Batman: Earth One Vol. 1 Review
This sequel picks up roughly six months after Batman's battle with Mayor Cobblepot and the Birthday Boy in the original volume. Gotham is now swelling with a new sense of optimism. Mayor Jessica Dent and D.A. Harvey Dent are busy rounding up criminals and cleaning out corruption. The Batman himself is beginning to develop a reputation among the criminals he hunts and the innocent civilians he defends. But as this volume opens, the twisted antics of a riddle-obsessed villain and reports of a half-human, half-crocodile killer in the sewers are threatening to derail this forward momentum.One of the larger problems these Earth One books have faced is the space limitations imposed by the graphic novel format. Too often, these stories devolve into rudimentary two-act tales where the main players are introduced and then the climax immediately unfolds. Johns shows an ability to work with the limited page space and get the most out of his characters. Not that there aren't elements in this book that couldn't have benefited from more room, but the overall experience is more fulfilling, than say, Teen Titans: Earth One's barebones story.
It helps that everything in this volume is unified under a clear, straightforward theme - "Who is Batman?" It's a question that means different things to different characters. For Bruce, it's a matter of deciding what he's trying to accomplish and what he wants Batman to symbolize. For the Dents and Jim Gordon, it's in choosing whether to count Batman as an ally. For the Riddler, it's a very literal question - a puzzle in need of solving. These elements all combine to from a cohesive conflict.
As much as this graphic novel is cinematic in terms of its presentation and pacing, it bucks the trend of most Batman movies by focusing more on the heroes than the villains. Johns makes this Bruce Wayne his own in a way he never really has with the traditional version of the hero. This Bruce is the polar opposite of Grant Morrison's Batgod. He's young, still building confidence and experience, and not entirely sure of his purpose. Johns takes a very pragmatic view of Batman as a concept, which suits the tone of this Earth One setting. He frequently casts doubt on the effectiveness of Batman's vigilantism. This story forces Bruce to confront the notion that Batman may be nothing more than an outlet for an immature man-child to vent his rage at the expense of a few street thugs. But never does this story lose sight of itself and become a full-fledged Batman deconstruction. Johns simply focuses on the question, "What would Batman be like if he existed in a world more like our own?"
The supporting cast are also key. The interaction between Bruce and Alfred is frequently a highlight, as the two have very different idea about who Batman is and how he should conduct himself. Alfred's decision to kill Mayor Cobblepot in the previous volume becomes integral to their dynamic. Johns's depiction of Alfred as a hard-edged ex-soldier has quickly had a profound effect on the character in other media, and for good reason. This volume also sees Gordon step up and become a more important player in Batman's world. Much as Alfred was the source for Bruce's transformation from idle billionaire to hardened warrior, Gordon is there to help this greenhorn Batman evolve into a competent detective. Their dynamic is surprisingly funny as Johns subverts the usual Gordon/Batman tropes and builds an unlikely bond between the two.
The villains don't fare quite so well, unfortunately. Riddler is revamped in such a way as to fit this more grounded world. His complicated puzzles are more a means to an end, and he's not afraid to break his own rules when his games don't pan out. But while the story is adept at exploring what the Riddler is trying to accomplish, it doesn't focus enough on why. There's too little emphasis on the man behind the riddles, to the point where his real name is never even mentioned. As for Killer Croc, Johns' new take is successful in terms of humanizing the character. He doesn't even qualify as a villain so much as a misunderstood monster. The problem is that Croc's role in the story is so small it's a wonder he was even included in the first place.
A couple other elements stand out in that they feel underdeveloped. After teasing the debut of Barbara Gordon as Batgirl in Vol. 1, we're given no more than a passing mention of the character in Vol. 2. Johns also introduces another minor villain that could have used more attention. There are definitely times when the Earth One line seems better suited for a traditional serialized format rather than these isolated graphic novels.
Though there's certainly something to be said for an entire world built on the backs of one writer and one artist. Gary Frank is a very precise and methodical artist. Between his slow speed and the fact that he and Johns also collaborated on the Shazam backup story in Justice League for a good while, it's little wonder an Earth One sequel took this long to materialize. But again, the wait was well worth it. Frank delivers some of the best work in an already impressive career. "Cinematic" really is the most fitting adjective. Frank's figures are extremely refined. Every inch of Gotham is slathered in shadow and grimy detail. Frank's use of body language is impeccable, bringing a sense motion to the many action scenes and a grace to his character interactions. Frank even has the opportunity to render a memorable car chase scene (though not involving the Batmobile).
Perhaps the visual element most worth pointing out is the facial work. In years past, faces have been the one weak element of Frank's art. Looking back at comics like Supreme Power, is detail-oriented approach often lent a harshness to his characters. It's a flaw Frank has clearly worked at addressing since coming to DC, and this book is a perfect example of how far his work has come. Each character has a distinct appearance. Each registers a wide range of emotions, even Killer Croc. Frank brings a very distinct, authentic look to this world. It's grounded in many ways, but still bold and bigger-than-life when it needs to be.