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

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

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

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

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

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

REVIEW: BATMAN #14

(w) Scott Snyder
(p) Greg Capullo


And here I thought "The Court of Owls" was a big story. Silly me. "Death of the Family" gets expanded big time this week in Batman #14 (and in Batgirl #14). Scott Snyder reveals, with this issue, how well he knows both Batman and the Joker. Obviously, the Joker's absence from the 'New 52's first year was purposeful, but Snyder isn't letting the cat out of the bag all at once. But unlike the Clown Prince of Crime of the past, "Death of the Family" feels like it's going to be chaos with a meaning.

Joker is a villain who has always been unpredictable. So what's the best way to make a terminally unpredictable character even more unhinged? Make him do something Batman can see coming. Last month, Harley Quinn orchestrated a scenario to drown Batman in the same chemicals that turned the Joker into a psychopath. Bruce picks up on the hint and realizes that Joker is recreating their old encounters. Fans and critics alike have been debating for years whether Batman's crusade is effective, if he's actually making a difference in Gotham City, or simply abetting more crime. This is what speaks to Snyder's ability with the Dark Knight -- drudging up the past is the best way to get under Batman's skin, and Joker knows it.

Batman #14 is a stellar issue from beginning to end. Never before has Bruce's 'extended family' been such a focal point of a Batman story to such a degree. Obviously, Alfred Pennyworth was taken from Wayne Manor at the end of Batman #13, and Jim Gordon gets hit his month with a blood-thinning poison. Even without the big reveal at the end, I would highly recommend this issue. The final pages, though, change everything for Batman and the Joker. Scott Snyder is leading the march on a new era for Batman and his allies, and it's going to be a frightening, sadistic, horrifying, absolutely entertaining road.

GRADE

9/10

BATMAN #13

(W) Scott Snyder
(P) Greg Capullo
(I) Jonathan Glapion

"What?! You've heard this one, too?"

Scott Snyder and Greg Capullo have brought back the Joker. I have a feeling this plan to keep Batman's archnemesis out of sight and out of mind for a full year was completely deliberate. There have been interviews where Snyder explains how he wanted to do the "Court of Owls" first, but the opening pages of Batman #13 might suggest differently. Not once in the entire "Court of Owls" arc was I as terrified as I was during this issue. Somehow, Snyder has tapped into the most frightening, pathological version of the Joker ever seen, and it's comic book dynamite.

The opening scene revolved around the Joker returning to Gotham City to retrieve his face from the GCPD. If you remember last year, in Detective Comics #1, Joker allowed his face to be cut off by the Dollmaker, a symbolic gesture towards Gotham and it's citizens more than anything, a sign that he was gone but not gone. It's when the lights go out and a mysterious figure stands in the doorframe that Jim Gordon understands what is happening, and he does everything he can to stop the Joker from going on a rampage through the police department, snapping necks as he goes. The entire scene is absolutely chilling. It's hard to write blackout dialogue - the use of darkness makes it hard to discern who is speaking to whom. But the lettering throughout this scene is what makes it so damn scary. The Joker's word balloons are scratchy, jagged, and nearly broken, much like the man himself. It not only makes it easier to read, but it adds that extra layer of creepiness.

The rest of the issue is mostly dedicated to Batman searching for the Clown Prince of Comedy. First, Bruce is forced to field a volley of communications from Nightwing, Red Robin, and Batgirl concerning Joker's return. Batgirl's the only one Bruce is reluctant to contact, but soon gets chewed out by Barbara herself when she discovers her father was attacked at his job. During the investigation, Joker takes over TV broadcasts and forces an innocent civilian to proclaim the Joker's return before he's shot in the temple. Snyder is amazing at writing horrific melodrama, and this might just be some of the best work he's ever done.

I usually don't discuss artwork too much because visual art is so often in the eye of the beholder. There are, of course, times when it's appropriate to discuss the panels and pencilling because they have some important connection to the story in general. In Batman #13, Greg Capullo works overtime to make sure Snyder's gritty scripts are coming across correctly. Without Capullo's intricacies, the scene with Joker in the GCPD wouldn't have been nearly as haunting, and his Joker re-design is simply the most horrifying he's ever looked. Again, without this level of visual quality, Snyder's words wouldn't have nearly as much impact.

One of the best things about Batman #13 is how much Snyder is able to stuff into one issue without coming across as detail-obsessed (William Faulkner, anyone?) The murder of a man on live television and the claim that Mayor Hady would be dead at midnight all connects back to the Joker's first appearance (according to Batman) and must have some importance in the present. Then there's the Harley sequence! Yes, Harley Quinn adorns the original Red Hood outfit - worn by Joker before he was Joker - to confront Batman, hoping to catch him off-guard and get him away from his cave. That's all I want to give away because the final pages are just so damn amazing.

GRADE

9/10

BATMAN #0

STORY: Scott Snyder
ART: Greg Capullo

It truly is astonishing how good Scott Snyder is on Batman. He has such an fantastic hold on the character - as both Batman and Bruce Wayne - that anything he writes seems so natural, so organic in it's flow and content. This is the 'New 52', and as such, it's not uncommon for things to feel awkward and out of place. Not Batman, though. While Snyder's epic "City of Owls" mega-arc spanned the first year of the title (not to mention most of the other Bat-books for a month in May), it was hard to gauge how this title could read on a less cerebral level. That is, could this Batman be personal, or would it continue to be Snyder's outlet for the more sensational Batman stories? While last month's "Bat Box" issue was incredibly satisfying, I truly missed Greg Capullo's artwork, which comes back this month, making Batman #0 the best of the two non-Owl themed issues yet.

I'd like to reiterate how great Scott Snyder is at writing this title because last week, I wrote in my review for Action Comics that there seems to be a few distinct types of "Zero Month" issues: the ones that gave a semi-comprehensive origin story (i.e. - Stormwatch, Animal Man, The Phantom Stranger, etc.), the ones that only focus on a particular episode from the past (i.e. - World's Finest, Earth 2, Action Comics), and the increasingly rare ones that find a way to balance both sides into a solid issue that offers some revelations into how things began, but don't resort to grand history lessons each page.

Batman #0 falls into this third category. Without an actual new origin, the writers of Batman books had to find new ways to exploit "Zero Month" - they don't get the luxury of rewriting history. In Detective Comics, we met Bruce's final teacher before he returned to Gotham. In Batman and Robin, we get a history of Damian's upbringing in the League of Assassins, and in Batman, we get Snyder's take on Bruce's earliest days fighting crime in his home city. He isn't Batman yet, and in fact, Bruce has moved him and Alfred from the mansion into Crime Alley because, "this is where I have to be, Alfred. This is where my war begins." It's a technically appropriate sentiment, but one that seems childish, even to Alfred at that moment. "And how is that war going so far, sir?"

In a surprising bit of fan service, Snyder has resurrected the original Red Hood! Yep, before Jason Todd took that moniker and built himself a cool looking red helmet, another villain had that name, albeit with a lot less swagger and talent. In Batman #0, the original Red Hood shows up with his gang to rob a bank and soon enough, he realizes that Red Hood Five is an impostor. In fact, it's Bruce Wayne trying to put a stop to criminal activity before taking on the cowl. Again, it seems childish and less thought out than we're used to from Bruce Wayne. But that's kind of the point of this issue, isn't it? Readers get a glimpse into how Bruce stumbled around before truly understanding who he was and how to fight the darkness spread throughout Gotham. This is an issue about uncertainties and how that leads to failure.

The only part of this issue that felt forced was the conversation between Bruce and Jim Gordon. After being back for three months, Bruce has moved himself into the most dangerous part of Gotham and hasn't been seen living the high life like all the other billionaires. Add to that sightings of a vigilante attempting to take the law into his own hands and Gordon begins to have a pretty good circumstantial case against the current Mr. Wayne. Of course, it's just that - circumstantial. In the end, Bruce denies everything and Gordon seemingly believes him without much of a huff. It feels like this is supposed to be Gordon eliminating Bruce Wayne as s suspect of being the vigilante (and eventually, Batman), but it feels cheap. If all these elements were adding up and equaling Bruce Wayne, what was stopping Gordon from looking into it further? The word of an insanely rich trust fund baby who just went missing for six years and now lives in Crime Alley? It all just seems a bit too much to suspend disbelief.  I understand that often, a comic book world is simply more fantastical than ours, but simple human deduction would have eventually led Gordon back to Bruce. Of course, there's always the possibility that Gordon just assumes Bruce is Batman without ever actually revealing his true thoughts.

Batman #0 does a fantastic job giving readers a history without being boring or unimportant. Batman-related books could have suffered terrible setbacks with these "Zero Month" issues. Instead, Snyder is leading the pack in terms of quality and type of story that should be told. Us readers already know how Bruce's parents died and how he becomes Batman, so these issues should be more about building up a world that leads into the present day, and Scott Snyder has done this in spades.

GRADE

A-

BATMAN #11

STORY: Scott Snyder
ART: Greg Capullo and Jonathan Glapion

This month, Scott Snyder wraps up "City of Owls", the mega-arc that has spanned all eleven current issues of Batman as well as all the other Bat-books during the "Night of the Owls" crossover in May. It's difficult to explain just how significant the Cour of Owls has become in less than a year. While (pretty much) every other book is showcasing character history, new threats, or reimagined ideas, Snyder has built a new entity in the DC universe akin - in narrative scope - to the Green Lantern Corps or the Legion of Superheroes. The Court is now a major player in the going-ons of more than just Batman, and that's a remarkable achievement. DC is so invested in the Court affecting the future, that it's debuting Talon - a new ongoing series based on the Court of Owls - as part of the "Third Wave" of titles slated for a September premier. Along with last month's revelation about Bruce Wayne's younger brother, Snyder has truly made a significant impact on the DC universe.


Batman #11 is split into to distinct acts: Batman vs. Owlman, and Bruce's epilogue-y lament about the Court. While Snyder's inter-character dynamic has been phenomenal thus far, he slips a bit here with Owlman's monologue. The first 15 pages are dedicated to Lincoln March (I'm going to call him that because it sounds cooler than Thomas Wayne Jr.) and his issues with Bruce, his father, and Gotham City at-large. After a few pages, March's angry rant starts sounding whiney and pathetic. The whole speech is supposedly meant to give the readers a sense of how sad March's life has been. Unfortunately, condensing this aspect of the arc to a single issue makes it come across as a little disingenuous. March has spent years and years hating Bruce, so having a few choice words for his older brother wouldn't be that abnormal, but to seemingly have an entire speech memorized - one that has an ascending and descending flow - whilst dragging another person through the sky is a bit far-fetched, even for Batman.

Which brings me to my second big gripe with their battle. March's Owlman suit gives him flight abilities, so he jets around Gotham with Bruce flailing behind him connected to some tether. At one point, March shoots into the sky and dangled Bruce in front of a passenger plane turbine engine. It's a dramatically drawn scene, but the reality of having a conversation only inches away from a furiously spinning plane engine is that it couldn't possibly happen. The sheer noise emitted from the engine would drown out anything else. While this might seem trivial on some level, it's a sloppy mistake that should have been changed. There wasn't any meaningful reason why March decides to use a plane as a torture device, so there's no reason why the scene couldn't have been made to be more realistic. Fortunately, Act II fares a lot better than the Owlman fight.


Bruised and (mostly) broken, Bruce is visited by Dick Grayson. Their awkward conversation stems from their last meeting, in which Bruce bitch-slapped a Court of Owls gold tooth cap out of Dick's mouth. Dick has a vivid memory of this, while Bruce tries to breeze right past this subject and into his feelings about the Court. While I normally don't condone pages filled with speech bubbles, it's nice to see Bruce out of the suit and a little more relaxed than usual. Snyder recognizes that he's been putting old Bats through the ringer for some time now, and that a little downtime is needed. That being said, Batman's downtime is all about debriefing. Bruce understands that Gotham isn't his - or Batman's, for that matter - and that he can't know everything about the city he thought was familiar - "Part of me was doing [the Gotham expansion initiative] to have more lookouts. More bases for Batman rather than the city itself. But I see now that I was wrong." Snyder deftly handles this scene, giving an honest portrayal of a man finally understands his place in his own world.


The Court of Owls is poised to be a major part of the DC universe moving forward. Scott Snyder has done what many writers only dream of doing - making a significant impact on a character and their universe. If all comic books were this good, there would be a whole new mainstream appreciation for this form.

GRADE

 A-

(COMIC) BATMAN #10

STORY: Scott Snyder
ART: Greg Capullo and Jonathan Glapion

** HEAVY SPOILERS. READ ISSUE BFORE READING REVIEW**



Now that "Night of the Owls" is over, most of the other Bat-books have gotten back to their regularly-scheduled story arcs, except for Batman, Scott Snyder's golden series that cannot seem to do any wrong. Every month, Snyder and Greg Capullo combine intricate, devastatingly good narrative with sharp, clean art that actually conveys emotion and behavior. Basically, Batman has been a joy to read and look at since issue one. Every month, I sit back after reading Snyder's work and just think about how good it was - I don't write the review immediately, and I don't reread it again for a few hours. I like to go over the events, think about how Capullo's artwork makes Snyder's words even better, and how everything is always leading to something bigger.  Batman #10 keeps Bruce on the trail of the Court of Owls, intent to take them down for good.

In fact, Bruce tracks them down to Harbor House, the building he ventured into decades earlier, hoping to connect the Court of Owls to the murders of his parents. As a boy, he found nothing, but this time, Batman knows the Court is there; he knows that he's got them all cornered.

Until he discovers they're already dead.

Honestly, this first act of the issue is pretty anti-climactic. The Court has been a chilling presence to be reckoned with since it's first images in Batman #1 back in September. Their owl masks and dapper appearances made them villains with an intense duality of enigmatic means and public wealth. Not unlike the best secret societies throughout the history of human culture, the Court's power comes from their secrecy and their secrecy comes from their power. Snyder is forced to take out the entire Court with a mass suicide through poisoned wine in order to advance the story to it's conclusion. Ever the skeptic, Bruce makes sure the members of the Court are legitimate before descending into frustration.

The second - and shortest - act of the issue shows us Bruce's detective skills telling him it doesn't add up; the Court's collective suicide was a facade for something bigger.

I'm just going to come out and say it:

LINCOLN MARCH IS BRUCE'S BROTHER, THOMAS WAYNE JR.!

The final act of Batman #10 brings back Lincoln March after his swift death at the hands of a Talon last month. In a grand, final twist in the entire "Court of Owls" saga, Scott Snyder reveals that Lincoln March is actually the youngest Wayne son, defective at birth and sent to live at a children's hospital to heal. When the Wayne's were suddenly murdered, Junior was lost to the system, leaving him ripe for the picking by the Court as a moldable man - someone they could build and change to suit their needs. It's a pretty devastating reveal (one that will have ramifications for years to come, I'm sure), not to mention Lincoln/Tommy-J. injected himself with the reanimation syrum before the Talon got to him. Yep, he's a zombie now. And he's got the Court's newest Talon armor they had been developing before they decided to reanimate the old Talons. The issue ends with the new Owlman lunging toward Batman with the hate only a long-lost brother can harbor.

It was a pretty bold decision to not only introduce Bruce's brother, but also to revamp him as Owlman, a character that has traditionally been an evil, alternate version of Batman from the parallel Earth-3. I'm not sure how much I like these decisions yet, but they're HUGE nonetheless.

GRADE:

A

(NIGHT OF THE OWLS) BATMAN #9

STORY: Scott Snyder
ART: Greg Capullo and Jonathan Glapion

The shit has hit the fan.

Scott Snyder has spent the last year crafting one of the best Batman storylines in years - and it didn't involve a death of a main character! Snyder's Court of Owls is such a great metaphor for the unknown, the uncovered. This month puts Bruce right into the thick of the "Night of the Owls", first by finishing up his fight in the Batcave, then to save Lincoln March, a character Snyder developed fantastically early on in the series and is just now coming back...only to die.

Batman #9 is probably one of the least plot-heavy issues of the series to date, relying mostly on action sequences to push it forward. While this might normally be a problem, "Night of the Owls" continues on through issue eleven in Batman - while only crossing over with the other Bat books this month - so stretching out Bruce's plot isn't as detrimental as it could be. The first half of the issue is spent wrapping up the attack on Wayne Manor, pitting Mecha-Batman against a half-dozen Talons. Alfred is dropping the cave's temperature as fast as he can to counteract the Talons' regenerative abilities and the Bat-Gundam is slowly being torn to pieces. 

Of course, the Talons finally freeze and Bruce makes his escape to go and save Jeremiah Arkham - a plot point added at the eleventh hour - before going after March. Bruce's visit to Arkham Asylum is depicted in the pages of last week's Detective Comics in rather dull detail. Fortunately, March's panels at the end of the issue are superb, and while his time in the Batman universe has been brief, he was such a good foil to Bruce that I still felt upset when he died. His last words are about how great Gotham can be, telling Batman to make sure Bruce Wayne knows that the dream shouldn't die. It's probably one of the best emotional moments in the series so far, and it simply pushes Bruce past the edge.

GRADE:

A+

(NIGHT OF THE OWLS) BATMAN #8

STORY: Scott Snyder
ART: Greg Capullo and Jonathan Glapion

Ladies and Gentlemen, "Night of the Owls" has begun!

Scott Snyder kicks things off for us this month with a stunning issue of Batman that sets up the infestation of Gotham City while pitting Bruce against more Talons than Alfred can count. "The Court of Owls" was a great storyline, one where Snyder attempted to convey the kind of enigma-shrouded terror that the Court and their Talon instilled, not only in Batman, but also the audience. While this might sound like a no-brained when it comes to comic books en masse, it's not often that writers want the audience to take the emotional journey with the main character. Too often, being a removed, third-person omniscient narrator allows writers too much leeway to show readers everything all the time instead of parsing it out over time.

While any regular Batman reader would, at this point, know what's going on, the emotional element is how Snyder creates such fantastic stories. The Court of Owls represents Batman's failures, not in defeating his enemies, but in truly understanding what it is that he's fighting. Bruce believed he was Gotham's Son, a man with such an intensely personal relationship with the city that it couldn't be rivaled. The revelation of the Court's existence crushes Bruce's esteem and confidence, turning him into a whining 12 year old girl who was called a "bitch" at school by Becky Johansen. Or - in the Batman version of this pre-teen - Bruce stands in the dark staring at a model version of Gotham City as he gazes past the buildings and into it's soul.

The actual attack by the Talons is truly terrifying. Written media rarely makes my skin crawl (the exceptions being Mark Z. Danielewski's fantastic House of Leaves, and the utter decrepit violence in Mark Millar and John Romita Jr.'s Kick-Ass) yet the threat of the Talons growing larger with every passing second sent chills down my back. I worried for Alfred, alone in the cave as a lone Talon came after him, and I worried again when the Talons start realizing that Bruce is Batman.

With fantastic art by Greg Capullo, a completely engaging narrative that ropes you in and never lets go, and a great lead-in to the main events in Gotham next month, Batman #8 is the best issue of the series to date, something Scott Snyder better stop doing soon before he can't outdo himself anymore!

GRADE:

A+

(COMIC) BATMAN #7

Written by Scott Snyder
Artwork by Greg Capullo and Jonathan Glapion

It's been a few months since Scott Snyder has given readers much exposition in the pages of Batman. Of course, this wasn't bad at all. In fact, issues five and six were some of the more cerebral issues in recent history. But it's nice to get a little more framework for the coming "Night of the Owls" crossover event. At the end of the last issue, Bruce finally escaped from the Court's labyrinth and his own nightmares. Back at the cave, Alfred found the body of the Talon in the ice of the Gotham River. And because Batman almost literally never gets any sleep, he goes to work immediately with the autopsy.

The Talon is discovered to be a reanimated corpse doing the Court's bidding. Throughout the "Court of Owls" arc, the Talon's strength and voracity have been shockingly powerful, so it's nice to get some explanation as to why. Snyder throws a curveball this month by identifying the man as Dick Grayson's great-grandfather, William Cobb. After a weird emo-meltdown from Nightwing in the cave, Bruce matches a tooth of Dick's to a tooth of William's, confirming Bruce's suspicions that Haley's Circus provided agile young men to the Court to be trained as Talons. Bruce's quick connections feel a little sloppy in execution. One moment, Bruce is explaining the reanimation process (similarly sloppy, but this time because Snyder rushes through it), and the next, Nightwing is lambasting Batman for trying to shake him up.

Next month's Batman and Nightwing both act as prelude issues to May's giant "Night of the Owls" event, and from the looks of the last few pages of issue seven, things are about to get a lot more messy for Batman.

GRADE:

B-

(NEWS) Batman: Night of the Owls Event

from Batman and Robin

Coming up this summer, DC Comics will launch it's first true crossover event for it's 'New 52' line of titles. Based around Scott Snyder's current arc on Batman titled "The Court of Owls", the multi-title crossover will be called "Night of the Owls" and will encompass most of the Batman-related titles currently offered by DC.

For the past week, Comic Book Resources rebranded it's normal Batman coverage column as 'The Owl Signal' and offered daily interviews with creators who will be contributing to the upcoming event. The first article in the series featured Scott Snyder, Greg Capullo and Mike Marts discussing their role in creating the prelude story to the entire event and how the Court grew into a much bigger idea than originally anticipated. The second in the series revealed that Dick Grayson would be receiving two tie-in issues with Nightwing and how Batman's former protege plays a major role in the story's events.

And the owl-related fun isn't restricted to just one time period! Writers Jimmy Palmiotti and Justin Grey will be expanding the Court's influence to the 1880's in All-Star Western #9. In their own interview, the writing dup discuss how they fit the "Night of the Owls" concept into the adventures of Jonah Hex and Amadeus Arkham naturally and how it connects to present-day events. Comic Book Resources has done a fantastic job chronicling the creative influences behind DC's first crossover for the 'New 52' and it's worth checking out.

"Night of the Owls" will extend to such titles as Batman and Robin, Batman: The Dark Knight, Catwoman, Batwing, Red Hood and The Outlaws, and Birds of Prey. Starting in May, I'll be doing special coverage of all titles related to the event. Articles concerning the event will be titled with (OWL WATCH) tag.

- Jay

(REVIEW) Batman #6

Written by Scott Snyder
Artwork by Greg Capullo and Jonathan Glapion

Batman is the best title from DC's 'New 52'. By and far, Scott Snyder has created one of the most engaging Batman stories in years. And he didn't even need to kill Bruce Wayne! For quite a while, DC has used a host of gimmicks to tell more compelling tales of the Dark Knight. Unfortunately, these gimmicks have quickly faded away and brought us back to Bruce, Batman, and the Gotham way. That's why the Court of Owls is ingenius. As a threat that has been operating under Bruce's nose for so long - and throughout the past 200 years - the Court is the best kind of 'evil' for a character like Batman; one that represents the unknown and familiarity at the same time.

After multiple visits from the 'Talon', a bunch of group photos through the years, and a short TV screen appearance, the Court of Owls comes out of the shadows. Broken and defeated, Batman is presented to the Court by their steadfast assassin. The Talon inquires how he should kill Batman, to which they reply "Hurt him, more." It's a haunting scene and one that Snyder nails from beginning to end. The ever-loyal Talon's complete obedience is extremely well written and the Court's own traditions are conveyed as the perverted, sadistic rituals they are. It's fantastic.

Greg Capullo has also been pulling his weight. The artwork in this issue is so smooth and flows so well that you sometimes barely notice the subtle changes from reality to Bruce's dementia. The Court's shift from suit-laced to talon-handed is great, truly showing just how far Bruce is gone and how much effort he must exert to fight back.

After hearing that the first arc of Batman would lead into the "Night of the Owls" crossover event, I knew DC was finally getting it. Good crossovers and events happen organically and come from intuitive ideas. Unlike their mega-event craziness over the past ten years, DC has opted for lower-scale crossovers that enhance the mythos of these characters instead of throwing them into unbelievable situations that are supposed to 'change everything.' And with the final pages of Batman #6, we're given a great prelude to this summer's crossover event as the Court decides to unleash their army of (seemingly) hundreds of Talons across Gotham City, all because Bruce escaped their talons clutches.

This was one of the best issues of any Batman-related books I've ever read, and it's one of the best issues I've read ever. Keep up the good work, boys.

GRADE:

A+

Review: Batman #5

Review




Batman #5
Scott Snyder - Writer
Greg Capullo - Pencils

It's good to see the Dark Knight so unhinged! It's been a good while since ol' Bats went a little nuts of his own accord. I don't mean he wanted to lose his marbles, but at least it's not at the expense of fear gas, neurotoxins or any other foreign agent; good, old-fashioned mind games that have sent Batman to the edge of his sanity.

Scott Snyder is seriously killing it on Batman and even for an issue very devoid of actual story progression, the audience gets so much! At the beginning of the issue, it's already been eight days since Bruce was dropped into the labyrinth. While Batman is going crazy, alone in the dark, Gotham is also going nuts without a Batman to stay the crime. It's a brilliant stroke of duality that really gives Snyder's story a fantastic cohesion rarely seen in modern comic stories.

Seeing Bruce confront hallucinations, his own mortality and the (apparent) potential loss of his 'story', or, his memories, his history as a Wayne and as a hero. While everything stays in the 'generally vague' category of explanation in this issue, next month's issue looks like it will give us some answers to the Court of Owls' motives and maybe their members!

Grade: A

Review: Batman #4

Review

Batman #4

Scott Snyder - Writer

Greg Capullo - Pencils

Though this particular issue came out almost a month ago, I seriously just wanted to talk about Batman #4, a fantastic issue of the best of the Bat-family series in the New 52. Scott Snyder is seriously bringing his A-game. His intricate tale of the Court of Owls in Gotham City has given Batman an energy and suspense not seen in years. And though this issue was mostly spent in Bruce's flashbacks about the myth of the Court, it never feels like expository overkill.

Part of what makes Snyder's Court of Owls so cool is that it is so steeped in myth. Bruce is convinced the Court can't exist, but the signs are all around him and he really doesn't know what to do. And as always, Greg Capullo's artwork is damn near perfect for the Dark Knight (unlike David Finch's weird renditions of Gothamites.) Without spoiling the last pages, this arc is set to get even more engrossing in the coming months.

Issue Grade: A