BATMAN No. 24, December 2013 |
Described by “DC Comics” as an “amazing, double-sized
issue” that contains “a major surprise [which] will change the course of…
Batman’s life”, this fifty-four page periodical must still have been something
of a disappointment to many of its 124,652 buyers in October 2013 with its
“punk rock” shaven-headed Bruce Wayne, reimagining of the Red Hood into Gotham
City’s primary Crime Lord and inclusion of Edward Nygma as a major early foe of
the Dark Knight. Indeed in his exertions to make this take on Frank Miller’s “Year
One” “entirely different”, Scott Snyder has, in many ways, arguably made his narrative unrecognisable as the origin of the Caped Crusader; especially as it
features a militaristic-looking thuggish billionaire, who survives his
encounter with the mysterious terrorist more through luck than judgement and actually
shoots Jim Gordon (with a bean gun) during the self-same confrontation.
Admittedly there’s no doubting the New Yorker’s
commitment to his frustrating storyline containing plenty of ‘Bat-tastic’
action. For once a scarred, yet still seemingly fresh-faced, twenty-five
year-old Industrialist finishes some incredibly lengthy conversations and
investigates Ace Chemicals, the pace of “Dark City” increases at an astonishing
rate and has Batman battling not only an apparently endless army of Red Hood
Gang members, but the Gotham City Police Department as well; “You will not
leap, fly, or hang upside down. You will surrender quietly or I will shoot you.
Do you understand?”
In fact despite this battle being unceremoniously
interrupted by the sacrificial death of Wayne’s Uncle Philip (Kane), otherwise
known as “Red Hood Three-Forty-Seven”, and the unexpected appearance of the
Riddler towards the end of the comic, the cowled crime-fighter’s pulse-pounding
punch-up with the multiple ruby-masked arms dealers is probably some of Snyder’s
best work since “The New 52” title started publication. Certainly Batman’s clash
with his dome-wearing arch-nemesis atop the burning chemical factory is potentially
one of the best-scripted struggles yet printed between the two popular antagonists.
Dishearteningly the quality of Greg Capullo’s artwork
follows in a similar vein to that of the American author’s writing, in that for
the first third of the magazine, the Schenectady-born penciller’s drawings,
whilst more than competent, lack any sense of dynamism or life. Once Bruce dons
his famous costume and tackles the Red Hood Gang however, then the self-taught
illustrator’s panels almost leap off of the page with exhilarating vivacity. Sadly
the same cannot be said for the dire (back) pages outlined by Rafael
Albuquerque. The Brazilian comic book creator’s sketchy style horribly jars with the far more precise, animated pictures of Capullo, and as a result look
all the more stiff and unappealing with his cardboard Bruce Wayne, occasionally
portly-looking Pennyworth and abominable Riddler.
The variant cover art of "BATMAN" No. 24 by Guillem March |
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