Batman Begins – the Movie and Other Tales of the Dark Knight

By Scott Beatty, Denny O’Neil, Greg Rucka, Ed Brubaker, Bill Willingham, Kilian Plunkett, Dick Giordano, Rick Burchett, Scott McDaniel, Tom Fowler & various (DC Comics)
ISBN: 978-1-4012-0440-2 (TPB)

Win’s Christmas Gift Recommendation: Blockbuster Bat Fun… 8/10

It looks like I’m just destined to be wrong. Do you remember flared jeans, or even bell-bottoms? From which time? As the 1970s gasped to a close I said that we’d never see those again. Horribly, tragically, I was wrong.

I was seven when the Batman TV show first aired, and I loved it. By the time I was nine I had learned the word ‘travesty’ and loathed the show with a passion. When it was all over and the “Camp” fallout had faded from my beloved comics, giving way to the likes of Frank Robbins, Denny O’Neil and the iconoclastic Neal Adams, I was in seventh heaven and praised pantheons of deities that I should never see ‘Batmania’ again. I was, of course, doubly wrong.

The Caped Crusader reconquered the world in 1989 and only the increasing imbecility of its movie sequels stopped that particular multimedia juggernaut. Now there’s a been a whole new sequence of films (some not half-bad – though that’s beside the point) spin-offs and a new iteration beyond that beckons. Each of these cinematic milestones generated its own host of print (and latterly, digital) tie in Bat Products.

Originally released in 2005, this crafty marriage of an inevitable “Official Movie Adaptation” of Batman Begins with a well-considered selection of thematically similar stories is one of the best I can recall and a nice prospect if you’re looking for a great read or ideal gift option…

The lead feature – creditably handled by Scott Beatty on script with Kilian Plunkett & Serge LaPointe illustrating – is an intensely readable reworking of the myth, so much so that I was able, for once, to stifle the small, shrill and incessant comic-fan voice that always screams “why do they keep mucking about with this?”, and “why isn’t the comic version good enough for those movie morons?”

I do, however, still question the modern hang-up with having to start from origin stories at all. Was Star Wars: A New Hope a relative flop because we didn’t know how Darth Vader got Laryngitis? Which Bond movie tells us how he got to be so mean and sardonic? Why can’t film-makers assume that an audience can deduce motivation without a brand-spanking-new road-map every time? Although to be painfully honest, most modern comics seem to be afflicted with this bug too…

Could it be that it’s simply a cheap way of adding weight to the villain du jour, who can then become a Motivating Force in the Birth of the Hero? Said baddies this time out are the Scarecrow and Ra’s Al Ghul, but I’m not going to speak any more about the cinema or plot of a movie that’s already being superseded by this generation’s Gotham Guardian. Batman fans will have already passed judgement…

Accompanying the filmic iteration, and following a pin-up by Ruben Procopio, is ‘The Man Who Falls’ by the aforementioned O’Neil and veteran Bat-artist Dick Giordano and taken from Secret Origins of the World’s Greatest Heroes. This is a skilful, engaging comics retooling of the so-pliable natal legend, created to address the media mania around the 1989 movie.

Hard on its heels and prefaced by a pin-up courtesy of Bill Sienkiewicz comes one of the better stories of recent vintage. ‘Air Time’ is by Greg Rucka, Rick Burchett & Rodney Ramos from Detective Comics #757 in 2001. It’s a taut countdown thriller that in many ways presages the style adopted for the wonderful procedural series Gotham Central.

KReasons’ (Batman #604, 2002), by Ed Brubaker & Scott McDaniel, revisits Batman’s origins in a tale seeking to redefine his relationship to inimical amour Catwoman, before the volume concludes with the brilliant ’Urban Legend’ from Batman: Legends of the Dark Knight #168.

In a grim and unsettling tale of frailties, Tom Fowler illustrates a wickedly sharp Bill Willingham script stuffed with the dark humour and skewed sensibilities that made his Fables stories such a joy for grown-ups who love comics.

This is a smart package for any casual reader the films might send our way, with a strong thematic underpinning. In an era of streaming and ultra-rapid home release, I’m increasingly unsure of the merit of comic adaptations, but if you are into such things it’s probably best they’re done well, like here…
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