“Kid’s Stories” Can Be an Elevated Art Form

Pretentious snob and director of Cosmopolis (2012), David Cronenberg, gave The Dark Knight Rises (2012) a bad review that gained momentum while it was still in theaters not only insulting its fans with curse words but added “I don’t think they are making them an elevated art form. I think it’s still Batman running around in a stupid cape…  A superhero movie, by definition, you know, it’s comic book. It’s for kids. It’s adolescent in its core.”

Never mind that the esteemed Dark Knight Rises is not a kid’s movie.  That is self-evident.  Cronenberg also managed to insult both the graphic novel medium and anything made for kids.  It only takes one word such as Watchmen, Sandman, or Persepolis to demonstrate that not only are many graphic novels not made for kids, but can be explicitly for adults only.  Additionally, there are several examples of Batman comics unequivocally for adults such as The Dark Knight Returns.  Instead, here I will demonstrate that entertainment made for and targeting kids can be an elevated art form that Cronenberg claims it cannot be by citing specific cases.  All of these examples are animated.

The top 100 children’s films list by the New York Times is unsuitable to make such a case because it chooses anything suitable for kids rather than made for kids.  The list even includes Casablanca, equipped with Nazis, alcohol, gambling, smoking, complex adult situations, and all. 

Beauty and the Beast (1991)

Beauty and the Beast is famed as the only animated feature to be nominated for the Academy Award for Best Picture until the number of available nominations doubled to 10 in 2009 following the infamous snub to The Dark Knight (2008) where Up (2009) earned the nomination.  The film’s recognition for an animated feature is unprecedented -winning the Golden Globe Award for Best Motion Picture – Musical or Comedy, 5 total Oscar nominations, becoming the first animated feature to be adopted into a Broadway Musical, and being selected into the National Film Registry by the Library of Congress for being “culturally, historically, or aesthetically significant.”

Aside from recognition, Beauty and the Beast demonstrates itself to be an elevated art form in its own right.  The film’s hand-drawn and painted imagery is incredible throughout.  Combined with the music and score, mood is conveyed flawlessly from the peril of the woods and persecution of the Beast to the romantic ballroom scene.  Beauty and the Beast is also only the second animated film to use the Computer Animation Production System simulating multiplane effects panning across the ballroom.  The Song “Beauty and the Beast” sung during the ballroom scene became the eventual winner of the Academy Award and is merely a highlight in the superb vocals and cinematics across the film.  Voice acting proved strong and charming throughout.

The story heralds back to old Hollywood magic and mysticism brought to life with new energy from Disney.  Diverting from the original French tale from which it gets its name, the changes are for the better.  Disney’s version begins transforming the Prince into a beast to reflect his inner self through stained glass panels setting up the style of animation and architecture of the castle.  His imprisonment of the beauty and awkward misunderstandings of social interaction reveal his still spoiled princely adolescent tendencies.  The Beast’s transition into learning to be civilized and fall in love is a fine example of three-dimensional character pieces this film boasts.  The film’s refined visual, audio, and story art truly elevate it above its peers in Hollywood.

Toy Story 2 (1999)

Representing Pixar’s strong run and various Best Animated Picture Academy Award winners, Toy Story 2 is the defining moment in Pixar’s history of art.  In the documentary The Pixar Story (2007), it reveals that Toy Story 2 originally targeted a straight-to-DVD release with a lackluster story Pixar determined did not live up to the standard it wanted to set.  Pixar restarted from scratch with a seemingly impossible timeline, but ended up producing a visually stunning, musically captivating, and meaningful film.

This sequel to the first full length computer animated feature begins where it left off following Woody the cowboy and Buzz Lightyear the space ranger, toys that come alive when people aren’t looking and desire more than anything to be adored and played with.  When Woody is stolen and being sold to a Japanese toy museum, he faces a choice.  He could escape and go back to his owner, Andy, who will eventually grow too old to play with him anymore or he could go to the museum and live forever behind glass.  He may live a full life that will eventually end or live half a life where he will be adored but never played with and will last for ages.  This parallels classical tales of weighing the choice of living without the joys of it eternally instead of living a full, terminal life.  As Pixar puts it, when the song “When She Loved Me” plays over a montage of a toy’s abandonment, the audience feels and realizes that this is more than just a kid’s story about toys.

The Iron Giant (1999)

Instantly familiar but distinct, The Iron Giant is a charming tale of a giant metal robot that fell from space, lost his memory and develops a friendship with a boy named Hogarth in 1957 Maine.  Once the government learns of the iron giant, they believe him to be a weapon of the Soviet Union and Hogarth must keep his new friend safe.  The theme of the story is revealed in the Hogarth’s comic books where the robot admires Superman.  However, the nemesis in comics is a giant destructive robot.  Hogarth assures the iron giant that he can choose who to be –the hero or the weapon.

The Iron Giant is simple in the best way.  It does not dilute the story with unnecessary plot complications, yet is not so straightforward to be mindless.  There are few other stories with as much heart or evokes as much pure emotion as The Iron Giant.  Its 1950s environment is charming, but anything but bland.  Fleshed out characters balance the story well and make it a piece of art to be remembered.

Avatar: The Last Airbender –Series (2005-2008)

Produced by Nickelodeon Animation Studios, Avatar is the epitome of art in animation, design, story, and substance.  If there were ever moving pictures or paintings crafted with enough precision to be deemed an elevated form of art, Avatar is that picture.  Avatar: The Last Airbender takes place in a fantastical world of four nations divided by the four classic elements Earth, Water, Fire, and Air where gifted people may control an element through Chinese Martial art movements.  The Fire Nation’s 100 year war to conquer the world can only be stopped by the power of the Avatar, master of all 4 elements and reincarnating connection to the Spirit World, but he disappeared around the beginning of the war -trapped in an iceberg as a 12 year old boy named Aang.  Once he is discovered by a South Water Tribe brother and sister, they must journey together to help Aang master all 4 elements and end the war.

The world established here uses various Asian influences to subtly make the nations and tribes distinct from each other.  While the Fire Nation adornments and architecture resemble Mongolian societies, Water Nation tribes are fashioned after Inuit, Air Nomads after mountain Buddhist monks, and the Earth Kingdom after China with several small pockets representing other cultures.  The fantastical animals are cleverly entertaining, often being a fusion between two real life species such as the “turtle-duck.”  The spirits and the Spirit World offer a layered extension to the already expansive setting that conveys great significance and meaning.

The story fleshes out every nation with dozens of intelligently fully-developed and complex characters.  The Fire Nation Prince, Zuko, is a determined teenager looking to redeem himself after exile by capturing the Avatar guided by his Uncle Iro.  Zuko finds his identity as an anti-hero through a complex and trying journey of self-discovery helped by Iro’s subtle hand and heart.  He questions the long-held assumption that the war was the Fire Nation’s way of spreading their unparalleled prosperity with the world.  The Fire Nation’s power is gained through industry thanks to the help of fire benders.  However, fire also leads to uncontrolled destruction, as Zuko learns to contain himself for the common good.

Avatar: The Last Airbender teaches that one should not lead an isolationist or xenophobic life.  It is vital to understand the world and the balance thereof.  Its craft in utilizing war strategy and character development make every single episode a must-watch.  Comedy, action, and drama are all cleverly written and woven seamlessly to make the entire series wildly entertaining.  This “kids show” is one of the greatest masterpieces in the history of television, and calling it elevated art is an understatement.

Batman: The Animated Series (1992-1995)

What better a way to demonstrate that not only can kid’s stories or comic book derivatives be elevated art, but Batman stories can be with the 4 time winner and 13 time Emmy nominated Batman: The Animated Series.  This dark deco style series is darker in tone than most American animation and featured serious, non-cartoony voices such as Kevin Conroy to deliver the caped crusader faithfully to animation.  Though not every episode is golden, it builds up the Batman character over time defining him through his various foes that are dark reflections of him.  Having risen from tragedy, Batman stands up for the weak while walking a precarious line outside the law.

Bruce Wayne’s development and complex character is strongly conveyed in this series.  The series is highly praised for its sophistication and maturity, appealing to a wide range of audiences.  Set ambiguously in the era of black and white television, it sometimes borrows modern technology, but the art of Gotham City and the surrounding environment is stylistically appealing.  The anti-hero Bruce Wayne became is a reflection of the city and vice-versa.  In Batman: The Animated Series, the Batman character is as complex and compelling as Shakespeare’s Hamlet, and remains one of the greatest creations in all of fiction.  Batman has not just had three Christopher Nolan movies, but has persisted for almost a century and has many works of art to his name.

Never mind the countless Dr. Seuss children’s books or the various Newbery Award winners, works of art targeting kids exist throughout film and television.  Old Disney produced many worthy elevated art pieces such as Beauty and the Beast and The Lion King.  Pixar has brought numerous masterpieces to computer animation.  These films and television series show that mediums and categories do not define something as only being suitable for an unrefined audience.  Such examples demonstrate that “kid’s stories” can be elevated works of art and to say that they cannot be is pure ignorance.

Green Arrow: Year One –Review

The rise in profile of the Green Arrow DC Entertainment superhero brought about by the CW “Arrow” TV series inevitably raises interest in the source material.  And the natural starting point for those new to the Green Arrow in comics is the most recent telling of the origin story, “Green Arrow: Year One,” (2007) written by Andy Diggle and illustrated by Jock.

The title “Year One” immediately draws direct comparisons to Frank Miller’s popular “Batman: Year One” graphic novel and assumes the responsibilities to compare with it as a definitive beginning for the character.  While Millar’s story told the first 365 days of the Dark Knight dawning his cape and cowl in Gotham City, the Green Arrow’s “Year One” ends at the hero’s beginning of vigilantism in Star City.  Instead, the entire length of the novel takes place before and during Oliver Queen’s time as a castaway on a nameless Pacific island.  While he gradually becomes the Green Arrow on the island, a more accurate title for the book would have been “Year Zero.”

In the graphic novel, Oliver Queen is a wild, thrill-seeking, rich orphan who has had everything handed to him in life with nobody to tell him “no,” and he knows it too.  After being betrayed by greedy insiders and thrown out of his yacht, he finds himself washed up on an island alongside village ruins.  Finding the drug runners responsible for both his isolation and the native people’s destruction, Oliver dawns a green hood and a makeshift bow and arrow –which he has an inherit talent for.  His transformation into the activist we know as the Green Arrow is plausible and overall very satisfying.  The story somewhat explains his use of a bow instead of guns when he dismisses guns he has at his disposal saying that he has no use for them, that he would be less accurate and wants to earn what he gets with use of a more difficult to use weapon.  It does lead to one problem where the island fits his needs all too well with one fortunate coincidence after another.  There is, however, a reason for this.  While beforehand he used his windfalls for inward thinking, and now he utilizes all his resources for the benefit others.  Despite this, such writing still comes off as lazy.

Illustrator Jock’s cover and cinematic images are instantly attention getting, and that seems to be the novel’s overall strategy as stated in Brian K. Vaughan’s introduction.  The story moves along with quick pacing, and the dialog feeds the reader a breadth of information in order to rush through the background and get to the plot immediately.  This novel has the same problem as so many comics do when it makes no use of subtlety and hand feeds the reader everything they’re supposed to get out of reading it.  In addition, the overall story is not as complex as it should be and is overly predictable.  The graphic novel plays it safe and unfortunately sparsely gives those familiar with the Green Arrow something new.

At Comic-Con International this year, the panel of the “Arrow” stated that the series will borrow heavily from “Year One.”  Despite gripes with the graphic novel, it is definitely reason for excitement.  China White or “Chien Na-Wei,” a foxy Asian lady dressed in white, is the main villain/drug runner of “Year One” and will appear in “Arrow.”  Weather she will appear in island flashback, Starling City, or both is yet to be seen.  The Deathstroke character’s mask appearing in the pilot also means that the backstory is likely more complex than its graphic novel counterpart, yet will maintain the interesting transformation that “Year One” does so well.

“Green Arrow: Year One” is made for the casual reader and is certainly worth a read especially for those excited about the “Arrow” television series.  Readers should not be expecting a match for “Batman: Year One” or a highlight in comic history.  While it plays it safe, it is a solid entry in the DC Universe library.

VERDICT: 3/5

Check out my review of the “Arrow” Pilot direct from Comic-Con International

Superheroes in Politics

Political stories are present in every story-telling medium, and comics are just as suitable a forum for political discussion as the rest. Some of our most valued social dialogs such as Persepolis, Maus, V for Vendetta, and WATCHMEN come from comics. With the library of superhero graphic novels constantly growing, longtime characters are inevitably caught in the controversial fray. The issue at question is when does writing superheroes into the political conversation become using cherished icons as tools for pressing agenda, and what makes those stories go awry or succeed?

Captain America #1 first sold in December 1940

Arguably the most successful political creation in comics was also the most overt. In December 1940, a full year before Japan’s attack on Pearl Harbor effectively sent the United States into World War II, anyone could instantly tell by the cover of “Captain America #1” exactly what the character was about from his name to his star-spangled costume to his punching Third Reich leader Adolf Hitler directly in the jaw. It is worth noting that Captain America was not a unanimously liked superhero in even New York City alone. Creators Joe Simon and Jack Kirby often received threating letters and hate mail, with some groups imposing such a serious threat that it warranted police protection. Since Captain America was forged with a clear political nature, there could be no objection then or now to him being political still -as the character continues to polarize in comics to date. Steve Rogers, Captain America, has been consistent and still embodies the symbolism on the cover of his very first issue. Captain’s saving grace in this conversation, however, is that he is not merely for or against any government, but he is absolute in his stance of right and wrong. In fact, Steve Rogers’ stance has put him at odds with his own government in “Captain America Vol. 1 #332” (1987) and again during Marvel’s “Civil War” (2006). Despite the controversy surrounding the character’s stances, he outlived the Second World War and endures.

As older generations do not understand and fear comics in addition to other emerging entertainment media, they have been easy targets for lawmakers who want to keep up the illusion of action on their part. Superheroes have not only entered politics, but politics affected the literature of superheroes directly. In 1954, German-American psychiatrist Fredric Wertham charged comic books as a negative influence on children and a direct cause for delinquency as well as homosexuality, lesbianism, and perversion. Subsequently, the United States Congress launched an inquiry into the industry. Under the threat of being government regulated, the industry formed the self-regulatory Comics Code Authority (CCA) to impose a strictly pre-modern, “decent” narrative. Superheroes would directly challenge the CCA’s narrow minds in 1971 when Marvel Comics Editor-in-Chief Stan Lee agreed to do a story portraying drug use as dangerous and unglamorous in “The Amazing Spider-man #96–98” under the request by United States Departments of Health & Education. The CCA objected to the story, citing that any depiction of drug use, no matter the context, was forbidden. Marvel published the story anyway. As a result gained from the publicity of the CCA’s unreasonably policy, the code was revised to allow the depiction of drug use as a viscous habit. (The Code was abandoned by its last users in January 2011.)

Green Lantern Vol. 2 #76 a.k.a. Green Lantern/Green Arrow

Following the change in the CCA, DC Entertainment’s crossover featuring the Green Lantern & the Green Arrow (1971) became another example of superheroes succeeding in political conversation. The critically acclaimed series spoke about topics of the day amongst real-life social upheaval. While Oliver Queen, Green Arrow, was a hot-tempered liberal anarchist concerned with social change, establishment conservative Hal Jordan, Green Lantern, wanted to work within the system and capture criminals. Together they confronted corruption, racism, pollution, overpopulation, and drug use plaguing America while philosophically challenging each other. The series challenged law and vigilantism in a genre that dances along the edges of this morally gray area. Green Lantern at his core was a galaxy-wide police officer while the Green Arrow took to the streets in his origin to fight corruption and oppression as a vigilante. The crossover was successful, in part, because these heroes were already established on both ends of the political spectrum and kept in character. There was a degree of balance in the series and both superheroes grew off each other, even becoming friends.

Green Lantern Vol. 2 #76 where Green Lantern, Hal Jordan, is accused of being prejudiced.

Superheroes have not only dealt with broad political themes, but have played direct role in influencing policy. In the early 1990s, Virginia had become infamous as the number one source for handguns in the eastern United States with 1 in 4 traceable New York City guns having been bought in Virginia due to its lax gun laws. In 1993, a bill hit the floor that would restrict anyone to buying one handgun per person per month in Virginia, preventing their bulk consumption along the eastern seaboard. A special issue of Batman, “Seduction of the Gun,” discussed the state’s gun infamy with Gotham street gangs going to Virginia for gun runs. Batman is in character in the anti-gun issue –having already been against guns after his parents were murdered with the use of a gun. The comic is reviled by some as being pro-gun control despite no specific mentions of gun control other than Batman saying “No law passed can change the human heart or open up a mind that is closed. We must give up the guns in our hearts and minds first.” Overall, the comic was accepted and is credited to having helped the Virginia law pass. Proceeds of the issue went to a charitable educational foundation, and the comic was dedicated to a son of a Warner Brothers executive, John Reisenbach, aged 33, who was senselessly murdered on the streets of Manhattan in 1990.

Writers and politicians often want to use superheroes to press agenda because their comics are effective for sending a message. In 1996, DC Entertainment published a series of non-profit comic books promoting landmine awareness intended for audiences outside the United States beginning with of “Superman and Wonder Woman –the Hidden Killer” and “Superman: Deadly Legacy.” The comics broadly consist of superheroes saving children from the indiscriminating explosives, each written for a specific set of countries and published in various languages. The idea for using comics as a public service announcement for children was supposedly sparked by a comment First Lady Hillary Clinton made during a trip to Bosnia when she observed children learning about landmines through coloring books. Several non-profit groups endorsed the comics and The North Atlantic Treaty Organization (NATO) and Implementation Force (IFOR) played a large part in distributing over a million copies worldwide. There was, however, a great deal of negative backlash against the comics, proclaiming that younger children would interpret that if they went into a landmine field, Superman would fly in and save them. In addition, some governments criticized the books for cynical reasons, citing Superman as a hero who advocated “The American Way.” DC followed up the first two comics with a two-part Batman issue, “Death of Innocents: the Horror of Landmines,” which was as tragic and dark as the Batman character who does whatever it takes to save lives, but fails.

In order for a superhero comic to succeed in the slightest in political conversation, all superheroes must be portrayed in character. The political nature of Captain America became forged out of his creation, Green Lantern and Green Arrow had their core values already established before discussing civil crisis, and Batman hated guns from the time his parents were murdered with one before his eyes. The heroes have not always been kept in character, however, and it is evident in the quality of the work. In 2000, DC published an appalling use of superheroes for pressing political agenda with “Son of Superman.” The intriguing title delivers the suggested literal son of Clark Kent and Lois Lane in Jon Kent, whose powers manifest following a solar flare and subsequently learns the truth about his missing father, Superman. In the graphic novel, villain Lex Luthor has complete control over Martian Manhunter and the Justice League, Lana Lang and Pete Ross lead a terrorist organization, Wonder Woman funds terrorists, and the Justice League follows Luthor’s/ Manhunter’s orders to capture Batman and Superman. It is a complete mess with the cherry on top being Bruce Wayne’s running for the US Presidency as a Democrat. The novel not only takes liberties with characters, but completely ignores the core of who many characters are, especially with Batman/Bruce Wayne. The shadowy figure of the night would not only never run for president, but he would never be a Democrat if for no other reason than his distrust in the system and parties evident in his reluctance to joining even the Justice League (and agrees to only because he aims to watch the watchmen).

It is important for superhero comics to not make political conversations personal in the modern day. While that went over well with the real life villain of Adolf Hitler being punched by Captain America, attacking morally gray figures such as a George W. Bush or the USA PATROIT Act of 2001 instead of discussing them would lead to failures as laughable as “Son of Superman.” Marvel’s “Civil War” (2006) managed to debate the morality of the USA PATROIT Act by liking it to the fictional US Superhero Registration Act. The fictional act was as morally gray as the act for which it was an allegory for. Instead of all heroes (or even popular heroes) being for or against the act, Marvel’s characters were divided down the center based off good intentions, prompting the tagline “Who’s Side Are You On?” The mini-series found outstanding success and is critically acclaimed as the WATCHMEN of the 2000s decade.

There is one blemish on the legacy of Marvel’s “Civil War.” The Wolverine edition reveals that somehow large corporations are behind the devastation in order to make money cleaning up the rubble. Not only is the storyline far-reaching and unnecessary, but is completely ignorant to economic fact. This one sided attack on corporations, whether or not their real life status is good or evil, is nothing more than a using of a popular character to push agenda. Wolverine’s Civil War storyline is not one of the more popular stories in the series and has little to do with the heart of events concerning Captain America, Iron Man, and Spider-man. This and other agenda pressers like it are not going away, but will not find success and shall be mostly ignored.

Captain America’s speech to Peter Parker in Marvel’s “Civil War.”

Superhero popularity attracts writers who are not concerned with good or provocative stories and write political messages as effective as bumper stickers. Despite this, Superheroes and the graphic novel medium belong in the political conversation as much as anyone. Their statuses as vigilantes are inherently philosophically gray in nature and are only about politics at the most superficial level. Superheroes are about a message, about stances, truth, and justice, and politics only get in the way when policy opposes those stances -as politics are only games.

OTHER ARTICLES DISCUSSING:
Marvel’s Civil War:

Marvel’s Civil War Movie

The Comics Code Authority:

The Next Generation of Mainstream Comics

Ten Best Batman Stories

The Dark Knight Rises Inspiration

The Graphic Novels that Inspired the Dark Knight Rises & How

“The Dark Knight Rises” teaches one big lesson when making good movies of comic book characters: Know the source material. From plot elements to character determinism to themes, inspirations from Batman’s graphic novels are profusely evident in “The Dark Knight Rises.”

Christopher Nolan and David Goyer have constructed back to back masterpieces in their Batman trilogy. It ends the legend with tact and finesse while calling back to the first two movies seamlessly. While “Batman Begins” & “The Dark Knight” borrowed immensely from DC’s comics, the finale is the best example of this practice. Thanks in part to respecting the comics, DC’s characters were properly represented and skillfully portrayed by Christian Bale, Anne Hathaway, and more. “The Dark Knight Rises” leaves a lasting impact and a shining example of how to adapt superheroes from graphic novels to a financially successful and cinematically brilliant movie franchise.

This is not a review, as there are many others that do this movie justice.

Followers of my blog already know I hold “The Dark Knight” in high esteem and what Batman graphic novels I regard as the best from my Ten Best Batman Stories article. Here I bring you what books inspired “The Dark Knight Rises” and in what way. I cannot say for sure that Christopher Nolan and David Goyer read them all, but the impact of these novels is surely felt.

Ten Best Batman Stories

CAUTION: SPOILERS AHEAD

LAST CHANCE!  SPOILERS AHEAD!

Year One)

While “Year One” was the major influence to “Batman Begins,” its effect reverberates through the latter two Batman movies. It characterizes James Gordon extremely well with how he goes about fighting a futile struggle against corruption and his relationship with the Caped Crusader. Selina Kyle also makes an appearance and the novel grounds her in reality. While the movie used a more familiar Batman: The Animated Series/ Arkham Asylum (video game) characterization of Catwoman, this novel was the best revamp of the character up to the point at which “Year One” was published.

The Dark Knight Returns)

Bruce Wayne’s retiring as Batman and returning after years of depression is ripped straight from the pages of “The Dark Knight Returns.” While the specifics differ, he retires due to tragedy and lives out his days in shame growing out his beard and being recluse. His return is due to necessity, despite his broken body and aging spirit, though he was always waiting and wanting to return.

Whatever Happened to the Caped Crusader?)

This graphic novel was the definitive story for the end of Batman. The unique set of circumstances of Christopher Nolan’s Batman, however, makes him a different character having never fought the endless battles that the Dark Knight has in Detective Comics. He has never met Superman, joined the Justice League, recruited Robin, or battled dozens of enemies from his rouge’s gallery. So while “The Dark Knight Rises” may not be the definitive story of Batman’s end that Neil Gaiman’s novel is, it is the conclusive story of Christopher Nolan’s Batman. In “What Happened to the Caped Crusader,” one of the ways that Batman died was with him saving the city from a bomb in similar fashion to how he supposedly met his end in “The Dark Knight Rises.”

Kingdom Come)

“Kingdom Come” is not on my “Ten Best Batman Stories” article because it does not star Batman any more than it stars Superman. One of the most critically acclaimed works in the entire medium, this apocalyptic graphic novel takes place in the heroes’ twilight years with Batman in a neck brace. It characterizes Batman’s obsession and includes the one-liner “So that’s what that feels like” when Superman disappears in the middle of conversation (Catwoman in the movie).

Vengeance of Bane)

“Vengeance of Bane” tells Bane’s origin story of how he was born and raised in a prison. The movie led audiences to believe this was Bane’s origin when it was changed into Talia’s, daughter of Ra’s al Ghul.

Son of the Demon)

Talia al Ghul was the character with which the most liberties were taken in “Rises.” She is the daughter of Ra’s al Ghul but also in love with Bruce Wayne. In the movie, they become lovers briefly, but Talia ends up having no attachment to him. “Son of the Demon” is the most acclaimed graphic novel in which Talia al Ghul has a large role.

Knightfall)

Bane is often referred to as the man who “broke the bat.” In “Knightfall,” Bane systematically assaults Batman physically and mentally and breaks his back. In addition, the events of “Knightfall” lead to Alfred Pennyworth’s resignation as Bruce Wayne’s butler.

R.I.P.)

In “R.I.P.” the organization known as the “Black Glove” makes an assault against Batman and Bruce Wayne’s mind. The theme of Wayne’s metal instability, break, and eventual rise resonates with many sequences within the movie as well as its title.

The Long Halloween)

“I believe in Harvey Dent,” is the final line of this major influence for “The Dark Knight.” It details Harvey Dent’s descent into madness and his becoming of the crime lord “Two-Face.” One of the novel’s major themes is that once Batman clears the streets of most of its sane organized crime lords such as Falcone and Maroni, insane ones take their place. It raises the question as to how much of the rise of Gotham’s criminally insane is Batman’s fault, and how Gotham is a symbolic representation of Batman. In “Rises,” the streets are cleaned, the insane go berserk, and Gotham is Batman.

Legacy)

Bane and Ra’s al Ghul have teamed up in the comics during the “Legacy” story arc. Together, they seek to destroy Gotham City.

The Cult)

“Batman: The Cult” has the Dark Knight facing off against a large group of enemies who take control of the city in much of the same way as Bane and the freed criminals of Blackgate Prison do in “Rises.”  This extremely controversial and graphic book leaves the Batman temporarily broken, and he must come back to wage war on the Cult and their leader with his tank-like batmobile and other resources.

The Ten Best Batman Stories

Batman is one of the most celebrated characters in fiction, having starred in 10 live action films, 9 animated features, 28 video games, and countless comics and novels. With the upcoming release of the anticipated Dark Knight Rises movie, I decided to pile together my top ten Batman stories across all media. I can’t say that I’ve scoured the endless volumes of Batman tales that are continuously churned out, but I have ordered my personal favorites in having been an avid Batman fan since I was 3 years old.

All of the movies since Adam West’s campy rendition of the character in 1966 have been considered as well as the most widely acclaimed graphic novels. All works with Batman in less than a starring role or where he shares it with another hero were excluded as well all television series such as Batman: the Animated Series and Batman Beyond. All stories were measured by their standalone merit.

Disclaimer: This is not an evolving list and only includes stories released before July 2012 when this article was first posted.

Honorable Mention) Year One –by Frank Miller (Graphic Novel)

In 1986, writer Frank Miller was charged to bring back Batman as the dark figure of the night he was before the censorship of the Comics Code Authority in the 1950s. In addition to his “The Dark Knight Returns,” he wrote the hugely successful “Year One,” recounting the first year of Bruce Wayne’s dawning of his alternate persona. Batman lore owes a debt of gratitude to Miller, having rebuilt him as a brutal vigilante against street crime and corruption with all of the dark mentality that came with being one. It was the major inspiration for the movie “Batman Begins,” though it was not a direct adaptation. However, it does not make the top ten because it’s unable to stand on its own despite its lasting impression on future comics. Needing to recreate Gotham City’s image holds this story back, not being able to take the gritty environment readers know today for granted. This is the giant whose shoulders other stories stand on and come become even greater.

10) Arkham Asylum –by Paul Dini (Video Game)

In the dwellings of the psychotic criminals he put away, Batman faces trials from many high profile villains after they take control of Arkham Asylum in this sandbox style video game. Few other stories go as deep into how Batman always finds a way to win. While it adds little to the Batman legend, this is the perfect introduction to any incoming fan to learn about the tales of his supporting cast and his past triumphs. The classic voice actors Kevin Conroy and Mark Hamill are brilliant as Batman and the Joker respectively and add another level of legitimacy to the game. Its sequel, Arkham City, is similar in function and quality of story, so I’m putting them into the nine spot together. In this game, you feel like you are Batman.

9) Gotham Knight –by David Goyer, Josh Olson, and Alan Burnett (Animated)

The producers and writers of “Batman Begins” collaborated with six revered anime directors to create six chapters chronicling the time between the events of “Batman Begins” and “The Dark Knight.” The result is a deep, dark, introspective look at the detective, urban legend, and man that is Batman. It is certainly one of the most creative pieces for the Caped Crusader. It is best enjoyed by fans of anime art styles rather than mainstream audiences who expect a seamless full length story.

8) Arkham Asylum: A Serious House on Serious Earth –by Grant Morrison (Graphic Novel)

 

In “A Serious House on Serious Earth,” the inmates of Arkham Asylum, led by the Joker, take over the crazy-house similar to the way it was done in the “Arkham Asylum” video game, albeit predating the game. Batman submits himself willingly to test his own sanity within the asylum’s walls, curious himself to see if his mind can withstand the scrutiny. The nature of madness is explored as is the feasibility of rehabilitating the criminally insane during the scenes telling the infamous hospital’s backstory through founder Amadeus Arkham, which run parallel to Batman’s introspection. The painting of Dave McKean is a strong, essential part of the narrative, contributing more to the story-telling than any other graphic novel’s artwork in memory. The bizarre and symbolic imagery warrants multiple reads and makes a case for surpassing a major inspiration, “Alice in Wonderland,” in story quality. However, the story is hindered by a lack of a strong plot and stakes. While the theme is strong, it seems to end too soon – just when it was reaching an apex of its thesis. It leaves the reader wanting, which is a mark of a good story that is not quite complete. If Grant Morrison’s novel was somehow combined with Paul Dini’s “Arkham Asylum,” it would be unsurpassable.

7)The Killing Joke –by Alan Moore (Comic book)

Stop me if you’ve heard this one: “There were these two guys in a lunatic asylum…” Arguably the best Joker comic, it has gained notoriety as having expounded the limits of the Joker’s mad nature and for having paralyzed Barbara Gordon (previously known as Batgirl) with a bullet in her spine and taking naked photographs of her in pain. In following comics, Barbara was reimagined as Oracle, Batman’s wheel chair ridden go-to computer genius. In this story, Joker tells one of his many accounts of his origins and an inspirational one for the 1989 movie “Batman.” Joker’s goal: to drive Commissioner James Gordon insane from one bad day like both he and Batman have had.

6) The Dark Knight Returns –by Frank Miller (Graphic Novel)

It has been ten years since the death of Robin Jason Todd and the subsequent retirement of the Dark Knight. Society crumbled without the presence of Batman –even with the Joker in a catatonic state with no Batman to complete him. Bruce Wayne now seemingly seeks a good death in reprising his role as the caped crusader and ends up taking in a girl as the new Robin. While there are many highlights including the Joker, Two Face, and gang members, the moment with the longest impression is the end of the novel when Batman goes head-to-head with Superman, the “boy scout” who has become more or less a puppet of Ronald Reagan. Miller attempts to dive into the morality of Batman’s existence as a vigilante, however not as well as other stories in the countdown. “The Dark Knight Returns” is action packed enjoyment.

5) Mask of the Phantasm –by Alan Burnett (Animated)

This derivative of the Batman Animated Series revisits the past of the Dark Knight when recent events collide with old memories of Bruce Wayne’s love interest. It brings forth the best of the tone, music, voice acting, and animation style that made the Emmy winning Animated Series so revered and outstanding. This is the single best story concerning Batman’s vow to his murdered parents to extinguish the evil that took them and his sacrifices to fulfill that promise.

 

 

4) Death Mask –by Yoshinori Natsume (Graphic Novel)

Too little delved into is Bruce Wayne’s training before he returned to Gotham to assume the role as the Dark Knight. In this manga style graphic novel, Batman’s old ghosts from his training in Japan come back to haunt him when the detective finds that a murderer is stealing faces. This often overlooked novel tackles the symbolism of Batman dressed as a somewhat demonic looking being to incur fear. It is a fresh and riveting mystery where Batman battles an embodiment of an inner demon.

 

 

3) Whatever Happened to the Caped Crusader? –by Neil Gaiman (Graphic Novel)

Deriving its title from Alan Moore’s tale of Superman’s end, “Whatever Happened to the Man of Tomorrow,” writer Neil Gaiman correctly observes that Batman’s legend could never end like Superman’s with a wink and a smile. Batman would never stop his crusade or his obsession to rid Gotham of crime, an impossible feat, not until he was dead. One of the biggest difficulties in writing such a story is that fans would not be satisfied with Batman’s death, thinking that it should have happened in a different way. However, the brilliant structure of the novel has both enemies and friends of Batman recounting their own versions of his death at his surrealistic funeral from Selina Kyle to the Joker, from Alfred Pennyworth to Superman. All versions strongly describe a different characteristic of Batman from obsession to fear mongering to selflessness. Many seek a definitive volume detailing how the legends of the various superheroes end. For Batman, “Whatever Happened to the Caped Crusader?” is that volume.

2) Under the Red Hood –by Judd Winick (Animated)

The unpopular character reprising the role of Batman’s Robin sidekick, Jason Todd, was voted by readers to be killed by the Joker by calling a 900 number. The result was the graphic novel “A Death in the Family,” on which the animated “Under the Red Hood” is based off of in addition to the graphic novel “Under the Hood.” This unexpected masterpiece comes out during a time of mediocre Batman animated features without the classic voice actors of the Dark Knight and the Joker but still excels with John DiMaggio and Bruce Greenwood in their roles. It ambitiously tackles Batman’s struggle to not kill and cross the line between vigilante and criminal with the Red Hood, a mysterious figure who does just that. In showcasing many characteristics that make Batman uniquely him, “Under the Red Hood” does it best with the most superb dialogue existing in Batman lore.

1) The Dark Knight –by David S. Goyer & Christopher Nolan (Live Action)

There is little I can say to add to the evaluation of Christopher Nolan’s indisputable cinematic masterpiece. The “Dark Knight” movie’s high entertainment value and the Oscar winning performance of Heath Ledger is the take-away for most viewers, but to those who understand Batman, it is so much more. It, in fact, changed the Academy Awards indefinitely by not being nominated for best picture and sparking outrage among audiences and critics, prompting an expansion in the number of films that could be nominated in the following years. This sequel to “Batman Begins” philosophically challenges the essence of Batman with his counter point, the anarchistic madman known as the Joker. In this story, the Dark Knight himself is a parable of guardians and protectors in all forms from government to police to vigilantes. His imperfect yet incorruptible design transcends heroism. In the end, this story makes a case for the justification of Batman’s very existence.

So here’s to hoping that “The Dark Knight Rises” will join this list…

Other Honorable Mentions:
The Long Halloween (Graphic Novel), Subzero (Animated), Batman Begins (Live Action)

All projects are collaborative and take the dedicated work of many to complete. For simplicity’s sake, I only named the writers of the works in my top ten Batman story countdown.

For more information on the top graphic novels, I recommend visiting IGN at http://comics.ign.com/articles/624/624619p1.html