To start this review off with a little bit of colour (ahem), I was going to add some background info on Batman: Black & Whites history. What it is and how it came to be, that sort of thing. However, I sincerely doubt that there is anyone reading this who doesnt already know that stuff, so Ill skip it and get straight to the review. If you are interested in learning more, then have
a look HERE. Ill wait... DC has made a REALLY strong start with this one. In fact, this debut issue is so cool that Ive taken to keeping my copy in the freezer (NOTE: this is not actually true). This first issue of the relaunched B&W is a comic that just oozes quality and charm. The Marc Silvestri cover makes for a striking opening shot, a graphic representation of everything we need to know about Bruce Wayne and his dark alter ego going in. The crosshatched skyline, relative lack of shadow and ludicrous attention to tiny details notwithstanding, Silvestri makes one or two dubious anatomical choices (Batmans left hand, for example). However, Im fully prepared to forgive almost anything in return for such a superb front cover. What we get inside is a veritable tour-de-force of graphic storytelling, a feverish glimpse into 5 distinct, self-contained worlds. The collision of styles, stories and tone (which ranges from comedic to horrific), made me feel proud to be a comics reader. This is a comic that I want non-funny book readers to see, its classy, fun and exquisitely crafted.
The stories run the gamut from chatty, candid supervillany, as seen in Maris Wicks and Joe Quinones Paul Dini-esque Harley & Ivy story, to darkly compelling noirish thrillers like Howard Mackie and Chris Samnees Head Games. The former, (which, in one hilarious panel, serves up a Harleys POV montage almost as funny as the Well you just poison him right back spread from Mad Love) is just throwaway fun, while the latter is a thrilling psychodrama that underlines beautifully why Arnold Wesker is (and always will be) the best Ventriloquist. Special mention must go to Samnees sublime artwork (his first on any Batman title), which was perfectly, perfectly pitched (yes, I know I wrote the word perfectly twice, but that was just to demonstrate how perfectly perfect it was). Elsewhere, in Driven, John Arcudi & Sean Murphy serve up an extended chase sequence that leads me to create what is likely the first ever comparison between Batman and Bout de Souffle. In a story that also features the welcome return of Roxy Rocket, some delightfully cheeky examples of Alfred Pennyworths patented wit and a clever punchline of an ending, it is Murphys star that shines brightest. Mr. Murphy also renders the velocity and grace of high speed racing with zeal and gusto and he draws a pimped-out Batmobile that is halfway between the gargantuan Tumbler of the Nolan movies and a Scalextric car on steroids. Essentially, what were looking at here is the Batmobile as a souped-up vintage Hot-Rod. To put it simply, the word cool just doesnt do it justice. Of course, theres also the charming Chip Kidd/Michael Cho piece Dont Know Where, Dont Know When. As the title evokes the sounds of crackling old time radio, the visuals kick in to create a stirring Silver Age feel (yeah, I know those time periods dont quite add up, but who the hell cares?).
Essentially a Robin/Superman story, this one is simply a slice of timeless comic book fun. Theres a little more character development here than would have been present in 1956 and Chos line work is post modern as opposed to retro, but otherwise, this silly story (in which Joker wreaks havoc with a teleportation gun) could have come right out of that era. The coup-de-grace of the book, however, is the absolutely gorgeous Neal Adams story Batman Zombie. With all pretensions thrown to the wind (even the title is little more than a basic description of whats in the story), what were seeing here is a definitive comics creator, a master of the form, no less, laid bare. In this beautiful piece, Adams is treating us to an abstract, bizarre it was all a dream story (one that evokes my own fond memories of reading Loeb & Sales Ghosts for the first time and also neatly ties into the current multimedia demand for all things undead). OK, the story is a little bit on the nose with its politics at times, but it is the pencil work that really excels here. Adams renders his pages without inks or colours, giving us a no-holds-barred glimpse of just what a great draftsman he truly is. The artwork here is more alive, more vibrant and more earnest than anything else Ive seen him draw for ages. Adams classic stuff is, well, classic, but, in my opinion, Neal Adams has simply improved with age, like a fine wine, or Helen Mirren.
In summary, the first issue of this new Batman: Black & White is simply wonderful, a perfect example of 9 master craftsmen at play. The asking price is formidable (and may represent what, I feel, is becoming a worrying trend for DC), but I honestly didnt feel cheated when I read the issue. For the quality on display here, you are definitely getting your moneys worth.