#batman: year one
Text
Jorge Fornes, homaging David Mazzucchelli.
This will be a variant for Batman # 146, going on sale in April 2024.
#Jorge Fornes#David Mazzucchelli#Batman: Year One#Homage#Batman#Cover Process#Process#DC Comics#DC#Comics#Art#Illustration
108 notes
·
View notes
Text
April 1987. Why Selina Kyle loves Batman, the Frank Miller version, part 2: After saving a stray cat from being shot by a murderous police SWAT team, Batman singles out the cop who tried to shoot the cat and puts him through a brick wall, as the crowd (which includes Selina Kyle) watches, in the second part of this scene from BATMAN #406, the third part of "Batman: Year One."
(I've used the recolored trade paperback version of these panels, with the more muted color palette, because the reproduction is clearer.)
#comics#batman#batman: year one#frank miller#david mazzucchelli#richmond lewis#bruce wayne#police violence tw#batcat#selina kyle#batman close-ups
51 notes
·
View notes
Text
DCV-Verse Continuity
1989 - Batman: Year One [in the works]
1990 - Batman: Duality [writing phase]
1993 - Arkham Asylum: A House Not Sane [in the works]
1997 - Heart of Ice, Heart of Steel [coming (not so) soon]
1998-1999 - Ten Years Later Saga:
Oracle: Zero Year [concluded]
A Loss in the Family [concluded]
Whatever Happened to Jason Todd? [concluded]
Knightfall [writing phase]
Suicide Squad [writing phase]
There's more to come...
Follow my IG to support my work: @alter.l.ego
#v-verse#batman#lego#lego batman#afol#dc comics#fanfiction#minifigures#dc universe#arkham asylum#Batman: Year One#batman fanart#batman comics#barbara gordon#batgirl#batfam#nightwing#jason todd#red hood#dick grayson#oracle#justice league#wonder woman#superman#suicide squad#harley quinn#joker#photography#lego moc#legoart
23 notes
·
View notes
Text
it’s showtime
175 notes
·
View notes
Text
The Dark Knight Returns and Batman: Year One are good, actually.
In fact, TDKR is pretty much Tumblr Batman (saving babies, I Hate Guns, I Need Robin, Batman is Hope, Batman Needs Friends, No Killing No Not Even If I Really Want To) and Year One is one of the most idealistic versions of Bruce Wayne.
(Also, he fight cops.)
Like. I’m not saying anyone has to like these stories, but if you’re gonna bag on them you should at least know wtf you’re talking about.
#Batman#Bruce Wayne#The Dark Knight Returns#Batman: Year One#not to in any way gotta hand it to Frank Miller#meta
12 notes
·
View notes
Photo
Here’s the panel I drew for the Batman: Year One redraw I participated in for halloween! I’ve had a lot of fun collabing with other Scriddler artists of the Scriddler Discord server on this 😁
And please do consider joining @enigmamuse ‘s Scriddler server! I’ve been having a lot of fun there chatting with other Scriddler fans, so just go ahead and ask muse for the link so we can chat!
72 notes
·
View notes
Text
youtube
Batman: Year One (2011) with Eliza Dushku as the voice of Selina. (After witnessing Batman, Selina Kyle begins a life of crime as Catwoman.)
3 notes
·
View notes
Text
Batman: Year One // Forgive me (Sarah Fimm; Near Infinite Possibility)
#Doing my rereads and to this song specifically year one makes me want to cry and throw things always#batman: year one#batman#dc comics
3 notes
·
View notes
Text
BLOB'S MILLER TIME: BATMAN: YEAR ONE #1
Originally published one year after The Dark Knight Returns. Written as an attempt to revamp Batman's origin story after the event that was Crisis on Infinite Earths.
For an initial approach to the comic, you can check out the wikipedia page here.
Batman: Year one. Chapter one: WHO I AM / HOW I COME TO BE
Before delving into the comic itself, right from the start we are told the nature of the story that will be told. It will be a revision of a life that's been lived. The initial quote promises a story of greatness, of a hero who overcomes hardship and forges himself anew to fulfill his purpose.
Yet in the title itself of this first issue there's a dichotomy present: the different states of being bring forward the undercurrent of energy brought by the winds of change. The self of "who I am" has the potential to turn into the self it "comes to be".
Even when we are static, we are always changing -- even if in this case the character may be anything but static. This can be reminiscent of the philosophical debate about the nature of the being: is it endless and unchanging at its core (what changes is only the appearance), or is it in a state of permanent change that maintains the dynamic equilibrium of all beings?
The comic itself starts in media res. It begins with the end of a journey, having the incipit be the time and place of the story. And right off the bat (pun intended), we are already told that going to Gotham, being in Gotham, is akin to being sent to hell as punishment. It's what one deserves. It's self torture.
Aside from this, we are presented with the comic's binary pair: Jim Gordon / Bruce Wayne.
I say binary pair because they're both connected, and replacing one with the other would result in a simple inversion of the roles in their status quo. Their stories are also set up in a way that they complement each other, the actions in one serving as backdrop to the happenings in the other.
Aside from that, we are also presented with the idea of Gotham being smokes and mirrors, from afar offering an illusion of civilization and order. Meanwhile, from up close, traveling through it, what can be seen is the true nature of it: the chaos, the danger, the possible enemies that lurk around its streets, hide among the crowds.
The differences in their arrivals to Gotham don't end there. Bruce is native to it, while Jim is moving into it for the first time, and thus he experiences its gnarly nature as a newcomer. While Bruce is composed and arrives with perceived calmness to the airport, surrounded by glitz and glamour and paparazzi, Jim arrives to a packed train station while holding on for dear life to his luggage.
It's a pretty unsubtle nod to their differences in social classes, but the good thing about easy visuals is that they drive the point home faster.
After this, we immediately follow Jim's meeting with the police commissioner, a sketchy man named Loeb. We immediately know he's sketchy because we are treated to a single panel of a tv news show talking about Harvey Dent withdrawing conspiracy charges against Loeb, all after a key witness "mysteriously" disappears.
His corruption is hammered home in obvious ways via having him talk about keeping mistakes away from the media, or not worrying about police (in this case, Jim's) honesty.
As a side note, how many easter eggs/references are in this office? And what fucking kind of office is this?
There's a clown painting. A wine bottle shaped like a penguin, or a bird with a top hat. A traffic stop sign, with a fire hydrant right next to it. A sculpture of The Thinker, but sitting on the toilet. A SNOOPY LAMP.
What's most poignant, however, is the mirror and its shatter pattern that resembles a gunshot, placed right besides/behind Jim's head. This immediately lets us know that, even though he's a cop, Jim is not safe here. He has entered the viper's nest. It's not subtle, but it is still a good visual.
After the meeting is over, we get to see Jim being driven by a fellow coworker named Flass. And, in typical Miller "I do not know how to be subtle" fashion, we are now treated to the comic's first depiction of police brutality:
Here we are privy to Jim's impotence and his reluctance to get involved beyond being a witness to Flass' actions. He knows he can't act just yet. He's biding his time, learning the lay of the land. We are also given an understanding of his standing with the police force and the delicate position he's in: he has moved to Gotham because his past mistakes involved jumping the gun too soon without having enough information.
He knows he can't make the same mistake twice. This time, he's willing to bide his time, even if he does not like what comes with that.
Visually, and in stark contrast to Gordon's colorful and packed scenes, we are given in juxtaposition single panels showing Bruce's side of this story. They all lack color and action, and the rhythm of these scenes are significantly slower. This is the most poignant in this single panel that comes right after the scene of police brutality:
Bruce, alone, kneeling by the place where his parents lay in their final rest.
-
Time skip: it's now one month later in the story. February 12.
Jim's a Lieutenant now. The panels start with harsh action lines, with Jim and Flass inside a police car while they're speeding towards a crime scene. The dialogue shows the changes to how things were a month before: Jim is, from what we can tell, no longer a witness to the things that happen around him. He's cranking down on those around him, showing his teeth, so to speak, and thus jeopardizing his position.
Flass warns him that he needs to relax. It is pretty easy to infer that what Flass is telling Jim is that he needs to stop working so hard, or that he needs to start looking the other way.
Seeking actual justice may not be the way of Gotham PD.
There are three other time skips, the first two within the same month:
February 21: we are shown a short training montage, Rocky IV style. Bruce's appearances are still in juxtaposition to Jim's. Though this time they have color, they're still limited to one panel per action. This makes it so it looks like Bruce is moving slower, like he's taking his time to develop. And, narratively, that is exactly what's happening: while he's training, Bruce recognizes that there's something missing. There's something he has yet to obtain. He's not quite ready yet to make the jump into becoming Batman.
February 26: the build up of tension between Jim and Gotham PD is reaching it's zenith. Now, the corruption of Gotham's police force is in plain view, completely exposed for the viewer to see. The breaking point shows itself when Flass complains to the commissioner about Jim refusing to accept bribes and, instead, suspending other cops for accepting them. The commissioner asks Flass to wait before attacking Jim, to wait two weeks when he'll be gone for a conference.
March 11: Two important things happen:
Bruce makes his first moves into what will later allow him to become Batman. He assumes his first fake persona, dons his first mask.
Jim gets ambushed by the other cops and beaten up by them... as a warning. He sticks out like a sore thumb among the corruption of Gotham and its police force, and he has made a bigger target of himself by refusing to adapt to his new environment, by not letting himself become corrupted as well.
After the scene of the cops attacking Jim, and in something that's a first in this issue, we are now no longer shown all of what happens to Gordon, instead the story switches focus to Bruce and him making his way through the slums of Gotham.
The way he describes everything, it is easy to infer mild disgust coming from his character, as well as there being a clear view of "us" versus "them". Bruce is an outsider to these parts, and even when he tries to fit in, he still sticks out (he gets mistaken for a cop). He can't understand them. He sees them as completely different from what he is.
After getting propositioned by an underage prostitute, Bruce fights her pimp, defeating him easily while Selina Kyle watches on from her window right above the street. The fights, compared to Gordon's scenes, all seem to be moving in slow motion, matching the rhythm of Bruce's thoughts and how he's constantly in deep contemplation. Like he's viewing the world and what's happening around him through a glass that keeps him at least a degree detached from it all.
In the fight, he ends up bringing more attention to himself, failing his initial plans of just getting information and not getting involved in anything. He's attacked by the prostitutes, and he ends up breaking the wrist of the underage girl. This makes it so that Selina jumps from her window and intervenes, and Bruce still tries to reign himself in but ends up making a bigger mess of things:
While fighting with Selina, the cops get there. Bruce gets shot by one of them and he's bleeding severely, while the other cop complains that Bruce was following their order to 'freeze'. This is yet another scene in which we see cops represented in a less than good way, abusing their authority and being too trigger happy.
He's cuffed and shoved in the back of a police car, disoriented by the way he's losing blood fast, until he manages to break out of his handcuffs and attacks the cops from behind, making them crash. While the car is going up in flames, Bruce manages to escape, noting that the fire will reach the gas tank in seconds and only in passing thinking "they probably have families".
(The cops survive.)
He manages to get back to his car and drives away back to the Manor. This is when the point of view changes yet again, using the car as transition. From a closeup of Bruce's bloodied hand turning the key in the ignition to start the car, we are then immediately shown a beaten up Jim driving his police car with a baseball bat in the empty seat right next to him. He's asking about Flass' whereabouts using the police radio and confirming that he was indeed part of the group that came to "soften him up".
Interestingly, this is when Bruce and Gordon's paths actually cross for the first time:
This is also when Bruce finally finds that thing that he's been looking for, the final missing key to his mission:
The next following scenes are the culmination of the buildup that has been laid out throughout the entirety of this issue.
Jim gets his revenge. He waits patiently for Flass to come out of the house he's gambling in, lets him drive away until they're in a lone patch of the road, with no other cars passing by. Jim makes himself known, lets Flass know who he is, and then fights him, knocks him down quickly and efficiently, leaving him injured just enough to make him feel it while keeping him out of the hospital.
He then leaves him naked and cuffed by the side of the road, knowing that Flass won't report him. Knowing that he can count on Flass' pride for that part, and with this done they won't come for his wife, who is pregnant.
Jim now knows what he must do, and what it takes to stay alive in Gotham. What it takes to stay with his head above water in the middle of the corruption of the police force.
Meanwhile, on the other side of Gotham, we have Bruce who finally made it back home, who made it into his father's study and is now bleeding out in his father's chair. In the final scene of this issue, we are finally reaching the crescendo of Bruce's quest for his sense of self and sense of duty. He's finally hitting head on the questions he's been asking himself: what is he, what is he missing, what must he become in order to carry out his mission?
What is his "self"?
This is when we get a first answer to the question posed by the very title of the issue: who am I? How I come to be?
Aimless, without direction, what Bruce needed was a harsh impact with reality, with real life, outside of his contemplative thoughts and solitary training. He needed to almost fail -- no, he needed to be afraid to realize that fear is precisely the element that he's been looking for. That it is the key to the puzzle of who he's meant to be.
And, like this, Batman is finally born.
-
All in all, I think that this first issue is a good attempt at revisiting Batman's origin story. Having the point of view change from Jim to Bruce lets it become more agile to read, while also presenting interesting parallels: either new to Gotham or native to it, the city itself bares its teeth without discrimination to anyone. It's a dangerous place to be in, it is ruled by fear and corruption. And because of it, the self is challenged into either becoming complacent or refusing to become one with the nature of things.
Both Jim and Bruce refuse to give in, to give up on those things that form who they are, their convictions and beliefs. They both now fight an uphill battle. They believe that a change can be made, and so they will cling onto that thought come rain or come shine.
It is also refreshing that, as far as origin stories go, the death of Bruce's parents is only shown in quick flashbacks. Even if Bruce's narration is charged with melancholy and a constant contemplative state, he's moving forward. The past has helped define who he is now, but it does not trap him. He is who he must be in this present.
#batman: year one#batman#bruce wayne#frank miller#jim gordon#commissioner gordon#blob blahs#blob's miller time#image id in alt text
17 notes
·
View notes
Text
sorry, Alfred, you're fighting a losing battle
27 notes
·
View notes
Text
Batman: Year One Part 3 (Batman (1940) issue #406) page 3
5 notes
·
View notes
Text
this is how i want bruce to interact with sex workers. not shame them and imply violence is just a natural consequence of their line of work.
#dc#dc comics#detective comics#bruce wayne#batman#batman: year one#catwoman (1989)#catwoman vol 1#mindy newell#catwoman#selina kyle#holly robinson
61 notes
·
View notes
Text
April 1987. Why Selina Kyle loves Batman, the Frank Miller version, part 1: Pursued by a typically murderous police SWAT team armed with assault rifles, Batman pauses to save a stray Siamese cat, who then runs to Selina (who at this point is not yet Catwoman), in this scene from BATMAN #406, the third part of "Batman: Year One."
#comics#batman#batman: year one#frank miller#david mazzucchelli#richmond lewis#bruce wayne#selina kyle#catwoman#batcat#police violence tw#cats
30 notes
·
View notes
Text
Batman: Year One | Chapter I - The Mentor
🦇 ⏩ Stay tuned for the next chapters!
Follow my IG to support my work: @alter.l.ego
#v-verse#Batman: Year One#Year One#dc comics#afol#batman#fanfiction#lego#lego batman#minifigures#arkham asylum#dc universe#Bruce Wayne#Alfred#Alfred Pennyworth#Ra's Al Ghul#Talia Al Ghul#dcu#dc batman#detective comics#dc#dc fanart#fan comic#fan fiction#fanfic#batman comics#comic#comics#lazarus pit#league of assassins
17 notes
·
View notes
Text
📚 Mis lecturas del 2023 📚
¡Hola!
Lo venía haciendo en Twitter y decidí darle un mejor formato y mayor espacio, así que acá están mis lecturas de este año, en el orden en que fui terminando los libros.
Algunos los arranqué antes pero los pausé y continué con otro. Están clasificados y ordenados según la fecha en la que los terminé.
Enero:
Le Guin, Úrsula K. (1976) El Nombre del Mundo es Bosque. Editorial Minotauro
Albertalli, B. y Silvera, A. (2018) What if it's us
Klune, T. J. (2020) The House in the Cerulean Sea
Klune, T. J. (2020-2022) The Extraordinaries, Flash Fire, Heat Wave
Febrero/Marzo:
Continué lecturas, pero no terminé ningún libro, estaba preparando finales.
Abril:
Hall, Alexis (2020) Boyfriend Material
Doyle, Arthur C. (1902) El Sabueso de los Baskerville. Editorial Salvat.
Dick, Philip K. (1988) Cuentos Completos I: Aquí Yace el Wub
Hall, Alexis (2022) Husband Material
Mayo:
Marcos, Álvaro (2021) El Mago Merlín y el Poder del Dragón
Hall, Alexis (2022) Paris Daillencourt is about to Crumble
El-Motar, Amar, Gladstone, Max (2019) This is How you Lose the Time War
Miller, F., Janson, K., Varley, L. (1986) Batman: The Dark Knight Returns. Editorial OVNI.
Lewis, R., Mazzuchelli, D., Miller, F. (1988) Batman: Año Uno. Editorial OVNI.
LeBlanc, Maurice (1907) Arsène Lupin: Caballero Ladrón. Editorial Salvat.
Junio:
Dick, Philip K. (1989) Cuentos completos II: La Segunda Variedad.
Julio:
Silvera, Adam (2022) The First to Die at the End
Jemas, B., Bendis, B. M., Bagley, M., Thibert, A., Buccellato, S., Javins, M. (2001-2002) Spiderman, Poder y Responsabilidad. Marvel Comics. Editorial Salvat.
Álvaro, Marcos (2021) El Mago Merlín en la Torre Oscura
Agosto:
Machado, Antonio. (1899-1939) Poemas Esenciales. Selección de Jesús García Sánchez. Editorial Salvat.
Septiembre:
Stevenson, Robert Louis (1894) El Club de los Suicidas. Editorial Salvat.
Octubre:
Wells, Herbert George (1897) El Hombre Invisible.
Shelley, Mary (1818) Frankenstein, o el Moderno Prometeo
Capullo, G., Kubert, A., Lee, J., Snyder, S., Romita Jr., J. (2017-2018) Dark Nights: Metal. DC Comics. Editorial OVNIPRESS.
Noviembre:
Dick, Philip K (1989) El Padre-Cosa
Diciembre:
Millar, M. Kubert, A. & A. (2001-2002) Marvel Ultimave: X-Men. Men of Tomorrow. Return to Weapon X. Editorial Salvat.
Rothfuss, P. (2007) The Name of the Wind. DAW Books.
Cortázar, J. (2023) Historias de Cronopios y de Famas. 9a Edición. Buenos Aires, Punto de Lectura Editorial.
Arlt, R. (1926) El Juguete Rabioso. CAPÍTULO Biblioteca Fundamental Argentina. Centro Editor de América Latina.
#book review#currently reading#booksbooksbooks#lecturas2023#ursula k le guin#t j klune#alexis hall#jrr tolkien#c s lewis#joseph campbell#álvaro marcos#Philip k dick#neil gaiman#arthur conan doyle#becky albertalli#adam silvera#Maurice Leblanc#arsène lupin#batman: year one#h g wells#mary shelley#frankenstein#mary shelley's frankenstein
5 notes
·
View notes
Text
Tomorrow's episode is going to be so good guys, I'm so excited. We finished All Star Superman last week (a true triumph, what a book, completely turned me around on Supes) and this week we're starting off Batman Year One. Not only is this my first true Batman comic, but my first Frank Miller.
Y'all it is four issues long and we had to split up the episode because I talked so much I loved it so much lmao.
Also tune in for hot takes on The Mandalorian and Ruth Ware
#batman: year one#my first batman comic#guys i got so excited#like i could not contain myself#all star superman#comic book book club#podcast#im trying this new thing where i promote my podcast
5 notes
·
View notes
Last Seen Blogs
ask-the-super-squad
Ask-The-Super-Squad
ask-the-super-squad
Ask-The-Super-Squad
thecoolguy24601
You're stuck with me skyguy
ask-the-super-squad
Ask-The-Super-Squad
chah055
Untitled