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While DC's current Flashpoint event is apparently being met with complete apathy now that it's been entirely overshadowed by the impending don't-call-it-a-reboot-reboot of DCnU, there's one thing that's caught the attention of the whole comics community. It's one thing that everyone--from the biggest news and gossip sites to fan communities to even the critical folks at scans_daily--can agree upon.
And that is that Brian Azzarello and Eduardo Risso's Flashpoint: Batman--Knight of Vengeance is great.
No, not just great. Google reviews for the third issue, and every single one you'll find save for maybe one is glowing. Flashpoint: Batman is universally considered to not just be the best of the Flashpoint tie-ins by a *wide* margin, but legitimately, A+, best-of-2011 "instant classic" great great GREAT.
I understand where they're coming from, and y'know, I can almost agree.
But something holds me back, and I'm getting increasingly annoyed that it's something that no one else seems to notice or care about. They seem to be focusing less on the story and more on the twist, which has now been plastered so many places by now that I'm hoping I won't be spoiling any of you by posting it right here. Because for me, the moment I actually became interested in the potential of F:B-KoV wasn't when the twist happened in the story itself. No, it was when I saw Dave Johnson's cover art for the final issue:
Hoshit. When I saw that cover last month, a dozen ideas and possibilities popped around in my fan-brain. That image alone tells a whole story without a single word. In this reality, Bruce was the one who died, and so Thomas became the Batman while Martha became the Joker.
It inverts and plays with the idea of Batman and the Joker being mirrors and/or polar ends and/or two sides of the same coin and/or whatever their dynamic represents, depending on the fan and writer. How would that grief turn the noble Martha Wayne into the Joker, and more importantly, what kind of Joker would she be? How would Dr. Thomas Wayne, a full-grown adult without any of Bruce's years of rigorous training and childhood trauma, become a vigilante himself? Even in this alternate reality, why is it so tragically inevitable that there be a Batman and a Joker?
I think that these kinds of questions were what so intrigued everybody who loved F:B-KoV. Perhaps all the more so because they go completely unanswered. I suppose that, for many, that open-endedness is brilliance. For me, it's a half-baked non-story of pretension, posturing, and bullshit. And it's made all the worse by the three or four useless, boring subplots that go nowhere, add nothing to the story as a whole, and take up space that could be better used looking expressly at the Thomas/Martha story, which is all anyone cares about anyway. And even still... it doesn't work for me. Not like it should.
So in a rare case of striking while the iron is only-recently-cool, let's take a look at Flashpoint: Batman--Knight of Vengeance and see if maybe I'm not missing something.
( So there was this time when Batman's wife, the Joker, kidnapped Harvey Dent's twins... )
And yet, I say again, this story has stayed with me. I'm STILL thinking about it, and I'm still thinking about Martha most of all. I just read another comic that mentioned Martha Wayne, and I found myself still thinking about Joker!Martha, as if that's now her defining appearance. I wonder and worry that I'm not alone. Let's face it, this story is probably the most prominence that Martha Wayne has achieved in comics history as a character since her creation, just by default of the fact that no one ever does anything with her. I just hope that this doesn't stain the character in anyone's minds, not even my own.
And so to cleanse the palate, I offer up both Ming Doyle's Martha-centric fancomic Lady Gotham, as well as this wonderful piece by Yasmin Liang entitled, "Trinity Mothers":
Ahhh, that's the stuff.
Oh, wait, aren't they killing off Martha Kent in the DCnU? Well, fuck. Thanks, DC!
And that is that Brian Azzarello and Eduardo Risso's Flashpoint: Batman--Knight of Vengeance is great.
No, not just great. Google reviews for the third issue, and every single one you'll find save for maybe one is glowing. Flashpoint: Batman is universally considered to not just be the best of the Flashpoint tie-ins by a *wide* margin, but legitimately, A+, best-of-2011 "instant classic" great great GREAT.
I understand where they're coming from, and y'know, I can almost agree.
But something holds me back, and I'm getting increasingly annoyed that it's something that no one else seems to notice or care about. They seem to be focusing less on the story and more on the twist, which has now been plastered so many places by now that I'm hoping I won't be spoiling any of you by posting it right here. Because for me, the moment I actually became interested in the potential of F:B-KoV wasn't when the twist happened in the story itself. No, it was when I saw Dave Johnson's cover art for the final issue:
Hoshit. When I saw that cover last month, a dozen ideas and possibilities popped around in my fan-brain. That image alone tells a whole story without a single word. In this reality, Bruce was the one who died, and so Thomas became the Batman while Martha became the Joker.
It inverts and plays with the idea of Batman and the Joker being mirrors and/or polar ends and/or two sides of the same coin and/or whatever their dynamic represents, depending on the fan and writer. How would that grief turn the noble Martha Wayne into the Joker, and more importantly, what kind of Joker would she be? How would Dr. Thomas Wayne, a full-grown adult without any of Bruce's years of rigorous training and childhood trauma, become a vigilante himself? Even in this alternate reality, why is it so tragically inevitable that there be a Batman and a Joker?
I think that these kinds of questions were what so intrigued everybody who loved F:B-KoV. Perhaps all the more so because they go completely unanswered. I suppose that, for many, that open-endedness is brilliance. For me, it's a half-baked non-story of pretension, posturing, and bullshit. And it's made all the worse by the three or four useless, boring subplots that go nowhere, add nothing to the story as a whole, and take up space that could be better used looking expressly at the Thomas/Martha story, which is all anyone cares about anyway. And even still... it doesn't work for me. Not like it should.
So in a rare case of striking while the iron is only-recently-cool, let's take a look at Flashpoint: Batman--Knight of Vengeance and see if maybe I'm not missing something.
( So there was this time when Batman's wife, the Joker, kidnapped Harvey Dent's twins... )
And yet, I say again, this story has stayed with me. I'm STILL thinking about it, and I'm still thinking about Martha most of all. I just read another comic that mentioned Martha Wayne, and I found myself still thinking about Joker!Martha, as if that's now her defining appearance. I wonder and worry that I'm not alone. Let's face it, this story is probably the most prominence that Martha Wayne has achieved in comics history as a character since her creation, just by default of the fact that no one ever does anything with her. I just hope that this doesn't stain the character in anyone's minds, not even my own.
And so to cleanse the palate, I offer up both Ming Doyle's Martha-centric fancomic Lady Gotham, as well as this wonderful piece by Yasmin Liang entitled, "Trinity Mothers":
Ahhh, that's the stuff.
Oh, wait, aren't they killing off Martha Kent in the DCnU? Well, fuck. Thanks, DC!
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