The Man Who Laughs

In my next reading of a Batman comic, I inadvertently selected one that is a direct sequel to Batman: Year One. In The Man Who Laughs, we see Batman encounter the Joker for the very first time, and we see how their endless rivalry came into being.

The Emissary of Chaos

As most know these days after the release of The Dark Knight, the Joker serves as Batman's arch-enemy. Unlike most of those he fights, the Joker is one who is completely and irreperably insane. He also can be incredibly destructive and murderous, and this tends to raise interesting questions as Batman imprisons him again and again. Is it moral to capture such a dangerous individual over and over when all he does is escape to kill again? Is it justified to kill him if he is such a danger to society? The Joker's endless killing antics also raise questions regarding Batman himself. Whenever the Joker shows up, Batman is always hard pressed to stop him, and the effort to think like the Joker in order to do so has intense ramifications for Batman himself. Is it psychologically damaging to force one's self to think from the perspective of serial killers all the time? Is Batman himself sane? Many Batman comics raise these questions as we see that Batman could potentially have been the Joker. After all, Bruce Wayne is not a mentally stable person to begin with. He could just as easily have snapped against society as a whole instead of focusing directly on the criminal element.

The Man Who Laughs raises a lot of these questions, a noble effort that is only appropriate for the "first meeting" between Batman and the Joker. In actuality, this is technically not the first time. Instead it is a retelling of sorts, much like Batman: Year One is not actually the first Batman comic. Regardless, in The Man Who Laughs, we see the Joker "for the first time" and start to respect how chaotic and dangerous he can be. We see how, despite his madness, he is clever enough to cause chaos throughout the city, tainting Gotham with his own insane proclivities. And we see the disturbing effect of the Joker's laughing gas "for the first time". Needless to say, this comic has some gruesome images and, if you want to read it, you should be forewarned.

The Man Who Shrugs

However, despite the questions the comic raised, I found myself unexcited by the story. The Joker makes yet another attempt to ruin Gotham, but does so in a way that seems too broad and seems to go by too fast. In short, the comic tries to do too much and suffers for it. At one point, the Joker lets the inmates of Arkham Asylum out into the streets of Gotham (exactly like in the movie Batman Begins), but the crisis is resolved the instant Batman shows up. In a mere two pages, Batman beats the crap out of a couple inmates then declares the emergency over. Similarly, a failed hostage situation is encompassed within three pages. Instead of picking up the pace, I felt that this jumping through events caused the story to suffer. Each of the problems the Joker creates are addressed very quickly and then moved past. This made it feel that the Joker wasn't that much of a threat and also that the authors were unwilling to go into detail on any level.

This is evidenced by the questions the story raises. It makes one wonder if Batman is a stable individual. It makes one wonder if the Joker serves almost like an elemental force of chaos instead of as a troubled person. But then these questions are ignored in favor of a speedy turn of events and the inevitable end of Joker's plans. An intriguing look at the answers to these questions is not to be had. Basically, this comic felt too much like the stereotype of a comic; it involved punching and heroics but ultimately failed to make me think about motivations or become involved with the characters. The story was scattered and weak, and only once or twice did it make me actually fear what the Joker was capable of. But only for moments. Sadly, the Joker's crappy and cheesy dialogue only contributed to the neutering of his character.

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Conclusion

As one can tell, I wasn't terribly impressed by The Man Who Laughs. I know there are better Joker and Batman stories out there, I just wanted to try this one because I had heard good things and because I had not read it before. Basically, if you are interested in the Joker, there are much better places to look. For a mildly entertaining romp through Gotham, this satisfies the urge. But beyond that, this comic fails to impress.

5/10

Trick 'r Treat

Written by Joe the Revelator

Trick 'r Treat

Lately I’ve been disappointed by horror movies. We’ve had a long stream of big budget remakes, re-chewed like so much Hollywood cud, and fed back to us still bearing the original titles; Nightmare on Elm Street, Friday the 13^th, Halloween, My Bloody Valentine. Were these plots so original, so exquisitely crafted that no modern storyteller could hope to rival them? How about the subsequent sequels (12 for Friday, 9 for Nightmare, 10 for Halloween) that dribbled out years after their release?

On the other side of the franchise tugboats are the more formulaic chase-and-chop thrillers, most of which are shoveled out as ‘strait to dvd’ rental exclusives, aimed toward the casual couch-bound horror fan who doesn’t mind feeding the B-Movie machine. There’s also an increasing popularity in torture porn, like Hostel and Saw, which feature gory what-if situations that could have sprung from the minds of demented construction workers. And if you like watching exorcisms, there’s a whole slew of newer, less edgy retreads of the original Exorcist, guaranteed to horrify preteen girls and devout Catholics.

Horror movies; the reason we can’t have nice things?

I submit that it is not the genre that is in deficit, but the writing. Old and new, there are some great thriller flicks waiting to be found; just not the ones that features a screamy pair of breasts that limp weakly away from the champion-power-walker murderers.

Trick 'r Treat follows the rarer path of campfire storytelling in which several horror pulps are mashed together into a scary movie, one that blessedly doesn’t take itself too seriously. The theme of the movie and the drive of its cast is the strict adherence to old Halloween rules, which we’ve gradually forgotten over the years. Keep jack-o-lanterns lit. Offer treats to appease the ghouls. Respect the dead. And always inspect your candy.

Not since Tales from the Hood has there been a more shameless slaughter of the unwary, told on a case-by-case basis. The elementary school principal is killing his students and stalking the youth of the town, who in turn suffers a run-in with adolescent werewolves. The trick or treaters’ are playing deadly pranks on each other, the curmudgeonly neighbor really is a crazy old creep with a terrible secret, the candy is poisoned, and the goblins are running amuck.

Trick 'r Treat doesn’t so much rely on heart-stopping thrill moments where the score cues you up for a scare. It’s more about nostalgia, bringing you back to small town comfort zones, and slowly twisting those comforts back around on you. This is one of those rare movies that can drag you back to your childhood when everything was still spooky at night, when your fresh mind could actually imagine a witch living in the abandoned house across the street.

And the credits roll...

Rent Trick 'r Treat, because it might be the first or last time you won’t be lying to your date when you say “It’s really not too scary,” or “the storytelling’s actually good.”

Since I dropped so many horrors, here are a few others I recommend:

High Tension, The Descent, Pandorum, Dawn of the Dead (remake), Shawn of the Dead (comedy), Silent Hill, 30 Days of Night, House on Haunted Hill (remake), 13 Ghosts (remake), Wrong Turn, Cabin Fever, 28 Days Later, Event Horizon

Phoenix: Endsong

Phoenix: Endsong is one of those stories that resonates with a sort of melancholy echoing of the nostalgic past. Basically, this story is intended as the final farewell for the Jean Grey/Phoenix character of the X-Men universe. It is a heartfelt story that brings on this overwhelming and bittersweet sense of closure; it is one that somehow makes one recall one's own past, and perhaps those people who got left behind as you went on in life. It makes you wonder what could have happened if things had gone differently while simultaneously helping you realize that the past must be faced and accepted before going on into the future.

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The Phoenix's Rebirth

For those not in the know, I'm going to give a brief explanation of what the Phoenix is. Of the members of the X-Men, among them is the gentle figure of Jean Grey. Her powers are psychic and telekinetic in nature, and at one point, years ago, a storyline was created where she was possessed by an immensely powerful force. This is called the Phoenix Force.

But this is not a friendly entity that possesses her. Part of what makes the Phoenix storyline so tragic is that Jean is fighting it from within, but she is doomed to failure. And, given the Phoenix Force's incredible power (at one point, it has Jean Grey decimate an entire planet), the other X-Men have no choice but to try and kill her. Imagine if your girlfriend/boyfriend/wife/husband was possessed by an impersonal force that made him/her shoot nuclear blasts at people. You would have to try and stop him/her, but from time to time, s/he would break through the possession and call out desperately for help. What do you do? How do you reconcile putting him/her down? This is the dilemma that faces the X-Men when they have to confront the Phoenix. They can't imprison her; the Phoenix Force is far too powerful to be contained. They have to kill her, yet they can't help but pull their punches, knowing that their friend is conscious within. It makes for a story that is both intense and heartbreaking to watch. What if you had to kill your lover? That would be the hardest thing to do in the world.

In Phoenix: Endsong, the purpose of the story is for this to be Phoenix/Jean Grey's last appearance. As a result, the story is tinged with nostalgia and a sense of melancholy. It seems like the X-Men themselves realize this as well and, as a consequence, this is one of the more emotional comic books I've read. Thus do each of the X-Men have to fight her and, at the same time, wrestle with the memories of Jean along with the need to finish her off, once and for all.

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The Bittersweet Past

As I outlined before, this story is one that is rife with emotions. It will drive you alongside the story, and somehow remind you of your own memories, of times where you yourself had to move on in life, and of times where you lost friends that you wish you did not have to. It brings up painful memories, yet ones that are warm and good as well. It is hard to pin down how Phoenix: Endsong accomplishes this feat, but I will try to explain.

After the Phoenix's appearance, much of the story is driven by the thoughts of the characters as they are forced to confront the idea of killing Jean Grey, their old friend, once again. These bring up memories of a time where Jean Grey was herself, a gentle soul who had an uncanny knack of befriending and cheering those around her. Part of what makes it resonate is the fact that, for much of X-Men's history, Jean Grey serves as the heart of the team, guiding them along the right paths every step of the way.

The thoughts and actions of Cyclops and Wolverine make the story particularly saddening. For those not in the know, Cyclops marries Jean Grey before she becomes the Phoenix. Theirs was an emotional rollercoaster of a marriage, not without strife, but also not without times of great happiness and love. Thus, being confronted with the task of killing his own wife, Cyclops is understandably stricken. He is the leader of the X-Men, so his task is to remain in control of himself and the rest of the team. But, somehow, you can tell that, inside, the task tears him apart. Wolverine, on the other hand, is a troubled soul who found a sort of solace in his relationship with Jean. It was a relationship that ended up blossoming into a star-crossed love. Wolverine loves Jean with all his heart, but it was a love that was almost entirely unrequited. And, because this is Wolverine we are talking about, he is the one who finds it easiest to do what is necessary in order to stop the Phoenix. But, to do so, he must turn off his emotions; something near impossible to do. Thus one of the most heartrending scenes is where Wolverine confronts Phoenix alone in the icy mountains of the north. But I won't give anymore details than that.

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Conclusion

Phoenix: Endsong was not perfect. If you stood back from the onslaught of emotions and memories, it is easy to see that the details of the story are flawed and sometimes lack rationality. But I found myself not caring. What was important here was the characters and how they approached this impossibly heartbreaking scenario of having to kill their friend. I was also sad to see how short this story was. It only took maybe a half hour to read the entire thing. Every moment was good, but I found myself wishing it had not ended.

Finally, Phoenix: Endsong is a story about closure. We see the final farewell of these characters and Jean Grey; we see the boundless love that they all share. It is a story that is deeply personal. The artwork is beautiful and captures these events perfectly. I only wish it wasn't so damn short.

9/10

Sicko

I must admit that I did not want to see this documentary. I've never been terribly impressed by Michael Moore. The problem is that he seems like just another biased documentarist or talk-show host. Most of that impression I derived from seeing an earlier documentary of his, Fahrenheit 9/11. In that documentary, Moore seeks to persuade the viewer that Bush was indirectly responsible for the attacks in a way that was neither convincing or very factual. Consequently, I came out of that particular film sympathizing more with Bush than I had before, which is surely not what Moore intended.

However, with Sicko, it is clear that Michael Moore has grown and matured as a documentarist (is that even a word?). The subject matter with Sicko is that of the United States healthcare system, highlighting its flaws, and its capacity to ruin people with insane costs and profit-oriented insurance companies. Michael Moore approaches the subject with an open mind along with tongue-in-cheek humor which makes the documentary both entertaining and informative. There is still a clear bias, but it is one that largely seems supported by facts and rationally thought out conclusions, which is perfect for a documentary seeking to make a point. Essentially split into two parts, I am going to address each major segment/idea of the film to explain the point Moore tries to make along with whether the point was clearly made or not.

Insurance Companies and Profiteering

The first major point Michael Moore seeks to make is to explain how the for-profit focus of insurance companies creates a corrupt system where the companies seek to make a killing and simultaneously avoid paying for people who really need attention based on flimsy excuses. He does this by showing the viewer cases of people who have been screwed over by the system along with interviews with medical personnel.

This was a very persuasive section of the documentary, and one that I already knew of as being a major problem with American healthcare. In fact, most people know that the insane costs of healthcare in America are a key problem with it; fixing relatively small injuries can cost tens of thousands of dollars and addressing life-threatening ones can go even higher. This quickly creates a scenario where, when anyone needs medical help, they are up to their eyes in debt within no time flat. This problem is only exacerbated by the tendency for insurance companies to do their best to create reasons not to pay for the service they are specifically being paid to provide. In short, insurance companies try to make up stuff so that they don't actually have to do what they are supposed to do, and thus saving themselve from having to pay for surgeries, medicines, and such. Bringing up pre-existing conditions is a prominent one, and also creates situations where people with pre-existing conditions are turned away because the insurance company only wants people who they won't have to pay for.

The insurance company part of this documentary is out of date though. If I'm not mistaken (and I will look into this to make sure), Obama's Healthcare Bill now makes it illegal for insurance companies to turn away people based on pre-existing conditions, which helps immensely (Sicko was produced in 2007). However, the prohibitive costs of healthcare in general remain astronomically high and, irritatingly, has been going even higher with the passing of the bill. And insurance companies have still been doing their best to avoid spending money helping people. Needless to say, this is an area that definitely needs attention, regulation, and the passing of some laws in order to be made equitable and fair. The costs of healthcare service in the United States tends to bankrupt anyone who is not upper class, and this is clearly a problem.

Universal Healthcare

The more divisive issue that Michael Moore tries to persuade the viewer of is that of making healthcare universal in the United States in a way that is government supported and provided. To make this point, Moore builds on his earlier argument and points out many more cases exist of people who simply can't get healthcare, casuing many unnecessary deaths and untold amounts of emotional and physical pain for people throughout the country. In what is perhaps even more persuasive, although not without holes, is Moore's travel to a number of countries with universal healthcare that do the job without nearly as much fuss, cost, or difficulties. These countries include Canada, Great Britain, France, and Cuba.

The problem with Moore's argument here is that he doesn't seem to go far enough. He holds forth these countries as having far better healthcare than that of America, but does so in a way that causes skepticism. The healthcare systems of these countries seem almost utopic in nature, without any faults or abuse anywhere. Even Cuba's system appears within this documentary to be so much easier, cheaper, and more effective than our own. This is not to diss on Cuba, but Moore fails to look into anything but the good sides of these working universal healthcare systems. People shown in the documentary apparently only have to wait thirty minutes to an hour for instant, gratifying, and free healthcare, and that does not fit with what I've learned elsewhere. I find it hard to believe that these systems are so perfect, and I will be doing some research when I get time on this. I simply don't believe that these comparisons are fair or fully explained. At no time does he mention a huge problem facing the prospect of universal healthcare in the United States; the United States is much bigger than any of those countries, so what might be good for them and their small populations would be much harder to implement in a country as big as the USA.

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Conclusion

Overall, Sicko was a bit of an eye-opener for me. I already knew the details of most of what he talked about but, for some reason, the way the documentary was presented made me far more aware of the problems of the healthcare system. I am fully convinced that insurance companies and the system itself make for something far more costly than it should be. But I'm not so swayed on the idea of universal healthcare. Certainly, it would be nice, but implementing a universal healthcare system across a territory as large as ours is a monumental and probably expensive-as-hell undertaking. Not to mention that it may not be constitutional and cases would inevitably be raised over states' rights. The federal government would need to impose this hypothetical system on all the states, and this could, in effect, create a constitutional crisis. We are already seeing this with the implementation of Obama's healthcare plan, which is not nearly as far-reaching. Some states have refused to put it into effect.

But this documentary has prompted me to research to verify if all of what Michael Moore said is true. If so, then I will have to say that I'm all for universal healthcare. In this documentary, it sounds like the most wonderful thing in the world. But I have my doubts, so we'll see.

To anyone who doesn't know much about the United States and its healthcare system, this is an excellent documentary to learn from. It also assesses the chronological changes made to the system in the past forty-something years, and thus is a superb briefer on the dilemmas and controversies surrounding the system. If you already know a lot about the healthcare system, this is still worth a watch. Michael Moore's position is persuasive and, while I'm skeptical of some of it, overall it is a fair position to take built on a number of facts and rational conclusions.

The Dark Knight Returns

You wake up. The night is dark. A soft pitter-patter of rain cascades down your window. You wipe away the grime of sleep and sit up on your dingy bed. You look out the window and sigh to yourself. Another night in Gotham city. The rain starts to fade away, rivulets running ever thinner down the glass. Perhaps it would be nice to stretch the legs; go for a walk.

As you trudge through the dirty and muddy street, you begin to question your own wisdom. Why did I go on a walk with all this filth everywhere? You pass by an alley and you see skin-headed men gaze back, sharpening and idly playing with switchblades as they watch. Without even thinking about it, your pace begins to quicken. As you stride you think of your family, your daughter, your lover. And you can't help but sob quietly as you hear catcalls and yells behind you. They are coming and, almost unnoticed, the rain starts up again. A coarse and strong hand grasps your shoulder roughly, forcing you to your knees, to the wet grime of the pavement beneath you. You turn, to try to make a final plea for mercy. And then you see it.

A shape detaches itself from the skies. Its glide is ancient and graceful. Black crescents of steel flash forth as if to herald the arrival of Gotham's guardian. Most of your assailants fall to the ground, writhing and screaming. It lands before you and them, growling as if a monster possessed. A peal of thunder strikes in the sky, and a flash of light reveals features, if only for an instant. It is horned and black, a cape wreathed around it like an armor of smoke. What happens next is almost too fast to tell. Within moments, the rest are down and a powerful gauntleted arm is pulling you to your feet. You babble thanks, but in seconds the being is gone. You look up into the clouds, their tears falling upon your cheeks. Was that the Batman? Has he returned at last?

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A Dark World

The Dark Knight Returns is a What if scenario: what if Batman retired? In the comic, this is explained by one of his old friends talking him out of it. But its effects are numerous and, generally, awful. In a Gotham without Batman, the city has slowly degenerated into a grimy criminal nest. Assaults, murders, and thefts are rampant. Most people have lost hope in making a difference; despair is everywhere. At the time of the comic, Batman has been retired for about twenty years. Bruce Wayne is an old man, his own spirit close to broken. He is happy that he has held true to his vows to remain retired, but he sees the death and criminality around him and questions whether it was worth it. He doubts himself, and is incredibly conflicted. One parts of him wants the quiet life. But the other part gnaws and chews at him relentlessly. It challenges to come forth as Batman yet again. It gives his every movement as Bruce Wayne an undercurrent of futility and despair. The choice lies before him. Does he return as Batman, despite his advanced age (about sixty)? Does he put on the cowl one last time to rescue Gotham from itself?

The title of the comic gives away the answer to that question, and it is an answer that is glorious. Much like the scene that I described at the beginning of this post, to the average man or woman, Batman is a legend given form. To most people before Batman's return, his very existence seems a myth; a story told to kids much like that of Robin Hood or Zorro. When he finally does come forth once again, it is with such timing and valor that you can't help but cheer him on. He is alternately the embodiment of the people's will to resist, the symbol of justice in a land without hope, and a man out for obsessive vengeance against the very idea of crime. More than any other Batman comic I've encountered, The Dark Knight Returns captures the essence of what makes Batman so awesome and inspiring.

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The Moral Fog

Not one to shy from divisive issues, The Dark Knight Returns brings forth just about every question or controversy that one can think of with regard to Batman and how he works. A prominent one among them is Batman's sanity. To take on a such an immense persona at sixty years old... it is clear that Bruce Wayne's desire to embrace the cowl once more is one that is, perhaps, based on the desire to make one final difference before the end, to pour himself endlessly and obsessively into fixing the unfixable; the soul of an entire city. In his every action it makes one wonder. Are we witnessing the biggest mid-life crisis ever seen? Are we seeing Batman's last stand; are we seeing one last flare of energy before he is snuffed out by the impossibility of his goals? Another question raised and dwelled upon in length throughout the comic is whether Batman's actions are right. For someone dedicated to good, Batman certainly has an odd way of working toward it. He actively works around the law and his only moral principle is to not kill those he fights. Brutal injuries? No problem. Questions like these are a significant part of what makes The Dark Knight Returns memorable and timeless.

We see these questions featured through one of the more interesting storytelling methods I've ever seen. Throughout the comic, the flow of the story transitions effortlessly between dozens of different points of view. We see the thoughts and actions of Commissioner Gordon. We see Alfred, the Joker, Robin, Superman, and many more. Perhaps most interesting of them all is the many segueways into the broadcasts of a news studio; we see reporters comment and debate over Batman's actions, victories and extremes. Through this we hear, to a certain extent, the voice of the people of the story with regard to Batman. We witness arguments over the morality of Batman's ways, his sanity, and whether the means of Batman are worth the ends. It helps add to the immensity of the comic book's world. The multiple facets and viewpoints help make Batman's victories and defeats all the more compelling, whether you agree with the methods or no.

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Conclusion

This is easily the best Batman comic I've ever read, and just as easily one of the best comics I've ever read. Seeing a sixty-year old Batman fight valiantly against crime and the law that wans to rein in his vigilante ways is breathtaking. A big contributor is the intensity of his cause; he is a man who has snapped and then reconstructed himself in the only way he knows how, and it is both reassuring and disturbing to watch. The present tense of his wording is another huge influence on how the story flows. In the end, the writing, events, and art all combine to make the most engrossing Batman depiction ever created. It is very easy to fall into the story and follow Batman's ups and downs every step of the way.

This is Batman at his most brilliant, and worthy of high recommendations. My only cautionary comment would be to note that this comic does not shy from very mature material and concepts. Batman is not a nice person, and his enemies are even worse. This comic looks at the dark side of the human spirit and, though in the end it comes out triumphant, the process is very dark and makes for an incredibly intense story. So long as you are okay with that, you will see one of the most enthralling and intellectually stimulating comics ever created.

9.5/10

Batman: Year One

Continuing with the trend of reinterest in comics, I've decided to transition from Superman stories to those of Batman, possibly the most popular comic book hero out there. He is almost the complete opposite of Superman. Where Superman comics tend to be idealistic, epic, and heroic, Batman comics tend to be dark, gritty, and ambiguous. So this will be an interesting change right after the optimistic story of All-Star Superman.

I decided to start my Batman comics with one of the early ones in Batman's chronology, Batman: Year One. This story by Frank Miller is about how Bruce Wayne came to be Batman. It is a story that should have a dark, emotional punch. For Batman is not a happy camper. His parents are killed before his eyes when he is a child, and this act pushes him over the edge, pursuing a life of stopping crime instead of growing up like a normal kid.

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The City of Corruption

Gotham is where the story is set, like most all Batman stories. Frank Miller is a skilled writer, and he uses those skills to make the city of Gotham feel like its own being; it is an entity where darkness, corruption, and scandal are rampant; it is where the very idea of fighting crime automatically seems like a lost cause. In short, it is the ideal grounds for a caped vigilante taking the law into his own hands. The police are corrupt, the governmental bureaucracy a slick road for those willing to sell their morals, and ordinary people are victimized and unable to resist Gotham's taint in any meaningful way.

It is here where Bruce Wayne decides to make his stand, with a hatred and thirst for vengeance that has been carefully cultivated over years of growth. This took me a bit by surprise. Based on the premise, I had expected the Bruce Wayne of this story to be much younger; I expected a recounting of how his parents died and how he coped with that. Instead, we are launched straight into the story with Bruce Wayne returning to Gotham after over a decade's absence (presumably he was off somewhere training). He already has his martial skills acquired. His fortunes are intact and ready for use. He has already decided that he will fight crime, but that he will not kill. Basically, the story focuses on how Bruce Wayne makes the transition towards and the decision to be Batman. We see his initial failures to fight crime effectively, and we see the results of his planning as he learns from his mistakes to become the Batman we know and love today.

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The Last of the Good

Yet, surprisingly, Bruce Wayne doesn't seem like the hero of this story. It isn't for lack of trying, but more because he is upstaged by the trials and small victories of one Jim Gordon, the man who will eventually become Commissioner. Like Bruce Wayne, he enters into the story and into Gotham at the same time. He joins a police force corrupt beyond anything I've seen before, and he takes his pregnant wife to this city along with him. Year One switches between the viewpoints of these two men, and through this we see the differences and similarities between the two. It is a writing choice that is effective, but it also highlights that perhaps Jim Gordon is the true hero of this story.

For unlike Bruce Wayne, the man inherited to wealth who uses that to oppose immorality in the form of a scary bat, Jim Gordon is more like one of us. He has to balance his decisions based on the presence of his family in Gotham, he has to save money accordingly for the birth of his child, and the fact that he has to take them into consideration makes his good decisions all the more meaningful. Gordon swiftly makes enemies among those who are corrupt in the police force, and they do not hesitate to threaten his family in an effort to get rid of him. His efforts to do the right thing despite the fact that it would be so easy to let things slide makes him admirable, and it demonstrates that what Gordon does on a day-to-day basis is perhaps even more courageous than what Batman does. Gordon is also a man vulnerable to the uncertainties of life, and he is not a moral puritan. He makes mistakes as well, and this makes it very easy to empathize with him and cheer him on.

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Conclusion

Perhaps the most interesting thing about this story isn't seeing Batman's rite of passage but how we get to see how Batman and Jim Gordon come to work together. Again, Gordon is the interesting one to watch here, as he struggles to reconcile his principles with the idea of working with a caped vigilante. Batman may mean well, but it is often understated that he is in fact breaking the law with every action he makes, and Gordon's moral wrestling with this is clearly evident and engrossing to watch. As we all know, in the end, he decides that working with Batman instead of against him is the best way to save the city from its criminal elements, but this is the first time I've seen the dilemma actually focused upon. It is definitely worth reading for this moral conflict alone.

Sadly, the Batman parts of the story, while awesome, seem like old news. This is not the comic's failing at all, but more because much of what Batman does in Year One was taken and applied directly within the film Batman Begins. Consequently, because I've seen that movie, Bruce Wayne's actions and the events surrounding his growth in becoming Batman are predictable. If you haven't seen the movie, then this comic will likely stand out as amazing. But, if you have, the Batman side of the story won't be anywhere near as enthralling as Jim Gordon's story. Other downsides include the inexplicable presence and depiction of Catwoman as a lesbian stripper and crazy cat lady. And I wish that the story had spent more time on what Batman was up to for that decade or two away from Gotham. Unfortunately, this was completely glossed over.

In the end, I recommend this comic book to those who love Batman. It was enjoyable, and there it was an interesting take on Batman alongside an excellent depiction and story of Gordon's. To those who aren't Batman enthusiasts, there are other stories out there that can better do him justice to your jaundiced eyes.

8/10

All-Star Superman

In my spontaneous interest in reading Superman comics, I have inadvertently saved the best for last. All-Star Superman... This is a true masterpiece, and comics like this make me remember why it is I got into comics in the first place, just two years ago. This is a story that is passionate and moving. It is the story of Superman's final days, and what he would do if he learned that he were doomed to die.

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The Meaning of Life

Unlike any comic, film, or tv show I've ever seen about the fictional character, this comic, above all, represents what makes Superman such an inspiring figure. Faced with death, he commits himself utterly to his stalwart belief; his is a dream that humanity can work together to do amazing, beautiful, and benevolent things. So he does his best to save the world and change it for the better, as much as he can before the end. It is a story that resonates with the heart at every stage, and tugs at your very soul.

At the beginning of the story, Superman is stricken with a disease that causes him to slowly fade away. This affliction inspires him to do what he could not do before, but I don't want to say much more than that. From reading this, you get an overwhelming sense of closure, and it is a good feeling. While Superman comics continue to be made and will likely be made far into the future, this feels like the distillation of all that makes him excellent, and it closes the threads of his life that have remained open since the beginning. His dual identity, his relationship with Lois Lane, his antagonism with Lex Luthor, his youth, his adulthood, his adopted parents, and his real ones; it is a story that touches on every level. And it does so in a way that is entirely approachable for one who hasn't read a Superman comic in their life. Sure it references events and supporting characters, but it does so in a way that instantly gives you a sense of what they are there for and what they mean to Superman.

A prominent figure that features in this story is that of Leo. Leo is an original character in All-Star Superman, quite possibly one of the only ones. I mention him because he is so peculiar; he essentially serves as a scientific Willy Wonka who helps Superman both try to fight off the affliction and helps Superman with other issues that he can't solve himself. But what was so odd about him was that, at times, it seemed almost as if he was a self-insert of the author. Leo does not fit in. His cordial relationship with Superman is taken for granted. He comments on Superman's mortality while simultaneously helping him address it. Most of the time, seeing this in fiction is a big no-no, but in All-Star Superman it felt right. Part of it has to do with the fact that Grant Morrison, the author, is one who (as far as I know) had not written a Superman story before. He is famous for other comic books, and seeing his quirky, scientific, and moral take on Superman is amazing. And having him seem to personally guide you through the story feels like the most natural thing in the world.

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Hope

Above all, what All-Star Superman gives the reader is a sense of hope. Although Superman is dying throughout the story, his every moment inspires a heartwarming optimism; these are moments made especially bittersweet by the knowledge of his impending death. As a consequence, this is a very emotional story. I did not mind this at all. To me, it seems to fit perfectly with who Superman is. After all, he is a symbol of what we, as humans aspire to. Superman embodies the best in all of us, and the emotional tinge to everything he does in this story seems perfectly apt. It is attaching a feeling to an impossible ideal, making a myth ever more legendary.

I would point out, though, that this comic has the same weirdness characteristic of all Grant Morrison stories. As Grant Morrison is one of my favorite comic book writers, I didn't mind at all, but it is a bit disconcerting to see Superman adopt a sun-eater, talk with future versions of himself, play catch with his superdog in space (and more!). And that hardly touches on the surface of what you see in All-Star Superman. However, all of these twists and turns are enthralling in their own way, and I merely bring this up so that, if you were to go and read it, you would be forewarned. Allow your suspension of disbelief to stretch, just a little more than it would normally, and you will behold possibly the greatest Superman story ever created.

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Conclusion

I seriously can't emphasise enough how amazing this comic book was. I mark this as one of my all-time favorites, a story that inspires and leaves you hanging on every word. Everything that happense seems totally appropriate and absolutely right. It truly is a testament to great comic book writing, and it is one that deserves to be regarded and spread to those who have not read it before. In it you see the trials, growth, and final days of a Superman. You read a tale all about death and life, and how we approach them both. And you watch as the world you know is brought into a greater and more optimistic light as life flourishes and fades in this fictional universe.

I figure I should stop here, both with the post and with the reading of further Superman comics, at least for a while. I can't imagine one being as good as this one; I am now officially spoiled on Superman. So my last comment is this: if you have ever been interested in Superman or the idea behind him, if you have ever mused on life and death or how people can do great and unexpected things, this comic book is for you.

And if you haven't read a comic book before and think they are for children, then grow up. Try new things. In fact, I challenge you to read All-Star Superman and be proven wrong. I don't think a story as heartfelt and multifaceted as this could be as powerful in film or novelized form. The art is beautiful, the dialogue follows every movement, and the entirety of it will resonate with you for days if not for the rest of your life.

9.5/10