The preceding 12 issues of this title was the equivalent of comic-book industry blockbuster, revolving around the return of artist Jim Lee to monthly comics storytelling. It was a fun stint, but not particularly outstanding. If there is any justice at all, this new direction for the title -- which is markedly outstanding and different -- will see sustained sales numbers. When dealing with a character that's been around for almost 65 years, it's easy to believe that nothing new can be done with him. Brian Azzarello and Eduardo Risso prove that notion to be wrong here. Their take is unlike any Batman I've seen before, and while some purists might reject it, fans of strong storytelling will be mesmerized.
The discovery of a woman's body -- the clear victim of a homicide -- leads the Batman to an old enemy: Waylon Jones, AKA Killer Croc. Croc's back to his old self these days, and though he's at the Dark Knight's mercy, he's not talking. That forces the Batman to follow other avenues of investigation, and one leads him to a femme fatale with something of a cape fetish. She's as tight-lipped as Croc, but the masked man has other ways to get what he needs from her. Those methods prove to have unexpected and catastrophic results, though.
Those who do not read 100 Bullets should take note: this new Batman run not only brings that Vertigo title's writer and artist in to breathe new life into the property, but the book's entire creative team. Even Vertigo editor Will Dennis has a role to play here, if the credits are any indication. But one should also note that Azzarello et al aren't just doing Batman 100 Bullets style. The creators have definitely adapted to this genre.
Speaking of which, this is a thoroughly unique and unusual take on the Dark Knight. The atmosphere at play here isn't just "film noir." It's a bit edgier and more modern. If I had to call it anything, it would be "funk noir." There's a harshness and darkness here that combines classic and modern feels seamlessly.
Risso's take on the Batman seems clearly influenced by Frank Miller's and Tim Sale's. There's a angular edge to the character and a physical intensity. That Miller-esque quality is reinforced by Mulvihill's stark colors. In 100 Bullets, we're used to seeing dayglo hues make for sharp contrast against the inky shadows of Risso's linework. Here, she brings a dreary ugliness to the setting and the title character. Risso also brings a raunchy style to Gotham here. Margo's sexuality puts one in mind of the tantilizing quality that Marshall Rogers brought to the world of the Batman in the form of Silver St. Cloud in Detective Comics in the 1970s.
Rectifying Brian Azzarello's take on the Batman with Jeph Loeb's recent portrayal of the character is an exercise in futility. There's nothing wrong with either concept; they're just different. There's a more playful though dark tone to the Batman in Azzarello's script. One gets the sense that he almost enjoys the games he plays with Croc and Margo here. At the same time, though, Azzarello doesn't sacrifice the tragic, tortured quality that's at the heart of the character, as is painfully clear on the final page of this issue.
