I honestly didn't know what to expect from this title. Getting Frank Miller to write a monthly Batman title was quite a coup, and having Jim Lee's linework bringing the story to life was a smart move, ensuring that a top-selling Miller book would sell even better. But since the creators were delving into the title characters' past, during their early days, it seemed to me there wouldn't be a lot of new stories to tell within the limited confines of the Dark Knight and Boy Wonder's well-established mythos. To my surprise and appreciation, they do manage to bring a fresh perspective and new spin on a classic story. What holds the book back is Miller's efforts to vamp things up a bit, and it detracts from the story and chaarcters rather than adding any kind of edgy or sexy atmosphere.
The circus comes to Gotham, and a talented young aerialist comes to the attention of Bruce Wayne, AKA the Batman. The boy, Dick Grayson, intrigues Wayne, and the wealthy playboy attends a circus performance -- accompanied by journalist Vicki Vale -- to see the youngest of the Flying Graysons in action. The performance proves to be their last, as two of the three acrobats are murderedin public view. Wayne sees a part of himself in the survivor -- and he sees an opportunity to recruit an ally in his war on crime.
The issue opens with one predominant visual: a hot woman in her underwear. It's completely gratuitous and adds nothing to the story. It's a safe bet Jim Lee was following direct cues from the script, as the overt sexuality of the scene is more than a little reminiscent of Miller's Sin City. But Lee's pencil art lacks the noir edge needed to pull off such a scene. Furthermore, a woman does not lounge about in her home in nothing but a bra and panties. Women do not wear high heels when alone in their own homes. Bras, as I understand it (and as I recall from a freshman week initiation stunt), are not comfortable, so the scene doesn't even make sense. Seeing Vale try on various outfits for her impromptu date struck me as far too Betty and Veronica or Millie the Model for my taste.
Lee's art in the first couple of acts is capable but little more. Aside from the T&A shots, there's little to grab the eye, and I'm not wild about the design for the Flying Graysons' outfits. Where the art gets interesting is in the final act. Lee brings a gritty edge to the story, and the final scene in which the hero revelas himself has a real impact. Lee is clearly trying to evoke the same kind of intensity and presence that Miller brought to the Batman in The Dark Knight Returns.
The same sort of intensity and edge is to be found in the narration. The Batman's one-track mind and focus shines throughn in that final scene. Miller also adds a chilling tone to the Batman/Robin relationship by portraying the former as the driving force in the creation of Robni. In the classic origin, young Dick pesters the Batman until he allows him to join the crusade, but Miller turns things around here. That adds the much-needed sense of something new to this title.
While the Batman's narrative voice in the latter part of the issue is strong, Vicki's and Dick's earlier in the book aren't nearly as effective. Vale is far too spunky to be believable, and Dick's wide-eyed innocence is so over the top so as to be corny instead of endearing. 6/10
