The road goes on forever and the party never ends.
Of all of DC's major franchises, the Batman comics have changed the least in the transition from the old DC Universe to the New 52 and now into DC Rebirth. If it ain't broke, why fix it? That seems to be the philosophy as Tom King takes the reins of DC's flagship Batman comic. But even if Batman Rebirth #1 reads like a natural progression of Scott Snyder and Greg Capullo's five-year run on the previous volume, it also has a new and exciting flavor that comes courtesy of Tom King. If this comic proves anything, it's that King and Mikel Janin were the right choice to follow up such an acclaimed creative team.
Batman Rebirth #1 offers a clean, simple gateway into the Batman franchise as it exists post-Superheavy. King wraps up a few lingering threads here, but this issue is mainly concerned with welcoming Duke Thomas into Wayne Manor and exploring the relationship between this new Dynamic Duo. Along the way, King and Snyder (who co-writes this issue before hopping over to All-Star Batman) introduce a drastically different take on Calendar Man. That alone symbolizes the difference between the New 52 and DC Rebirth. With the New 52, it often seemed as though creators felt obligated to revamp villains who didn't need to be revamped. The result being the dreadful new take on Mr. Freeze's origin and any number of other tales that actively harmed great characters. But here, King and Snyder instantly elevate Calendar Man into a vital and intimidating addition to Batman's rogues gallery.
The new take on Calendar Man is part of a larger stylistic shift with the new series. While it's impossible to say with certainty which parts of this issue are Snyder's and which are King's, on the whole it feels very much the product of the latter's distinctive voice. King brings a very surreal, spooky quality to Batman's world, one that should instantly appeal to fans of Grant Morrison's Batman run. But (and perhaps this is Snyder shining through), there's also a strong emphasis on Batman's close connection to Duke and the general idea of Bruce Wayne being a healthier, happier person since his return to "life."
Janin's art style very much goes hand in hand with King's approach to the franchise. Janin and King already have a great track record together thanks to their Grayson run, and that experience immediately pays off in this very different corner of the Batman universe. Janin's style takes on a heavier weight and texture (aided by colorist June Chung), which helps his pages avoid the stiff, lifeless quality of last week's Superman #52. Janin and Chung are adept at conveying the passage of time and the changing of the seasons over the course of this story. Janin's page construction is also frequently a highlight, with some inventive panel arrangement even recalling J.H. Williams' work on Batwoman.
The one area this issue could have succeeded a bit more with is in illustrating the differences between Duke and the other Robins that have cycled through the Batcave. The dialogue is quick to establish that Duke isn't another Robin and that Batman is trying something different with his latest sidekick, yet this issue never makes it apparent how Duke is different. Nor does it offer any hint as to what separates Duke from the various teen sidekicks in James Tynion's upcoming Detective Comics run. That's something both series will have to address in the weeks to come.
The Verdict
The New 52 didn't dramatically revamp the Batman franchise, and it doesn't appear as though DC Rebirth will either. And why should it? Batman was a terrific comic under Scott Snyder and Greg Capullo, and it's shaping up to be a terrific comic under Tom Kinng, Mikel Janin and David Finch as well. This issue serves as a great showcase for the new team as well and offers a taste of the new flavor they'll be bringing to Gotham City.
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