BOOK REVIEW: Batman: Arkham Asylum by Grant Morrison

Batman: Arkham Asylum - A Serious House on Serious EarthBatman: Arkham Asylum – A Serious House on Serious Earth by Grant Morrison

My rating: 4 of 5 stars

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This is the third, and probably last, installment in my “Happy 75th Anniversary, Batman” series of reviews. Batman: Arkham Asylum is an attempt to convey a nightmare on the page, and it succeeds both graphically and narratively. It’s quite different from other Batman comics in style and content. It takes the dark nature of the Dark Knight’s mythology to the extreme.

There are two story-lines woven together in Batman: Arkham Asylum. The main line involves Batman entering an Arkham Asylum being run by the inmates. There he finds himself pitted against his foes: the Joker, Two-Face, Scarecrow, and others. The other is the 19th century tale of Amadeus Arkham’s descent into madness.

As is common in the Batman mythology, psychiatrists are portrayed as walking the razor’s edge between sanity and insanity. For those who don’t read comic books, this is most readily exemplified by the character of Dr. Crane / Scarecrow in the first film of the Nolan trilogy, Batman Begins. I’m not sure whether the point is to create enemies that are so strong they can bend doctors to their will, or if there is a general disdain for psychiatrists—as one might see a dislike of lawyers in other stories.

Among the nightmarish elements of this work is the fact that Batman’s face is never seen clearly. The Dark Knight is always a vaguely and/or surrealistically silhouetted. There’s a mix of sharpness and haziness in the graphics. The Joker gets his own crazy scrawl font. The graphics are as creepy and strange as can be. On my low-end Kindle, the work was in black and white, which worked well. I did look at the sample pages, and the color version uses a lot of sepia and crimson.

Batman: Arkham Asylum asks us to consider whether Bruce Wayne / Batman is sane or just a lunatic with a moral code.

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BOOK REVIEW: Batman: Year One by Frank Miller, et. al.

Batman: Year OneBatman: Year One by Frank Miller

My rating: 3 of 5 stars

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Amazon recently had a sale on classic Batman collections in celebration of the Caped Crusader’s 75th anniversary. I bought a few titles, including this one.

Batman: Year One is Frank Miller’s vision of the hero’s first year of crime fighting. Unlike the first movie in the Nolan trilogy, Batman Begins, there’s no backstory about Bruce Wayne’s training. The comic begins with Bruce Wayne beginning to go on the equivalent of self-sanctioned “neighborhood watch” rounds in Gotham’s seedy underbelly. He’s in his planning and research phase, and only quasi-reluctantly gets into brawls with street thugs. His goal is, ostensibly, intelligence gathering.

Miller’s work isn’t aimed at a boyish market. From the intimation of underage prostitution to themes of marital infidelity to the unsubtle homage to Edward Hopper’s famous painting Nighthawks, this book is directed at a more mature reader. It’s grittier, but Batman hasn’t yet become so sophisticated as to abandon wearing his underwear outside his pants.

The four chapters that make up this graphic novel parallel and twist together the stories of Jim Gordon and Bruce Wayne as they each begin their Gotham crime fighting careers. In many versions of the Batman mythology, Gordon is a young cop who helps boyhood Bruce Wayne on the night his parents are killed. This is one of the ways in which the Miller version differs. In Batman: Year One Gordon is a detective who moves to Gotham from Chicago at about the same time Bruce Wayne is sticking his toe in the waters of Gotham crime. This comes in handy for Miller later in works like Batman: The Dark Knight Returns in which he is able to have a geriatric Bruce Wayne and Jim Gordon coexisting.

The interests of Gordon and Batman only align at the very end of the last chapter. Until then, Gordon is trying to find and apprehend Batman like all the other cops. In fact, Gordon is leading the crusade against the Dark Knight when his bosses still have little interest in it—until Batman crashes their ball.

There are no supervillains yet—only corrupt cops and organized crime. Bruce Wayne, who adopts the guise of Batman only after a bat flies through his window (never heard of that happening), gets off to a rough start. He isn’t yet the phantom nightmare that he will later become, and is still learning his lessons. In his early encounters with criminals, he prevails mostly by being able to take a punch.

Besides Bruce Wayne’s inner monologue being a bit ham-handed, I enjoyed this work. The ham-handed inner monologue is—no doubt–intended to convey that Wayne is a man of thought as well as a man of action, but it’s hard to believe that someone who could transform himself into the Batman would be that riddled with doubt. That said, the dialogue is better written than the typical comic. There’s not a lot of the “As-you-know-Bob” dialogue that often plagues this genre.

If you’re a fan of the Dark Knight, this is worth reading.

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