We Are Gotham: Tom King's Batman, "I Am Gotham"

As Batman #6 hits stands today, I took a look at Tom King's first full arc on DC's Batman, a series that garnered huge critical and commercial success under Scott Snyder's hand over the past five years. Now, King has the opportunity to apply his unique brand of narrative aesthetic to the Dark Knight of Gotham City.

Tom King is a superstar and he’s only seriously been in the game for 26 months. Grayson, The Omega Men, The Vision, and Sheriff of Babylon all led to DC’s confidence in the man they gave Batman. King’s operatic style lends itself to the Dark Knight, ironically juxtaposed to Scott Snyder’s more visceral run during the ‘New 52’. King’s Batman and Batman both bear a subtler tone emphasizing ethical dilemma and conflicting morality. In this first arc, “I Am Gotham”, Batman wants so badly to believe new superhumans Gotham and Gotham Girl represent everything he can’t be, everything he wishes he could be that he missteps and makes crucial mistakes. These siblings are a symbol of what Bruce hopes the future can become, and he doesn’t really know what to do.

Batman’s perfectionism works as a mentoring tool when recipients already possesses confidence in themselves; Superman knows where he stands and thus applies Batman’s logic to his own circumstance without going full-on Dark Man of Steel of the Night. Similarly, Batman’s various allies survive Bruce’s nigh-impossible training regimen because they’ve dedicated themselves to the cause and have the drive to maintain their own selves through the process. Hank and Claire Clover are fledgling heroes still discovering themselves and their powers while trying to earn Batman’s trust and protect their city; cognitive dissonance is real and only exacerbated by the presence of superpowers and stranger-than-fiction happenstance. It’s no wonder Gotham goes insane.

And this is the entire conceit of “I Am Gotham”, insight on the relationship between good and evil and what it means to be part of something bigger than yourself. To Batman, that means sacrificing desire, emotion, and sympathy to become better. To Gotham Girl, that means following her big brother who she knows is benevolent and well-meaning because they made a pact. For Gotham, it means sacrificing his soul to fix what it broken because there’s no other way.

Batman #3 brings this theme to the forefront with the origin of Gotham that bears a striking resemblance to Batman’s own – and he knows it. As Matches Malone (a fantastic return of Bruce’s scummy alter-ego), Bruce interviews the Mr. and Mrs. Clover and learns about their children’s commitment to doing good and helping those less fortunate, and as much as they don’t know how, they do know their kids are superheroes now. Henry Clover’s description of Gotham City finds hope in the darkness and sees light between shadowy dealings, not unlike Bruce’s own father. It’s this sympathy that compels Batman to want to believe in Gotham and Gotham Girl because he sees in them what could have been and lets his emotions guide his actions.

In the first few chapters, David Finch’s hyper-detailed DC house style feels at-odds with King’s more elegant and nuanced script, but as the story continues it becomes clear that Finch was purposely chosen for his style to accentuate the corrosion of good. Hank’s purpose-driven life is to see Gotham City lifted up from the putrid darkness and rise to glory. When he discovers that even with seemingly unlimited power he cannot be the savior Gotham City needs, Hank’s world shatters and no one can pick up the pieces. Batman inspired a young Hank to be a better person, but he also inspired tunnel-vision dedication to an impossible task that breaks a young man’s mind. And a god proven wrong can be disastrous.

Claire wasn’t there when Hank and their parents were mugged, so her connection to the mission is tangential; she can see the cracks forming in her brother’s psyche, but she doesn’t really know any other way besides her faith in Hank. Trauma inspired Hank which inspired Claire, yet when Gotham’s existential dread becomes overwhelming, she can’t empathize, confused by her brother’s erratic actions. Hank’s own breakdown indirectly breaks his sister, and the whole thing falls apart.

Batman doesn’t really overwhelm or over-burden these young heroes; he simply presents them with the reality of their cause, the truth of their dedication to a city that will not be tamed or made calm. In recent years, Gotham City has been slowly molded into a sort-of tertiary character in the DC universe in the way the European countryside and ruined cityscapes becomes integral to World War II films. Hank and Claire spent so much time looking for the good in their city they failed to expose themselves to the bad, and when it becomes clear the darkness has no end, Hank loses his faith.

True evil is often committed by those who believe they are right and altruistic, by individuals jaded enough by the world to believe the ends justify their horrific means. “I Am Gotham” extrapolates this classic trope to give Hank Clover more clarity as a character: this isn’t just another looney, brightly-themed villain, but rather a set of distinct and unwavering ethics distilled into a relatable hero who falls from grace. Gotham is all of us because the weight of our own lives is sometimes too much, so how could we ever hope to carry an entire city? Even in a fantastical, mystical, hyper-advanced world of heroes and villains and aliens and monsters, nihilism is one hell of a drug.

Batman #50 Review: Superheaviest

** SPOILERS, BUT I FEEL LIKE IF YOU'RE READING A REVIEW YOU ALREADY KNOW THAT, RIGHT? **

Let's start with the new costume: less a refresh and more of a polish, right? There's not much to say about an outfit that looks more or less the same just with yellow trim, making Batman...less stealthy? I'm ambivalent towards it even knowing that this is one costume update that will very much stick around. On to the story itself. The tenth and final part of "Superheavy" is stuffed with narrative almost to it's own detriment. ALMOST. Scott Snyder deftly handles three plots that all intertwine, leading to the eventual takedown of Mr. Bloom: Bruce Wayne's return to the cowl, Jim Gordon's final act of heroism as the Dark Knight of Gotham, and Duke Thomas' confrontation with the real Mr. Bloom.

Where other issues may have collapsed under the pressure of so many interlocking narratives, Snyder has a talent for bringing together ideas in the end, only it's often not in the fashion readers expect. That said, "Superheavy" might be Snyder's least oddball ending since his run on Batman began -- though it's steeped in a sci-fi quagmire of cosmic jargon, the return of the original Batman and the final battle with Mr. Bloom play out rather predictably, though the specifics are rather interesting.

No one presumed that Jim Gordon would die at the end of Batman #50, so the constant reminders that Jim needs to get to a hospital before he keels over from his wounds get very old very quick. Sure -- that kind of build-up works in certain situations, but again; no one reading this issue thought Jim was going to actually die, so the whole practice becomes moot. This hollow tension makes Jim's monologue near the issue's end a bit stale and concocted. I know Jim was always waiting for Batman to return, but he didn't need to go all diva and recite the speech he'd obviously been practicing in the mirror for some time.

Batman -- the one and only -- is also a rather divisive narrative line in Batman #50. Last month saw Bruce Wayne stand up and accept who he is and what he means to Gotham City, yet none of that passion and/or drive seems present this month. As soon as Bruce jumps back into the thick of battle, Penny-One delivers some rather clunky exposition instead of Bruce's actions speaking for themselves. As much as I like Greg Capullo's artwork, and as fantastic as he's been for most of this series, Batman #50's fight sequences don't convey the same thrill they once did like in "The Court of Owls" or "Death of the Family". Perhaps it's my own bias coming into play having read every issue Capullo has pencilled for this run, but the whole "Batman is actually better than he was before!" angle works against the emotional nuance this issue could have had.

By transforming Bruce Wayne into a more perfect version of himself, Snyder has inadvertently ripped away part of what makes Batman Batman. Some people wear their scars like badges of honor, and while I don't believe Bruce Wayne sees them as such, he does appreciate that they represent something, and taking away the physical scars but not the mental ones simply means DC basically pulled a Marvel and de-aged Bruce Wayne. The difference, of course, being that Snyder is making it a narrative element, which only makes sense on a very basic level. Seriously -- what does this actually mean for Batman? He was already the most impressive human being on the planet (arguably), with a fascinating blend of a litany of martial arts talent, tactically-honed strategic subterfuge, and alarmingly adaptive mental dexterity. So, he's just more of these things now? That's it? I don't see the point other than Snyder fulfilling some dream to outdo Grant Morrison's colloquially-known "Bat God" by literally making Batman BETTER THAN EVER BEEEFFFFOOOOOORE!

All this said, Batman #50 is still a great issue that makes good use of the elements introduced since the finale of "Endgame". Jim Gordon's supporting cast -- Julia Pennyworth, Daryl, and Gerri Powers -- are all present and accounted for, while Duke Thomas plants himself even more firmly into Snyder's Batman mythos. Bloom himself is not really the point because, as Batman even points out, "anyone could be Bloom..." His or her identity isn't important. Very much like how, as we grow older, we come to recognize that much of what is actually said is of little consequence, and that how our words make others feel is what truly matters in the end. Bloom represents the paranoia and anger borne from tragedy and terror, the loss of hope that comes from watching your family, friends, and home burn again and again and again.

Jim Gordon did not solve the mystery of Mr. Bloom. We will never know if Bruce Wayne could have. But that's not the point. Snyder approached BatJim the same way he did Bruce Wayne; the Batman is for Gotham is for Batman, and so on. To Snyder, the two entities are mutually exclusive, and when Jim takes the mantle of Batman, the city doesn't respond well. Bloom is a metaphorical symptom for the militarization, privatization, and corporatization of the Batman ideals. As good a man as Jim Gordon is, even he cannot stop the gears of industry, finances, politics, and traditions from grinding through the wrench thrown into the machine.

SCORE: 8/10

Spotlight: Batman/Superman #1

(w) Greg Pak
(a) Jae Lee and Ben Oliver


** SPOILERS ABOUND! **


Batman/Superman #1 is already being touted as the best #1 since the initial 'New 52' relaunch in September 2011. I'm inclined to agree. You'd be hard pressed to find another debut issue in the lineup that has as much grace, style, and readability as Batman/Superman #1. The creative pairing of Greg Pak and Jae Lee is an instant success and is simply stunning to behold. What really makes this issue shine, though, is how new it actually feels. Batman/Superman has been marketed as a series chronicling the early days of both the Dark Knight and the Man of Steel, and this initial arc is about the duo's first meeting.

The whole "first meeting" thing has been done on a number of occasions, in various mediums, but there's one major element that connects all these depictions: how each character feels about the other. Batman always just considered Superman an overly optimistic boy scout-type who had the luxury of trusting people because he was a demigod, while Superman saw Batman as a depressed loner who relied too heavily on fear and anger to drive his mission. Pak's Batman/Superman #1 basically throws out the old handbook and gives these two major players an entirely new relationship.

But a lot is different in the 'New 52', which means Batman and Superman's relationship must be based on something different. In the old universe, both men knew of the other prior to meeting, which gave them to chance to develop preconceived notions about one another. Batman/Superman #1 begins in a time when Clark was still sporting the tee shirt and jeans costume, and Batman was still an urban myth. The term 'superhero' hasn't been coined yet because it's not a reality yet. This is the world where Batman and Superman meet for the first time; not with a population that knows and accepts what superheroes are and mean.

Both men, interestingly enough, become defensive in the face of the unknown. 

For Batman, Superman represents the culmination of what he cannot learn: superhuman abilities. There is no tactical compensation for super speed and a punch that can crush a semi truck, only quick thinking and dumb luck. Bruce immediately assumes the worst and defends himself against an alien he's sure is intent on destroying him. Batman's response wonderfully conveys the type of paranoia and over-analysis he's known for, but it also reminds us how foreign and frightening a seemingly invulnerable man must seem to a mortal man.

Superman, on the other hand, becomes aggressive when he misinterprets Batman as a criminal attempting to murder a child. He's "fought bullies, mobsters, and neo-Nazis", but Batman is the first real monster, "a murderer dressed up as a bat." Clark's ability to sense heart rates distinguishes Batman's as the most calm, the most collected, the most like a murderer when everyone else is scared out of their minds. The nature of Superman's abilities and his relative inexperience at this stage in his career both lend to his snap judgement about Batman's intentions.

Jae Lee's artwork really seals the deal. Few artists can truly depict emotion through body language, yet Lee makes it look easy. The way Batman's body crunches in when Superman slaps him away, Clark's stance as he incinerates a TV set falling directly above him, the way the children in the opening scene interact -- all of these ar examples of how Lee's amazing art lends to the storytelling.

Batman/Superman #1 is a triumph. This is the right book at the right time with the right creative team. Though Ben Oliver hands the artwork for the last seven pages, Lee's influence on the tone throughout is evident. Greg Pak has such a handle on both characters, their inspirations, their passions, their fears, and their impulses as young men. This is the series that I didn't even know I wanted, and now I would write a strongly worded letter to DC if they said I couldn't have it anymore.

GRADE

10/10

Batman #21 Review (Zero Year, Part 1)

(w) Scott Snyder
(p) Greg Capullo
(i) Danny Miki

Let's get this out of the way right up front: this issue is amazing. Not only does it perfectly set up the entire storyline that's set to last for the next calendar year, but it also introduces a host of new elements to Batman's 'New 52' history. It's a tight race this week for which of Scott Snyder's books -- Superman Unchained #1 or Batman #21 -- is comes out on top. I'm in the Batman camp this time.

I'd like to address an issue I've been seeing online since "Zero Year" was announced, and that now is becoming more prevalent. Many people are upset that Snyder is taking Batman into the past for an entire year's worth of issues. This criticism is two-pronged: the arc is too long, and it's firmly set in the past instead of progressing Batman's current-day adventures. On both counts I'm not convinced.

The allegation that "Zero Year" -- at 11 issues, but taking a full year due to the break in September for Villains Month -- will be too long seems silly at this point in Snyder's career writing Batman. His initial arc on Batman for the 'New 52' was technically also 11 issues in length, though it's considered two arcs. "Death of the Family" may have been only five issues in Batman, but the numerous tie-in issues gave the core narrative a larger breadth than it normally could have achieved by itself. At this point, I trust Scott Snyder to deliver something incredible. And on a purely logistical level, the title page says "Zero Year - Secret City: Part One" alluding to the idea that this mega-arc will be broken into more manageable segments.

On the gripe with Snyder focusing on Batman's past instead of his current day exploits is just redundant. First of all, Batman has been framing the Batman family of titles for most of the 'New 52', if not directly than at least through Snyder's characterization of Batman staying mostly consistent across all the titles he's featured within. Second, Batman is the solo star of two other series -- Detective Comics and Batman: The Dark Knight -- as well as having his name in an additional two others -- Batman and Robin and Batman, Incorporated. All of these titles will be telling current day stories (save for November, from some rumors I've seen online), so why can't Snyder delve into the past? One of the major complaints about the 'New 52', in general, is the lack of information regarding the five to six years between the first appearance of Superman in Metropolis and what's going on in the current day. For the next year, we get to see just that.

Batman: Year One was bout Batman's relationship with Jim Gordon. "Zero Year" is about Bruce Wayne becoming Batman. It's a simple concept that bears a lot of weight because with the condensed nature of the 'New 52', this is the year of Batman's career when he establishes his rogues gallery. Yes, there seems to be a central antagonist here at the starting point, but it would be folly to assume Snyder will only stick to one villain for eleven issues that spans a year of Batman's life.

GRADE

10/10

The Week in Revue (June 12-18, 2013)

------- Spotlight

Superman Unchained #1
(w) Scott Snyder
(a) Jim Lee

------- DC Reviews

Batman #21
(w) Scott Snyder
(w) Greg Capullo

Green Lantern Corps #21
(w) Robert Vendetti and Van Jensen
(a) Bernard Chang

------- Marvel Reviews
Guardians of the Galaxy #3
(w) Brian Michael Bendis
(a) Steve McNiven and Sara Pichelli

Thor: God of Thunder #9
(w) Jason Aaron
(a) Esad Ribic

Batman #20

(w) Scott Snyder     (a) Greg Capullo

"Nowhere Man" -- Scott Snyder and Greg Capullo's homage to Batman: The Animated Series -- wraps up this month in the pages of Batman #20. It's been nice to see a shorter tale from Snyder, whose epic stories have, for the most part, outlined Batman's overall narrative in the 'New 52'.

It's hard not to like this issue if you were a fan of Batman: TAS in the late 90s. The series was good for presenting excellent fight scenes and highlighting that fact that Batman and Bruce Wayne were always at odds. "Nowhere Man" hits all the right beats that the show would, it included a generous amount of panel time for James Gordon and Lucius Fox, and keeps with the idea that Batman has a more adventurous side that's not always shown.


** SPOILERS AHEAD **


Then there's the Batman Beyond suit.

I'm gonna nerd out for a moment. Bear with me.

Snyder and Capullo like to play head games with readers, but this bit of fan service is not only another great nod to the DC animated universe, but also just really damn awesome. And it's 20 years away from being financially viable? That fits (generally) into the timeline of the animated Batman Beyond. Also, the suit shown in Batman #20 is far more robotic and encapsulating than the one worn by Terry McGuinness in Batman Beyond, suggesting that even though it's 20 years from being viable, it would be at least 50 before it could be slimmed down to body-fitting size.

Nerd-out over.

Thus, Batman #20 isn't the most memorable issue of the series, but it's still a great comic book. And really, that's what ongoing series are all about. Even when the story isn't world-shattering or life-changing, it can still be high quality and have meaning beyond it's plot. Scott Snyder and Greg Capullo understand this and work the principle into "Nowhere Man" seamlessly.

GRADE

8/10

The Week in Revue (May 8-14, 2013) (update)

------- Spotlight

Batman and Red Hood #20
(w) Peter J. Tomasi     (a) Patrick Gleason

------- DC Reviews

Batman #20
(w) Scott Snyder     (a) Greg Capullo

Justice League of America #3
(w) Geoff Johns     (a) David Finch

Superboy #20
(w) Justin Jordan     (a) Brett Booth

------- Marvel Reviews

Uncanny Avengers #8
(w) Rick Remender     (a) Daniel Acuna

Batman Incorporated #10

(w) Grant Morrison     (a) Chris Burnham, Jason Masters, and Andrei Bressan


** SPOILERS AHEAD! **

** BUT IF YOU'RE READING A COMIC BOOK REVIEW, YOU PROBABLY ALREADY EXPECT THAT, HUH? **


Holy Batman, Batman!

Grant Morrison seems insistent on seeing Batman's world -- literally and figuratively -- burned to the ground. After offing Damian Wayne and Batman, Inc. agent, the Knight, he's basically given up all pretense about Leviathan and the nature of Talia al Ghul's evil machinations.

Also, something that's been bugging me is the timeline of events. I know, I know. don't worry about the continuity -- enjoy the story for what it is. Unfortunately, DC made it a point to release a slew of "Requiem" issues mourning the death of Robin. Well, where do those other Bat-book issues fall? How much time has passed since Damian died and has Batman been doing other things (like stuff in his other titles), or does all of that "Requiem" business happen after the final issue of Batman, Incorporated?

Whatever.

So, Azrael makes his 'New 52' debut this month when Bruce goes to him for his armor. It's the kind of deus ex machina element Morrison utilizes from time to time that seems to work for him, while coming off as cheap under lesser hands.

Nightwing, Red Robin, and Red Hood are all off dealing with their own situations, illustrated over two pages by Andrei Bressan, who manages to botch all the character faces. Dick Grayson and Tim Drake look duck-faced, and Jason Todd doesn't resemble his generic, black-haired, handsome look at all. In fact, Todd looks like he's been punched in the nose a half-dozen times. I normally wouldn't point out details like this with such scrutiny, but with the rest of the issue looking so good, Bressan's rushed-looking work really hits the brakes on the narrative momentum.

It's unfortunate, but Batman Incorporated #10 feels very much like the filler issue it is instead of being a stepping stone toward Morrison's endgame. It is, technically, but there's a lot of exposition, a lot of waxing poetic about the idea of crime and the concept of justice. In a way, it almost feels derivative of Morrison himself. These are ideals and themes he's used in Batman stories in the past, and instead of feeling conclusive by nature, it seems repetitive. I'm not saying I didn't enjoy the issue, because I seriously enjoy Morrison's work. It's just not the strongest issue of the series.

GRADE

7/10

Batman #19

(w) Scott Snyder     (a) Greg Capullo

Scott Snyder always has big plans for Batman. Whether it's the multi-layered "Court of Owls" saga, the vicious "Death of the Family", or the sprawling "Year Zero" that begins in a few months, Snyder seems to be producing quality, long-form narratives on a regular basis. That being said, it's refreshing to get a quick story that's only going to last a couple issues. Much in the same way a haiku challenges poets to express more with less, Snyder tweaks his style to fit this tale in just a few issues. 

In multiple interviews, Snyder has stated that this two-part arc would be his homage to Batman: The Animated Series, a fan-favorite TV show that proved a cartoon version of the Batman could be dark, action-packed, introspective, and fun all at the same time. Clayface was a regular villain in B:TAS, making it a wise decision on Snyder's part to unleash an evolved Basil Karlo upon Gotham City.

Batman #19 reflects the pacing and imagery of Batman: TAS fairly well. Most episodes featured a small opening vignette that made way for character and emotional development before segueing into a situation where all the dots begin to connect and Batman has his final showdown with the villain of the week. It's interesting to see how Snyder mirrors this style, but alters it for a two-part tale. 

Greg Capullo's artwork looks cleaner here than it usually does -- more crisp and less hurried-looking. I've always loved the artwork in Batman, but it really feels like Capullo drew things less rounded and more utilitarian in an effort to mirror Batman: TAS's art style like Snyder was mimicking the narrative style. If not, the art is still fantastic. If so, that's just a whole new level to the way Snyder and Capullo produce this book and work together.

GRADE

9/10

The Week in Revue (Apr 10-16, 2013)

------- Spotlight

Ultron #1
(w) Kathryn Immonen     (a) Amilcar Pinna
THE RETURN OF VICTOR MANCHA: THE SON OF ULTRON!

------- DC Reviews

Batman #19

(w) Scott Snyder     (a) Andy Kubert

WHY IS BRUCE WAYNE AIMING A GUN? 

Constantine #2

(w) Jeff Lemire, Ray Fawkes     (a) Renato Guedes

I DON'T KNOW WHY DC IS TRYING TO CONVINCE ME CONSTANTINE IS DEAD IN THE SECOND ISSUE ALREADY...

Green Lantern Corps #19
(w) Peter J. Tomasi     (a) Fernando Pasarin
"WRATH OF THE FIRST LANTERN" CONTINUES! NEED I SAY MORE?

---------- mini reviews

Batman and Red Robin #19
(w) Peter J. Tomasi     (a) Patrick Gleason
THIS ONE MIGHT TURN INTO A FULL REVIEW SEEING AS THE REVEALED "WTF" COVER REVEALS A LOT MORE THAN EXPECTED.

Demon Knights #19
(w) Robert Vendetti     (a) Bernard Chang
CAIN IS GETTING EVER CLOSER TO HIS GOAL OF WORLD DOMINATION.

------- Marvel Reviews

Uncanny X-Men #4
(w) Brian Michael Bendis     (a) Chris Bachalo
MAGIK TAKES CENTER STAGE BECAUSE SHE'S STILL GOT A LOT OF POWER.

X-Treme X-Men #13
(w) Greg Pak     (a) Giuseppe Camuncoli
FINAL ISSUE! SPECIAL REVIEW FOR THE FINAL ISSUE OF AN AMAZING SERIES.

---------- mini reviews

Wolverine #2
(w) Paul Cornell     (a) Alan Davis
THIS SERIES IS SO MUCH BETTER THAN SAVAGE WOLVERINE!!!

Justice League #18

(w) Geoff Johns     (a) Jesus Saiz

Geoff Johns is taking the same route Cartoon Network's Justice League did in 2004 by expanding the roster of the League in anticipation of bigger, more ferocious enemies in the future. Honestly, it would have been nice to see more of the core team's adventures and interpersonal relationships before diving into team expansion. Sure, this is Justice League #18 and the 'New 52' has been around for close to two years, but in the modern age of decompressed storytelling, 18 issues has only produced a handful of conflicts that the League has faced. 

Back in the day, 18 issues could have been 18 different stories, a different approach to team building, but one that offered a more robust look at how said team works as a unit. Today, it's still somewhat unclear how the core League members truly work together, how their personalities play off each other, and how that affects their behavior. Johns has done an excellent job delivering character development where possible, but it's still frustrating to see new members coming in at this point. And that's not even mentioning Justice League of America, which also sees Johns bringing lesser known characters into the spotlight. It's just a geyser of new characters, it seems.


** SPOILERS AHEAD! **


Justice League #18 is an exciting issue because we get to see so many faces in one issue. With Hal Jordan out of the picture for the time being, and the near-destruction of Boston in "Throne of Atlantis", Batman and Cyborg decide it's time to reveal the Grid, a circumstantial database of all the world's superheroes. I say circumstantial because the entire Grid was a side-effect of the persistent flow of information into Cyborg's always-connected mainframe. Since he's basically a living supercomputer, Cyborg shares the curse of overabundance with Superman -- they're both continuously aware of almost everything around them. The difference is that Clark hears everyone while Victor processes digital information terabytes at a time. Thus, over the five years of the League's existence, Cyborg inadvertently collected all the known information on every superhero on Earth.

But it's just that: only the known information. Justice League #18 not only showcases established heroes like Black Canary, Zatanna, Firestorm, and Nightwing in a new light, but also gives minor and new characters a chance to shine with a chance at membership in the planet's most exclusive hero club. While the current members of the League all understand the where they are and what the stakes are going forward, most of the invited candidates have no idea what they're in for. It's this juxtaposition that provides a nervous tension that simmers throughout the issue. Even Nightwing and Batman's short interaction reflects their relationship post-"Death of the Family". And how could it not be awkward? Six of the most powerful beings on the planet are judging and choosing new colleagues to patrol everything, not just a city or neighborhood beat.

There's no escaping the fact that Justice League #18 is a good old-fashioned prelude issue. There's so much being set up from beginning to end that it's hard to squeeze a story-proper out of an issue like this. Fortunately, Geoff Johns stands up to the task and makes the entire affair feel completely fluid and natural. My bias for the structure of character development aside, JL #18 hits all the right marks. At the end of the day, it's really hard not to like seeing so many familiar (and some unfamiliar) faces in one issue.

GRADE

7.5/10

Batman #18

(w) Scott Snyder     (a) Andy Kubert

Can we all stop pretending Harper Row isn't going to be the next Robin? Whenever you see "This ends now" or "It's over" without a death afterwards, it means it's not over...and it's not anywhere near being close to over. This element of comic book logic might seem obtuse, but it has merit. Days before the release of Batman #18, Scott Snyder announced his next arc, "Year Zero", and that it would be 11 issues long. Basically, the next year of Batman is going to be about the Dark Knight's earliest days, which means it's going to be a while before Snyder gets around to telling Harper's story. But that's part of the beauty -- now, we've got something to look forward to even after the next thing we have to look forward to, and isn't that what comic books are about?

All joking aside, Batman #18 from Scott Snyder and Andy Kubert is another great look at effect of Damian Wayne's death on his father. After the emotional head-trip that was "Death of the Family", Snyder wisely makes Harper the focus of the issue, leaving a grieving Batman at arms-length from the rest of his family. Losing an immediate family member is incredibly painful and can lead to feelings of resentment toward others who cannot possibly understand that kind of pain. For Batman, this resentment is compounded upon exponentially due to his very nature as well as his overwhelming feeling of responsibility for his own son's death. It would have been a train wreck if Snyder attempted to tackle Bruce's feelings with inner monologue.

Harper Row is going to be one interesting Robin, to say the least. Each of Batman's Robins has their own unique personality. If Dick was the passionate one, and Jason was the brash one, and if Tim was the witty one, and Damian was the one with the attitude, then Harper Row is the realistic Robin. Harper and Batman's confrontation brings out the darkest in the Dark Knight and most anyone else would have crumbled under the weight of Batman's terrifying reputation. Not Harper. Unlike the songbirds before her, Harper's life has been one obstacle after the other which has made her more rough around the edges than the boys who've held the mantle before (except Damian, perhaps, but his was a more refined talent). She's not afraid to rebuff Gotham's protector and tell him the reality of what's going on around him when no one else will.

While I'm excited for the upcoming "Year Zero" arc, Harper Row is what truly interests me now about Scott Snyder's Batman. Since the 'New 52' launched, Harper has been around and that's no coincidence. I'd be shocked if Snyder killed her off. I'd be even more shocked if she didn't become the next Robin because who else is there? Seriously, it's the next logical step. But it's a good next logical step.

GRADE

9/10

The Week in Revue (Mar 13-19, 2013)

------- Spotlight

Age of Ultron #2 of 10
(w) Brian Michael Bendis     (a) Bryan Hitch

------- DC Reviews

Batman #18

(w) Scott Snyder     (a) Greg Capullo

Green Lantern Corps #18

(w) Peter J. Tomasi     (a) Fernando Pasarin

---------- mini reviews
Demon Knights #18

(w) Robert Vendetti     (a) Bernard Chang

Batman and Robin #18

(w) Peter J. Tomasi     (a) Patrick Gleason

Superboy #18

(w) Scott Lobdell and Tom DeFalco     (a) R.B. Silva


------- Marvel Reviews
Wolverine #1

(w) Paul Cornell     (a) Alan Davis

Uncanny X-Men #3

(w) Brian Michael Bendis     (a) Chris Bachalo

---------- mini Marvel Reviews

Secret Avengers #2

(w) Nick Spencer     (a) Luke Ross

Thor: God of Thunder #6

(w) Jason Aaron     (a) Esad Ribic

The Week (Feb 13-19, 2013)

------- Featured Review

Uncanny X-Men #1 PREVIEW

------- DC Reviews

• Batman #17 - Death of the Family Finale!
• Demon Knights #17

---------- mini DC reviews

• Katana #1
• Superboy #17

------- Marvel Reviews

• Fantastic Four #4

---------- mini Marvel reviews

• Avengers Assemble #12
• Powers: Bureau #1
• X-Treme X-Men #10

Review: Young Romance - The New 52 Valentine's Day Special #1

(w) Ann Nocenti, Cecil Castellucci, Ray Fawkes, Peter Milligan, Kyle Higgins, Andy Diggle
(a) Emanuela Lupacchino & Jaime Mendoza, Inaka Miranda, Julius Gopez, Simon Bisley, Sanford Greene, Robson Rocha & Julio Ferreira

Since last October, DC has been celebrating the holidays with it's Li'l Gotham digital series written and drawn by fan-favorite 'chibi' artist Dustin Nguyen. For Valentine's Day, DC decided to go a different direction with an anthology issue of stories about young heroes in love. Interestingly enough, none of the characters from the Young Justice family of 'New 52' titles are featured in this issue, with Batgirl being the youngest featured character. But more on that later. Young Romance: The New 52 Valentine's Day Special #1 is an attempt to take advantage of a relationship-based holiday by highlighting some of the various romantic relationships littered throughout the DC universe. Unfortunately, this collection of six stories never manages to rise above mediocre because more that half of these stories just feel completely contrived and unnecessary.

To begin, there are a lot of logistical issues with Young Romance. As I mentioned earlier, Batgirl is the youngest hero included in this anthology. I wouldn't normally call this a problem, but the other meaning of the title is that the relationships featured are new ones, which is also a flawed claim. Aquaman and Mera have been together for years, and there's no indication that their story takes place early in their relationship. Superman and Wonder Woman have been together for a while now, for all intensive purposes. And what about all the other relationships in the 'New 52'? Instead of featuring, say, Kid Flash and Solstice, Superboy and Wonder Girl, or even Jason Todd/Roy Harper and Kori'andr, DC decided to create some new relationships out of thin air. I enjoyed seeing Nightwing find someone who can keep up with him, but the fact that Dick's story simply "END"s -- instead of possibly leading into something else like the other stories -- stops the momentum cold and leaves a bad taste in the mouth. Why create something new only to give it the "bottle episode" treatment and throw it away at the end?

Narratively, Young Romance suffers at the hands of writers who don't normally handle these characters. Or in Ann Nocenti's case, mangles them. In "Think It Through", Batman and Catwoman's first meeting is basically just a flashback. Unfortunately, Nocenti only looks into the past to reveal how shallow Selina Kyle truly is before bringing readers back to the present day so Selina can remember all the things Batman said to her the first time they met. Yep: instead of actually showing Batman and Catwoman conversing, Nocenti decides to leave that all to ethereal dialogue boxes. It's an inane decision that makes absolutely no sense considering she had the ability to show the intimacy instead of telling it. Also, Batman's advice makes him sound like a misogynistic ass. Peter Milligan's "Seoul Brothers" is probably the best of the bunch because Milligan has been writing those characters and their relationship for quite a while. Aquaman and Mera in "The Dreamer" are also entertaining, but the Victorian-era love story that just so happens to mirror the current day almost exactly is grating from Cecil Castellucci's 'wink wink' attempts at cleverness.

As a first major attempt at a holiday themed anthology issue for the 'New 52', Young Romance feels like Maid in Manhattan when it should have felt like Sleepless in Seattle...or the other way around. I don't know which romantic comedies are considered good or bad. The point is that though entertaining, Young Romance feels underdeveloped, or perhaps overanalyzed. There's a lot of potential in these kind of issues, but this one misses the mark.

GRADE

6.5/10

REVIEW: JUSTICE LEAGUE #16

(w) Geoff Johns
(p) Ivan Reis
(i) Joe Prado

Last fall, a number of DC creators, editors, and executives started talking about how 2013 was going to be a year full of changes for the 'New 52'. Geoff Johns' epic "Throne of Atlantis" could have been a simple crossover between Justice League and Aquaman -- a natural move since Johns writes both series -- but it's slowly transforming into a turning point for the entire DCnU.

Justice League #16 sets up the final pieces for the inevitable war between Atlantis and the surface world. The issue is thick with anticipation -- the difference between war and peace lies with Aquaman's ability to temper the Justice League's justifiable anger over the tidal wave that decimated the eastern seaboard against his brother Orm's anger over the perceived attack on Atlantis. At some points, Aquaman is literally standing between the League and Orm, stopping all hell from breaking loose. Aquaman's ethical quandary over how to proceed -- standing with the League and demanding justice from Orm, or adhering to Atlantean tradition by forsaking the entire surface world -- is a central theme for the entire sequence. The one unfortunate element of this situation is that all the character behave in cliche superhero fashion of punching first and asking questions later. Batman, in particular, acts particularly out of character for a hero who understands the intricacies of how fear compels people to do unspeakable things. But traditional superhero tropes aren't enough to detract too much from this stellar issue. 

But there's a lot more to Justice League #16 than just the beachhead confrontation between the League and Ocean Master. For one, Dr. Shin has been an important and central character in Aquaman since the first issue, so it comes as no surprise that he's a target of a team of Atlantean assassins who believe Shin is a key figure in turning the tide of the coming war. Being the foremost human expert on Atlantean physiology puts the Doctor in the unique position of finding a weakness to exploit. Johns also properly introduces Dr. T.O. Morrow into the 'New 52' with his suggestion that S.T.A.R. Labs employ his nameless "android" to take control of the weather from Orm, who has used his mystical staff to conjure up a series of deadly storms. It's just a passing remark, and the idea gets shot down by Cyborg's dad pretty quickly, but not before a certain Dr. Magnus and his Metal Men are also mentioned. Being the Chief Creative Officer for DC, Johns has a lot of freedom to include little nuggets of foreshadowing. Of course, the biggest "holy sh*t" moment comes with the final splash page that points to a bold new direction not only for Justice League, but also the DCnU at-large.

Justice League #16 is a fun issue full of intense action, plot-advancing story, and an ending that will get most any DC fan excited for the future of the series and the 'New 52'. Already, a tidal wave has destroyed the east coast of the United States. That's going to last for a while, and a war with Atlantis is going to change the landscape even more. Since last Free Comic Book Day, we've known that 2013 would bring "Trinity War", the first major 'New 52' crossover that would effect the entire line. "Throne of Atlantis" may or may not be a prelude to this massive event, but it's setting the standard for 2013 being about big ideas and big changes.

GRADE

9/10

REVIEW: BATMAN #16

(w) Scott Snyder
(p) Greg Capullo
(i) Jonathan Glapion

Batman #16 is probably the weakest issue of "Death of the Family" so far. Tie-in issues aside, Scott Snyder and Greg Capullo's Joker narrative has been one of the most intense and terrifying Batman stories in years, bringing the 'New 52' a Joker that has lost the little humanity he may have still possessed and now intends to make the world as meaningless as he perceives it to be. Unfortunately, Batman #16 is pigeonholed as the fill-in issue, complete with guest stars and a cyclical plot point that doesn't amount to anything by issue's end.

A big part of Batman #16 is showing how the Joker's plans are starting to fall apart the closer Batman gets to the heart of the matter -- with every advantage Batman gains, Joker's scheme loses traction. And this month, part of the plan includes some of Batman's most notorious enemies: the Penguin, the Riddler, and Two-Face. Why are these villains included in the plans of a whack-job whose return has been characterized by destroying personal relationships and alliances? Well, because they're important to Batman, and what's important to Bats is important to Joker. Including these rogues in his grand spectacle -- even if only for one act -- is telling of Joker's true emotional disparity when it comes to Batman. Since his return, Joker has insisted that he's necessary to keep Batman strong and to challenge the Dark Knight where others cannot. Batman #16 makes it more clear that it's Joker who needs Batman in a demented hyper-dependency kind of way. Perhaps in the year he was gone, Joker came to realize he was nothing when not standing against Batman. But, that's just the conjecture of one blogger. 

Other than Joker's twisted sensibility, not much goes on this issue. Batman journeys through Arkham Asylum, but the entire sequence feels rushed, like Batman could have spent an entire issue being poked and prodded by Joker's various booby traps and hired men, both regular and super-powered. In fact, Batman's quick trip through the spooky asylum puts Joker's plans in jeopardy as not everything is in place when Batman arrives. Cue extended sequence of monarchy metaphors relating to Batman's place amongst his rogues, and that's basically the entire issue. Near the end, Joker proves that when it comes down to brass tacks, Batman becomes weak as a result of his family, but didn't we already know that? And I'm assuming that's going to be part of next month's big finale, so why did Joker have to point it out to all of his villain friends? It just seemed like unnecessary plot development for an issue that wasn't all that stupendous.

Almost every other review I've read for Batman #16 praises the issue for showing how twisted Joker is, but haven't we been reading about how twisted the Joker is for the past three months? I'm all for taking the time to flesh out a story, but the events of this issue didn't do much more than reinforce already established ideas by throwing more Batman villains at us. I'm all for seeing Greg Capullo draw more Bat-villains. In fact, I'm all for Greg Capullo drawing more of everything because his art is incredible. Joker's stretched-face look has been creepy the entire run of "Death of the Family", but for some reason, he looks even more insane and broken than in previous issues. 

I won't tell you to not read this issue, because it's one of the main issues of "Death of the Family", but if you're wondering whether it stands on it's own as a good issue, that's up for debate. Sure, it's a penultimate issue to a five-issue-long storyline, but that means there should be a whole lot more going into the end of the issue to ramp up readers for the grand finale! Instead, we get a contrived situation that Batman will obviously escape from because it's Batman. Which is a shame because Scott Snyder truly understands that the Joker's terror doesn't come from his physical prowess, but rather from his mental acuity. Even though the man is a psychopathic, murderous criminal, he's probably the most intelligent, psychopathic, murderous criminal Batman has ever faced.

GRADE

7/10

THE WEEK (JAN 16-22, 2013) [update]

For all you regular readers out there, I want to apologize for not updating very much last week. It was a busy, stressful week that only got busier and more stressful with each passing day. It all culminated with a 5 1/2 hour drive to Washington D.C. on Sunday and the same drive back on Monday. With that being said, I'm ready to get back on the wagon and bring you as many reviews as I can this week! Enjoy!


FEATURED REVIEW
Savage Wolverine #1
(Cho)
Frank Cho tackles one of the two Wolverine titles for 'Marvel NOW!', taking the X-Men's most dangerous member to the Savage Land for some good old animalistic fun times! I mean, it's Wolverine and Shanna the She-Devil vs. dinosaurs? Count me in.

Batman #16
(Capullo, Synder)
I really hope DC keeps Scott Snyder and Greg Capullo together on Batman for as long as possible because that pairing is just a dream. Early reviews already call Batman #16 not only a turning point for "Death of the Family", but also an excellent use of a villain that's recently become a little over-exposed.

Batman and Robin #16
(Tomasi, Gleason, Gray)
It's Batman vs. Robin! Last month, Peter J. Tomasi left us hanging with a Joker venom-infected Batman coming after the Boy Wonder! Who will win? Joker, obviously. Because the villain always wins right?

Captain America #3
(Remender, Romita Jr.)
A lot of people aren't feeling Rick Remender's Cap' after all those years with Ed Brubaker, but I've thoroughly enjoyed both issues so far. I've always been a fan of John Romita Jr.'s artwork, and Remender's Dimension Z epic is just that: epic.


Indestructible Hulk #3
(Waid, Yu)
It's Hulk's first mission as an official Agent of S.H.I.E.L.D.! What could go wrong? Mark Waid is just one of the best writers currently working, and Leinil Yu's amazing, beautifully chaotic artwork just makes the book.

Saga #9
(Vaughan, Staples)
There's not a whole lot to be said about Brian K. Vaughan and Fiona Staples' amazing Saga that hasn't been said about a thousand times. But I'll try because I love it so much.

Threshold #1
(Giffen, Raney)
Spinning out of the events in Green Lantern: New Guardians Annual #1, "The Hunted" begins as Jediah Caul is tuck in the Tenebrian Dominion with a giant target on his head! While I really wasn't impressed with "Threshold #0" in GL:NG Annual #1, I'm more interested in Giffen introducing DC's space-faring heroes, as well as Larfleeze's back-up story written by Scott Kolins!

Extra! Extra!

All-New X-Men #6
(Bendis, Immonen)

Batgirl #16
(Simone, Benes)

Demon Knights #16
(Vendetti, Chang)

Frankenstein - Agent of S.H.A.D.E. #16 - Final Issue!
(Kindt, Ponticelli)

New Avengers #2
(Hickman, Epting)

Superboy #16
(DeFalco, Silva)

REVIEW: JUSTICE LEAGUE #15

(w) Geoff Johns
(p) Ivan Reis
(i) Joe Prado

I'm torn in my feelings about "Throne of Atlantis".

I really want to like the story, and I very much want to understand how this is a bold, new direction for both Aquaman and Justice League. This week saw the release of the first two parts of "Throne of Atlantis" within Aquaman #15 and Justice League #15 respectively. Since Geoff Johns is writing both titles, he's not limited to cooperating with other writers to convey a singular tale. Instead, this is more like Johns featuring Johns--the characters feel fluid throughout the narrative because they're being written the same way each time, and the story itself is strong because the whole thing is Johns' brainchild. While this situation should have birthed some amazingly epic crossover, the whole idea kind of falls flat. We've seen Atlantis rise up before, and it's kind of starting to get old. I know this is the first time it's happened in the 'New 52', and for that reason, I'm willing to give Johns the benefit of the doubt when it comes to world-building (seeing as he's DC's Chief Creative Officer). And that's why I'm torn over this crossover as a whole: Johns is doing the best he can to make a rather dated idea more appropriate for the modern age, and while it's there are some general missteps made, there's also a lot to like in these pages.

Let's look at the missteps first. I'm worried "Throne of Atlantis" is getting dangerously close to Ultimatum territory in terms of needless death and unapologetic detriment to that universe at-large. In fact, the splash page of the tidal wave looming over Metropolis is eerily similar in look, tone, and feel to the wave Magneto sent to destroy New York City. Upon closer analysis, the similarities become even more apparent. Both Magneto and Ocean Master unleash a massive force of nature upon an unsuspecting human population in an effort to drastically alter the status quo. Both villains are purposefully left out of the issue wherein they cause the destruction, mostly as a means of making them more sinister and foreboding. Lastly, both Magneto and Orm lash out because someone or something is manipulating their emotions through death or destruction.

Now for the good. The fact that Geoff Johns has developed this entire crossover means he's got a lot up his sleeve. There are bound to be plot twists, double-crossings, hidden agendas, and shocking fallouts. Even though the events depicted in Justice League #15 mirror other comic book stories, Johns writers some of the best interpersonal relationships around. For "Throne of Atlantis", he's included a number of plot elements that have been building in both Justice League and Aquaman since their respective beginnings. We see Batman and Aquaman putting aside their personal issues with each other and working together to stop some of Scarecrow's henchmen. The normal, civilan dinner shared by Superman and Wonder Woman gives Diana perspective as to how Clark manages his life outside the League. And Cyborg's slow-burning narrative with his father continues to spotlight Victor's isolation and need to feel human.

The good outweighs the bad, in the end. Justice League #15 has some glaring weaknesses in terms of basic premise, but Geoff Johns' solid character work makes up for it. Additionally, bringing on the stellar Aquaman artistic team of Ivan Reis and Joe Prado was a dynamite choice on DC's part. While Jim Lee's pencils are good, I've always liked Ivan Reis' facial expressions and Joe Prado's depth in shading. I'm excited for "Throne of Atlantis" because I really like stories like this, and I'm confident Johns will do it justice.

GRADE

8/10

REVIEW: BATMAN #15

(w) Scott Snyder

(a) Greg Capullo

(i) Jonathan Glapion

"Death of the Family" marches along this week in Batman #15 with a sort-of interlude issue for the whole event. This month, nearly all the Bat-books have a connection to "DotF", meaning there's a whole lot more narrative going on all around Scott Snyder's central plot. Of course, this isn't to say that this issue is boring, or any lesser quality than any other issue, it's just not as action-packed and/or thrilling as last issue's edge-of-the-seat chapter. Snyder knows how this story has to play out and what that means for Batman and his extended crime-fighting family. Batman #15 is really what this Joker-centric story is all about: the disintegration of Batman's support system. 

We know the Joker sees Batman as a king of Gotham who can't be his best because he has weights tying him down in the form of his allies. Each new Bat-hero that emerges becomes one more person Bruce has to worry about, just one more body to inevitably find, according to the Joker. He's not wrong. The best part of "Death of the Family" is that the Joker is absolutely right--while Batman might consider himself a loner (along with DC's editorial staff), the evidence of decades of sidekicks, allies, and frenemies says differently. Bruce's penchant for taking in outcasts and turning them into shadowy vigilantes points more to his obsessive need for family rather than his isolationism. Sure, every time a new Robin pops up, Bats gets pretty defensive about taking on a new partner, and he never really approved of Barbara becoming Batgirl, but the end result says that Batman needs a strong, extensive support system to maintain his desired crime-fighting lifestyle. Heck, he created Batman, Inc. just to have more allies/soldiers around the world. Bruce needs his family, and Joker knows it.

This month, Bruce reveals a shocking secret about his history with the Joker than sends Nightwing, Red Robin, Batgirl, Red Hood, and Robin into a hissy fit. The actual information isn't so important as the fact that Bruce kept a major secret from his allies. Bruce attempts to convince the others that Joker doesn't actually know anyone's identity and that it's all just a twisted mind game. The revelations from the past make Bruce's words somewhat hollow in the eyes of the others, and they start to question Bruce's ability to keep a clear head in the midst of this chaos. It very much feels like a turning point for Batman and his allies, that they might never fully trust each other ever again, that this is how the family falls apart.

GRADE

9/10