Thoughts, reviews, rants, laments, and general chatting about the wonderful world(s) of comic books.
Showing posts with label Pere Perez. Show all posts
Showing posts with label Pere Perez. Show all posts
Jul 11, 2016
The 40 Years of Comics Project - Day 503: Batman: The Return of Bruce Wayne #6, December 2010
What do I say about this comic? Batman, Bruce Wayne, battles his way back to his own time in a suit made from the caretaker robots at the end of history, carrying with him enough Omega Radiation to blast a hole in time (a Darkseid-shaped hole, that is) and hunted by a living curse. Time breaks apart in his wake, and we're treated to that most Morrisonian of comics techniques, the displacement of panel structure - it's one of those moments where you recognize creators who understand not only how to tell stories with this medium, but also how the medium itself is the message. It's a fundamental aspect to the critical practice of reading to recognize that a medium doesn't just facilitate the transmission of narrative, but narrativizes itself. There are particular ways that a medium affects the way one can tell stories through that medium, and great creators know this and can manipulate this to create novelty.
It's interesting that this series is called The Return of Bruce Wayne. The title has a number of interpretations. First, and most literally, it's about his return from the death that is life to his own time. But he's also an amnesiac for most of the series, so it's also a story of the return of a history, of a context for the base personality. This story has had a particularly anti-Lockean stance with regard to personality, I think. But then, we're dealing with a character, not a person and, as today's comic reminds us, a myth. Myths cannot be blank slates - that would sort of defeat the purpose. There's another aspect to this return, though, that's very interesting. The re-assumption of Bruce has been an ongoing story (perhaps the ongoing story) for all of Morrison's run, and from the very beginning, from Alfred, the man who kept Batman alive, this thrust of this narrative has been the recognition that Batman's crusade has never been a lonely one - of all the superheroes in the DCU, he has the largest extended family. He's never really been alone. Batman fights crime to keep the thing that happened to him as a child from happening to anyone else, and the thing that happened to him was loss, loneliness of the most awful kind. But he also fights this loneliness by creating a family around him, one also dedicated to stopping loneliness. He doesn't fight crime. He fights the consequences of crime.
We'll return to Dick and Damian and the sticky place they find themselves in, caught in the middle of The Joker and Doctor Hurt's weird little war tomorrow. And then Bruce comes back, and everything, once again, changes. Onward.
Jul 10, 2016
The 40 Years of Comics Project - Day 502: Batman: The Return of Bruce Wayne #5, November 2010
The Noir is a genre I'm sure I'd enjoy, and now that I'm on a break from my program and actually have time to read, I'm hoping to delve into it. I've got Chandler's The Big Sleep on my bookshelf. I just have to work my way through the queue.
I'm a little confused by the time frame within which this story takes place, though saying such a thing while reading a time travel story is slightly ridiculous. It seems to be set in the Forties or Fifties - there's reference to a psychiatrist helping shell-shocked veterans, though I suppose that could be from any of the numerous wars of the 20th century. But Bruce is ostensibly conscripted into helping solve the murder of his parents. While, from a real-life chronological perspective, this did indeed happen, ostensibly, in the late Twenties, in a contemporary, for the series, setting, Bruce can't be much older than 35, meaning his parents were murdered in the early Eighties (is it awful that I had to use a calculator to work that out? That's what an English PhD does to one's math skills!).
Now having said that, I'm the first person to say that we should be reading superhero comics from a far more metaphorical perspective than might be usual. If we're to consider the insertion of the myth of the Batman into American literature, which is the way I've always thought through this story, then placing this tale into an appropriate time period pays tribute to not only the pulp detective stories that inspired Batman, but to the origins of the character in the mid 20th century. And, aside from the importance to the over-arching narrative that's taking place, this tribute is one of the main thrusts of the series. Superheroes do not appear out of a vacuum in 1938. There's a long history of their precedents, and a long history of historians of the genre and the medium trying to secure their places in academic circles by making definitive statements about the origins of the genre. But I often think that genre, much like theory, is a matter of perspective, that, really, we're talking about one thing from a bunch of different viewpoints. The Return of Bruce Wayne demonstrates both this and the geneses of the superheroic character, one that encompasses all of the characteristics of these previous genre characters. But, if we're to go with my previous statement, then these characters are all simply (or rather, not so simply) iterations of character, a particular kind of character seen through the lens of particular kinds of narrative.
I'm not going to say what kind of character, because I've typed the word "myth" in this blog so much that the term is losing all meaning. Which is interesting in and of itself.
Onward.
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