Batman Iconography

Some first things I noticed from reading the first couple of pages is the increased complexity, like we’ve seen in the newer X-Men issues, of the comic sequence. Now, no longer are panels just next to each other, but often inserted within one another, placed behind or in front of one another and call to be read in a specific way. The first page includes a lot of really close action-to-action closures which are visually very iconic and distinct. Some panels are small and used to resemble different types of media, such as television. There is a mixture of inserted splash pages with smaller panels and beautiful full-width shots which provide the comic with a cinematic experience. There are some really dynamic shots of Batman.

            I can see a continuation of the noir element in Batman, as the opening scenes as well as most of the comic is shrouded in black shadows. It is interesting to see a continuation of the panel color schemes; each page seems to have a different color scheme. Sometimes this is done purposefully to represent different sequences such as dreams.

            Reading through the book, what’s also unique of Frank Miller is his ability to juxtapose two scenes or multiple scenes at the same time, something that is not as possible or effective on screen. Specifically, at pages 49-51, readers can visually see the two scenes and are able to look back and forth between the television and Dent as well as Batman’s actions. When the two collide, the effect is powerful.

            Frank Miller also engages with the reader in a completely different type of interaction. By having readers physically turn the book upside down to read it, when the Batman returns, heightens the reader’s interaction and engagement with the novel. It is almost as if we are entering the perspective of Batman. Reading this section upside down immediately points to its significance.

            There’s something to be said about the ‘cinematography’ of the sequence and art direction by the artists. They play with icons very well; even looking at the cover, the distinct black shape of Batman’s cowl fills up the entire cover. Two triangle shapes for eyes and pointed edges identify the figure as Batman, looming over the detailed figures in the bottom half of the cover. Being able to simplify Batman’s entire essence into simple shapes or symbols is what is so important to make the ‘identity’ of the superhero an icon. Being able to recognize this in the sky, on the news or even a signature on a letter with these shapes is a powerful tool for Batman to use over Gotham, a tool to know his departure or return to enforcing justice and his pursuit to battle wrongdoing.