Faster than a DC Bullet: The Sandman Spin-Offs, Part XXVIII: Batman: Whatever Happened to the Caped Crusader?: The Deluxe Edition, With other tales of the Dark Knight

Comic hardcover, n.pag
Published 2009 (contents: 1989-2009)
Borrowed from the library
Read November 2012

Batman: Whatever Happened to the Caped Crusader?: The Deluxe Edition, With other tales of the Dark Knight

Writer: Neil Gaiman

Artists: Andy Kubert, Scott Williams, Simon Bisley, Mark Buckingham, Mike Hoffman, Kevin Nowlan, Bernie Mireault, Matt Wagner
Colors: Alex Sinclair, Nansi Hoolahan, Tom McCraw, Joe Matt

Letters: Jared K. Fletcher, John Costanza, Agustin Mas, Todd Klein

This is close to the end of my Sandman spin-off runthrough. It's also stretching the definition of "Sandman spin-off," though no moreso than when I included Gaiman's early DC work like Black Orchid and Legend of the Green Flame. Whatever Happened to the Caped Crusader? actually teases you with an appearance of someone who might be Death... but turns out not to be. (Or so I think, anyway. Some evidently disagree!) The story takes place after Batman's death in Grant Morrison's Batman R.I.P. and Final Crisis, with all of his old allies and enemies gathering in Gotham to pay homage to him. Only... everyone thinks they did it. So we get a succession of stories told, by Catwoman, Alfred, the Mad Hatter, Joker, Robin, Clayface, Superman, each telling completely contradictory stories about something they did (or did not do) that lead to the death of Batman.

The stories range from a few pages to a panel or two to just dialogue, but each of them manages to be completely and utterly Batman. It's the greatest hits of Batman deaths, if he was allowed to have more than one. There are a lot of nice details-- my favorite part is the guy outside the club where the funeral is being held who watched the villains' cars-- in both the (beautiful) art (by Andy Kubert) and the writing. It's the perfect tribute to the Batman, the man who never gave up, no matter how crazy he seemed.

The whole funeral is overlaid by two people talking in caption boxes, who turn out to be Batman and not Death ("I don't think death is a person, Bruce."), and Batman passes from the funeral, from life, into something greater and beyond reality. Here, Bruce gets a chance to reflect on who he was and why he did everything he did. There are a lot of great lines, my favorite being, "Do you know the only reward you get for being Batman? You get to be Batman." And then he's done... or as done as Batman can ever be, because he's apparently got to pass on somewhere else. I know that when Darkseid kills Batman in Final Crisis, Batman actually goes tumbling into the past, so I assume this is all tied into that, but it works on its own as a story about the endurance and struggle of Batman, too.

The still-thin book is padded out by everything else Gaiman wrote related to Batman, which amounts to a weird set of stories. "A Black and White World" is about what Batman and the Joker do "off-panel" in their comics, but Simon Bisley's art is just a little too "gritty 1990s" to work for me. Check out those ears on the Batman! And those R. Crumb-style women. "Pavane" is about a Suicide Squad agent trying to recruit Poison Ivy, giving her origin story-- pretty good stuff. "Original Sins" and "When is a Door" are two linked stories about a news team visiting Gotham to do a feature on supervillains.

I like the frame a lot, being filled with big and small character moments, and jokes at the Penguin's expense, but "When is a Door," the teams encounter with the Riddler, ended up being a long metafictional rant about the death of fun in superhero comics. Well, Neil Gaiman, go write some fun superhero comics then. This is your world; as I was just reminded, Batman and the Riddler just live in it.

New Republic Week: Star Wars: The Thrawn Trilogy by Mike Baron with Timothy Zahn

Comic hardcover, 436 pages
Published 2009 (contents: 1995-99)
Acquired December 2010
Read July 2012

Star Wars: The Thrawn Trilogy

Scripts: Mike Baron

Pencils and Inks: Olivier Vatine, Fred Blanchard, Terry Dodson, Kevin Nowlan, Edvin Biukovic, and Eric Shanower
Art Assists: Vincent Rueda

Colors: Isabelle Rabarot, Pamela Rambo, and Dan Brown
Lettering: Ellie DeVille
Adapted from the novels by Timothy Zahn

Though I've read the novels many times, this was my first time reading the comics adaptation of Timothy Zahn's trilogy of Star Wars novels, Heir to the Empire, Dark Force Rising, and The Last Command, making this a different sort of climax to my time of rereading New Republic-era Star Wars novels.

Unfortunately, although it was rarely bad, mostly this book served to remind me of a much superior work. Zahn's Thrawn novels are distinguished by their large, complex political plots; abbreviated into comics, each story is nothing but a series of haphazard and rapid scenes. Characters go places and do things for reasons the reader doesn't quite know, referring to things the reader hasn't seen. Though Baron gets better with this as the adaptations go on, they never become involving or deep.

The art itself is nice. Olivier Vatine and Fred Blanchard have a very distinctive style-- I love their narrow-eyed Thrawn-- and I certainly enjoy the work of Terry Dodson and Eric Shanower. (And since I complain about it so much elsewhere, never once did I feel here that a female character had been gratuitously sexualized, not even Mara to my surprise.) While it's nice to get visualizations of some of the story elements, this comic fails to add much of a new level of meaning to the original. Mostly, I just want to read the original now.

Faster than a DC Bullet: The Sandman, Part IV: The Absolute Sandman, Volume Four

Comic hardcover, 608 pages
Published 2008 (contents: 1993-96)
Borrowed from the library
Read October 2010

The Absolute Sandman, Volume Four

Writer: Neil Gaiman
Artists: Marc Hempel, Michael Zulli, D'Israeli, Richard Case, Charles Vess, Teddy Kristiansen, John J Muth, Kevin Nowlan, Dean Ormston, Glyn Dillon
Colorists: Daniel Vozzo, John J Muth
Letterers: Todd Klein, Kevin Nowlan

With this volume, The Sandman storyline hurtles to its inevitable conclusion. I had this spoiled for me ages ago, but it still totally works, and besides, Volume Three has a sequence that gives the game away anyway. The story is slow to start, but it really comes together as it goes, and as we see people throughout the universe of the series react to what is about to happen to Dream-- or what Dream is about to do? The final storyline makes a lot of sense of Dream's inactivity throughout the series (though I don't know that it excuses it as good storytelling), and I was happy to see Lyta Hall, wife of the 1980s Sandman, make a return. As the series' longest storyline yet, The Kindly Ones really works: I was riveted as I read, wanting to know what was going to happen next even thought I knew. There were lots of great little moments, especially the last stand of Merv Pumpkinhead during the assault on the Dreaming, and Cain's grief at what has happened to Abel. Marc Hempel has a different pencilling style from most of the other artists on the series, which would have been fine-- except that it often made it difficult to recognize brief appearances by preestablished characters. Though not quite as good as Brief Lives in Volume Three, The Kindly Ones provides an excellent finale to the series.

I need to say a few words about Matthew the Raven. Though Merv makes me laugh the most, Matthew is my favorite of the characters to inhabit the Dreaming, a mortal man who died and was offered a chance to live on in dreams as Dream's raven. He's your "average guy" amongst the far-fetched characters of the Dreaming, a little baffled but often able to cut through the crap. He got some good material in Volume Three, and he shines here in Volume Four, providing a human anchor for the massive events unfolding. The climax of the The Kindly Ones wouldn't be nearly as powerful without him, and he's what makes the last storyline in the book, The Wake, work as well as it does, as he struggles to come to terms with what happened. A great supporting character.