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Batman & Superman covers
The thing about this boom of live-action superheroes is that, for better or worse, it is actually mimicking the source material to amazing degrees. You have the convoluted continuity involving multiple tie-ins and spin-offs. You have the non-stop reboots. You have the tension between the geeky pleasure of world-building and the castrating effects of editorial interference. And, interestingly, you’re starting to have some of the diversity as well.
Take the Marvel properties. It is impressive enough that we got a solid bunch of highly entertaining popcorn blockbusters telling straightforward superhero stories (especially the Iron Man and Avengers movies). But Hollywood has also successfully covered a lot of different ground, from the Brubaker-esque maze and all-out action of Captain America: The Winter Soldier to the otherworldly farce of Guardians of the Galaxy to the mix of schlocky sci-fi and Cold War politics of X-Men: First Class. And now there’s even the uproariously iconoclastic Deadpool! The TV shows have been great at this as well, what with the bouncy spy shenanigans of Agent Carter, the gritty crime drama of Daredevil, and the disturbingly creepy neo-noir feel of Jessica Jones. All of these are subgenres that comic fans are familiar with but many were traditionally ignored in the transitions to the screen, so it’s nice to see more people finding out that, while superheroes are generally goofy, they can be goofy in diverse ways!
In that sense, Man of Steel represents uber-violent takes on the genre like Jonathan Hickman’s and Ryan Bodenheim’s Red Mass for Mars or Warren Ellis’ and Juan Jose Ryp’s Black Summer (except that at least those had some wit). Basically, David S. Goyer wrote an Elseworlds Superman horror tale and Zack Snyder shot it like a pompous disaster movie. Man of Steel is dark, cold, and aggressive – I would say this was Snyder doing the film equivalent of all those proto-revisionist comics that tried to emulate Watchmen without fully getting the point, were it not for the fact that Snyder had already given us the definite version of that… with his own Watchmen movie!
So yeah, this week we get the sequel, Batman v Superman: Dawn of Justice. I’ll probably watch it, sooner or later. The trailer makes it look like a hyperactive kid trying way too hard to be both meaningful and badass, but then again that’s a faithful rendition of many comics with the Dark Knight. Also, I’ve already gotten my ideal Batman movie (Mask of the Phantasm), so now I’ll just settle for a weird flick.
In a way, it’s hard to go wrong with the pair of Batman and Superman, whether they’re friends or enemies. The two characters work well together, since they’re so different and complementary, visually as well as thematically. I could go on about the alien who embraces humanity and the human who tries to transcend it, but I’m sure we’ve all written that essay in school…
Instead, here are 10 covers with the Dark Knight and the Man of Steel posing heroically as various artists explore their contrasts and parallels:
Posted in COVERS OF BATMAN COMICS
Tagged covers, David S. Goyer, Jonathan Hickman, Juan Jose Ryp, movies, Ryan Bodenheim, Warren Ellis, Zack Snyder
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It must suck to be Gordon
MONDAY
Legends of the Dark Knight #46
TUESDAY
Batman and the Monster Men #2
WEDNESDAY
Detective Comics #586
THURSDAY
Batman #426
FRIDAY
Legends of the Dark Knight #98
SATURDAY
Batman #434
SUNDAY
Legends of the Dark Knight #194
NEXT: Batman v Superman.
On Carrie Kelley, Robin
Of all the bare-legged kids who have given Batman a helping hand over the years, Carrie Kelley is probably my favorite. She’s this spunky teen who just goes ahead and dresses in that silly suit and totally owns it, kicking enough butt to impress the Dark Knight. In many ways, she anticipated future Robins like Tim Drake and Stephanie Brown. Also, I suppose it helped that she made her debut on the pages of one of the most acclaimed comics in the freaking history of the entire medium!
We meet Carrie early on in The Dark Knight Returns, when she and her friend Michelle take a shortcut through a decadent video arcade and almost end up getting knifed by a street gang of mutants (yes, it was the eighties). She’s saved by Batman and immediately becomes a fan.
Here’s Carrie when she first sees the Bat-Signal in the sky:
I love her parents’ ramblings in the background. It’s easy to forget how (intentionally) funny Frank Miller used to be, despite The Dark Knight Returns’ reputation as a serious bastion of the turn towards grim and gritty superhero comics.
The fact that we get so little of Carrie Kelley’s backstory plays into the book’s general theme that the world is so obviously screwed up that all it takes is one inspiring figure for people to start acting up and taking matters into their own hands. But at the same time, in a way this also makes Carrie special. After all, it suggests that, unlike the Robins that came before her (Dick Grayson and Jason Todd), Carrie is not an orphan and she doesn’t need a family trauma to drive her… unless of course you consider having stoner hippie parents a trauma!
Charmingly, while Batman is out terrorizing the Gotham City night by severely beating up kidnappers and pimps, Carrie approaches crime-fighting like a cartoon character from the Looney Tunes. Her weapon of choice is a slingshot and the first thing she does is sneak a stick of dynamite into the butt of a con artist who is hustling bystanders with a game of Three Card Monte! Adorable.
She eventually follows some mutants into the dump where Batman gets his ass handed to him by their gang leader. In fact, Carrie actually saves the Caped Crusader’s life when the mutant leader is about to crush his skull with a crowbar (the preferred killing method for costumed heroes in the Batman comics of the time).
After bailing out the Dark Knight, Carrie drags him to the Batmobile and makes a splint for his broken arm. Batman is so impressed that he admits he’s Bruce Wayne and shows her the Batcave, practically hiring her on the spot. Wow, talk about a successful spontaneous application!
Carrie’s first mission is to put on a pink shirt and a bald cap, pretend she’s a member of the mutant gang, and convince all the other members to gather around the sewer pipe at West River and 40, where the Dark Knight will publicly humiliate their leader.
She first approaches a couple of mutants near the arcade where she first saw Batman, earlier in the story, and we get a healthy dose of Miller-esque street slang:
Carrie and Bruce have a nice dynamic going on, which basically consists of Batman ordering her to stay put and she just straight-up disobeying him all the time, whether by engaging with a transsexual Nazi in a fight or by breaking into a house with a sentient explosive doll. You know, just your average juvenile rebellion.
That said, she does keep saving Batman’s bacon when he inevitably bites off more than he can chew. For example, when the Caped Crusader gets caught up in a struggle with a bunch of cops, Carrie rescues him by flying a damn helicopter, much to his surprise. She also spots a key clue to tracking down the Joker. Indeed, one of the running gags concerns the fact that, while Batman acquired his skills through years of intensive training and roaming the earth, Carrie just seems to have picked up all the necessary stuff in school and in the girl scouts.
Although he does teach her how to ride a horse.
Batman’s final confrontation with the Joker in the county fair has deservedly become legendary. But it’s a shame that it has completely overshadowed Carrie’s own elaborate, exciting action set piece, on a roller-coaster, facing an armed henchman and yet another explosive doll. Also, during the famous Batman-Superman face-off, Carrie helps distract the Man of Steel while driving a tank. And later on, she is the one who digs up Batman from his grave. So many iconic moments!
As if Carrie Kelley wasn’t zany enough already, in The Dark Knight Strikes Back Frank Miller went on to dress her in a leopard spandex and turn her into a rollerblading vigilante called Catgirl.
However, Carrie still made a few amusing cameos in the Robin suit. She was in the very cool ‘Batman Dies at Dawn!’ (Batman: The Brave and the Bold (v2) #13), where the Phantom Stranger gathers all Robins – past, present, and future – in order to save a wounded Dark Knight. Hilarity ensues.
Moreover, a version of Carrie showed up in the DC Adventures Universe. In Batman & Robin Adventures #6, when a tabloid newspaper announced that Batman had fired Robin (Dick Grayson), she was one of the many volunteers to audition for the job.
This version of the Caped Crusader, though, was decidedly not pleased to see her…
It’s a really fun story with super-dynamic art. But hey, it was written by Ty Templeton and drawn by Rick Burchett, so that pretty much goes without saying!
More recently, Peter Tomasi introduced a New 52 version of Carrie Kelley during his run in Batman and Robin. Ah, and I guess I should probably mention the fact that Carrie has another new identity in some kind of Dark Knight Returns sequel/fan-fic DC is putting out nowadays… but I don’t really care.
She is still Robin in my dreams:
Posted in GOTHAM CITIZENS
Tagged Carrie Kelley, Frank Miller, Peter Tomasi, Rick Burchett, Robin, Ty Templeton
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Bronze Age Splashes
Even though Archie Goodwin was an amazing writer (not to mention a legendary editor), I’m not as big a fan of his 1970s’ run on Detective Comics as others are. I gladly admit, though, that in terms of art, those are some pretty awesome comics.
One of my favorite bits was the fact that artists dropped the traditional Batman logo from the opening splash pages and started integrating it in clever ways, like Will Eisner used to do in The Spirit.
Detective Comics #437
If there is one thing Jim Aparo excelled at, it was opening pages. The man knew how to draw an opening that pulled you right in, not least because those skewed perspectives and lettering just seemed like an invitation to let yourself slide.
In his first splash for Goodwin, Aparo worked in the words ‘The Batman’ as a name on an invitation, which is cute enough. However, I think his second go was more ingenious…
Detective Comics #438
This time around, Jim Aparo screwed the full logo (including that creepy Batman head) into a thunder! What’s more, the resulting image actually matches the horror theme of comic.
After Aparo, the remaining artists continued to try out new things:
Detective Comics #440
In the page above, Sal Amendola managed to fit in the full logo as well, now disguised as a painting. It is certainly not as powerful, but what the hell… I always enjoy these glimpses into Gotham City’s night life anyway!
Detective Comics #441
Howard Chaykin’s art at the time wasn’t as experimental and maximalist as it would be in later DC projects (like his insane revamps of The Shadow and Blackhawk). Still, he packed a lot into this gritty page. Not only is there a ‘Batman’ graffiti on the wall, but you can see the Dark Knight beginning to crawl out of the sewer, so you know asses are going to be kicked.
Also, because Chaykin was already Chaykin, it totally says ‘big fat fuck’ on the lower part of the wall.
Detective Comics #442
Which brings us to this beauty, by Alex Toth, done in his signature art deco-ish style. It’s a bit crammed, but what a sense of design… I would totally hang this as a poster on my wall.
Moreover, Archie Goodwin took his typical trick of using the narration to build up to the story’s title a little bit further this time. He now added a caption introducing the stylized Batman logo as well. And Toth just ran with it like the genius he was!
Damn it, there was some serious talent working on Batman comics in those days.
Detective Comics #443
See what I mean by serious talent?
First of all, a moment of silence for Ndele Kshumbo. It must have been bad enough being the Prime Minister of Congola (an imaginary country which I assume at the time was stuck between Mobutu’s ruthless dictatorship in Congo and an Angola still embroiled in its liberation struggle against the Portuguese), but he couldn’t even enjoy a drink in peace when he came to Gotham…
Anyway, Walt Simonson uses the word ‘Batman’ to frame the panel, or rather the sub-panel, from the point of view of the killer. The best part is that Simonson’s art is so dynamic that the word practically works as an additional sound effect – as far as I’m concerned, the last thing Ndele Kshumbo did before he died was shout for the Caped Crusader to avenge him.
And this is all before we actually get to the title & credits page, which is even more of a knockout!
Posted in ART OF BATMAN COMICS
Tagged Alex Toth, Archie Goodwin, Howard Chaykin, Jim Aparo, Sal Amendola, Walt Simonson, Will Eisner
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On Westerns – part 2
If you read the last post, you know what’s going on. Here are a few more reasons why I enjoy western movies:
Besides the gritty mood and aesthetics, I like the fact that westerns usually have something to say about America (and, in the case of spaghetti westerns, about Italian politics as well).
Some horse operas are deliberately celebratory and nostalgic, emphasizing either conservative or liberal values at the core of US history. Others are more critical, explicitly denouncing past crimes or acting as metaphors for contemporaneous issues, like McCarthyism, civil rights, or the Vietnam War. Even when they don’t have a clear message, western films tend to illustrate elements of American identity such as individualism, gun culture, and paranoid frontier status.
The Man Who Shot Liberty Valance and High Noon are not only a joy to watch, but also interesting to decipher politically (the latter is especially fun if you try to read in it a premonitory allegory about Batman comics, since it involves the vengeful return of a terrifying thug called Frank Miller). Tonino Valerii’s The Price of Power is, oddly, a western about the JFK assassination (yep). Some people even claim Django Unchained is about racism, but then again people see racism everywhere nowadays.
Speaking of racism, classic westerns do have quite a poor track record in terms of depicting Native Americans. They started addressing this issue in increasingly complex ways in the 1950s… John Ford’s The Searchers has a reputation for being a provocative revisionist take on the matter, but I don’t think the movie earns it. As far as I’m concerned, the unappreciated Dakota Incident and Gunman’s Walk do a much better job!
But of course, if we’re talking about westerns and politics, then we cannot escape Mexico…
There are just so many awesome yarns south of the border – and they often get down and dirty in Mexico’s bloody history! Even if you leave out the Franco-Mexican War (the setting for the amusing Vera Cruz and Two Mules for Sister Sara) and just focus on the Mexican Revolution, you have the bigger-than-life The Wild Bunch, the compellingly schlocky 100 Rifles… the list goes on, but ultimately none of them beats Richard Brooks’ The Professionals, which is an all-out adventure romp with a particularly delicious closing line.
(Brooks later did the proto-western Bite the Bullet, which is not about Mexico but it also finishes on an anti-capitalist note.)
Furthermore, there is a whole subgenre of revolutionary Italian oaters – the ‘Zapata westerns’. They’re usually about some gringo getting involved in the Mexican civil war and feature the kind of sadism you’d expect from late ’60s Italian cinema. Some seem more militant, like A Bullet for the General, while others look more like an excuse to blow stuff up, like The Mercenary, but I’m not going to lie: I dig them all. Yes, even with the uneven acting and the fucked up sexual politics. Maybe it’s the cheesy sentimentality that does it for me, but most likely it’s those hauntingly weird soundtracks.
Finally, the geek in me loves the fact that this is a genre that constantly builds on itself. For instance, Edward L. Cahn’s Law and Order, John Sturges’ Gunfight at the O.K. Corral, and Edward Dmytryk’s Warlock are all different variations of the legend of Wyatt Earp and Doc Holliday (and they are all excellent).
Like superhero stories, many westerns are part of an evolving intertextual dialogue, citing, revising, updating, and/or paying homage to their predecessors… Contrary to comics, though, you’re not actually expected to have a degree in the genre’s history and spend a fortune on auxiliary titles just to follow the plot!
Still, this self-referential dimension can be quite rewarding for those in the inner circle. I guess the most famous example is how Fred Zinnemann did a downbeat picture about a frustrated sheriff looking for help defending his town from outlaws (High Noon) and Howard Hawks responded by doing a badass flick about a fearless sheriff in the same situation who just shuts up and takes care of business (Rio Bravo).
Critics are also fond of pointing out that Hawks kind of remade Rio Bravo as the entertaining El Dorado and once again as the lamer Rio Lobo… That is true but it misses the larger point that Rio Bravo was itself basically a loose variation of Hawks’ classic adventure drama Only Angels Have Wings. So in this case I think it’s less about westerns commenting on each other than about the fact that Hawks just really liked to tell stories about manly professionals of different generations carrying out their work in inhospitable conditions and about women trying to pierce through their stoic exterior (he went on to revisit this formula in the very lighthearted romantic drama Hatari!).
Once Upon a Time in the West (1968)
There’s more. You get an extra kick out of watching Unforgiven if you’ve seen any other western with Clint Eastwood before… Also, you can find plenty of metafictional layers in the work of Sergio Leone. His Once Upon a Time in the West is full of winks to the classics. Duck, You Sucker is Leone’s answer to the Zapata westerns. And he was heavily involved in My Name Is Nobody, which is basically a clash between an old-school spaghetti western and the then-new brand of fagioli western comedies.
This brings us to The Hateful Eight, which I think combines all the elements that make westerns great. Quentin Tarantino delivers tense Mexican standoffs, violent shootings, and an Ennio Morricone score, while also bringing in elements of other genres (mystery, horror, dark comedy). The titular eight characters who hate each other for various reasons, stuck together in a cabin during a blizzard, provide a simple, minimalistic set-up that enables a quasi-parable about larger themes. Above all, the film offers a meditation on the messed up history of complicated racial relations in the United States, ultimately seeking a glimmer of hope in Abraham Lincoln’s legacy (real or fictitious). And, needless to say, Tarantino pays a heartfelt homage to the history of the genre itself, from the Hawksian sense of claustrophobia to the snowbound visuals of the bleak The Great Silence and the underrated Day of the Outlaw.
Day of the Outlaw (1959)
Regarding comics, if we’re talking mean-spirited westerns, I quite like Hermann Huppen’s Wild Bill is Dead, which is a revenge tale that takes quite a detour. Hermann had drawn a bunch of westerns before (in the Comanche series), but this was the first one done in the stunning style he began experimenting with in the 1990s, with beautiful watercolors. He also wrote it – and while there is nothing particularly original or charming about Hermann’s scripts, this old-school Belgian author knows how to spin a two-fisted yarn. In that sense, Wild Bill is Dead belongs next to other gritty adventures he has crafted as a pretext to explore different landscapes and political issues, including Afrika, Caatinga, and the more surrealist Sarajevo Tango.
That said, The Hateful Eight’s flair for sardonic dialogue and the focus on post-Civil War racial issues points more sharply to Loveless, by Brian Azzarello, Marcelo Frusin, and Danijel Zezelj. This series had its moments, but it took way too long to find its feet, so instead I’ll recommend Azzarello’s and Zezelj’s less ambitious El Diablo. It’s a neat little western that for a while seems to be about a manhunt, but it has splashes of horror and noir, not to mention a handful of plot twists up its sleeve.

El Diablo
NEXT: Batman makes a splash.
Posted in WILD WEST
Tagged Brian Azzarello, Danijel Zezelj, Hermann, Marcelo Frusin, movies, politics, Quentin Tarantino, western
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On Westerns – part 1
When I wrote about Quentin Tarantino films last month, I promised to follow up with comic suggestions for fans of The Hateful Eight. I’ll include a couple of recommendations in my next post, but before that let me share a few thoughts on why I just can’t get enough of westerns!
High Noon (1952)
First of all, there is something about the time distance and the ‘simplicity’ of the surroundings. The natural landscapes, the small villages, the whole quasi-lawlessness thing… all this allows for basic themes (honor, revenge, justice, redemption, law and order) to be explored at their core in an almost allegorical way, uncontaminated by the caveats of a more recognizable setting or a more complex context. Some of the greatest westerns, like Henry King’s The Gunfighter or Delmer Dave’s 3:10 to Yuma, are essentially super-suspenseful morality plays.
This is not to say that there is no room for moral complexity. It pisses me off how every time critics are trying to sell you on a western they try to contrast it with the supposedly clear-cut morality of the old ‘good guys vs bad guys’ formula (it’s the same thing with superheroes, really). In fact, filmmakers have been telling murky stories in this genre for more than half a century… If you go back to the ‘50s, you can find loads of thoughtful oaters, from classics like Bend of the River to more obscure flicks like No Name on the Bullet.
Comic writers, used to exuberant spectacle, often get bored with the limitations of western conventions (this is why every few years Jonah Hex finds himself in a post-apocalyptic future, or batting zombies, or flying around in the steampunk airship of Ra’s al Ghul!). Yet in cinema the relatively limited number of occupations and settings often leads to a kind of economical storytelling that appeals to me… Settled with mostly uneducated characters and unable to hide behind modern pop culture references, screenwriters go for terse dialogue and minimalistic symbols in order to convey plot and characterization. This means you have to concentrate to make sure you pick up everything that’s going on, which can make for quite an engaging viewing experience.
Director Budd Boetticher, screenwriter Burt Kennedy, and actor Randolph Scott did a series of unpretentious chamber westerns that got the most out of this sense of simple clarity (the best of the lot is 1959’s Ride Lonesome). Yet the guy who really elevated this type of craftsmanship to a whole other level was Sergio Leone, especially starting with For a Few Dollars More.
Clint Eastwood as the Man with (supposedly) No Name
Many ‘spaghetti westerns’ followed Leone’s handbook, keeping the words sparse, the mood serene, and the action visually driven. My favorite in this mold is actually the French Cemetery without Crosses (also known as The Rope and the Colt). Another worthy French entry is the recent Far from Men, which is not exactly a western (it’s set in the Algerian war) but it sure feels like one!
(That said, this tendency can be taken to an infuriating extreme, like with Monte Hellman’s The Shooting or Alejandro Iñarritu’s The Revenant… both look quite pretty, though.)
Most of all, there is something purely *cinematic* about westerns. The atmosphere of constant tension because of the ease with which people can kill, the cathartic power of a shot, the feel of chivalrous adventure from all the horse-riding, the gravitas of these archetypes, the scenic backgrounds… There is a reason why the most defining examples of the genre (Ford’s Stagecoach, Leone’s The Good, the Bad and the Ugly, Peckinpah’s The Wild Bunch) are not merely great westerns – they are some of the most freaking iconic cinema masterpieces of all time!
Stagecoach (1939)
Sure, there are shitloads of duds, but the ingredients are there to make it work fairly easily. At least two beloved westerns simply relocated Akira Kurosawa’s samurai epics to the American Wild West (A Fistful of Dollars is a rip-off of the awesome Yojimbo and John Sturges’ The Magnificent Seven is a remake of Seven Samurai), yet they both turned out to be highly entertaining pictures in their own right. Johnny Guitar may end on kind of a weird note, but that opening half an hour is worth its weight in gold. Hell, throw in enough double-crosses and competently crafted set pieces, and even a middle-of-the-road dustraiser like Buchanan Rides Alone can be a darn enjoyable way to spend 78 minutes.
Basically, if you add an operatic Ennio Morricone score to the image of a gunfighter on a horse, then you’re halfway there to producing a satisfying movie. To be fair, it doesn’t even have to be Morricone – many westerns rely on atmosphere stitched together by a cool soundtrack, whether it’s Bob Dylan songs in Pat Garrett and Billy the Kid or Leonard Cohen tracks in McCabe & Mrs. Miller. (Then again, Rancho Notorious is as vicious as any other Fritz Lang movie, but it only works if you disregard the fact that it’s punctuated by a hilariously mismatched ballad that serves as a bizarre, baritone Greek chorus.)
And if the sheer number of instantly recognizable tropes makes it easy to use shorthand and achieve intertextual resonance, it also lends itself to obvious parody. Besides genre spoofs (the funniest is still, by far, Blazing Saddles), there are plenty of hybrids that work simultaneously as westerns and as comedies. I’m not a big fan of the lowbrow slapstick of the Trinity movies starring Terence Hill – also known as ‘fagioli westerns’ – but I do get a kick out of the tongue-in-cheek zaniness of Sam Raimi’s The Quick and the Dead (not to mention the third Back to the Future). And while Destry Rides Again doesn’t make me laugh out loud, I do find it incredibly charming.
Destry Rides Again (1939)
Indeed, even if you regard the western as a proper genre (and not merely as a shared historical setting), it is loose enough to easily allow for crossbreeding. In the 1940s, some directors approached it with a cool film noir sensibility, for example in the stylish Winchester ’73 and Yellow Sky (not to mention John Huston’s angry neo-western The Treasure of Sierra Madre). In the 1950s, the supernatural anthology TV show The Twilight Zone had a bunch of episodes set in the Old West, including ‘Mr. Denton on Doomsday,’ ‘The Grave,’ and ‘Dust’ (the show’s creator, Rod Serling, also wrote the lesser-known, straight-up western drama Saddle the Wind). Among the most accomplished attempts to fuse westerns with a horror vibe, you can find 1970’s And God Said to Cain as well as last year’s Bone Tomahawk.
The latter are also violent as hell, because no-holds-barred sound and fury is another thing westerns can deliver like nobody’s business.
Americans have come up with their fair share of gritty westerns (particularly Gordon Douglas, the man behind Rio Conchos and Barquero). If you are into raw, visceral insanity, though, few movies can match the power of Italian horse operas like Death Rides a Horse.
And in terms of pure brutality, there is of course Django – you know, the one with the dude dragging his coffin around and inspiring countless imitations, homages, and kick-ass songs.
Django (1966)
NEXT: More on westerns.
6 Batman breakups
With Valentine’s Day around the corner and all the schmaltzy faux-romantic mood in the air, I guess this is the time to have a look at half a dozen times when Bruce Wayne said goodbye to the women in his life (and vice versa).
In Detective Comics #49, actress Julie Madison becomes a movie star, so naturally she changes her name and breaks off their engagement. Bruce, smoking a pipe, is completely debonair about it:
Julie clearly looks disappointed by so much nonchalance (especially in that fish-eye lens panel).
But it’s not as if Batman is completely heartless… When socialite Silver St. Cloud breaks up with him, in Detective Comics #476, the Dark Knight is almost speechless:
Great timing, Commissioner Gordon!
Poor Bruce Wayne, he keeps getting dumped… That said, with social activist Rachel Caspian, I’m not sure what he was expecting. In Detective Comics #578, he just saw her father fall off a building after a murdering spree as the villain Reaper, yet somehow Bruce still thinks that will not affect their immediate plans:
On the plus side, we get a huge Todd McFarlane bat-shadow, which is nice.
Batman and the world-conquering villainess Talia al Ghul have split up plenty of times. However, the most powerful one is probably in Son of the Demon, what with Talia supposedly losing their baby and everything…
I am going to skip the whole thing with radio talk show host Vesper Fairchild (needless to say, it didn’t end well). I’d rather go straight to Detective Comics #775, where Greg Rucka wrote one hell of a coda for Bruce and his former bodyguard Sasha Bordeaux. It’s worth reading the whole thing, of course, but I love how artist Rick Burchett absolutely nails the final moments:
Finally, there is the crazy-ass ending to Bruce’s relationship with fashion model/African ruler Jezebel Jet, in Batman #681, while fighting the sinister secret organization Black Glove. For once, the Caped Crusader is actually the one calling the shots. He even gets a super-douchey final line:
NEXT: Go West.
Posted in GOTHAM CITIZENS
Tagged Batman's personality, Greg Rucka, Rick Burchett, Todd McFarlane
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10 villainous covers with Batman’s reflection
A year ago, when I did a couple of posts about covers where it looks like Batman is about to get shot, I spotlighted a few cool ones that worked the Dark Knight’s reflection into close-ups of his villains… Besides providing neat angles and designs, these images are also great because, in a way, they allow us to look at Batman through his foes’ point-of-view.
I can’t get enough of this stuff, so here are another ten nice covers that follow the same pattern:






































































