Comics Review: ‘Batman: Damned’ Book One

DC launches its Black Label with a startling new take on the Batman…

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Darker than night: Brian Azzarello and Lee Bermejo reunite for ‘Batman: Damned’, from DC’s Black Label (image credit: DC, used for illsutrative purposes only).

Written by:  Brian Azzarello / art by:  Lee Bermejo

What’s it about?

Discovering that the Joker is dead, an amnesiac Batman recruits John Constantine as he searches for the truth…

In review

The first release from DC’s adult-orientated ‘Black Label’ imprint, Book One of Batman: Damned is the first instalment of a three book Prestige Format series (released on a bi-monthly schedule) that reunites the writer and artist team of Brian Azzarello and Lee Bermejo, who previously worked together on the fan favourite villain-focused stories Joker and Lex Luthor: Man of Steel, of which this title is said to be a ‘spiritual successor’.

A standalone story set outside regular DC Universe continuity, Damned is a bleak, stark and visceral tale that’s not for the timid.  Against the backdrop of the grimy, decaying streets of a hellish Gotham City, Azzarello and Bermejo present a Batman who is the darkest of Dark Knights, a vigilante persona driven by a man whose emotional scars cut deep.  Its narrative carried by the narration of John Constantine, Azzarello’s script has a poetic, literary quality to it that elevates Damned above the average superhero comic.  Not that there’s anything wrong with Tom King’s Batman, this is just a different kind of approach that fully earns its ‘mature readers’ label via it’s grittier than gritty tone and startling, stylish visuals.

Damned opens with an injured Batman, dazed and confused as he learns that the Joker is dead and is unable to recall the events that have lead him onto an ambulance stretcher.  Making a brutal escape from the clutches of medics and the police, the Dark Knight Detective flees like a wounded animal and ultimately crosses paths with John Constantine who may be the only one who can help him piece things together.

Damned paints a Gotham City that truly is a Gothic nightmare and gives readers a Bruce Wayne who’s trauma runs deeper and more hopelessly than in the regular iteration and flashbacks to Wayne’s less than perfect childhood adds texture to an established origin and Brian Azzarello’s writing really provides a tangible sense of his pain.  The inclusion of Constantine, together with fresh takes on Zatanna, Deadman and the Enchantress, thickens the black, wintry atmosphere of the story with a strong dose of the supernatural which only increases its appeal.

The true power of Damned though lies in the haunting art of Lee Bermejo, rich with detail and vast in its storytelling this is one visually incredible comic book (it somehow feels like disservice to even call this a comic book) and it’d be a fair argument to say that Bermejo’s talents exceed Azzarello’s here and could carry the story with a minimum of dialogue – as good as it can be, Constantine’s narration does become a little too heavy and overbearing by the end of this fifty page opening chapter.  But that’s one miniscule criticism and in the grand scheme of things, Batman: Damned looks set to be a special story in the Batman mythos.

The bottom line:  In its first book, Batman: Damned shows great promise with a visually arresting and narratively gripping story that offers an alternative take on an iconic character.

Batman: Damned Book One is published by DC Black Label and is available in print and digital formats now.

Comic Review: ‘The Dark Knight III: The Master Race” #1

In Darkest Knight…

Written by:  Frank Miller and Brian Azzarello / pencilled by:  Andy Kubert / inks by:  Klaus Janson

What’s it about?

The Dark Knight has returned once again and his mysterious and brutal attacks on the Gotham City Police set him on a collision course with Commissioner Yindel…

In review

The long awaited continuation of Frank Miller’s Dark Knight saga is finally here as The Master Race is unleashed upon the DC Comics readership who have anticipated this title with both excitement and trepidation.  The sequel to Miller’s seminal masterpiece The Dark Knight Returns and the not-so-well received and downright bizarre The Dark Knight Strikes Again, The Master Race sees Miller team up with celebrated comics writer Brian Azzarello – known for having penned numerous standout DC Comics stories including Batman: “Broken City”, Superman: “For Tomorrow”, Joker and Lex Luthor (as well as a highly regarded run on Wonder Woman for DC’s New 52).

Whilst Miller’s contribution to comics cannot be understated and both Year One and The Dark Knight Returns are definitive Batman stories, his later work was found to be less so and it’s clear that Azzarello has worked with Miller to refine and filter his ideas to deliver something more cohesive and classic that both harkens back to those aforementioned masterworks and simultaneously brings the world of The Dark Knight up to date.  In terms of story, very little actually happens in this opening chapter of The Master Race but this simply follows the slow-burn approach that was a key part of the structure of The Dark Knight Returns.  Instead, readers are reintroduced to Miller’s world and his chosen cast of characters including the likes of Commissioner Yindel, Wonder Woman, Lara and a frozen (undoubtedly soon to be thawed out) Superman.  As with previous Dark Knight instalments there are a wealth of newscast talking heads delivering much of the exposition (as well as conveying commentary on the social and political lanscape) and the Batman’s appearances are kept largely in the shadows before pulling the rug from underneath the reader with a killer final page that will leave many reeling – and counting the days – until the next issue is published.

Much is relinquished to the visuals in this first issue and Andy Kubert’s pencils are the star of the show, enriched by the inks of Miller’s long-time collaborator, Klaus Janson.  Kubert refrains from wholly mimicking Miller’s style in favour of simply peppering his own with subtle hints of Miller-isms.  This is unmistakably the world Miller depicted in The Dark Knight Returns with Kubert delivering panel upon panel of intricate detail that together with Janson’s inks and Brad Anderson’s appropriately muted colours presents an epic, cinematic and nourish visual feast.

The Master Race is obviously Frank Miller’s idea but it’s through his collaboration with co-writer Brian Azzarello and penciller Andy Kubert that this eight issue series is likely to succeed where The Dark Knight Strikes Again failed, time will tell but this feels like it has the potential to be the “next” classic Batman story.

The bottom line:  The Master Race has a lot going for it, despite little narrative progression in this first issue there are hints of big things to come and Andy Kubert and Klaus Janson’s art is nothing short of sublime.

Dark Knight III: The Master Race #1 is published by DC Comics and is available in print and digital formats now.

Cover art for DC Comics’ ‘The Dark Knight III: The Master Race’#1 by Andy Kubert.