Batman: Year 100

Batman: Year 100

Batman: Year 100 begins with our hero being chased across the rooftop of an apartment building by a pack of dangerous-looking dogs while helicopters hover overhead and a police dragnet draws tighter. It’s a moment that’s effective for a couple of reasons. In the first place it throws us right into the middle of the action, which is set in the year 2039 (that’s a hundred years after Batman’s first appearance in 1939). What is Batman doing here? Did he invent a time machine? Get sucked into a dimensional vortex? Is this even the same, original Batman, now dimly remembered only as an urban legend or bogeyman? We don’t know the answers to these questions and indeed we never find out. It’s all just a given, and I think the comic is stronger for not trying to explain any of it.

The second reason I like this way of starting out is that it sets the tone for much of what follows. Batman is constantly being chased in this series, a wanted man in a dystopic future police state. The federal police (“wolves”) are the usual jackbooted thugs, but they’re only the foot soldiers of an oppressive surveillance apparatus that puts cameras in eyeballs and even includes the use of mind-reading telepaths. It’s all Batman can do to stay one jump ahead of these guys, and when they do catch up he really takes a beating.

One reason he suffers so much damage is that he’s not encased in his usual body armour. Instead, his costume looks like a lumpy pair of sweats. Paul Pope even deliberately made the sleeves too short so that his wrists poke out of the gap between the cuffs and his gloves, giving “a sense of his concealed human vulnerability.” This isn’t the mecha-Batman of Justice Buster or the more conventional massively-muscled All-American Batman. He looks more like a guy in burlap pyjamas, and I loved it.

In fact I loved almost everything about this comic. I’m constantly being impressed at how writers and artists can continue to make something not only new out of this old warhorse of a character but something really good. The story here is first-rate, with a really neat plot twist I wasn’t expecting, and while I’m not personally fond of Pope’s style of drawing I did get used to it and thought it made for an interesting complement to the violence the characters endure. Faces seemed slapped together out of clay, especially with regard to mouths, and when the beatings come they look like they’re being slapped apart again. There’s also a lot of room for ambiguity, beginning with the cover of the trade paperback which I had to look at for a long time to figure out. I think I finally got it, but there I felt like they should have gone with something different.

This collection of the full four-part series runs without breaks, which were so seamless I couldn’t identify them. Also included is Pope’s “The Berlin Batman,” which re-imagines Batman as a crime fighter in Weimar Germany. Batman in this story is the alter ego of “Baruch Wayne,” a wealthy socialite. I wasn’t blown away by this story, but it makes for a nice extra.

So there you have it. Off the top of my head I’d rank it only behind classics like Frank Miller’s The Dark Knight Returns and Loeb and Sale’s The Long Halloween in the running for my favourite Batman storyline. Maybe every ten years you can count on something this good coming out.

Graphicalex

20 thoughts on “Batman: Year 100

    • I really hate that cover. I even said so in the review! It took me a while to figure it out. He’s crouching on a rooftop chimney, and he’s scrunching his head down between his shoulders. It’s just a terrible pic to put on the cover and I don’t know why they did it.

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    • Not really. He does lean into the idea of being scary, even putting in plastic fangs at one point to look more like a monster. That goes back to the original idea where being a giant bat was supposed to scar criminals, and it was at least an interesting twist here.

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      • No, I meant funny in a good way. You didn’t mention if the book had any humor in it, and from the description it sure ain’t no comedy, but I’m always interested in whether the writers have a sense of humor.

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      • I want to corner Leonard Maltin and start throwing out random titles from his movie guide just to prove that no one can remember all this stuff. (But I’m afraid he might do better than I’d like.)

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      • Leonard always seemed a bit of a comical figure to me, especially as the resident movie guy on trash shows like Entertainment Tonight back in the ’80s, but I’ve seen him interviewed in more depth elsewhere and he seems like he really is pretty knowledgeable.

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      • Oh, yeah, he’s the proverbial walking encyclopedia (which, in his case, can be taken literally). I never did watch those shows you’re talking about. Sneak Previews was the only movie show I watched, and I pretty much stopped watching that one after Siskel died.

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