Batman by Scott Snyder issue #33, ZERO YEAR

I need to make a formal announcement so listen up. Since I started my Batman comics diet three months ago, I never thought I would have come this far and finish reviewing a hundred-plus individual comics issue and graphic novels, let alone realize that there are possibly a thousand of ways I could love my dark knight, the watchful caped crusader and protector of all things noble and true--my bold, beautiful and brilliant Bruce Wayne, the one and only Batman. 

But I am going to make it to my self-imposed deadline by the end of July, and I can honestly say that through this quest I have earned a more nuanced understanding, appreciation and respect for Batman after my consummate reading of his New 52 and some old continuity material. I sampled him in his very roots and though I'm satiated and brought to the best geekagasms imaginable, I know that I will relentlessly crave more of him. But I need to wait for two months before another Bat-feast. In the meantime, I'm finalizing all my last reviews for my Bat-diet. And what better way to close my epic adventures in Gotham's landscapes that than to review Scott Snyder's final issue for his Batman: Zero Year saga, an otherwise unexpectedly well-executed origin story that started out as a tribute to Frank Miller's Year One but had since then continued to branch out and re-define itself as its own self-made masterpiece and, to my mind, is undoubtedly one of the classics-in-the-making as far as Batman stories are concerned.

Granted I still have the Knightfall series volume 1 to follow up after this but I believe that Snyder's Zero Year is a more personal story to me that is emotionally resonant in a way that defied all my expectations. It's definitely the one thing I would like to mark my Batman diet's end of an era with. So let's get right to it. I suppose this will also include my overall insights on Zero Year as a series in retrospect, and not just for this issue alone.

In line with the 75 years of celebration for Batman's existence as one of the most majestic gifts the human imagination has ever conceived, I thought it was quite poetic that Snyder and co. decided to explore and re-tell his origins for this generation, employing the elements that not only suited the mainstream and contemporary demands of the comics medium, but also to ensure that the quality of this new Batman mythology will still weave the precious quintessential facts and lore we have come to know about the Dark Knight. Year One is the inspiration though Snyder did not shy away from heavily incorporating the gritty ideas found from Christopher Nolan's movies (even Tim Burton's fairy-tale-like visual concepts, and a dash of noir from Paul Dini's The Animated Series, as well as a surprising Adam West's sixties show flair mixed in for good measure). The result is a rich tapestry of in-depth historical examination of what Batman stands for and why he will continue to live on close to a century or so.

This is the twelfth and last issue of the saga and unlike the two story arcs that Snyder graced us with (The City of Owls and Death of the Family), the resolution for Zero Year is unlike the former with its questionable intent and the latter which lent itself to ambiguities that almost diluted the pay-off itself. I'm pleased to say that this one stuck its landing quite fairly with an impressive balance of length and quality in between which was established right from the beginning issues (#21-23) and finally to this end. Sure, there have been complications and unevenness to some details and choices in the plot (notably issues #26 and #27 and some parts of #29) but when Zero Year is really good and at the top of its game, its excellence just shines through readily (issues #24, 25, 30 and 31 come to mind when I say this). 

There won't be any spoilers for this issue because I can't discuss any more of the details unless you have been in this journey for me (or about to start your own if my review/s convinced you which I sure hoped they did SO DO IT, READ ZERO YEAR!) Before I give you my main points on why I recommend this series for you, even if you are indeed a non-comics fan but at least enjoy Batman as a character, I will leave you with this exchange between Alfred and Bruce Wayne which I think summarizes the great burden that becoming and choosing Batman entails:

I recommend this series for three reasons:

• You're a long-time Batman fan and you probably had this on your bookshelf for a while, waiting for the series to end and making sure the reviews are positive: Fear not, Bat-geek. You won't be disappointed when you get around to reading this, preferably by also dropping everything right now and just go for it!
• You only knew and enjoyed Batman through television or the Nolan trilogy: This will definitely be a good side-by-side comparison with Batman Begins which is essentially a great origin story for Bats. However, Zero Year offers more nuanced characterizations, plot lines and callbacks to previous adaptations in all mediums that Batman had embodied throughout the years. There is a strong cinematic style in Capullo's illustrations that will be visually appealing as well.
• You want to start reading comics and Batman is a superhero you hugely favor and you want to start from the beginning: Though this is the New 52 where DC comics in general have been rebooted, I think Zero Year is a great place to start with in correlation to the classic Bat origin story Year One. It makes little difference if you decide on that one or this one first as long as you BOTH read them.

RECOMMENDED AS A SERIES: 10/10

* Read all my reviews for ZERO YEAR issues here

Batman by Scott Snyder issue #32, ZERO YEAR

"Maybe that's what Batman is about. Not winning, but failing and getting back up. Knowing he'll fail, fail a thousand times, but still won't give up." ~Bruce Wayne leaving a message to Alfred

Just, wow. This is the second to the last installment of Savage City and we only have one issue left to go before the grand finale of Zero Year as a whole. I just looked through the DC website for the release date and it will be on July 23. Once again, it'll be a double-sized issue which means extra pages as oppose to the standard count of 32. Speaking of which, how come this one is only composed of 22 pages? 

The last ten pages were a preview for a Grayson comic book I was not made aware of until now. I think the fact that the pages were shortened has some sort of effect to the overall quality of this issue's story. I'm not saying this issue failed to captivate me unlike the last one because, at this point in the game, Snyder and co. are definitely bringing their A-game consistently. But there is so much room for more in this issue that could have used those last ten pages to establish a stronger narrative. I don't know. This is supposed to be the second to the last issue and yet the level of intrigue and suspense when you reach the final page fell a little bit flat for me--which is weird because those last pages and the middle ones (arguably or so, I still couldn't get over the fact that the Riddler has robots; has he ever been into gadgetry?) are probably the most enticing parts of the comic book. But I digress.

Let's talk about the cover first. Batman is celebrating its 75 years of existence and I believe this cover is specifically in tribute to that. The stylistic approach to the art may be contemporary now but the meaning and message behind it is reminiscent of the old covers where villains entrap Batman using some elaborate weapon of some kind.  But unlike the old covers, this one has more definitive sleekness and tamer colors to it. I love the angling of the question mark (and, ehem, those purple gloves that Batman wears are sexy to me somehow) and that the Riddler was comfortably positioned below, looking up at Batman with an expression that I assume is a very smug one.

So back to the story. I was okay with the pacing but the great reveal in the middle (which I feel like I shouldn't discuss because it's a really major spoiler) somehow undoes whatever suspense was built up in the earlier pages. I feel a bit cheated with it even thought it proves once and for all that the Riddler plays mind games with a sheer audacity and scale that makes me want to kick him repeatedly in the crotch. I never considered him a favorite but I do enjoy his presence in Zero Year because he manages to be both vile and charming. But yeah, I still want to kick him.

My personal favorite part of the issue comes from this page:

I've been so lost in the story and action in the past issues that I overlooked Bruce Wayne's character development in all of this. This page alone I believe indicates just how far he has come from the early issues where he is angry and vindictive because finally, he understands that being Batman is not some sort of mission to avenge his parents alone. It's not just about striking fear in the hearts of criminals. It's a true act of altruism foremost where he has to stop being just a man with a haunted past but become more of an unkillable ideal that lives on for hope's sake. Bruce has acknowledged that he wants to be a hero, one who is flawed yet determined to stand back up again in every failure. He has acknowledged that this isn't a self-serving mission he is carrying out; being Batman also means championing the citizens of Gotham; showing them that there is always going to be a fighting chance in hell as long as you keep holding on to the belief that the darkest of times will always be followed by the brightest.

It's really hard to believe the journey in Zero Year is coming to an end soon, and that it managed to stay strong this long. I'm very honored and happy that Snyder and co. have a level of dedication and understanding about Batman and his representation to fans like me, and that they are writing and illustrating those things with poetic grace the way they have in this marvelous saga. 

RECOMMENDED: 8/10

Batman by Scott Snyder issue #31, ZERO YEAR

The comic book medium is a rich tapestry that combines the elements of storytelling narrative and visual artistry so in reading, reviewing and appreciating the content of a comic book issue, one must never neglect to take the aesthetic appeal that complements the written passages within. Scott Snyder's Zero Year issues have been widely acclaimed not only for its scope of story but also the splendid collaboration among Greg Capullo (penciler), Danny Miki (inker) and FCO (colorist) to produce some of the most engaging and stunning artwork and illustrations that truly capture the essence of Snyder's stories as they come to life in the pages.

Another thing to commend for this saga are the covers which range from minimalist depictions of objects to beautifully detailed portraits that have symbolic meanings. The cover for this issue, the second installment for Savage City, falls on the latter category. One of the most iconic images of Batman is whenever he's standing on a skyscraper somewhere, his figure but a shadow across the ominous dark sky. However, in this cover, we see Batman crouching almost in defeat on top of a gargoyle that is covered in shrubbery while the sun sets on his side. Batman has a bow but no arrow which could indicate his aimlessness as well. It evokes an emotion of hopelessness as if Batman himself has been weighed down by something so heavy he can't stand anymore. And yet hope is on the horizon as signified by the sun rising. It's really a moving illustration and one that paints the events inside this comic book issue so accurately.

This has got to be the most exciting issue since #24 of the Zero Year line-up. Batman is on a roll here, using only his resourcefulness and physical durability to outsmart and outplay the Riddler. The issue almost feels cinematic in delivery; with each scene focusing on building up suspense before the full-scale action that comes next. Lucius Fox, Jim Gordon and Batman assemble together to take down the Riddler which means they need to play their cards right. First on the agenda is to locate him so they can confront him--and boy it ain't an easy task, not when Batman has to perform a riddle in front of Nygma and stretch the conversation for NINETEEN FUCKING MINUTES until Fox finds the exact location of the Riddler's lair while Gordon climbs a tower to boost the tracker. And those nineteen minutes consisted of really witty dialogue and a what-the-fuck-ery moment when Batman ends up getting ejected below to face TWO LIONS. And yes, you are not mistaken. I did write that sentence in all seriousness.

I mean, I mentioned before in my review of the last issue that there's something very fairy-tale-like about the Savage City arc, and now we get something medieval when Batman has to fucking wrestle lions while still waiting for Fox to locate that goddamn signal. My only issue has to be that moment when Gordon jumps down from the tower to help Batman out. HOW HE SURVIVED THAT FALL WITHOUT ANY BROKEN BONES is beyond me but I can overlook that, er, defying act of physics, because I just enjoy the mental sparring occurring between Edward and Bruce as they try to psychoanalyze each other. Batman hits the mark but the Riddler doesn't which is understandable. Who would've guessed that Batman is no other than the orphaned and prodigal Wayne heir who came back after being presumed dead? I wouldn't be able to make that connection but I did expect the Riddler to be smarter which only goes to show that when it comes to human beings, he treats them as games not puzzles which is why he might not ever figure out who Batman is. It's absurdity at its finest, managing to be over-the-top yet very entertaining anyway. Let's look at some of the illustrations, shall we? Like Batman wearing a tight shirt over his body while riding a motorcycle (because hot damn, am I right?):

Batman drinking gasoline and using a lighter to spray fire on a lion's face:

And Batman wrestling the burned lion (poor baby):

If you did not enjoy any of that, then you have no soul.

There really is nothing more to say. This issue has great suspense, pacing and visual style that once and for all prove that Scott Snyder and co. know their material well, and how much more they can tweak and add a little spice of their own that will be satisfying and engaging for Batman fans. I can't believe we only have two more issues of this left!

RECOMMENDED: 9/10

Batman by Scott Snyder issue #30, ZERO YEAR

When I pulled out this issue from its protective plastic, I went giddy over the fact that the Batman title was embossed, and that there's the "75 years" logo in the corner which just reminded me that the utter magnificence of this childhood hero and favorite superhero of mine of all time has quality to back up its longevity. So, understandably enough, my fangirl heart was ever pleased to peruse through this issue, and there are many great things I enjoyed about this comic--and a few nitpicks that I'll just get out of the way real quick because I can wholeheartedly say that the good has outweighed the bad in this continuing saga of Zero Year, and this time we enter the first installment of the Savage City arc, which is also the last arc of ZY.

I take my Batman very seriously especially with New 52, a continuity that is still rather shaky in some of its crucial landings for the most part (I'm honestly getting tested with some other titles, like JLA, Teen Titans and Action Comics, which are mixed bags of awesomeness and weird shit), but I'm quite happy, nay, even proud to say that Scott Synder's Batman run is one of the DC titles of the new continuity that is trying to be consistent and excellent in every creative decision made. Now I know there are two to three more issues to go but I can already say that Zero Year is my most favorite saga from Snyder's run.

Issue #30, Savage City part I opens up with a dream sequence from Bruce Wayne. He wakes up from that and finds himself in an almost fairy tale-esque setting: Gotham City is presently infested with shrubbery and forestry (thanks to Pamela Isley's plant formula which the Riddler stole) while its despondent citizenry haplessly shuffle through their lives, waiting for a hero who has only woken up, and one who is still unsure how to undo the terrible 'curse' that intellectual narcissist Edward Nygma has cast. Looking through the illustrations, my mind just started having nostalgic recollections of Sleeping Beauty and it certainly fits the atmospheric tone and mood of the entire issue.

This is the foremost reason the storytelling itself spoke to me resonantly. I love a murky setting which most fairy tales have, especially when there's the general good and evil forces thrown into the mix. Nygma as the Riddler is a pompous, self-serving man who claims to have the higher ground by challenging the city to 'get smart or die', taunting them to one-up him through a sick game of riddles. So far, no one has defeated him in this mental battle and this is definitely the side of the Riddler than I can get into because Edward Nygma had always believed he is intellectually gifted and it distraught him to be surrounded by lesser minds. This riddle game of his is also his way to show off and make people around him inferior which definitely strokes that bombastic ego of his. The expanse of the artwork and illustrations by Capullo, Miki and FCO are (and I cannot stress this any more than I already have since the beginning of Zero Year) is sheer perfection; the attention to detail and coloring are staggering. Each page is just so full of lush; even the grittier action sequences look pretty.

Now for my nitpicks: it's rather simple, really. WHAT THE HELL HAS ALFRED BEEN DOING WHILE BRUCE WAYNE/BATMAN IS BELIEVED TO BE DEAD? I refuse to believe that all he did was sit on the bat-cave, just waiting. Alfred is such a vital character in Batman's rich history, and I wish Snyder gave him a more important role in this issue in light of Bruce's absence. I could totally picture him taking the reigns, picking up on where Batman left off because he is equipped with military weapons at his disposal in the bat-cave anyway so why the hell not won't he keep the spirit of Batman alive? Heck, Jim Gordon is running around, trying to figure out a way to get the citizens free out of Gotham. So why is Alfred just sitting around there? He's no feeble old man. He's always had more teeth than most butlers in the fictional universe of comics. That's a missed opportunity there, Mr. Snyder. If Alfred took the cowl for himself temporarily, this may lead to him understanding why Batman is relevant to Gotham. He may be more inclined to finally accept Bruce's choice to become a vigilante. But nope. That's not what happened. It's a minuscule detail but one that could have been produced a really amazing character exposition.

That's really my only nitpick for this issue. Other than that, the first installment of Savage City has an even brisk pace that sets up the pieces before they are maneuvered across the board for hopefully a great match of wits and endurance between Batman and the Riddler for the upcoming issues.

RECOMMENDED: 9/10

[New 52] Batman by Scott Snyder issue #29, ZERO YEAR

Oh my, this is a polarizing issue. It's a bag of almost even pros and cons. It's as if for every great thing I could praise it for, I could easily follow it up with a criticism of either a related or unrelated nature. Still, this very last installment of Zero Year's Dark City is a proof that I can enjoy a Batman story, be endlessly entertained and/or driven to near-tears because of poignancy, and still be able to zero-in on its flaws.

Here is the bottom line though: this issue is amazing even if it stuck its landing rather shakily at the very end. There are great storytelling moments and symbolic imagery here that one can only expect from a great team-up that included a writer of Synder's caliber whose vision is brought forth by the complementary styles of artists Capullo, Miki and FCO. Overall, the art composition is once again unparalleled and I think I should make a general declaration that each Zero Year issue had been a visual adventure of the highest level of quality and excitement (even the weakest of the bunch, issue #26, even had its thrills). The minimalist covers also need a much-deserved shout-out because it's the first time that I encountered superhero comics (but I'm basing this on my 30% quota of comics read in general) that don't overdo the message on their covers to get attention. They've been very atmospheric and non-deceptive (which some comic book covers apt to do to sell copies), which only reels in readers because they promise a sense of not only danger but mystery.

That said, Zero Year had its share of downs. The first three issues (Secret City) challenged Snyder and co. to set up important pieces before they go in motion for the next installments, often favoring emotionally-nuanced characterizations than action-oriented sequences to tell the story, which eventually paid off when Dark City's issues #24 and #25 rolled around because these two are definitely the best of the series for me because all that build-up I witnessed on the first three arcs was realized in their well-balanced and tantalizing pages. However, there had been pacing issues on #26 and #27 (the former suffered anti-climactic brevity, while the latter suffered having too much story to tell with little room to expound on them). And then we took a break from the series to get a sneak preview of Batman: Eternal for issue #28 which was quite an effective decision for readers to truly look forward to this double-sized issue #29.

I think I should start pointing out the flaws for this issue before we get to the good stuff because I quite frankly don't like to bitch about things I didn't like in a Batman story because it's often the imperfections of a literary work that enhances its own strengths as well. My first nitpick has to be the threads scattered in each issue that somehow loop together in this story at last (the Tokyo Moon song in #27, the military crater now-confirmed flashback in #25) but whose punch might not have its desired impact if this series is read monthly (which it was, I was lucky enough to read them all together by now) because you might have to pick up the last issue to remember what the reference pertains to. I have some stuff to say about this later that are leaning more on the positive side, though, so let's skip that and go to my second nitpick: the villain monologue-ing of Doctor Death. It's just ridiculous! Snyder seems to have a knack for having villains make speeches in places where Batman can't possibly hear anything they say! They're also needlessly verbose and their length sometimes rob what could have been a punch to the gut if written and delivered shorter. I still get the point of Doctor Death's story (and I did talk about how completely one-dimensional he is in his first appearance in #26) but it's hard to care about him anymore when you know he'll probably die after Batman wraps up the fight.

My third nitpick has to be the shock-value scenes like the Bat-blimp, for example. In the right context, flashy and daring gadgets from Batman can be acceptable and even overlooked (like, say, in Batman '66 because that's the era where campy is part of the appeal). In a serious, gritty story like Zero Year, it just feels like it's trying too hard to pay homage to a certain time in Batman's mythos that are dissonant with the tone of New 52 Batman. So I didn't quite like that, especially when you only see it for at least four pages. Lastly, is how much we don't get that much Riddler. I don't consider him a top favorite from the rogues' gallery but I wish he gets the spotlight soon, considering this is his elaborate scheme Batman has to clean up.

So those are my criticisms for this issue. Now let's get to the good stuff because what's the point of reading Batman comics if I don't get to fangirl about why he is the greatest superhero of all time for this geekily in love Bat-fan? First, the Frank Miller homage for The Dark Knight Returns. You know what I'm talking about: the intimidating shadow of Batman posed to kick ass as he jumps in the air against the lightning that etched the ominous sky. Here Capullo shamelessly gave us a full-paged illustration. Secondly, the gorgeously colored and highly-detailed scenes on the fight scene between Bats and Dr. D, and the depiction of Gotham City in ruins and its residents struggling to stay alive. Thirdly, and probably my most favorite of them all, are the flashback scenes concerning Bruce and his parents. The very first page shows a man with a gun which turned out to be just a recruitment poster of the GCPD task force. Synder made that conversation between young Bruce and his folks so endearing and sweet, even though their impending deaths are coming on crime alley later on. And then we cut to the last pages of the issue where Capullo spliced scenes from Batman howling in anger and despair as he sees Gotham fall into chaos while he can't do anything; and young Bruce watching his childhood crumble apart as his parents are murdered in front of him and no one is there to help. It was breathtakingly poignant; the desperate vigilante and the scarred boy coming into focus all at one in that sequence. One seam was unraveled, a trigger was pulled, and everything has never been the same since.

Now I talked about Doctor Death's villain monologue earlier and how exasperating it was to read it but the message was certainly resonant nevertheless. Doctor Death talks about the song "Tokyo Moon" that soldiers in World War II would listen to and whose title some of them would carve into their helmets to remind them that someone out there is watching and keeping them safe. But Doctor Death negates this, seeing as he lost his own son, the solider from the military crater flashback from a previous issue, from a tragic encounter in the desert so he reasons out that the moon we see in the sky is not a reassurance of hope but just a blank, hollow circle. No one comes to save you. When you die, you'll be all alone.

While I was reading this, I know I was going to tear up if I allow it. The message may be sort of heavy-handed but if you're a long-time and fiercely loyal Batman fan like I am, you will see the connection instantly. Doctor Death's soliloquy might have been the inspiration behind Batman using a bat-signal as his calling card. It's not just to remind criminals that the Dark Knight will punish them; it's also a symbol of optimism that gives Gothamites faith that someone is going to save them. They will not die alone because someone will fight for them. Bruce knew firsthand the harrowing experience of having no one in the world to help him during the bleakest time of his life, and so he made vow in honor and memory of his parents' deaths that no little boy or girl or ordinary citizen will taste that bitter pain for themselves, not on Batman's watch.

I'm sorry, I'm going to cry now for a bit before I resume typing.

[short pause]

And we're back. So those two things are the best features for this issue. For those alone, I would have rated this issue a perfect score but I won't because it did have those problems I talked about that a less emotional Batman fan will be uncomfortable with, or couldn't just let pass. But like I said, the bottom line is that this last installment of Dark City was at least emotionally satisfying for me even with a couple of misses here and there that are mostly technical or have grating implications (like that big-ass Bat-blimp. I mean, Bruce Wayne has made a donation of blimps for the city so how the hell won't the GCPD make the connection sooner or later that the prodigal Bruce might also the caped crusader since his return and Batman's appearance are already so perfectly timed together? Wouldn't that make them incompetent imbeciles if right after Zero Year wraps up, they won't follow the lead on that Bat-limp?) But I digress. It has been a great ride that didn't disappoint fans (and only annoys every now and then but only when you really nitpick), all thanks to Synder, Capullo, Miki and FCO. We are now entering a new arc for Zero Year called Savage City and I am clearly, deliriously excited for what's to come after the climactic events I just read!

RECOMMENDED: 8/10

*Only one in the roster of brilliant issues of this saga that continues to impress and set the high bar for writing Batman stories that should not only be thrilling but also humane.

[New 52] Batman by Scott Snyder issue #27, ZERO YEAR

While the last issue had problems with pacing and visual detail in which it simultaneously lacks the suspense and action sequences previous Zero Year issues were able to deliver, Batman issue #27 is jam-packed with too many things going on for a standard comic issue release. The wondrous action sequences at the beginning were appropriately reminiscent of Frank Miller's memorable confrontation scene in Year One in which Batman is apprehended by GCPD. The visual work for this scene done by Capullo was once again in a league of its own, especially with FCO's quality and level of color palette that are bursting with flavor and variety. They were by far the best action scene in Zero Year series, even surpassing that A.C.E Chemicals fight scene between Batman and Red Hood in issue #24.

Nevertheless, the pacing for this issue's narrative suffered because of the unevenness to it in general. Right after that massively enjoyable action-laden pages, we get a lengthy expository flashback courtesy of Jim Gordon which wasn't that interesting and quite cheesy. I have expressed before that I wanted to know why Bruce Wayne hates Gordon's guts and it strangely has something to do with the trench coat Jimbo wears around (which was supposedly a pay-off; which means Gordon is a corrupt cop). It was a great idea in itself but Synder took too much time and effort justifying Gordon's side of the story which made him come off as naive and completely wet on the ears. You would think that he would play it smart when he was confronted with a morally ambigious situation (as Jim Gordon has done countless times before).

And yet in that flashback sequence, we get a totally inexperienced cop who should have known better, given that he wasn't that much new to the force in the first place. It just felt wrong to me, that whole thing about Jim threatening to go to the media on his fellow cops who are corrupt and could have killed him on the spot (and they should have too! Gordon was not a Commissioner yet; he was a low-ranking officer at the time.) Again, that flashback exposition only confused me as a reader (not to mention it was a mouthful to read for something Gordon narrated while he and Batman and are escaping from the GCPD).

My most favorite part of the issue is definitely the conversation between Bruce and Alfred later on, which is just as wordy but has more substance than Gordon's flashback story. I think we need to quote Alfred's brilliantly insightful if not absolutely masterful analysis of Bruce's psyche at this point:

"Watching you these past weeks, I see that...you weren't suspicious of me because I'd turned you in [just like] other times in the past. And you're not suspicious of Gordon because you think he's crooked. You're angry with us. All of us. You were a little boy, all alone in that alley, and no one was there for you. Not me, not Gordon, not your fellow Gothamites. And not Batman. Now I'm very proud of what you've become, sir. But I fear that deep down, you're doing this all, being Batman, as some way of punishing us. By making us BEAR WITNESS."

That last part "You're punishing us by making us bear witness" was just chilling, no? At this point, Bruce is being vindictive; his true motivation is tainted with his unwillingness to forgive humanity for abandoning him as a child. As punishment, he wanted the rest of Gotham to see the creature of darkness they turned him into. It was really a punch to the gut to read that, to have that spelled out for me as a Batman fan who had always considered him as an epitome of goodness, justice and hope. Synder wants to send across the message that Zero Year is a portrayal of a Bruce Wayne still trying to salvage what was not completely damaged inside him as a young boy, trying to overcome all the demons in order to become the symbol he was meant to represent as Batman--someone of unyielding strength and dedication to all things that are worth most fighting for.

But aside from the fantastic action sequences at the beginning and this ridiculously on-the-spot monologue from Alfred, this issue isn't the best that the Zero Year series has to offer. The last scenes are most commendable though because it finally ends the Dark City segment and we are finally thrust back into the Riddler storyline. However, readers who have read each release monthly will have to wait some more since the next issue is a preview for the new Synder series Batman: Eternal. 

Way to keep them wanting and coming back for more, guys.

RECOMMENDED: 8/10

[New 52] Batman by Scott Snyder issue #26, ZERO YEAR

It recently just occurred to me that while Snyder's Zero Year series is an ongoing monthly release, I have the advantage of being able to read them continuously by now because I have all issues at my disposal (#21-#31) so I wasn't one of those fans who had to wait every month for the next installment. This also means that I'm in the best position to notice whether or not the pacing of the story for each issue has some kind of discrepancy, either in style or composition.

My reviews for the previous issues of Zero Year so far have been optimistic and I tend to rate them with an almost perfect scoring. The first three issues (21-23) have a great narrative scope to them so I was very generous to discuss its impressive accomplishment in structure and content. Meanwhile, issues 24 and 25 were probably my instant favorites of the series so far since they were the most exciting and daring, rife with deft characterizations and overall intrigue.

However, this issue definitely sets the pace a little slower, pulling back from the most riveting of the set pieces (the Riddler's grand scheme; Gotham blackout) in order to nuance the relationship dynamic between Bruce Wayne and Jim Gordon and give us a worthy distraction in the re-imagining of Batman's first villain in the Golden Age, Doctor Death. These two things are the primary things that were explored for this issue, Dark City II. Before I get to that, let's discuss first the breadth and quality of Capullo's art for this issue.

It's personally my least favorite issue, visual-wise. Capullo had always been an artist who thrives well in background detail and lush landscapes but most of the panels for this issue seem to lack that trademark. I did enjoy the film-reel feel of the flashback pages, though, and the fading and almost brownish tinge of coloring to them that were marvelously done once again by FCO.

Now onto the story: I found Doctor Death to be quite menacing but was still not a fully-formed villain with clear motivations. He braced through the pages, all scary as fuck, but I was not overly concerned of what damage he can do. I was more interested with the reasons why there is a blatant resentment on Bruce's part towards Jim Gordon. In fact, that's probably the only thing I was invested in while reading. It was quite a shocking turn of events too, and I want to know about Jimbo's own side of the story.

Overall, this issue does come out stale when you compare it to the previous ones, but the action-oriented sequences are still great to see, especially right at the end when it seems like Batman is done for good.

What issue #26 did promise is the follow-up to the Bruce-Jim Gordon character arc which I hope will be in the next installment. This was, after all, set in the early years before they formed a strong camaraderie, and I'm more than eager to read about the humble beginnings of that friendship that is both still familiar based from what was established in Frank Miller's Year One and new as far as Snyder's own take goes.

RECOMMENDED: 7/10

[New 52] Batman by Scott Snyder issue #25, ZERO YEAR

I need to have a good talk with my lacrimal gland so it'll stop secreting tears every time I read Batman stories. I mean, it's getting embarrassing by now; it's just a good thing I'm all alone when I read comics. But before we get to the part that made yours truly weep like a helpless little bitch again, let's talk about this blackout issue for Zero Year which is also the second installment for the Dark City story arc. I would also like to comment on the covers for this saga, by the way; the cool, minimalist style since issue #24 has really captured my heart.

So the issue begins with a flashback (at least I assume it is) where a bunch of soldiers in Nigeria uncover a secret door in the desert sand. This could easily be a flash-forward though. There is just no way to tell, really. But I did like that it opened with this scene because one would assume that we will immediately be transported to a darkness, considering the citywide blackout from last issue. It's yet another way of subverting expectations which Snyder and the gang has been very good lately, writing and art-wise. After that baffling scene, we then cut back to the GCPD chasing down Batman because any law-abiding officer in Gotham will waste their time trying to apprehend a 'freak' in a costume instead of maintaining the peace among citizens.

But that's okay because Batman showcases a very flashy batmobile that "leaps" like a motherfucker! I was okay with it because it was a callback to the absurd vehicles Batman used to drive around during the idyllic Adam West time. It's also in line with the fact that Bruce Wayne has yet to become a stoic crime fighter, and so it makes sense that he would enjoy driving this kind of batmobile around. Just look at this fucker:

Weirdly enough, the colors look wrong. For something that's supposed to be flashy and campy, I would have preferred they use a vibrant color like red or yellow. That's the first complaint I have with FCO's coloring and trust me, it will be my last.

Going back to the story--well, not yet because I have another thing to comment on. I noticed that since Zero Year's conception, it would start like a slow burn, and they get away with this pacing because Greg Capullo, artist extraordinaire, illustrates like an angel sent above! He's just so good with landscape detail and panel styling that you could even pause for a while in understanding the story so you could appreciate the art. FCO's colors are such an eye-candy too! The continuous blend of pink, yellow, orange and green is the prettiest palette I have ever seen in comics. Okay, let's get back to the story. I apologize if I'm reviewing sporadically by now but there are just so many things to point out and praise for this issue.

So anyway, the goddamn story. We finally get more appearances from Jim Gordon, then lieutenant, and Harvey Bullock. They investigate a creepy-ass crime scene where a man's bones LITERALLY STARTED SPROUTING BRANCHES. And sure, whenever we talk about plant life in Gotham, one villainess comes to mind easily. But Pamela Isley (future Poison Ivy) makes an appearance here but as a research assistant broken up about her plants getting destroyed. She simply provided a witness account about a man in a trench coat entering the premises earlier and that he looks 'skeletal'.

Meanwhile, Bruce and Alfred make their own progress (or lack thereof) concerning Edward Nygma and a former Wayne scientist Karl Helfren who could be the same trench-coat-wearing skeleton who inflicted unsuspecting current Wayne scientists with a serum that fucks up with the DNA chemistry of their bones. The goal of this serum is to make bones tougher which could be used by the military to safeguard their soldiers from bullets. But just like any progressive scientific discovery too ahead of its time, the scientist who founded it goes freaking mad and starts using the serum for less noble reasons.

Alfred comments that Bruce has enough vital information to give to the GCPD but Bruce flat-out refuses, saying that no one in that department is worth a damn. He was climbing out of the bat-cave (because he has yet to make architectural changes for his operation base at this point in time) when he encounters Jim Gordon waiting for him on the other side. The dislike on Bruce's part for the lieutenant is palpable. And it seems to have something to do with his parents' death. Gordon looks apologetic enough, trying anything to reach out to Bruce, but the latter not only gives him the cold shoulder but even had a swarm of bats attack Gordon briefly when he clicked on that sonogram switch from his pocket the moment Gordon tries to look into the hole leading to the bat-cave. Talk about resentment, jesus!

I'm gonna stop right here and not expand on the scenes too much because I feel like I might give away something substantial to the plot. But so far this is an exciting jump for the series. We have yet to see the Riddler again but we did get tons of other cameos like from Poison Ivy and Lucius Fox. There is a prominent horror theme to this issue too that seems to hit the right notes, thanks to the sly writing from Snyder and the forever gorgeous artwork from Capullo that makes the pages come to life. I'm intrigued for the next installment since this issue ends with an unbelievable cliffhanger. And what did the soldiers find inside that secret door in the desert? Does it have something to do with the evil unleashed in Gotham?

Before I end this review, I think it's worth talking about the part that made me tear up again, right?

Well, it was another short fiction at the end from Snyder and Jason Tynion IV called People in the dark. It centers around young Harper Row and her brother Cullen during the blackout. Their father just walked out of them for the zillionth time that night, so Harper was left to assure Cullen that the only reason he's afraid of the dark is because it makes us imagine the bad things that could be there. She argues that our imaginations always make us assume the worst that we fail to acknowledge the good things. Harper also adds that Cullen is afraid because in the dark, he couldn't see her, but she maintains that she will always be there--and so would the unsung heroes who face the fear by themselves for its ordinary citizens and try to be the beacons of light for them. While she was saying this, we get a full-spread of Batman, the Flash, Green Lantern, Green Arrow, etc. fighting the good fight while out in the dark streets. It was really enough to make my tear ducts act up again.

I gotta say, I enjoy small yet personal stories like this a lot, and Snyder has never failed to deliver especially when he works with Tynion IV who seems to like writing in supporting characters into Batman stories. Overall, this is an issue you need to read for yourself to understand why Synder's Batman line-up is one of the best titles DC has to offer for New 52.

RECOMMENDED: 9/10

[New 52] Batman by Scott Snyder issue #24, ZERO YEAR

"My parents' death may have been meaningless, but their lives were anything but. It all might end up at any moment for any of us, in violence or not, but what matters is what we do before that: the lives we lead."

Scott Snyder neatly wraps up the three-part story Secret City of the Zero Year saga last issue with Bruce Wayne discovering through divine intervention what he needs to be in order to fulfill his destiny; and that is to become a bat. These issues were gorgeously crafted, utterly visceral in illustrations and with a writing that's respectful of the previous origin story established by Frank Miller in Year One, but still also manages to be formidable and original on its own.

I trusted Snyder all throughout Secret City even as he gave us a Bruce Wayne who is selfish, deeply vindictive and cowardly because it was a necessary contrast to the hero he will be someday. Showing us the evolution and growth Bruce Wayne in his mid-twenties must undertake had enabled readers, long-time fans and newcomers alike, to appreciate that becoming Batman and maintaining that ideal and symbol is the hardest thing any superhero has ever done for seventy-five years and countless accounts and adaptation of this universal story about the courage of one young boy to overcome his primal fears. In doing so, he becomes a tempered steel, determined to take on a larger role to accept and continue his parents' legacy and the lives of the people in a city that has molded him into a warrior and its protector.

Now Snyder graces us with a 57-paged story (which could easily have been a novella), nourishes and sustains us the myth, and marks the first part of Dark City in which Bruce finally becomes Batman and puts a few gang members of Red Hood in their place by doing something so mesmerizing with the billboard "Welcome to Gotham City". That full-spread page was reminiscent of the very first Batman cover of Detective Comics in May 1939; the iconic issue #27 where Batman was hanging in the yellow skyline while carrying a criminal in a vice grip. Capullo's own visual narrative for it was stunning, giving me chills I have never felt before while looking at such a nostalgic illustration. I have stared at this full-spread image for so long that I could close my eyes and still remember every detail. I mean, just look at it!

Snyder and his artists for the Zero Year stories, Capullo, Miki and FCO, have created the most striking set of visuals ever to take your breath away in a comic book story. There are so many callbacks and references from previous incarnations of Batman in this issue, not just the Miller version. And FCO's colors are such a pleasant assault to the sight that I have the urge to eat the pages! They're just so bright and moody all at once. There are two things that really struck a nerve in me while reading this. First is Bruce Wayne finally making an official public appearance in television, asking Gothamites a question: "Why do you love this city?" and the response is a resounding, dumbfounded silence. And then he gives us this heartfelt speech (and I shit you not, I was lying in bed with my copy and tearing up):

That was so uplifting to read. Bruce Wayne's loyalty to a city he grew up in despite its shortcomings and horrors only strengthens his resolve and it's definitely a tribute to everything Thomas and Martha Wayne wanted their son to understand about why they dedicated their entire lives providing for Gotham and its citizens. Recognizing that rich heritage is something I definitely applaud Bruce Wayne for in this issue, considering I was never a fan of his fake billionaire playboy persona in the established mythos.

The second thing that hit me so hard is the confrontation inside the A.C.E chemicals which we all know is Alan Moore's version of no other than the Joker's origin story (if the Red Hood helmet isn't already a dead giveaway). However, Snyder ensured that he doesn't blatantly spell out that it's the Joker underneath that helmet. He makes sure that we never really know who he is before he fell into that chemical waste. True to form, the Joker's origin should always remain ambiguous. It's as if the Joker appears with no logical explanation because that's the point of his creation; one day the forces in the universes just decided to bring forth into existence chaos in flesh form, and that is the Joker. That is who Batman will continue to battle in a circular drain for the rest of his life. Everything about this issue screams a well-executed symphony of action, symbolism and enigma. Speaking of the latter, the Riddler finally makes his move. He makes a grand entrance in the Gotham wide screens and then cuts off the power source and electricity, cloaking the whole city in darkness and possible mayhem. Nothing like the dark to bring out Batman from the shadows and I am definitely excited to read the next installment.

RECOMMENDED: 10/10

*A must-have splendor that any self-respecting Batman fan will never regret including in his/her collection. You can read it over and over and still salivate!

[New 52] Batman by Scott Snyder issue #23, ZERO YEAR

This is hands-down my favorite issue of the Zero Year thus far, and that's saying something considering the first two had the most well-balanced build-up I have ever read from Snyder's line-up just yet. Secret City part III had the markings of a very stylishly executed sequential art that is almost cinematic to read, and was definitely slick and taut enough to carry that accomplishment until the very final mind-blowing pages.

The brisk action panels at the beginning were vibrantly illustrated as the Red Hood gang burns down the location Bruce uses as a hideout, about a scant few miles from his home residence. We later find out that it was Edward Nygma himself who hired the gang to capture and kill Bruce, against his uncle Philip's wishes, who was working closely with Nygma since the latter was his personal strategist/adviser for the company. The Red Hood gang doesn't know that Bruce was also the same vigilante who had been trying to stop them in the earlier issues, and they were simply following orders. I really love this scene because here we see Bruce get beaten up very badly. In Year One, he was purposefully not dodging blows because he was bidding his time and trying to understand the moves of his enemies. Here in this issue, Snyder forces the readers to recognize that Bruce is vulnerable and not always at his best form. He was caught off-guard in this moment, and almost delirious as he was left to bleed out in the fiery safe house.

As he picks himself up and shields himself from the flames while he makes his escape, we also get glimpses of Bruce walking back to Wayne Manor in a flash-forward sequence. The splicing of these scenes was marvelously depicted. The different color palette defines which scene is which (Bruce trying to get back home has quieter, almost washed-out gray landscapes). We then get a panel of his father by his side, telling him everything is okay and that the terror is over (I assume this was after he found young Bruce in the cave). And then we cut back to Bruce in present time, losing consciousness as soon as he got inside the Wayne manor. He wakes up moments after with Alfred stitching his wounds the entire time which were plenty. He doesn't need to hear any apologies from Bruce as he makes a promise that even though they may fight or disagree sometimes, he will always be there to patch him up (and of course this doesn't only mean literally; this dialogue also perfectly signifies the kind of loving devotion and service Alfred will always offer to Bruce). No words are exchanged between them because they have reached a point in their relationship where they both know that it's them against the world. Bruce leaves to go inside his father's study and here we get the iconic scene from Year One when Bruce first discovers, through divine intervention from his father, what his calling is supposed to be. What I like about this, though, is that Snyder didn't just copy-paste the same scene from its predecessor origin. He added his own twist and interpretation to it.

In issue #21, Thomas Wayne gives Bruce a round black thing that is supposed to be some sort of GPS tracking device. He said that it knows every place in Gotham and will serve as a map for young Bruce in case he gets lost. He falls into a cave the next issue and tries to use that thing to navigate out of there. And now in present time and in this issue, Bruce picks it up again as he rummages through the boxes in is father's study. Looking for guidance more than ever, he clutches onto it as he proceeds to talk to his father's statue bust. And then the round black thing lights up and shows Bruce what looked like an interior of a cave and with bats coming out of the window. With the glow still illuminating the place, Bruce contentedly places it down the table and sits on the couch, watching as a bat rested on his father's bust, staring at him. And then Bruce's immortalized phrase rings true: "Yes, father. I shall become a bat." The ball rolls and shatters to the floor and we were brought back to the actual study room once more with Bruce still sitting there across his father's bust, their shadows outlined by the moonlight outside the outstretched panel of windows. It was a memorable scene and one that finally starts the transformation from man to ideal. I liked the strength of the three artists who worked at this sequence; their imagery just holds up so incredibly well that Snyder's writing had to take a backseat to give us these beautiful images. I really can't say that their re-imagining of that iconic moment was better than Miller's, but it definitely gave me more chills and excitement, thanks to the wondrous visual style.

The last pages show us Bruce in his training years once more, this time in Norway. He was inside a pit, fighting different groups of men all at once. A woman was telling him that he needed to go far, to step over that line, and not just injure his enemies but end them completely. Bruce doesn't listen to this advice as he one by one he beats the men into a pulp. The woman wasn't impressed so she calls on a new set of men to fight Bruce but none of them would come near him anymore. Those who are injured lay on his feet, cowling back in fear. This was a significant moment, I believe. It deftly shows that though Bruce is not capable of killing, he is a formidable presence nonetheless because he can strike fear in the hearts of these bad men.

They are afraid of him and that is the very purpose of becoming Batman, the essence that his symbol is supposed to represent.

RECOMMENDED: 9/10

* A lush and vivid issue that relied on the poetry of its visual artistry, the third part of Zero Year can be considered a much-awaited rise to a higher set of notes Snyder and co. is more than capable to deliver.

[New 52] Batman by Scott Snyder issue #22, ZERO YEAR

Zero Year seems to get better every issue. I'm loving what Snyder has to offer so far, especially since the scope of this Batman origin story goes beyond what is expected that it truly gives us something with the same level of quality and integrity that Frank Miller did when he wrote Year One yet it still manages to tell that story with its own unique voice.

It's amusing to see Bruce Wayne pursue the Red Hood gang viciously and yet he still fails to disband them or break down their systematized criminal operations that seem pretty basic enough. Batman would have had them running scared and badly injured in no time, but Snyder shows us that this Bruce Wayne acting as a vigilante without his iconic mask and trademark theatrics is less effective and does not produce real results at all. It's also worth noting that, just like the previous issue, the second part of Secret City is a non-linear story where we also get snippets of Bruce's childhood. 

In this case, we see him falling into a cave and facing an attack from a swarm of bats that surrounded that place. It's a familiar image from anyone who watched Nolan's Batman Begins movie. Snyder was not afraid to apply the same atmospheric condition for that scene.

It cuts back into the present with Bruce and Alfred and we get my favorite scene of this issue yet. We all know that Alfred will always be there for Bruce, no matter what. But I can understand his trepidation and anxiety over Bruce's reckless endangerment, and that he is losing himself to the absurdity of his goals especially when his actions are less than heroic than what we have come to expect and love from Batman now.

I like the fact that Alfred calls him out on his cowardice. He spoke up to tell Bruce one and for all that what he's doing is shameful. He desires to win a war in anonymity while also refusing to identify himself as a Wayne, the very legacy his parents has left to the world. He is running away from what he is supposed to represent foremost in the city, something his parents has worked hard for, all for the sake of putting ahead his single-minded pursuit to punish criminals without even understanding that he has the capacity to do so much more than becoming a vigilante. And Bruce's harsh response to Alfred has earned him a smack to the face. It was surprising for both parties but Alfred is the one who raises the white flag and leaves. That small panel of him pulling out a hanky, supposedly because he was hurt by Bruce's words and the fact that he lashed out, shows that he may have been wiping his tears away. I felt really bad for him at that moment, considering he is all the family Bruce's got and Bruce is so consumed by righteous rage that he ended up pushing Alfred away like that.

Speaking of family, we get another scene with Bruce and his uncle, who threw a surprise party in his name, and is just as forceful in making sure Bruce takes his place as the heir of his parents' enterprise. A few moments later we get Edward Nygma who had a verbal altercation with Bruce himself which resulted into an intriguing dialogue that is visually appealing at the same time, especially that full page design of dialogues being outlined in circular panels. Nygma, ever the enigmatic, leaves Bruce more than just a riddle but a taste of what this future villain is capable of, but Bruce was once again distracted and impatient, eager to get back to his own solitary pursuit of the Red Hood gang; only this time they find him first.

The closing pages showcase yet another flashback of one of Bruce's adventures in a foreign country with another 'teacher' who imparts him with an important lesson about being able to wield the impossible. I think that resonated in this issue through Bruce's outright refusal to embrace his own fears, to kill the boy and let the man live; and in doing so he will always continue to find himself entrapped and pushed against a wall. We see him making the same mistakes with the Red Hood gang. We see him fighting with people like Alfred and his uncle with a misdirected anger and a false sense of entitlement. And we see him ignore the evil that's about to come. All because he is trapped within the limitations of his mind, preventing him from achieving a clearer sight of his goals and the perils he must undertake. Bruce falls into a cave once and continues to fall again every time he couldn't differentiate between who he wants to become and who he was always meant to become--and be able to reconcile how they sometimes aren't the same thing at all times.

RECOMMENDED: 9/10

*An evolution that examines the psyche of Bruce Wayne before he becomes Batman. A well-paced, beautifully executed and very insightful narrative all throughout.