by Mark Millar, Dave Johnson, Kilian Plunkett, Andrew Robinson, and Walden Wong; and
Jeph Loeb and Tim Sale
After more than six years of blogging, and as I approach an unpleasantly round number of years on this Earth, I find myself having less and less time to do things. Things that I want to do, and things that I have to do. I want to be good at playing banjo. I want to be well-read. I want to have a blog that actually chronicles my experiences in something close to real time. I want a hundred other things. Unfortunately, sometimes doing all these things start to feel like work. Sometimes the things I want to do require too much effort, and I end up doing nothing. Sometimes, stuff just gets lost.
But I’m trying to be better! I’ve got a backlog of reviews I need to start and/or finish, and this is my down payment on that.
And while, yes, this makes two straight graphic novel reviews, which makes it seem like I only read comic books now, I actually do still read books without pictures, too. Sometimes they just take a little longer.
Regardless, following the precedent set by my last post–yes, half a year ago–I am dedicating this review to a pair of graphic novels, respectively starring the Man of Steel and the Caped Crusader. And, following precedent, I will now give you a quick rundown of each book.
I make no secret of the fact that I’m not too big on Superman, but I love a new twist on an old story, so I figured if I was ever to give him a shot, this would be it. The book takes place in an (alternate) alternate universe in which Superman doesn’t land in Kansas–growing up believing in truth, justice, and the American way–he lands in Ukraine, and places his faith in collectivization and Soviet egalitarianism. Instead of Ma and Pa Kent, his hero is Uncle Joe Stalin. So on, so forth, you get the idea. Retaining his morally righteous streak even within a totalitarian society, Superman finds himself a hero of the Soviet Union, accruing ever more political power and making ever more powerful enemies. Lex Luthor, on the other hand, is still American, and still hates Superman, elevating their personal and ideological differences to a struggle for global domination, with each contributing to and drawing upon his nation’s Cold War arsenal. (Also, Batman exists, and he’s a crazy Russian dissident with a goofy Russian hat.)
The Long Halloween
Like Hush, my first trip to the literary Batcave, The Long Halloween is a pretty traditional comic book story. Our hero, battling Gotham’s criminal element as both Batman and Bruce Wayne, becomes entangled in what’s starting to look like an inevitable war between the Falcone and Maroni crime families. As the mob finds itself squeezed between Batman, District Attorney Harvey Dent, and the less-corrupt elements of the Gotham police, the last thing anyone needs is for a new psychopathic killer to show up threatening civilians, honest crooks, and supervillains alike. Which is, of course, exactly what happens. This new baddie, notable for his apparent inclination to kill only on holidays–though not distinguishing between federal holidays like Christmas and Hallmark holidays like April Fool’s–attracts attention pretty immediately, bringing a new wave of chaos and fear to a city that wasn’t exactly a model of safety and stability in the first place. The Holiday Killer even rubs both Batman and the Joker the wrong way, which should be some indication of just how big an asshole he is.
So that’s that.
To start with Superman, I’ll just say I enjoyed it. Superman himself seemed like a fresh character to me, in a way that shouldn’t be possible for me or frankly for anyone. As Americans, we have this innate idea of Superman as the perfect citizen, or even the perfect human, to the point that we don’t have to have read a Superman comic or seen a Superman movie to understand the connotations of his name and his symbols. Yet here he was in Red Son, immediately recognizable but very, very off. I dug it.
Add to that eeriness the specter of an unimpeded Lex Luthor running amok in America, using his country’s fear of Superman to slowly build up his own prestige and power in the shrinking corner of the world free from Superman’s influence. Superman, for his part, initially recoils at the idea of leading the Soviet Union, but America’s persistent threat forces him to take on the mantle of leadership and to expand his “utopia” to cover as much of humanity as he can. In his opposition to Luthor, Superman has both the moral authority and the edge in raw power, but Luthor never takes his eyes off the ball, forcing Superman into increasingly dangerous and morally gray choices.
The Long Halloween had no similar twists, and was pretty straightforwardly Batman. I don’t know how common it is for Batman stories, but I did like that Halloween, along with Hush, follow the beats of a detective novel or movie, rather than those of an action adventure. The personalities in Halloween, including Batman/Bruce Wayne as well as Harvey Dent and others, are established through a combination of quick characterization and the reader’s prior knowledge, allowing the story itself to have a direct and immediate impact on the characters. Instead of, say, learning who Batman is while we’re also learning what’s happening in Gotham, we know who Batman is, and we experience the story more or less as he does. We likewise get to live the frustration and danger of being Gotham’s District Attorney, and even if we all kinda know where it’s going, we’re not just waiting for the second half of the book so that the hero can fight the villain three times before ultimately prevailing. It might sound counterintuitive, but there’s tension to be derived from our familiarity with Batman and the other characters.
That being said, maybe we do know Batman too well. Don’t mistake me, he’s still and always my favorite superhero, but seeing Batman brood over yet another mystery, all the while coping with his parents’ death as well as keeping up with his Bruce Wayne shit, makes me wonder whether there’s anything original to be said about Batman, at least in the comic book format. Perhaps there are nuances I’m just not picking up on, me being so new to the genre and all, but having just read Hush, Halloween seemed pretty dang familiar. (Arkham Asylum, on the other hand, seemed like a truly unique experience.)
I mean, I liked Halloween, and I looked forward to reading some of it before bed every night, which is just about the only metric I have nowadays. I just don’t know if it brings anything unique to the Batman oeuvre. Perhaps it doesn’t have to. It kept me entertained, and it added another interpretation to Batman’s mythos, which is really good enough.
These books are short, so I don’t really feel the need to write a treatise or anything. Just for fun, though, and because I need to get this off my chest, I’m gonna take a moment to nitpick. One thing that bothers me about graphic novels, something I didn’t know before I started reading them, is that they’re kind of poorly edited. I realize that books have mistakes too, some more than others, but the text-to-typo ratio in the few graphic novels I’ve read is absurd. Sometimes, the words don’t match up with the pictures. Other times, the text is just wrong. In The Long Halloween, they literally fuck up and identify Falcone’s daughter as alternately Sofia and Sophia. Seriously, who is editing these things? Pay someone fifty bucks to take a quick look, for fuck’s sake.
As an aside–really just to end on a positive note–it was interesting seeing the influence of The Long Halloween on Christopher Nolan and The Dark Knight. From the mob war backdrop, to the courtroom assassination attempt, to the creation of a triumvirate between Batman, Gordon, and Dent, many of the plot elements seen in Halloween are imitated in Nolan’s work, as are many of the themes. It was fun for me, as a Dark Knight fanatic, to see the genesis of some of those ideas.
And while we’re on the subject of movie adaptations, what if DC made a Red Son movie instead of butchering their franchise with a black-and-white, confused-looking Superman and a gun-toting, murder-happy Batman? Wouldn’t that be better than the gar-bage they’re putting out now? Just a thought.
The Long Halloween was a pretty good read, and if you’re into Batman or graphic novels, I think you’d probably like it. Red Son, while goofier in a way, actually probably has wider appeal; it’s fun to see familiar-yet-twisted versions of our favorite DC characters navigate an alternate Cold War, especially because Superman has to live in a morally gray world, for once. So, while I thought The Long Halloween was fun, I’d have to say I preferred Red Son. Not that it’s a competition between the two–this isn’t the exquisitely titled cinematic masterpiece Batman v Superman: Dawn of Justice.