Batman in the JLA
In this, the second entry of my “Year of the Batmen” series, I am going to discuss the Dick Grayson Batman and the dynamic of his entry into the newly reconstituted Justice League of America.
For the longest time the JLA was led by the holy trinity of the DC pantheon, Superman, Batman, and Wonder Woman. The Batman character, specifically embodied by Bruce Wayne, was often seen as the intellectual leader of the JLA and for the most part its chief tactician. The Wayne Batman was renowned for planning for every contingency, for being several steps ahead his foes and for never being caught off guard. This served him well in the JLA as that unit was often comprised by disparate heroes, some with much less experience than Wayne but often possessing much more physical power and or abilities.
Because Wayne often dealt with these heroes of different or greater qualities, who were used to pursuing causes of their own, he often clashed with them as they chafed under his authority. And because this Batman did not suffer fools well and was often harsh and impatient he often clashed with his team mates off times coming to physical blows. The most distinct rivalry often came from Hal Jordan, the Green Lantern, who was essentially an inter-galactic policeman and who quite often resented taking orders from Batman who basically was the guardian just of one city.
As most readers know now the Bruce Wayne Batman is no longer on the scene. He has been succeeded by his foremost protege, Dick Grayson. For years Dick toiled under the shadow of the Bat as Robin and is only now getting up to speed as Gotham’s premier crime fighter. In the JLA, as written by James Robinson, we see a different personality to the Batman. It’s something I call the “Winick Model” after Judd Winick, who took up the writing for the Batman series as Grayson became Batman. This particular take on Batman found the caped crusader to be more open and visible. No more lurking in the shadows or avoiding the spotlight. He even smiles.
Fortunately, Dick Grayson is no neophyte when it comes to the team concept. Something the original could not claim. As Nightwing he fought along side the Teen Titans some of which now comprise this new JLA. The Teen Titans however could be seen, unfairly or otherwise, as a second tier unit. What’s different now are the expectations of being the Batman and serving in the JLA which has historically been seen as Earth’s mightiest heroes and its foremost protectors. So how does Robinson integrate this new Batman into this new progression? By having Grayson coordinate his first major action with the team.
In JLA #42 the team is confronted with a rogue Atlas and it takes all the group members to bring him down. Each heroic character is allowed an internal dialog that speaks to the reader on how they feel it is to be part of the team. Grayson comes off as a bit callow. He seems surprised to be even included. He says, “My league, me as Batman” as if he can’t quite comprehend that he is there. Something the Wayne Batman would not think even to himself. As the battle rages Dick also has to deal with the fact that two of his team mates have had an intimate relationship with him. Something the Wayne Batman would certainly sneer at. Grayson calls out instructions to Donna Troy and Starfire and they execute his plan perfectly and when the coup de grace has to be applied, it is Dick who orders Green Lantern into play. Jordan thinks it is “weird” taking orders from Dick as does Grayson giving orders to the Green Lantern.
So that part of the dynamic stays true. Batman calls the shots while the others follow, trusting that Batman will know what is best for the team and the consummation of the outcome to be without flaw. The major difference is the hint of doubt we see from each principle even though it does not affect their performance. At least for now.
Additionally, let’s study how this particular Batman is drawn for this story. Mark Bagley does the pencils. Inks by Hunter, Rapmund, and Glapion with colors by Pete Pantazis. This new JLA Batman is not very threatening. He wears the blue and gray costume as opposed to the more Gothic black and gray as drawn by Tony Daniel. Therefore this Batman is depicted to less of a loner and more of a team player. Even the cowl as drawn by Bagley has a less threatening look to it as the ears are minimized and therefore less frightening. This Batman will not threaten the team dynamic with arrogance or force of will and is drawn to reflect that.
As constituted now the new JLA Batman is a bit green behind those nominal ears. Unsure, untested in his new team dynamic. Will he be allowed to grow in this new structure? Will doubt set in if his next plan goes awry? The original Batman led without question. Will the Grayson version be allowed the same luxury? And what of the return of Bruce Wayne? As Dick becomes more comfortable in this role will he want to let it go? There are many questions to be answered as the Dick Grayson Batman not only fills out the most iconic of roles but also steps into the rarefied air of the holiest of trinities of the DC pantheon.
Next up for the Year of the Batmen, a sneak peek into the art of the Batmen as drawn by Daniel, Gary Frank, Rags Morales and Frank Quitely amongst others.
Posted by Dark Knight Dave
Tony Daniel’s current arc on Batman has been solid, to say the least. As the story is beginning to wrap up, we are getting ever closer to finding out the identity of the Black Mask.
Last time we saw Batman, he had fallen into a trap set by the Penguin and the Mad Hatter at an abandoned amusement park. This issue basically picks up the story an unspecified time later. Batman is washed up on the shore in Gotham Harbor, and is found by Damian. Dick is seen to be beaten up pretty badly when he is discovered, and is wearing a broken mask that the Black Mask has been giving to the “false faces.”
Now throughout the book, Batman continuously goes in and out of consciousness. At the same time, the story is going back and forth between the present time, and flashbacks of the previous nine hours that are running through Dick’s mind. Going back nine hours, we see that Batman is under the control of the Penguin, following his orders by way of the altered gas mask. Damian has already figured this out, but just hasn’t figured out whose orders Dick had been following. We see that the Penguin had sent Batman to break into the Mayor’s office where he takes two tubes of the antidote to Black Mask’s mind control toxin. As Batman is beginning to gain consciousness again in the present, he blacks out once more and the story goes to Catwoman and Kitrina Falcone who are going after Black Mask as well. Catwoman saves Kitrina from the third member of their group who was about to kill Kitrina. Batman shows up, still under Penguin’s control and takes them down, but goes with Kitrina to Devil’s Square, which has attracted both the National Guard and the Marines due to the Black Mask and his followers.
While going through all of the flashbacks in his mind, Dick is slowly beginning to remember what happened. We see that he had confronted Black Mask and his inner circle of Fright and Dr. Hugo Strange. They fight and Batman had gained the advantage until Black Mask pulled a gun, and shot Batman in the chest, who proceeded to fall out a window, off a cliff, and into the ocean below. And that is where he reaches the point at the beginning of the book. It ends with a now fully aware Batman telling Babs that he thinks he may know who Black Mask really is.
I enjoyed this book, despite its non-linear timeline. I think Tony Daniel did a good job pulling it off, though I will acknowledge that I am not a huge fan of this style. The reason he was able to keep the story from being too confusing or choppy was the fact that the main focus was in the flashbacks, with no action in the present. That’s the trap that many writers fall into, but Daniel avoided. The actual story started off great, with Damian doing all the talking. That first scene gives the reader a reminder that even though he may think of himself as an adult, Damian is still just a kid. I got a small chuckle out of the first line when he saw Dick lying on the beach and yelled out, “Epic Fail!”
The one issue I had with this book was the absence of Dick’s thought process during the fight scenes. This was obviously because he was being manipulated, but maybe it would have been a little cooler if we saw conflicting views between the Penguin and Dick’s thoughts. Either way, Daniel’s doing a good job, and his art has been excellent as well. It’s nice to get a break from the seemingly never ending Blackest Night with a good Batman story (I’m sure I’ll get some flak from that).
Batman #696:
Reviewed by RiddleMeThis
Reviewing this title each month is becoming increasingly difficult – I'm finding there are only so many ways to say 'good story', 'great dialogue', 'fun characters', 'superb art', 'striking covers' … but I'm enjoying the challenge nonetheless as Batgirl continues to be my most looked-forward-to book each month.
This issue, the third and final part of the Batgirl Rising: Core Requirements story-arc, picks-up just where the last issue left-off: Batman is in trouble, Batgirl and Robin are rushing to his aid before his hunters – Roxy Rocket, Riot, and Doctor Phosphorus, each fuelled by a mix of infamy and Roulette's wealth – can kill him.
As Stephanie and Damian race across the roof-tops of Gotham City the bickering – such an enjoyable feature of recent issues – continues: 'What the hell is wrong with you?' asks Stephanie as Damian charges ahead refusing, as he sees it, to be hampered by his companion – 'And you swing like a girl' he counters before disappearing, quite literally, in a puff of smoke to pick up his motorbike.
At the Batcave Barbara Gordon is monitoring the web-feed of Roulette's performance as she tries to locate the source of the broadcast. Aware that Dick is injured and that he needs BOTH Stephanie and Damian if he is going to survive she directs Steph to her private garage, where she's been saving something for a 'special occasion' – and Batman's plight certainly qualifies as just such a special occasion.
As we see Damian, now on his bike, weaving in and out of the Gotham traffic we catch sight of Stephanie advancing rapidly in her own vehicle that's not quite a car, not quite a motorbike … as we find out later on in the story!
Meanwhile, back in Devil's Square, Batman – weak but not yet beaten – is barely one-step ahead of Phosphorus with Roxy Rocket not far behind. Stephanie and Damian, join forces and work together as Dick, now close to being overwhelmed, sees that help from his young companions is just moments away. Wrestling himself free from his assailant Dick jumps to safety as Damian leaps from his bike … moments before it impacts on Phosphorus.
With Phosphorus temporarily out of the picture Roxy Rocket sees her opportunity and swoops low for an attack – as she does Stephanie positions herself beneath Roxy's rocket, hits her vehicle's 'eject' button and fires herself skyward towards Roxy, where the two women fight for control of the aircraft.
With Riot – several Riots in fact – now beating on Dick, Damian positions Phosphorus for a very painful meeting with Roxy. Two down, one to go. As Stephanie leads Dick to safety the young boy – 'little Lord Fauntleroy' – confidently confronts around a dozen Riots … and it soon becomes obvious that he's out of depth: Batgirl to the rescue!
Much later, having put an end to Roulette's plans, Dick, Damian, and Stephanie join Barbara back at the Batcave. As the two youngsters eat, and recommence their bickering that had been largely abandoned while they worked as a team, Barbara and Dick take time-out to talk about where they've come from, where they are, and where they are going – and, perhaps more importantly, why they are going there.
When discussing 'creativity' I'm always quick to acknowledge there's no such thing as good or bad, rather something that is to my personal tastes or otherwise. The Batgirl title very much falls into the former category.
Throughout the series so far the stories themselves have been largely uncomplicated and beautifully told through strong narration and some great dialogue – and this issue continues that tradition. As regular readers will know I'm enjoying the lighthearted bickering between Stephanie and Damian but it wouldn't take much for this fun relationship to cross the line into silly: it's credit to Brian Q. Miller's writing that I'm confident that particular pitfall will be avoided.
I've long-since been a fan of Lee Garbett's art and feel his work gets better with each passing issue – as I've said before, this clean, sharp, confident style of artwork is VERY much to my personal taste and therefore credit also goes to Trevor Scott and Guy Major for their inks and colours.
As the concluding issue of a story-arc featuring no less than four villains, it would have been easy for this issue to have turned into nothing more than a 22-page 'chase-and-fight.' Needless to say, it didn't, as moments of high drama were interspersed with moments of quiet reflection, none more so than the scene, late in the issue, with Barbara and Dick in the Batcave. I was genuinely touched as the two discussed their past – and their futures – and I have a feeling that in time we'll look back to these five panels as something of a turning-point for the two characters.
While I'm not saying the Batgirl title is perfect, I can't, in all honesty, identify any flaws and I'm not sure what else I'm looking for to consider it perfect – it makes me smile, at times it makes me feel a little sad, it makes me think. It makes me want to read and then re-read the issue and makes me look forward to the next.
Batgirl #7:
Reviewed by Zaius
Welcome back bat-believers to “Creator Spotlight”. Zach here again, and this time I will be tackling a further look into the career of a true architect of comics, the unforgettable artist, Jim Aparo.
Jim Aparo is one of those artists that will never be forgotten. He was truly a master at his craft. There is no debate over the man’s talent, but his influence on the character of Batman is absolutely astounding.
Jim Aparo began his career around 1966 at Charlton Comics. While at Charlton Comics, Aparo was distinctly remembered for being extremely versatile and working in many different genres. Aparo was also recognized to be one of the few artists who would pencil, ink, and letter all of his own work. After several years at Charlton, former editor of Charlton Comics, Dick Giordano offered Aparo a job and DC Comics. Aparo’s early DC work included such titles as Aquaman and Phantom Stranger. A few years later, Aparo was handed the gig to do the artwork on The Brave and the Bold, in which he began at issue one-hundred. Aparo worked consistently on the title until issue two-hundred, which was the final issue of the series due to cancellation. While working on The Brave and the Bold, Aparo also worked on several other DC titles including a brief time on Detective Comics. However, Aparo’s unforgettable Batman work was yet to come.
Following the cancellation of The Brave and the Bold series in 1983, Aparo and writer Mike W. Barr (future creator spotlight) co-creator what would be called the series, Batman and the Outsiders. Many of the Outsiders that we see in today’s comics, originated from this series. The series initially ran 47 issues from 1983 to 1987. However, Batman left the title after issue 32 and the name was changed to Adventures of the Outsiders. Of course, the Outsiders would later return to comics and receive their own title. During Aparo’s run on the book, Batman played a significant role. Batman even revealed his true identity to the Outsiders during the Aparo run. The stories often revolved themselves around Batman and the team globe-trotting around the world on rescue missions. While the stories were often quite quirky, these remain extremely enjoyable and presented the reader with Batman stories that were quite different from the others at the time. It is also important to note that Aparo worked on the title consistently up until issue 21, with brief absences.
With Outsiders wrapping up, Aparo return to the bat-verse and began working on the titles Batman and Detective Comics once again. By this point in Aparo’s career, he had stopped inking all of his penciled work and, most of Aparo’s work was inked by Mike DeCarlo from this point forward. Aparo worked on Detective Comics consistently from issue 518 to issue 522. However, Aparo would return and work on issue 627 of Detective Comics, which marked the 600th appearance of Batman in the title. He would also work on his final issues of Detective Comics, which would be issues 641 and 716.
During his entire career, Aparo ended up working on a total of 35 issues of Detective Comics from 1972 to 1997.
As I mentioned earlier, and as you all know, Aparo worked on the Batman main series often from 1977 to 1998. Aparo made some major contributions to some major storylines including; The Knightfall Saga, A Lonely Place of Dying, and A Death in the Family.
Many consider A Death in the Family to be Aparo’s most recognized work. The storyline appeared in the issues of Batman from 426 to 429. The story was written by Jim Starlin and revolves around Batman and Robin, then Jason Todd, finding out who Jason’s mother is, and hunting down the Joker in the Middle East. This is also the story in which the Joker beats Jason to death with a crowbar. This storyline would change Batman comics forever. Aparo stands out in this storyline because his pencils appear to be absolutely matchless.
The thing that I will always remember about Jim Aparo was the raw energy that he brought to his pages that so many other artists were and are unable to do. During A Death in the Family, he is able to take one of the most gruesome moments in comics and transform it into a beautifully rendered page. His characters seemed alive and in constant motion. His pages were also perfectly detailed; the backgrounds were never left untouched. He was a master of creating depth within a panel.
Unfortunately, Mr. Aparo passed away in July of 2005. While he has gone, his impact on the comics industry has and never will leave. He will be truly missed.
And that concludes our second installment of Creator Spotlight, which was on the truly unbelievable Jim Aparo. He was truly a master of the craft. Check out the blog for the next Creator Spotlight which will be on Alan Grant. Tune in next time, Same Bat-Time, Same Bat-Blog.
Posted by Zach
Batman joins the newly reformed Justice League of America in issue number 41 of the JLA written by James Robinson, penciled by Mark Bagley and ably inked by Hunter, Alquiza, and Wong.
First and foremost, what is the most striking detail about this issue? The continuity problem! Not only does this issue take place after Blackest Night is over it also spoils the ending to “Justice League: Cry for Justice”. So anyone who wants an advanced look at how that series ends, help yourselves! (Not that “Cry” has exactly set the world on fire. Also written by Robinson, it is now running late.)
Batman does not take a central role in this book as it is, of course, a team up affair. The story starts out with a disconsolate Donna Troy ready to walk away from it all. Burnt out and “beaten down” Troy happens across a crime scene where children are being held hostage in a hospital and she is forced to act. After securing the children and stuffing the bad guys, she openly questions herself, lashes out at Wonder Woman and proclaims, “I am done.”
Or not.
After a short lecture from Wonder Woman and a brief interlude through America’s colonial period (with a sidebar trip to the Smithsonian, which serves as a future JLA storyline) Troy relents and starts the recruitment process. Starfire and Cyborg quickly sign up and Troy takes off to Gotham City. Here we catch up with the Caped Crusaders in the middle of a beat down of some poor Killer Moth wannabe’s. The new Batman and Robin are at their acrobatic best and seem to be following the Judd Winick model. Lighter in attitude and much less grimmer in tone. The action stops as Troy appears on the scene and says not bad to "Batman". Batman, in quotes, as she knows it is Dick Grayson beneath the cowl. She compliments the duo and refers to Damian as a kid. Cue comedic retort from the new Damian Robin, “Kid?” he says, “How dare you Harlot.” Funny and not too far off as Donna Troy is sporting a skin tight cat suit that might be more appropriate to the bedroom than a back alley.
The two exchange some small talk and catch up quickly. Batman tells Donna that he just put down “Yellow Wasp” and is on the trail of a bigger evil doer called” The Broker” who has been setting up hideouts and putting together groups for what may be a larger storyline in the future. He correctly deduces Donna hasn’t arrived for chit-chat and asks her if her visit means she wants him to join the Justice League. She is amazed at his deductive prowess (he cheated) and the seal the deal with a groan inducing “fist bump”. Again, from the Winick model? Of course if she had asked me to join the League I would have told she had me at revealing, skin tight jump suit that barely covers her ample, um, attributes. Just sayin’. (Oh yes, Damian says he's in too.)
The story continues as Donna goes off to recruit the new Dr. Light, Mon-El as the Superman sub, Green Lantern, and Green Arrow. The final panel is a full pager and is a nice portrait of the Hal Jordan Green Lantern and Batman.
The artwork seems a bit rushed but the inking was fine. Like I said, the last panel is pretty cool and Mon El gets a nice action splash page. The story? Well, it is a reboot of the JLA series, so Robinson had to fit in a lot threads just to pull each character in. Hopefully future plots will be tighter. I’m curious how large a role the Dick Grayson Batman will play in this series and if he will continue the lighter tone discussed earlier. I’m actually hoping he’ll keep the cape and cowl and stay on as Batman in the JLA even after Bruce Wayne returns. There is more than one Green Lantern after all. Anyone think DC has the guts to allow that angle?
Yeah, I didn’t think so either.
Justice League of America #41:
Reviewed by Dark Knight Dave
Red Robin #8 is the end to the arc known as the council of spiders, and really is the finale to everything that Chris Yost has been setting up since issue #1. That being said, this issue is not something to cheer about, on the contrary, I found this issue to be the most cliched and boring of the entire series, and after reading what has came before this, which is saying something.
The comic really just comes across as Yost not really knowing how to write a finale to an arc and throwing stuff at the page and seeing what sticks. Let me take the final four pages for example, and these will be spoiling the comic: Red Robin blows up the cradle, and escapes with Tam, just as it’s blowing up. Tam kisses Red Robin and screams “I’m alive!"
The villains survive with barely a scratch on them. They were in the middle of the explosions inside the cave, and are walking out without a scratch. When she escapes the cave, the wanderer, leader of the council of spiders proclaims they have a new target, heroes. Well excuse me while I pretend to care that you survived.
The art in this issue, is very average, as usual, I do not really care for Marcus To’s art in this comic. This whole comic under To's pencils really lacks anything to get me interested in Tim and his international exploits.
Chris Yost as usual hands a very average script that achieves nothing and really makes this whole comic feels like Tim is just playing around outside Gotham, waiting for Bruce to come back, so that he can go back to being Robin. I really am not a fan of Yost’s need to have jump cuts every two panels, but after seeing him here trying to keep a story linear, I really want him to actually come up with an interesting plot for this comic, and execute it well.
All in all, this is a very mediocre end, to a very average storyline, with both writer and artist not seeming to know what they want from the character. Leaving me, as the reader of this comic, very disappointed.
Red Robin #8:
Reviewed by Suavestar
It's felt like a long month since turning the last page of Batgirl #5 and seeing Stephanie Brown, lying on the floor, having been shot in the head. Sure, I knew she'd be okay but I was genuinely taken-aback by the conclusion of the issue and I was looking forward to seeing how the story continued.
Batgirl #6 – Batgirl Rising, Core Requirements, part 2 of 3 – begins with Stephanie dropping in and out of consciousness as she receives treatment in the back of a Gotham ambulance. As one painful memory after another crosses her mind she wakes with a start on the realization that she's been shot.
With Stephanie 'missing in action' Barbara Gordon is back at the Batcave scanning the emergency service radio frequencies for information about her whereabouts when her systems lock onto the codename that Stephanie gives the medics. Realizing that the ambulance is heading to West Mercy Hospital – where Steph's mother works – Barbara distracts (and this is the understatement of the year!) the medics long enough for Stephanie to escape their attention.
Atop the Gotham Police HQ Commissioner Gordon, accompanied by Detective Nick Gage, meets with Batman to discuss the kidnapping of young Francisco Gracia. From a neighboring building Stephanie – now dressed as Batgirl – spies on them before being interrupted by the young Robin. As we discovered in issue #5, the two just can't get along and inevitably start bickering – with hilarious results! Forced to intervene Dick – in 'guardian' mode – breaks the pair apart and sends them both away for a time-out.
Furious with his young associates behavior Dick is reminded by Barbara that Stephanie and Damian aren't the first Batgirl and Robin to have trouble getting along … a comment both Dick and Barbara immediately regret as, for a moment, the mood between them turns sour.
Having temporarily settled their differences, at least enough to semi-agree on a plan, Stephanie and Damian break into Jordanna Spence's apartment and confront Francisco's girlfriend – what does she know about his disappearance? Why aren't the kidnappers demanding a ransom? Where is he?
In the meantime, Dick finds himself under attack as he pilots the Batmobile high over Devil's Square. As he reacts to avoid a collision he discovers his attacker is none other than Roxanne Sutton – 'Roxy Rocket' – who sends a figure resembling Francisco Gracia tumbling to earth. Rescuing the young man Dick discovers it's not Francisco but Freddie 'Riot' Frankenstein who in turn replicates and begins attacking the Batmobile.
As Dick struggles to keep his vehicle airborne we witness an angry roof-top exchange between Francisco and his father in which the older man explains that he knows he's made mistakes in his life but his plan will help him to clear his debts. As Jordanna had earlier told Stephanie, Gracia Senior is a gambler, often doing very well, and just as often very badly … he's in debt to 'Roulette' and his only release is to help her.
Elsewhere, with the Batmobile grounded and Dick injured, Barbara orders Stephanie and Damian, who along with Jordanna are following Roulette's plans to hunt down and kill Batman via an on-line video feed, to find Dick and bring him home.
Once again, another great – fun – issue of Batgirl. Without wanting to dismiss the storyline itself, which is certainly strong enough to maintain my interest, at the moment the true joy in this book for me is following the 'cast' as they develop their individual and group personalities.
The bickering, or banter, between Stephanie and Damian is brilliantly written by Brian Q. Miller and one of the highlights throughout this issue. Carrying on like brother and sister, their verbal dueling is genuinely funny and it must be said, at times quite charming – Stephanie describing Damian/Robin as a 'little badger' and Damian responding to Stephanie's declaration that she's been shot in the head by replying that she's got brain damage and he's not surprised had me chuckling.
The art throughout the issue, literally from cover to cover, is magnificent. I can't at the moment think of a book that's offering better interior art than we're seeing from Lee Garbett and Phil Noto's covers are great: I loved the sense of mischief between Stephanie and Damian as they are interrupted by Dick on this cover. Take a look at the look on Damian's face – he's startled that he's been discovered but at the same time he just can't hide the joy he's feeling!
I enjoyed the 'villains' in this story – Roulette, Riot, Roxy Rocket, and to a lesser extent, Doctor Phosphorous – and I'm looking forward to seeing them hunting their prey through the next issue.
Aside from Stephanie and Damian's relationship I again enjoyed the exchanges between Barbara and Dick and the way the mood between them quickly swings from affection, to irritation and back again to affection. I struggled somewhat to understand Barbara's actions in preventing the ambulance carrying Stephanie from reaching the hospital – would she really make the vehicle crash and risk injuring the medics, passers-by or an already injured Stephanie? I don't think so and this 'misjudgement', so early in the issue, troubled me throughout my read. Likewise, the ease with which Stephanie (or more to the point Mr Miller) shook-off the gun-shot wound to the head was a little … unsatisfactory – clearly I was relieved she was okay but I did feel just a little cheated after the jolt with which the previous issue ended.
These criticisms aside, this really was another excellent issue of Batgirl – great writing, quality artwork, fun without ever being silly, a real 'page-turner' that at the same time satisfied me and left me wanting more: quite possibly the most enjoyable book I'm picking up at the moment.
Batgirl #6:
Reviewed by Zaius
Here is Robin Year One. It's a good story that gave Dick Grayson the attention he deserved and was lacking in Dark Victory. The focus is devoted to Robin obviously and feels like a classic story. Good stuff, click below to listen. Next week is the final edition of this re-do of BBFB episodes with The Ring, The Arrow and the Bat. If you want to hear more please let us know.
Posted by Nick
After a two issue break, Paul Dini returns to Streets of Gotham to continue his Mr. Zsaz storyline and provide us with a characterization of the under used Humpty Dumpty. Dustin Nguyen continues to be one of the most consistent artists currently lending their talents to the bat-books. However, while the art remains solid, the plot continues to leave us with the question I continue to ask; Why?
Paul Dini’s return continues the inconsistencies that were present when he originally started the title. My main problem with Streets of Gotham in general is; why is this title being published? I do not question Dini’s ability to write the characters, I question Dini’s ability to write a plot that carries any significance. The problems with Dini’s plot become more apparent inside the pages of Streets of Gotham number seven.
Issue number seven kicks off on Christmas Eve, where we find Batman and Robin rescuing citizens from a disastrous car crash in which the car is about to explode. After this sequence, I am at a complete loss with what comes next. We then are introduced to Humpty Dumpty, who is sporting the Santa Claus costume. He is stranded a cold and snow-covered street in Gotham, where he is fixing his snowmobile. Humpty Dumpty then has the pleasure of meeting the Abuse character that has yet to hold any significance in this book. This is where the inconsistencies in the story and art begin; after Abuse and Humpty Dumpty exchange words about missing children, Abuse decides he is going to pick up a car, in which we receive no explanation for this action. Abuse apparently puts the car down where Humpty Dumpty hits him with a crowbar. Humpty Dumpty then hops into his vehicle and proceeds to run Abuse over. I feel that the Dini and Nguyen do a poor job in executing this portion of the story. After the confusing panels of nonsense, Humpty enters an abandoned orphanage where we see “sleeping” children. Humpty opens up a sack of toys and distributes them to the “sleeping” children. Batman and Robin appear and explain that after talking with the Broker, they were able to figure out where Humpty Dumpty’s hideout would be. After questioning Humpty Dumpty’s scheme they learn that all of the “sleeping” children are actually dead. Things start to look terribly gloomy for Humpty Dumpty. However, Humpty Dumpty explains that the children were already dead when he found them. He explains that he felt bad that they died so close to Christmas that all he wanted was to give them a Christmas. Batman and Robin believe Humpty Dumpty because he is not exactly the sharpest tool in the shed. We learn that Abuse has been listening the entire time and we follow him back into an orphanage in which he is spotted by a nun. She follows him into a room where we see there is no one else but a young boy. The boy denies ever seeing anyone enter his room and the nun leaves him to sleep. However, behind the door, sitting on a chair is Abuse’s hat and jacket. This also left me confused. What is Paul Dini insinuating? Anyway, we learn of the true person responsible for the dead children, Mr. Zsaz. He has been children fighting in a “fight to the death” tournament, in which the winner will have the liberty of fighting Mr. Zsaz for their freedom. The issue ends with two boys about to begin their battle.
The Manhunter is a rather quick story, which made me question why Manhunter was on the cover. Basically, Kate Spencer goes to visit Dylan Battle, where he explains that it is Two-Face and not Black Mask who Dylan has been working for. Anyway, after Kate and the cops leave, Two-Face enters Dylan’s room in an attempt to do away with Dylan. Kate hears a crash from Dylan’s room and quickly changes into the Manhunter costume. She confronts Two-Face and attacks him which leads them to falling out of a hospital window. They begin to spar but are interrupted by Batman and Robin. Batman briefly states that they are there to start here. And the co-feature ends on a cliffhanger.
My main problem with this issue in particular was that while Dini continued to write good characterizations, which we have come to expect, his plot does not make any sense and, I found to be somewhat disturbing. I don’t understand why Mr. Zsaz is having children killing each other only to end up fighting him. I just don’t see the point. I also felt there are certain points in the story that he does not provide any explanation are does not elaborate further. And I still do not understand the point of the Abuse character. What is his purpose? Only time will tell.
Dustin Nguyen remains consistent and his visuals do not disappoint. However, because of Dini’s poor plotting, Nguyen is forced to provide us with some extremely confusing panels. The art remains excellent.
I feel that the Manhunter co-feature has been the highlight of the Streets of Gotham series. If I had my way, I would make Manhunter an ongoing series and make Streets of Gotham the co-feature. More happens in the twelve pages of Manhunter then the twenty eight pages of Streets of Gotham. Marc Andreyko keeps me intrigued and spikes my interest with the arrival of Batman and Robin.
Jeremy Haun has been the usual artist on Manhunter, but fill-in artist Cliff Richards stepped in to take over pencils for number seven. While Richard’s pencils are not nearly as nice as Haun’s, his art did not detract me from the story. I really was not bothered by Richard’s work.
Overall, Streets of Gotham continues to raise the question; Why? I still see no reason to read this book unless you want good written characters and a poorly plotted and pointless storyline. The highlight of the book is the co-feature, which should never be the case. I say skip it and unless Dini cleans his’ mess up, don’t concern yourself with this book.
Batman: Streets of Gotham #7:
Reviewed by Zfactor
Leave it to the villains of the DC Universe to disrupt the holidays for the Teen Titans. From Teen Titans #13
Posted by Dustin
Who would have ever thought that super heroes helped Santa deliver gifts? Actually in the DCU it makes sense that they do with all of the problems in the world. From DC Comics Holiday Special 2008
Posted by Dustin
About half-way through reading this book and it occurred to me – and I might be the only person who this hadn't previously occurred to – Batgirl is a TEAM book. I'm not talking particularly about Batgirl being part of the 'Bat-family' but it occurred to me that, for me at least, the character 'Batgirl' is Stephanie Brown AND Barbara Gordon – both of them. At the same time.
I think it was the use of the word 'I' in Barbara's narrative, just a couple of pages after Stephanie had said the same thing, that helped me realize this – I'm not sure if it's a technique that's been used in the previous issues or whether I just hadn't noticed it – and it's part of the reason I'm enjoying the book so much.
Issue #5, Core Requirements, part one of three, opens in Devil's Square as the city Fire Department tackle a huge fire that has engulfed a social-housing project known as the Gracia Global Housing Development. On hand to witness the destruction is 'Real Estate Mogul' Stefano Gracia along with his son, Stephanie Brown's university class-mate Francisco.
At the same time, Commissioner Jim Gordon and Fire-Chief Nguyen are talking about the blaze with Nguyen remarking that he'd never seen flames quite like these and he hoped none of Gordon's 'men' were inside the building.
No men, but there is a girl inside the building – Batgirl of course! – and she's certainly got her hands full wrestling with 'Diesel', a giant of a creature who is spraying gasoline, flame-thrower like, in her direction. With Barbara on the com-link offering support, Stephanie turns to 'Mama Oracle's secret weapon': freeze-batarangs!
Unable to contain Diesel for long, it looks like the situation is getting out of hand for Stephanie as Barbara warns her that 'company' is on the way. Thinking this means the police Stephanie is surprised – 'offended' she says – to discover that the company is none other than Batman and Robin. With three-on-one Diesel doesn't stand a chance and is eventually overcome and knocked to the ground. With Robin pounding Diesel, Batman realizes there's a gasoline leak … 'Batgirl to the rescue'.
Later, Barbara and Dick are back at base discussing – arguing mainly – the events of the evening with Dick questioning Barbara's judgment of Stephanie's abilities. Barbara reminds him that his own 'protege' doesn't have a great track record either. With tempers now at boiling point Barbara pushes Dick just a little too hard – as he storms off he warns her that if she doesn't control Stephanie, he will.
Another day, and we're with Stephanie in the library at Gotham U where she overhears – 'earwigs' where I come from! – the aforementioned Francisco and his friend Jordanna discussing the building fire and the loyalty he feels towards his father. As Jordanna leaves, Stephanie sees an opportunity to find out more and asks if there's anything she can help with. Taking in some fresh air, Francisco feels that Stephanie is prying just a bit too much about his father before realizing that they are being followed … Damian.
Across town Barbara is waiting for her father when she's spotted by Detective Nick Gage who is also there to meet with Commissioner Gordon – they've been set up! After some very brief flirting the two start bickering before Gage grabs his coat and leaves, with Barbara realizing that she's still frustrated from her earlier row with Dick.
Later that evening, Stephanie discovers Francisco sat alone in a diner. Changing into some clothes hastily borrowed from Barbara she says 'hi' just as a gang of masked gunmen enter. Despite Francisco's instructions to leave she tackles the raiders only to find herself outnumbered …
This was another cracking read from the Miller/Garbett/Scott creative team. Yes, some of Stephanie's dialogue appears a little cliched but for me that part of her charm, she's 'storming': trying to prove to others – and herself – that she's confident and up to the job. Besides, she's still a young girl, what else should we expect? As I've suggested before, I'm really enjoying Barbara's role in the book and what's more I'm enjoying seeing the Stephanie/Barbara relationship develop.
The inclusion of Dick and Damian in this issue made for some interesting character exploration – there felt a tangible undercurrent of tension throughout the scenes involving Dick and Barbara while it's clear that Stephanie and Damian – like bickering siblings – just aren't getting along. My only disappointment with the Stephanie/Damian interaction was that we didn't get to see the results when Damian was 'rescued'!
Furthermore, it'll be interesting to see how the Barbara/Nick Gage relationship grows – with Batgirl possibly having a crush on the detective through the earlier books it could be interesting to see how – if? – this theme develops.
It's often said that there's no such thing as good or bad art, rather there's art that we either enjoy or don't enjoy, and I'm certainly enjoying the art on this book: from Phil Noto's striking, eye-catching covers to the warm, bold – confident – interior artwork and panel layout.
'Team Batgirl' goes from strength to strength.
Batgirl #5:
Reviewed by Zaius
Join Batman and Robin on The Bond Wagon. This was a obvious show of how the war affected the comic industry and the American way of life in general. From Detective Comics #78
Posted by Dustin
With Batman and Robin heading to England in an upcoming issue of Batman and Robin, could it be too far fetched to think that these kilts may make a reappearance? From Detective Comics #198
Posted by Dustin
So now they know each others identities. I still find it amusing how much older Babs seems in comparison to Dick. So either she robbed the cradle or Dick is the one character that has actually grown older in the Batman Universe. From Batman: Family #33.
Posted by Dustin