BY Dave Whiteman
WASH YOUR HANDS BEFORE READING!
Tag: Batman
COMIC REVIEW – BATMAN VS. RA’S al GHUL #1
REVIEW BY Dave Whiteman
Gotham City is under siege by terrorists!
Comic Review – Batman/Superman #1
REVIEW BY MATT MORRISON
The World’s Finest heroes team-up in a bid to find six ticking time bombs.
COMIC PREVIEW – BATMAN CURSE OF THE WHITE KNIGHT #1
In this explosive sequel to the critically acclaimed blockbuster BATMAN: WHITE KNIGHT from writer/artist Sean Murphy, The Joker recruits Azrael to help him expose a shocking secret from the Wayne family’s legacy-and to run Gotham City into the ground! As Batman rushes to protect the city and his loved ones from danger, the mystery of his ancestry unravels, dealing a devastating blow to the Dark Knight. Exciting new villains and unexpected allies will clash in this unforgettable chapter of the White Knight saga-and the truth about the blood they shed will shake Gotham to its core!
Comic Review – Detective Comics #1006
REVIEW BY MATT MORRISON
The Spectre comes to Batman for help with a mystery!
Comic Review – Event Leviathan #1
REVIEW BY MATT MORRISON
DC Comics’ Greatest Detectives Against The Ultimate Evil!
Comic Review – Batman: Last Knight On Earth #1
REVIEW BY MATT MORRISON
The end of Batman and the DC Universe is here!
Comic Review – Detective Comics #1000
REVIEW BY MATT MORRISON
Batman’s longest-running series hits a milestone issue, but is there more to this book than its multiple covers?
Comic Review – Injustice 2 Annual #2
Normally I try and review the first issues of new series or the starts of runs by new creative teams on long-running series. This is for the good and simple reason that, typically, that’s when people need a critic’s advice.
I’m making an exception this week for Injustice 2 Annual #2 for two reasons. The first is that the core of this book is an incredibly good Superman/Batman team-up story that stands on its own. The second is that this is said to be the final comic set in the world of Injustice and I felt the need to talk a bit about this little comic that could.
A quick bit of background for those who aren’t video game fans. Injustice was a fighting game utilizing various DC Comics characters, created by the same team responsible for Mortal Kombat. The series was set in a timeline divergent from the core DC Comics reality, where The Joker put his belief that “one bad day” could push anyone over the edge to the test on Superman. The end result was a dead Lois Lane, a Metropolis burned in nuclear fire and a Joker who laughed his last laugh as Superman punched through his chest. The action of the game opens five years later as the Batman of this world, one of the last free heroes left, summons the Justice League of another reality to help him retake his Earth from the army Superman formed to force peace upon the world.
Nobody expected much of the Injustice comic that was created as a link to the games. There’s a long history of terrible superhero video games and equally terrible tie-in comics. I myself ignored the title until an associate, who knew of my love of Green Arrow, said I had to check out Issue #5 of the digital edition. It was there that I read a silly little story that involved Green Arrow hunting down Harley Quinn and I instantly fell in love.
It is worth mentioning that Injustice: Gods Among Us first came out at the height of The New 52 revamp, when DC Comics was busily trying to remake Harley Quinn into their version of Deadpool and Green Arrow into their version of Tony Stark. The book’s presentation of the classic Harley Quinn and Oliver Queen attracted many fans who were turned off by DC’s latest reboot and it is hard to say how much seeing the classic versions of the characters at a time when they were sorely missed may have boosted the titles’ sales in addition to its clever writing, which was both touching and hilarious in equal measure.
Writer Tom Taylor spun a five year saga plausibly detailing how a grief-stricken Superman might slowly transform himself into a tyrant in a bid to stop anyone from suffering as he had. He also explored many questions the video game didn’t cover, such as why Earth’s magicians or The Green Lanterns didn’t step in to try and stop Superman before he went over the edge. (The short answer is that they did and things did not end well for anyone.) Yet in the middle of all this, Taylor wrote flashback stories that showed a great understanding of Superman’s character and many critics called Taylor’s “For The Man Who Lost Everything” the best Superman story of the past decade.
The story of Injustice 2 Annual #2 is a similarly retro story, showing Superman and Batman in happier times. After Bruce Wayne is nearly assassinated on behalf of a nationalist Intergang cell unhappy with Wayne’s sponsorship of a refugee assistance program, Clark offers his teammate a place to rest and recover while he and the rest of Bruce’s friends and family hunt down those responsible. It’s not much of a plot, but it does afford Taylor the chance to tell the sort of story he excels at, playing off of the reader’s expectations as he uses his knowledge of these beloved characters to bounce themselves off of one another in unexpected ways.
To say more than that would spoil the game, so I’ll simply say that Bruno Redondo, Rex Lokus and Wed Abbott – Taylor’s artistic partners for the better portion of the runs of both Injustice comics – do a fantastic job on this issue, making it a worthy capstone for the series to date. If you want a good, old-fashioned World’s Finest team-up with solid writing and artwork, give this book a try. Then go back and see what you’ve been missing with the earlier Injustice comics. Even if you don’t care much for video games, they are well worth your time as one of the most interesting and well-developed Elseworlds in comics’ history.
9/10
Injustice 2 Annual #2 releases on November 21, 2018!
Written by The Critic The Internet Deserves, but not the one it needs right now…. Matt Morrison. He’s a smart-ass guardian. A sarcastic protector. A Snark Knight.
Comic Review – Batman: Damned #1
The Joker is dead and Batman killed him. That’s the story the local news is running with but Commissioner Gordon doesn’t believe it. Partly because the one witness is a crazed homeless man who is either off his medication or too heavily medicated. But mostly because he believes in Batman.
Batman, for his part, isn’t sure what to believe. It’s all a blur before he woke up in an ambulance as an EMT was trying to pull off his cowl. He was wounded. He was delirious. He was wanted. And just when the night couldn’t possibly get any worse, John Constantine showed up.
There’s more to this murder than meets the eye, and like it or not, The Dark Knight Detective needs help. But can he afford the rather questionable assistance that comes from dealing with The Laughing Magician? And even if he can’t, does he have any other choice?
When it was announced that DC Comics would be starting a new imprint – Black Label – exclusively for superhero stories set outside of the main continuity that could deal with more mature themes, I was a little bit skeptical. For every work like Watchmen or The Sandman that has pushed the boundaries of the comic book medium and proven that “Comics aren’t just for kids anymore!”, there have been roughly 100 graphic novels published by creators for whom “mature content” means “blood, cursing and naked people.”
Brian Azzarello is one these creators, but that is not why I find most of his work distasteful. Azzarello is also one of those writers who bends established characters to fit the stories be wants to tell rather than writing stories to suit the characters. And while a writer could potentially tell some interesting stories by subverting expectations, Azzarello only seems to do it for shock value. Like a stage-magician, Azzarello uses distraction to keep your attention where he wants it. In this case, sudden curse words, surprise cameos and the shadowy outline of Bat-wang serve to distract you from the stunning secret of Batman: Damned #1 – nothing really happens in this book.
Oh. events occur, but there’s nothing that happens which seems to have anything to do with the plot as described on DC Comics’ website. Weird things happen, but there’s no indication what any of it has to do with anything, especially John Constantine’s rambling narration. The whole thing comes off like a rejected script from Azzarello’s run on Hellblazer, which centered on John Constantine wandering the United States as weird things happened and John just observed them happening, when he wasn’t using magic to troll the Muggles.
This ran completely counter to John’s previous portrayals, where what power he had was used sparingly and he was much more inclined to use his wits than a spell to get out of a jam. Come to think of it, I recall that Azzarello’s Batman stories were far more interested in the villains than The Dark Knight, with Batman coming off as something of an empty suit. I mention this because Batman: Damned has a scene where a naked Bruce Wayne literally fights an empty Bat-suit.
The damnable thing (see what I did there?) is that the artwork of this comic is as fantastic as the story is non-existent. Lee Bermejo is rightly regarded as one of the greatest Batman artists ever and he also did a great two-issue story for Hellblazer when Mike Carey was writing it. Unfortunately, his most famous works are his collaborations with Azzarello.
It is a rare thing for me, as a writer, to recommend a comic but say you should only look at the pictures. Yet that is how I suggest you handle Batman: Damned. Beremejo’s gift for storytelling is such that you can follow along with all the plot relevant portions of the story without reading the dialogue. Even the random bits seem to make a good deal more sense if you ignore the text. I’d also suggest tracking down a graphic novel called Batman: Noel – a Christmas special which Lee Bermejo wrote and painted, which is far better on every level than this Damned book.
5/10
Batman: Damned #1 releases on September 19, 2018!
Written by The Critic The Internet Deserves, but not the one it needs right now…. Matt Morrison. He’s a smart-ass guardian. A sarcastic protector. A Snark Knight.
Comic Review – Batman #50 & Catwoman #1
There is no real way to review Catwoman #1 without also discussing Batman #50 and the long awaited wedding of Bruce Wayne and Selina Kyle. The one informs the other, as the cover of Catwoman #1 helpfully informs the reader that they should read Batman #50 before opening it up.
This proves ironic, given that The New York Times spoiled the story of Batman #50 three days before it ever hit the shops! Despite this, I will endeavor to dance around any major spoilers in both books as best I can.
As a tribute to the relationship of Batman and Catwoman and the history of the two characters, Batman #50 is a smashing success, with much of the issue being devoted to Bruce and Selina’s thoughts about one another as we are treated to a historical montage of sorts, illustrated one page at a time, by some of the greatest Batman artists of all time.
As an actual story, however, Batman #50 doesn’t quite work. It’s anticlimactic, to put it mildly. The pageantry far outweighs the actual event. To put it plainly, this book isn’t worth the hype that has been invested in it.
Don’t get me wrong. Batman #50 is a beautiful book and there’s some poster-worthy artwork. Even the main story, as illustrated by Mikel Janin looks fantastic. Yet those who have a low tolerance for Tom King’s style of writing, where consistency of character is sacrificed for the sake of the story he wants to tell (as in his recent story where Booster Gold was turned into a complete idiot for the sake of a dark comedy), will not enjoy themselves here.
Ultimately, Batman #50 is a spectacle and nothing more. If you enjoy collectible covers and fine art, it’s well worth picking up. As an actual book, unfortunately, it leaves a lot to be desired.
4/10.
There is a cruel irony that Catwoman #1 should be so closely tied to Batman #50. Much like how Selina Kyle is so much more interesting as a solo act than when she when she is joined at the hip to Bruce Wayne, so too is this book at its best when it is separated from its ties to Batman #50.
Thankfully, those ties are dealt with early on and we are soon thrown into a high-action adventure, where Selina Kyle is suddenly a wanted woman. It seems that some woman in a cat-suit is killing cops and the police are targeting the most obvious suspect, having also somehow learned Selina’s secret identity!
This is apparently the work of a mysterious new enemy named Riana Creel, whose motivations and reasons for holding a grudge against Catwoman are unclear. Raina is a striking character whose presence immediately grips you and it will be interesting to see her developed in the coming issues.
Joelle Jones spins a wonderful first issue, which, apart from the first few pages, stands strongly on its own terms, much like Catwoman herself. The artwork – also by Jones – is utterly amazing, with Laura Allred’s colors and Josh Reed’s letters providing the perfect finishes. The story flows naturally and smoothly from panel to panel and its hard to imagine any artist who was better born to draw Catwoman in action than Joelle Jones after reading this issue.
The only imperfection in this diamond is its unfortunate need to be placed in the setting of the fool’s gold ring that is Batman #50. Get past the first few pages, however, and you have one heck of a book that should be on everyone’s subscription list.
9/10
Batman #50 and Catwoman #1 releases on July 4, 2018!
Written by The Critic The Internet Deserves, but not the one it needs right now…. Matt Morrison. He’s a smart-ass guardian. A sarcastic protector. A Snark Knight.
Comic Review – Detective Comics #983
Back in The Dark Age of Comics (roughly 1986 to 2000, by most historians’ reckoning), there was a rather odd divide in the DC Comics Universe. If you read only the comics starring Batman, he was portrayed as a lone Dark Knight and was considered an urban legend by most of the people of Gotham City. Read any other DC Comics’ book, however, and Batman was operating openly as part of The Justice League.
This gave way to an argument, which rages to this day, about what vision of Batman is the “proper” one – the lone vigilante who strikes terror into the hearts of criminals or the patriarch of a like-minded “Batman Family” made up of other masked heroes.
This argument lies at the heart of both subplots in Detective Comics #983 – the first issue by new series’ writer Bryan Hill. Half of the issue’s action concerns itself with Batman seeking out Jefferson Pierce (a.k.a. Black Lightning), whom Bruce wants to recruit as the first member of an elite team he is building who can operate “outside” of The Justice League. The other story concerns a new villain, who is targeting Batman’s sidekicks, due to his belief that Batman has become less powerful as he has come to trust more people with aiding him in his mission.
The story with Black Lightning is fairly standard superheroics. One oddity is that the script identifies Black Lighting as operating out of Metropolis, when his most recent reboot for DC Comics Rebirth depicted him as the defender of Cleveland, Ohio. Despite this glitch, Hill has a solid take on the character and writes Jefferson Pierce true to form.
The subplot involving the new villain is more interesting, if only for the metatextual parallels he suggests. The arguments delivered by this unnamed baddie mirror those of Bat-fans who argue that Batman should be a loner and an urban myth and that the DC Rebirth initiative made a mistake by bringing back characters such as the Cassandra Cain Batgirl, The Spoiler, the Helena Bertinelli version of The Huntress and Batwoman or by introducing new characters such as Gotham Girl and The Signal. Indeed, The Signal – a metahuman with light-based precognitive powers whom Batman recruited specifically to protect Gotham City during the day – is the first target of the new villain, along with a young Bat-Fan who became YouTube-famous for talking about how he thinks Batman is inspiring rather than scary.
Gate-keeping fanboy metaphors aside, it’s a brilliant conceit and one that is remarked upon ironically in the artwork, as Batman listens to the villain’s rantings while chasing another criminal down a busy street in full view of dozens of witnesses, all of whom snap pictures with their phones. This is but one example of the fine detailing that Miguel Mendonca works into the art. His pencils find a perfect partnership with Dianna Egea’s inks and the colors of Adriano Lucas.
It will be interesting to see how this story develops in the coming issues. For now, it is enough to say that if you’re a fan of Batman looking for a good entry point into the comics or a fan of Black Lightning from the new TV series, this is a book you’ll definitely want on your subscription list.
8/10
Detective Comics #983 releases on June 27, 2018!
Written by The Critic The Internet Deserves, but not the one it needs right now…. Matt Morrison. He’s a smart-ass guardian. A sarcastic protector. A Snark Knight.
Comic Review – Dark Nights: Metal #6
It spoils little to reveal that Dark Nights: Metal concludes with the heroes of The DC Comics Multiverse victorious and the literal rising darkness that threatened to destroy all of reality vanquished. As with all good stories, the important part is the journey, not the destination. Scott Snyder, Greg Capullo, Jonathan Glapion and FCO Plascencia have taken us on one heck of a journey.
On the surface, the idea behind Dark Nights: Metal was insane – crafting the comic book equivalent of a progressive rock album, mixing the aesthetics of Frank Frazetta and King Crimson to create a story that seemed more appropriate to Metal Hurlant (or Heavy Metal Magazine, as it became known in the USA) than DC Comics. Somehow, the creative team made it work and continues to push this idea into the final chapter, as Wonder Woman does battle with the assembled legions of fallen Justice Leagues from alternate realities born of nightmares, given form by a mad god!
When the first issue came out, it was said that Dark Nights: Metal would redefine The DC Comics Multiverse forever. It was assumed that this referred to Scott Snyder’s attempts to codify their Periodic Table, expanding upon the properties of fictional substances such as Nth Metal and Promethium. It was also presumed that this would have something to do with the discovery of The Dark Multiverse – a hereto unknown level of The DC Comics Multiverse where the heroes lost and their worlds fell to chaos and entropy.
Dark Nights: Metal #6 goes far beyond this, however. The finale of this issue sets the stage for the next level of DC Comics Rebirth and indicates that some big changes are on the way. Anyone who is interested in the Rebirth revival in general would do well to pick up this issue, as it appears to lay the groundwork for some of what is to come in the solo books of all the current Justice League members with one notable exception. (Presumably they’re keeping Superman’s future a secret until Action Comics #1000 comes out?)
Unsurprisingly, reference is made to Scott Snyder’s upcoming No Justice series which will reportedly redefine the Justice League in much the same way Snyder’s run on Batman revitalized that series. A reference is also made to the upcoming Sandman Universe Special, which will introduce four new books – The Dreaming, Lucifer, The Books of Magic and House of Whispers – that will reveal the new status quo of Neil Gaimans’ Endless and their place in the new cosmology. There’s also an interesting bit of news regarding Jack Kirby’s New Gods that is sure to lead to big things in the future.
Thankfully, Dark Nights: Metal #6 is a solid work of action and adventure, even ignoring the significance of everything it has established. Those who missed the earlier issues can give thanks that the series has proved popular enough to merit reprints of the earlier issues, so you should be able to pick up the entire series with no problems if you don’t want to wait for the eventual TP collection.
10/10
Dark Knights: Metal #6 releases March 28, 2018.
Written by The Critic The Internet Deserves, but not the one it needs right now…. Matt Morrison. He’s a smart-ass guardian. A sarcastic protector. A Snark Knight.
Comic Review – Detective Comics #976
Tim Drake (a.k.a. Red Robin) had a plan.
Years earlier, he had taken up the mantle of Batman’s sidekick, realizing that Batman functioned best when he had a partner. Tim also realized that Bruce Wayne – much as he might deny it – was mortal and would not be able to be Batman forever. Tim devised a plan – to take all of the many vigilantes operating in Gotham City, and unite them officially as one group, training together and working to watch one another’s backs. This would establish a chain of heroes who could continue Batman’s legacy, generation after generation.
Dubbing this group The Gotham Knights, Tim pitched the idea to Batman, who approved it. He then placed the assembled team – consisting of Red Robin, Stephanie Brown (a.k.a. The Spoiler), Cassandra Cain (a.k.a. The Orphan) and a reformed Basil Karlo (a.k.a. Clayface) – under the control of Kate Kane (a.k.a. Batwoman).
Now, Clayface is dead by Batwoman’s hand and she has left The Gotham Knights to join with The Colony – a militaristic vigilante group established by her father, who aim to protect Gotham City with lethal force. Stephanie Brown has hung up her cowl and broken off her relationship with Tim. And Cassandra – who was never all that stable to begin with – is in an even worse state following the death of Clayface, who was her closest friend.
Tim thinks he knows how he can fix The Gotham Knights but Batman is refusing to give him that chance, retreating into himself as he always does when he loses someone close to him. And as Tim Drake is approached about a new partnership by a most unlikely ally, The Colony moves to recruit more of Batman’s disillusioned trainees.
Detective Comics seems to be the least appreciated of DC Comics’ many Batman comics at present. It lacks the flash of Tom King’s Batman, which has redefined the Batman and Catwoman relationship and has now inspired a wedding between the two. It lacks the weight of Scott Snyder’s and Greg Capullo’s Dark Nights: Metal, which has built upon seven years of Batman comics by one of the longest partnerships in American comics. This is unfortunate, because James Tynion IV has done the impossible with little fanfare, restoring many beloved Gotham City vigilantes who were long neglected during The New 52 era to new prominence and introducing them to a new generation of readers.
Sadly, Detective Comics #976 – the first chapter of the Batman Eternal arc – is not the best issue of this series to start with. While all of the new arc openings on this series to date have been good entry points for new readers, the mythology James Tynion IV has established has finally become too involved to be easily summarized and absorbed. While a new reader could pick up this issue, it would lack the punch that is felt by those who are, much like Cassandra, still coping with the loss of Clayface. There’s also a distinct lack of explanation regarding who certain characters are and why they are significant to the story.
A larger problem is the artwork by guest artist Javier Fernandez, which is incredibly inconsistent. Fernandez’ style is largely sketchy and thinly outlined, save for the occasional panel that is drowned in black ink with shading that almost seems to be randomly applied. This leaves the book with an odd look that is further distinguished by the muted colors chosen by John Kalisz. Those who have been reading Detective Comics since the start of DC Rebirth won’t have much trouble muddling through the artwork for the sake of the story, but new readers would do better to start with Vol. 1: Rise Of The Batmen and work their way up to this issue.
5/10
Detective Comics #976 releases March 14, 2018.
Written by The Critic The Internet Deserves, but not the one it needs right now…. Matt Morrison. He’s a smart-ass guardian. A sarcastic protector. A Snark Knight.
Comic Review – Dark Nights: Metal #3
There is nothing Batman hates more than a mystery. He became a master detective, not because he relishes solving a puzzle, but because he cannot bear to be ignorant. That was to be his downfall and the downfall of the multiverse.
Because Batman could not leave well enough alone, his efforts to solve a mystery tied into the ancient Court of Owls who had manipulated him all of his life and Gotham City for generations led to Bruce Wayne becoming the gateway to somewhere dark… a multiverse made up of all the worlds where the heroes were a second too late. Where the good guys became greater monsters than the villains they fought. Where evil triumphed in the end and the world fell into oblivion.
Seven Dark Knights came forth. Seven versions of Bruce Wayne that fell to the darkness. Seven versions of Bruce Wayne who had been denied the light and were determined to see it destroyed…
(Click To View The Full Image In Another Window.)
Building off the mythology established in their now legendary run on Batman, it should be no surprise that Scott Snyder and Greg Capullo have delivered a story as epic as any we could have imagined with Dark Nights: Metal. The most truly miraculous aspect of this third issue, however, is how accessible it is to any reader who failed to pick up the first two issues. Every aspect of the story so far is explained, from how Batman’s actions have caused the current crisis to the events of the related Gotham Resistance story line that ran through the Teen Titans, Nightwing, Suicide Squad and Green Arrow series. It’s a novel touch and one more mini-series should indulge in for the benefit of those readers who were late to the party but don’t want to wait for the trade paperback collection.
Scott Snyder’s script for this issue is a masterwork, easily introducing obscure new characters such as The Nightmaster and Detective Chimp into the narrative with no fuss, muss or confusion at all. While much of the issue is concerned with exposition and setting up the next series of action events, the dialogue masks that fact very well and it’s amusing to read all the characters playing off of one another.
Greg Capullo is also at the top of his game here. Capullo has altered his usual penciling style somewhat, forging a new aesthetic inspired by the works of Frank Frazetta. Despite the generally dark coloration and heavy inks (courtesy of FCO Plascencia and Jonathan Glapion respectively), the general appearance of the book is surprisingly uncluttered. The artwork is detailed yet the line work is largely light and breezy. The colors stand out all the more vividly despite the general muted tone of the finished artwork. One particularly noteworthy aspect is the effects used to create the illusion of flickering firelight on a still page.
Bottom Line – if you haven’t been reading Dark Knights Metal, it isn’t too late to jump in on what will likely be the best event comic of 2017.
10/10
Written by The Critic The Internet Deserves, but not the one it needs right now…. Matt Morrison. He’s a smart-ass guardian. A sarcastic protector. A Snark Knight.
Comic Review – Batman: White Knight #1
“This is an Imaginary Story… Aren’t they all?”
With those words, Alan Moore opened one story and ended an era at DC Comics. Whatever Happened To The Man Of Tomorrow was written to given the story of Superman an official ending of sorts before DC Comics rebooted their continuity with Crisis On Infinite Earths and formed what became known as the Post-Crisis Universe. Before then, any story that took place outside of the established canon (i.e. every wacky story involving Lois Lane marrying Superman) was dubbed an Imaginary Story.
Following Crisis On Infinite Earths, these non-canon stories were published under the Elseworlds imprint. The name may have changed but the base idea was still the same, allowing writers a chance to tell stories set in other realities and timelines. The first of these – Gotham By Gaslight – was set in a world where Bruce Wayne became Batman in Victorian era Gotham City and stalked a clownish Jack The Ripper.
Many of these Elseworld stories – such as Hawkworld and The Killing Joke – were absorbed into the canon due to positive fan reaction. Others, like the western-themed Justice Riders and the alternate-future Kingdom Come, became part of the canon Multiverse formed after Flashpoint. The Elseworld imprint is used sparingly these days but DC Comics still tells tales set in other realities.
Batman: White Knight is the latest of these stories. Set in a reality where The Joker has been cured of his madness, the early previews promised a story where the newly-sane Jack Napier would find himself reluctantly thrust into the role of savior when it becomes apparent that The Batman has gone over the edge in his efforts to fight crime in Gotham City.
(Click To View The Full Image In Another Window.)
Surprisingly, the early synopses buried the lead on Batman: White Knight. After a three page introduction depicts a gentlemanly Joker confronting a clearly crazed Batman in Arkham Aslyum, the rest of the issue depicts a flashback to One Year Earlier. It is here we see the final battle between The Joker as we know him and a Batman who has begun to prioritize catching criminals over saving lives, much to the sorrow of Batgirl, Nightwing and The GCPD. The end result is a Joker who literally had the sense beaten into him and is determined to deliver justice to the corrupt and incompetent administration that allows a Batman to run riot.
Countless other stories have examined the idea that Batman is just as crazy and dangerous as the villains he fights and the concept of The Joker going sane or becoming a hero. Despite this, writer and artist Sean Murphy has managed to put a unique spin on both ideas with White Knight. Fans will no doubt draw comparisons to The Dark Knight Returns – both because of a similar sequence where reporters argue over the morality of Batman’s actions and The Joker’s monologues regarding the abusive relationship that he and Batman share. Murphy builds beyond these themes, however, and manages some subtle and relevant commentary on the issue of police brutality.
Murphy’s artwork proves the equal of his writing. Rich and atmospheric, with thick inks settling to form deep shadows around the original pencils, Batman: White Knight looks somber even for a Batman title! Ironically, given the title, there is no pure white to be seen anywhere in this world. Even in the brightest moments, colorist Matt Hollingsworth allows no off-whites into the artwork – only muted shades of grey which make the dark night seem all the darker. The final effect is fantastic, making this book a must-read for all Bat-fans!
10/10
Written by The Critic The Internet Deserves, but not the one it needs right now…. Matt Morrison. He’s a smart-ass guardian. A sarcastic protector. A Snark Knight.