Category Archives: 90s Comics

Slaying the Dragon #1: “The 1990’s Killed Comics”

Welcome to the first installment of a new, irregularly published column here at The Unspoken Decade. Slaying the Dragon exists solely to dispel half-truths and outright misconceptions about the most prolific decade in comic book history, the 1990’s.

In 1991, when I was 10 years old, I bought my first comic books from a spinner rack at a grocery store. The 1990’s were MY decade. I love everything about the 1990’s comic scene, even what I hated about it at the time. To say that I’m a 1990’s comics fanatic is an understatement. But to say I’m a 1990’s comics fanboy would be erroneous. By my own definitions, a fanatic is someone who loves everything about a specific topic; a fanboy is someone who loves it to the point of losing objectivity.

While I love everything about the 1990’s comic scene, I am able to separate facts from oft-repeated and unfounded opinion. Some geek blogger who dislikes the 1990’s uses the horse-laugh fallacy to win the approval of the current generation of comics fans, and that personal opinion gets regurgitated endlessly as actuality.

When I sat down to write this first edition of Slaying the Dragon, it didn’t take a lot of thought to decide which dragon I should attempt to slay first. Remove the head, and the body dies, they say. I’ll start with the biggest false notion—that the 1990’s are responsible for the current plight of the comic book industry.

Comic book films are making previously unheard of amounts of money at the box-office, meanwhile sales figures for books featuring iconic characters such as Batman, Spider-Man, and the other titans of the comics multiverse are still at a fraction of what they had been, not only in the 1990’s, but in most other decades as well. I’ve seen countless comics’ fans post on social media about how the 1990’s market crash has forever crippled the hobby we all love. False.

CRASH

It is absolute fact that the biggest industry crash in comics history occurred in the mid-1990’s. I would never argue against that. The only local comics shop (LCS) to ever exist in my tiny hometown opened during the boom year of 1993—a time when more comics were being published in a given month than even in the 1940’s. Then the bottom fell out of the market. There was more product being published than the market could support. My town’s LCS folded by 1996, never to be replaced. That’s reality. That is truth.

The comic book market has yet to even return to the sort of sales it enjoyed in the 1990’s, or even in the 1970’s for that matter, a time when industry insiders were predicting the demise of the entire industry. That is also truth.

But to blame the current state of the industry on something that happened 20 years ago is a simple explanation for a complex problem. I care far too much about 1990’s comics, to allow them to take the blame for a decline that started decades earlier.

While the 1990’s crash was the biggest in terms of the sheer number of publishers, distributors, shops, and titles forced to fold, it was just one of many crashes. It happens most every decade. In the 1940’s sales dropped following the end of WWII. In the 1950’s censorship and Seduction of the Innocent hysteria lead not only to a crash, but to public comic book burnings in communities around the nation. In the 1960’s, oversaturation inspired by the Marvel Comics revolution and the popularity of the Batman ’66 TV show lead to a crash. In the 1970’s, both Marvel and DC Comics were almost shut down by their parent companies thanks to the decline of the newsstand distribution system. In the 1980’s, an explosion of mostly forgettable black and white comics looking to imitate the success of Eastman and Laird’s Teenage Mutant Ninja Turtles caused a young, gullible direct market to crash, resulting in hundreds of new comic shops disappearing along with a gaggle of publishers. Yet, after each crash, the comic book industry has risen from the grave, much like a phoenix, or for that matter, almost every Marvel Comics character to ever die a sales-spiking death.

So why hasn’t the industry resurrected itself? Why hasn’t it returned to its previous heights? There are lots of reasons, and hardly any of them are a direct result of the 1990’s.

I believe it all started the 1970’s. When the big two were almost shut down by their respective corporate entities, their woes were largely the result of a failing distribution system. Cheap “funny books” turned a minuscule profit for both newsstand outlets and distributors, so huge amounts of comics were returned untouched in order to create shelf space for money making magazines. Then in the late 1970’s, the direct market appeared. Upstart distributors convinced comics companies to sell product to comic book specialty shops. This was the savior that comics had been looking for, or so everyone thought. Publishers were making big profits once again, and the direct market opened the doors for creator-owned comics and freed creators from the shackles of Comics Code Authority censorship, allowing for books that appealed to adults as well as children.

Then came the 1980’s crash, but no big deal. Publishers were still making some money on newsstand sales, and the direct market rebounded quickly thanks to speculators who came over to the comics market when the baseball card market experienced a crash of its own. These speculators were hoarding huge amounts of first issues, first appearances, and, later, gimmick books similar to gimmick “chase cards” found in random packages of sports cards. These greedy newbs were banking on their Spider-Man #1 (with a print run close to 1 million copies) eventually being worth hundreds of thousands of dollars, much like Spidey’s first appearance in Amazing Fantasy #15 was at that point in time (now worth millions of dollars). What these speculators failed to comprehend was that Amazing Fantasy #15 came out at a time when kids treated their comics like toys, reading, folding, and trading them until they disintegrated, rather than placing them in acid free bags and boards, and storing them in acid free boxes, all while having a much, much smaller print run.

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Then the bottom fell out, like anyone might have figured it would. Speculators fled, dumping their gluttony of “collectibles” into the market, causing prices to crash. True fans became disenfranchised as the value of their favorite books plummeted. Comics shops closed. Many who weren’t soured to the hobby simply out grew it or developed new interests. More shops closed. But there would be new readers to take their place, eventually right? It all worked out the other times, right? Well, apparently not. Today most comic book fans are 30 or order, meaning that they lived through the 1990’s crash and stuck with it, or they’ve returned after a long absence. These days, comics newbs are a minority (although a very vocal one).

New readers simply aren’t there, even though hundreds of millions of people see the latest Marvel or DC blockbuster in theaters. If only a fraction of them started buying comics, we’d have a new industry golden age. Why isn’t that happening? I believe it’s because the industry is relying nearly exclusively on a direct market that can’t produce enough new readers to replace the ones who inevitably tire of reading serialized entertainment. When the newsstand system failed, comics lost something the direct market hasn’t been able to replicate. Comics are no longer available at every corner drug store, gas station, toy store, candy show, bus station, or grocery store, the latter of which being where I first discovered the joys of comics. Many children (and adults) live hours from a comics shop. Even if a kid lives relatively close to one, a young comics fan needs to be in walking distance to have access to comics, and even then, they have to brave a shop littered with 30-somethings bitterly complaining about how the Scarlet Witch from Avengers: Age of Ultron wasn’t wearing the exact costume she wears in the comics. It’s difficult for most kids to convince their parents to make a special trip for comics. For me, it was next to impossible. The only kids I see in comic shops also have a parent that is there for comics. A kid lacking a parental geek is highly unlikely to discover the medium. Of course, all the blame can’t be put on comics becoming a niche market. There’s also the astronomical cover price. In 1991, $20 (not that I ever had that much money back then) could buy you 16 comics!  Now it barely gets you 4 comics. The 1990’s can take the blame here, as it was during the mid-1990’s when everyone followed Image Comics’ lead and began using ultra-expensive glossy paper.

I hope the industry savior is digital comics. Most kids have access to tablets, e-readers, or smart phones. Digital books can be significantly cheaper than paper and ink as well (even though most digitals currently cost nearly as much as the physical books, which makes little sense to me). These digital comics can be obtained by new readers young and old with just a few finger swipes. But we’ll see if the publishers figure out how to attract them.

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Mind you, this piece is no dig at comic shops or paper-and-ink comics. I love my current LCS, and hardily recommend everyone support their local shops. I myself much prefer physical comics to digital ones. Comic shops are what keeps the industry afloat, and that’s not a bad thing. The bad thing is that after almost 40 years of existing, the direct market hasn’t been able to attract the same amount of new readers the long dead newsstand industry once managed. So what the hell is the solution to this problem? I don’t know. If I did, I’d probably be some comics industry bigwig instead of a fan with an Internet column. But I hope the industry improves, or at least sticks around at its current level. A world without comics would be a dreary place. Just don’t blame my beloved 1990’s if it all disappears.

HE CALLS HIMSELF CABLE – José Ladrönn and Joe Casey on the Man Out of Time

Warren Worthington: Before you go any further, you need to ask yourself… is any story really worth dying for?
Irene Merryweather: Depends on the story.

No theme this month at “The Unspoken Decade” so I have taken this opportunity to look back at José Ladrönn’s run on Cable that helped close out the nineties.

Irene Merryweather is a reporter, a storyteller. She acts as Cable’s chronicler and as the reader’s way to understand the man and his world. She provides a way for the plot devices and conflicting motivations of such a popular character to be examined and contextualized in a much needed way.

“Sometimes, there's a man. And I'm talkin' about the Askani’son here… He's the man for his time and place. He fits right in there.”
“Sometimes, there’s a man. And I’m talkin’ about the Askani’son here… He’s the man for his time and place. He fits right in there.”

Who is Cable? What is he? Why does he call himself that? Maybe in 1990 when the character was first introduced this was considered a suitably sci-fi term. The modern equivalent of calling a character “Plastic Man” in an era before that was a household name. Did this name say something about the character that was deep and meaningful? Was it the name of one of his weapons, maybe an artistic way of describing his method for traveling through time?

No, of course not.

Cable is what you would call yourself if you had been raised two millennia into the future. This is the same reason his arch-foe (and one of several clones) is known as “Stryfe.” These people are as separated from “today” as “today” is from the beginning of the Common Era. Cable is a character that everyone recognizes, comic fan or not, even though he has avoided the Silver Screen for seven X-Films and counting. For me there is no more interesting take on the character than his extended tour of the Marvel Universe in the artistic styling of Jack Kirby.

The energy radiates from the center, reaching out at the reader and almost into their world. The mark of the King.
The energy radiates from the center, reaching out at the reader and almost into their world. The mark of the King.

The Hellfire Hunt is a story from 1997 written by James Robinson. Halfway through, after issue #50, scripting duties switch to Joe Casey. From then until issue #70, in August of 1999, Casey and artist José Ladrönn put their mark on the Man With Many Names. The run was bookended by extended crossovers with the plethora of other X-Titles, from Operation: Zero Tolerance (itself spinning out of Onslaught) to the Apocalypse centered The Twelve soon after its end. In between was an attempt to define the character of Cable in a way that made him grounded and believable, or in other words, in the Marvel way.

In addition to the extended X-Family (for the most part) there is no appearance by X-Force, the child soldiers that Cable usually drags into dangerous war zones, or Rob Liefeld, Cable’s self-appointed ‘sole creator.’ The Rob would eventually bring back the expected trappings of the franchise but in his absence Casey, and especially Ladrönn, build a supporting cast unique to Cable including re-introducing Nate’s own personal Yoda, Blaquesmith, and the aforementioned former gossip columnist Irene Merryweather, as well as the brand new love interest, and confidante, diner waitress Stacey Kramer.

Every Kirby story is a love story. He co-created the Romance Comic because he understood that having someone to fight for was the only thing that mattered.
Every Kirby story is a love story. He co-created the Romance Comic because he understood that having someone to fight for was the only thing that mattered.

Over the course of these twenty issues Ladrönn’s depiction of Cable, and the world he inhabits, comes to resemble one drafted by Kirby. The King himself passed away in 1994 so this type of tribute would not be uncommon except that Cable, and the Modern X-Men in general, had nothing to do with what he had come to stand for. This appears to be envisioning what Cable would have been if Kirby had created him at the peak of his career.

A time-traveling, cyborg with a Messiah Complex, locked in an Eternal Struggle with a being destined to conquer the world and subjugate its people. That feels as if it could have been a pitch for a story Kirby never got around to putting down on paper in the years after he left Marvel in search of the greener pastures he never found.

For reasons none too important to the overarching plot Cable finds himself in the nation of Wakanda fighting Ulysses Klaw alongside the Black Panther. A few issues later he engaged in the defining conflict of the run in a fight against Jack Truman, Agent 18 of SHIELD. An appearance by the newly revitalized Mighty Avengers closes out the run featuring Kirby Classics such as Captain America and Thor. This resembled a comic done in the Mighty Marvel Manner at a time when nothing else the company put out really did. Even non-Kirby, but classic nonetheless, vintage characters such as Zzzax and the Tinkerer make appearances. They are not furthering the plot, but rather showing how rich and imaginative a world Cable occupies.

If you touch your chest, hear a “tek” sound, and begin spewing acid from your fingertips then you were probably not invented by someone who left to create Brigade.
If you touch your chest, hear a “tek” sound, and begin spewing acid from your fingertips then you were probably not invented by someone who created “Brigade.”

A year and change after the bankruptcy that nearly buried Marvel, and comfortably before the movies would start to shape what the company would become, Cable takes a tour of an older version of the Marvel Universe, one not seen in some time. He himself gets a streamlined, shoulder-pad-less redesign that allows, as all Kirby characters must, to be in constant motion and bristling with power. The tons o’ guns are stripped away as this Heroic Quest sees Cable wield the Psimitar, a future-tech spear capable of focusing his advanced telekinetic abilities into Kirby Krackle. The static, cold images that had come to define the character up until this point are forgotten as Cable genuinely struggles with whether or not he can really save the future, a fight that seems u winnable and a task that seems unsurmountable, even though he can remember what happens if he fails.

Kidding. We all know what happens if he fails: Everyone is slowly murdered by the Mutant Robo-Pharaoh. Why has anyone ever wondered why we enjoy these comics?
Kidding. We all know what happens if he fails: Everyone is slowly murdered by the Mutant Robo-Pharaoh. Why has anyone ever wondered why we enjoy these comics?

I am not sure whose idea it was to go down this road but it does not happen all at once. Ladrönn had been involved with the title before Casey arrived and the latter went this route again with his later Image series Godland (I am not putting a “0” there, but you may need one if you want to research the series). Does the fact that no one else was doing overt Kirby homages on a regular basis make the issues worth seeking out, or picking-up discounted at least?

Yes and no.

This is one of the few full runs of Cable I have read but was by far the most rewarding. The aesthetic got me in the door, so to speak, but the character does not keep me there. Ladrönn clearly has a love for these particular layouts and design work. There are ways of presenting a story and moving events forward that only ever seem to appear in those older books. Figures in motion stride through scenes of intense action oblivious to “cool” poses and the constraints of the page. Not to say that the genre as a whole does not pull plays from the same book but these are specific, and in some cases too much so, references the work of a single man.

Ladrönn at one point, before the Kirby homages are overt, places a panel of only Cable’s foot in motion in the midst of an action scene. This warrants a caption box, with a message from the editors, stating that “we’re not really sure why Ladrönn put this panel here, but it was too fun & wacky to take out.” Fun. Whacky. These things have no place within our comics, clearly. This is how far the expected conventions had moved. Panels are mere recommendations to the characters and the Kirby Krackle is everywhere. This constant love and affection is also how they begin to lose their appeal.

…in the pages of Deathlok if I am not mistaken. “M-Tech” was an odd publishing line but at least it had a techno-organic monkey.
…in the pages of “Deathlok” if I am not mistaken. “M-Tech” was an odd publishing line but at least it had a techno-organic monkey.

There is a love here, but is there an understanding? Casey’s name is attached to many beloved runs in superhero comics as well as under the radar projects that remain fan favorites. The main pitfall I have come across that prevents me from embracing his work is that he never quite seems able to keep up with his own ideas. Superhero comics can be dense. Packed full of characters, ideas, and images that combine through the act of reading to form entirely new experiences. They should not be stagnant and they cannot to waste space. Casey does not seem to spend the time giving Cable, or any of the other characters, enough to do. He is not very imaginative when it comes to creating new ideas or concepts and he certainly does not seem to maintain the primary rule of a Kirby Comic: Create!

Jack Kirby created at a rate that far outstripped his peers. Physical number of pages (at one point Kirby was personally responsible for more titles per month than the Liefeld’s Extreme Studios), concepts, characters, and plots. Not only are the Marvel Age works with Stan Lee responsible for most of what we still read today but each of Kirby’s series after showed that the act of creation was the most important aspect of the work. A book such as The Demon has new villains and foes each issue, new obstacles to surmount. For good or bad (and many are not going to be action figures or cartoons any time soon) they were there. Jack acting as midwife to world after world from some unknowable higher power.

I cannot fault someone for using a Black Bolt pose but the panel to the right features more new character in a single instance than were created over the entirety of this Cable run.
I cannot fault someone for using a Black Bolt pose but the panel to the right features more new character in a single instance than were created over the entirety of this Cable run.

Casey’s primary contribution to the Cable Mythos is the Harbinger of Apocalypse, whose origins are actually steeped in Robinson’s final story (he was also responsible for Merryweather). The otherwise unnamed Victorian Era waif (he has a strange origin that still manages to feel unoriginal) provides the primary physical threat that hangs over the main story. No motivation, or real defining characteristics, just something for the hero to rail against. Another character, Blockade, is introduced as a MacGuffin for Cable’s Titanic Team-Up with his former beau Domino. I never got the feeling that this team could not create new characters but rather would not. I am not sure why as this was not the X-Market of today where all the good characters have their movie rights absorbed by 20th Century Fox.

There is also not a constant stream of creativity reflected with the use of classic characters. This is the SHIELD exactly as Kirby drew it back in the day. Same line work, same designs. The same goes for Klaw, Black Panther, and even the Master Man (in a Golden Age flashback story). I applaud the revisiting at a time when everyone else seemed to have no interest (had I read these at the time they would have been my first introduction to Kirby’s aesthetic) but I mourn the loss of opportunity. Who knows how much more enjoyable, and re-readable, this run on such an otherwise uninspired title would have been had the creators channeled the spirit of the man they honored instead of merely what they saw in his work?

My favorite parts of this run are the exclamations. Paramilitary guerrilla fighters from the Fiftieth Century shout “Oath!” and swear “By the Bright Lady!” more than you would think.
My favorite parts of this run are the exclamations. Paramilitary guerrilla fighters from the Fiftieth Century shout “Oath!” and swear “By the Bright Lady!” more than you would think.

Part of this is shown in the use of Apocalypse. Throughout the run there are vague allusions to a time, coming soon, when “Dayspring” will have the chance to complete his mission by ending the potential future reign of terror in the here and now. Presumably this was supposed to tie-in with The Twelve but if you remember reading that story you will probably also remember not caring all that much about what happened in it. Here Apocalypse haunts the background, hinting at a Master Plan and moving pieces into position. Anywhere else this would be just one more subplot but here the regularly overt character is reimagined as a subtle dark-skinned man in a suit. He arrives, seemingly from nowhere, with the reader and heroes knowing nothing of what he has planned.

When something similar to Apocalypse’s traditional form makes an appearance it is as a flashback (to far in the future) or when a character is describing him, as a threat hiding just out-of-sight waiting to usher in an eternal darkness from whence there is no escape. This teases a character who had been around for over a decade and lays the groundwork for an actual arc. Apocalypse, though never in on the action, appears as a genuine threat that Cable, heavy-hearted, must face or else face the doom of every single person he meets as well as each and every descendant they cannot possibly be aware of. For a character with more conflicting backstories than Hawkman, and an opponent that had been more Action Figure than realized person up until this point, this presentation made me genuinely interested in what would and could have happened next.

Kirby missed out on his chance to design Apocalypse (he did not stay on the original “X-Men” title, that he co-created, long enough to work on most of what is associated with that franchise) but here we see what may have been. If nothing else this is a version of a popular villain reimagined based on how Kirby approached his work in general, with the incredible scope of an endless world. There is a sense of dread permeating the way characters discuss Apocalypse that cannot be matched by all the times he has been shown monologuing about a Middle Schooler’s conception of Darwinism. Apocalypse (a character I love no matter what I seem to be indicating here) is often drawn as this mishmash of different concepts, none of which stand on their own.

From the future? Yes. From Ancient Egypt? Yes. A mutant? Sure. Access to unlimited Celestial technology? Appears to be the case.
From the future? Yes. From Ancient Egypt? Yes. A mutant? Sure. Access to unlimited Celestial technology? Appears to be the case.

Here we have a rather mundane man you would not look at twice and a walking natural disaster on par with any of the Cosmic Threats of old Marvel. The sense of scope has been retained and the character never risks becoming mundane. Bruce Banner and the Hulk, Jason Blood and the Demon. The works inspires your mind to fill in the gulf between the two and therein lies the beauty of what Kirby always did: Making the reader see the world for what it could be regardless of how it actually was. Joe Casey and José Ladrönn understood that more than most and while they worked with Nathan Summers they showed us what could be.

At one point a character refers to him as “The King of All Lies.” Looking upon this visage convinces me that we may still not have seen his true form.
At one point a character refers to him as “The King of All Lies.” Looking upon this visage convinces me that we may still not have seen his true form.

The Character of a City-Gotham Nights

Hello there, Legions of the Unspoken!  I hope you have enjoyed the debate I had with Paul O’Connor of Longbox Graveyard over 70’s vs. 90’s comic books, and I hope you come down strongly on my side that the 90’s are the best!

Seriously, though, we had a good-natured conversation about 90’s comics myths, 70’s comics, the differences between the two eras, and all sorts of cool stuff.  Take a listen here if you haven’t, or give it another one if you have!  The classics never get old, do they?

I sure hope not because today I’m taking a look at one of the all-time classics in superheroes, Batman!  We won’t be looking at him in the traditional sense, however.  We’ll be looking in particular at one of the most important supporting characters in the Batman mythos.

The supporting characters are almost what drives Batman.  If Batman’s rogue’s gallery are counted as supporting characters, then they’re almost certainly the most important element to Batman’s tapestry.  Even if we don’t count the Joker or Calendar Man, the supporting cast makes the Batman comic book come alive in ways many other comic books do not.  Robin, Alfred, Commissioner Gordon, Batgirl, Nightwing, Lucius Fox, Leslie Thompkins, and more bring out the “man” in Batman, and that’s good, because otherwise Batman would just be a weird rich dude who beat up the criminally insane and street level criminals.  Thanks to them, he is now a weird rich dude who beats up the criminally insane and street-level criminals  while having relationships with various folks.

The most important character in the Batman books, though, could possibly be Gotham City.  Gotham City gives a vibe few other locales, fictional or otherwise,  in comic books of any genre can match.  I think it may be the only location in comic books, especially superhero comic books, that can actually say it is a character (other than Danny the Street, of course).  Gotham City means as much to Batman as Batarangs, the Batwing, and Alfred’s snide comments.

I think we can all agree that the architecture in Gotham City reflects the environment that it is, but it is often people that determine the character of a city.  We speak differently about the people of New York City than we do the folks of Los Angeles.  In fact, we think of people within those cities as being vastly different!  Beverly Hills and Compton aren’t the same, and neither are Staten Island and Queens.  The people of Gotham City are a proud lot, but they are also a hard lot.  Their city reflects them, even as their hero reflects their city.  Gotham Nights was a 4-issue mini-series published by DC Comics in 1992 that attempted to show us Gothamites, and by doing so also showing us their city.

John Ostrander handles the writing chores, while Mary Mitchell and Bruce Patterson are on top of pencils/inks.  The book reads well, although it is not as good as some of Ostrander’s other works, such as Suicide Squad, Grimjack, Punisher, or Spectre, but it is a very solid read.  Of course, it is also important to note that Ostrander’s high marks are so high that is no surprise that some of his other works don’t measure up to them.  Even Justin Verlander can’t throw 100-MPH every pitch!  What he can do, though, and what Ostrander does here, is deliver a solid outing each time.

We get an enjoyable read that may not quite reach its potential, but I think some of that is due to space limitations.  If one is going to do a mini-series about the people of Gotham City in a way to bring the city to life in a new way to Batman fans, it seems like it would need to be longer than four issues.  The stories about the individuals are charming, but they feel rushed.  Just as we start to get to know the varied types of folks that comprise the human landscape of Gotham City, the series ends.

But for something to end, it must begin, yes?  This series starts with Batman chasing a mook.  Doesn’t it seem like all Batman titles are legally required to start that way?

Gotham Nights #1 - Page 2
That mook looks a bit more like he is doing the Batdance than he is running away from Batman. Remember Batdance? I don’t think anyone does except me.

The very start of the series has most of the action you’ll see from Batman in this story.  That doesn’t make it bad, but it does mean that if you are buying this because you wanted to see Batman swoop down on every mugger in every alley of  Gotham City then this book isn’t for you.  I think the covers sort of told someone that, but I can only imagine how ripped off someone might have felt if they got this on an impulse buy hoping to see Batman doing Batman stuff.

Gotham Nights #1 - Page 1
This is the cover that I think could have inspired the most of those regretful impulse buys.
Gotham Nights #2 - Page 1
The first time I saw this cover, I thought it was Catwoman enticing some hapless mark. It isn’t, but that isn’t bad.
Gotham Nights #3 - Page 1
All I can imagine when I see this is the idea that Batman is enforcing one of the vast array of anti-homeless ordinances that have sprung up across the United States. “It’s illegal to sleep on a park bench after dark, citizens! Let the Shadow of the Bat remind you!” Seriously, though, those laws are bunk.
Gotham Nights #4 - Page 1
The pastries and the gun make for a beautiful dichotomy.

The covers have a cool design, and I especially enjoy the bordering.  I feel like that alone sort of set these apart as “not your typical Batman book”, although with the first (and possibly the fourth) issue(s) I can see a casual fan picking it up and being disappointed that there isn’t more Batman in it.

But just because there isn’t more Batman doesn’t make this title a disappointment.  In fact, I’d say it is almost worth it for the great art of Gotham City alone.  Mary Mitchell and Bruce Patterson make the city come alive as a character in and of itself. Some of their work makes the buildings of Gotham seem like the night solidified  as they reach as high as they can into sky in an attempt to embrace their ethereal cousin…

Gotham Nights #1 - Page 5
That quote about Gotham being for giants sums up the way Gotham City has looked in nearly everything except the Batman ’66 TV show.
Gotham Nights #1 - Page 4
Man, is there anything one can’t quote Churchill about?
Gotham Nights #2 - Page 2
With just that single train, Gotham City has better mass transit than Atlanta.
Gotham Nights #2 - Page 3
Different parts of a city make a city’s personality so varied. I love that Gotham City is no different.  Of course, someone just out of the panel is bemoaning the lack of English being spoken, because, hey, Gotham City is no different.

The pages almost allow the city to breathe.  If it could breathe, you just know Gotham’s breath would be rank.  Thankfully, you don’t have to smell that, while you still get to enjoy the scenery.

Of course, as I stated earlier, cities become characters due to the folks than inhabit them.  While it seems like Gotham City is populated solely by guys who are part crocodile or have clocks for faces, most of the people in Gotham City are quite normal…some of them appallingly so.  Take Jimmy and Jennifer.  These two folks remind me of that non-couple we all know.  You know the one.  They obviously like each other, but neither do much of anything about it other than act in a flirtatious way toward one another that annoys all around them.  That having been said, they are nice people, even if Jennifer has little to no idea how to act in regard to talking about sexually transmitted diseases in public.

Gotham Nights #1 - Page 10 Gotham Nights #1 - Page 11 Gotham Nights #1 - Page 12

Jennifer’s way-too-loud discussion about AIDS in public followed up by her assumption that Jimmy is gay due to his concern over AIDS and his never having made a pass at her sort of tells you what sort of lady she is.  Jimmy also seems to be judging her because she has sex and dates a lot, so you can tell what sort of person he is fairly quickly as well.  They are nice enough folks, but there is a bigger picture they aren’t getting.

You may not have noticed the doughnut lady who dealt with Jimmy’s ever-so-clever order.  That seems to be par for the course for her, as she is perpetually building her own world in her own head.  I don’t blame her; I spend a great deal of my time dreaming about what my life would be like if I won the lottery.  (Basically, it would be more or less the same but with more comic books, less work, and probably an Unspoken Decade magazine.  Maybe it will happen!  Keep dreaming, Legions!)

Her name is Rosemary Hayes, and she is something to behold in her dreams.  Aren’t we all?

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Man, she sure makes Wonder Woman fat in her dreams!  I love it!  Her character is a tragic one, whose loneliness reaches out and just grabs you through the page.  I feel so badly for her after this next page, when she wakes up and the reality of her dreams dissipates with ever beam of light that makes its way into her eyes.  We’ve all felt that way after a dream, right?

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I have felt that too, Rosemary. It just ain’t fair.

Life, of course, isn’t fair to many folks, but it seems decidedly harsh on Joel and Emma, an older couple who have all sorts of problems, ranging from health to money.  Being broke is bad, but it is also tough to watch the world change around you when things are going poorly for you, especially as you get older.  That gets really tough if you recall when things were different, when you were younger, and when you could do something about it.  Things could not be going much more poorly for Emma and Joel, so Gotham, being the harsh mistress that it is, ups the ante just a little.

Gotham Nights #1 - Page 9 Gotham Nights #1 - Page 20They will support and care for one another as best they can through these issues, but at least they do have each other.  Dio is an ex-con on parole, who insists on pushing away anyone who is close, especially his pregnant wife.  He also has words with Batman, who says he’ll be keeping an eye on him.  I love that; it’s so small-town sheriff in a western, but it is also so Batman.  Those two genres don’t line up that neatly very often…

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Dio’s path in life hasn’t taken him anywhere awesome thus far, except maybe for his wife, Migdalia, but all he seems to do for her is to threaten to hit her and demand beer.  I am a big fan of beer, but I am not so much a fan of a violence against women.  He also appears to have a past as a high-end henchman, having worked for The Penguin.  I like that Batman has such a memory that he recalls this guy; Penguin must have stopped dressing his guys like he did in Batman ’66, where they’d have a hard time being told apart.

Dio’s tale is a sad one, and no tale in the book is devoid of heartbreak.  The question is is how will these people that comprise the great city of Gotham survive their personal tragedies?

Gotham Nights reminds us that each city, even the fictional ones, are full of people.  These people have dreams, hopes, fears, bouts of depression, hankerings for ice cream, and all of the various feelings that go together to make up human existence.  You’ll see these folks rise, fall, get up, stumble, sleep, eat, and engage in all sorts of activities just to keep their lives moving along.

Normally, I go through bit by bit and give you the story, but that seems a disservice to such a character-drive story as this one.  Instead, go out, find the book, and see yourself in these characters for yourself.  See yourself and your choices in a new light.  See yourself in Gotham Nights…and never forget one thing always remains constant in Gotham City…

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Hope you had fun, Legions of the Unspoken!  Next week, Emily Scott brings you Bill and Ted’s Excellent Comic Book, and Darry Weight takes a look at Cable. We’ll talk Rob Liefeld’s Avengers in an upcoming podcast, and Super-Blog Team Up returns on 4/21 with Top 10’s!  Hope to see you there for all of it, folks!