Reaction to Azzarello and Risso's first issue of Batman was mixed, but after the second issue, my opinion hasn't changed. I can see why some might approach the book as controversial (well, as controversial as a Batman comic would get), because the writer refuses to be burdened by previous incarnations of the title character. But Azzarello brings an important element to the Dark Knight -- humanity. Yes, the Batman has been portrayed as fallible before, but Azzarello included some grounded qualities to the character, and it's much easier to relate to him here. The slick, funk style is still to be found here, and this fresh take on the Batman is definitely worth watching.
Identifying with the young boy left orphaned by Angel Lupo's escape the night before, the Batman realizes he must tap a resource in order to get some answers, but he does so reluctantly. After all, police officers are far from his best friends in Gotham City. After setting that wheel in motion, he pursues his own leads, and that brings him face to smashed-in face with a familiar figure. One name leads the Batman to another, and soon, the taste of blood in his mouth makes him realize there's much more to this case than he ever expected.
I'll never get over what effective use Risso makes of shadow, of ink, in establishing a dark, foreboding and tense mood in his storytelling. One of the most surprising strengths in his artwork in this issue is the architecture of Gotham, and specifically, the meticulous detail that he pours into the depiction of Wayne Manor. Another highlight is Risso's uber-cool portrayal of Crispen Allen, detective with the major crimes unit. At times, the artist's work here comes off as a cross of the styles of Frank Miller, Kevin Nowlan and Mike Mignola. I hope this work brings a multitude of comics readers to the even stronger work Risso offers in every issue of 100 Bullets.
Speaking of which, I just noticed that Agent Graves and Loop Hughes, major characters from that series, pop up in this issue.
Azzarello certainly brings an adult edge to this iconic super-hero, one that may not sit well with some people. But that edge is very much in keeping with the darker quality that's inherent in the core concept. Azzarello's dialogue is spicy, crudely poetic in its own way. Yes, Azzarello has managed to include an oral sex reference in both of his issues of Batman, and while they may merit a mature-readers label, they certainly reinforce the uglier nature of crime stories. And "Broken City" is definitely a crime story.
The greatest strength of Azzarello's script is how he brings the title character down to a level to which the reader can relate. He explores the notion that Bruce Wayne has something of a hobby that helps him to relax. He enjoys a steak done just right. He engages in playful yet hostile banter with a reluctant ally. He's not the cold, distant figure we've seen in most Batman stories since Frank Miller's The Dark Knight Returns. Still, Azzarello hasn't transformed him into an ol' softie either. He remains hard and driven.
