DC Metal’s Dark Knights Ranked

As promised, I am ranking the Dark Knights from DC’s Metal event.

First, I’d like to note a few things about the other cross-over/tie-in titles:

Gotham Resistance was the real gem of the event. It picks up with Damian right after Batman’s disappearance, and brings in the Teen Titans, Suicide Squad, Green Arrow, and Nightwing for an all-out-assault on a Gotham City that has been transformed into a series of Malebolges by the Batman Who Laughs and a number of Gotham Rogues he’s empowered with Nth Metal Joker cards. The story flowed well across all four titles and, despite the fact that they’re titles I’m not interested in, made me consider giving them a shot because they were ALL GOOD!

Bats Out of Hell was a disappointment. While the B-team heroes brought an A-game story, the A-team heroes’ writers brought their B-game. Despite a shot to have some really great fights between the Dark Knights and the Justice League, or some good character development to build on some of the stuff established in the one-shot tie-ins, Bats Out of Hell was largely wasted. The first two issues felt like a muddle mess of clips, failing to establish much of story in its own right. Part 3 had a decent idea of primarily featuring a Knight interacting with his counterpart, but gets an F for execution. Hal Jordan and the Green Lantern Corps 32 literally uses Dawnbreaker’s power as an excuse to not draw half the comic. “Oh, he has power over light AND darkness? Let’s make ever other panel solid black and not draw backgrounds!” This meeting was nothing but wasted potential, and I much rather would’ve seen a Wonder-Woman tie-in devoted entirely to her and Merciless.

Batman Lost was really good. It may not have been a work of genius, but it’s easy to mistake a competently done Batman story in this vein as being genius because they’re so easy to mess up. It reminds me a bit of those navel gazey and introspective Bat stories that Grant Morrison is prone to writing; you know, the ones that that are tie-ins to his Bat Saga but are so off the wall that they don’t get collected in context of the works that would allow them to make the remotest amount of sense? It was like that, only you could follow it and it was enjoyable enough. It didn’t feel like a complete waste of time as a Bat story, even if it was kind of filler.

Now, onto the rankings of the Knights!

7. The Drowned – The Drowned is by far my least favorite of the Dark Knights. The gulf between the 6 and 7 slots are tremendous. The art wasn’t bad, but other than the whole “Batman is a woman in this world—also she is Aquaman,” it didn’t really do much to look at the character in any sort of unique, insightful, or exciting way. It had a nice aesthetic, but it failed to do anything with it and just was not an interesting book.Batman-The-Drowned.jpg

6. Red Death – Okay, Red Death is down here in number 6, but not because it was bad, just the others were better! Batman fuses with the Flash to gain access to the Speed Force. It’s kind of Cronenbergesque. The reason why it’s ranked so low is Red Death book really just portrays one brief scene between the two. I liked the concept, but wanted something meatier.Batman-The-Red-Death.jpg

5. Dawnbreaker – Dawnbreaker gets a lot of hate because Dawnbreaker is dumb. The premise, that is. The Green Lantern ring went to Bruce Wayne, who used it for revenge against criminals and went insane with power (like that one time Green Lantern went insane, except worse, because he’s Batman and has Maximum Willpower + 200%). He ends up killing everyone and everything, plunging his world into total darkness. It’s dumb, yeah, but his book tells a complete story with beginning, middle, and end, and it features some really great artwork of Lantern-Ring horrors; which is what makes HJ&tGLC 32 that much more disappointing.Batman-The-Dawnbreaker.jpg

4. Batman Who Laughs – Batman Who Laughs falls in the middle because it met expectations. And meeting expectations was not easy to do, and this could’ve been a big let-down. As it is, though, we got a pretty gruesome Bat story that gives us a decent canonical reason for why, at the end of the day, Batman CAN’T kill the Joker. Imagine Return of the Joker, only with the real Batman being possessed and not schlubby middle-aged Tim Drake. Had a real “Oh, man… Oh, shit…” vibe to it; not for the faint of heart.

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3. Murder Machine – Murder Machine was kind of bizarre and surreal, but oh my gosh it had some amazing art! In MM’s universe, Bane killed Alfred instead of breaking Batman’s back, and an AI Alfred program goes crazy, Batman along with it. This is one I need to reread so it’ll make more sense in context of the rest of the Event, but it was good enough that I decided to pick up all of Metal even though the Outsiders were a bait-and-switch in The Casting.Batman_The_Murder_Machine_Vol_1_1.jpg

2. Devastator – This one was a real surprise; I expected Devastator to be in the middle, but whoa. Here we have a Batman who had to deal with a Superman who went crazy, so he injected himself with the Doomsday virus. I was not expecting that what sent this Batman off the deep end was seeing Superman kill Lois. Devastator’s interactions with Lois were some of the most powerful in the whole event (the “I’m doing this for you, Lois…”), in part because, unlike with some of the Knights, we don’t really have an “evil” Batman so much as a Batman who is broken by his worst fear—Superman going full murdergod and no force on earth able to stop him—coming true.batman devastator.jpg

1. Merciless –Another big surprise and the best of the bunch. I’m a DCAU Wonder Woman x Batman OTP guy, so this one really tugged at the heart strings. Bats and Wonder have been leading the force of good in an extensive war with Ares. Wondy dies, and it breaks the Bat. Bats takes up Ares’ Helm of War, and goes all death knight crusader. And it’s awesome. Merciless is one of the only ones of the bunch who I could see having worked as a standalone villain. In fact, a Batman corrupted by Ares would make a pretty good recurring Wonder Woman villain, especially given the weakness of her own rogue gallery. The biggest letdown of Metal so far has been that Merciless and WW haven’t gotten much page time together, and the couple panels they got Bats Out of Hell were bland and even kinda spoiled some of Merciless’ depth. But still! Of the whole bunch, this is the one I want to see more of after Metal is over.

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Addenda: Mom-Jeans Lois is smokin’ hot.

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Plowing through Batman Trades

Spent a lot of the weekend reading a backlog of comics I’d gotten across various Christmases and birthdays and made a lot of headway.

I’ve got to say, I’ve actually really been enjoying the Final Crisis era Batman stories, particularly the Dick/Damien pairing (shades of Prodigal?), but I’ve got to say, the continuity of it is damnably confounding.

I’d known that Batman “died” in Final Crisis and that he would eventually pop back up and launch Batman, Inc., but when the story is being told across several titles, including special series and new titles, and collected in trades that don’t give any indication of reading order, it’s been a hassle figuring out which books to read. Sometimes Bruce’s dead, sometimes he’s back, sometimes he’s back but not really back… Early on, it also took me a bit in some of the books to go “Oh, okay, this is Dick”, because for some reason Dick Grayson gets drawn a lot like Bruce Wayne did in the 90s (sickly Dustin Hoffman from Midnight Cowboy).

The Batman & Robin series that picks up after Battle for the Cowl was really good. Trade-mark dark Grant Morrison, sure, but it’s the “good” Grant Morrison. While he’s probably my second favorite Bat writer after Dixon, the pendulum swings wide: when he’s on, he’s on, but there’s always the chance that he’ll churn out some absolutely muddled non-sense that’s damn near impossible to figure out what’s going on. And he’s on for Batman & Robin. Last Rites and Time and the Batman are a damn mess, but that’s probably because they’re respectively tacked on to a trade out of continuity or isolated from the story that would give it the context needed for them to make sense as anything but a fever dream of random Batman panels.

I also enjoy some of the arcs in the mainline titles featuring the Dick/Damian team, like the story of Vicki Vale trying to piece together the connections for her big expose on the Bat Family and the Road Home event that ties into those. Except the thing that bugs me is that they have so many overlapping and intersecting storylines that only some of them make sense.

Everything is building up to Bruce’s dramatic return from TimeTM. The main Batman books do a slow-burn story, working in some of the major threads but with the missing Bruce as a haunting spectre. The Batman & Robin book works on those same threads but in a much more serial manner, with Bruce’s absence becoming ever more pressing as the Black Glove and Joker are both fighting over Wayne’s legacy in their own ways until Batman 1.0 showing up at the last minute is a matter of life and death. Which doesn’t exactly jibe with a Bruce Wayne who has time to dick around subtly and not-so-subtly testing members of the Bat Family around the world while Dr. Hurt is in Gotham pretending to be Thomas Wayne, slandering Bruce as a deviant lunatic, and trying to murder everybody with cultists.

The storylines are good on their own, and I’m interested to see where the Vicki Vale one goes (if it goes anywhere), but when taken as a whole, they are a damn mess as far as any sort of continuity is concerned. I think I’m a few arcs away from covering everything I’m interested in from this period, and will be glad to be going back to the Pre-Knightfall stuff, mostly out of Legends of the Dark Knight.

Just Another Comics Post

I’ve been binging a bit on comics lately, and I’ve come to the conclusion that, whenever I can help it, I’ll go for the single-issues over trade paperbacks.

On one hand, it’s an economic issue. Oddly enough, buying a full run of individual issues is generally cheaper than trades—you can get a six issue run of something for about $6, while unless you can score a really good deal on it, a trade of the same run will go for around $10-$20.

The real reason, though, is I love seeing the ads and reading the letters columns, getting a glimpse back at pop-culture and fandom from yesteryear (probably something I’ve picked up on from going through my stack of pulps).

>Really bad advertisements for Final Fantasy: Mystic Quest

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>Some really creepy fanboying for Tim Drake Robin in the letters sections

>Really bad, ham-fisted AIDS PSA

>Some people really excited to buy almost half a dozen variants of the same issue

>Some people really mad about obvious and cynical short term cashing in via half a dozen variants of the same issue

>Editor of DC admitting as early as 92 that with the millions of copies being printed, the collectors’ market was a house of cards, nothing would be worth anything.

Chuck Dixon’s Robin stories are good enough to make me real fan of the character, seeing Gotham through the eyes of some characters close to, but not, Batman. Not enough to make me a squeeing Robin Fanboi, but enough to keep an eye out for any of the Robin mini-series.

Still loving the Legends of the Dark Knight stuff. Destiny makes me hope that there are more stories about Old Norse “Bat Man” (who is basically a deeply introspective version of Dark Wolf from Fire & Ice). There probably aren’t, though.

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As recent as 2015, with the Convergence event, there was a Batman & the Outsiders 2-parter, with Katana in her old costume and Halo with long hair. This makes me optimistic for DC.

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Unfortunately, Suicide Squad looks like the Harley Quinn show and Katana still has her garbage New 52 redesign. I’d like to see her on another team away from the Harley Quinn trashfire.

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Seriously, I’ll be convinced that Suicide Squad is a trash title so long as Harley’s a part of the team.

I know I’d sworn off DC with the New 52, but I may get back in if I find the right title. Until then, though, so long as this #comicsgate mess is going on, I’ll be supporting my local comic shop by buying back issues of 20 and 30 year old stories I’ve missed out on.

Thoughts on Looker and the End of Batman and the Outsiders Vol. 1

I’m nearing the end of Batman and the Outsiders, and though overall I’ve loved it, I have enough future issues to be somewhat wary of the direction that it may go in Outsiders Vol.1.*

The tail-end of Batman and the Outsiders introduces the new character, Looker, and several of the Outsiders solo covers on early issues promise some really hammy villains (the Duke of Oil, the Nuclear Family, and the godawful Force of July**).

 

Even though Looker’s 4 issue origin arc was one of the best runs since Katana’s yakuza arc, there are dark clouds appearing on the horizon.

First of all, the redesign of Halo. It first showed up in Outsiders #1 the previous month, but it shows up for the first time in continuity here. Frankly, she looks awful with a pompadour.IMG_5412

Beyond looking awful, this feels somewhat questionable because it’s coinciding with the introduction of Looker. I guess they couldn’t have two pretty women with long hair on the Outsiders, so they gave Halo this awful do to help differentiate between them?

Outsiders31Emily Briggs’ introduction and the foreshadowing of the character hint at her being a much more interesting character than I’m almost certain she’ll end up being. I don’t want to prejudge too much, but it looks like they’re going to play her up as being a sex-pot despite giving her some potential for real nuance. She’s a plain-jane bank-teller who wishes her husband would notice her more, and the comic sets her up for a friendship with Tatsu, but I spoiled it for myself and find out that once she gets her powers and joins the Outsiders, she ends up being something like the “bad-mom” to Katana’s “good-mom” where Halo’s concerned.

And it’s weird that I can tell I’m going to hate this character despite the fact that she had a perfect origin story. Really, it’s because she has such a perfect origin that I feel so certain I’m going to hate her, because I know that she won’t live up to its potential.

So, Looker’s deal is that she’s a descendant of a god-blooded race of kings from the inner earth; the Abyssian royal family had been growing more and more powerful and warlike until one of them decided to throw on the brakes and preach peace–he’s exiled and stewards rule in the family’s place while searching for a descendant to put upon the throne as a puppet. Briggs turns out to be the granddaughter of the exiled king, and the warring brother and sister pretenders are fighting over her. They unlock her god-blood powers (and beauty), and each magically brainwashes her. Before Halley’s comet can destroy the earth (wait, isn’t that the sort of thing Superman is for?), Looker shakes off the conflicting magical controls and ends the bloody civil war once and for all, naming a couple mooks rulers and ushering in an egalitarian society. While Batman’s more cynical as to how Looker overcame the conflicting brainwashing, Tatsu is certain it was Briggs’ love for her husband that broke the spell (she snapped out of it and wrecked the pretender king after he broke her wedding band and demanded she be his queen). Briggs’ husband realizes he’s been taking her for granted and how much he appreciates and loves her–he spent most of the arc devastated and praying that Batman can rescue his wife (and as a mirror to Sapphire Stagg, whom Metamorpho had just married and is in the same straits); at the end of the adventure, Briggs surprises her husband as Looker happy that she can treat her husband as ‘a woman as beautiful as she thinks he deserves’.

Based on how she’s set up, Looker seems like she could go down a number of interesting paths. She could keep up her friendship with Tatsu and help her dealing with her grief over her husband and child. She could play around a lot with the ‘true beauty is on the inside’ trope, with Looker being Briggs’ “inner self brought out”, as just a really good and loving person trying her hardest. Lots of stuff. But no, she ends up being self-centered and narcissistic and even has an affair with Geo-Force (which is really not a direction I like to see him going as the team’s “Righteous Dude”).

Eventually she becomes a vampire thot or something. :/New_52_Looker

Anyway, of the issues I’m missing out B&tO, it would have to be the two immediately preceding the consecutive run of nearly 20 other issues I own, so it may be a minute before I find out just how wrong or how right I turn out to be.

*:The first several issues of Outsiders vol.1 ran concurrently with Batman and the Outsiders and the post-Batman “Adventures of the Outsiders”, the solo series takes place a year after the events of the original and still ongoing (though wrapping up) title. So, yay for confusing continuity.

**:For what it’s worth, I think that in the right hands, Force of July could be a great property. If they were given their own book in which they were presented unironically as good and earnest patriots who loved and fought for America instead of just being used a cheap punching-bag to attack Reagan Republicans, they would have a ton of potential for great stories as a kind of D or C list Justice League. I love their designs, particularly Mayflower’s. 

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The Force of July: A Villain Team, Obviously!

DC Supers Shows – Just OK Enough To Not Be Terrible

I’ve started watching a handful of the DC superheroes shows, and while I’m not blown away by any of them, they do, for the most part, feel ‘adequate’. They are dumb, kinda cutesy, feel good dreck you can enjoy with the entire family. I just wish it went beyond that into something genuinely enjoyable.

I watched most of the first season of Supergirl, and yeah, it has a quirky charm to it. The biggest issue I have is with Jimmy Olsen; no, it’s not that they made Jimmy Olsen black, it’s that they’ve made Jimmy Olsen a heart-throb that all the women swoon over. There should be nothing cool about Jimmy Olsen other than that he’s Superman’s pal, otherwise it just feels wrong.

One of the best parts of Supergirl is that it fairly explicity exists in a verse where Clark and Kara are the only supers. This resolves the biggest problem that the DC Universe has that while there’s always some cataclysmic crisis on the horizon, there should theoretically be a glut of superheroes to take care of it.

I’ve started watching The Flash, as well; again it’s a kind of quirky, harmless, “oh, we’re a lovable bunch of goofs working to save the world” show. I wouldn’t say I like it more or less than Supergirl; it’s different. While the megaplot of Flash is more interesting than Supergirl’s, the day-to-day is more tiresome. It’s frustrating to watch Flash hopelessly moon over Iris who is a pretty garbage love interest.

Strangely, the setting premise of the Flash reminds me more of Static Shock than any Flash stuff I was particularly familiar with (which admittedly isn’t much).

While it’s certainly a different generation of show from the current crop, Smallville, which I’ve started on with my girlfriend, shows that things really haven’t changed that much. It’s clearly a template for what I’ve seen of the other series so far. I’m not sure how much of it I can take; everything I suspected about this show that I used to justify not watching it first run is pretty correct-BS teen highschool drama with supervillains thrown in. The only interesting hook is pinpointing when and why Lex Luthor becomes a villain – imagine how many lives could’ve been saved if Jonathan Kent weren’t just constantly a dick to him!

The supervillain of the week grind in these shows is frankly pretty boring. None of the villains are particularly developed or interesting, and the shows’ structure seems to exist in part to distract from how uninteresting the interactions between most of the characters are. It’s like, they want to come across as shows with heart, but they really don’t have any.

Somehow, Lois and Clark managed to pull of what these shows try with fewer special effects and next to no supervillains. Somehow the characters just felt more real and more warm than the current crop of DC shows. I can’t put my finger on it, and to just write it off as “well, Lois and Clark was a rom com with some action and the new ones are actually superhero shows” seems to not quite hit the nail on the head, even if it’s partial true.

Unless something changes, the current DC supers shows are never going to have good enough special effects for the superhero aspect to carry them, and I really feel like they don’t have good enough character actors and writers to bring the levels of charm necessary to come close to the old Lois and Clark’s tier of entertainment. Frankly, the main thing these shows have going for them are being recognizable superhero properties that people are hungry for and being family friendly enough that folks can watch them with the kids.

Of the current crop of DC shows, iZombie is far and away the best, and it’s not a supers show, and it’s barely a comic-book show, because the first thing they did was throw out nearly everything from the comic but the name. But it’s got good writers and better character actors than the other CW DC shows, and is just an all-around better watch. It’s really in a class of its own.

Misfit Super Teams: Runaways and Batman and the Outsiders

I’m mostly a DC fan, but I’ve got to admit, I have a soft spot for Runaways. It’s one of the Marvel titles I enjoy enough to consider trying to follow, or at least catch up on the various gaps in what I’ve read.

For those who don’t know, the premise of Runaways is the kids of a group of Supervillains discover that their parents are evil and (TITLE!) run away. They (I think, I missed that volume) kill their parents and take over their secret base, trying to cope with the power vacuum of villainy that the removal of their parents created.

I particularly like the older run, as it presents an ongoing relatively non-episodic story that more adheres to the narrative structure that got me into comics in the first place (graphic novels & manga).  I still have a hard time with strictly episodic superhero stories, though I’ve warmed up to mainstream comics in general a bit in the form of short arcs within a continuity. I’ll admit that one thing that kept me away from Runaways for some time despite loving the first volume was the assumption on my part that, like all other ongoing western comics, there would be no satisfying resolution and eventually the story would go off in radically divergent directions away from the establishing narrative, the characters would get replaced or Flanderized, and it would turn into a hugely disappointing unending mess. Well, I’m starting to try to just enjoy the ride, and once the road gets too bumpy, I’ll get off.

But back on topic, I think the reason why Runaways is the only Marvel title I really enjoy is that the characters perceive the rest of the Marvel Universe kind of in the way that I perceive it. Wolverine thinks he’s bad but he’s really just kind of a jerkass, Spiderman thinks he’s cool and hip and funny but actually he’s a giant tool, the X-Men are lame-os trying to be edgy, the Avengers are cool until you meet them. I actually relate to these Marvel characters because of their utter disdain for their fellow (and far more iconic) Marvel heroes, and it’s a strange feeling. They’re kind of a bizarro Teen Titans; without the guidance of A-tier heroes, they make a lot of mistakes and bad choices, but because of their interactions with the rest of the Marvel heroes, you still get the gooey angst similar to that which the Titans have for being in the shadow of their “parent” figure heroes, but since none of them are the children or side-kicks of Marvel staples, there’s not the understanding that they’ll patch things up with and eventually take up the mantle of a Jerkass Justice Leaguer Avenger or X-man. And as much as I love Raven, Nico is, if not a better character, a more interesting take on the dark magic girl insofar as how her powers work.

What I read of Volume 3 (in magazine terms, not collection terms) confirmed some of my fears about the devolution into villain of the weekisms, but the other collections I read have convinced me that I definitely need to go back and finish the stuff from Volumes 1 & 2.

And speaking of Superhero teams, in my quest to find the optimal insertion point into Batman nearly 80 year history, I grabbed a DC Showcase collection of Batman and the Outsiders from the library.

Why do I say I’m looking for an optimal insertion point? I know this probably makes me a terrible Batman fan, but my favorite Batman is early to mid-90s; I read the Dark Knight Archives that had the first 4 issues of Batman, and found it painfully dull; I read the DC Showcase Brave and the Bold Team Ups collection because I loved the Brave & the Bold cartoon show and wasn’t sure what was worse, the awful D-list villains, the overly long and boring stories, or the bad silver age 1-liners; for my money, Azbats aside, the Knightfall era is some of the best Batman I’ve read outside of some one-offs.

Why did I pick Batman and the Outsiders? Well, I liked the (wildly reimagined) Outsiders’ cameos in the Brave and the Bold cartoon and the publication dates of the Batman and the Outsiders are far closer to the era of Batman I know that like than the era of Batman I know that I don’t like.

It’s getting there. There are still some traces of bad 4th-wall breaking Silver Age cheese, though it’s generally only the occasional panel and it never goes into the full on “blah blah blah, good readers!” hyperbolic nonsense which made the Silver Age team-ups unreadable to me. The setup and introduction is a bit awkward (‘I’m quitting the JLA because you won’t invest cosmic conflict level resources into intervening in a civil war in a country smaller than Luxembourg to help me save Lucius Fox!’ ‘You guys who showed up out of nowhere and almost botched this for me: let me set you up in Bruce Wayne’s assorted safe houses. You’re my new team, because that little shit Robin is with the Teen Titans now!’), but the book finds its rhythm quickly. The interplay between the characters, particularly Halo/Katana and Halo/Geo-Force, is the strongest aspect of the title and helps to compensate for where the title lacks in good episodic stories. I’m generally not interested in whatever bottom tier villain they’re fighting, but I’m interested enough in finding out how the team members’ relationships evolve that I’m more than willing to keep reading.

I think the Outsiders hit their stride with the Teen Titans crossover; revealing Terra as Geo-Force’s missing sister suddenly makes the Outsiders relevant (in my reader’s mind, at least) to the DC Universe and its overall story. Geo-Force is a good, if troubled dude, and knowing that his sister is evil, Batman knows his sister is evil, and that his sister is going die in the not too distant continuity future… there’s gonna be some Pathos, man!  Plus, getting to see some vintage Robin Resentment and a cameo of a pre-Robin Jason Todd provides some nice fuel for my continuity-nerd furnace.

As for actual continuity, though, it’s kind of a problem since Batman and the Outsiders is, comparatively speaking, immediately before Crisis, meaning that it could’ve been wiped out partially, completely, or not at all. The Real Batman Chronology Project indicates that post-Crisis flashbacks indicate that Batman did leave the JLA, did form the Outsiders, and the lineup of Teen Titans who show up in that early crossover does hold up in post-Crisis continuity, but just how much can be ascribed to the life Batman from Year One actually lived in the second decade of his career is up in the air, and since it was so close to Crisis, there was not a wholesale post-crisis reintroduction of Batman’s formation of the Outsiders.

Regardless of its standing within Modern Age continuity, my conclusions are:
Batman and the Outsiders is worth checking out.
While the writing is still a bit dodgy, Pre-Crisis Batman is back on my Radar.
If they aren’t stupid expensive, I might someday pick up some original issues of B&tO to get a better appreciation of them; the Showcases might be a “bargain” but coloring can be the difference between an okay and a great comic.
Geo-Force fighting Superman at Christmas because Superman & Batman wouldn’t let him murder a professor who had been sexually abusing the girl he was in love with and drove her to a suicide attempt was one hell of a crazy story!

#ChangeTheCover: So, the Artist Withdrew the Batgirl Variant Cover

Some people are saying that DC pulled the cover, but based on what I’ve seen, the artist himself, after the campaign against the cover, asked DC to withdraw the art and DC complied. It’s hard to not look at this as his being bullied into pulling down his art. Because that’s pretty much what happened.

I’m a huge Batman fan. While I’ve had some problems with what’s been done in certain Batman comics either stylistically or storywise (I hate how Catwoman is drawn when she’s in costume and I kind of hate all of the non DCAU portrayals of Harley, and I hate that one artist whose name I forget who makes all of the Robins look like they’re 40 year old Dustin Hoffmans trying to take a rock-hard dump). I have a lot of mixed feelings about the Killing Joke. What the Joker does is disgusting and the story leaves one feeling disgusted. But isn’t such a visceral reaction a sign of a powerful story?

Anyway, this variant cover was supposed to be an homage to the Killing Joke.batgirl-41-cover

The biggest complaint was that it portrayed Batgirl in a state of fearful helplessness and victimhood. Which is interesting, because the usual complaint about comics is when some character is showing off ginormo-tits in an anatomically impossible pose. Or ass in the air (I don’t care what anyone says that Spider-Woman cover was ugly and weird looking for more reasons than just ‘too-much-sexy’).

One thing that a lot of people forget (or just don’t know, because the people complaining don’t read comics) is that Batman is (at least Post-Crisis) a horror comic*. A lot of the stories look into the character’s deepest darkest fears. Serious House on Serious Earth is high-octane nightmare fuel. And that’s the sort of feeling this cover is meant to invoke. The other thing that these people are overlooking is that it is fairly typical of Batman covers to show some scene prior to the heroes’ big table-turn where they are powerless, helpless, about to be killed (often in a gruesome manner) by whichever rogue is featured in that issue. Needless to say, when people threw out the “You don’t see Batman being depowered and violated on HIS covers!”, the response was a flood of classic covers depicting the Dark Knight in all manner of predicament. Talk about Batman being depowered, what about that iconic cover of Bane snapping Batman’s back against his knee?

Bats don't bend that way!

Bats don’t bend that way!

On one hand, when Barbara was paralyzed, she didn’t come back as Batgirl, while Bruce came back as Batman. On the other hand, when Barbara came back as Oracle, she had become a more interesting and dynamic character. When Bruce finally came back, he was still just Batman, just poorly drawn and with 2 foot long bat ears (seriously, Troika had some crap art and was a pretty big let down as far as a comeback arc, especially after how well written Prodigal was).

Anyway, here are just a few examples of Batman in peril at the hands of some rogue.

I don't know what's scarier: what's about to happen to Batman or those goddamn 2 foot ears!

I don’t know what’s scarier: what’s about to happen to Batman or those goddamn 2 foot ears!

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See? Even the cover says he’s gripped by fear!

Batman, helpless at the hands of the Joker!

Batman, helpless at the hands of the Joker!

I can't think of anything more disempowering than being flying-kicked by three dudes at the same time.  Except for maybe being flying kicked by more than three dudes at the same time.  Or in combination.

I can’t think of anything more disempowering than being flying-kicked by three dudes at the same time. Except for maybe being flying kicked by more than three dudes at the same time. Or in combination.

 

Batman is totally about to be cut in two in that one cover!

Batman is totally about to be cut in two in that one cover!

*:This tends to be played with a lot more in the one-off graphic novels and some of the side titles, such as Legends of the Dark Knight and Shadow of the Bat (especially Shadow of the Bat).

Minor Update:
If this guy is representative of the rest of the creative team on Batgirl, it’s probably a shit book that doesn’t deserve a good cover anyway.
Cameron Stewart