World Famous Comics: Batman/Deathblow: After the Fire
Batman/Deathblow: After the Fire
By: Brian Azzarello Publisher: DC Comics Average Rating: Binding: Paperback Label: DC Comics Number of Items: 1 Number of Pages: 160 Publication Date: May 01, 2003 Release Date: May 01, 2003
Batman and the CIA Picking up this book was a foregone conclusion once I saw the names Azzarello/Bermejo attached to it. I am a big fan of their work and am anxiously awaiting their forthcoming Joker story. This one is a decent, although quite decompressed read. Many panels contain very few, if any, words. This trend in modern comics of padding stories with pages and pages of scriptless art to extend it in order to sell more issues is both annoying and expensive. Comics are too costly to begin with and it should come as no surprise that the consumer would expect something to read in return for their hard earned dollars. At times, it appears that the concept of value has lost its' meaning in this industry. That being said, if I must peruse a book by means of visual storytelling, Bermejo is one of the few modern artists who can ably accomplish that feat. The plot itself can be a bit confusing at times, with its' constant shifting from past to present. Parts of this CIA/conspriracy story don't make sense, but that usually is the case with that genre. Azzarello certainly has the noirish style down pat and this one here is no exception, but if you want a better example of that type of tale, check out his superb Batman arc Broken City.
Engaging stuff Azzarello could have easily written Batman/Deathblow: After the Fire as a standard superhero crossover, uniting Batman and Deathblow against a common foe while playing up the tensions created by their differing methods; to read some of the reviews on here, you'd think some people were disappointed that it wasn't. But what he has written is something much, much better.
Rather than write something that compromises, or alternates between the styles of Batman and Deathblow as comics, Azzarello has constructed a tightly-written noir story that shifts between the past and present as Batman and Deathblow try to piece the puzzle together 10 years apart. Instead of the typical approach to comic-book writing - where the characters are centerpieces, and the villians and worlds work around them - Batman and Deathblow are both players in something larger than them, and their respective personalities take a backseat to a mystery that may be too big for either of them.
That said, Azzarello has a handle on Batman's methods that make him a truly interesting character to watch - without giving away anything, it's safe to say he has a handle on the 'detective' aspect of the character, and isn't afraid to make use of Wayne's skills both in and out of the suit.
And no review would be complete without mentioning the art, which is fantastic; everything is immaculately detailed in browns and reds that give it a great atmosphere, and Batman himself has never looked better. The panelling, too, is visually arresting, and gives everything a great pacing.
Make no mistake - if you like your Batman with a good slice of 'detective,' Batman/Deathblow is worth not reading once but twice.
It's dark alright... The book is long on atmosphere and attitude but the actual story is pretty ordinary. There wasn't that much interaction between Batman and Deathblow, reminiscent of De Niro and Pacino's non-confrontation in Heat. It could've been great but in the end, it isn't.
Boring, confusing and petulant noir The story's dull. The scenes seem repetitive. The resolution and the time jumps are confusing and poorly indicated. Batman doesn't seem so much dark and driven as harried and annoyed. Don't buy this one. It's from the "if it's dark, it's brilliant" school of Batman comics; I thought we got over that in the mid-90's.
Smell of Leather in Every Page Brian Azzarello is out to redeem himself. After writing Cage and failing to bring out the best of that character, he comes in and takes on the Big Bad Bat. The result is perhaps one of the best well written and well drawn stories to come out from the Batman mythos for some time now. His Batman is dark, I'll give him that. Not just that, Azzarello doesn't shy using the Bat's alter ego, Bruce Wayne, in the main story too. While most writers can't help but bring up that Wayne is a facade to the Batman, Azzarello makes him play a pivotal role throughout the story. In fact, by the final chapter, there is no Batman in sight and all you contend with is having Bruce Wayne taking over the lime light.
One thing I loved about this book is the realism. Batman being afraid that if he ticks off the CIA, the Agency will be on him in full force and expose his true self. This goes beyond to root down the character in the "real" world. He didn't go, "Well let them, I'll show them who's boss!" His reply was much more collected and calculated. This is the Batman that we just love and I hope that this is the character that we get to see soon in the upcoming movie, not the Joel Shumacher character of the last two Batman movies.
The art? Nothing I can say can do the art justice. Nothing! Lee Bermejo captures Batman in so much good detail, you can honestly smell the leather off his Batsuit. The cape is not cartoony or Spawn long as artists just love doing. It is just right and it works to keep the premise of the story rooted down to reality. His Batman, although not commercial like Jim Lee's recent rendition, is this looming figure. Bermejo doesn't play much with the shadows, but still gives the character that dark feel to him. The art is very awe-inspiring.
With a story that shifts from flashback to present times, Azzarello creates a Batman that will stand the test of time as one of the ultimate renditions of modern times. He's got his work cut out for him, though, since he's going to be penning the regular series with the now classic HUSH storyline over.
Anything Goes Trivia
Megaton Man
Trevor
