t interact with any of the other elements and it isn’t presented in a very interesting way. 

Starkly contrasting the bland font, the music sets the tone as well as any of the visual elements. The over-the-top dramatic tone fits perfectly with the animated style. It has a percussive rhythm that drives the sequence forward without overpowering the visual elements. It synchronizes with the visual elements when the true title card appears, and the main phrase of the song begins. Overall, the music is the best aspect of the title sequence but it works well with the visuals and the mood is clearly established by these elements working together. 

When all of these aspects are considered together, the title sequence is a good segue from the opening of the movie to the film’s main body and establishes a clear mood and energy through its bright colors, strong diagonal lines, interesting movement, and percussive music. While overall, it may be a bit too long and has some boring type choices, it still accomplishes its goal in establishing several key tonal aspects of the movie.