Spencer: We here at Retcon Punch haven’t been subtle about our love of Batman’s new Hellbat armor. The suit is awesome, and what’s better is that it isn’t just some gimmick meant to push toys; writer Peter Tomasi has created “realistic” (in comic book terms, at least) reasons for the Hellbat’s great power and for why Batman needs to use it in this particular situation. Still, he and penciller Patrick Gleason, inker Mick Gray, and colorist John Kalisz understand just how cool the Hellbat is, and much of Batman and Robin 35’s success comes from how the creative team chooses to portray the suit — which, in some cases, means not showing it at all. The issue is visually dazzling, and the artists know which types of imagery to use to best convey the stories both on Apokolips and on Earth. Continue reading
Patrick: Comic books aren’t exactly a safe space for women. Like any medium with a long enough memory, comics carry some pretty ugly baggage when it comes to the depiction and treatment of female characters. It seems things are even rougher for residents of Gotham City, arguably the quintessential “comic book city” — not only are the police corruption and organized crime families stuck in the 1930s, but an awful lot of those gender politics linger there too. You needn’t look any further than the most recent Catwoman series to know what I’m talking about. A lot of the same specifics that plagued that series are present in Batman Eternal 27 — themes of sexual slavery, Selina’s dangerous naivety, gratuitous ass shots, even a cameo from Mr. Bone — but the issue manages to present these problems as a contrast to the world Batman Eternal seems hellbent on cultivating. Is the BE team’s Gotham a better place for female characters? Continue reading
Suzanne: I fondly remember reading Batman: Hush for the first time over five years ago. There is so much to like about that book — Jeph Loeb’s long-form storytelling, Jim Lee’s pencils, and the Batman-Catwoman relationship to name a few. Loeb develops the friendship between Bruce Wayne and Tommy Elliot so convincingly that it adds creative tension to the final reveal. You almost want Hush to be someone else because of the depths of his betrayal to Bruce.
Batman Eternal introduces Hush to the New 52 as the Big Bad behind the crippling of Gotham City starting with the arrest of Jim Gordon. How does this series’ treatment of Hush add relevance to him as a character? After Loeb and Lee’s story arc, some readers felt that Hush was overused and his appearances were mediocre at best. Certain characters benefit from a dormant period and less can be more, such as The Joker. I’m hoping that three years of living in New 52 character purgatory makes this appearance all the more effective. Continue reading
Today, Patrick and (guest writer) Mark are discussing Batman and Robin 34, originally released August 20th, 2014.
Patrick: When The Death of the Family was heading into its final issue, Scott Snyder appeared in a ton of interviews claiming that this conclusion was going to have a lasting effect on Batman and the Batfamily. But after that story line wrapped up, Snyder took his own series into Batman’s past, conveniently avoiding working through much of this fallout. Similarly, Grant Morrison killed Damian in Batman Incorporated, but wrapped up his series only a few issues later. The emotional heavy lifting as fallen to Peter Tomasi and Patrick Gleason, who have dutifully presented the most erratic, emotional and frustrating Batman possible. Everything that Batman is — the selfless knight of justice, the patriarch of the Batfamily, the infallible detective — has been undermined in the wake of these twin tragedies. Understandably, that pushes Batman away from his readers, and his alienation from the world started to reflect the audiences’ alienation from the character. In issue 34, Tomasi and Gleason have Bruce offer a naked apology to his protégés, but they’re also inviting us to trust Batman again. Fuck yes: I’m ready to forgive. Continue reading
Today, Patrick leads a discussion on Batman Eternal 13, originally released July 2nd, 2014.
Patrick: One of the bigger driving forces within Batman Eternal is Carmine Falcone’s desire to rid Gotham of “freaks” like the Penguin and Professor Pyg. In effect, Falcone is trying to drive all the fantastical elements out of Gotham City — whether they’re heroes or villains doesn’t seem to matter much to him. He’s even gone so far as pit the police directly against the Bat Family, furthering the absoluteness of this idea of fantasy vs. reality. But there’s a point that Falcone is missing — or willfully ignoring: everyone engages in a little bit of fantasy to get what they want. What Jim Gordon experienced in the train station – was that fantasy or reality? Covering up a gang war: fantasy or reality? Issue 13 brings that dichotomy into stark relief, showing how embracing fantasy can be equal parts advantageous and horrifying. Continue reading
Spencer: Batman Eternal is a loaded title. In our world, Batman is already 75 years old, and it’s easy to see this character, with his endless reinterpretations, existing on in perpetuity. Yet, within the narrative, Batman is very much fallible, and has already died once, with Dick Grayson taking up the mantle in his absence. Bruce Wayne may not be eternal, but the legacy he leaves behind will be, be it the good he does for the city or the crimefighters he raises, trains, and/or inspires. Of course, Batman’s not the only one in this title with a legacy.
Today, Mikyzptlk and Drew are discussing Detective Comics 27, originally released January 8th, 2014.
Mikyzptlk: Detective Comics 27 is an anniversary issue not only because it’s the second “Detective Comics 27” in DC’s publishing history, but also because it’s Batman’s 75th anniversary (or close to it, anyway). With that, DC has brought on an impressive array of writers and artists (Brad Meltzer! Neal Adams!) in order to celebrate the Bat’s 75th birthday. The result is as intriguing as it is entertaining and heartwarming. Continue reading
Today, Drew and Patrick are discussing Batman Incorporated 13, originally released July 31st, 2013.
It never ends. It probably never will.
Drew: What does it mean to end a run writing Batman? How do you “end” a story featuring a character that has been published in perpetuity for over 70 years with no signs of slowing down? Sure, Grant Morrison “killed” Bruce Wayne, but that was back at the close of his epic’s second act. No, the ending here had to be something much grander, something much truer to the unrelenting nature of Batman. The sheer scope of Morrison’s epic is deserving of the same pomp and circumstance of “the definitive end” of Geoff Johns’ Green Lantern, but Morrison manages to approach that same grandiosity with modest deference, keeping in mind that, while the he may be done, Batman will keep on going. That simple nod turns his elaborate love letter to Batman’s past into an equally impassioned love letter to Batman’s future, and gracefully shifts Morrison from center stage to the audience. Continue reading
Today, Drew and Patrick are discussing Batman Incorporated 12, originally released July 3rd, 2013.
Drew: I don’t know when exactly I learned the phrase “grand finale,” but for much of my childhood, I only associated it with Fourth of July fireworks shows. I don’t know if it was just youthful impatience, or just excitement over getting to use those special words, but that was the only part of the show I ever cared about — who wants to see brilliant explosions paced out slowly when they can all go off in rapid succession? To some degree, I think there’s still an expectation for finales to be grand — remember everyone’s reaction to The Sopranos finale? — even if that ignores that narratives aren’t the same thing as fireworks shows. A satisfying conclusion to a narrative features consequents to the antecedents set up throughout the story, effectively closing all of the open parentheses. That job is already tough (think of how many otherwise decent stories have been totally ruined by a botched ending), but becomes exponentially tougher as the antecedents and open parens pile up over the years — especially when Grant Morrison is writing. His Batman Epic has been truly epic — it features both a global scope and a historical perspective, and has introduced countless characters, relationships, and histories — all of which require additional consideration as the story winds to its close. This entire final chapter of Batman Incorporated has been about starting that process, but issue 12 suggests that Morrison might actually intend to close ALL of his open parentheses AND give us the grand finale our inner child has been begging for for the past seven years. Continue reading
Today, Drew and Patrick are discussing Batman Incorporated 10, originally released April 25th, 2013.
Drew: One of the defining characteristics of Batman is his relative plausibility. Fictional technology aside, he’s basically an extremely wealthy, extremely determined individual — no alien DNA, no radioactive animal bites, no magic. Writers will vary in just how plausible they want their version of Batman to be, but most respect that believability as one of the character’s biggest draws. Every so often, writers will break that rule — Jason will be resurrected via magic, or Bruce might call in a favor from Superman — to show you just how big the stakes are. In this issue, the situation is so dire, Bruce turns to not one, but several such outlandish solutions, tapping into every corner of Batman-exess he can. Continue reading