Comic Review -- Batman #9: Night of the Owls / Scott Snyder, Greg Capullo, Jonathan Glapion, and Rafael Albuquerque

This would be a slightly confusing cover if you haven't read this series up to now, with the Cylon-Batsuit staring out at you over what I assume is Wayne Manor.  It's exceptionally bad-ass if you know what's going on though, and the Talons caught in the reflections of the mask's visor actually look daunted.  This is why you do not mess with Batman, ever.  He prepares for everything!

Batman has picked up where he left off in the last issue, coming out of the Batcave's armory in a tank of a Batsuit designed to withstand environmental extremes.  He throws down on the group of Talons, taking a large number of them out before they overwhelm him... and then get trampled by Batman's dinosaur statue.  Batman heads out into Gotham, makes his way to Arkham Asylum (covered in Detective Comics #9), and heads to Lincoln March, who dies just after handing Batman a piece of paper.  Reading it, Batman tells Alfred he knows where the Court is... and that he's going to burn their house to the ground.

In a follow-up story, Alfred's father, Jarvis Pennyworth, recounts the story of his association with the Wayne family, and how he blames himself for the Wayne family becoming enemies of the Court of Owls.  He implies that, if Alfred has indeed read the letter, whatever Jarvis has done, Alfred likely knows what the cause is.

I've made no secret of how much I'm enjoying the Night of the Owls crossover going on amongst the Batman family of titles.  The last issue of Batman sent a shiver through me when I finally put it down, and the follow-up in Batman #9 continues to lay down the sense of epic, creeping dread that has been so expertly delivered in this series and the tie-ins to this story.  Now Batman has decided to actively push back, and as all Bat-fans know, things are about to get seriously ugly... for the Court of Owls.

One thing that is spot-on and which never falters is Batman's sense of confidence.  Whether it's commenting that he can simply play harder as he lays into the Talons or coolly knocking the last one out with the Batmobile as the Talon tries to escape, it never fails to impress me.  This is a guy who has looked into the abyss many times, and always makes whoever's on the other end blink first.

I was saddened by Lincoln March's death, but I'm also a little suspicious of it.  He hung in just long enough to gasp a message for Bruce Wayne to Batman.  I don't know if he's just a figure intended as a springboard of sorts for Bruce, or if he's faking his death and is somehow aligned with the Court, but I can't claim either would really surprise me at this point.  I really would have liked for March to have been an actual, live, genuine BFF for Bruce Wayne.  If anyone needs a civilian bromance, I'd say it's him.

The Jarvis Pennyworth storyline kicks off an interesting and potentially very vital look at the relationship between the Pennyworths and the Waynes, and seems to center on a secret they are keeping from the family they serve.  I'm eager to see what happens next, as the Pennyworths' influence over the Waynes, while subtle, must not be for nothing, and the sinister nature of whatever information they've concealed from them doubtless holds a vital link to the Court.  More, please!

I've said plenty about how much I love Capullo's artwork in this series, so I'll only say this time that he maintains his usual high standards very well.  I saw a lot of hate for Albuquerque's artwork in last issue's additional story, and am more than a little puzzled.  While I admit it's a different style than Capullo's, it's very beautiful and fitting to the tone of the stories.  I can't help feeling people are punishing the artwork simply for not being Capullo's, and I don't think that's right.  Albuquerque's artwork is sinister, evocative, and an excellent fit for the tone of the Night of the Owls storyline.  I for one hope to see more of it!

Overall, this is a strong continuation of this storyline.  I continue to bow to Scott Snyder's take on the Batman mythos, as well as the evocative and striking artworks provided by Capullo and Albuquerque.  If you haven't read Night of the Owls, do yourself a favor and start.  I think this will go down as one of the classic Bat stories.  Highly recommended.

Comic Review -- Batman #8: Attack on Wayne Manor; and, The Call / Scott Snyder, Greg Capullo, Jonathan Glapion

This series has done a tremendous job with its covers and this one is no exception.  Bruce, out of costume, alone, taking on a horde of the Court of Owls' Talons by himself.  It's pulse-pounding, terrifying, and makes you desperate to know what's going on.  Best of all: this scene is actually in the story!  Love it!

Bruce is back at home, contemplating how little he knows about Gotham, the city he's supposed to know better than anyone else.  While he and Alfred talk, a noise alerts Bruce that someone is trying to enter Wayne Manor.  He orders Alfred to get to the Batcave, and soon ends up in a confrontation with several Talons, who seem to have swarmed upon the Mansion.  Bruce fights them off long enough to get to Alfred in the cave, where they are faced with another swarm of Talons, all of whom taunt and threaten Bruce and Alfred.

Managing to secure themselves in the Batcave's armory, Bruce hands Alfred a chip from one of the Talons's gauntlet.  He then puts on a heavily armored Batsuit and marches out among the Talons, telling them to get the hell out of his house.  That's where the second story, "The Call," picks up.  As Bruce begins to face off with the Talons, Alfred discovers they're all moving on a long list of targets throughout Gotham, mostly high-ranking politicians in the city.  Many of them are being assassinated even as Bruce and Alfred confront theirs.  He then sends out a call to all allies of Batman that the assassins of the Court of Owls are moving against Gotham tonight.  The Talons continue to taunt Alfred as well, as he wonders how they can possibly survive this assault.

Oh.  My.  God.

I knew this issue was going to be big.  It can't be small when you've got an army of Talons jumping off into the city to due the Court's bidding at the end of the previous issue.  I've been impressed with Scott Snyder's writing throughout this run, and knew the last issue was the build-up to a big explosion of action in this issue.  And I was still unprepared for how gripping and awesome this issue was as the Talons descended upon Wayne Manor, intending to kill Bruce Wayne and anyone with him.

There are more than enough moments that just yank you forward through this issue.  Bruce jumping out onto the roof of the mansion to confront a small platoon of Talons.  Bruce losing communication with Alfred, who it turns out isn't as alone and safe in the Batcave as you might think.  And the Talons, finally realizing that Bruce Wayne is Batman, and taunting that they're going to kill him anyway as he and Alfred try to get their bearings while locked away in the armory.  It all makes for a multitude of reasons to zip through the issue, and for my part, I couldn't turn the pages fast enough.

And then, "The Call."  Once the scope of the Court's horrifying plan becomes plainly apparent--I can't claim I was too surprised by it--it's hard to keep your jaw from dropping, especially as  you see parts of it being carried out at that moment.  But even that moment is topped by a moment of pure awesome as Batman simply tells Alfred to "Put the call out to the Family.  Now."  We're then treated to Alfred sending a dispatch to all of Batman's nearby allies: Red Robin, Nightwing, Batgirl, Batwing, Robin, and several others.  When he uploads the list to all of them, telling them their help is needed in protecting Gotham from the Court's assault, you're plainly hit with the notion that this is how the Night of the Owls event is starting.  And to be honest, it's off to one hell of a start.

Fans: CHECK THAT LIST.  Some of the names on it are jaw-droppers themselves.

Desperation and awesome, masterfully conveyed.

Artistically, there's little for me to say about Capullo's pencils that I haven't already said.  He does an excellent job of building up a swarm of Talons for Bruce and Alfred to deal with, and effectively conveys the sense of scale that says they just won't stop coming--which of course, is expanded in "The Call."  The change-up in art style from Rafael Albuquerque in that story dovetails nicely with Capullo's still conveying a sense of urgency and dread with bolder, heavier line work and a more gritty look that underlies the idea that things are going to get real ugly, real soon.  Excellent work.

Overall, I can't say enough good things about this issue.  I was hooked from the get-go by the artwork, the action, and the sense of urgency that virtually jumps off the page at the reader.  If you're a Batman fan, you had better be reading this series.  Scott Snyder and company know what they're doing here.  By the time I put this issue down, I was seriously shivering with excitement.  Very highly recommended!

Comic Review -- Batman #7: The Talons Strike! / Scott Snyder, Greg Capullo, and Jonathan Glapion

Again, the stupid banner at the top.  Get rid of it, DC.  It's really unnecessary and insulting.  Save your ads for somewhere inside the comic, like a proper marketing monster, so we can either read or ignore them.  Stop blorting up the covers with non-comic related banners.

I do like the concept behind the cover design.  Deal with one Talon, and you've still got a legion more of them on the horizon, preparing to swoop down and finish what the first began.  It sets up a good foreboding tone for the story, and helps keep things tense.

Batman has escaped from the Court of Owls' underground labyrinth, though he is far from unscathed.  He's resurrected by the attentions of a girl named Harper Row, who he's apparently met before, and who he warns to leave him alone before storming off.  He's found by Alfred near one of the underground entrances to the Batcave, and waves off any medical care to go right into an autopsy of the Talon corpse Alfred found.  Meanwhile, the Court prepares what appears to be another Talon for a looming confrontation with Batman.

Nightwing shows up while Batman's examining the body, and gives him the basics about the Talon's abilities and how they work.  Bruce also reveals to Dick that the man on the exam station is his great grandfather, and that Dick was going to be chosen to be a Talon, had his parents not died and Bruce not taken him in.  He tells Dick that he now sees that Gotham is a stranger and an enemy, and Dick responds that neither Batman nor the Court is Gotham City.  Finally, we see the Court release a number of Talons at the same time.  Their goal: to retake Gotham City for them, and destroy Batman once and for all.

I'm continuing to enjoy the revelations Snyder brings forth in this story, first portraying the Court as this mysterious, ages-old thing, and then having them kidnap Batman and drive him to the brink of insanity, with Batman finally escaping and using his formidable mind to figure out the method behind their madness.  I'm not familiar with Harper, but her brief appearance raises enough questions that it's likely we'll see her later, hopefully in a more substantial capacity.  I'm definitely keen to see how Batman handles a squadron of Talons.  I have a feeling that he's suffered enough that some serious payback is in order.

I was a little miffed with one particular moment in the story.  Batman punching Nightwing.  From where I'm standing, it was at the very least, clumsily portrayed.  At worst, it was grossly out of character.  I can understand wanting to punch the little bastard in the mouth when he gets up on his high horse, but that doesn't mean you go ahead and do it, particularly when he's supposed to be one of your closest allies and adopted son.  Presumably, he did it to get the little owl deposit from his tooth--that is what happened, right?--but even that's not made explicit.  And really, was it necessary to hit Dick in order to get it?  I wasn't too thrilled with that scene, overall.

Artistically, I'm becoming a big fan of Greg Capullo's work.  The stark, gritty detail of his line work really helps the story pop, and really establishes the dark mood as well as the idea that the setting really is a dark entity all its own.  Again, the eyes he draws on his characters can really make an entire picture.  Keep the hits coming!

Overall, I'm very pleased with this storyline, and can't wait to see what's next.  I'm really hoping we get to see Batman make the Court pay for what they did to him, for coming to Gotham at all, and for just breathing the same air as him.  All that remains to be seen, but in the meantime, I'm pretty well sold on this storyline and eager to see where it goes.  Highly recommended.

Comic Review -- Batman #4-6 / Scott Snyder, Greg Capullo, & Jonathan Glapion

Batman #4: Face the Court
I like the cover for this issue.  Batman in the sights of the Talon, an outline of a Gotham Batman may not know as well as he thinks... it really sets the tone for this issue.  Playing up these elements also shows Batman's obsession with the Court of Owls as a hoax, as well as the Talon's current obsession with killing him.

Batman narrowly escapes the blast from the tripwire he caught at the end of last issue, and heads back to the Batcave, where Alfred attempts to slip him a sedative and get him to sleep.  Dick Grayson, visiting Bruce, finds him awake and continuing to obsess over the Court of Owls.  He explains to Dick about how he looked into it as a child, his curiosity and unwillingness to accept his parents' death as a random act nearly got him killed.  He then journeys into the sewers, where he is ambushed by the Talon, stripped of his utility belt, and dropped into a nightmarish underground maze, where the Court of Owls mockingly greet him.

I have to hand it to Scott Snyder--I'm really enjoying this story.  The subject matter, the way its plotted... it all makes sense, and is plausibly presented in a way that makes Bruce capable of missing the big picture without making him look like a complete moron.  The explanation of how he searched for the Court in the wake of his parents' murder--and how it nearly killed him--makes it clear that, despite his assertions to the contrary, Bruce very well could letting his emotions and past experiences cloud his judgment.  This is in some ways a reassuring reminder that he, like everyone around him, is human, and capable of the occasional mistake.  It just so happens that this mistake may have huge ramifications for his knowledge of Gotham City.

I also really enjoyed the Talon's brief appearance.  It's quick, violent, and brutally effective, as he lives up to his reputation as a tool for the Court.  After he dumps Batman into the labyrinth and leaves him there, you can't help but feel a shudder run through you as you see he's exactly where his enemies want him to be.

Greg Capullo's art continues to impress, though I'm starting to notice that the eyes on his characters look a little too big at times.  It's not a problem, really--the eyes are the most expressive part of the face, one could argue--but it is something I've started to take note of in this issue.  Time will tell whether it works for or against the overall look.  Overall though, everyone and everything looks great.

Overall, I'm hooked.  I've got to see where this ends up going, and what ultimately the Court of Owls is--real, or extremely clever hoax?  The answer will say a lot about not only Batman, but the Court itself.  Definitely a gripping and interesting story for this title.  Highly recommended.


Batman #5: Face the Court
Oh, wow.  Nice cover.  Batman, lying on the ground, covered in blood, trying to pull himself away as the Talon bears down on him, daggers drawn and dripping. The scene is only partially lit and suggests a partially enclosed area.  This looks deliciously grim!

Over a week has passed, with Batman stuck in the Court of Owls' underground labyrinth.  He's delusional, dehydrated, and keeping to the shadows, where he believes it's safe and they won't find him.  Vacillating between fear and rage, illusion and reality, he sees picture galleries of their victims, as well as cameras set up for himself.  Finally, seeing a picture of himself as the latest victim, he is stabbed viciously from behind by the Talon.  The Bat-signal is defaced, prompting Robin to both demand and plead that it be replaced quickly.

The fact that Batman has been trapped for longer than a week by the Court, with no trace, is a pretty big deal.  That they've reduced him to hiding in the shadows, pushed to the edge of his faculties and seeing illusions shows that, whoever they are, they're no pushover group of adversaries.  Something big is going on here, and I'm both horrified and thrilled by it.

I did enjoy the forced perspective mechanism once Batman drinks the presumably drugged water in the labyrinth, where the reader has to turn the comic sideways, then upside down to continue the story.  It's a good mirror of Batman's twisting perceptions and reinforces the suggestion that no one--especially Batman--knows where this is going or how it will turn out.  Very nice and timely use of what could have been a very gimmicky and distracting trick.

Capullo's obsession with the eyes of his characters, which last review I mildly criticized, actually serves him very well here, where shadows and darkness mask all but the most extreme of emotions.  Seeing Bruce's eyes, or specifically, one eye under the torn cowl really drive home just how desperate the situation is, and really works in favor of the narrative.

Overall, this is an eerie and pulse-pounding thrill ride, with an ending that makes you drop your jaw.  While I'm sure he won't die--he never does--I can't wait to see what kind of trouble Batman has to deal with in the next installment.  A wonderfully surreal and nerve-wracking read.  Highly recommended.


Batman #6: Beneath the Glass
Another horrifically good cover here!  I have to give an eager thumbs-up to Greg Capullo for his cover work on this series.  The image of Batman metamorphosing into a man-sized owl is both vivid and grotesque, and probably not far from what Batman is feeling by this point in the story.  I love it.

In an apparent endgame to Batman's time in the labyrinth, the Court of Owls reveals itself to him as the Talon moves in to finish him off for good.  Still plagued by fear and hallucinogens, Batman nevertheless fights back, against the Talon and the Court, using his wits, resolve, and intelligence to engineer an escape from their deadly labyrinth.  With their Talon beaten and broken, the Court members decide to awaken an army of them, to use against the Dark Knight for good.

This was an interesting segment of the story, that does ask the reader to suspend a little more disbelief than usual.  While I'm more than a little skeptical that even Batman can come back from such a thorough psychological and physical beating, I'm willing to chalk it up to that singular strength of will that makes him so special, even if it's just for the sake of narrative license.  What is a little more hard to swallow, in the context of this story, is the Talon's apparent uselessness to the Court after Batman turns the tables on him.  I'm supposed to believe a man who survived a several-hundred story fall like it was nothing, is too beaten and demoralized to come back from a beating from a man who's been starved, dehydrated, drugged, and bloodied for about a week?  I think that is asking a bit much.

It's interesting to note that the Court of Owls doesn't have an age limit, apparently--either that or it's disturbingly easy to qualify for membership when you're young.  This suggests to me that they're some kind of family, which of course begs the question of what Gotham family is rich, powerful, and connected enough to do all of this and keep off of Batman's radar.  If you think the list of possible candidates who could be Batman is short, the list of possible families that could be the Court has got to be even shorter.

Artistically, wow.  The artwork was creepy, nightmarish, and vivid, particularly the illusory sequences of Batman when he's mobbed by the Court.  Some images may even make you sick to your stomach, depending on how sensitive you are--the Owls clucking and possibly touching their tongues to Batman, at one point, are particularly disturbing, on at least a psychological level.  So far Capullo and Glapion have done a wonderful job at keeping this story visually dark, grotesque, and engaging in support of the narrative.

Overall, I'm eager for the next chapter.  More Talons?  A Court of Owls that's so blase about the fact that Batman just escaped them?  If they're only just getting warmed up, I can't wait to see what Batman has to put up with next.  Very highly recommended.

Comic Review: Batman #1-3 / Scott Snyder, Greg Capullo, & Jonathan Glapion

Batman #1

Well, I can definitely get into the cover here.  It's dark, it's desperate... it's Batman facing off against a big crowd of his worst enemies.  Not a bad intro to the issue.

And, as it turns out, the cover isn't lying this time.

The story starts out in Arkham Asylum, with Batman surrounded by a big crowd of his worst enemies, which of course is almost never boring to watch.  His team-up with Dick Grayson's "Joker" is of course just another way to show off Batman's hi-tech toys, which are of course impressive.  It of course makes you wonder just what other gadgets and technological tools Batman has hidden in his narrative arsenal as we kick off this story.

The introduction to the Court of Owls here is handled decently, with a grisly murder pulling Batman away from a party and his unwillingness to even acknowledge the Court even as Harvey Bullock starts to bring them up.  It provides at least a plausible reason for why it's never been brought up before, even if it unavoidably leads to the, "Oh no, not that again!" syndrome that sometimes plagues stories that bring in a new element without ever having acknowledged it in the past.  The ending, though, implying that Dick is the murderer and connected to Bruce Wayne's impending assassination attempt, is a little ridiculous.  Given his publication history, no veteran of these books is ever going to believe that Dick could possibly want Bruce dead.

Art-wise, I enjoy Capullo's designs and pencil work.  He handles Batman and his family and rogues gallery with equal aplomb all around.  Arkham and its denizens look freakish and dirty, while the Bruce Wayne gala and its attendants all look convincingly smooth, polished, and well-to-do.  I think his pencils and Glapion's inks do an excellent job of supporting the narrative and conveying its mood.  Kudos.

Overall, not a bad beginning, though not perfect either.  I'll be eager to see the Court of Owls and how they influence Gotham and pit themselves against Batman.  It makes for a promising initial story arc to the reboot for Batman.  Now we'll just have to see where it goes.  Recommended.

Batman #2

Another cover that actually gives you an idea of some of what's going on in the cover.  The action here is exhilarating, and for good reason.  Batman is playing chicken on a train track with a helicopter.  I am amused.

We get a very in-depth look at Bruce Wayne's relationship to Gotham from his viewpoint, and his many reasons for seeing the city as his.  From his family's building of the city and Old Wayne Tower in the past, to his constant vigilance in protecting the city as Batman in the present day, there's apparently plenty of reason for him to be confident that he knows this city better than anyone else.  The idea of the Court of Owls's existence is anathema to him, as he's the city's best son and its best student.  Nothing happens in his city without his knowledge.

Of course, continued investigation of the murder victim's body suggests they do exist, as does the sudden appearance of an owl-clad assassin to kill Bruce Wayne at the appointed time.  It takes every trick he has to stay alive and evade the killer's wrath, but even then he refuses to believe that the Court exists as anything more than an urban legend.  The assassin awakens from his apparent death while in the ambulance, kills the driver and EMT, and takes off to freedom in the ambulance, leaving a chill as we realize Bruce seems to be very wrong.

I'm also interested to know more about Lincoln March, given his apparent similarities to Bruce Wayne.  I'm hoping he ends up being more or less what he advertises, as opposed to another Tommy Elliot.  He seems like he might know about the Court of Owls, and I'm hoping that, if he becomes an ally, that he's an ally in the form of a regular guy (albeit with connections and money) who really just wants to help protect the city that helped him when he was young.  I think we could use seeing someone like that in this comic.

Old Wayne Tower, the motorcycle-helicopter joust, and the ambulance sequence all look great here.  Capullo can clearly handle action scenes as well as the quieter, more introspective ones where Batman is conducting his investigations.  The assassin, the Talon, is also pretty impressive: fierce, and vicious without even really evincing any expression.  And he just keeps coming, like a Borg or the Terminator.  I like the look of him.

Overall, things keep getting better as the story progresses--this seems to be the norm for the New 52 so far.  As the mystery here deepens, I find myself wanting to know more about the Court of Owls, as well as why Batman knows nothing about them.  The storytelling is tighter than in the last issue, and the illustrations are involving as ever.  Highly recommended.

Batman #3
I'm not too impressed by the blank white background of this cover, but the blacks and reds lend an appropriately stark sense of urgency to Batman's bloody struggle with the Talon in this illustration.  If only there'd been more to the background...


The hunt for the Court of Owls is on in this issue, as we see Batman interrogating the local gangs for information about the Talon, talking to Alfred about his great-grandfather Alan Wayne's senility and to Lincoln March about the Court itself, and finally investigating the possibility of "nests" where the Court has made its bases of operations over time.  Things are kept appropriately chilling and foreboding as we discover that the Court does indeed exist, and has for centuries.  The lead-off bit about Alan Wayne's delirious state shortly before he died was effective in maintaining the mood from the end of the last issue.

The explanations about owls, as they emerge from various sources, also keep things just on the edge of creepy: they're natural predators of bats, they make their nests from the remains of other nests.  Even Lincoln March's warning to Bruce about being so focused on the smaller, more immediate dangers that you can't see the bigger ones that have been close by forever makes my blood chill a little.  When Batman then discovers the various hideouts the Court of Owls has been using over time, it just drives everything home, and we realize he doesn't know Gotham as well as he once believed.

I really enjoyed the various looks of the Court's hideouts over time, established with varying levels of decor and technology to reflect the decade or era in which each was appropriated.  The dark colors in all scenes but the Gotham General Hospital were also impressively suited to the narrative tone in this issue.  We don't see the Talon in this issue until the final panels, but his armor suits over time and his eventual appearance look appropriately awesome and sinister.

Overall, I'm really liking the narrative now.  I'm eager to see how Batman handles the existence of the Court now that he knows it's not just a legend, as well as a rematch between him and the Talon.  Hopefully it'll happen in the next issue.  Looking forward to reading more!  Highly recommended.