Out of all the New 52 Batman titles, The Dark Knight is the only one I never really got into as much as the others. The first volume collected entitled Knight Terrors was written and illustrated by Paul Jenkins but these issues were subpar and lacklustre and their artwork was mainly the most exciting part about the ordeal. When Greg Hurwitz took over the writing duties and Jenkins stayed as the artist, the second volume Cycle of Violence finally had more substance than its predecessor though their is uneveness in the characterization and the overall plot presentation.
Nevertheless, I was impressed that Hurwitz placed enough effort to tell us a gripping tale concerning the Scarecrow and his descent to madness which started with ab awful childhood. On the other hand, Bruce Wayne's love life was also touched upon when he started getting serious with the Ukranian pianist Natalya who seriously gave me Silver St. Cloud vibes. I remember enjoying a few parts in Cycle of Violence and as few as they are, I enjoyed them immensely and they have to be the character-centric moments in the volume.
Now, this third volume called Mad concerns the Mad Hatter himself, a villain in rogues' gallery I honestly did not care about as much. Much like with the Scarecrow, the same formula was applied. Readers get to witness firsthand the struggle and descent to madness that Mad Hatter experienced which somehow gave us insight as to why he is committing crimes the way he had been doing during the present. Basically, he is trying to recreate his happiest memory with his childhood crush Alice and Gotham has to suffer the unbelievable ways he inflicts his unique vision of horror on its citizen just to accomplish this. It really was the same thing as with the Scarecrow narrative in the previous volume about the child abductions although Mad had a much more satisfying pay-off and conclusion. If it wasn't for that vital difference, the two story arcs are easily interchangeable.
That would have been an unfair generalization though because I believe I much cared about Hatter's experiences which were bittersweet. And I enjoyed the Alice in Wonderland symbolism since I've always been an Alice fan myself. Artist Ethan Van Sciver delivered just as strongly as Jenkins did in the first volume. His body of work in this one was absolutely chilling in spite of the colorful panels depicting Hatter's ugly version of Wonderland. And the Hatter himself looks positively deranged. I wasn't into the Scarecrow sewing his lips shut in the last volume, personally and I like that the Hatter was drawn less conspicuously insane except for the close-ups of those weirdly spaced eyes. Those eyes completely creeped me the fuck out.
Bruce's relationship with Natalya has also reached its expected tragic and disastrous death. Natalya was after all the ghost of Silver St. Cloud right to her demise which actually made me feel bad because those precious small moments of Bruce finally telling her that he is Batman were just so adorable and it sucks hairy donkey balls that the moment he has let another person in is what cost her life. It was a nice change of scenery that was almost nostalgic; to see Bruce Wayne actually try to live his life outside of his vigilante calling. It broke my heart just a little bit to see him hopeful and only to have that hope bashed in its head. Hurwitz made it believable enough for me so when he flipped the fuck out by the last issue, I bought it.
As a standlone title, The Dark Knight can pull of stuff like this without affecting continuity in other titles so don't expect Scott Snyder to talk about Natalya in his own Bat-run because she only existed in TDK, much like the nefarious and city-wide crimes committed by Scarecrow and Mad Hatter in their respective volumes are exclusive to TDK. There's a bonus story in here called Once Upon a Halloweenabout a night with Penguin, Scarecrow and Mad Hatter which was rather interesting to say the least. I was baffled by it but I nonetheless thought it was quirky and fun to see these villains painted in such a light. So, overall, The Dark Knight volume 3: MAD was a great improvement from the last two volumes combined. I certainly hope Hurwitz would continue this upward projectile in his next collected volume which I will get around to reading and reviewing next.
I finished the first volume of The Dark Knight series earlier this month, which was misleadingly entitled Knight Terrors penned by David Jenkins. I felt good about the fact that I decided to review it as a volume and not as individual issues because the first nine collected in Knight Terrors weren't exactly top-shelf quality.
The most memorable moments of that book were also its most horrendously absurd particularly the creation of the White Rabbit lady who I disliked with fervor, something that even rivals my unending hate towards the Joker's Daughter. Pleasantly enough, this sophomore collection has a different writer (Gregg Hurwitz) though it's still illustrated by the same artist from the previous volume, the fabulous David Finch whose artwork is simply extraordinary. I think he remains as my favorite part of The Dark Knight title. Colorist Sonia Oback also helped in making every illustration shine for this volume which then in turn helped me enjoy what Hurwitz offered in the story department which was, in many ways, an improvement of Jenkins' run. Weirdly enough, there is no kind of connection between their works for this title so you can pick this up even without reading Knight Terrors.
I think that Gregg Hurwitz' Cycle of Violence was a polarizing collection, most notably because I sincerely believe that even though it has many potentials to become a fully-realized character-driven emotional story, the delivery and ultimate conclusion were a tad disappointing. In summary, this is a five-issued story arc concerning Jonathan Crane a.k.a the Scarecrow and his twisted plans involving the abduction and torment of young children in order to concoct and perfect his new brand of fear toxin. Meanwhile, Bruce Wayne is dating a Ukrainian pianist named Natalya who has expressed her disapproval over the fact that he is such an emotionally unavailable dud. But in spite of the obvious signs that this is a man who will never let her in, Natalya still wants their relationship to mean more than just keeping up appearances and the occasional shag. I didn't mind this angle of Bruce's story for this volume because I'm honestly still hangover from the unfulfilled and unresolved character arc about Silver St. Cloud from Len Wein's Strange Apparitions comics. I can't help but think about her while I was reading Natalya though this Ukrainian girlfriend is not as interesting of a character as Silver was. But Bruce's love life is not a subplot you will ever concern yourself with. The only reason I cared a bit was because I merely tried to draw parallels between this and that of Silver St. Cloud, but I was grasping at the straws about this one.
Still, this relationship drama does serve a real purpose to the plot, even if it's only to make some hollow connections regarding Bruce's inability to form healthy relationships with women he's romantically involved, and the extent of the childhood trauma he suffered. The zero issue included in this volume explored the ways he tried to cope from his parents' random deaths at the hands of the mugger Joe Chill whom he confronts at the end of that issue. It's a classic tale we all know as Bat-fans, but the zero issue's take lacked any kind of new insight to this aspect of Bruce's tormented psyche. There will be many times when reading this volume that you'd wonder why you even bother but, unlike Knight Terrors, you get the sense that Hurwitz is trying to make you at least care about his characters from the way he writes them, often lavishly examining the childhood traumas incurred by Bruce and Jonathan which turned them into creatures drawn to the darkness as Batman and the Scarecrow respectively. There is a bit of indulgence and excess in how grim and tragic the story was told that it takes me aback half the time while reading.
I think Hurwitz is trying to put more emotional weight in his issues for The Dark Knight which is something I can applaud him for because previous writer Jenkins didn't even bother. However, the transition from Jenkins' loud yet empty showmanship of action-packed and needlessly out-of-character interactions to this serious and gritty yet ultimately unsatisfying psychoanalysis concerning two deeply conflicted men can be the most jarring experience you will ever had as a Bat-fan or casual comic book reader. Overall, I liked and disliked both volumes for varied reasons. The only thing they have in common is the concept (and flimsy deconstruction) of FEAR. Jenkins' angle was something more entertaining than Hurwitz' whose self-aware and verbose contemplations of how fear damages people can get tediously sentimental. I like my Batman stories emotionally resonant and character-driven but what Hurwitz offered is a bit much for me, I'm afraid. Let me give you some panels that I did like:
The finale issue #15 has the big confrontation which was resolved in the most depressingly hilarious manner that I almost wanted to laugh and cry all at once. That was the only reason why this volume is receiving the same rating as Jenkins'. That wrap-up did not work for me in any level. It was just so absurd and weird! Still, Scarecrow's send-off was handled pretty much as what you could expect. Villains will never get happy endings and it really is just a cycle of violence for them. I never really bought Hurwitz' interpretation of the Scarecrow a hundred percent because I felt like he was, er, "wussified'. Hurwitz presented a Scarecrow who is just a scared young boy underneath his sewed-up lips (ugh, what is up with Bat-villains mutilating themselves lately? Everyone's an aspiring Victor Zsasz). I did like the fact that one of the children he kidnaps has developed Stockholm Syndrome for him and tries to justify his actions even after she was recovered by the police; it was pitiful. Small father-son moments between Bruce and Damian were also great. David Finch's art is the real main attraction for The Dark Knight series, nevertheless. I can still recommend this volume but you better prepare yourself for its very dark content that has a tendency to become emo-ish in some aspects.
RECOMMENDED: 7/10
Reading all New 52 Bat-titles this year is self-obligatory which was why I knew that I was going to pick this up--granted, later rather than sooner because I was quite aware of the lukewarm response a lot of fans and critics share when it came to Paul Jenkins and David Finch's first nine issues collected in this particular volume misleadingly entitled Knight Terrors. It took me only two nights to finish this entire thing and even while I was midway through, I was already patting myself in the back for making a wise decision to simply review it later as a volume as oppose to the usual per-single issue quota that I've been doing since April. And I'll tell you why:
Knowing that the quality of writing for this one was subpar due to my research on other comic book websites, I decided that The Dark Knight might be best reviewed as a collected work for the most understandable reason ever: I DO NOT WANT TO REPEAT THE SAME INCIDENT WITH TONY DANIEL'S DETECTIVE COMICS which, if you've read my reviews for each of his issues in that title before, WAS LIKE WILLINGLY STEPPING INTO A CIRCLE OF HELL TO GET NEEDLESSLY TORTURED FOR A SIN I HAVE COMMITTED IN ANOTHER LIFE. It had been such a depressing week for me since I read Daniel's run last month, and I vowed from then on (after deciding to read and review his second volume as a collected work though it was already too late by then; the damage has been done) that I will NEVER READ AND REVIEW whatever heavily criticized Bat-title INDIVIDUALLY again. Hence why I am only posting this review for the first volume and for the second one before the year ends. And boy, I can't tell you how relieved I am right now while calmly typing this review.
Just like with Daniel, the quality of artwork for this title was the only best thing it had to offer consistently. Jenkins and Finch's nine issues were beautifully drawn with luscious illustrations colored splendidly. I loved Finch's depictions of Batman in a lot of panels and there are strong visual choices that really made me pause reading (which is probably not that difficult to do, mind you) just so I can stare at a particular landscape or an entire page filled with the most minuscule yet interesting background details. There is a great energy and motion in Finch's art that I admired all the while the writing end of the spectrum made me laugh so hard aloud once or five times while reading. And this is actually a good thing for me. The writing wasn't shitty enough if I compare it to Daniel's which HAD NEVER MADE ME CRACK A SMILE. Jenkin's writing at least made me throw my head back and laugh. And that's because the first five issues of this volume are "RIDONCULOUS" which is an adjective I hope to never use again and yet it seemed to be the best one to describe what I just read in their scope, dialogue and plot. I even screencapped some panels and posted them on my Goodreads notes because I felt the need to share to the rest of the cyberspace the absurd bullshit fun I was reading.
My favorite moments include that roided-up Clayface-as-Joker hugging Batman ("Come on, hugs!" he says which made me almost spit out the coke I was snorting drinking); and that random shot of Batman HOLDING A FUCKING ICE CREAM CONE which Alfred had given him one night while they were talking about the mission at hand. I will forever wonder what happened to that ice cream cone. It was never shown again in the next panels. Did Batman just finish it in one gulp and not get a brain freeze, like the badass he is? Or did he spend some time licking the damn thing off-screen while he as inside the Batmobile? These are just the many questions I never thought I will ask and then get frustrated when they were never answered. And who am I to rob you of these pristine beauties? It would be an injustice so, here, allow me to bequeath you with the said panels:
A notable thing that I want to bring up for this volume is the fact that it made use of the Alice in Wonderland allegory which I was actually fine with. I'm an avid Lewis Carroll fan, especially his Alice character, and the fact that we have Mad Hatter as part of the rogues gallery here in Batman is a treat for me. However, I don't think Jenkins did a good job applying this allegory on his stories for this volume, especially his incorporation of the White Rabbit lady whom I loathed because she was so uncomfortably blatant in the pages. She's basically a sexy girl in a white lingerie and bunny ears, like some Playboy knock-off prancing around coquettishly, making suggestive remarks to Batman about how far down the rabbit-hole goes. Her insertion in the issues was confusing and forced, and did not help me appreciate what I was reading, truth be told.
By the sixth to seventh issues where Bane was the focus, I was shockingly happy about it because I retain that those issues have to be the most enjoyable ones I have read for the volume--and judging from my previous review of the Knightfall Omnibus volume one last July, y'all should know that I am not the biggest fan of the venom-totting guy. That said, I loved Bane and Batman's confrontational fight scenes, and the tonality of the dialogue sounded better too whereas in the previous five issues they were often out-of-character (most particularly Gordon's. He's a bit weepy and clingy with Batsy, by the way. I don't understand why he's acting like some scorned ex-girlfriend or something). The eighth issue was plenty of exciting read too with a few moments to criticize in between. Again, we get another Alice allegory but it was pretty acceptable with the plot. Finally, we have the Night of the Owls tie-in for issue #9 which I remember reading way back so I didn't bother reading it again because I also recall it was one of the weakest of the tie-in bunch too. So that's Knight Terrors, ladies and gents.
With a fabulous artwork by David Finch, the volume was a visual achievement but the writing by Paul Jenkins and Finch themselves lacked any kind of memorable moments except those that were utterly ridiculous and out-of-character. Still, there is some potential here and pieces of the plot that can be salvaged and improved upon. Since I didn't have to individually examine each issue, it helped me enjoy even the most irritating bullshit this volume offered, hence why I can give it a generous rating below and just happily walk away so I can start reading Grant Morrison's New 52 line-up for Batman Incorporated by next week.
RECOMMENDED: 7/10
When I picked up the current run for Batman: Black and White two months ago, I first read the fourth and fifth issues because those were the only available copies I could buy at the time. I received the latter issue more warmly than the former, to be honest. Basically, B&W is a collection of flash fiction concerning Batman and these stories are drawn in pencil illustrations as the title suggests. I have always been intrigued with the concept of writing and drawing Batman in black and white like a Japanese manga so I was very excited to get started with it then.
This very first issue is composed of five stories. Familiar names from the credits have already jumped out once I started reading, particularly Chip Kidd, Neal Adams, Joe Quinones, and Michael Cho. I claimed that the fifth issue is my favorite yet and this one comes close second. In fact, the overall visual look and feel for this is the most impressive and dynamic. Cho, Adams and Quinones' sketches understandably stood out to me the most. The range and detail of their illustrations are just exquisitely rendered page after page.
The most notable of the three has to be Neal Adams' whose art may be drawn in lighter shades than the other two but is probably the most detailed of all. He not only illustrated the story but he also wrote it, and it was a social commentary that questions Batman's heroism and symbol of justice. It was my favorite story out of the five because it forced me to question again the limited scope of Batman's ability to fight crime. Sure, he battles a colorful array of deadly villains and targets and destroys organized crime in Gotham City--but how about the small injustices that occur in the daily lives of its citizens? Neal Adams' story gives us a glimpse of how much Bruce Wayne himself as a person of immense wealth can also make a difference beyond being a vigilante.
My second favorite story is the one about Harley Quinn and Poison Ivy as drawn by Joe Quinones, who is one of the artists for Batman '66. His visual style had a groovy vibe to it which suited the comedic narrative pretty well. It was definitely reminiscent of both the sixties Batman and Paul Dini's animated series, and it's quite an irresistible combination. The other three stories were enjoyable too, but these two are the ones I favored the most. I only hope the next issues will be commendable collections as well.
RECOMMENDED: 8/10
I had the most difficult time thinking about if I will recommend this to anyone but the answer, as it turns out in the end, is a resounding YES--but with some reservations that need to be expounded upon. This review will serve to do just that. I feel like I should tackle the good and the bad of this package on equal terms, seeing as Batman-Superman is a very polarizing New 52 title so far but I also believe that it's getting some undeserved hate or complete dismissal from most of the hardcore comic fanbase. I can get behind their reasoning because those are the same reasons that let me down when I read this first volume (collecting issues #1-4 and JLA #23.1). However, it's not entirely irredeemable.
It could be a matter of taste, and a matter of a different perspective because I confess that I could give writer Greg Pak a pass with this line-up but still be more critical with his other run, Action Comics which stars Superman since my expectations has more weight with the latter. I think that my state of mind going into this collected volume affected my overall judgment which also helped my enjoyment of the story and characterization. I would also want to disclose that I'm a Bats-Sups shipper (I adore their relationship, platonic or OTHERWISE) so that bias is my rose-colored lenses while reading this.
Nevertheless, I would still remain objective in this review because I don't want to give misinformation to anyone who is interested in perhaps giving this a try; as you well should. It's not everyone's cup of tea but it might just be yours so don't dismiss it based on the very negative reviews you may have encountered.
THE BAD
The direction of Pak's writing is something that doesn't fit from what you might expect in a tights and cape comic book. This for me is actually okay but I do acknowledge that the delivery of the plot and characters as a whole can be the most jarring and nonsensical thing ever produced on a superhero story yet. The first four issues deal with more character exposition which for someone who likes that sort of thing would easily get into it, but might be detested by readers who expect more from the plot development. However, I can't even say Batman-Superman is a character-driven story because I don't think the approach has been done well in the four issues I've read. There are paper-thin moments among chief characters and some interactions do feel quite stiff. As for the plot in general, this is the most aspect of this volume that has been criticized and rightly so. Truly nothing remarkable happens in the storyline for the the four issues (and arguably nothing at all). The action sequences can feel diluted too when you don't know what the hell is supposed to be happening at the moment.
In addition to this, the Batmen and Supermen of two worlds don't really have much impact to the storyline. They serve more as chess pieces to a bigger game that they're not actually going to be players of; at least that's how I viewed it. This is easily frustrating then, because this is the World's Finest we are talking about; a pairing of overwhelming strength and legacy most especially when you have them together, fighting for the same things. I never get a sense of that urgency and awesomeness for the four issues and it therefore made the plot even more underwhelming when it reaches its conclusion. My review for issue #4 was particularly lukewarm. I was unhappy with how it wrapped up. It was already in a shaky ground to begin with and then we get that kind of pay-off which isn't satisfying at all. Sure, I could give a pass because history dictates that most World's Finest stories haven't been in any kind of superior standard in comparison to other DC titles (Green Arrow-Green Lantern issues are more exciting and the more commendable superhero pairing, truth be told). But with the New 52 launch, I've always maintained a gravity of expectations that have been fulfilled by other titles (Bat-family mostly) so I wanted Batman-Superman to be one of those. In some aspects, it was.
THE GOOD
A great number of comic book readers will agree unanimously that Jae Lee's artwork is the most amazing thing about this volume (even those who don't consider Lee to be one of their favorite artists in comics right now have some good things to say about his style and layout). I admit that this is the second draw for me when I bought the volume. The majestic cover depicting Superman and Batman together that resemble a huge statue of some kind in real life is just so damn visually pleasing to look at. Lee's uniquely styled illustrations and quaint structural panels got me through reading the issues, and even increased my enjoyment some more because his drawings are just an adventure to peruse through by themselves.
As I've said before, being a Bats-Sups shipper makes me giddy over anything that includes them both in the pages (I'm prepared to enjoy the Dawn of Justice film coming out in 2016 only because I'll finally get to see live-action Bats-Sups together on screen). It's an added bonus that other JLA members are not in focus (sure, Wonder Woman makes an appearance but she hardly does anything substantial except fight pretty which is saying something horrible about the writing as well). My favorite moments will always be the character monologues between New 52 Batman and Superman that highlight how much they don't like each other and cannot work together, and that flashback sequence where we find out how Earth-2 Bats and Sups became besties in childhood. This is why the third issue is my most favorite of all because it made my shipper heart skip several beats while reading. But again, this is a very subjective way of reading Batman-Superman that you will not share unless you consider World's Finest as a great pairing in general (which I do and you don't need to agree with me because I frankly won't give a damn if you don't).
Finally, I think it's worth mentioning that this volume has got to have the best bonus material in the last pages. New 52 DC titles lately when they go deluxe or hardcover editions would only feature variant covers (maybe a copy of a manuscript for a select issue) and that's it. But with Batman-Superman, we get pages of the writer and artist talking about the process of writing and illustrating their issues. It's a great read because you get an insider's look on how a comic book is made. It features the pencils stage for Lee's artwork all throughout while we get interviews from the people who worked for this title discussing the decisions they've made and why they chose that layout or panel sequencing, etc. For this alone, I'm glad I bought the volume.
FINAL VERDICT
However, don't buy the volume if you're not completely a DC fan, particularly of Batman and Superman together in one book. I still recommend you give this a chance and read it but not own a hard copy yourself because I don't think you will get your money's worth if it turns out this is not your cup of tea. Even though I'm giving this a better rating than most, I still have several things I dislike about this volume but they are ones I could overlook. But you might not, so that's an important difference between you and I.
Well, this is unfortunate. The last two issues were great follow-ups to the lukewarm premise of the first issue but this one, which concludes the story, is not as spectacular as I hoped--and the shameful thing is it could have stuck its landing if only it didn't succumb to a mediocre resolution that was so predictably bland that it deeply saddened me. Greg Pak's Batman-Superman run has potentials but I felt like the writing is not pushing itself enough to stand out and truly make a statement. I'm one of those fans who consider the World's Finest pairing to be the best thing there is in comics, but it's fair to say that their titular team-ups haven't always lived up to the fanfare.
Not everyone likes World's Finest storylines though or consider them their cup of tea, even among hardcore fans of either hero. I can understand why most would overlook or despise altogether this New 52 title because history of Bat-Sups team-ups outside JLA have proved to be disappointing.
Issue #4 could have defied that long-held belief. It certainly had the makings of it. I cannot emphasize more just how enjoyable and insightful Pak's characterizations of the Batmen and Supermen have been, even if the plot was wearing rather thinly. This issue has exposed those flaws more than ever which is why it failed to deliver a satisfying conclusion to an otherwise intriguing premise. Jae Lee's art was also the perfect complement to Pak's meditative monologues and narrative, making the story visually engrossing even when the possibility of the pacing dragging has always been present.
I'm just really disappointed that Pak decided to close with that cliche of an ending. It completely undoes all the build-up he had established in the last three issues. The most redeeming part of these four issues will always remain the characterizations and interplay between Batman and Superman, both in their respective counterparts for New 52 and Earth-2. I could tell that he did put a lot of thought and care in making sure that he is able to write their relationship with the emotional weight and resonance that these two amazingly complex characters and allies deserve--and that is all I could really hope for as a fan. I believe that Batman-Superman team-ups should happen more frequently and with integrity.
The very set-up of this issue starts all right but it was really the ending that failed it. I can only hope that Pak works on his narrative framework and plot ideas more in the coming issues because I still plan to read more of this title. I'll be reviewing the collected edition Cross World first volume after this, in fact, because I would still recommend Batman-Superman to people but, in doing so, I feel like that it should come with a warning label so readers can calibrate their expectations better.
RECOMMENDED: 6/10
Okay, yes. The issues are getting better at least while the artwork remains remarkably superb. I think this third issue entitled Split Screen is the one I had fun with the most. We finally get the overdue explanation of the villain's motives and some action sequences in between. We get all the Batmen and Supermen in the same pages (whose interplay provided me with some amusing moments) and I think I can't remain too objective much longer because my shipper heart approves of anything BatSups together.
I honestly just bought and started reading this title because of that so please allow me this irrational fangirl moment at least before we get serious again. HOW CUTE IS NEW 52 SUPERMAN ACTING LIKE SOME SURROGATE SON TO HIS OWN OLDER COUNTERPART IN EARTH 2? Why does this make my insides gooey all of a sudden? Also, WHY DID MY SHIPPER HEART JUST SKIP A BEAT WITH THAT PANEL WHEN EARTH-2 BATS AND SUPS WERE REACHING OUT TO EACH OTHER AND WERE JUST ABOUT TO TOUCH HANDS BUT THEN THEIR NEW 52 SELVES WERE LIKE "BRO, DON'T TRUST HIM!" (Seriously, they shouted it in unison and Earth-2 BatSups just looked at them, dumbfounded, if not slightly annoyed, that their bromantic moment was interrupted).
That said, I'll try to contain myself lest this review becomes a saccharine indulgence of how much I "wuv Bats and Sups togther". There is an interesting shift in artwork here too that I thought was the most fantastic aspect of the issue. Drawn by artist Yildiray Cinar, Superman of Earth-2 had a flashback sequence pertaining to the first time they met.
It was the sweetest thing in the world, really. Alfred drove to Smallville with young Bruce (for some unexplained and unimportant reason, OKAY?) and their vehicle broke down so he was working on fixing the engine when young Clark spots Bruce in the car and asks him to play baseball with him (because, in his words, "I have never seen a car so big and a kid so...sad" SHUDDUP CLARK YOU ADORKABLE THING!). And then Jonathan Kent steps in when he saw the kids not getting along that much but Alfred tells him that it's going to be okay. Everything about that flashback might as well be a fanservice to anyone who adores Bats and Sups together as much as I do (if not blatantly SHIP THE FUCK OUT OF THEM as much as I do). I don't want to give too much of this flashback away but I will say that I love the idea that in this parallel world, Clark and Bruce are childhood besties and are therefore supportive of each other as the World's Finest heroes.
This, understandably, confounds the shit out of their New 52 counterparts who are still annoyed and distrustful towards each other. I think it is disturbing for them to see their counterparts have so much faith in one another. Given that these versions of Bats and Sups have found each other at a young age and have been inseparable since, it's probably the reason why both of them have a well-adjusted and harmonious relationship as superheroes.
Meanwhile, our New 52 Batman and Superman have grown fearful and angry of their own shadows. Both lost their parents tragically (yes, Clark's parents for the new continuity got killed in a car crash he was unable to prevent, if I'm recalling correctly). Instead of helping each other heal, they are antagonistic against one another. But I think seeing their counterparts as better men in every way is also making them question and re-think about their own relationship (or the lack thereof).
Anyway, I need to stop talking about my DC OTP because I don't want you rolling your eyes at my obsessive fixation on them. Not everyone enjoys Bats and Sups together since most fans of either heroes have some sort of competition going on with who's better and whatnot. I will say that this issue ends with a revelation as to why the villain felt the need to make these four superheroes meet each other under such dire circumstances--and it's a pretty good one, I think. I won't spoil here. I might just in the next one, though.
RECOMMENDED: 9/10
Now this is more like it! It's always great to have lower expectations every once in a while with a comic book, especially when your feelings for its premise issue are only lukewarm, and Pak's Batman-Superman is exactly that for me. Nevertheless, this follow-up issue entitled Double Time had a good pacing and narrative to it that kept my attention in place while reading. I'm not really sure about the purpose of the plot here yet but in the meantime, I'm completely eating up every character interaction between the Batmen and Supermen.
That I think is the overall strength of this issue. As much as I'm still unconvinced about the way Pak is weaving the plot (if there is even any at this point), he's surely doing a great job making me care enough about the contrast and conflict between the two different versions of Bats and Sups. I may have a softer perspective going into this, seeing as I'm quite an avid shipper of BatSups (because anything about them together is immediately my cup of tea). Objectively speaking though, Pak's Batman-Superman wears thinly in some edges, sometimes even indulgent with the character focus as oppose to the story it's supposed to be telling. Nevertheless, if you just adjust your perspective a little and enjoy the ride for what it is instead of reading too much into the details then I suppose this could be a lot of fun considering there are genuinely touching moments for this issue, particularly when New 52 Superman meets another version of his parents, the Kents, from Earth-2. I thought this was warm and poignant.
Meanwhile, New 52 Batman was more unexpectedly quick-witted than Sups, being able to make sense of where he has been transported to and how best to react to it with a clearer sense of objective. Both Batmen are intrigued by the scenario at hand and are more willing to cooperate even if they are wary of each other. This is not the case with the Supermen, at least on our New 52 counterpart's side. He's curiously paranoid, if not a little envious, of his Earth-2 version. Earth-2 Superman is the very epitome of nobility and heroism as we know it--although there are a few noticeable cracks in that armor. I get the sense that his inscrutability is an indication of something underneath that's less...Superman-ish. Yes, I don't know else to put it. I just think that New 52 Superman's distrust toward his counterpart is justifiable. Surprisingly enough, I think new 52 Superman is the most dynamic of all the characters. I appreciate the rawness of his youth and impulses. I love how lost and unsure he is of himself. It reminded me so much about Superboy which is oddly endearing somehow.
In addition to this beguiling dynamics among the Batmen and Supermen, Earth-2 Catwoman, Lois Lane and Wonder Woman make an appearance and that's pretty cool. I especially took note of New 52's awkwardness toward Lois since he's just friends with her in his world while she's clearly (and always been canonically) Superman's girl in this parallel world. I also laughed a little that New 52 Superman is obviously smitten with Wonder Woman (who apparently he has yet to meet in our world? Considering I believe the timelines more or less pre-JLA, I could get on with this). They would later on hook up in the New 52 continuity which I still feel weirded about but I'm not ready to talk about this just yet.
Can we talk also about New 52's T-shirt and jeans costume for Superman at this point? It's quite cute and very hipster. He can't fly yet as well, just leap which is like a callback to old-school Sups back in the first few years of the golden age where he has yet to have a more nuanced backstory. So far, I'm still liking Pak's Batman-Superman. We get a better sense of the villain here but I need more details which will hopefully be provided in the next issue.
RECOMMENDED: 8/10
Understandably enough, I had my reservations when I bought the first of Greg Pak's run of Batman-Superman issues. But, just like with Before Watchmen: Ozymandias, Jae Lee's art style has caught my eye. Indeed, the cover for this issue is something very majestic to look at. Besides, I have always liked Superman and Batman together even when it's just in theory. The contrast between what they stand for as heroes and how they became heroes is something that keeps their interactions interesting and tension-filled for me. But again, I did not have any sort of high hopes for this run (even if I did enjoy the annual issue of this run which I read and reviewed two months ago).
It was surprising then that Cross World had a great premise and storytelling potential to it after all. Visually enhanced by Jae Lee's incredibly unique art composite (there are great panel designs here that made me go "ooh, that's creative"), Pak's story is more character expository than plot-centered. I was really more intrigued with New 52 Bruce Wayne and Clark Kent here. They're obviously very prejudiced toward each other. There was a lack of respect in both their parts bred out of sheer pride and an unwillingness to see the perspective of the other. I'm...liking that angle. When they did put on their costumes and had a fight, I enjoyed the series of their respective monologues that contradict and disagree with each other.
I suppose it's really the character dynamics and construct of their personalities that reeled me in for this issue (aside from the illustrations). Speaking of which, the last few pages had another artist who worked on it, Ben Oliver. The change from Lee's art to his wasn't jarring at all, considering the circumstances of how the plot progressed later on. Basically, our world's version (the New 52) of Batman and Superman were transported to an alternate universe (otherwise known as Earth-2) where they meet their more mature counterparts who are long-time allies and best friends. New 52 Superman lands in Smallville and meets the Earth-2 Batman who used a kryptonite to get him to calm down. New 52 Superman is obviously not pleased. He's fairly young too and volatile--not a trait I would associate with Superman EVER, really, so I kindda started calling him 'Superboy' while reading to myself. But then again, if you've been following the new Action Comics, then the characterization for today's Superman makes perfect sense. So I can live with the fact that he's...less attuned with what he stands for (truth, justice and the American way) since he's still coming to terms with who he is as a man with such godly powers. There are now flaws to him that I think are written in to make him more recognizable to a new audience. After all, he's always been criticized as being a paragon of perfection which is more of a bad thing than a good thing for Superman bashers out there because to them, it makes him 'unrelatable'. I personally understand the complaint but I don't share the extreme dislike or disregard over Sups. I love Sups, not as much as my Bats, but he's quite important to me too nonetheless. Superman represents an ideal that we should all aspire to live up to, but yes, I think I would appreciate his character to be more nuanced, to be more flawed. And Pak does write him like a young man in his twenties with lots of repressed rage and self-doubt. It's refreshing.
Still, the concept is working so far. The villain here, some trickster god, is yet to reveal the motives for transporting Bats and Sups to Earth-2 but I'm sure that will be the focus of the next issue. Overall, a rather compelling premise so far. I'm loving the artwork because it's just so freaking gorgeous. And I like tension and loathing between New 52 Batman and Superman. I'm definitely interested to see how they would react to the different versions of themselves in another world.
RECOMMENDED: 7/10
I've read my share of World's Finest before and the real draw for doing so was the chance to see Superman and Batman join forces together and fight crime. After all, they're more at odds with each other than any other tandem I have encountered and yet it surprisingly works, most probably because, like any successful partnerships, they balance one another's strengths and weaknesses. My interest is always piqued whenever it has something to do with "BatSups" because I am not ashamed to say I ship them in so many different ways. So I was eager to get my hands on this New 52 title, particularly because of the artist credited, Jae Lee.
I have endured the ridiculous and wordy narrative of Before Watchmen: Ozymandias because Jae Lee's art makes it all worthwhile. And seeing his distinct style in a Batman-Superman comic had been so stimulating as I browsed through the pages. Granted, this issue is divided into three acts and Lee only draws the first one. But the first act has a very sleek panel layout and Lee made most of the mold he's been given, creating a certain chic smoothness in his illustrations of the characters. His art style can make even a masculine hero's every movement seem graceful and refined, and that is exactly how Superman and Batman looked like as they glided across the sky. Even when these hard-muscled superheroes fight, they fight pretty. That's the enchantment of Jae Lee's art.
As for the story, this issue is titled Arena and is actually a sequel that is better than the issue it followed. It starts off comfortably bizarre at first; the garden-variety alien life-form threatens to extinguish Earth if the world's two greatest heroes don't heed their demands. In this case, both Superman and Batman were asked to have a plus-one; a sparring partner, if you may, for a grand tournament in the skies. Superman picks Supergirl while Batman picks Red Hood and the two youngsters could readily be fast friends. This is actually the first time Kara and Jason Todd meet and I look forward to their next interactions. With only 39 pages, the challenge for this issue is to play out the small battles with a convincing gravity even with its limited length--most especially the final one with Team Superman and Team Batman on each side. Their fight serves as a distraction as two other accomplices try to dismantle the weapon that will supposedly obliterated the planet.
The great thing about Arena lies on its tiny, moving moments such as the strained way both Clark and Bruce try to keep things professional and yet each other's baggage manage to burden the other no less. Superman's empathy for Batman's personal losses is quite endearing to watch unfold, considering that I have always believed that Krypton's last son, in spite of his eternal optimism, can understand Batman's choices and state of mind more than we give him credit for. This is highlighted in the climactic scene where Batman fails to save someone as Superman looks on, recognizing that every death that his partner could not prevent has the ability to destroy him a little.
RECOMMENDED: 8/10
* Arena is an enjoyable ride with a simple yet elegant plot and an impressive breadth of art style within its 39 pages.
Batman continues to remain a household name because of all the superheroes from comics, he's the one who gets the most film, television and game adaptations, more so in the last few decades or so. Every era has its own special flavor of Batman. These days our Batman is marked by the Nolan franchise--a proper dark knight who is brooding and always intense; plus the New 52's revamp of this same gritty package by a roster of great writers like Morrison, Snyder, Finch, Fabok, Tomasi, etc. My Batman definitely has to be the nineties version; with Tim Burton's films and their gothic influences as well as Paul Dini's amazing and critically well-received animation series. These are the two distinct Batman flavors I mainly subscribed to.
But there was a spectacular time in the sixties when Batman became a television phenomenon and captured the fancy and affection of children and adults in a way that is uncannily unparalleled to this day. The Adam West and Burt Ward version is all kinds of campy and clean fun and may come off as a dissonant echo to a younger generation, considering its general tone is a mixed bag of patronizing, self-conscious and cheesy exposition, dialogue and performances. I stumbled upon online copies of the episodes about four years ago and I admit that I was so shocked and disgusted by the comedic style of the show that I put it aside just as quickly as I have watched the first four episodes. I came back to it later on with a more nuanced understanding and appreciation of the history and progression of Batman as a pop culture symbol, and finally acquired the taste necessary to embrace this version.
I was therefore very thrilled that DC decided to take this risky venture to bring to the comics pages the sixties version that, although may still have a strong following and demographic, is not the most popular version of the Dark Knight these days. The project could have fallen apart easily but it's a damn good thing it didn't. Now on 35 issues, Batman '66 has flourished well and is still going strong. It's all thanks to the earnest and enjoyable prose that main writer Jeff Parker put into each story, and the illustrations drawn and composed by Jonathan Case, Ty Templeton, Joe Quinones and many others who have brought a freshness and vibrancy to the narrative that truly brings back the nostalgia and quirkiness of the original television series. The first volume collects the five issues of the line-up, and have varying degrees of humor and wacky formulaic storylines that would take anyone back in time when comics are supposed to make you laugh and relax you.
Comics have come a long way, sure, but there is no shame in going back to its simpler roots during its most idyllic times and Batman '66 proves that you can relive the magic and fantasy of your childhood superheroes all over again. This is a magnificent project I'm glad they have pushed through. The sixties version may not be my Batman but it does speak to me in some artistic level; the overall atmosphere and sensibility of this collection has the perfect blend of style and substance. It doesn't take itself too seriously but it also doesn't insult the readers' intelligence. I'm happy to have reviewed the second, third and fourth issues individually last month. And I cannot wait for the next collected editions to come because Batman '66 will always have a place in my bookshelves as well as in my heart.
RECOMMENDED: 10/10
*With stories infused with a great sense of comedy and ferocious flair, this is a Batman that will baffle, entice and tickle you in all the right ways.
It occurred to me that it would seem unheard of for anyone to read a Batman comic book these days and laugh as they peruse through the pages. There had been too much straight-edged drama in Batman's stories in the last two decades or so and anyone's exposure to this superhero is through the beguiling yet harrowing Nolan movie trilogy which is no laughing matter at all. I don't think anyone in my peer group even knows, let alone appreciate, the sixties' interpretation of the caped crusader and his old chum, the Boy Wonder.
And now that I'm at the fourth issue of the Batman '66 series, I realized that there's nothing inherently wrong about turning a comic book into the 'funny pages' it used to be, certainly not when head writer Jeff Parker and an interesting roster of artists and other collaborators have come up with something that takes you back in time when everything about a work of art doesn't have to be so damn complicated and depressing for it to be taken seriously by its audience.
That's not to say this is meant to be taken seriously because the purpose of Batman '66 series is to entertain more than anything else and nothing has captured that aim than this fourth issue. Batman and Robin (with Alfred) go to England to solve crimes perpetuated by the flashy Mad Hatter and the anal retentive Clock King. Hilarity ensued in the most organic sense and though the dialogue is often cheeky and has a slight tendency to break the fourth wall, the stories remain refreshing and clever, enabling readers to see the comedy and absurdity of being dressed in a bat costume with a teenage sidekick as you fight convoluted schemes and crimes by equally ridiculous villains. But there is also some depth to the humor in which Parker demonstrates whenever the villains get to express their philosophy (whether it's Mad Hatter insisting that one's choice of head-dress says something about human nature than they would care to admit; or the Clock King illustrating that one's awareness of impending mortality is not to be taken for granted) that actually makes Batman '66 almost sublime.
I wouldn't want to oversell it, though. This clearly is something of an acquired taste if one is so used to the darkness that surrounds Batman and his rogue's gallery. As for myself, I believe it was a bold move for DC to pursue this title in the first place even if its target demographic may not be my generation at all. Still, I believe that it does have a strong fanbase somewhere and I am proud to say that I'm lucky to be a part of it. This is an ingenious accomplishment for Parker and the artists and I have high hopes that this series will only get wackier and funnier every step of the way.
RECOMMENDED: 8/10
Reading Batman in comics, especially keeping track of his New 52 line-up titles, is not always an enjoyable experience because the tone and atmosphere of most of his stories these days can be depressing as hell. Watching the Nolan trilogy wasn't fun either. They have made the cinema experience of Batman so stressful. Even Paul Dini's writing in the Arkham games is gritty and this was the same man who created and perfected the balance of campy and serious elements in Batman: The Animated Series.
So my generation has been pretty much saturated with the darker inclinations when it comes to Batman narrative and storytelling in its present-day adaptations which is essentially harmless if you're a devoted fan like me. But playing Batman so straight and broody has a tendency to alienate potential fans who might always see Batman as the less friendly choice of superhero. Not everyone can get into the gritty aspect of his character and story after all, so even I was grateful that DC released the Batman '66 issues because the world still needs the idyllic and iconic interpretation of Adam West and Burt Ward, alongside the show's writers, who have made the Gotham's caped crusader accessible and entertaining in ways that even the Nolan or even Tim Burton films can only dream of captivating its viewers through such an endearing and quirky presentation that was once a national phenomenon back in those days.
The third issue of this readily lovable series is once again composed of two stories (written by Jeff Parker), like the back-to-back episode format of the actual show. In The Joker sees Red, the clown prince of crime is introduced to the villain Red Hood (if one can remember Alan Moore's The Killing Joke or at least Burton's 1989 film , you will get the importance of this reference). Harley Quinn herself makes an appearance but only as her former psychiatrist persona in the Arkham Asylum--a character originally created in the nineties by Paul Dini for the animation series BTAS (so she should look out of place in the '66 era and yet it still worked). These clever shout-outs are simply fantastic to read since it manages to pay tribute to the well-known elements of the Batman mythos. These characters were incorporated pretty well into the story too, and the Joker is just as colorful as he used to be (minus the crazed anarchist angle popularized by Heath Ledger). The story ends with an ominous note but even then you don't feel a great sense of danger where people will meet tragic ends because that's not what Batman '66 is all about. It's about Batman halting villainous schemes and putting the bad guys in chains and behind bars, while making the chase absolutely fabulous and thrilling along the way.
The second story, Batman Scrambles Egghead is so far the one that really captured the cheesy, laughably self-aware (if not slightly meta) dialogue that was recognizable in the Adam West show itself. A villain you can't take seriously because his name is Egg-Head decides to capture Batman and Robin, suspend them from air while inside a huge, transparent egg container and watch them fall to their deaths. It sounds horrific in theory but since this is Batman '66, the villain does not get to kill anyone at all but he does revel in a cringe-worthy amount of 'egg' puns that's enough to make you want to punch him yourself. I had to stop reading once in a while just to laugh because I could literally hear West and Ward speaking the words themselves and that really took me back from when I was watching the show for the first time.
Both Joe Quinones and Sandy Jarrell's artwork in the Joker and Egghead stories respectively are very lovely to look at. The vibrant and loud colors were wonderfully mixed within the pages as well, almost ready to jump at you at any second. Every Batman and Robin illustration while they're in action is just memorable to look at, giving readers a heightened sense of adventure all throughout the issue.
RECOMMENDED: 10/10
* My favorite issue so far. This one is a bag of fireworks. There is an instant magnetic pull page after page after page.
I started watching the Adam West show four years ago when I was lucky enough to find access of the episodes online. It took me a while to appreciate the campiness and the hilarity of the series' tone especially since I was born into a generation where BTAS and the Nolan films are my primary sources of Batman. I was shocked to witness the ridiculous nature of the 60's Batman and I was almost ready to give up on it. But six episodes in and a spell was suddenly cast upon me and I started to thoroughly enjoy what it has to offer. And that is why I was very pleased when I found out about these comics based on the show. I couldn't get enough of the holy goofiness so I bought four issues without a second thought and then I started to get comfortable with what I was about to read.
I couldn't find the very first issue so I settled for the second one. I'll be buying the collected issues in a convenient deluxe edition soon enough, though. But for now, I'm content to review the four issues I have bought first and see how it goes from there.
There are two stories for this issue. The first one is about the unlikely alliance between the Penguin and Mr. Freeze as they claim a giant iceberg as a sovereign nation. The other is a villainess who uses mind-control through belting out powerful vocal chords that puts any man within earshot under her command. Yes, both are utterly insane plots but that's just part of the package. The look and feel of the panels produced absolute eye-candies, and the dialogue is sly and sleek. And that's the most magnificent thing about the Batman '66 line-up so far for me; both the writing and the art are able to capture the magic of its times; the wackiness of the plots, the over-the-top fighting sequences with the "pow" and other cheesy sfx you can imagine; and of course, the idyllic and charming Batman and his old chum Robin who still manage to make themselves come off dignified in spite of the absurdity of the situations they have to deal with.
If you haven't watched the show itself, this will freak the hell out of you so I suggest you acquaint yourself with some available clips on YouTube before you dive right into it. This is not the Batman we grew up with or have seen in the movies nowadays but this is still a classic version that you will find very addictive to subscribe to. I like my Batman dark and broody as the next fan but it's such a relief most times to just sit back and relax into a Batman story that doesn't have to depress you, and is actually just pure, unadulterated entertainment that even the rest of your family can enjoy.
RECOMMENDED: 8/10
*Flashy and uncomplicated, this issue doesn't hold back punches and can transport you to a simple time where heroes can fight crime and still be well-adjusted, and where villains are kooky and have a sense of flair and style.
This was a definite improvement from the last issue, I can tell you that much. The five stories enclosed were written with a more convincing premise and a fairly justifiable resolution. Batman Black and White as a title is supposed to compose of self-contained stories or anecdotes revolving around Gotham's caped crusader and/or his villains, or even his interactions with the common man or the garden-variety thugs he hunts down at night. The last issue suffered the usual faults faced by writers when it came to the flash fiction formula where delivery is often a hit and miss because you are only given a short amount of space to properly convey a story with a precision and this could potentially reveal the weaknesses of your storytelling structure.
But this issue just shows that flash fiction, when greatly nuanced despite its brevity, can leave readers with a sense of contentment even if what they read only happen for five to six pages (since this is a comic book, the visual presentation is considered; but in mere prose writing, flash fiction can vary from one sentence to half a page of paper). With that said, the stories for this issue must therefore be commended, as well as their collaborators.
The reason the formula worked for the five stories in this issue is because they focused primarily on what-if scenarios that were delivered with an awareness of the Batman mythos; especially on how Batman operates both as a crime fighter and a man with a secret.
The stories all presented situations that long-time readers or fans of the Bat have contemplated or talked about at least once, like how does the presence of Batman affect your average gangster; what other tricks does Batman have under his sleeve in case of emergencies (e.g. having his secret location discovered and how he would deal with it); does Batman stand for more than just the punishment for crime--is there any other way he could make a difference even just as Bruce Wayne himself?
These are a handful of scenarios that the five stories were able to tackle, and that is why this issue of Batman Black and White was insightful in the best way you could imagine, and has left me with a lingering satisfaction once I finished. It's worth noting that therein lies the beauty and challenge of writing a flash fiction; the limitation of the literary style strips all the other gimmicks a writer could employ to make his narrative effective. And when done well, like in this issue, it becomes absolutely impressive.
RECOMMENDED: 8/10
* I'm reserving a perfect score for the upcoming issues but this one has raised the bar and set the standards for me.
