Modern Age Batman Review: Batman #404

In 1985 DC Comics made the decision to reboot its complicated continuity, streamlining dozens of alternate universes and possible futures and multiple interpretations and retcons into one single, coherent timeline and story. In addition to this , the iconic characters of the DC Universe were all given modern make-overs and updated interpretations. After the massive universe-shattering cross-over series Crisis on Infinite Earths, John Byrne successfully reinvented Superman in his six-issue series The Man of Steel and George Perez recreated Wonder Woman in his landmark run on Wonder Woman (vol. 2). The task of redefining Batman fell to then white-hot writer Frank Miller, and rising star artist David Mazzuchelli. Miller and Mazzuchelli had both defined themselves with their work on Marvel Comics character Daredevil, and Miller had already established himself as a fan-favourite with his limited series about Batman's final days, The Dark Knight Returns. Having written Batman's omega, Miller seemed the prime choice to pen his alpha.
So began the seminal story arc "Batman: Year One", which ran for four issues in the monthly Batman comic series. The story has since been collected in multiple editions of a best-selling graphic novel, and began the (now somewhat tiresome trend) of subtitling any retelling of a character's origin - "Year One" (unrelated to the odious Jack Black/Michael Cera comedy).

"Batman: Year One, Chapter One:
"Who I Am and How I Came to Be"
Writer: Frank Miller
Artist: David Mazzuchelli
Colours: Richmond Lewis
Lettering: Todd Klein
Synopsis: On January 4th, police Lt. James Gordon and billionaire Bruce Wayne arrive in Gotham City at the same time. Miller immediately sets up a parallel narration from the two of them, instantly intertwining the two characters even though they never meet in the issue. Gordon arrives by train, cursing having to move to the city and bring his pregnant wife, Barbara. He's met by Detective Flass of the GCPD, who becomes his partner. Wayne arrives by plane, in a flood of publicity. He's been away from the city for twelve years, or since he was fourteen. Gordon meets Commissioner Loeb, who is under investigation by crusading Assistant District Attorney Harvey Dent, while Wayne arrives at his mansion and is greeted by his butler, Alfred. Gordon witnesses Flass beat up innocent kids while Wayne grieves at the twin graves of his parents. Gordon earns the wrath of the department for refusing to accept bribes and ratting out on crooked cops. Despite all his training, Wayne feels he isn't ready to begin his war on crime. March 4th. Wayne goes out on a recon trip to the seedy areas of Gotham, disguised as a homeless Vietnam vet. Gordon gets the shit kicked out of him by a gang of cops, including Flass. Wayne makes it to the East End, where he gets in a fight with a pimp and a dominatrix hooker named Selina that ends with him getting shot and dragged off by police. He escapes, however, and makes his way back to his Porsche. Gordon tracks his attackers to a late-night poker game and delivers a brutal beating to Flass, who now knows he can't attack Gordon directly. Bleeding heavily, Wayne collapses in his father's study, begging for a sign. He knows his first night out failed because he needs to strike fear into the hearts of the criminals. He flashes back to the night of his parent's murder, eighteen years ago. After seeing a re-release of The Mark of Zorro with Tyrone Power they are attacked by a random mugger in an alley way and both killed. Bruce is left alive. Bruce is snapped from his reverie as a bat crashes through the window and lands on a bust of his father. Bruce had been traumatized by bats as a child. Now he will adopt them as a symbol for his new identity. Never once in the issue do we see a cape or spandex.
My Thoughts: The first chapter of "Year One" is a dynamic story, told through emotion and passion. It is as integral to the rebirth of the Post-Crisis Batman as The Man of Steel was for Superman, and unlike that story it is still the touchstone for modern creators of Batman mythos. In a single issue Miller sets up elements that will run throughout both the four-issue arc and all the Modern Age stories -- the corruption of the GCPD, which establishes a need for Batman; The East End, Gotham's worst district and major setting for the later Catwoman monthly series; the characters of Commissioner Loeb and Detective Flass, recently adapted to the screen in Batman Begins. "Year One" is the all-time classic Batman story, and the initial issue must've certainly been an invigorating new beginning for Batman fans. However, unlike other re-inventors Byrne and Perez, Miller was never invited to continue Batman's adventures beyond the initial reboot arc. Instead, the regular Batman monthlies continued on the story of the present-day Dark Knight, while the monthly Legends of the Dark Knight told stories of Batman's early days by various creators. I wonder what a Miller-penned follow-up to "Year One" would've been like, and whether, in 1987, it would've resembled the unpleasant overkill of Miller's All-Star Batman & Robin. his recent out-of-continuity "Year Two" story.
The Art: David Mazzuchelli both pencils and inks his work here, and creates a world both modern and steeped in the film noir traditions of Batman's 1940s origins. Heavy black shadows and meticulous line-work create a world both in tune with comic book draftmanship, yet also realistic and natural without overcrowding. Mazzuchelli's work ranges from minimalist to intensely detailed, and clearly has several cinematic sources. Wayne resembles Gregory Peck and Harvey Dent looks like Alan Ladd. A panel of Gordon with broken glasses resembles imagery from Sam Peckinpah's Straw Dogs. The final scene in Wayne's study is a masterful mood piece that sucks us the into the world and mind of Batman. Not to go without mention is the beautiful colours of Richmond Lewis, which give Gotham City a mood and a gritty reality and wonderfully enhancing the emotional feelings of the work.
The Story: "Year One" is most probably the finest writing Frank Miller has ever done. While it never reaches the operatic heights of The Dark Knight Returns, it also avoids the unnecessary excess and unpleasantness of The Dark Knight Strikes Again, Sin City, or All-Star Batman & Robin. The writing is both engaging and economical. In a single issue we are introduced to the Post-Crisis versions of Jim Gordon, Bruce Wayne, Alfred Pennyworth, Gotham City, Harvey Dent, Selina Kyle, Joe Chill, and new concepts Arnold Flass, Gillian Loeb, the East End, Stan the Pimp, Holly Robinson, etc. Yet the writing never feels rushed and instead we are naturally pulled into the story-telling. Two methods Miller uses to achieve this are his dual narration between Gordon and Wayne, and the speeding through the calender from January to March in a single issue. "Year One" shows that Frank Miller truly understands the core nature of the character of Batman, and also demonstrates that sometimes having to operate within certain rules and parameters (in this case an in-continuity story told in the long-running monthly Batman comic series) can in fact create stronger writing than giving an author free reign.
Notes and Trivia: First Post-Crisis appearance of Harvey Dent, Selina Kyle, Thomas and Martha Wayne, Joe Chill. First appearance of Arnold Flass, Gillian Loeb, the East End, Holly Robinson, Stan the Pimp. James Gordon is no longer the commission of the GCPD, but just a lieutenant. He is only about ten years older than Bruce Wayne, rather than thirty or more. The GCPD are re-invented as being rife with corruption, and Selina Kyle is introduced as a dominatrix prositute rather than a jewel thief. Bruce attempts to fight crime before adopting his Batman persona and fails miserably.