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Batman: Year 100 #1-4
Batman: Year 100
Visionary writer/artist Paul Pope presents a futuristic mystery of epic proportions set in a dark, dystopian world devoid of privacy and filled with government conspiracies, psychic police, holographic caller ID and absolutely no room for "secret identities."
In Gotham City, 2039, a federal agent is murdered and a contingent of Washington's top agents is hot on the suspect's trail. The Batman, a forgotten icon from the past, is wanted for the murder. Amid the chaos Gotham City Police Detective Gordon, grandson of the former commissioner, discovers that the man they are chasing shouldn't exist at all.
In Gotham City, 2039, a federal agent is murdered and a contingent of Washington's top agents is hot on the suspect's trail. The Batman, a forgotten icon from the past, is wanted for the murder. Amid the chaos Gotham City Police Detective Gordon, grandson of the former commissioner, discovers that the man they are chasing shouldn't exist at all.
230 pages, Paperback
First published February 1, 2006
36 people are currently reading
2528 people want to read
About the author
Paul Pope
227 books250 followersPAUL POPE is an American cartoonist living and working in New York City. Pope has made a name for himself internationally as an artist and designer. He has been working primarily in comics since the early '90s, but has also done a number of projects with Italian fashion label Diesel Industries and, in the US, with DKNY. His media clients include LucasArts, Paramount Pictures, Cartoon Network, Marvel Comics, DC Comics, Conde-Naste, Kodansha (Japan), Sapporo (Japan), Marc Ecko, Dargaud Editions (France), EMI Canada, Warner Brothers, and The British Film Institute. His iconic Batman: Year 100, a science fiction take on the classic Batman origin tale, has won numerous awards, seen print in many languages, and appears frequently on many Top 10 Batman story lists. In 2010, Pope was recognized as a Master Artist by the American Council Of The Arts, and is currently sitting on the ACA advisory board. His 2010, short science fiction comic strip Strange Adventures (DC Comics)--an homage to the Flash Gordon serials of the '30s-- won the coveted National Cartoonist Society's Reuben Award for Best Comic Book of the year. He has won 5 Eisners to date.
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Displaying 1 - 30 of 363 reviews
November 13, 2010
From the very first page it's clear that this is a vibrant and unbridled work. Pope's art can be loose and grotesque, taking anatomy lightly, he has sacrificed it for movement, for the wide frames darting through space, telling the story precisely with evocative images, and for the physical representation of personality. There's a great overview of the wordless opening pages here.
After reading a poorly-written, awkwardly visualized comic like Fables, it was a shock to my system to watch Pope push the form, pumping life into every page. The mixture of elements here, from subversions of the Batman mythos to an understated cyberpunk plot reminiscent of Aeon Flux, corrupt and violent cops in sports jersey uniforms right out of Marshal Law, a bat-suit fit for a luchador, and touches of Manga in the character design mark this as the sort of original vision that defies genre or storytelling modes.
I felt almost breathless at the action and violence as the plot leapt up at me, but unlike Miller's futuristic Bat-Tales, Pope isn't painting with violence for the sake of machismo, but to provide a sense of palpable danger in the story's central conflict. Even so, there were moments when the flashy barrage of bullets and sound effects surrounding the nightmarish crusader were a bit cartoonish, working against the mood Pope had set. But then I hate visualized sound effects.
Unfortunately, Pope also has a tendency to overexplain sci fi, which bogs down the story, especially the latter half. He's very interested in procuring and re-using terms, trying to fit them into an array of pseudoscientific explanations that would be better dealt with in the briefest and least intrusive way.
Curiously, the story doesn't rely on the character implications or political explorations that have made Miller's Bat work lasting. When Pope does try his hand at moralizing, it ends up not just artificial, but rather pointless. There are not really any grand social questions here.
There's a lot going on, but it's not clearly directed, instead it's a combination of interesting elements which, though they make up an original world and provide some insights, do not build towards a grand central theme, as we'd expect from Moore, Miller, Gaiman, Ellis, or Morrison.
The characters are not 'explored' by the usual artificial means of internal narration or awkward expositionary dialogue ("Hello there, cousin Mark, who used to be in the Army"). Instead, we have to take these people and situations as they are, and perhaps strain a bit to figure out what we can about them from what Pope gives us. We know about them what is necessary for the plot, and Pope feels no need to encumber us with any other extraneous emotions or background.
It's rather elegant, but is bound to upset some comic readers who are used to free access to their favorite characters' deepest thoughts and desires. After all, the industry constantly inundates them with melodramatic soap opera plots and endless background summaries to rival celeb mags. It's just this sort of overweening obsession with the canon that Pope rejects.
Similarly upsetting to the average Batman fan is Pope's unwillingness to answer the question of Batman's identity, which I find hilariously ironic. Ever since the comic debuted, we've had the same Batman, the same Bruce Wayne. Any time they tried to substitute another Batman, any time they killed Wayne, fans were outraged: "Bruce Wayne can't be dead, only he can be Batman!"
So now, seventy years later, we have the same guy, the same backstory (with a few tweaks), the same late thirties mobsters and cars, but now with cellphones and the internet. Yet no one asks how this century-old Batman exists. The fans won't let him die, they refuse to accept any change.
Yet Pope presents a Batman of the future who seems inexplicably to be an impossibly ancient Bruce Wayne and suddenly, everyone reverses their position: "Bruce Wayne has to be dead, he can't possibly be Batman!" We shouldn't be asking Pope "how could Batman still be alive?", we should ask "how could Batman ever die?" The fans certainly won't let him. While Pope's other future predictions can be a bit silly (specifically the telepaths) his suggestion of an inexplicably ancient Bruce Wayne is practically guaranteed.
Pope wants us to ask ourselves how much the identity of Batman is dependent on a particular person, time, or place. The character of Gordon's son, of the new Robin and of 'The Doctor' and her daughter all approach the question of the identity of archetypal characters in different ways, and the relationship each has with Batman is important to how we think of his identity.
This imprecise combination of ideas is hardly a death-knell. Milligan has thrived on it by layering webs of meaning in surprising, inspiring, subversive ways. Pope is not the master of form Milligan is, but we can appreciate the fearless, madcap vision he presents here, even if it sometimes falters, his achievements are not lessened.
My Suggested Reading In Comics
After reading a poorly-written, awkwardly visualized comic like Fables, it was a shock to my system to watch Pope push the form, pumping life into every page. The mixture of elements here, from subversions of the Batman mythos to an understated cyberpunk plot reminiscent of Aeon Flux, corrupt and violent cops in sports jersey uniforms right out of Marshal Law, a bat-suit fit for a luchador, and touches of Manga in the character design mark this as the sort of original vision that defies genre or storytelling modes.
I felt almost breathless at the action and violence as the plot leapt up at me, but unlike Miller's futuristic Bat-Tales, Pope isn't painting with violence for the sake of machismo, but to provide a sense of palpable danger in the story's central conflict. Even so, there were moments when the flashy barrage of bullets and sound effects surrounding the nightmarish crusader were a bit cartoonish, working against the mood Pope had set. But then I hate visualized sound effects.
Unfortunately, Pope also has a tendency to overexplain sci fi, which bogs down the story, especially the latter half. He's very interested in procuring and re-using terms, trying to fit them into an array of pseudoscientific explanations that would be better dealt with in the briefest and least intrusive way.
Curiously, the story doesn't rely on the character implications or political explorations that have made Miller's Bat work lasting. When Pope does try his hand at moralizing, it ends up not just artificial, but rather pointless. There are not really any grand social questions here.
There's a lot going on, but it's not clearly directed, instead it's a combination of interesting elements which, though they make up an original world and provide some insights, do not build towards a grand central theme, as we'd expect from Moore, Miller, Gaiman, Ellis, or Morrison.
The characters are not 'explored' by the usual artificial means of internal narration or awkward expositionary dialogue ("Hello there, cousin Mark, who used to be in the Army"). Instead, we have to take these people and situations as they are, and perhaps strain a bit to figure out what we can about them from what Pope gives us. We know about them what is necessary for the plot, and Pope feels no need to encumber us with any other extraneous emotions or background.
It's rather elegant, but is bound to upset some comic readers who are used to free access to their favorite characters' deepest thoughts and desires. After all, the industry constantly inundates them with melodramatic soap opera plots and endless background summaries to rival celeb mags. It's just this sort of overweening obsession with the canon that Pope rejects.
Similarly upsetting to the average Batman fan is Pope's unwillingness to answer the question of Batman's identity, which I find hilariously ironic. Ever since the comic debuted, we've had the same Batman, the same Bruce Wayne. Any time they tried to substitute another Batman, any time they killed Wayne, fans were outraged: "Bruce Wayne can't be dead, only he can be Batman!"
So now, seventy years later, we have the same guy, the same backstory (with a few tweaks), the same late thirties mobsters and cars, but now with cellphones and the internet. Yet no one asks how this century-old Batman exists. The fans won't let him die, they refuse to accept any change.
Yet Pope presents a Batman of the future who seems inexplicably to be an impossibly ancient Bruce Wayne and suddenly, everyone reverses their position: "Bruce Wayne has to be dead, he can't possibly be Batman!" We shouldn't be asking Pope "how could Batman still be alive?", we should ask "how could Batman ever die?" The fans certainly won't let him. While Pope's other future predictions can be a bit silly (specifically the telepaths) his suggestion of an inexplicably ancient Bruce Wayne is practically guaranteed.
Pope wants us to ask ourselves how much the identity of Batman is dependent on a particular person, time, or place. The character of Gordon's son, of the new Robin and of 'The Doctor' and her daughter all approach the question of the identity of archetypal characters in different ways, and the relationship each has with Batman is important to how we think of his identity.
This imprecise combination of ideas is hardly a death-knell. Milligan has thrived on it by layering webs of meaning in surprising, inspiring, subversive ways. Pope is not the master of form Milligan is, but we can appreciate the fearless, madcap vision he presents here, even if it sometimes falters, his achievements are not lessened.
My Suggested Reading In Comics
September 21, 2025
Some cool concepts here and there, but the artwork wasn't for me. It was also a bit hard to follow at times. This also features a segment from the Batman Chronicles no. 11 by Paul Pope, taking place in Batman's birth year of 1939. Since it was only a quick segment in the back, there wasn't a lot of depth to it, though I did enjoy the story.
June 10, 2013
Day 24 of my Batman graphic novel binge brought me this version of the Dark Knight. Batman: Year 100, which I'm sure is a play on the lauded Batman: Year One, was . . . interesting. I have a friend who knows WAY more than I do when it comes to comics and graphic novels. He always says: "I can't read a comic unless I like the art." I've always thought, "Well, that's pretty shallow. I mean, a good story will always trump lousy art, right?" Well . . . now I'm not so sure. The story behind Batman: Year 100 is interesting, set in a dystopian future where federal cops patrol using hover cars (yet strangely they still use conventional guns as weapons)and the Caped Crusader must be over 130 years old. So old, in fact, that he is nothing more than a myth, kind of like the Loch Ness Monster, only slightly more stylish. For some reason he comes out of hinding and is caught in an international scandal that slowly unravels during the book. So far so good.
The Batman is clearly not the same he once was, however, the effects of aging haven't seemed to slow him down. In fact, according to the narrative, he has been the same guy since the 1930s. This was something that interested me, I mean . . . how could he be the same guy? Well, the story wouldn't give any light into how Bruce Wayne lived to over 130 years, unless I completely missed that plot point because I was reading on autopilot. If it was there, I'd like someone to explain it to me. Did he use the Lazarus Pit? Did he drink some magic potion? Did he go into cryogenic sleep thanks to Mr. Freeze? I have no idea.
That brings me to what my buddy said about the art. I called him shallow. I said story trumps all. Well . . . I'm singing a different tune now. I could NOT get past the art in Batman: Year 100 long enough to immerse myself into the story. I kept thinking, "Would I be enjoying this more had Jim Lee or another prolific comic artist drawn it? Would it have given me better insight into the story Paul Pope is trying to tell?" Quoting my buddy, "Graphic novels are a visual media. It's not a book. It's words merged with images. Therefore, both should come together to make the story more meaningful, more powerful, more memorable." Now, I completely agree and I'm backpedaling like crazy. The images are just as important as the words on the page. I know not everyone has to draw like Seth Macfarland or Jim Lee, but the artistry in this book left a ton be desired.
There were other things I didn't really like about this version of Batman. I thought his fake "scary teeth" were kind of lame. I also thought he made a lot of really bad decisions for someone who's lived more than 100 years fighting the world's worst super criminals. Anyway, not my favorite version of Batman, but glad I can mark it off my list.
The Batman is clearly not the same he once was, however, the effects of aging haven't seemed to slow him down. In fact, according to the narrative, he has been the same guy since the 1930s. This was something that interested me, I mean . . . how could he be the same guy? Well, the story wouldn't give any light into how Bruce Wayne lived to over 130 years, unless I completely missed that plot point because I was reading on autopilot. If it was there, I'd like someone to explain it to me. Did he use the Lazarus Pit? Did he drink some magic potion? Did he go into cryogenic sleep thanks to Mr. Freeze? I have no idea.
That brings me to what my buddy said about the art. I called him shallow. I said story trumps all. Well . . . I'm singing a different tune now. I could NOT get past the art in Batman: Year 100 long enough to immerse myself into the story. I kept thinking, "Would I be enjoying this more had Jim Lee or another prolific comic artist drawn it? Would it have given me better insight into the story Paul Pope is trying to tell?" Quoting my buddy, "Graphic novels are a visual media. It's not a book. It's words merged with images. Therefore, both should come together to make the story more meaningful, more powerful, more memorable." Now, I completely agree and I'm backpedaling like crazy. The images are just as important as the words on the page. I know not everyone has to draw like Seth Macfarland or Jim Lee, but the artistry in this book left a ton be desired.
There were other things I didn't really like about this version of Batman. I thought his fake "scary teeth" were kind of lame. I also thought he made a lot of really bad decisions for someone who's lived more than 100 years fighting the world's worst super criminals. Anyway, not my favorite version of Batman, but glad I can mark it off my list.
May 18, 2013
Set in 2039 (100 years after Batman debuted in Detective Comics #27 in 1939), Gotham has become a police state and the overbearing authorities know everything about everyone. A cop is killed and Batman is suspected as he was at the scene - an obvious frame job. It’s also the first appearance he has made in public for years and people have forgotten his existence - is the mythological Batman real? He is nonetheless hunted by psychic cops, robot dogs, and other futuristic crime-fighting tools. In the course of finding the real killer, Batman discovers that there’s a doomsday weapon being sold on the black market by the (clearly corrupt) cops in charge. Will he stop them in time...?
Year 100 is a very uneven book that I really wanted to like. There’s the dystopian future angle, and the attention-grabbing title adding to the mystery of whether Batman is still Bruce Wayne (it couldn’t be - could it?), both of which I liked, but while this is an initially exciting story, as it goes on Paul Pope keeps readers at a distance from the characters and this world by revealing very little information about them.
How did things get to this point - Gotham as a police state? What event triggered such an extreme reaction? If this is Bruce Wayne as Batman, how is that possible - Wayne would be somewhere around 120-150 years old, so who is Batman? What happened to his fortune? What of the rogues like the Joker? What happened to the Justice League? We’re never told the answers to any of these questions.
So it’s quite a limited view of the future. On the one hand that’s great because we don’t need someone there literally explaining the history of this Gotham, but on the other hand a hint as to the origins of this dystopian future would’ve been appreciated for a more satisfactory reading experience. As such, Pope’s narrative deftness makes the book feel that much easier to forget and become less involved with because we’re never given the chance to inhabit this world.
Also, I found that the plot ended up becoming more of a hindrance than an enjoyable story. At first it’s a fast-paced, exciting story of Batman on the run and then after about 100 pages, Pope decides to explain the plot by having the reader follow Batman figure out what’s going on, step by tedious step. It’s an overlong sequence where for nearly 40 interminable pages Batman sits in a room and talks with Robin and Oracle. Exposition, exposition, exposition - it really puts the brakes on the story while also being really boring to read. I get that the reader needed to be caught up to the point of the book, but what a clunky way of doing it.
Some people have complained about Pope’s art but I loved it. It’s different, it’s fluid (which is an excellent quality to have when it comes to the action), and he somehow manages to make machinery feel organic! The Batmobile in this book is an awesome tricked-out motorcycle that, when not being used, hangs in such a way (dripping oil like sweat) as to look like a giant sleeping bat - it’s a really cool effect. Pope also has Batman live up to his name, making him look animalistic in fight scenes, wearing sharp false teeth, and also on the cover where he looks almost rodent-like perched atop a pair of chimneys. I also liked that his mask is similar to the original Bob Kane design while also looking like something a luchadore would wear, and the fact that the cops of the future look like hockey players with colourful uniforms instead of boring black kevlar.
I would’ve liked Pope to have at least hinted at Batman’s identity, but I’m fine that he didn’t. I get that it’s not so much about the identity behind the mask as the mask itself as a symbol of justice and hope for the disenfranchised and that it doesn’t matter who wears the cowl, just that someone wears it and exemplifies the ideals of Batman. The book is basically about Batman fighting the Man in a futuristic setting - dystopian future meets Hong Kong action movie - and that’s fine as far as it goes.
I did find the ending a bit silly with Pope using the kind of ending that’s been used too many times - Batman tells the baddies that he knows all about their plan and then the Bad Guy says: “How did you know?” to which Batman grins and says “I didn’t but you just confirmed it for me”. Ugh. It’s that smarmy playground-ish kind of ending that doesn’t befit the World’s Greatest Detective - though it does add credence to the idea that this isn’t Bruce Wayne after all as I think Bruce would’ve figured it out himself rather than guessed.
Overall, Year 100 isn’t a great Batman book but it’s not a bad one. It has enough in it to make it worth picking up but it felt overlong by half, the ending was disappointing, and there were simply too many unanswered questions that stopped it from being a satisfactory read. It’s got some great art and is an interesting Elseworlds concept, but it’s not an essential Batman book to read.
Also included is the 18 page short Pope wrote/drew back in 1997 featuring a German Jewish Baruch Wane/Batman in 1939 Berlin, fighting against Nazi oppression in the lead up to the war’s outbreak.
Year 100 is a very uneven book that I really wanted to like. There’s the dystopian future angle, and the attention-grabbing title adding to the mystery of whether Batman is still Bruce Wayne (it couldn’t be - could it?), both of which I liked, but while this is an initially exciting story, as it goes on Paul Pope keeps readers at a distance from the characters and this world by revealing very little information about them.
How did things get to this point - Gotham as a police state? What event triggered such an extreme reaction? If this is Bruce Wayne as Batman, how is that possible - Wayne would be somewhere around 120-150 years old, so who is Batman? What happened to his fortune? What of the rogues like the Joker? What happened to the Justice League? We’re never told the answers to any of these questions.
So it’s quite a limited view of the future. On the one hand that’s great because we don’t need someone there literally explaining the history of this Gotham, but on the other hand a hint as to the origins of this dystopian future would’ve been appreciated for a more satisfactory reading experience. As such, Pope’s narrative deftness makes the book feel that much easier to forget and become less involved with because we’re never given the chance to inhabit this world.
Also, I found that the plot ended up becoming more of a hindrance than an enjoyable story. At first it’s a fast-paced, exciting story of Batman on the run and then after about 100 pages, Pope decides to explain the plot by having the reader follow Batman figure out what’s going on, step by tedious step. It’s an overlong sequence where for nearly 40 interminable pages Batman sits in a room and talks with Robin and Oracle. Exposition, exposition, exposition - it really puts the brakes on the story while also being really boring to read. I get that the reader needed to be caught up to the point of the book, but what a clunky way of doing it.
Some people have complained about Pope’s art but I loved it. It’s different, it’s fluid (which is an excellent quality to have when it comes to the action), and he somehow manages to make machinery feel organic! The Batmobile in this book is an awesome tricked-out motorcycle that, when not being used, hangs in such a way (dripping oil like sweat) as to look like a giant sleeping bat - it’s a really cool effect. Pope also has Batman live up to his name, making him look animalistic in fight scenes, wearing sharp false teeth, and also on the cover where he looks almost rodent-like perched atop a pair of chimneys. I also liked that his mask is similar to the original Bob Kane design while also looking like something a luchadore would wear, and the fact that the cops of the future look like hockey players with colourful uniforms instead of boring black kevlar.
I would’ve liked Pope to have at least hinted at Batman’s identity, but I’m fine that he didn’t. I get that it’s not so much about the identity behind the mask as the mask itself as a symbol of justice and hope for the disenfranchised and that it doesn’t matter who wears the cowl, just that someone wears it and exemplifies the ideals of Batman. The book is basically about Batman fighting the Man in a futuristic setting - dystopian future meets Hong Kong action movie - and that’s fine as far as it goes.
I did find the ending a bit silly with Pope using the kind of ending that’s been used too many times - Batman tells the baddies that he knows all about their plan and then the Bad Guy says: “How did you know?” to which Batman grins and says “I didn’t but you just confirmed it for me”. Ugh. It’s that smarmy playground-ish kind of ending that doesn’t befit the World’s Greatest Detective - though it does add credence to the idea that this isn’t Bruce Wayne after all as I think Bruce would’ve figured it out himself rather than guessed.
Overall, Year 100 isn’t a great Batman book but it’s not a bad one. It has enough in it to make it worth picking up but it felt overlong by half, the ending was disappointing, and there were simply too many unanswered questions that stopped it from being a satisfactory read. It’s got some great art and is an interesting Elseworlds concept, but it’s not an essential Batman book to read.
Also included is the 18 page short Pope wrote/drew back in 1997 featuring a German Jewish Baruch Wane/Batman in 1939 Berlin, fighting against Nazi oppression in the lead up to the war’s outbreak.
August 6, 2016
This was a interesting read. Never judge a book by it's cover!
Because this a ugly fucking cover. So I almost didn't read it :P
However I sat down and flipped through page after page and actually got pretty engrossed quickly. The idea of Batman running around in a shitty future (think like Robocop almost) while fucking up some bad people with some weird uglish art going on, and you got something special (or at the very least unique).
Batman, who we don't know if he's Bruce Wayne or not, is going around trying to uncover something. As he always does, right? You got the supporting cast here with Jim and Robin, but the weird part is this isn't the Robin you know (or the Jim I guess, though he looks a lot like him?) You don't even know who this Batman is (and slight spoilers you never really find out).
It's very odd, and never answers questions you probably are wondering. Is this like a What If? Is this the future? What the heck is this?
Which is where the negatives come in. Too many unanswered questions, mixed with some pretty ugly face art, and wraps up too neatly.
On the flipside I enjoyed the art at the action moments cause it ran sooooo smooth, and looked great. I also love the Batman in here, for he gives no fucks, and he never backs down. Also he's scary as all hell with those teeth like a vampire put in.
So overall and enjoyable time with this one without much answered in the end. A 3/5.
Because this a ugly fucking cover. So I almost didn't read it :P
However I sat down and flipped through page after page and actually got pretty engrossed quickly. The idea of Batman running around in a shitty future (think like Robocop almost) while fucking up some bad people with some weird uglish art going on, and you got something special (or at the very least unique).
Batman, who we don't know if he's Bruce Wayne or not, is going around trying to uncover something. As he always does, right? You got the supporting cast here with Jim and Robin, but the weird part is this isn't the Robin you know (or the Jim I guess, though he looks a lot like him?) You don't even know who this Batman is (and slight spoilers you never really find out).
It's very odd, and never answers questions you probably are wondering. Is this like a What If? Is this the future? What the heck is this?
Which is where the negatives come in. Too many unanswered questions, mixed with some pretty ugly face art, and wraps up too neatly.
On the flipside I enjoyed the art at the action moments cause it ran sooooo smooth, and looked great. I also love the Batman in here, for he gives no fucks, and he never backs down. Also he's scary as all hell with those teeth like a vampire put in.
So overall and enjoyable time with this one without much answered in the end. A 3/5.
June 9, 2015
I found this story very jumbled and mostly confusing. On top of that the art was plain ugly. Really disliked this one.
July 2, 2012
What if Gotham had become a police state that no longer observed the personal liberties of its citizens? And what if Batman existed but hadn't been active in decades? And what if Inspector Gordon's grandson was around and had the same job and ran into Batman as he dealt with a Federal conspiracy? That's the thrust of this tale that focuses on tight, gritty shots and tries to make Batman lean and mean yet not so mysterious or superhero like. Notice his shoes are like military boots in some of the artwork. I found this to be an interesting dystopian focus with well detailed action scenes though purists may be turned off and . . .
Written and illustrated by Paul Pope.
ACTION SCENES: B to B plus; ARTWORK: B to B plus; CHARACTERS/DIALOGUE: B;
STORY/PLOTTING: B minus to B; WHEN READ: mid April 2012; OVERALL GRADE: B to B plus.
Written and illustrated by Paul Pope.
ACTION SCENES: B to B plus; ARTWORK: B to B plus; CHARACTERS/DIALOGUE: B;
STORY/PLOTTING: B minus to B; WHEN READ: mid April 2012; OVERALL GRADE: B to B plus.
October 5, 2016
Well. That was...interesting. It took a while for me to get into this but once I did it was a pretty quick read.
The art is a bit of an acquired taste I think. Some of it made me cringe but overall I liked it ok.
The story on the other hand was pretty simple. All masked heroes have been taken down and Batman has become an urban legend until he's spotted by the Federal Police. After that the hunt is on to track him down and find out his true identity. The only person able to figure it all out is the original Jim Gordon's grandson. So basically, like most other Batman stories just set in a different time with a small twist on the regular characters involved.
The art is a bit of an acquired taste I think. Some of it made me cringe but overall I liked it ok.
The story on the other hand was pretty simple. All masked heroes have been taken down and Batman has become an urban legend until he's spotted by the Federal Police. After that the hunt is on to track him down and find out his true identity. The only person able to figure it all out is the original Jim Gordon's grandson. So basically, like most other Batman stories just set in a different time with a small twist on the regular characters involved.
January 21, 2018
Other Useful Reviews: Sam Quixote's review and Derek Parker's review
Book Info: This collection contains Batman: Year 100 issues #1-4.
ABSOLUTE RATING: {3.5/5 stars} (Rounded Down)
STANDARDIZED RATING: <4/5 stars>
The year is 2039 – 100 years after Batman's official debut – and it's been decades since his last documented appearance. Between then and now, the memory of the Dark Knight has faded from the public consciousness, and he has since become little more than an urban myth. But now, after over thirty years, he has resurfaced, and finds himself embroiled in what seems to be a sweeping conspiracy involving the federal government. With the help of coroner Goss, her tech-savvy daughter Tora, and his cocky, young protégé Robin, Batman races to repair his fractured recollection of recent events, and get to the bottom of this sinister plot before it's too late.
In essence, Batman: Year 100 is a dystopian Batman tale that's one part sci-fi thriller and one part murder mystery. It's set in a very dark version of Gotham City – which has become something of a police state – a setting that seems to be thematically similar to that of Miller's The Dark Knight Strikes Again. And although it does a lot to reimagine the world of Batman, it's not meant to serve as a reboot: it makes sure to acknowledge the events of previously published stories – such as Ellen Yindel's term as police commissioner and Batman's violent confrontation with the Mutants – and uses that framework to produce a continuation on the already established Batman mythos. It doesn't even *try* to be an expositionary miniseries, so you're likely to walk away from this book with a ton of questions about what exactly went down in that gap between 2016 (i.e. the date of Batman's last appearance) and 2039, and about this current Batman's past history.
[Yep. You read it right: Batman has been active for 100 years, which makes him at least 130 years old. For some reason, most folks seem to freak out about this, but I think we should all chill out and give Pope some props for being bold enough to tell his story without feeling the need to explain everything right off the bat (pun intended). So just read the story, goddammit! And enjoy it for what it is! Explanations are overrated, and they aren't always necessary (or beneficial).]
And because it's a complex and fast-paced mystery-slash-thriller, rather than a character-driven origin story, it almost seems to move along under the assumption that there wasn't really a driving need to deeply explore the characters of Batman, Robin, or Gordon. Personally, I found that to be a sensible position, given the fact that thrillers can get away with (or even benefit from) being less drama-based, and considering the amount of time needed to devote to other narrative pursuits – especially when there's also an intricate mystery twist added to the mix. Besides, most comic readers are bound to be familiar with these characters already, and even those who aren't are probably unlikely to view them as sinfully underdeveloped anyway.
Still, I think that a stronger script would have benefited the characterization, as well as the book as a whole. The sad thing about Pope's writing style is that it's often so gruff, terse, and bereft of humor, that you can't really find appreciation in it beyond it's basic informative function. This does change somewhat later on, but in the first chapter, so many of the dialogue boxes were filled with sentence fragments and phrases rather than complete statements. Initially, it was a little irritating, but I got accustomed to it quickly enough, and even began to appreciate it's ability to efficiently progress the plot, as well as enjoy the realism it provided during action sequences. However, I do believe that certain writing quirks, including the frequent grunts, coughs, and odd vocalizations of the characters – and, to a lesser degree, their futuristic slang – might prove to be an acquired taste for some.
And as it goes along, the plot becomes increasingly complex, so we end up getting hit by even higher doses of Pope's slender dialogue. Now I hope you don't get the impression I'm saying his writing is overtly unpleasant, because it honestly isn't. All I do mean to convey is that, while the increase in character exchange was a necessary byproduct of the accelerating development of the story, it carried with it a dullness that slightly sabotaged my growing interest in the mystery's unfolding. In other words, the plot itself was well-thought out and engaging, but it's delivery method wasn't quite as appealing. Unfortunately, this flaw is only compounded by the fact that the writer chose to show his readers each and every step in the investigative process, and wouldn't, for example, spare us the extended conversations by having Batman or Gordon get updates from allies while they're busy taking a more hands-on approach. Pretty much no progress occurs off-screen, as it follows a pretty continuous narrative spanning the course of about one day.
But at the very same time, this seamless narrative technique gave the book a very 24 -esque feel, which was especially cool during the fight scenes – where Batman had to be constantly alert and resourceful to survive. Some lasted a bit longer than they needed to, but, for the most part, these moments were pretty damn tense, and I very much enjoyed watching Bats employ advanced scare tactics and show off his high-tech gadgets. And though it could be a tad jarring at times, it also helped that Pope wasn't afraid to abruptly change scenes in order to maintain the momentum. So if you *do* decide to go ahead and read this, just be prepared to get briefly stumped by some of these transitions, since they often occur without a full page or discernible break to separate them.
[Like in Miller's Year One, Pope never lets Batman off the hook during a scuffle, and he's forced to fight with everything he has. The only difference is that Pope makes this a lot more exciting to watch.]
At a modest three stars, I'm sure you wouldn't guess this, but I truly believe this book had nearly everything it needed to be classic enough to stand alongside titans like TDKR and Year One. Sounds crazy, I know, but I was never that big a fan of those other two, and I actually found this book to be a superior product (at least compared to the latter work). The only things I can see that hold it back from greatness are its understandable inability to recreate such ground-breaking grittiness, and the lack of a narrative structure (such as through tools like narrative boxes) which could provide us with detailed insight into Batman's thoughts, feelings, and sense of identity. Still, it's more imaginative than Year One, and no less so than TDKR. Think about it: Pope's Batman is, as he himself describes it, "someone with the body of David Beckham, the brain of Tesla, and the wealth of Howard Hughes... pretending to be Nosferatu." And he's fighting in a futuristic Gotham against psychic police and cybernetic attack dogs. If *that* doesn't sound like the most unique and visionary Batman work you've ever heard of, I'd be very curious to hear what is!
Another, and more significant, advantage of Year 100 is its remarkable visuals, which has got to be the single best reason you'd want to pick it up. As much as I loved some of the work Miller did in TDKR, I must admit that it wasn't nearly as consistently stylish as Pope's. If you start this book like I did – with no prior exposure to Pope – you'll find yourself captivated five pages into the first issue, even before any character utters a single word. His rugged, loose pencils are like a combination of the styles of Geof Darrow and Simon Roy, and his capacity to portray fluid motion is almost unparalleled. Also, the very liberal use of graphic onomatopoeia complements his sketches brilliantly, supplementing the delightfully bizarre atmosphere of the book. So please don't be so put off by the grotesque Batman shots on the issue covers that you don't even grant the art a chance to grow on you. Pope's work is truly a thing of perverse beauty, and you owe it to yourself to experience it.
If you ask me, Batman: Year 100 is a flawed, yet worthwhile read with plenty of action, stunning visuals, and an intelligent plot. And beyond the main four-part story, you can also enjoy some interesting supplementary excerpts from the GCPD and news outlets included in the beginning and end of each issue. Plus, there's even a cute little 18-page WWI Batman story tacked-on at the end, which is a pleasant tale in spite of it's deliberate old-timiness. I recommend checking this book out if you're looking for a different take on Batman, and I consider it an absolute must-read to all fans of the franchise.
Book Info: This collection contains Batman: Year 100 issues #1-4.
ABSOLUTE RATING: {3.5/5 stars} (Rounded Down)
STANDARDIZED RATING: <4/5 stars>
The year is 2039 – 100 years after Batman's official debut – and it's been decades since his last documented appearance. Between then and now, the memory of the Dark Knight has faded from the public consciousness, and he has since become little more than an urban myth. But now, after over thirty years, he has resurfaced, and finds himself embroiled in what seems to be a sweeping conspiracy involving the federal government. With the help of coroner Goss, her tech-savvy daughter Tora, and his cocky, young protégé Robin, Batman races to repair his fractured recollection of recent events, and get to the bottom of this sinister plot before it's too late.
In essence, Batman: Year 100 is a dystopian Batman tale that's one part sci-fi thriller and one part murder mystery. It's set in a very dark version of Gotham City – which has become something of a police state – a setting that seems to be thematically similar to that of Miller's The Dark Knight Strikes Again. And although it does a lot to reimagine the world of Batman, it's not meant to serve as a reboot: it makes sure to acknowledge the events of previously published stories – such as Ellen Yindel's term as police commissioner and Batman's violent confrontation with the Mutants – and uses that framework to produce a continuation on the already established Batman mythos. It doesn't even *try* to be an expositionary miniseries, so you're likely to walk away from this book with a ton of questions about what exactly went down in that gap between 2016 (i.e. the date of Batman's last appearance) and 2039, and about this current Batman's past history.
[Yep. You read it right: Batman has been active for 100 years, which makes him at least 130 years old. For some reason, most folks seem to freak out about this, but I think we should all chill out and give Pope some props for being bold enough to tell his story without feeling the need to explain everything right off the bat (pun intended). So just read the story, goddammit! And enjoy it for what it is! Explanations are overrated, and they aren't always necessary (or beneficial).]
And because it's a complex and fast-paced mystery-slash-thriller, rather than a character-driven origin story, it almost seems to move along under the assumption that there wasn't really a driving need to deeply explore the characters of Batman, Robin, or Gordon. Personally, I found that to be a sensible position, given the fact that thrillers can get away with (or even benefit from) being less drama-based, and considering the amount of time needed to devote to other narrative pursuits – especially when there's also an intricate mystery twist added to the mix. Besides, most comic readers are bound to be familiar with these characters already, and even those who aren't are probably unlikely to view them as sinfully underdeveloped anyway.
Still, I think that a stronger script would have benefited the characterization, as well as the book as a whole. The sad thing about Pope's writing style is that it's often so gruff, terse, and bereft of humor, that you can't really find appreciation in it beyond it's basic informative function. This does change somewhat later on, but in the first chapter, so many of the dialogue boxes were filled with sentence fragments and phrases rather than complete statements. Initially, it was a little irritating, but I got accustomed to it quickly enough, and even began to appreciate it's ability to efficiently progress the plot, as well as enjoy the realism it provided during action sequences. However, I do believe that certain writing quirks, including the frequent grunts, coughs, and odd vocalizations of the characters – and, to a lesser degree, their futuristic slang – might prove to be an acquired taste for some.
And as it goes along, the plot becomes increasingly complex, so we end up getting hit by even higher doses of Pope's slender dialogue. Now I hope you don't get the impression I'm saying his writing is overtly unpleasant, because it honestly isn't. All I do mean to convey is that, while the increase in character exchange was a necessary byproduct of the accelerating development of the story, it carried with it a dullness that slightly sabotaged my growing interest in the mystery's unfolding. In other words, the plot itself was well-thought out and engaging, but it's delivery method wasn't quite as appealing. Unfortunately, this flaw is only compounded by the fact that the writer chose to show his readers each and every step in the investigative process, and wouldn't, for example, spare us the extended conversations by having Batman or Gordon get updates from allies while they're busy taking a more hands-on approach. Pretty much no progress occurs off-screen, as it follows a pretty continuous narrative spanning the course of about one day.
But at the very same time, this seamless narrative technique gave the book a very 24 -esque feel, which was especially cool during the fight scenes – where Batman had to be constantly alert and resourceful to survive. Some lasted a bit longer than they needed to, but, for the most part, these moments were pretty damn tense, and I very much enjoyed watching Bats employ advanced scare tactics and show off his high-tech gadgets. And though it could be a tad jarring at times, it also helped that Pope wasn't afraid to abruptly change scenes in order to maintain the momentum. So if you *do* decide to go ahead and read this, just be prepared to get briefly stumped by some of these transitions, since they often occur without a full page or discernible break to separate them.
[Like in Miller's Year One, Pope never lets Batman off the hook during a scuffle, and he's forced to fight with everything he has. The only difference is that Pope makes this a lot more exciting to watch.]
At a modest three stars, I'm sure you wouldn't guess this, but I truly believe this book had nearly everything it needed to be classic enough to stand alongside titans like TDKR and Year One. Sounds crazy, I know, but I was never that big a fan of those other two, and I actually found this book to be a superior product (at least compared to the latter work). The only things I can see that hold it back from greatness are its understandable inability to recreate such ground-breaking grittiness, and the lack of a narrative structure (such as through tools like narrative boxes) which could provide us with detailed insight into Batman's thoughts, feelings, and sense of identity. Still, it's more imaginative than Year One, and no less so than TDKR. Think about it: Pope's Batman is, as he himself describes it, "someone with the body of David Beckham, the brain of Tesla, and the wealth of Howard Hughes... pretending to be Nosferatu." And he's fighting in a futuristic Gotham against psychic police and cybernetic attack dogs. If *that* doesn't sound like the most unique and visionary Batman work you've ever heard of, I'd be very curious to hear what is!
Another, and more significant, advantage of Year 100 is its remarkable visuals, which has got to be the single best reason you'd want to pick it up. As much as I loved some of the work Miller did in TDKR, I must admit that it wasn't nearly as consistently stylish as Pope's. If you start this book like I did – with no prior exposure to Pope – you'll find yourself captivated five pages into the first issue, even before any character utters a single word. His rugged, loose pencils are like a combination of the styles of Geof Darrow and Simon Roy, and his capacity to portray fluid motion is almost unparalleled. Also, the very liberal use of graphic onomatopoeia complements his sketches brilliantly, supplementing the delightfully bizarre atmosphere of the book. So please don't be so put off by the grotesque Batman shots on the issue covers that you don't even grant the art a chance to grow on you. Pope's work is truly a thing of perverse beauty, and you owe it to yourself to experience it.
If you ask me, Batman: Year 100 is a flawed, yet worthwhile read with plenty of action, stunning visuals, and an intelligent plot. And beyond the main four-part story, you can also enjoy some interesting supplementary excerpts from the GCPD and news outlets included in the beginning and end of each issue. Plus, there's even a cute little 18-page WWI Batman story tacked-on at the end, which is a pleasant tale in spite of it's deliberate old-timiness. I recommend checking this book out if you're looking for a different take on Batman, and I consider it an absolute must-read to all fans of the franchise.
May 14, 2023
This was a fantastic concept , a dystopian future set 100 years ahead of present day DC universe , with a Batman now re appearing , to solve a murder and in turn find a hidden conspiracy.
It was all so good in terms of the plot , the new team , new scene , new world it was all just right but then the art style completely messed it up for me , the extra jarring sketches and gloom filled colors made me feel a pseudo orbital pain while reading .
Add to that the many plot points that were left unexplained andmany points that were too confusing to understand. One thing though the action was absolutely top notch .
Over all , its a fantastic book , but you will have to tolerate the art and ignore a few things
It was all so good in terms of the plot , the new team , new scene , new world it was all just right but then the art style completely messed it up for me , the extra jarring sketches and gloom filled colors made me feel a pseudo orbital pain while reading .
Add to that the many plot points that were left unexplained andmany points that were too confusing to understand. One thing though the action was absolutely top notch .
Over all , its a fantastic book , but you will have to tolerate the art and ignore a few things
October 7, 2021
3,4/5*
Căutam de multă vreme să cumpăr cartea asta, dar n-am găsit-o aproape nicăieri nouă, și oricum era la preț de cocaină.
Am dat peste ea pe net și am citit-o pe nerăsuflate.
Nu e un Batman tradițional. Misterul planează mai mult deasupra misterului din carte (afli abia în ultimul sfert despre ce e toată treaba), iar restul e worldbuilding - o lume a viitorului în care nu mai există secrete, datorită supravegherii continue și a existenței telepaților. Totuși, Batman există, are o identitate secretă și chiar se sugerează că ar fi Bruce Wayne (deși evident nu-i posibil, pentru că au trecut 100 de ani de la începuturile lui Wayne). Povestea e cumva și alertă, și lentă. Personajele sunt faine, dar aș fi vrut mai multe info despre Batman. Gordon pare să aibă cel puțin aceeași importanță în povestea asta, și totul emulează în nou început între cei doi detectivi - mă rog, urmașii celor doi detectivi (Gordon e nepotul sau fiul orginalului, asta e neclar) - Batman apare de nicăieri, Gordon îl investighează, Batman îi dovedește că el e the good guy, colaborează și devin prieteni.
Grafica e ciudată, dar frumoasă în felul ei nefinisat, n-am mai văzut astfel de desene de f multă vreme.
Ultima pagină e ușor anticlimactică, dar există pe tot parcursul poveștii câteva scene foarte faine.
Căutam de multă vreme să cumpăr cartea asta, dar n-am găsit-o aproape nicăieri nouă, și oricum era la preț de cocaină.
Am dat peste ea pe net și am citit-o pe nerăsuflate.
Nu e un Batman tradițional. Misterul planează mai mult deasupra misterului din carte (afli abia în ultimul sfert despre ce e toată treaba), iar restul e worldbuilding - o lume a viitorului în care nu mai există secrete, datorită supravegherii continue și a existenței telepaților. Totuși, Batman există, are o identitate secretă și chiar se sugerează că ar fi Bruce Wayne (deși evident nu-i posibil, pentru că au trecut 100 de ani de la începuturile lui Wayne). Povestea e cumva și alertă, și lentă. Personajele sunt faine, dar aș fi vrut mai multe info despre Batman. Gordon pare să aibă cel puțin aceeași importanță în povestea asta, și totul emulează în nou început între cei doi detectivi - mă rog, urmașii celor doi detectivi (Gordon e nepotul sau fiul orginalului, asta e neclar) - Batman apare de nicăieri, Gordon îl investighează, Batman îi dovedește că el e the good guy, colaborează și devin prieteni.
Grafica e ciudată, dar frumoasă în felul ei nefinisat, n-am mai văzut astfel de desene de f multă vreme.
Ultima pagină e ușor anticlimactică, dar există pe tot parcursul poveștii câteva scene foarte faine.
March 20, 2015
THIS IS THE UGLIEST ART I HAVE EVER SEEN IN A TRADE!!
IT'S REPULSIVE.
GIVING THIS BOOK 1 STAR IS BEING GENEROUS.
*Note to Self*
NEVER read this again!
IT'S REPULSIVE.
GIVING THIS BOOK 1 STAR IS BEING GENEROUS.
*Note to Self*
NEVER read this again!
April 20, 2017
This was certainly different. Paul Pope introduces us to the Batman 30 years into the future. The future is yet another dystopian world where the police/government have power to oppress the people. Batman is accused of murder and in trying to investigate and free himself, discovers a larger, more sinister plot.
Reading this, there's some adjustment to the future world, learning who's in control, future technology, etc. This is hampered somewhat in that there are absolutely no captions, not even to show when a location has changed. There were a few times that this took me out of the story because you can't often tell until a few panels in that you are viewing a different plot thread. Some of the support characters are just...there, meaning you really don't know anything about them other than they help Batman, with no backstory at all. It's hard to really latch onto them and it's taken on faith that you trust them and they are good guys.
Pope's Batman definitely has some classic Batman moments: scaring/threatening people, criminal analysis while investigating crimes, strategic planning, etc. There was at least one part that had a lot of adrenaline. For me though, the art detracted from the story. I tried really hard to like it but it isn't for me. Everything is slightly distorted and very scratchy with heavy inks. Because of this, some panels I just couldn't figure out what I was looking at and just had to guess what it was or what just happened.
The story really isn't that bad, but the art is like it or hate it.
Reading this, there's some adjustment to the future world, learning who's in control, future technology, etc. This is hampered somewhat in that there are absolutely no captions, not even to show when a location has changed. There were a few times that this took me out of the story because you can't often tell until a few panels in that you are viewing a different plot thread. Some of the support characters are just...there, meaning you really don't know anything about them other than they help Batman, with no backstory at all. It's hard to really latch onto them and it's taken on faith that you trust them and they are good guys.
Pope's Batman definitely has some classic Batman moments: scaring/threatening people, criminal analysis while investigating crimes, strategic planning, etc. There was at least one part that had a lot of adrenaline. For me though, the art detracted from the story. I tried really hard to like it but it isn't for me. Everything is slightly distorted and very scratchy with heavy inks. Because of this, some panels I just couldn't figure out what I was looking at and just had to guess what it was or what just happened.
The story really isn't that bad, but the art is like it or hate it.
January 16, 2021
Bez debaty jeden z najlepších príbehov s Batmanom, ktoré som kedy držala v rukách a mala možnosť čítať. Dejovo sme v čase 100 rokov po 1939, kde si Pope vykreslil svoju predstavu Gothamu a toho, čo sa deje. Gotham je policajný štát, kde súkromie takmer neexistuje. Svet, a toto mesto nevie, že nejaký Batman existuje až do určitého dňa. Batman je fakt zraniteľný, ale desivý, až do samotného konca si nie sme istý, kto vlastne Batman je. Podstatná vec, čo ma tešila, že sa neobjavili žiadny jeho odvekí nepriatelia ako Joker, a ani tí menší. Celé sa to točilo okolo vyšetrovania vraždy a prečo sa vlastne stala. Kresba je fakt hit or miss. Už obálka vám napovie, čo je vnútri. Mne tá kresba prišla na začiatku veľmi hnusná, ale nie tým spôsobom, že by knihu chcela odložiť. Skôr naopak, veľmi to k tomu príbehu sedelo, bolo to temné, coloring bol úžasné spravený, Batman je fakt miestami až neľudský, takže s každou stránkou som si ju zamilovala viac a viac. 5/5
November 29, 2013
What if Gotham had become a police state that no longer observed the personal liberties of its citizens? And what if Batman existed but hadn't been active in decades? And what if Inspector Gordon's grandson was around and had the same job and ran into Batman as he dealt with a Federal conspiracy? That's the thrust of this tale that focuses on tight, gritty shots and tries to make Batman lean and mean yet not so mysterious or superhero like. Notice his shoes are like military boots in some of the artwork. I found this to be an interesting dystopian focus with well detailed action scenes though purists may be turned off and . . .
Written and illustrated by Paul Pope.
ACTION SCENES: B to B plus; ARTWORK: B to B plus; CHARACTERS/DIALOGUE: B; STORY/PLOTTING: B minus to B; WHEN READ: mid April 2012; OVERALL GRADE: B to B plus.
Written and illustrated by Paul Pope.
ACTION SCENES: B to B plus; ARTWORK: B to B plus; CHARACTERS/DIALOGUE: B; STORY/PLOTTING: B minus to B; WHEN READ: mid April 2012; OVERALL GRADE: B to B plus.
May 16, 2011
A nifty Batman story with some pretty original art. It's a dark (it's modern Batman, so that's a given)dystopian story about the last undocumented human in America (guess who). As usual, half or more of the story is told through Gordon (not a commissioner in this one) so that Batman can remain in the shadows where he belongs. I dig the bleak, slighty askew art, though it probably won't work for everyone--Batman's jaw is bigger than most of his head in this comic, and his forehead practically disappears.
The story isn't unique enough to get more stars, but I like it when an artist gets to go a bit nuts with a mainstream character. Though it's frustrating that the comic raises the question of how this guy has been around for 100+ years, then never actually answers it. Pope obviously read the Miller Batmans a lot, maybe too many times.
The story isn't unique enough to get more stars, but I like it when an artist gets to go a bit nuts with a mainstream character. Though it's frustrating that the comic raises the question of how this guy has been around for 100+ years, then never actually answers it. Pope obviously read the Miller Batmans a lot, maybe too many times.
March 16, 2018
Paul Pope sure crams his stories with ellipses, incomplete sentences and inside baseball conversations, the latter an apt enough metaphor for how I feel about this book as a whole (inside Batball?). There's too much action, too much vague world building, and not enough actual character for me to care or distinguish this story as a distinctly Batman story and not some V for Vendetta fan fiction. Style over substance, I guess, although I've never been much of a fan of Paul Pope's wet smear Skechers commercial art, although it always looks much better in black & white before someone has dulled it into fifty shades of brown. The backup story, about an erudite Jewish Batman taking on the Nazis, though shorter, is much more developed and showcases more storytelling craft than anything in the main event.
December 18, 2025
Комікс «Бетмен. 100 років по тому» Пола Поупа — це сміливий і радикальний експеримент із міфологією Темного Лицаря, який навмисно уникає звичних відповідей і трактувань. Події відбуваються у 2039 році, в антиутопічному Ґотемі, місті тотального контролю, психополіції та знищеної приватності. На цьому тлі Бетмен постає не просто вигнанцем, а майже міфічною аномалією, істотою з минулого, яку система не здатна ані пояснити, ані остаточно знищити.
Сюжет побудований як напружений детективний трилер із домішками кіберпанку та політичної антиутопії. Вбивство федерального агента стає приводом для масштабного полювання, у якому держава спрямовує проти підозрюваного всі наявні ресурси, від копів до роботизованих псів і тотального цифрового стеження. Бетмен опиняється у ролі ідеального цапа-відбувайла, а його втеча й спроби докопатися до правди поступово оголюють справжню загрозу.
Поуп більше зацікавлений у русі, переслідуванні та відчутті постійної небезпеки, ніж у детальному поясненні світу. Через це історія іноді здається перевантаженою експозицією у фінальній частині. Але водночас зберігає відчуття параної, у якій Бетмен єдиний неконтрольований елемент системи.
Нетривіальність образу Бетмена тут проявляється насамперед у його фізичності й тваринності. Це не глянцевий супергерой, а виснажений, кривавий, майже звірячий боєць, який пітніє, задихається і виживає радше завдяки інстинктам, ніж технологіям. Його костюм нагадує суміш первісного страху, незвичної маски й класичного дизайну. А загострені порцелянові зуби як зброя ближнього бою роблять персонажа водночас моторошним і вразливим. Поуп свідомо відмовляється від пояснення, ким є цей Бетмен, переносячи фокус із особи на сам символ.
Робін і Оракул також далекі від канонічних уявлень. Робін тут не романтизований юний напарник, а прагматичний і стриманий союзник, який існує в тіні легенди, але не намагається її перевершити. Його діалоги сухі, функціональні, а роль суто практична. Оракул постає не лише як інформаційний центр, а як голос холодного розуму у світі параної та насильства. Їхня взаємодія з Бетменом позбавлена пафосу й сентиментів, що лише підкреслює відчуття ізольованості кожного з них.
Окремої уваги заслуговує образ Ґордона. Детектив поліції Ґотема, онук легендарного комісара, має власну історію становлення, зокрема шлях, який привів його до роботи в поліції. Це персонаж, що намагається зберегти чесність у корумпованій системі. Його розслідування це не лише пошук істини, а й спроба зрозуміти, ким був його дід і яке місце має спадщина у світі, де минуле намагаються стерти.
І, звісно, стиль малюнку Пола Поупа, який відіграє ключову роль у створенні атмосфери коміксу. Його малюнок навмисно нехтує класичною анатомічною точністю, натомість роблячи акцент на русі, ритмі та емоційній напрузі. Лінії здаються нервовими й живими, персонажі перекрученими, майже гротескними, але саме це надає світу відчуття нестабільності й постійної загрози. Поуп малює Ґотем як задушливий мегаполіс із перевантаженими деталями, спалахами світла, димом і візуальним шумом, що буквально тисне на читача. Завдяки цьому виникає прониклива, майже параноїдальна атмосфера. Місто здається живим організмом, який стежить за кожним рухом, а Бетмен у цих кадрах виглядає не героєм, а загнаним хижаком, що існує на межі зникнення.
«Бетмен. 100 років по тому» є нерівним твором, подекуди перевантажений поясненнями, але надзвичайно живий у візуальному й ідейному плані. Поуп пропонує погляд на легенду як на щось позачасове, що виникає знову і знову, незалежно від імен, обставин чи епох. Підсумовуючи, скажу лише одне, що під час читання отримав масу задоволення.
Сюжет побудований як напружений детективний трилер із домішками кіберпанку та політичної антиутопії. Вбивство федерального агента стає приводом для масштабного полювання, у якому держава спрямовує проти підозрюваного всі наявні ресурси, від копів до роботизованих псів і тотального цифрового стеження. Бетмен опиняється у ролі ідеального цапа-відбувайла, а його втеча й спроби докопатися до правди поступово оголюють справжню загрозу.
Поуп більше зацікавлений у русі, переслідуванні та відчутті постійної небезпеки, ніж у детальному поясненні світу. Через це історія іноді здається перевантаженою експозицією у фінальній частині. Але водночас зберігає відчуття параної, у якій Бетмен єдиний неконтрольований елемент системи.
Нетривіальність образу Бетмена тут проявляється насамперед у його фізичності й тваринності. Це не глянцевий супергерой, а виснажений, кривавий, майже звірячий боєць, який пітніє, задихається і виживає радше завдяки інстинктам, ніж технологіям. Його костюм нагадує суміш первісного страху, незвичної маски й класичного дизайну. А загострені порцелянові зуби як зброя ближнього бою роблять персонажа водночас моторошним і вразливим. Поуп свідомо відмовляється від пояснення, ким є цей Бетмен, переносячи фокус із особи на сам символ.
Робін і Оракул також далекі від канонічних уявлень. Робін тут не романтизований юний напарник, а прагматичний і стриманий союзник, який існує в тіні легенди, але не намагається її перевершити. Його діалоги сухі, функціональні, а роль суто практична. Оракул постає не лише як інформаційний центр, а як голос холодного розуму у світі параної та насильства. Їхня взаємодія з Бетменом позбавлена пафосу й сентиментів, що лише підкреслює відчуття ізольованості кожного з них.
Окремої уваги заслуговує образ Ґордона. Детектив поліції Ґотема, онук легендарного комісара, має власну історію становлення, зокрема шлях, який привів його до роботи в поліції. Це персонаж, що намагається зберегти чесність у корумпованій системі. Його розслідування це не лише пошук істини, а й спроба зрозуміти, ким був його дід і яке місце має спадщина у світі, де минуле намагаються стерти.
І, звісно, стиль малюнку Пола Поупа, який відіграє ключову роль у створенні атмосфери коміксу. Його малюнок навмисно нехтує класичною анатомічною точністю, натомість роблячи акцент на русі, ритмі та емоційній напрузі. Лінії здаються нервовими й живими, персонажі перекрученими, майже гротескними, але саме це надає світу відчуття нестабільності й постійної загрози. Поуп малює Ґотем як задушливий мегаполіс із перевантаженими деталями, спалахами світла, димом і візуальним шумом, що буквально тисне на читача. Завдяки цьому виникає прониклива, майже параноїдальна атмосфера. Місто здається живим організмом, який стежить за кожним рухом, а Бетмен у цих кадрах виглядає не героєм, а загнаним хижаком, що існує на межі зникнення.
«Бетмен. 100 років по тому» є нерівним твором, подекуди перевантажений поясненнями, але надзвичайно живий у візуальному й ідейному плані. Поуп пропонує погляд на легенду як на щось позачасове, що виникає знову і знову, незалежно від імен, обставин чи епох. Підсумовуючи, скажу лише одне, що під час читання отримав масу задоволення.
October 15, 2021
Non conoscevo Paul Pope e adesso credo di amarlo. Una storia di Batman dai contorni sporchi, irregolari, con tavole buie e pregne di un tratto che mi ha ricordato molto le stampe ukiyo-e giapponesi.
C’è pure il cuore della criminalità e della corruzione di Gotham, senza, tra l’altro, scomodare i grandi classici del parco nemici di Bats.
Me lo stavo facendo scappare, contentissimo di aver ceduto quando l’ho visto in fumetteria!
C’è pure il cuore della criminalità e della corruzione di Gotham, senza, tra l’altro, scomodare i grandi classici del parco nemici di Bats.
Me lo stavo facendo scappare, contentissimo di aver ceduto quando l’ho visto in fumetteria!
September 18, 2024
Este libro ofrece una versión única y futurista del universo de Batman, donde la tecnología ha erradicado los secretos gracias a la vigilancia continua y la presencia de telépatas. A pesar de esto, Batman sigue siendo una figura enigmática, con una identidad secreta que sugiere una posible conexión con Bruce Wayne, aunque han pasado más de 100 años desde su época. La trama se desarrolla con un ritmo a veces vertiginoso, a veces pausado, y aunque los personajes son interesantes, el enfoque no siempre está en Batman, sino en la dinámica entre él y Gordon, lo que añade un giro fresco a su relación clásica. El arte, aunque inusual, tiene un encanto particular.
July 3, 2021
Uhhhhhh okay. 2.5-
So this was a pretty interesting read, however it wasn't what I thought it would be. In "Batman: Year 100" we get a look into the year 2039. 100 years after the first sighting of the original caped crusader. In this future the Batman is still roaming the streets, only this time around we don't know who's donning the cowl. We can presume its not the original Bruce Wayne as this story follows real life continuity, so Bruce Wayne would be 130 years old. And this Batman is still young and kicking ass. The overall story is cool but in only 4 issues, this story felt uninteresting and lost some momentum in the 2nd and 3rd issues. Paul Pope does both the writing and artwork and I for sure think that the artwork is the strong suit of the book, mainly when he actually has some action scenes and not just a bunch of people talking in a room or just two people having a conversation. The ending was also kind of annoying as we never really find out what's happening with this Batman of the future. A lot of questions are left unanswered and not in a way where its ambiguous, just kinda bland and annoying. Lot of potential in this story but fell short in my opinion.
So this was a pretty interesting read, however it wasn't what I thought it would be. In "Batman: Year 100" we get a look into the year 2039. 100 years after the first sighting of the original caped crusader. In this future the Batman is still roaming the streets, only this time around we don't know who's donning the cowl. We can presume its not the original Bruce Wayne as this story follows real life continuity, so Bruce Wayne would be 130 years old. And this Batman is still young and kicking ass. The overall story is cool but in only 4 issues, this story felt uninteresting and lost some momentum in the 2nd and 3rd issues. Paul Pope does both the writing and artwork and I for sure think that the artwork is the strong suit of the book, mainly when he actually has some action scenes and not just a bunch of people talking in a room or just two people having a conversation. The ending was also kind of annoying as we never really find out what's happening with this Batman of the future. A lot of questions are left unanswered and not in a way where its ambiguous, just kinda bland and annoying. Lot of potential in this story but fell short in my opinion.
August 6, 2023
Ho letto recensioni su questa app di gente che criticava l'arte di Pope, mi chiedo cosa leggano fumetti a fare, sicuramente tutti fan di Azzarello e co.
Batman anno 100 è una spy story orchestrata con i fiocchi, ottimi tempi narrativi, messi su carta con griglie chiare e precise, niente di troppo moderno o stravagante.
Tutta questa "semplicità" viene controbilanciata dal disegno di quel genio di Pope con delle espressività facciali e corporali incredibili, uso del movimento e della cinetica altrettanto impeccabile.
Un volume ben scritto, leggibile dal neofita come dal più sgamato dei lettori, un Batman (centenario??) che deve combattere mantenendo la sua identità segreta in una città ormai super tecnologica e super controllata (nessuno sfugge all'occhio del grande fratello).
Batman anno 100 è una spy story orchestrata con i fiocchi, ottimi tempi narrativi, messi su carta con griglie chiare e precise, niente di troppo moderno o stravagante.
Tutta questa "semplicità" viene controbilanciata dal disegno di quel genio di Pope con delle espressività facciali e corporali incredibili, uso del movimento e della cinetica altrettanto impeccabile.
Un volume ben scritto, leggibile dal neofita come dal più sgamato dei lettori, un Batman (centenario??) che deve combattere mantenendo la sua identità segreta in una città ormai super tecnologica e super controllata (nessuno sfugge all'occhio del grande fratello).
February 6, 2010
Really disappointing. Batman is hands-down my favorite superhero, and Paul Pope is one of my favorite artist/writers, so I expected this to be an instant classic.
My biggest problem is that the entire comic is full of missed opportunities, which makes for a frustrating read. Batman is 140 years old, but it's never explained or explored in any meaningful way. Gotham (and the rest of the country) is a futuristic police-state, and again it's never really used to it's potential. The plot could easily be switched to a present day non-police-state Gotham without much trouble. Why introduce these elements if you're not going to do anything with them? I don't know. I could forgive these mistakes if Pope explored the characters AT ALL, or used the police-state thing as some sort of political commentary, but he doesn't. The most interesting part is the few pages in the back, where Pope explains his thought process behind the costume design.
BOOO.
My biggest problem is that the entire comic is full of missed opportunities, which makes for a frustrating read. Batman is 140 years old, but it's never explained or explored in any meaningful way. Gotham (and the rest of the country) is a futuristic police-state, and again it's never really used to it's potential. The plot could easily be switched to a present day non-police-state Gotham without much trouble. Why introduce these elements if you're not going to do anything with them? I don't know. I could forgive these mistakes if Pope explored the characters AT ALL, or used the police-state thing as some sort of political commentary, but he doesn't. The most interesting part is the few pages in the back, where Pope explains his thought process behind the costume design.
BOOO.
March 5, 2015
Qué curioso que, al momento de cambiar de shelf a este inmerecidamente pospuesto Año 100, estuviera en el 100th de los to-read. Si creyera en algún tipo de numerología, le adjudicaría la coincidencia. En fin... después de esa acotación que no le importa a nadie, vamos con la mini reseña que tampoco le importa a nadie...
Hacía rato que no promediaba un comic apra arriba motivado principalmente por el dibujo (¡y el color!), pero creo que Batman Year 100 se lo merece. Desde el diseño del protagonista, sus fecas facciones, los vehículos, los personajes secundarios, las calles de Gotham, todo me pareció visualmente espectacular. La historia tampoco es mala, para nada, quizás un poco trabada en algunas partes, pero es en lo visual que ete comic me parece 100% disfrutable, ligeramente líquido y para nada pesado.
¡Ahora quiero Battling Boy!
Hacía rato que no promediaba un comic apra arriba motivado principalmente por el dibujo (¡y el color!), pero creo que Batman Year 100 se lo merece. Desde el diseño del protagonista, sus fecas facciones, los vehículos, los personajes secundarios, las calles de Gotham, todo me pareció visualmente espectacular. La historia tampoco es mala, para nada, quizás un poco trabada en algunas partes, pero es en lo visual que ete comic me parece 100% disfrutable, ligeramente líquido y para nada pesado.
¡Ahora quiero Battling Boy!
June 22, 2016
Good story about what Batman would be like in the future.
SPOILER SPOILER SPOILER
But I didn't really think it was acceptable that Bruce Wayne is still Batman 100 years later. Everyone else (Gordon, Robin) is the grandchild of someone from the past, but Bruce is still Batman? He's still human. And unless I missed it, there's no weird reason he didn't age or something. It would've been more believable if it was Tim Drake or someone else taking his mantle. Pretty much my only problem with the story.
SPOILER SPOILER SPOILER
But I didn't really think it was acceptable that Bruce Wayne is still Batman 100 years later. Everyone else (Gordon, Robin) is the grandchild of someone from the past, but Bruce is still Batman? He's still human. And unless I missed it, there's no weird reason he didn't age or something. It would've been more believable if it was Tim Drake or someone else taking his mantle. Pretty much my only problem with the story.
May 16, 2017
I've had a decent run of reading good and great graphic novels so far in 2017. This, however, is not one of those works.
I found it hard to follow and not particularly pleasant to look at. I can respect the attempt at something different, but it was an acquired taste.
I found it hard to follow and not particularly pleasant to look at. I can respect the attempt at something different, but it was an acquired taste.
June 2, 2008
It doesn't really explain why the same person has been batman for like a hundred and twenty years. But it's pretty wicked cool nevertheless.
December 31, 2014
A beautiful vision for batman. Take the original batman from the early days, go 100 years into the future and envision where his legacy ends up. So much amazing detail done with original style.
August 1, 2019
Batman Year 100 is strange. I think it's one of the most interesting Batman stories I've read in a while. But it's missing so many elements of the Batman canon. And by design. It's 2039, 100 years after Batman debuted in Gotham and he's become a forgotten icon. He's a new terrifying thing to the superstitious and cowardly criminals of this world. But there's been a murder and he's being framed for it. So he has to unearth the conspiracy that has him in this position.
I'll say right here that this plays on Year One and the Dark Knight Returns. Both of which to some aspect happened in this world, and for that alone I really love this story.
But beyond that it's a gritty take on a future where privacy is a rumor. Privacy only exists for a very select amount of people. Think like 1984 and Blade Runner where the story focuses on Batman with themes that play on the character as a symbol in a corrupt system playing with a worst case scenario of a post patriot act/ guantanamo bay world.
It plays out like a detective story mixed with cyber punk elements.
Both writing and art are handled by Paul Pope who gives the dirty grimy aesthetic that could turn someone off from the book but I think works in it's favor.
I think that although the story itself is strong the ending is a bit weak in that it feels as it's always been, even if that was the point. And it does not concern itself with explanation which is a problem in some parts. And the mystery Bat's is trying to solve is less interesting then seeing how this Batman is different and how he operates.
Though I really like how ambiguous the story ends up being. It leaves you with questions that I think you can only decide for yourself.
Overall I think this was a strong story that's good for a read.
4 stars.
I'll say right here that this plays on Year One and the Dark Knight Returns. Both of which to some aspect happened in this world, and for that alone I really love this story.
But beyond that it's a gritty take on a future where privacy is a rumor. Privacy only exists for a very select amount of people. Think like 1984 and Blade Runner where the story focuses on Batman with themes that play on the character as a symbol in a corrupt system playing with a worst case scenario of a post patriot act/ guantanamo bay world.
It plays out like a detective story mixed with cyber punk elements.
Both writing and art are handled by Paul Pope who gives the dirty grimy aesthetic that could turn someone off from the book but I think works in it's favor.
I think that although the story itself is strong the ending is a bit weak in that it feels as it's always been, even if that was the point. And it does not concern itself with explanation which is a problem in some parts. And the mystery Bat's is trying to solve is less interesting then seeing how this Batman is different and how he operates.
Though I really like how ambiguous the story ends up being. It leaves you with questions that I think you can only decide for yourself.
Overall I think this was a strong story that's good for a read.
4 stars.
April 19, 2021
Batman: Year 100 is a four-issue American comic book mini-series starring Batman, published in 2006 by DC Comics. It was written and illustrated by Paul Pope. Batman: Year 100 collects all four issues of the 2006 miniseries with "The Berlin Batman" from The Batman Chronicles #11.
In the year 2039, Gotham City is very nearly a police state, its citizens subject to unwarranted search and seizure. The Gotham Police clash almost daily with Federal agents, who are pursuing the legendary "Batman". Captain Gordon, the grandson of the original Commissioner Gordon, is also trying to find Batman, and find out what he knows about the murder of a Federal agent.
"The Berlin Batman" is an Elseworld story, which postulates a Batman story during the Second World War. Baruch Wane is a Jewish, effeminate, cubist painter and socialite who, as a child, saw his parents beaten to death. Swearing vengeance on all evil-doers, Baruch trained himself to physical and mental perfection and donned the cape and cowl after a bat flew in the window of his study in a moment of inspiration.
Batman: Year 100 is written and constructed moderately well. Pope has created a wonderful narrative about a dystopian future where Gotham City is very much like a police state. The narrative is a tad complex and Pope has a tendency to over explain some of the more science fiction aspect of the story. For the short one-shot, Pope does a remarkable job of creating a Batman during the Second World War. However, it is the art that is much to be desired – as it is not my cup of tea, which greatly distracted me from the narrative.
All in all, Batman: Year 100 is a mediocre attempt at a dystopian Batman story with the narrative outshining the illustrations.
In the year 2039, Gotham City is very nearly a police state, its citizens subject to unwarranted search and seizure. The Gotham Police clash almost daily with Federal agents, who are pursuing the legendary "Batman". Captain Gordon, the grandson of the original Commissioner Gordon, is also trying to find Batman, and find out what he knows about the murder of a Federal agent.
"The Berlin Batman" is an Elseworld story, which postulates a Batman story during the Second World War. Baruch Wane is a Jewish, effeminate, cubist painter and socialite who, as a child, saw his parents beaten to death. Swearing vengeance on all evil-doers, Baruch trained himself to physical and mental perfection and donned the cape and cowl after a bat flew in the window of his study in a moment of inspiration.
Batman: Year 100 is written and constructed moderately well. Pope has created a wonderful narrative about a dystopian future where Gotham City is very much like a police state. The narrative is a tad complex and Pope has a tendency to over explain some of the more science fiction aspect of the story. For the short one-shot, Pope does a remarkable job of creating a Batman during the Second World War. However, it is the art that is much to be desired – as it is not my cup of tea, which greatly distracted me from the narrative.
All in all, Batman: Year 100 is a mediocre attempt at a dystopian Batman story with the narrative outshining the illustrations.
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