DETECTIVE COMICS #873
Review by: Desaad
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Art and cover by JOCK
Size: 32 pages
Price: 2.99
This review contains spoilers, click here to read
Man, this issue was really something wasn't it?
Snyder has been getting better and better with every subsequent issue of his run. His first was good. His second was great. But this? This was spectacular.
There was a lot to like, a lot to LOVE about this issue, but something that struck me hard was just how similar Snyder and Morrison's work on Batman is. It seems counter intuitive, I know, but hear me out.
The strongest thing about Morrison's writing is the way he externalizes internal tension. In the first arc, Dick is worried about losing himself to the Batman cowl, and he fights a villain (Pyg) who uses masks to steal people's identities and make of them mindless slaves. In the second arc, as he struggles for his own identity, he faces a villain who EATS faces, and an ex-Robin whose face and features have quite literally been changed by the masks he wears (red hair to black, face gets all pimply). etc.
But here, as Dick struggles with his role as Batman, with putting down roots and becoming a permanent fixture of Gotham, he's confronted by a malevolence that has been rooted in Gotham for decades. And as he worries that Gotham might be changing him, or worse - that he might be changing Gotham - he sees the rich and wealthy of Gotham - members of the same social status as he - and sees their worst, their most deplorable 'face'. Is Gotham corrupt? Did it destroy them, or did they destroy it? Last issue is all about that, the lives that have been ruined by Gotham, the way the mighty have been brought low (including buildings).
Here, Dick Grayson continues to struggle with that. And it works, because it's so pitch perfect FOR Dick Grayson. What Snyder is doing here ONLY works for that character. Not for Batman, not for Tim, not for Jason, not for anyone else. He's done this incredible job of going back and reaching deep for who Dick Grayson IS, whittling down to his core without bringing any of the cliches or outright continuity baggage from previous runs of his title. He's the optimist, the idealist, the futurist, the aerialist, the vigilante...ist. It's all on display, ever aspect of who Grayson is.
And there are so many great themes and subtexts being played with here. I've already mentioned the way Grayson is strugglig - really badly struggling - with trying to stay positive in the face of the blackened Elite of Gotham. "I have to stay above them all. I can't fall..." and "I have to stay above them...go HIGHER...but the feeling is like slipping, like your hands sliding out of the hands holding you"...they're so brilliant because they work on so many levels.
And then there is the villain himself, Guiborg. And he represents, almost, the antithesis of who and what Dick Grayson is, or at least Snyder's Dick Grayson. But he also represents the FEARS that Dick Grayson has about Gotham, about his place in it, about it's almost supernatural ability to build monsters in the darkness. He's OLD Gotham, an example of what Gotham has ALWAYS been, maybe what it will always be. And maybe, Grayson is already a part of it. That's what Grayson fears, at least. But on a more fundamental level, he's an old, frail man, so obsessed with collecting the depredations of the past, a literal worshiper of the worst in people. A perfect counter for the ultimate optimist, a youthful Batman who embraces the future (via technology) and who exults in the pure pleasure of movement.
But what's interesting here is that a lot of Guiborg's statements are almost irrelevant, lose some part of their power or truth because he's addressing Dick Grayson rather than Bruce Wayne. "You and I, we ARE gotham. We feed on the same flesh, the same blood..." and "I love what you give to Gotham, the magnificent infection...I eat your milk, I am the child at your nipple....".
Now Batman's faced this idea before, ad nauseum. Hell, Batman Begins even touched on it with the whole 'escalation' bit. But what makes it so special here, what makes it so different, is that Dick can actually come to the conclusion that Bruce-as-Batman DID cause a lot of the problems that Gotham has had, that many of these psychos WERE his fault...and instead of wallowing in that, it can be an optimistic realization, ending with Dick saying to himself "That's the way BRUCE did it, and maybe it was wrong, maybe there is something to that. But that doesn't have to be the way I do it. I can be better. I can be stronger."
The whole idea of Dick Grayson as Batman is one that has some amazing potential, but it's not always realized. Snyder is utilizing this vibrant new status quo in gorgeously complex - emotionally and thematically - ways.
I've said it before; I'm not a Batman fan. Not a fan of the Batman universe. It's only when creators come on and do mind blowing work that I take notice. Frank Miller on his seminal works (including DKSA, which is amazing). Paul Pope on Batman Year 100. Grant Morrison on...well, everything he's done thus far. A few Neil Gaiman stories, a few Alan Moore stories, a Darwyn Cooke story or two.
And now, Scott Snyder on Detective Comics. Because this is flatly unbelievable.
Kudos, sir. And kudos to Jock and Baron, who make your words come alive, and whose evocative work would convey your tone without a single line of text or dialog.
Snyder has been getting better and better with every subsequent issue of his run. His first was good. His second was great. But this? This was spectacular.
There was a lot to like, a lot to LOVE about this issue, but something that struck me hard was just how similar Snyder and Morrison's work on Batman is. It seems counter intuitive, I know, but hear me out.
The strongest thing about Morrison's writing is the way he externalizes internal tension. In the first arc, Dick is worried about losing himself to the Batman cowl, and he fights a villain (Pyg) who uses masks to steal people's identities and make of them mindless slaves. In the second arc, as he struggles for his own identity, he faces a villain who EATS faces, and an ex-Robin whose face and features have quite literally been changed by the masks he wears (red hair to black, face gets all pimply). etc.
But here, as Dick struggles with his role as Batman, with putting down roots and becoming a permanent fixture of Gotham, he's confronted by a malevolence that has been rooted in Gotham for decades. And as he worries that Gotham might be changing him, or worse - that he might be changing Gotham - he sees the rich and wealthy of Gotham - members of the same social status as he - and sees their worst, their most deplorable 'face'. Is Gotham corrupt? Did it destroy them, or did they destroy it? Last issue is all about that, the lives that have been ruined by Gotham, the way the mighty have been brought low (including buildings).
Here, Dick Grayson continues to struggle with that. And it works, because it's so pitch perfect FOR Dick Grayson. What Snyder is doing here ONLY works for that character. Not for Batman, not for Tim, not for Jason, not for anyone else. He's done this incredible job of going back and reaching deep for who Dick Grayson IS, whittling down to his core without bringing any of the cliches or outright continuity baggage from previous runs of his title. He's the optimist, the idealist, the futurist, the aerialist, the vigilante...ist. It's all on display, ever aspect of who Grayson is.
And there are so many great themes and subtexts being played with here. I've already mentioned the way Grayson is strugglig - really badly struggling - with trying to stay positive in the face of the blackened Elite of Gotham. "I have to stay above them all. I can't fall..." and "I have to stay above them...go HIGHER...but the feeling is like slipping, like your hands sliding out of the hands holding you"...they're so brilliant because they work on so many levels.
And then there is the villain himself, Guiborg. And he represents, almost, the antithesis of who and what Dick Grayson is, or at least Snyder's Dick Grayson. But he also represents the FEARS that Dick Grayson has about Gotham, about his place in it, about it's almost supernatural ability to build monsters in the darkness. He's OLD Gotham, an example of what Gotham has ALWAYS been, maybe what it will always be. And maybe, Grayson is already a part of it. That's what Grayson fears, at least. But on a more fundamental level, he's an old, frail man, so obsessed with collecting the depredations of the past, a literal worshiper of the worst in people. A perfect counter for the ultimate optimist, a youthful Batman who embraces the future (via technology) and who exults in the pure pleasure of movement.
But what's interesting here is that a lot of Guiborg's statements are almost irrelevant, lose some part of their power or truth because he's addressing Dick Grayson rather than Bruce Wayne. "You and I, we ARE gotham. We feed on the same flesh, the same blood..." and "I love what you give to Gotham, the magnificent infection...I eat your milk, I am the child at your nipple....".
Now Batman's faced this idea before, ad nauseum. Hell, Batman Begins even touched on it with the whole 'escalation' bit. But what makes it so special here, what makes it so different, is that Dick can actually come to the conclusion that Bruce-as-Batman DID cause a lot of the problems that Gotham has had, that many of these psychos WERE his fault...and instead of wallowing in that, it can be an optimistic realization, ending with Dick saying to himself "That's the way BRUCE did it, and maybe it was wrong, maybe there is something to that. But that doesn't have to be the way I do it. I can be better. I can be stronger."
The whole idea of Dick Grayson as Batman is one that has some amazing potential, but it's not always realized. Snyder is utilizing this vibrant new status quo in gorgeously complex - emotionally and thematically - ways.
I've said it before; I'm not a Batman fan. Not a fan of the Batman universe. It's only when creators come on and do mind blowing work that I take notice. Frank Miller on his seminal works (including DKSA, which is amazing). Paul Pope on Batman Year 100. Grant Morrison on...well, everything he's done thus far. A few Neil Gaiman stories, a few Alan Moore stories, a Darwyn Cooke story or two.
And now, Scott Snyder on Detective Comics. Because this is flatly unbelievable.
Kudos, sir. And kudos to Jock and Baron, who make your words come alive, and whose evocative work would convey your tone without a single line of text or dialog.
Story: 5 - Excellent
Art: 4 - Very Good
Art: 4 - Very Good
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