First off, let me state that I think that every Batman fan reading this that hasn’t read this issue yet should go out to their local comic shop and pick this issue up before they read this review because HEY, IT’S THE 700th ISSUE and it is quite the achievement, and for such a momentous occasion you shouldn’t read about it in a review and have it spoiled and thrown away on a quick read through on your computer screen. You need to hold the book in your hands, read it, soak in every word and panel presented, truly treasure the occasion and reflect on your own personal experience after it is done. So with that out of the way I will state that I will not spoil anything for you here, but I beg of you to PLEASE go out, buy it, and read it before you read this review. But what I will do here is give you a little insight to what is to be expected in these pages.
Messy is an understatement. Grant Morrison’s work on Batman #700, is what it is. A messy, garbled story of which we have no clue to what’s going on, but at the same time and in old Grant Morrison style it leaves the story up to the visual side of a complete and unquestioned whole that makes up what we love to read. But that isn’t necessarily a bad thing. All the hype about this specific issue aside, there is a coherent story there (of course) that begins, climaxes and ends all in one issue it transcends everything that I have expected and more. While sticking to a storyline, I can't help but feel that there is something more to this story. First, we start off with Bruce and Dick in the first story called “Yesterday” as Batman and Robin strapped to chairs in a maybe machine, a machine used to see what would happen if things turned out differently. We then see them surrounded by the Riddler, Mad Hatter, Cat Woman, and none other than the Joker. We then see Dick and Damian in the second story called “Today” taking up the positions previously stated, trying to stop an underground auction that is auctioning off weapons and other things. Finally we see Damian as Batman in the third story called “ Tomorrow” trying to stop a criminal named January from killing all the citizens of Gotham using an old yet familiar gas that makes people laugh. The end is the real kicker and will only be revealed when you read it.
I know, it sounds like none of these stories connect to each other, but they do through time travel and the consequences of actions which I must say weaves perfectly through a single twist of continuity and fate. While this issue and its content both visually and text wise offer a valuable story, I was expecting a little more from these pages action and story-wise even though the idea is there and makes it a wonderful read. Maybe it’s because DC, other Batman related websites and news stories hyped the hell out of it or because it falls short of the holy grail of content we’ve grown to expect from Grant Morrison. But I can’t help but feel that this issue would have been better if it was a one-shot. Which in a sense is somewhat true, the story could have been fleshed out a little more and it would not have been plagued by what had become a problem for Tony Daniels when he was the writer for the Batman series. While this issue is numbered within the Batman comic series, it is presented as a one-shot or something like it. Although I’m not quite sure if the events in this story will have any effect on other series such as Batman & Robin, I will state that I would like to see some of what is presented here in future issues or maybe a one-shot with the maybe machine being used again and acting as a plot device. This story/one-shot/whatever you want to call it takes us back to the past, to the current day and to the future….. Then further on in the future, and back to current day which like I‘ve said is pulled off and presented wonderfully, and most importantly in a smart, innovative way all the way to the end.
At the end of the issue there is bonus material in the form of artwork by artists that have worked on Batman in the past, while it is a hit or miss, Guillem March’s Joker art is something to be reckoned with, while Philip Tan’s Batman is also quite extraordinary and both I would recommend you take a peek at. The story, art, and bonus material is not only presented great here, but it also rings in and applauds the momentous occasion for what it is. This issue is the definition of a comic book and if there is any kind of redemption in this world, the 700th issue is it.
Like I’ve said before I think this story is much more than a typical run of the mill story. I think (besides the obvious examples that have been told in past issues) it’s a “passing of the torch or cowl” sort of story. With Bruce to Dick to Damian and so on and so forth. It’s an action or tragedy on a son who becomes a father who passes it on to his adopted son to another son to the future bearers kind of story. Because we don’t know who the future Batmen are and what their relationships are to who we already know I also think (while not directly stated or presumed) it’s a Father/Son story about those talks you had with your Father when you were a kid, and after all those years you look back and realize what your father was telling you, it was knowledge learned that we use to protect ourselves to fight for what we think is right, for what we think NEEDS to be right, to stand up for justice and the righteousness of what you think is the right thing to do . Everyone plays the part of the Batman no matter where you come from, no matter how you were raised, no matter what happened in your past. It’s a final confirmation that Batman is bigger than anything we can hold in our hands or that one person can fully grasp within a lifetime or perhaps will never be fully understood by any one human. Thus, there is a universal need for a wearer of the cowl to try to understand all the craziness and absurdity in this world to put together what it is that makes what’s right, right, and what’s wrong, wrong, and for the symbolic nature of an idea or philosophy to show all of humanity that there is some sort of greatness in every single thing we do, that there is goodness in the human soul, and finally but most importantly that there is hope in despair (all the while not fully understanding it at all), which in the end is what Batman stands for.
Overall, a great issue is all I can say. This is what I have been personally waiting for and Morrison delivers. As for the art Finch’s cover kind of echoes (dare I say) Jim Lee’s work. On the inside Tony Daniel’s pencils are top notch as they should be while Ian Hannin’s colors bring a grimness to an already grim scene. The other artists most notably Frank Quitely are all on par to deliver a great book. There are great things to look forward to in the future with the Batman series. With Morrison at the writers helm , who knows where we’re going?
Batman #700:
Reviewed by Dane
Concept Art: Part 2
In this, the fourth entry of the Year of the Batmen, we’ll continue to examine how Batman is depicted artistically. Characterization, mood and message will be dissected. Many of the storylines to accompany this art work hasn’t even been released yet. So, this will afford us with a unique point of view as study the personality of Batman from the artist’s perspective.
The Neal Adams Batman
This particular entry comes from the upcoming Batman: Odyssey. This picture has been much discussed in the blogosphere and not always favorably. Batman’s face has a feral look to it which is accentuated by the sharpness and length of the cowl ears. Batman’s bared teeth also give him an animalistic look. As we see he is being riddled with bullets perhaps we are to see Batman as the prey instead of the hunter.
The Mark Bagley Batman
As an accompaniment to the Neal Adams Batman above we are presented with another Batman that is bloodied and bruised. We are accustomed to seeing Batman triumphant and nearly invincible despite his human nature (especially as opposed to Superman). So it is quite a contrast when he is depicted as near defeat and perhaps overmatched. Note the arm raised to protect himself and the head tilted in a recovery mode following a hard blow. One might argue the oversized Bat utility belt buckle has a “shield” like quality to it to further the image of vulnerability. So despite the over musculature, we have a Batman, who with tattered cape, is portrayed as being far from invincible. You may remember this picture from Batman #688.
The Andy Kubert Batman
Most of the Batman readers out there will recognize this Batman from the upcoming Return of Bruce Wayne. Kubert depicts his Batman as preternaturally athletic. You would have to be in order to evade a shower of automatic weapons fire as this Batman does. Note only one hand on the rope and the other ready to strike. So despite being in an undesirable position this Batman with his sweeping cape silhouetted by a blinding spotlight actually has the upper hand. We are far more used to seeing this, the Bruce Wayne Batman, depicted as such. Nearly invulnerable. Is there a prejudice against the Dick Grayson Batman that we are meant to see him as not quite as worthy of the cape and cowl?
The Alex Ross Batman
The artwork of Alex Ross is often characterized as “photo-realistic” and the use of light and shadow are very important to this type of work. This Batman isn’t just consigned to the pages of a comic book. No, this Batman is ripped from the pages of a magazine or captured off a TV news program. Gothic in nature, there is no over musculature adding to realism of this caped crusader. Moreover his cape has a silken quality lending it a funereal look and darkening the mood for this Batman. Despite its being oversized however it is never an impediment. The cape legitimizes the Ross Batman and his dark purpose despite this Batman being overtly human. Note the heroic pose as Batman is seen as a solitary sentinel overlooking a blackened city.
The Jim Lee Batman
You’ll observe that Jim Lee makes ample use of Batman’s cape also. Here, the cape is even larger than the Ross version. It has a very dramatic flair to it as its surrounds the Batman in its most intimidating form. It also seems to envelopes the city in a protective cocoon. Lee likes to draw his Batman with an oversized chest. This characterizes Batman with a heroic quality reminiscent of the champions of ancient Greek mythology. He is our Hercules (or technically Heracles). The thighs are overly large and the hands probably too big. This style might have been inspired by the work of Michelangelo who depicted his hero, David, with similar attributes. Finally, this Batman is standing, not lurking in the shadows. He is a demigod, otherworldly, defiant and unafraid. A true Homeric champion.
In upcoming entries to the “Year of the Batmen” I’ll be taking a look at the more ghoulish artistic versions of Batman as well as what is going on inside the mind of Dick Grayson and how Batman is depicted in the issues of the JLA. Comments are always welcome.
Posted by Dark Knight Dave
Greetings everyone, and welcome back to Creator Spotlight. In this piece, I take a look at the highly successful and controversial Grant Morrison. You either love him or you hate him, I love him, but what about you? Let’s take a look:
Grant Morrison is one of the most highly creative and respected comic book writers in the medium today. However, while Morrison is considered a true pioneer of the comics’ medium, his works often divide the fan base of characters such as Batman.
Morrison began his career in comics working for Near Myths magazine. It was here that he introduced his character, Gideon Stargrave, who appeared in issues three and four of the magazine. Unfortunately, the magazine only ran for five issues before cancellation. Following his work at Near Myths, Morrison found himself writing comic strips and penning various issues of the comic, Starblazer. Morrison would leave the comics scene briefly, but he would later return and begin working for Marvel UK briefly before moving over to 2000AD. While working there, Morrison along with Steve Yeowell and Brendan McCarthy would create Zenith. Zenith, a popular piece in the 2000AD magazine would consistently appear from 1987 to 1992. Zenith is responsible for Morrison landing a job at DC Comics. Morrison would propose Animal Man. Now Animal Man was a somewhat forgotten DC character who Morrison would later revive. Morrison would write the first twenty six issues of the series and the title proved to be highly successful. With Morrison’s unique prospective on the superhero genre, DC would hand him the rains to Doom Patrol in 1989. Morrison would take a rather simple group of characters and expand greatly upon the concept. 1989 would prove to be rather important role in Morrison’s career, along with Doom Patrol, Morrison would write Arkham Asylum: A Serious House on Serious Earth.
The story was released as an original graphic novel and there is no other Batman graphic novel like it. By this point in his career, Morrison had established himself as a writer who would often want the reader to read in between the panels. Arkham Asylum: A Serious House on Serious Earth was no different. At the time, Morrison felt that too many writers were taking the realistic approach to Batman; therefore he countered that with a very surreal and mythical approach. While the story was simple; Batman enters Arkham Asylum to gain the asylum back from the prisoners, Morrison did an excellent job of weaving various forms of symbolism into the story. And while the story focuses on Batman, it is very much about Amadeus Arkham and how the asylum came to be. Morrison also greatly altered some of the characterizations of many of Batman’s villains; especially the Joker. Morrison depicted the eccentric clown as a transvestite. Along with Morrison, the artwork was done by Dave McKean. McKean created a world with boundaries within Morrison’s scripted pages, it was like no other Batman comic before it, and there has been nothing like it since.
With the enormous success of Arkham Asylum: A Serious House on Serious Earth, Morrison was now a household name in the comics industry. The graphic novel has gone on to become the best-selling graphic novel of all-time. In April of 1990, DC gave Morrison five issues in the fairly new Batman title, Legends of the Dark Knight. The storyline was titled, “Gothic”, and again, Morrison incorporated some surreal and satanic themes into the plot. The book was penciled by the legendary Klaus Janson and the storyline is considered to be one of the best of the series and one of the darkest Batman stories of all time.
Throughout the 1990s, Morrison would continue to work with DC Comics but would also have work published with small publishers, and would continue to have printed material in 2000AD. During this time, Morrison would also establish his relationship with fellow Scotsman, writer Mark Millar. The two would collaborate on various projects throughout the decade. Also during this time, Morrison would write his rather epic and fan favorite run on the Justice League of America. JLA was Morrison writing fun and action-packed superhero comics, and this is my favorite run of JLA. Morrison would also begin working within the Vertigo and Wildstorm universes. Morrison would work closely with DC Comics until 2000, where after the release of JLA: Earth 2, he would leave for Marvel Comics. However, while Morrison enjoyed success at Marvel, in 2004 he returned to DC and Vertigo. Morrison would relive great success with the releases of We3 and his return to the JLA. Over the next two years at DC, Morrison would continue to be their ace with such works as Seven Soldiers of Victory, 52, and All Star Superman. However, Morrison could not keep away from the bat and in 2006, was given the rains to the Batman main title, and really the entire Batman universe.
Morrison began his Batman run with issue #655 in September. He would begin with artist Andy Kubert, who was also working with DC for the first time. The storyline was titled; “Batman and Son” and it would run until issue #658. This would mark the beginning of the highly-acclaimed “Batman R.I.P.” story arc. Morrison would then attempt a prose issue, with issue #663, “The Clown at Midnight”. While it was a bold attempt and good story, fans didn’t seem to take kindly to it. None the less, Morrison continued with act II of Batman’s demise in, “The Black Glove” storyline. Morrison would collaborate with the talents of J.H. Williams III and then the current writer/artist on Batman, Tony Daniel. After the first two issues of the storyline, “The Resurrection of Ra’s Al Ghul” would crossover into the main title for issues #670 and #671. Morrison wrote the prelude and part 4 of 7 in the storyline that would also crossover into the Robin, Nightwing, and Detective Comics titles. Morrison would then continue on with “The Black Glove” storyline that was wrapped up with issue #675. Morrison, along with Tony Daniel, would begin of his epic and controversial Batman tale, with Batman R.I.P.
For the better part of two years, Morrison had been writing Batman and everything he had been working for was leading up to Batman R.I.P. All of the issues he had written going back to the beginning with issue #655 were intricate pieces to understanding the over all story. R.I.P. began with issue #676 in May of 2008 and concluded with the Last Rites storyline, issues #682 and #683. Also that same year, Morrison penned the DC main even, Final Crisis, which ended up playing a big role in the future of the current Batman universe. While I personally feel that Morrison’s run on Batman has been unforgettable and one of the best that I’ve read in a long time, many fans feel that Morrison began writing for himself. Many readers felt that they were misled and the ending was not what they were looking for. The question I ask is; did Morrison not capture the very essence of Batman’s character? Did he not show great respect and understanding for this comic book mythology we all love?
Following a brief absence from the Batman titles, Morrison made his triumphant return in June of 2009 with the release of Batman and Robin #1. The result was an epic critical and commercial success. The first three issues of the series are considered by many to be the best written superhero comics that were published in 2009. Morrison was redeemed by fans for any of his prior Batman work. Along with great artist and close friend, Frank Quitely, Morrison was able to capture the quirky and action-packed fun that we all have come to love inside the pages of comics. However, after issue three, Frank Quitely left the title, and the book has since had a revolving panel of artists every three issues. Morrison has remained and the book has lost some of the magic that it had within those first three issues. None the less, it is still considered to be the best current Batman title currently being released.
In addition to Batman and Robin, Morrison is writing The Return of Bruce Wayne miniseries. The first issue is set to release today. The six issues miniseries will bring Bruce Wayne back to Gotham City, and will be the latest chapter in Morrison’s Batman epic which continues. Morrison is also set to return to Batman with issue #700 in June of 2010. Morrison just continues to leave a rather large stamp on the character.
Grant Morrison is widely recognized and considered to be of “rock star” status in the comic book world. There is no denying that no other creator has impacted the character of Batman like Morrison has. He has taken chances, some that haven’t always worked but others that had. He isn’t afraid of making mistakes and I feel like he has taken the Batman universe in a fresh and bold new direction that will change the future of the character forever. Love him or hate him, you have to respect him.
That concludes this entry of Creator Spotlight; I hope you enjoyed a look at the rather impressive look at the career of Grant Morrison. Next time, I will be elaborating on the fan-favorite artist, Tim Sale. Until then, tune in next time, same bat-time, same bat-channel.
Posted by Zach
DESIGNED BY ANDY KUBERT
SCULPTED BY OLUF HARTVIGSON
In today's review, we have the Batman family Multi-part statue. Now I was really excited that Andy Kubert did the drawing for this statue and felt with DC's black and white series of statues that this would be awesome…..well not so fast. The sculptor Oluf Hartvigson did not do the greatest of jobs on this piece. The characters themselves look like they could of used a bit more detail and maybe some nice body tone. They almost look like $10 figures you put on a base all together. And with a price tag of $150.00 per statue (which there were 3) I don't see myself recommending this to anyone other then true…really, really, really true Batman collectors. I mean you have to be die hard to buy this.
I will say that I was excited to finally get the last piece to put Batman together since you need all three statues which each held a Batman piece. As I sit back at my desk in my office and look at the piece I am glad to see them all together and maybe that's what makes me think it was worth it, but what's really funny is that Commissioner Gordon looks totally BA!!!!
Reviewed by Apple
Blackest Night Batman vs. Blackest Night Superman
Round 2
Hopefully you’ve all had a chance to read Blackest Night Batman and Superman parts two of three. My aim here is not to recap the issues but to engage in a little friendly competition between two of DC’s greatest heroes as they tangle with the latest threat to the DC universe, the Black Lanterns! In round one of this competition I divided the battle into four parts. Cover Art, Reveals, Raw Emotional Impact and Supporting Cast and Villains. As we complete the second issue of each I’ve added, Cliffhangers, as a way of rounding out the competition.
Cover Art
The cover of Blackest Night Batman #2 by Andy Kubert and Alex Sinclair pictured here reminded me of the classic Bill Murray comedy, “Ghostbusters”. While the movie made you howl with laughter this scene is of a grimmer nature. Here we see Damian, Dick and Tim unleashing torrents of hell fire from their weapons as they are besieged by legions of demonic Black Lanterns. Our heroes’ bodies are aglow with weapons fire as they stand amidst the gathering gloom and the city topples around them. Their desperate faces grimace with fear and rage knowing that this could be their last stand.
Over on Blackest Night Superman #2, we have a cover by Eddy Barrows and Nei Ruffino. This cover too could come from some classic horror movie but perhaps of a much earlier era. Pictured here we have the standard tableau of the vulnerable heroine held in the clutches of the dastardly villain. It looks like any movie poster from a vampire flick of the 20’s or 30’s where the young and innocent female is about to be violated by a nightmarish monster. Only in this case the young lady is Kara, also known as Supergirl, and the monster is her once dead father out to kill her and destroy Kandor.
Decision=Blackest Night Batman
-While both covers depict and evince the horror of the monster movie genre I’m giving the nod to Batman. The Superman cover, while classic, has been done a million times. The Batman cover is dynamic and lends itself to famous last stand movies like the Alamo or Zulu where the odds were insurmountable.
Reveals
In this section I’m looking for clues to see how the overall Blackest Night storyline is to proceed. In Blackest Night #3, Ray Palmer, the Atom, theorized that the Black Lanterns’ power rings are made possible by some amalgamation of dark matter coupled with microscopic worm holes that channel energy. A pretty significant step, whether it is true remains to be seen. In these two books unfortunately we don’t learn too much. Zombie Lanterns are shredded and re-form in both books and the heroes realize quickly that their weapons and powers are near useless. At least Supergirl confirms what Green Lantern Kyle Rayner comes to know that their loved ones would never speak to them or acts like their current evil incarnations (Green Lantern Corps #40).
Decision=Tie
-When there isn’t much to go on from each issue I’m not going to split hairs and force a winner.
Raw Emotional Impact
Certainly there is no shortage of emotional impact in either book. In the Batman book we find Priests, Cops, Firefighters, and Civilians are being torn to shreds by the Black Lanterns. Commissioner Gordon and his daughter Barbara are trapped together in seemingly their last moment as they try to blast their way free in utter futility. As this happens, the Black Lanterns taunt their victims with bitter memories and make a mockery of their lives and loves. Red Robin comes to the rescue with low altitude high speed pass that temporarily decimates the Black Lanterns. But the grotesque icing on the cake is when Tim and Dick are confronted by their dead parents, the Drakes and the Graysons.
Over in Blackest Night Superman Black Lantern Kal-L continues to provoke Superman into rash action while dead Earth 2 Lois holds Ma Kent hostage. Kal-L orders Lois to kill Ma Kent and this is only narrowly averted by the actions of Suberboy Conner Kent. The most obvious contrast in raw emotion between the two books comes from the manipulations of the dead Psycho Pirate. Suddenly, the citizens of Smallville are turned against each other or in one particular frame forced to kiss each other in a decidedly non heterosexual way!
Decision=Blackest Night Batman
-If only Pa Kent was resurrected as a Black Lantern! Now, that would have been horrific. I have no doubt that it would have pushed Superman right over the edge and I would have loved to see that. Unfortunately, this was an opportunity missed. That act would have only been superseded by seeing Bruce Wayne rise from the grave. (Hmmm, or maybe not?) The combination of the Drakes and the Graysons trumps Supergirl’s newly risen father since he is not a character that carries the same emotional impact in the DC universe.
Supporting Cast and Villains
Much of the characters we saw in the first issues of each series return in the second. In Batman, Red Robin takes on a larger role however briefly. The Drakes and Graysons get some speaking roles but they are regulated to the end of the issue. Deadman reanimates a paralyzed Barbara Gordon and they all pile into Red Robins jet powered flying bus.
But over in Blackest Night Superman #2 we have Psycho Pirate! This addition was a real hoot. Not only does he turn staid and sweet Smallville into a maelstrom of emotion he does it with hilarious and bold results not often seen in comics. We also get to see Connor Kent turn on Big Blue and lastly it’s the totally b**chin’ Martha Kent telling us, “it’s on!”
Decision=Blackest Night Superman
-This was a no brainer. (Hey, just like a zombie.) The addition of Black Lantern Psycho Pirate easily tipped the scales. I loved the interaction of the Gordon father daughter team but the citizens of Gotham are strangely absent. Smallville’s populace on the other hand, writhe together in an orgy of violence and lust not meant for our younger readers. Throw in the torch wielding Ma Kent and like the lady said, “it’s on!”
Cliffhanger
Speaking of that crazy lady in the cornfield, I wouldn’t put any money on her chances against the Black Lantern Lois. The lady’s got grit, but, please, someone has to bail her out and it doesn’t look like its going to be Conner Kent. (My guess would be Krypto to the rescue!) Kara also has her hands full with her malevolent father. And exactly how is Superman going to take on Earth 2 Kal-L, Psycho Pirate and Conner Kent? Oh yeah, there’s that whole orgy thing going on in the town square too.
Over in Blackest Night Batman our heroes have crash landed in a cemetery. No crazy citizenry to contend with unless we include the ones buried below and that is not out of the question. No, their battle seems to be isolated to the graveyard. Who knows what mayhem will go on in Gotham without the heroes around? The Graysons and the Drakes should take front and center here. Will Tim and Dick turn their fry-o-laters on their own parents?
Decision=Blackest Night Superman
-This was a tough call. Dick Grayson’s Batman seems to have his head screwed on right but Damian’s Robin and Tim Drake seem a little uneasy. I don’t think the Gordon’s will be too much help either. Deadman? We’ll see. It looks like the new Batman could be on his own and that will be toughest test for our hero.
Similarly, Superman is on his own unless we count Ma Kent and the recovering Krypto. As much as I like to see Batman battle it out in a rain soaked and darkened graveyard I am really jonesing to see Martha Kent “git it on.” The whole town spinning out of control with Psycho Pirate and Supes battling two super powered antagonists is too much to ignore.
So, much as we found in Blackest Night Batman #1 versus Blackest Night Superman #1 we have a tie. It looks like the third and final issue of each series will have to serve as the tie breaker. I promise you one will win over the other. (I hope!) Will anything come of these short series? Probably not, as the overall series will go on into next year. It’s been fun so far to see these two heroes deal with the Blackest Night in their own books and they will return in such incarnations as the JLA Blackest Night, Blackest Night Superman/Batman and the over arching Green Lantern-centric Blackest Night series. Until we meet in round three.
Posted by Dark Knight Dave