****Warning: This edition will contain multiple spoilers for this story and other stories. *****
Ok. I’ve finally read Batman Vol.9: Bloom; the ending (ignoring epilogues and cash ins) of DC (the company)’s flagship Batman comic’s second volume. What do I mean by second volume? Well… In case you weren’t aware, Batman (the character) was first published in Detective Comics issue number 27, and then about a year later also in Batman (the comic book) issue 1. There have since been multiple one-off and ongoing Batman titles published on and off throughout the years, for example Gotham Knights, Legends Of The Dark Knight, Shadow Of The Bat and many, many others …but Batman and Detective Comics have been continuously published month after month for the last oh, I don’t know, say 75 years or so.
Well; I say continuously… except for the fact that in 2011 or so, DC restarted/rebooted/redesigned all of their company’s comic books, in a line-wide re-branding and relaunching exercise called The New 52 whereby all the stories started over, all the ongoing numbers of the titles were re-set, and all of the volumes began anew. For example, Batman issue 713 (yeah it had been going a long time) was followed by Batman Volume Two Issue 1. So instead of an issue 714 following on from 713, a whole new thing started. Kind of how the Batman movies by Christopher Nolan don’t follow on from the story in the Batman films of the 1990s. Got it? Ok. After DC’s company wide Flashpoint story, everything was an alternative reality or new universe or general fresh start on things.
[ Confusingly, unless you are a massive comics fan or a stickler for detail you’ll be confused because its just called Batman. So you go to a shop to buy Batman, you’ll find probably find a single monthly issue saying Batman issue 16 (or whatever) and no explanation of what the New 52 is or if this book is part of Volume 2 or 1 or whatever. Or the fact that its actually about issue 730ish. Or the fact that there’s about sixty different types of Batman book, so its like the millionth Batman story overall ]
So, Batman Volume 2, or The New 52 or Post-Flashpoint Batman or whatever you want to call it should in theory be a clean slate and fresh start on things. This is new territory and we can forget about anything old and there will be no confusion or revelations from the past and if anything contradicts anything from an older story it won’t annoy us because, hey, this is a new Batman here. Except yeah, the writers didn’t play ball, didn’t follow the company line or flat out didn’t think things through. Some writers were half-way through a story and didn’t want to just ignore it all so finished it in this new realty, some writers didn’t want to lose key moments in the previous Batman’s history so tried to keep them in the new volume, and some writers didn’t care if things made sense as long as their idea for the month got to get written.
[ If you are an old fan you feel lied-to and this isn’t all fresh new ground but if you are a new fan you don’t know what is going on because all this old stuff is invading, stopping things making total sense. ]
So. When DC started the reboot; writer Scott Snyder got paired with former Spawn artist Greg Capullo, on the Batman comic, and they started off their run with the Court Of Owls story, which is, for all intents and purposes, brilliant, and now viewed as a modern classic. It introduced a few new characters and villains into the Batman mythos that are still reused to this day (or at least throughout the time of Batman volume 2, until the even more recent reboot/redesign Batman volume 3 called ‘Rebirth’ that happened recently). More on that later…
While DC were publishing Batman, they also published a bunch of other titles such as Detective Comics, Batman & Robin, The Dark Knight and Batman Incorporated alongside Batman. After a while they also started another one called Batman Eternal and even more after that. All these stories were meant to be set in the same universe, timeline, reality etc and collectively they were supposed to tell the story of the same man’s actual life in a way where all the stories happened to the same guy and if you pieced them together it would match up and there would be no contradictions.
You see, previously, over the years, people have been rewriting and contradicting and making mistakes and doing alternative realities and ‘what-if’ stories involving Batman or creating sequels to popular stories but ignoring them later, or all other manner of other confusing, jumbled, convoluted ways of making actually reading Batman more like a memory test than a form of entertainment! ….Hey, when you need to make a couple of stories, every month, for 75 years, and your staff keep changing and don’t have time to read every single previous issue, or know what all their colleagues are also working on for their next story, hey, there’s bound to be a bit of confusion, right? And DC are a business trying to get people to buy more comics, not trying to produce the perfect story. We can’t expect someone in the 1950s to anticipate where the story will end up in the 1980s and we can’t expect someone in 2003 to remember every single detail from a story in 1992, especially when you remember the fact that they don’t just even make one Batman comic at a time but several and several one-off things a year on top of that as well, and several flashbacks and alternative-futures a year on top on that. Aaaand they publish several different types of comics for different audiences, some to be kid-friendly, some to be adult, some to tie into movies and videogames. Its a headache and a nightmare and trying to fully understand it all would make your head explode…. but then DC decided maybe making readers’ heads explode was off-putting and scaring away potential fans and maybe they should start the New 52 initiative.
The new 52 was supposed to wash that all head-exploding-complexity away, but then it sort of failed, and decided to ignore that it was a new reality, and then sort of not ignore it either, and change its mind, and get confused and hey, my head hurts. A company with too many creative-types must be murder to manage, am I right?
Anyway, if you look at Scott & Greg’s Batman run of about 50 issues, (and look into some of the other stuff Scott has had a hand in, or allowed to influence his work) you can kind of get the sense of a story of a year or two in this hypothetical perfect confusion-free new Batman’s life plus flashbacks, that at least sort of tries to feel full and complete and have recurring themes and a sort of message, and go on sort of a journey. It kind of works and when it does almost work it is really impressive and you start feeling impressed and satisfied but when it fails you start feeling a bit confused, cheated and irritated. Its a complex mix of emotions and thoughts getting through it all to be honest.
The run in question began with a 12 issue story arc called The Court Of Owls (published monthly in single issues and then reprinted for people like myself who like full stories in collections called Trades, in two separate books: Batman Vol.1 Court Of Owls and Batman Vol 2. City Of Owls… think of it as episodes of a TV show, collected later in a DVD boxset, only they split season 1 across two different releases. Father Ted season 2 for example is sold as two DVD boxests; Season 2 part 1 and Season 2 part 2.) That decision to name the trades Vol. 1 etc is confusing to new readers though, because its more like chapter 1 of volume 2. Don’t forget Batman Volume 1 is the first 713 issues of Batman and Batman Volume 2 is the subsequent issues up until issue 52 when they went ahead and did it again and started a third volume. Why name it that way guys? Head-explode again!
Court Of Owls starts with Bruce Wayne aka Batman discovering a secret society of owl-themed villains that are a cross between the Illuminati and a guild of assassins which all of the city’s population used to think were only an urban legend, but are actually real and are out to get him! Along the way they trick Batman, drive him to near the verge of madness, and at the end reveal that a member of theirs might be Bruce’s secret Brother who he never knew about, who up until this point had been a friendly support character but turns out to be a jetpack villain in a robot suit with major assassin skills and his name was a lie that was a clue to how he was secretly Bruce’s brother and yeah… all that sort of thing. There’s also a subplot where Dick Grayson, (formerly Robin The Boy Wonder, currently known as Nightwing now he’s grown up) is maybe supposed to be destined to become one of the owl’s assassins but Bruce messed that all up when he adopted him and turned him into Robin. The owls invade the Batcave and Batman fights them off inside a big robot suit. Long story short, Bruce saves the day and suppresses the owls but wonders if they’ll return.
That story had a lot of themes about how Gotham City is a character in its own right, about the Urban Legend version of Batman versus the Famous Superhero version of Batman, about the relationship between Bruce and Dick, about the relationship between Bruce and Gotham and about how Batman isn’t an all-knowing unstoppable god but rather a fallible flawed man who does his best and is awesome but not perfect. It was a big success and started the relaunch off successfully and because it was just one story you didn’t see the many gripes you find in later Snyder stories. Hey the pinch harmonics on the first Black Label Society album sure did feel special before the nine-millionth one on the new album came out. Similarly Snyder tells a big story where the stakes are very high, where major questions are asked, where the past comes back to haunt, where the city and its citizens are discussed at length and where there’s a robot.
After that there was a more brief story line called Death Of The Family, in which famed Batman villain The Joker returns, causes a lot of death and violence, recreates some of his old crimes but with surprise revisions, kidnaps everyone important to Bruce/Batman and almost makes them kill each other before Batman saves the day and Joker jumps off a cliff to his possible death because of convoluted reasons, and then rather than be grateful for being saved, all Batman’s friends are sulking because they were put in danger and lied to, because a long time ago a young and inexperienced Batman may or may not have let his secret identity known to the Joker who may or may not have infiltrated the Batcave and may or may not have figured out all his allies identities.
[Hey, the Batcave, Batman’s SECRET headquarters is inflitrated twice, two stories in a row! Sure, previously in Batman Volume 1, the secret Batcave only got inflitrated about four or five times in 70 years but twice in a row, why not?]
It was supposed to be a big status quo changing story where, hype told us, the fate of the Batfamily would never be the same. So; even though the New 52 was supposed to start Batman off from scratch again so it all made sense for new readers, Batman was surrounded by a gaggle of allies including: [***take a deep breath and re-read this next section several times if you only know Batman from the movies***]
– Robin (aka. Batman’s son Damian Wayne from Batman Volume 1 who they probably should have got rid of in the New 52 and introduced again later at a point in time where he fit more organically into the story but for some reason just couldn’t be patient enough to handle tastefully, much to the detrimint of logic and simplicity. The New 52 had already deleted a few of Batman’s allies from existence, such as Huntress, Spolier, Cassandra Cain and Azreal so that it could tastefully reintroudce them slowly one by one later if it felt right, but sadly Damian was not such an example).
– Red Hood (aka. Jason Todd, the second person to become Robin in Batman Volume l after Dick Grayson grew up and became Nightwing, and who died in the 1980s and stayed dead for years and years until the Under The Hood storyline saw him resurrected as an insane killer vigilante who’s murderous philosophy was really at-odds with Batman’s no-killing policy, and who now in Batman Volume 2 also stars in his own comic book series called Red Hood & The Outlaws where he has magic and sci-fi style adventures with some other support characthers from other Superhero books, but is now somehow redeemed and considered in Batman’s good graces despite y’know, being a killer and previously pretty insane. He’s been re-written as the badboy Robin of sorts.).
– Batgirl (aka. Barbara Gordon, who in Batman Volume 2 can walk and never became a permanently wheelchair-bound computer genius called Oracle like in her Batman Vol 1 history).
– Red Robin (aka. Tim Drake; who in Batman Volume 1 was the third boy to become Robin, and basically regarded as the best and most people’s favourite, who in that old continutiy later changed his name to Red Robin after many years when he grew up and at a time where Bruce was missing-presumed-dead. He was the only one of the Robins who Bruce legally adopted as his son. In Batman Volume 2 he’s just some third sidekick who was never offically even called Robin and was never Bruce’s legal son. He’s a new kind of sidekick called Red Robin, who is a bit smug and a computer genius)
– Nightwing (aka. Dick Grayson, who we’ve already discussed). And finally…
– Alfred The Butler who is a father-figure to Bruce, and who in this story we are told has been actually blinded by the joker and will never see again, but then it turns out to be a bluff that compromises all the potential impact and scope for new stories or character development. Oh well, who want’s new story options or character development anyway?
The Joker argues that this gaggle of allies, or Batfamily, are a distraction and are spoiling Batman and Joker’s special relationship in a way that is actually a metaphor for how some of Batman’s fans from the movies think Batman is a Dark Loner but actually when you think of it, more than 70 years of comics has shown he needs a family. Many previous comics such as Wargames and Murderer?/Fugitive have driven this point home… [Does Batman need a family? Yes!] But hey, Snyder has a new continuity to play with so it doesn’t matter if he retreads some old ground. In this new version of Batman it is open for him to reestablish that Batman needs allies. Its open for him to reestablish why Bruce doesn’t just kill the Joker. Its ok to steal fellow writter Grant Morrison’s secret-society-gunning-for-Batman idea that was used in The Black Glove already because hey… its all new again now. Well yeah, sort of. But still…
Anyway; Death Of The Family had all sorts of themes about the relationship between Bruce & The Joker and Good & Evil and Order & Chaos, and Love & Hate, and about the relationship between Batman & his allies, and about the consequence’s of his obsessions, about how some people think Bruce is a master-planner who is damn near flawless and damn near unstoppable but actually he is ultimately flawed and can still make mistakes and doesn’t always treat his allies with due respect. It also asks the reader questions about why Batman never kills the Joker and why the Joker is so obsessed with Batman and who the Joker really is because the previous 70 years of story never adequately explained who his civilian identity was in enough detail.
Well actually, there was a Joker origin story in a really old issue that stated he used to be a common criminal who dressed up in a red hood and got foiled by Batman but fell into a vat of chemicals and came out ‘Jokerized.’ That red hood theme is the basis for Batman’s ally Jason Todd’s Red Hood identity, after all, it was the Joker who murdered Jason Todd in the 80s. Speaking of the 1980s, at that time this red hood origin was rewritten and expanded by Alan Moore into the incredibly popular The Killing Joke which also had some flashbacks about Joker being a failed stand-up comedian who was driven to crime by bad men because he wanted to look after his pregnant wife but was too poor and unsuccessful to make enough money for that by legal means. It made Joker a tragic character. t also had a plot about Barbara Gordon being shot in the spine and disabled by The Joker (and possibly raped if you interpret some ambiguous panels that way) which from that point on stopped her ever being Batgirl again because… wheelchair… and it also focused a lot of exploration on the relationship between Bruce and The Joker and some psychological examination of both their motivations that a lot of writers have subsequently gotten very excited about and decided that psychological examinations are very hip. Even though the DC company decided that during The New 52 Barbara Gordon should be rebooted to become Batgirl and loose the whole wheelchair/Oracle history, this story is so beloved and popular the whole New 52 stuff couldn’t stop referencing it even though it should’ve been erased from history in the new volume.
Snyder definitely brings it up in his work. Even though its an old story from an old continuity and technically never existed in Batman Volume 2. You can see why this whole New 52 thing kind of failed now, can’t you?
After Death Of The Family was over, there was some filler issues because Damian Wayne got killed in the Batman Incorporated series that was also being published. Batman Incorporated was written by Grant Morrison who prior to the New 52 reboot had been writing lots of Batman stories in different comics that actually all tied into one gigantic artistic historical story and didn’t get to be finished due to the interruption of the whole New 52 Reboot thing. So Grant, not really playing ball with the whole new-story thing, just sort of finished his story anyway, even though it really really really didn’t fit and completely cocked things up for the new guys and got in the way drastically and was so based on things from Batman Volume 1 that it made absolutely zero sense as a new story and confused the hell out of people who only read the new stuff and also tried a little bit to fit in with the new stuff and what few compromises that it did bother to make in order to try and fit in actually made it a worse, less sensible story as a result. It was also, as it happens a fantastic story in its own right surrounded by shitty circumstances, and forever flawed by the fact that as a reader you have to edit the story in your own mind and try and match it to Batman Volume 1 and ignore many things about Batman Volume 2 to try and make it make proper sense and read it the way it was obviously intended as the conclusion to Volume 1 that just got published too late and in a Batman Volume 2 disguise.
Anyway, Grant invented Damina Wayne in his first Batman story arc, Batman & Son, then had him become Robin, had Bruce Wayne die/time travel, and let Dick Grayson become Batman, then had Bruce come back to life/travel back to the right time, and then had Batman start a programme of international Batmen and Robots called Batman Incorporated that would make Batman more of an idea for the world rather than just one man in one city and ergo make a bigger dent in the war on crime. His story ended with Damian dying. But it was annoyingly in this new Batman Volume 2’s universe technically so Batman had to mourn and there were some filler issues and a rethink on things and although the big status quo change Snyder planned where everyone should hate Bruce was planned, they all had to be nice to him now because his son just died. Woops. That’s what happens when multiple writers write the same story at the same time in seperate books.
Grant Morrison is sort of a flawed-genius and is (or at least pretends to be, and tries to bluff and trick people into thinking that he is) one of the most intellectual, creative, intelligent, provocative and unusual writers in the history of comic books and everything he writes is (or at least pretends to be, in order to look smart) some very deep and considered metaphor about story telling, humanity, the comic books industry, religion and goodness knows what else, and he takes influence from all sorts of diverse and various sources like old black and white films, art, history, ancient texts, jazz music, black magic and goodness knows what else. He then applies them to major commercial characters like Batman or Superman and tells bonkers stories that shift bizarrely in tone but may or may not be incredibly profound literature. He’s the kind of guy that thinks if he knows something obscure, it makes him better than other people and uses people’s insecurities about not knowing enough obscure stuff to emperor’s-new-clothes himself into the position of being considered a genius. That or he is a genius. I can’t tell. [And therin lies his skill!]
Scott Snyder seems to be a bit in love with Grant Morrison’s work but not entirely sure how it works. But more on that later…
Anyway the filler issues of Snyder’s Batman Volume 2 run were collected in the book Batman Vol. 6 Graveyard Shift alongside set-up issues for the stories Batman Eternal and Zero Year.
So, after Death Of The Family was over, then next big storyline in the main Batman comic book was Zero Year, which was a flashback origin story about how Bruce Wayne became Batman and his first adventure as Batman.
Concurrently with that, DC also published a new comic book series called Batman Eternal every week instead of every month that was the ‘now’ story happening after the Death Of The Family storyline concluded, since the actual story being published after it was a flashback, and hey, why wait?
Scott Snyder wrote Zero Year and basically also wrote Eternal as well, but due to it being published four times as fast as usual and in addition to Scott’s main job, also had help from other writers. I still consider it part of his run even though maybe some dialogue is written by other people. In a large way, it is sort of the best of both worlds of Snyder because you get his good ideas but less of his constant monolguing style of dialogue since he wrote the plot but other writers did some of the actual dialogue.
Zero Year shows a young angry undeveloped Bruce Wayne figting a gang of sophisticated urban terrorists called the Red Hood gang in an inversion of the classic Red Hood-is-the-Joker past, but then totally suggests that the leader of this gang is the man who will become Joker, but then tries to cop out and make it ambiguous but fails to do so. [Why do people think it makes you a better writer if you leave something open to interpretation? It can work sometimes, but not everyone has to do it. I swear, Alan Moore wrote a line in The Killing Joke that said ‘I prefer my past to be multiple choice’ and everyone blindly took that as gospel forever after. Its cool, but its not THAT cool guys…]
It also features the whole city being completely flooded, destroyed, covered in weeds, demolished by bulldozers, occupied by armed robots, held hostage by a very murderous Riddler and generally in a pretty bad state with some post apocalyptic imagery evocative of I Am Legend.
It has flashbacks to the past of Police Commissioner Jim Gordon (Barbara ‘Batgirl’ Gordon’s dad and the man who will become one of Batman’s best friends and closest allies in the future) and even boasts an egregiously pointless story of where he got his trademark coat. It introduced Bruce’s love interest Julie Madison and a young kid called Duke who helps Batman out.
It features themes about terrorism, about responsibility, about the relationship between Batman and his allies, about fatherhood, about what a sacrifice being Batman is for Bruce, about community and what being a Gotham citizen means, about how Batman is the heartbeat of the city and it keeps Bruce as a flawed grumpy character who is not a perfect infallible god. It also features an awful lot of obnoxious dialogue about the city and its citizens. On the plus side it has some scenes where Bruce is a jerk then grows up a bit and hey, there’s some character development. It also makes the bold decision to have Bruce re-evaluate why he’s becoming Batman and have his original intention be selfish, and make him have to learn to be a good person and care for other people, rather than have him start off as a gleaming and perfect defender of justice, but divorced from the old I’m-only-doing-it-for-my-parent’s-memory cliché. I’m getting quite sick of reading villain after villain call Bruce out for being a little boy wanting daddy’s approval and this was a nice way to establish that isn’t his real motivation anymore.
It also totally steals ideas from previous Batman stories, like the very famous No Man’s Land Story from Batman Volume 1 where an earthquake, a plague and a constant siege of villainy causes the city to be abandoned and ruined and y’know all getting a bit post-apocalyptic. It also takes scenes from arguably the most popular and hallowed and respected Batman story of all time, the Batman Volume 1 origin story Year One. Scenes that are so important to Batman fans they have to constantly be referenced by every writer all the time forever even though this is supposed to be a new fresh start. Scott literally takes scenes from that and applies a Sci-Fi hologram over the top, in a visual representation of his intention. There’s a famous scene in Year One where Bruce is sat in his chair, dejected after failing as an anonymous vigilante and on the verge of quitting (and possibly dying from injuries) when a bat suddenly crashes though the window, and he says the iconic line ‘Yes Father, I Shall Become A Bat’ (ie. Where he got the Bat-theme for his vigilantism). Snyder remakes that scene, but with a bit of futuristic cave mapping hologram technology that shows him the batcave while he has this epiphany. He started the story with a line in the preview story that was included in the Graveyard Shift book, where Red Hood is robbing a bank spitting out metatextual metaphors and including a line that states ‘what is old shall become new again’ which applies both to recreating scenes from Year One and with recreating the 70 year old Batman line as this New 52 version.
But that was a flashback story, what about the present? Eternal is a very long whodunnit that starts with Bruce defeated and about to be killed and then flashes back to an absolute all-out assault on the city and Batman and his allies on every conceivable level from unleashing villains to raising the dead and deamons to turning the public against batman and draining away all his resources and even… worst of all… messing with the city’s traffic lights!
Anyway, its a brilliant though flawed, very long examination of Batman and his allies and how after the Joker suggested he shouldn’t have any in Death Of The Family, it actually turns out he should have allies, and writers can tell good stories if he does. It lets us spend time with all his allies and have some fun interactions between them and try and build back a lot of the relationships that had been deleted by the reboot but which fans felt sad about loosing. Also, **spoiler**, the villain of it all then turns out, after a billion red herrings, to be that owl guy from Court Of Owls who is/isn’t Bruce’s brother. Nice. It all fits together.
It also does its best to bring in tonnes of references to all of Synder’s work including Court Of Owls, Death Of The Family and Zero Year as well as even some stories he wrote in Batman Volume 1 for an even more clever look at his entire body of work. It even has scenes that have Batman’s allies in a huff with him after the events of Death Of The Family like Snyder originally wanted to have, before Morrison’s timing screwed that all up. Hooray. It also references and brings in a load of Morrison’s work and inventions. Hmmm. It is really the lynchpin that ties together the whole New 52 movement and finally makes it all more or less work (sort of). There’s some more bloody robots, even a robot Bane at one point… and Snyder continuously bombards us with dialogue about the city and its citizens. But hey its Snyder. What did you expect?
That is then followed up in Batman by Endgame, a story where the Joker comes back angry and for revenge and sort of tries to right all the mistakes of Death Of The Family. [Oh yeah, and he survived falling from that cliff, obviously.] Whereas in DOTF he was trying to mess with Bruce and illogically make him a better Batman and show him that he cared and they belonged together with lots of romantic imagery and dancing imagery and themes about love, here he is just straight up out for violence and bloodshed and hatred… and instead of pretend-blinding Alfred and screwing up any lasting impact, he permanently chops his hand off. Chops his hand right off, yo! (an apology from Scott for half-assing it last time?).
Joker also Jokerizes the whole city and turns them all basically into a horde of crazed zombies causing death and destruction basically totally destroying the city again like in Zero Year and also totally stealing an idea about the whole city being Jokerized from Morrsion previously used in Batman Incorporated. Oh yeah and he Jokerizes Duke, that kid from Zero Year’s parents. And he rides though the streets in a parade of things from Batman’s cave like his decorative dinosaur statue.
And is ultimately defeated by teamwork from the Batfamily (take that, Joker’s Death Of The Family theory!) combined with a bullshit magical healing liquid called Dionysium that ties into Court Of Owls and a piece of cave mapping technology that ties into Zero Year. That and basically the roof of the cave collapses and kills both Bruce and The Joker duhn duhn duuuuuuuuuhn.
This story contains Batman in a Robot suit fighting the Justice League off because of course he could build a robot better than Superman, WonderWoman and The Flash even though he’s a flawed grumpy human. It features a lot of exploration on The relationship of Bruce and Alfred and of Bruce and The Joker. Oh, and wouldn’t you know it, it contains a heck of a lot of talk about the city and its citizens and then is a very big and bombastic story where like, the whole city is on the verge of total destruction.
Somewhere along the way, Scott Snyder felt or was told that Batman is Eternal and that Bruce Wayne is basically invincible and no, he’s not a flawed easily defeated and grumpy person, he’s an unstoppable winning machine who, with enough preparation and science can withstand any challenge. This is basically what happened slowly and organically over 70 years condensed into one man’s story. Thereafter there’s just plenty of lines and hints and allusions to the idea that Batman is Eternal.
Grant Morrison had a few time travel issues and ‘what-if’ futures about how there’ll always be a Batman and his Batman Incorporated idea was about how Batman was better as an inspiration than as an actual singular hero. Scott Snyder obviously agrees or was told to run with that. He also decided Batman is eternal and in the second half of his journey started mentioning it a lot and even did a special issue of Detective Comics Volume 2, Issue 27 (y’know commemorating the original introduction of Batman in the first place in the original Detective Comic’s 27th issue), wherin the story features many clones of Batman in a Sci-fi what-if story.
Then THAT is followed up by Superheavy and Bloom. The arc that I want to talk about next, but can’t without all that gigantic context out there first.
Here are some of the key points again though:
The new 52 thing is kind of a failure that was supposed to be a fresh start but was misuesd by writers.
– Scott Snyder has the city in peril too much. Every story he writes is too big and too many people die. He talks about the city and its citizens a lot. He talks about the Joker a lot. His dialogue has too many monologues.
– That special issue was about Batman as an idea being Eternal and how there’ll always be a Batman and Bruce has a machine to clone himself.
– Scott copies other people’s ideas a bit too much. Also he likes Robots.
[Stay tuned for the actual review of Bloom & Superheavy, in part 2]