Detective Comics #1000, Chris Conroy & Dave Wielgosz, eds.: I bought this on impulse because it was on the new releases shelf and people were talking about Batman online. Itâs a 100-page anthology tribute for the Batman characterâs 80th year and the one thousandth issue of âDetective Comicsâ. I donât think anyone is ever at their best in a tribute anthology, but that makes them kind of interesting to look at, you know? There are eleven stories, which I will now spoil in their entirety.
1. âBatmanâs Longest Caseâ, Scott Snyder, Greg Capullo, Jonathan Glapion, FCO Plascencia, Tom Napolitano: The first of two stories in which Batman is doing something that looks grim, but is actually happy and anniversary-ish - both with similar titles, and both from major Batman writers. This is the better one, because I think Capullo is an interesting artist. Heâs comparable to Jae Lee, in that heâs someone who had some work in comics under his belt prior to being ushered into the second âgenerationâ of popular Image artists, and has continued to evolve quite vividly over the years. The Capullo of today dials up the use of shadows and silhouette that used to sort of decorate the folds of Spawnâs flowing cape and such - here, theyâre used more to focus attention on storytelling fundamentals: geography; gesture; etc. I also generally like the colorist, FCO Plascencia, whoâs done some Varleyesque color-as-mood work on earlier comics with this team, though the story here is subdued... very classy, dressed for the gala. Â
Hints of â90s grotesquerie only pop up once Batman has solved a large number of flamboyantly abstruse riddles and discovered that the titular Longest Case is really an initiation test fronted by wrinkly old Slam Bradley, the original Siegel & Shuster-created star of âDetective Comicsâ back in 1937, who welcomes Batman to a Guild of Detection. This is clever of the writer, Scott Snyder, because Batman as a basic concept is hugely derivative of earlier pulp, detective and strip hero characters - and, if youâre being honest about paying homage to the characterâs origins, you might as well play up lineage as your metaphor.
2. âManufacture for Useâ, Kevin Smith, Jim Lee, Scott Williams, Alex Sinclair, Todd Klein: In contrast, this story shoots for the quintessential. Smith, of course, is the filmmaker and longtime geek culture celebrity whoâs written comics off and on, so maybe itâs his distance from the continuum of superhero writing that has inspired a short story that could have run as a backup in any Batman comic since the 1970s, give or take few cultural references. Matches Malone (Batman, when he is being an undercover cop) descends into the secretive world of true crime memorabilia to buy the gun that killed Bruce Wayneâs parents, which he then melts down to form the metal bat-symbol plate Batman wears on his chest, verily steeling his heart with the memory of this tragedy to fortify him in his neverending battle against crime! NANANANANANANANA BATMAAAAAN! Jim Lee and his usual crew makes everything look like itâs âsupposedâ to, provided you see this type of statuesque posing as the best sort of superhero art, which many DC comics readers presumably do, given how a lot of these things look.
3. âThe Legend of Knute Brodyâ, Paul Dini, Dustin Nguyen, Derek Fridolfs, John Kalisz, Steve Wands: Dini has written tons of comics, with not a few of those drawn by Nguyen, but this feels mostly like DC1k (acronymâs resemblance to âDICKâ a purely innocuous reference to Nightwing, I assure you) acknowledging the extensive legacy of âBatman: The Animated Seriesâ, on which Dini was a writer and producer. The story takes the form of a biography of an infamously clumsy hired thug for supervillains, whom even the most novice reader will have figured out is a Batman Family asset about halfway down page 4 of 8, leaving a whole lot of laborious and narration-heavy slapstick to wade through. Admittedly, this might work better as an animated cartoon, with voice acting leavening the pace of the gags, but Iâm also not sure âthis would be better in a different art formâ is the impression superhero comics should be giving right now.
4. âThe Batmanâs Designâ, Warren Ellis, Becky Cloonan, Jordie Bellaire, Simon Bowland:Â
Most of the drawing in DC1k is the kind of stuff you can easily trace to a few popular and fairly narrow traditions of ârealisticâ superhero art. Becky Cloonan is the only woman to draw an entire comic in here -- JoĂ«lle Jones co-pencils a story with Tony Daniel later on, and Amanda Conner does a pinup, mind -- and her work is the only place in this book where you catch glimpses of a global popular comics beyond the superhero provinces in the Hewlettian wild eyes of the hapless human opponents of her Batman, lunging through velvet layers of cape and smoke, lipless mouth parted on a shĆnen ai jaw. It is really very impressive.Â
The writer, Warren Ellis, does a pathos-of-the-hard-man story, in which Batman explains his combat strategies via narration while carrying them out, occasionally making reference to the medical bills his prey will incur and their timely motivations as terroristic white men who feel ignored by the world, and at the end Batman asks the last guy U WANT TO LIVE IN MY NIGHTMARE, LITTLE BOY and the guy is like n- no dr. batman sir, and gives up because Batmanâs is too dangerous and scary a life model. It is made clear from the text that Batman has programmed himself into a system of reactionary violence that he inevitably reinforces, but this message is so heavily sugared with cool action and tough talk that the reader can easily disregard such commentary, if so inclined, which has been a trait of Ellisâ genre comics writing since at least as far back as âThe Authorityâ in the late 1990s. It fits Batman as naturally as the goddamned cowl. Â
 5. âReturn to Crime Alleyâ, Dennis OâNeil, Steve Epting, Elizabeth Breitweiser, âAndworld Designâ: I was surprised that there werenât other writers from across the Atlantic in DC1k, given the extensive contributions of Alan Grant and Grant Morrison to the character. I was maybe not as surprised to see Dennis OâNeil as the lone credited writer to pre-date the blood and thunder revolution of Frank Miller et al. in the mid-1980s, as that commercial shadow is far too long to escape. Of course, OâNeil was one of the architects of superhero comics as a socially relevant proposition and Batman as a once-again âseriousâ character in the 1970s, and it may be a reflection of his standing as a patriarch that this story contains no sugar whatsoever: on the anniversary of his parentsâ death, Batman is confronted by a childhood caregiver who has figured out his dumb secret identity, and castigates him for doing stupid shit like dressing up as an animal and punching the underclass when he could actually do something as a wealthy man to improve the world. Then Batman starts beating the shit out of young masked teens who have stolen a gun, after which Batman, who is also a masked thug, is told that he is, at best, a figure of pity. The end!Â
What emerges from this story, to my eye, is that Batman is a terrible fucking idea if examined with any sort of serious realism - and Steve Epting draws the story as close to photorealism as anything in this book gets. I also think it is not insignificant that OâNeil, the writer here most unplugged from superhero comics as a commercial vocation, is the one to make these observations; to believe in superhero comics is to understand that there is play at the heart of these paper dolls, and to make your living from these things is to contemplate new avenues for play. Maybe Batman is dark, obsessive! Should he... kill? Sure, Bill Finger made him kill. The Shadow killed lots of dudes. So did Dick Tracy. Ramp up the verisimilitude too much, though, and youâve got a guy wearing a hood going out by the cover of night to scare the shit out of superstitious cowards whoâve been taking from the good people of society, which, in terms of motivational narratives, is the same origin as the Ku Klux Klan. To play nonetheless, is the craftsmanâs burden.
6. âHereticâ, Christopher Priest, Neal Adams, Dave Stewart, Willie Schubert: Meanwhile, on the other side of the coin, is veteran Batman artist and frequent Dennis OâNeil collaborator Neal Adams. And while Adams is not credited as the writer on this story, it bears all the hallmarks of his 21st century work at DC: whiplash pacing; uneasy expository dialogue; and eager callbacks to Adamsâ earlier work. This is the Batman comic as a continuity-driven adventure, and I found it largely incomprehensible as a story, not unlike Adamsâ recent âDeadmanâ miniseries. I still like his husky Batman, though.Â
7. âI Knowâ, Brian Michael Bendis, Alex Maleev, Josh Reed: Hey, did you know Brian Michael Bendis, writer of approximately ten and one half zillion Marvel comics, is writing comics at DC these days? Here he teams with longtime collaborator Maleev for a story that brings to mind the old line from Grant Morrisonâs & Dave McKeanâs âArkham Asylumâ about Batman being the real person and the guy under the mask being the mask. The Penguin, of all villains, figures out Batmanâs secret identity, but elects not to pursue Bruce Wayne in his private life, because destroying Bruce Wayne would create a pure Batman far too dark and twiztid for anyone to handle. Or, maybe that is all just an image the perfectly sane Batman has deliberately encouraged as part of his umpteenth contingency plan. I would argue that this is a gentle spoof of people taking Batman too seriously, which clicks with what Iâve read of Bendisâ idea of the character in those 100-page comics they sell at Walmart: a globetrotting detective-adventurer, appropriate for all ages. Bear in mind, Iâve read maybe 0.2% of all Brian Bendis comics. Â
8. âThe Last Crime in Gothamâ, Geoff Johns, Kelley Jones, Michelle Madsen, Rob Leigh: Whoa, now weâre talking! Kelley Jones! Just look at this:Â
Such totally weird stuff, coming from the artist who drew all those classic â90s covers with the huge bat-ears and wildly distorted musculature, the cape this absurd, unreal shroud. It looks like heâs working from photo reference with some of this comic, but also just tearing out these drawings of huge jawlines and shit, this total what-the-fuck-is-going-on haze, which perfectly matches Geoff Johnsâ furiously ridiculous story about an elderly Batman and his wife, Catwoman, and their daughter, and Damian, and a dog, who all investigate a mass murder that turns out to be the Jokerâs son committing suicide, and then Batman unplugs the Bat-Signal because crime is over in Gotham forever, and then we find out itâs all the birthday wish of Batman, who is blowing out the candles on his birthday cake, in costume, in the Batcave. Is âDoomsday Clockâ like this? Should I pirate it??
9. âThe Precedentâ, James Tynion IV, Alvaro Martinez-Bueno, Raul Fernandez, Brad Anderson, Sal Cipriano: Inevitably, we come to the story that argues that Batman is actually a great guy, and his pressing of children into action as vigilantes under the cover of night is an amazingly positive thing. This is what I mean by âplayâ - it doesnât literally make sense, we all know that, but if you buy into the superhero idea, you can buy into this universe of metaphor where the Batman Family is a vivification of finding your company of people, and belonging, and being loved. Lots of talk in here about snatching young people out of the darkness and forging them in light, and helping them find a better path - it sounds like Batman is signing these kids up for the Marine Corps, which is one of several organizations that recognizes the power of these arch-romantic impulses.
10. âBatmanâs Greatest Case.â, Tom King, Tony S. Daniel, JoĂ«lle Jones, Tomeu Morey, Clayton Cowles: This is just unbearable. Oh god, what absolute treacle. Itâs the second story in this book about Batman being serious and mysterious, but it turns out something nice is going on - he really just wants a photo of the whole Batman Family, because he lost his family when his parents got shot, but then he cracked his greatest case by finding a new family, which is the Batman Family!
All of this is communicated via clipped dialogue in which various Batman Family superheroes trade faux-awkward quips and cutesy âmomentsâ that are supposed to embody the endearing traits of the characters, but read as the blunt machinations of art that is absolutely desperate to be liked. This is art that is weeping on my shoulder and insisting I am its friend, and I want to get away from it, immediately. Tom King is the most acclaimed superhero writer of this generation, and I can only presume his better work is elsewhere.
11. âMedievalâ, Peter J. Tomasi, Doug Mahnke, Jaime Mendoza, David Baron, Rob Leigh:
Finally, we have the obligatory story-that-leads-into-next-issueâs-serial, thereby demonstrating that Batman endures. Itâs done as a series of 12 splash pages, depicting Batman in battle with his greatest foes, and it benefits immeasurably from the presence of artist Doug Mahnke (some inks by Jaime Mendoza), whose been a favorite of mine since those early, blood-splattered issues of âThe Maskâ at Dark Horse decades ago. Broadly speaking, Mahnke is working in a similarly muscular vein as many contributors to DC1k, but his sense of composition, of spectacle -- that boot-in-the-face energy the British call thrill-power -- adds an important extra crackle, and an element of humor; his Batman looks like a hulking maniac dressed in garbage bags, beating the shit out of monster after leering monster. What we are seeing is the fevered imagining of a new villain, the Arkham Knight (a variant of a character introduced in a video game), whom writer Peter J. Tomasi characterizes via the old trick of having the villain narrate to us a bunch of familiar criticisms of the hero, which the hero will presumably react to and overcome, or acknowledge in an interesting way, or something, in future installments. This probably would have worked better if other stories in this book hadnât already made a lot of the same points in a manner that is not an advertisement for the rebuttal of those points... or if I were even capable of reading a story like this without imagining a final dialogue bubble coming in from off-panel going âSIR, THIS IS A BURGER KING DRIVE-THRU.â But somethingâs gotta go in issue #1001.
