Practitioners 9: Grant Morrison

As a catch up for all new visitors to Beyond the Bunker, we’ll be representing the original Practitioners series 1-55 (Simon BisleyChris Bachalo and featuring the most influential comic creatives in history). Thoroughly incomplete but featuring legends like Stan Lee, Jack Kirby, Frank Miller and Alan Moore already more will be hitting the site every two alternate weeks. For now though, sit back every Tuesday for a run-down of the men and women who created the comic industry we know today. (Or check the full list in the menus above). This week: Global comics megastar and frustrated visionary; Grant Morrison.

All Star Superman 6 (DC, 2006)

Grant Morrison is a scottish comic book writer and playwright born 31 January 1960 who harnesses and embraces the full power of literature, psychology, history, science and mixes it all with an acute awareness of readership and popular culture. Sending Frankenstein to a land at the end of human experience and standing Wolverine and Sabretooth at the urinals of the Hellfire Club in the pursuit of perfect storytelling in comic books, drawing on a bewildering array of sources to bring forth writing that elevates and encourages its readership with rich language and deep, irony laced ideas of impossible futures and near unrecognisable presents, outer dimensions and the end of many worlds. Due to leave comic books at the end of his run with Batman, Morrison’s legacy will be one that lasts.

All Star Superman

Never scared of the poignant or the difficult Morrison has the canny knack of shifting seamlessly from the scientific explanation of a Voyager Titan mentally preparing to be launched into deep space for centuries in All Star Superman to the very real failure of Scott Summers to retain his marriage in the wake of post traumatic stress he is unable to express in New X-Men. It his acknowledgment of the need to ground – at least to the degree required for a readers’ mind if not in real terms – absurd statements and events with less abstract and more concise human situations and scenarios, underpinning everything with realistic and recognisable reactions.

He achieves this while still understanding the bare bones of comic book storytelling – still revelling in the idea of superheroes and extreme science fiction and (occasionally) magic. Elevating the subject matters though he does, he knows at all time who he is speaking to – and speaks as one of them, only with greater authority and verve.

He recognises, as all great writers perhaps do – no matter how many stars and space cannons are exploding around the main characters – that it is the individual humanity carefully identified by the writer that each character demonstrates that pins the story to the ground and allows it to resonate with the reader. In the same way that horror relies on the reactions of the participants, Morrison crafts insane worlds that are either (mostly) wholly accepted by its participants or accepted begrudgingly by them. The level of disbelief is relieved most of all by Morrison’s dialogue in which central, authoritative figures matter of factly describe high end science fiction ideas in lyrical and poetic language that causes the reader to wish it were so and, more subtly, believe it is possible. Using real science, meticulously applied and expanded upon, Morrison creates ephemeral worlds on solid foundations, allowing a degree of believability. The idea that Lex Luthor keeps a trained Baboon dressed as Superman in his cell for instance relies on the idea that reinforces Luthor as a genius, capable of manipulating his environment and the malign patience required to train a baboon and the influence to get the materials required. This falls into Morrison’s third greatest trick; an astonishing array of subtext and context to all of his characters. This is demonstrated beautifully, with the realisation that Luthor has a cavernous escape route available at any time through a trap door in his cell. His character is yet further reinforced as Kent is met at the base of stone stairs by an ambiguously aged girl in mild S&M uniform, piloting a Gondola on an underground lake. The iconography involved draws in sexual ambiguity (what is Luthor’s relationship to the girl – later uncovered as his niece, possibly for matters of taste), themes of power and influence and the mythology of the river Styx, as the innocent Kent is slowly taken back out to the living world. This may seem overly detailed and analytical but Morrison is at least that referential. His notes to his artists perhaps second only to the great Alan Moore.

His pacing and use of character is impeccable as he inhabits the mindset and responses of all of his characters – no matter how peripheral. It is in these reactions as Lex Luthor remains steadfastly oblivious to the possibility that Clark Kent has saved him as a prison riot rages around them in All Star Superman – assuming, naturally, that he has the situation well under control when in fact Kent continues to use an array of powers beyond his notice to ease his passage and even save him from a blundering Parasite. Kent remaining true to the honest and unassuming character of Superman to great comic effect.

Arcadia Byron of the Invisibles (Vertigo)

Morrison’s first published works were Gideon Stargrave for the brilliantly titled Near Myths in 1978 at the age of 17. Soon followed Captain Clyde, an out of work superhero for the Govan Press, a local newspaper in Glasgow, plus various issues of DC Thomson’s Starblazer, the sister title to the companies Commando title and the New Adventures of Hitler. He spent much of the early 80s touring with his band The Mixers, putting out the odd Starblazer and Zoids strip for DC Thomson.

In 1982 he submitted a proposal for a storyline involving the Justice League of America and Jack Kirby’s New Gods entitled Second Coming to DC. It was dismissed but his fascination of the New Gods no doubt formed the skeleton of the enormous Final Crisis saga in which Darkseid launches armageddon on an unsuspecting world in a second age of the New Gods using Earth and its inhabitants as hosts and demonic incubators. His desire to write DC’s primary superhero group was no doubt sated with his long run on JLA in 1996 to revamp the team and bring it up to date which he pulled off with Rock of Ages, Earth 2 and World War 3 (in no particular order).

At every stage he proved time and time again that he expanded the material handed to him – writing for 2000AD with Big Dave, Future Shocks and the unusually superhuman for 2000AD – Zenith under his wing before his tenure at DC.

The Filth with Grant Morrison and Gary Erskine (2003)

Upon crossing the Atlantic he demonstrated immediately his capacity for reinventing fringe characters and enhancing them beyond the original idea – taking the near unknown fringe character Animal Man and not only imbuing his character with the real reactions of a man who could channel the powers and thoughts of animals nearby to him but forced him to look through the fourth wall at the reader – breaking the indefinable rules of the medium in the process to brilliant effect.

Morrison is known for treating mainstream established titles in the same way as fringe titles and this has earned him a status as the great re-inventor in Modern comics. He was the man to make Scott Summer’s cool again as he took hold of the X-men universe and rang the life out of it – a process he tried to make un-reconnable – Killing 16 Million Mutants and giving Professor Xavier an unborn, evil sister who returns as a mind slug and unleashes the Shi’ar navy all over the mansion. Introducing a cavalcade of new Mutants some as hilariously and poignantly useless as ‘Beaky’ the featherless, beaked bird boy who batters in the head of the newly uber-feline and faux gay Beast. Jean Grey dies but for once is given no reason to return – as psychic hyper-bitch and new headmistress of Xavier’s Emma Frost sways Scott Summer’s exhausted heart, filling the emotional vacancy usually left by Phoenix every time she summarily carks it. Magneto is beheaded after destroying half of Manhattan and Xavier’s approaches an actual curriculum and focusses on its students for the first time in its history.

Jean and the Beast (New X-Men, 2002)

Morrison often – whether intentionally or not – represents the discussion boards and blogs of the fans – testing theories that are discussed hypothetically on public pages that no one expected to see them on. Batman is killed and returned and given a son in Morrison’s watch. Jason Todd effectively returns breaking the almighty unwritten rule of comic books – partly you suspect out of sheer bloody mindedness. Morrison finally being characteristically brave to investigate the reality of Dick Grayson under the cowl.

Dick Grayson as Batman (Batman, 2009)

The content of his independent titles have become mainstream – for good or ill – leaving many readers of Final Crisis utterly confused as to what was taking place – an abstract Superman tale in which he passes through multiverses in order to combat an abstract thought form made real in storytelling in an ephemeral world populated by reality vampires via a limbo championed by an indifferent Woody Allen-alike in a jesters outfit in order to save Lois Lane in between her penultimate and final heartbeat borders on the lunatic – but is incredibly detailed and worth the three reads it takes to fully grasp the deliberately overlapping realities thrown at it.

Morrison clearly found a like mind in penciller Frank Quitely, bringing to life the inner workings of Professor X’s mind in New X-Men, the gnarled and diseased but lithely libidoed geriatric in Lust for Life from Jamie Delano’s 2020 Visions (Speakeasy comics, 2005), scraping by each other by two volumes of the Authority – Morrison on Volume 4 with Gene Ha and Quitely on Volume 2 with Mark Millar, empowered the new JLA with a little much-needed modern sheen in the book of the same name in the early naughties and reinvented the greatest super hero of them all in All-Star Superman.

But it was WE-3, the story of three prototype ‘animal weapons’ as they flee the project that ‘enhanced’ them encapsulates the creative partnership. Morrison was meticulous as ever with his descriptions and insisted on consistent and protracted revisions of minute details from Quitely in order to produce a work of rare and fine quality. This certainly was achieved as it was released via Vertigo imprint in 2004 to public and critical acclaim. Morrison’s subtlety and nuance of character supplied each of the fleeing and desperate central characters; a rabbit; a cat and a dog a bewilderingly believable character each recognisable as an individual and the drives and psychology of the animal in question. Morrison’s capacity for invention supplied the narrative with a relatively basic speech pattern simulator for each of the animals allowing them to emote through limited cognitive language in a way not human but beyond its species. The effect is a dizzying, gripping and poignant story of extreme science inflicting havoc and chaos on three innocents’ lives – each reacting in their own very specific way. In many ways WE3 is exceptional and as near perfect as a comic book can get because it uses – perhaps most transparently and as such to best effect – Morrison’s greatest creative methodology – to recognise inherent and recognisable characteristics in vulnerable and capable beings and then inflict seven hells of pseudo lunacy on them – in whatever form seems most fun!

We3 (2004, Vertigo) by Grant Morrison and Frank Quitely

Most recently, Morrison has become devoutly lambasted for his incredible work in the Batman titles; killing Batman himself, replacing him with Dick Grayson, who struggles with the responsibility of the cowl. The hardened purists in the DC readership continued to make life harder and harder for Morrison to ply his trade. That, combined with his increasingly bizarre statements about his influence and involvement in the comics industry have begun to slow the genius down. His ideas were beginning to outgrow a perhaps more commercially minded DC as it tries to keep up with it’s Red banner rival, Marvel. Increasingly limited in the titles he has been permitted to write, Morrison announced recently that he will be leaving the comics industry behind, citing specifically the antagonising nature of the hardened fan – who actively denounce any major creative changes in the writing of any major character – irrespective of sales or popularity among the general public. This is an enormous loss to the industry and should not be underestimated. Wild card though he was, Morrison was a comic book loving wild card, determined to bring innovation and broad ideas to a fairly staid and unchanging medium. This is the man who finally killed Batman, deified Superman and killed 6 million mutants in 1 issue. Let his comics epitaph read; ‘went down fighting, but took a lot of characters with him.’

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Practitioners 54: J H Williams III

It’s back!! Practitioners, our weekly article featuring the people who made the comics industry, went on a three month away day while we continued to complete Moon but it’s now back!! Practitioners will now be bi-weekly, while every second week on Tuesday Practitioners Reloaded will present the previous 1 – 53 (Simon BisleyChris Bachalo) and then continue to showcase all the new articles until we’ve written a comprehensive history of the comic book industry!! Or die.

James ‘Jim’ H. Williams III, usually credited as J.H. Williams III, is a comic book artist and a penciller, best known for his work on titles such as Promethea (with Alan Moore), Desolation Jones (with Warren Ellis) and Batwoman (with W. Haden Blackman).

J H Williams is a master of his art and others aside. Most Practitioners have a near-complete grasp of the comics page, panel to panel storytelling, placement and composition. Most pages produced for comic books are purpose built as little more than a rendition of a writers words and descriptions. J H Williams III limits himself to nothing, challenging himself to extrapolate only the most complex compositions in the history of comics without losing control of plotting, pacing or flow. Bleeding edge double page spreads, multiple styles and techniques combining into both unique and familiar page styles. Able to mimic the most prominent and recognisable legends in comic book history, while able to seamlessly drop into his more comfortable naturalistic style, Williams has defined himself as a master draftsman and a timeless artist.

Williams’ early work includes pencilling the four-issue miniseries, Deathwish (1994-1995) from Milestone Media, a company founded to present a platform for characters of ethnic minority, the most famous of these Hardware, Icon, Blood Syndicate and Static. Deathwish – tag line: ‘Paint the Town Dead’ – was a dark number, featuring Wilton Johnson, the victim of a brutal family raping from which only he survived. Appearing in Hardware six times, the series was notable for it’s use of a pre op transexual, obsessed with sex related crimes, as it’s protagonist. It also featured the exclamation ‘Fuck art! Let’s dance!’ at the close of the third issue. This was a dark and distinctive introduction to comics for J H, the artwork visceral, savagely brutal, anarchic and powerfully emotive, Deathwish presented as a damaged, frightening and unpredictable figure – rendered powerful with extremely tight line work from Williams. It’s hard to imagine a more fringe entrance to the popular comics industry but JH held nothing back and presented himself as a strong contender. Written by Adam Blaustein, Deathwish has disappeared into the murky comic book back catalogue but JH Williams III was to plough on to handle some of the most challenging and venerated comics in the industry (most often thanks to his art work). It also gave Williams the chance to work with legendary inker and Joe Quesada partner, Jimmy Palmiotti.

But it was on the short-lived 10-issue (including a special 1,000,000 issue) Chase title, with writer Dan Curtis Johnson that he came to prominence. Based on a character, Cameron Chase, that appeared in Batman #550 in January 1998, it followed Chase as an agent of the Department of Extranormal Operations tasked with monitoring and neutralising Metahuman threats to national security. The blend of the extreme metahumans and the noirish, dark edged naturalism made Chase a moderate hit for fans of fine comic art, J H Williams’ involvement perhaps elongating the short run. Never the less, it was here that J H Williams entered the DC firmament and began to make creative ripples throughout the industry.

Even then, at the start of his main career, J H Williams III demonstrated all of the skills that have made him a watchword for both wild experimentation and paradoxically professional reliability of quality. Every page bled with the precise representation of the writer’s ideas somehow locked seamlessly between naturalism and comic book fantasy. Anchoring the content with a powerful grasp of expression, anatomy, light and composition, JH Williams III draws in the reader, pacifying their expectations with beautifully accessible detail while introducing dizzying and brave compositions.

Williams collaborated with inker Mick Gray on two DC Elseworlds graphic novels, Justice Riders – in which the Justice League of America are recast as western figures – written by Chuck Dixon and Son of Superman, written by Howard Chaykin and David Tischman. Justice Riders would likely inform Williams’ interest in drawing wild west heroes, as they appear again in the later Seven Soldier’s series bookends (written by Grant Morrison) and a single issue of Jonah Hex (#35) on which Williams said “I certainly want to do more issues myself or even a graphic novel if the opportunity and schedule presented itself.”

It was with another of DC’s most famous writers – the legendary Alan Moore – that JH Williams was to find yet greater prominence, both as an interior and cover artist, with the utterly glorious Promethea (32 issues, 1999–2005). It was here that Williams’ now legendary capacity to twist the logic of a comic book page really took hold. Taking first of all the poetic and holistic plots and scripts of Mr. Moore, JH Williams treated every page (or double page) as single images, and rather than simply breaking them into neatly compartmentalised shot boxes, expanded the use of the form in a way most artists would never think to. Some panels were simply single figures occupying space centrally in the page, events, language and conversations rotate around specific images at the heart of the image, where panel work took place in more conventional ways, large, iconic panels drew the scene effortlessly across the top of a double page spread, making the remaining panels parts of that larger image. A dramatic understanding of fable, fantasy, ancient historical and the art nouveau style of Alphonse Mucha, popular with other legendary artists such as Joe Quesada and Adam Hughes, permeates the indelible world of Promethea. Notably, it wasn’t Moore that walked away with as many accolades as Williams, Moore taking considerable criticism at the suggestion that Promethea was acting as a mouthpiece for his religious beliefs while praise was heaped on the series for the beauty of it’s artwork and innovation regarding the medium itself. It is there that Williams excels, breaking tradition and standards perhaps unitentionally layed down at the birth of early comic books and again indirectly cemented by the unquestionable work of Kirby, Ditko, Gibbons – even Otomo through the popularity of their work.

But Williams isn’t trying to change the industry. His work isn’t a clarion call to other artists to try to do the same. Should too many try, comics would most likely become a chaotic mess. Williams’ work is innate and personal to him, a style and level of detail and naturalism that comes from pure, raw talent. His work is a treat. His is the Art Deco print amongst the Metallica posters. It flatters the owner and offers a beautiful and enlightening alternative to the great and beloved standard.

Detective Comics with writer Greg Rucka gave birth to the series that will leave JH Williams III in the upper echelons of comics practitioners. In the wake of the loss of the title character, ‘Detective’ Batman was absent in the aftermath of Batman R.I.P. and Final Crisis, causing the title to focus on Rucka’s Batwoman. Williams has returned as an artist and now writer of the new Batwoman series, accompanied by co-author W. Haden Blackman. Using all of the talents and skills from his previous work, Williams has formed a title of delicate and volatile beauty. Batwoman, shock of sharp red hair and porcelain white skin, is an even more distinct figure perhaps than Clark Kent when not Superman, and should be easily recognisable in the bat suit as the only person in Gotham with no pigment on their skin. None of this matters though, as a languishing presence of a child-stealing spirit of a bereaved mother haunts the waterways of Gotham. Blending dizzying but easily maneouvrable double page spreads with fine art, profound expressionism, watercolour, pencil line, ink and hand drawn finishes entwined with a haunting, feminine and original story line, Batwoman ticks a lot of boxes. It is, of course, Williams’ unerring pages that draw the real attention. Williams seems to have come full circle from his days on Deathwish – pushing the boundaries of sexuality (Batwoman is one of only a few prominent gay characters in comics – of which she is perhaps the most prominent) and using the backstreets, slums and sidewalks as his backdrop – JH Williams remains, for now, a million miles from the twisting reality of the Promethea universe, the hardy western violence of Jonah Hex or a thousand miles at least from the old swamp hut where ancient beings redesign reality, visited by I, Spyder in Morrisons’ crazy Seven Soldiers bookends.

Able to mimic Kirby, Simone Bianchi (Seven Soldiers: Shining Knight), Cameron Stewart (Seven Soldiers: Manhattan Guardian), Ryan Sook (Seven Soldiers: Zatanna), Frazer Irving (Seven Soldiers: Klarion the Witch Boy), Pascal Ferry (Seven Soldiers: Mister Miracle), Yanick Paquette (Seven Soldiers: Bulleteer) and Doug Mahnke (Seven Soldiers: Frankenstein) in order to combine the varied strings of Morrison’s seven different titles stylistically and draw them to a very specific close in his own style. Given that that style involves pages made up of puzzle pieces, whole newspaper pages, Western scenes involving giant spiders, world twisting imagery and the destruction of the end of the Sheeda, a devilish Hybrid civilisation born from the remnants of the Human society it’d be a crisis for almost any other artist – though a challenge many will take on. But a man like JH Williams III, it appears that it’s terrifyingly par for the course.

At present, a talent unlike any other in the comics industry, which in an industry built on clear principles and methodology, only highlights just how special the third JH Williams really is….

If Batman Were Voiced by the Cookie Monster

 

I swear something has broken in my brain as of late. First the cat singing Game of Thrones has me laughing like a child and now this. Turns out that if you take Christian Bale’s bonkers Bat-voice out of the movies and replace it with the only-slightly-less-bonkers Cookiee Monster voice, the result is something so stupid it deserves a nobel prize.

Wonderful.

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Practitioners 5: Eduardo Risso

As a catch up for all new visitors to Beyond the Bunker, we’ll be representing the original Practitioners series 1-55 (Simon BisleyChris Bachalo and featuring the most influential comic creatives in history). Thoroughly incomplete but featuring legends like Stan Lee, Jack Kirby, Frank Miller and Alan Moore already more will be hitting the site every two alternate weeks. For now though, sit back every Tuesday for a run-down of the men and women who created the comic industry we know today. (Or check the full list in the menus above). This week: 100 Bullets and Batman artist and long-running Azzarello creative partner, Eduardo Risso.

Following on from the previous feature on Brian Azzarello we’re looking at the other creative that made 100 Bullets what it was – a pivotal, gravitational piece of visceral and memorable power.


Only an artist with the craftsmanship to make a coffee machine a focus in a scene filled with tension and intrigue could have maintained the awe inspiring integrity and scope of a series like 100 Bullets. Every once in a while an artist will simply prove the power of a black line on a white canvass and no one shows the clarity and purpose of line placement better than Eduardo Risso. He is the dangerous surgeon of the practitioners – his knowledge of anatomy, feature and form informing a sharp, efficient and unflinching style that tears the page between pitch blackness and sharp simple colours – a playground for colourists Grant Goleash and Patricia Mulvihill. In a yankee-centric medium Risso is now synonomous with Brian Azzarello and 100 Bullets, however Eduardo Risso is a multinational artist reknowned in North and South America and Europe for his graphic, noirish linework and efficient and poster-natural artwork. As a western reader, embedded in American comic books anyone’d be forgiven for believing his name was made in the US. Not so.

Like a wandering Mariachi, Risso was born in Leones in Córdoba Province, Argentina and started as a cartoonist in 1981, drawing his first collaborations for the morning paper La Nación and the magazines Erotiocon and Satiricon in his home country. In 1986, he worked for Eura Editoriale of Rome, Italy, and in 1987 he drew Parque Chas, scripted by Ricardo Barreiro. The series was first published by Fierro in Argentina, comic history, and then by Totem in Spain, Comic Art in Italy and finally the complete series as a graphic novel in France, Germany, Denmark, Belgium, Holland, Poland and the United States – no doubt catching the attention of comic industry decision makers there. In 1988, he drew Cain, again scripted by Barreiro, again in Black and White giving rise to a clear inking style that was unforgiving to detail. With each new series Risso’s work has increased in clarity and precision.

He is prolific in his work – every year of working on 100 Bullets turfing up other work including Batman 620-625. Most recently he can be found in the pages of Logan 1-3. The canuckle head giving a character that could’ve been born with Risso in mind to Risso’s gritty and dominating style. While 100 Bullets remains Risso’s most prominent achievement (covering 11 years of his working history and earning him an Eisner for Best Artist) we haven’t seen the best of him yet.

Practitioners 4: Brian Azzarello

As a catch up for all new visitors to Beyond the Bunker, we’ll be representing the original Practitioners series 1-55 (Simon BisleyChris Bachalo and featuring the most influential comic creatives in history). Thoroughly incomplete but featuring legends like Stan Lee, Jack Kirby, Frank Miller and Alan Moore already more will be hitting the site every two alternate weeks. For now though, sit back every Tuesday for a run-down of the men and women who created the comic industry we know today. (Or check the full list in the menus above). This week: 100 Bullets and Before Watchmen: Comedian scribe Brian Azzarello.

Brian Azzarello has written for Batman (‘Broken City’, with Eduardo Risso and Batman/Deathblow: After the Fire) and Superman (‘For Tomorrow’, with Jim Lee). Prior to his rise as a writer he was best known as the line editor for Andrew Rev’s incarnation of Comico, a middle American publisher responsible for Robotech, Jonny Quest, Mage; The Hero Uniscovered and Grendel before going bankrupt in 1990.

But his greatest works are the investigation and subsequent revelling in the murky underbelly and imagined clandestine power houses of the american continent in the incredibly indelible and affecting 100 Bullets – which ran from August 1999 to April 2009. It was a masterwork.

It was initially presented as a set of episodic, self-contained storylines, an occasional appearance by the seemingly omnipresent Agent Graves the only connecting detail but by its completion it made clear a nationwide network of criminal empires resting behind the accepted powers-that-be that touched (and consumed) the lives of everyone inside it.

The Series won the 2002 Harvey Awards for Best Writer and Best continuing series (as well as Best Artist for his long term creative partner Eduardo Risso) and 2001 Eisner Award for Best serialised story, and in 2002 and 2004 Eisner Award for Best Continuing Series.

Although diffuse, the main reasons for this success were most likely Azzarello’s uncanny capacity for realistic use of regional and local/dialects as well as often oblique use of slang and metaphorical language in his character’s dialogue. His capacity for subtle and accurate characterisation and his capacity for dynamic and often potentially debilitating plot twists while never losing control of the inherent details that made it so gripping.


He had worked with Eduardo Risso on Jonny Double and went on to work with him on Batman: Broken City applying the same noir and pulp principles reminiscent of the best Miller, Janson and Varley. The intuitive sense of layout and pacing between them formed one of the most effective partnerships in comics history, underpinned by Azzarello’s understanding of provocative and engrossing storytelling.

His dabble into self publishing was (and still is) a rip roaring success with Loveless; a noir Spaghetti Western following the trials of an outlaw couple in the desolate and uncertain years following the American Civil War.

His most recent work of note is Joker for DC comics in which Azzarello brings the long standing image of the DC’s comic book Joker closer to that of Christopher Nolan and the late Heath Ledger’s version from The Dark Knight (2008). He represents far less an ethereal and spiritual threat to Gotham than he does a more potent and vicious one with real verve and clarity in his criminal intent. Something that in the hands of other writers might lessen a long beholden character, but in the hands of Azzarello (aided ably by Lee Bermejo) it finds greater potency in its compactness. An affecting writer, well worth a look if you get the chance.

Lego Batman 2 Trailer

Steel yourselves for a giggle fit because the launch of Lego Batman 2 comes with a suitably funny launch trailer. The free roaming sequel to the caped crusader’s first foray into the world of bricks promises more heroes, more villains and even more silliness and the trailer certainly delivers on that. Also, we finally get to see what it looks like when the Batmobile looses a wheel and the Joker gets away.

Lego Batman 2 is out now.

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Dark Knight Rises: Trailer 3

Hold on to your Batarangs Bat-fans as the slow climb to the top is almost over before the inevitable thrill-drop ride of Dark Knight Rises, Christopher Nolan’s bone crunching, pseudo-realistic, city street demolishing Batman trilogy. From the looks of it this will be the biggest so far, the scale visibly going well beyond that of the previous two as Bane kick drops Brucey out of Gotham City and it would appear tries his own revolution on the streets of Gotham. Exactly what the US Army would have to say about that is left decidedly out but it looks like Batman might just return to save the day.

Based on the Broken Bat series of the early 90s that introduced Bane it suggests a fight back from absolute defeat at the hands of Bane (something they’ve made no attempt to keep secret in the trailer) but there are plenty of questions left unanswered. Like how Catwoman influences things, how Commissioner Gordon will help and where he stands on the hunt for the Batman following the death of Harvey Dent in the last film and how Joseph Gordon-Levitt managed to work his way into this film as well.

There is the issue of how it will all end. Comic book characters have proven increasingly resilient to rebirths. There has been absolutely no ambiguity over whether this is the last of the trilogy and history decrees it’d be 10 years before a reboot (by which time the fans’ll be crying out for it anyway) – so there is, I think, a very real possibility that the Dark Knight will fall in the Dark Knight Rises. The themes apparent in the trailer would suggest that figureheads and leadership are clear here – could Batman be more influential dead?

I feel a new BTB Investigates coming on….

For Anyone Who’s Ever Played an Old School Game: Go Right

This succinct and beautifully thought through video by Youtuber RockyPlanetesimal tells you everything anyone who never owned a SNES or a Mega Drive needs to know about old school gaming. It’s the single minded pursuit of a simple goal. To keep going right – whether you’re gigantic, tiny, an arabian prince, a superhero, an italian plumber, a knight with rickety armour or an Earthworm that simple premise saw a billion gamers through tough times. God bless you, you’ve got the right stuff!!

Batman ‘Utterly Gay’ according to Batman Writer Grant Morrison.

In what is one more in a series of eloquently outspoken statements about comics (and his involvement in them) Batman writer Grant Morrison has described the superhero as “utterly gay”. The acclaimed comics writer, who has been writing Batman for DC since 2006’s ‘Batman And Son’ storyline, has said that while character is straight, a homosexual sensibility is “built into” the concept. He told Playboy: “He’s very plutonian in the sense that he’s wealthy and also in the sense that he’s sexually deviant. Gayness is built into Batman.’

“I’m not using gay in the perjorative sense, but Batman is very, very gay. There’s just no denying it. Obviously as a fictional character he’s intended to be heterosexual, but the basis of the whole concept is utterly gay.” Morrison added that this was part of the appeal: “I think that’s why people like it. All these women fancy him and they all wear fetish clothes and jump around rooftops to get to him. He doesn’t care – he’s more interested in hanging out with the old guy and the kid.”

Batman’s next big screen outing The Dark Knight Rises is released this summer. Watch the trailer below.