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Batman 667

August 2007, DC Comics - writer: Grant Morrison - artist: J.H. Williams - colorist: Dave Stewart - letterer: Ken Lopez

The devil made them do it. I can’t think of another explanation for why DC Comics would delay Superman #666, especially after Batman #666 was delayed a month (though its release conveniently paralleled Preview Night at Comic Con). Perhaps they feared some legitimate spiritual consequences, what with the Man of Steel’s descent to hell so promptly following the future Dark Knight’s deal with the devil – the world’s finest can only dabble in the dark arts so much before comics industry decides to alter its course accordingly. (Or did Doomsday and Knightfall not usher in an era of schizophrenic superheroes, “friendly” and “neighborhood” one day, then “tormented” and “vengeful” the next? But I digress . . .) No, in Batman #667, writer Grant Morrison decides to plant the Dynamic Duo’s boots firmly back on Earth, though not in Gotham City, and his playful murder mystery is just the kind of pedestrian case the Caped Crusader needs to get his head out of the clouds.

Oh, and half a dozen quirky other Batmen certainly couldn’t hurt in the humility department, either...

In short, Grant Morrison’s run on Batman has been the most original unoriginal interpretation of the character in years. Morrison’s first arc, "Batman and Son", was essentially just a sequel to the 1987 graphic novel “Son of the Demon,” which exploited Batman’s weakness for family through the advent of his son, a story which was widely considered “retconned” until Damien’s unprecedented return. (Though his hasty age contrasts DC’s post “Zero Hour” timeline, and is the equivalent of Andrew’s five-year spurt between seasons of Family Ties, a “test tube” panel implies some artificial acceleration.) Still, #666’s prophetic tale was an innovative, open-ended way of legitimizing the kid’s role in Batman’s world. Now, the Batmen of All Nations return, another supposedly retconned concept (like most anything quirky and cool from the Golden or Silver Ages, thanks to Crisis on Infinite Earths), now renamed the Club of Heroes and primarily consisting of bored philanthropists from other countries.

While many fans might wonder why Morrison would mine these otherwise forgettable old stories, Batman’s musings with Robin summarize the intent of this tale: “There’s something that’s always fascinated me. What do eccentric men who have everything do when they’re bored?” Robin’s silent “You’re kidding me, right?” glare in the following panel says it all, but Morrison’s theme delves deeper, establishing the Club’s roster as a “There but for the grace of God go I” reflection for Bruce Wayne. The ensuing Clue-like mystery, complete with our heroes trapped in an abandoned mansion and a murdered Batman (thankfully not ours) undoubtedly with more to follow, simply puts the fun back in funnybook with a contemporary introspective character-development twist. Originality may be in question here, but Batman has worse stories that Morrison can reference, and it truly takes talent to make a one-shot Silver Age gimmick relevant again.

While Kubert’s art is sorely missed (and perhaps the real reason #666 was so late), artist J.H. Williams’ murky visuals are the perfect compliment to Morrison’s lofty island adventure. Under Williams’ pen, each character has a definitive presence, and every panel is crafted with pulp cinematic potential. Further, Williams plays with page layout; for instance, when the villainous Black Glove blows up the Batwing, the two-page splash is conveyed in panel boundaries shaped like a hand, asserting that Batman is truly in his enemy’s grip now. The last page of this story employs a similar technique and in fact is only a visual teaser for next’s issue continuation, and interesting choice of atmospheric storytelling. How many writers would essentially give up a page to show off an artist’s chops like that?

Perhaps “original unoriginality” is the wrong term for it. Grant Morrison simply seems to acknowledge that he is not the only writer to contribute to the Batman mythos, and rather than try to make his own footprint, his goal is to expound upon past, still unexplored ideas. What’s next, a modern take on the Joker’s utility belt?

We can only hope the devil makes him do that!