Following from their 1998 hit Superman: Peace on Earth, it was only fitting for Paul Dini and Alex Ross to follow their new take on the Man of Steel with a graphic novel about DC’s other great superhero. Batman is perhaps the most famous superhero ever created and virtually everyone from the diehard fans to the average Joe knows all-too well that origin story involving some dead parents and some pearls. Since Frank Miller darkened the Batman mythos with his The Dark Knight Returns in 1986, followed a year later by Batman: Year One, the Dark Knight has become the grim and brooding figure that we all know and love today. As ever, he’s out fighting costumed villains and solving murders, puzzles, and riddles. With such a large abundance of tales, how can Dini and Ross do something different? Superman: Peace on Earth felt unique in displaying Superman fighting against the world’s biggest problem. But as
for Batman, what new ground is there to explore…
Batman: War on Crime was written by both Paul Dini and Alex Ross, with the latter obviously providing the painted artwork. It was released in 1999 as an oversized graphic novel. I’ve read the story in the Justice League: The World’s Greatest Super-Heroes paperback.
Like Superman, Batman has got one obvious flaw in his plan to rid Gotham of crime. And it’s the same flaw. Both believe strongly that they shouldn’t kill, otherwise they become the very thing they swore to destroy. For Superman, it makes sense. The power of humanity doesn’t even compare to the strength of the Man of Steel, and he is forced to limit himself during his quest to create peace on Earth. As for Batman, the root of his refusal to use guns boils down to something far different. In Batman: War on Crime don’t expect the constant reminder of Batman’s origin, how he became to be and all that. They do include, at least in the collected edition, a two-page spread depicting the death of the Waynes and Bruce’s transformation into the Dark Knight, but it really isn’t essential to cover for obvious reasons. However, you do almost immediately know you’re reading a Batman story when the first words are “I buried my parents here when I was eight”, spoken as the Dark Knight stands in the graveyard. Either way, the first pages set the scene well. By night, Batman is out there fighting against criminals ranging from lone cowards to organised crime. But by day, Bruce Wayne’s true mask is put on. As Gotham’s richest playboy, he spends his time socialising with the establishment, one notable member of it being Randall Winters. Like Bruce, he’s a billionaire, but his aim is to build upscale housing on one of Gotham’s most deprived districts, the Bayside area. Later as Batman, Bruce investigates the area only to take out a robber after his plan to steal from the shop and kill its owners is complete. The Dark Knight enters to find a boy crying by the bodies of his parents. His name is Marcus; Batman watches as the boy is sent to the police station and left alone with his grief. Batman: War on Crime does something which is rarely seen in comics. Every single Batman story ever published involves his battle against crime, but often the victims are never really given the spotlight. It’s uncertain whether this story takes place at a time when Batman has no Robin sidekick, but Marcus is treated is a similar way to Jason Todd. Bruce sees himself in Marcus obviously, but because of the huge difference in their backgrounds and families, Marcus is far more like Jason. The other difference is, of course, not every child whose parents are killed become instantly part of the Bat Family. Think of how many orphans Batman has encountered during his time in Gotham. Dini and Ross show how powerless Batman is in his mission. He may be able to sympathise with Marcus and his trauma, but there is little he can do. Throughout the story, crime is depicted as an airborne virus in Gotham. It’s virtually unstoppable and it is contagious. Batman’s lack of power is shown brilliantly when Marcus, with no one else to turn to, is forced enter a gang. These gangsters effectively use vulnerable children to help them during their robberies and one night, Batman finds Marcus and the gang as they raid an electronics store. He takes them all out apart from Marcus. The Dark Knight simply stares emotionless before the young boy runs off into the darkness. The next day, Bruce is haunted by the image of Marcus in his head. Interested in his seemingly good work, Bruce meets with Randall Winters again. However, the curse of Gotham is conveyed once more as Winters only care is money; he somehow has the balls to tell Bruce Wayne that his housing scheme simply exists for profit. Sure, it makes him into the villainous figure for the story and while the revelation is far from surprising, his admission of it doesn’t make much sense as you’d think he’d hide it. Either way, Bruce continues his investigation into Winters’s plan as Batman. He threatens the most prominent gang leader in the Bayside area, demanding names of those linked to Winters’s plan. But his determination doesn’t end there, as Batman heads out to patrol the streets. His quest leads him to an abandoned factory, where a group of kids are once again being used by gangsters for drug dealing and prostitution. As ever the thugs are no challenge for Batman, but there’s one last obstacle in his path. Marcus stands there with the gun, pointing it at Batman. “Don’t become what killed our families”, the Dark Knight tells Marcus in one of his most emotional and honest speeches. As Marcus gives Batman the gun, they hold one another, united in loss. This symbolises Batman’s war on crime. Crime will never be defeated in Gotham City, but its spread can be. This story proves that, so (continued)
many times, Batman has had an impact. Yes, the emergence of supervillains in Gotham is proof that Batman’s presence has caused more notorious crooks to appear, but it is too late for them. Marcus is an example of Batman saving somebody before it’s too late. Dick Grayson and Jason Todd could have both turned to crime and their lives would have been ruined, but Batman saved them and made them into better people. In fact, there is something more satisfying about that here with Marcus than any other character. It’s partly because of the difference between Bruce and Marcus’s backgrounds, but also because the latter doesn’t become Robin. It’s almost as if Batman knows that his work is done. If Marcus leaves crime for good, then Batman’s war is won. To conclude the story, we do get a bit about the good of Wayne Enterprises as Bruce aims to redevelop the area. As for Winters, his dodgy business dealings come to an end thanks to Batman, and he is arrested by the police. “I know I am fighting a war I can never completely win”, Batman admits. “But there are small victories that encourage me to keep trying.” As for Batman, he knows that one day his own demons will leave him. But, for now, it’s back to fighting for Gotham and for justice. It’s a great point to end on; the story of Marcus is proof of Batman’s success. Aside from the great narrative created by Dini and Ross, I don’t think the characterisation is as strong here as it was in Superman: Peace on Earth. With that, Paul Dini set out to define Superman’s character and, to a mostly successful degree, it left us with a better understanding of the Man of Steel and the limits he imposes on himself. Here however Batman’s character feels very distant. That works when he is being mysterious and while it’s great that we see the façade drop when he confronts Marcus, I don’t think Bruce Wayne is used enough. In short, you don’t really learn much about Batman here. Instead, you learn more about his mission and the rare successes. I also think that Dini and Ross could have expanded on the world of Batman more, with characters like Alfred appearing more. Commissioner Gordon could also have been used. I know that Dini and Ross’s Superman graphic novel didn’t include the full cast of characters, but I feel they’re more necessary in a story about Batman’s war on crime. To answer my original question at the start (what new territory is there to explore?), War on Crime doesn’t really tread much new ground. The story is a basic focus on Batman doing what he does, but what makes it unique and enjoyable is the character of Marcus and his relationship with Batman. There’s a great personal element there and it provides an unforgettable moment. It may have some of the great storytelling moments which Superman: Peace on Earth supplied, but I think there is a real lack of deep character here. This feels like an on-the-surface view of Batman’s world. Dini can and has written stories for Batman which are far deeper and yes, there is a moment or two present here. But in short, it fails to be as impressive as the Superman story.
An aspect which certainly isn’t unimpressive has to be Alex Ross’s brilliant artwork. I may actually prefer Ross’s paintings here to those in Superman: Peace on Earth. Naturally, the two stories look very different and the tone of them both is varied. Yet here, Ross uses a much more interesting colour pallet to create a Gotham City which (continued)
comes alive in its grimness. As for Batman, Ross has a brilliant skill to make him look realistic and human, but also mystical and legendary. He doesn’t look like a man in a suit. Always, there is an air of mystery. Even in the most emotional scene in the story, the confrontation between Batman and Marcus, the Dark Knight doesn’t appear angry or sad. For once, he looks open as he reaches out to Marcus for help. It’s rare to see Ross’s true storytelling potential, but when it is unleashed, it is truly a sight to behold.
VERDICT
Overall, Batman: War on Crime isn’t a bad story at all. For a first-time reader of Batman comics, this is definitely a recommended story that will take you up to speed. However, it lacks the same deep character analysis which Superman: Peace on Earth provided. The relationship between Batman and Marcus is definitely the greatest aspect of this story as it conveys an interesting message about Batman’s quest, but the rest of the story feels slightly too bland. But it’s safe to say that Alex Ross makes War on Crime a gem to look at. It’s certainly one of his best art jobs, but I said that about the last one. As for the story, Dini and Ross only just scratch the surface.
Story: 7.5/10
Art: 10/10
Next Week: Shazam!: Power of Hope. Written by Paul Dini and Alex Ross with art by Ross.
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