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Batman
Batman: Gotham After Midnight: The Deluxe Edition
"There are things that go 'bump' in the night. Be thankful that one of those things is on our side…"
When the full moon rises and casts its eerie glow over the land, the creatures of the night come out to hunt and feast and prey on the innocent citizens of Gotham City, and only one man stands in their The Batman.
These are the bizarre and frightening case files of the Dark Knight Detective, featuring grave-robbers, men making monsters, night terrors, and the debut of an all-new moonlight monster known only as Midnight.
Together this fatal collection by the creative team of Steve Niles ( 30 Days of Night SIMON DARK) and Kelley Jones ( RED RAIN) are all 12 issues of Gotham After Midnight .
When the full moon rises and casts its eerie glow over the land, the creatures of the night come out to hunt and feast and prey on the innocent citizens of Gotham City, and only one man stands in their The Batman.
These are the bizarre and frightening case files of the Dark Knight Detective, featuring grave-robbers, men making monsters, night terrors, and the debut of an all-new moonlight monster known only as Midnight.
Together this fatal collection by the creative team of Steve Niles ( 30 Days of Night SIMON DARK) and Kelley Jones ( RED RAIN) are all 12 issues of Gotham After Midnight .
368 pages, Hardcover
First published January 1, 2009
46 people are currently reading
342 people want to read
About the author
Steve Niles
836 books457 followersSTEVE NILES is one of the writers responsible for bringing horror comics back to prominence, and was recently named by Fangoria magazine as one of it's "13 rising talents who promise to keep us terrified for the next 25 years."
Niles is currently working for the four top American comic publishers - Marvel, DC, Image and Dark Horse. He got his start in the industry when he formed his own publishing company called Arcane Comix, where he published, edited and adapted several comics and anthologies for Eclipse Comics. His adaptations include works by Clive Barker, Richard Matheson and Harlan Ellison.
Steve resides in Los Angeles in his bachelor pad with one cat. While there's no crawlspace, there is a questionable closet in one corner and no one is quite sure what is hidden in there...but we have an idea.
--from the author's website
Niles is currently working for the four top American comic publishers - Marvel, DC, Image and Dark Horse. He got his start in the industry when he formed his own publishing company called Arcane Comix, where he published, edited and adapted several comics and anthologies for Eclipse Comics. His adaptations include works by Clive Barker, Richard Matheson and Harlan Ellison.
Steve resides in Los Angeles in his bachelor pad with one cat. While there's no crawlspace, there is a questionable closet in one corner and no one is quite sure what is hidden in there...but we have an idea.
--from the author's website
Ratings & Reviews
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Displaying 1 - 30 of 90 reviews
November 5, 2015
I see a trends. Everywhere.
Two and a half stars rounded down.
You too can write a Batman comic, kids. Here's a plot outline to get you started:
A writer is given a limited (usually twelve issues) run on Batman (Hush, The Long Halloween). First, thing he does is come up with a new villain, preferably one with a connection to Bruce Wayne. This way, by the time Bats discovers who the heck it is, it’s almost too late. (Gosh, it’s my best friend, the Mayor, Chief O’Hara, the borderline schizo girl I almost married, the mailman, the angry guy who works for Wayne Enterprises! Pick it!). Second, add the Joker (Mr. J is a given) and as many other members of Batman’s rogues gallery that the writer can squeeze in. Sometimes they mix it up, like here, adding some crappy wannabe called the Axeman (He’s big. He wields an axe and nope, never heard of him either). Something’s off with the special guest star rogues and as soon as Mr. Bat-Detective can connect the dots using the Bat-computer in the Batcave, he’ll get that much closer to solving it. Eventually. Alfred might help a little too.
Beyond a dollop of wit, this is pretty standard stuff. As you read it, you can feel the story pieces, as if they had big under-developed legs, waddling together and trying to make some semblance of a hackneyed plot.
About the art: I’m not a big fan of exaggerated, stylized art work, which is exactly what you get here. So caveat emptor.
Cos I'm the Axeman - yeah, I'm the Axeman
Don't ask me what I chop it for
If you don't want to get hacked some more
Cos I'm the Axeman - yeah, I'm the Axeman
And my advice for those about die
(Taxman Axeman)
You'd better start to shield your eyes
Two and a half stars rounded down.
You too can write a Batman comic, kids. Here's a plot outline to get you started:
A writer is given a limited (usually twelve issues) run on Batman (Hush, The Long Halloween). First, thing he does is come up with a new villain, preferably one with a connection to Bruce Wayne. This way, by the time Bats discovers who the heck it is, it’s almost too late. (Gosh, it’s my best friend, the Mayor, Chief O’Hara, the borderline schizo girl I almost married, the mailman, the angry guy who works for Wayne Enterprises! Pick it!). Second, add the Joker (Mr. J is a given) and as many other members of Batman’s rogues gallery that the writer can squeeze in. Sometimes they mix it up, like here, adding some crappy wannabe called the Axeman (He’s big. He wields an axe and nope, never heard of him either). Something’s off with the special guest star rogues and as soon as Mr. Bat-Detective can connect the dots using the Bat-computer in the Batcave, he’ll get that much closer to solving it. Eventually. Alfred might help a little too.
Beyond a dollop of wit, this is pretty standard stuff. As you read it, you can feel the story pieces, as if they had big under-developed legs, waddling together and trying to make some semblance of a hackneyed plot.
About the art: I’m not a big fan of exaggerated, stylized art work, which is exactly what you get here. So caveat emptor.
Cos I'm the Axeman - yeah, I'm the Axeman
Don't ask me what I chop it for
If you don't want to get hacked some more
Cos I'm the Axeman - yeah, I'm the Axeman
And my advice for those about die
(
You'd better start to shield your eyes
April 10, 2022
Really a 4.5/5 for me. I could read an endless amount of Kelley Jones' Batman, he just understands Gotham City.
EDIT: Y'know after seeing the ridiculous amount of 3 star and under reviews I felt the need to bump up to a 5 star. I really think there's an insecurity among male comic readers that comics have to be grimdark and realistic. How else would be be able to tell these comics are Not For Kids and are instead made for their Mature Adult Male Pallets.
Sometimes Comics can be Gothic, Strange, FUN. It's like Tim Burton's Batman Returns all f*cking over again. Makes me sad.
EDIT: Y'know after seeing the ridiculous amount of 3 star and under reviews I felt the need to bump up to a 5 star. I really think there's an insecurity among male comic readers that comics have to be grimdark and realistic. How else would be be able to tell these comics are Not For Kids and are instead made for their Mature Adult Male Pallets.
Sometimes Comics can be Gothic, Strange, FUN. It's like Tim Burton's Batman Returns all f*cking over again. Makes me sad.
July 29, 2017
This was...honestly just kind of silly and boring. The writing and art seemed way overblown and not really all that fun. I just was bored almost 99% of the time reading this. You ever just read a book and begin to zone out? That's this type of book. It's not awful but I didn't like it one bit and for that I give it a 1 star. Sorry Batman.
August 7, 2021
I didn't enjoy this as much as I thought I would. Steve Niles is one of my favorite horror writers, and Kelley Jones always does his best on horror comics. I've also always liked Batman in horror stories, most notably a lot of the stories in the 70s where the supernatural creeped into the Batman titles. There's also an appearance by most of Batman's "scarier" villains, along with the introduction of a new villain. (I assume the new villain was meant to be another regular addition to the rogues gallery, but did the character even show up again?) So even with all elements that should equal a great Batman comic, it just didn't quite work. The main villain reveal was predictable, and most of the story just felt like Niles enjoying himself playing in the Batman universe. Nothing wrong with that, but I think Niles could have done better. Also, the ending was just...there. It wasn't a real ending as the story sort of just stopped. After 12 issues that was a letdown.
Overall this was good, but not as good as it should have been. Part of this could have been me, as I went in with high expectations that weren't quite reached.
Overall this was good, but not as good as it should have been. Part of this could have been me, as I went in with high expectations that weren't quite reached.
September 30, 2012
I often find Niles' plot concepts interesting, but his dialogue tin-eared. Batman, talking to himself, saying "I've known that since the day I donned this cape and cowl"? Gordon to Batman: "I'm not stepping in front of that even for you, old friend"? Ugh. Batman to Gordon: "Well then, what can I do for you, Jim?"
Then the parade of Batman rogues, who show up once, do something "significant" and then drop out of the story again - like they're being pulled out of and put back into cold storage? This is really reminiscent of a bad Jeph Loeb send-up (and that is no compliment).
I've got much better books to read in my collection than this. Not even gonna bother to finish this dreck. Vintage horror and exaggerated figure drawings are not even strong enough gimmicks to make me stick around.
Then the parade of Batman rogues, who show up once, do something "significant" and then drop out of the story again - like they're being pulled out of and put back into cold storage? This is really reminiscent of a bad Jeph Loeb send-up (and that is no compliment).
I've got much better books to read in my collection than this. Not even gonna bother to finish this dreck. Vintage horror and exaggerated figure drawings are not even strong enough gimmicks to make me stick around.
September 25, 2014
I really wanted to like this, but half way through reading it I knew it wasn't taking me anywhere I hadn't been before and not half as well. All the elements were there for a classic gothic Batman tale soaked in horror. Kelly Jones art and the colouring certainly succeeded on their end, but the dialogue was flat at best and cringe-worthy at times. The multitude of classic villains like The Scarecrow and Man-bat were not used to much effect. They seemed like passive props, which to be fair was in keeping with the narrative in which the central villain manipulates various baddies towards his own nefarious ends. Yet this was not an interesting use of so many rich characters.
Kelly Jones is to my mind a master at depicting horror in comics, and Niles has done better work than this, such as with 30 Days of Night. One star for the story and two more for the artwork.
Kelly Jones is to my mind a master at depicting horror in comics, and Niles has done better work than this, such as with 30 Days of Night. One star for the story and two more for the artwork.
August 22, 2023
Steve Niles and Kelley Jones on a Batman horror book?!? This should have been right up my alley but I just don’t think Niles got the Dark Knight on this one; story was disjointed and all over the place. 3 stars for Jones’ art but this one was a dud. Definitely won’t be picking up the deluxe edition coming out soon.
December 14, 2025
Kelley Jones is a polarizing Batman artist, I guess.
But a 3.3 rating? Jones' Batman is uber stylish and vampiric, with campy Lugosi poses and a cape that goes on for miles. Niles story is solid gothic horror Batman, great for fall and winter reading imo. I would put this in a category along with the Tim Burton's movies, TAS, Moench/Jones, Englehart, Loeb/Sale, and those classic Batman detective stories from the 70s and 80s.
The extras are great. A rogue gallery by Jones, with some of the best character designs for Batman staple villains and the inked pages for "Enter the Abyss", an extra story illustrated by Jones and which is full on horror and contains some of his best work.
But a 3.3 rating? Jones' Batman is uber stylish and vampiric, with campy Lugosi poses and a cape that goes on for miles. Niles story is solid gothic horror Batman, great for fall and winter reading imo. I would put this in a category along with the Tim Burton's movies, TAS, Moench/Jones, Englehart, Loeb/Sale, and those classic Batman detective stories from the 70s and 80s.
The extras are great. A rogue gallery by Jones, with some of the best character designs for Batman staple villains and the inked pages for "Enter the Abyss", an extra story illustrated by Jones and which is full on horror and contains some of his best work.
February 23, 2020
Una estrella más por el arte del gran Kelley y el argumento de Niles va de más a bastante menos, con final confuso incluido. Sólo para fanáticos de Kelley Jones.
November 19, 2013
I really wanted/expected to like Gotham After Midnight. I mean, it's Batman in a horror story, written by Steve Niles who hit a home run with 30 Days of Night, and illustrated by the extremely talented Kelley Jones who has breathed life into many a visually striking Bat-book. Yet,...
There are problems. Gotham After Midnight was an "event" book published over a year's time. 12 issues. A rogues gallery of Batman villains making appearances alongside a new guy, the cadaverous Midnight looking like a cross between Lon Chaney, Sr.'s Phantom of the Opera and his vampire from (wait for it) London After Midnight. Steve Niles painfully pads a three, maybe four issue story out to 12 issues just so all the bad guys get their screen time.
Kelley Jones does his share of the heavy lifting by providing numerous large panels as well as full and multi-page spreads, but still the story drags. And speaking of Kelley Jones, I admire his post (neo?)-Wrightson stylings to no end, but he frequently goes off the rails here. His Batman (and other characters as well) is alternately striking and physically grotesque, sometimes so misshapen that you have to wonder if Jones really intended Bats to look that way or just didn't have time to correct his mistakes.
Jones linework also alternates between the incredibly detailed and the purely minimal. Many, many pales are full of figures and backgrounds more suggested than actually drawn. Some of Jones' sketchbook art included as a bonus is more detailed than a lot of art in the book itself. There are some striking images here of Jones' trademark Batman with his impossibly large swirling cape, but all in all, the is not one of Kelley Jones' better efforts.
As for the story, after dragging it out and revealing a mystery you'll have long since figured out, Steve Niles wraps things up with Alfred lecturing Batman... for three solid pages!
Not the best outing for Niles, Jones or Batman.
There are problems. Gotham After Midnight was an "event" book published over a year's time. 12 issues. A rogues gallery of Batman villains making appearances alongside a new guy, the cadaverous Midnight looking like a cross between Lon Chaney, Sr.'s Phantom of the Opera and his vampire from (wait for it) London After Midnight. Steve Niles painfully pads a three, maybe four issue story out to 12 issues just so all the bad guys get their screen time.
Kelley Jones does his share of the heavy lifting by providing numerous large panels as well as full and multi-page spreads, but still the story drags. And speaking of Kelley Jones, I admire his post (neo?)-Wrightson stylings to no end, but he frequently goes off the rails here. His Batman (and other characters as well) is alternately striking and physically grotesque, sometimes so misshapen that you have to wonder if Jones really intended Bats to look that way or just didn't have time to correct his mistakes.
Jones linework also alternates between the incredibly detailed and the purely minimal. Many, many pales are full of figures and backgrounds more suggested than actually drawn. Some of Jones' sketchbook art included as a bonus is more detailed than a lot of art in the book itself. There are some striking images here of Jones' trademark Batman with his impossibly large swirling cape, but all in all, the is not one of Kelley Jones' better efforts.
As for the story, after dragging it out and revealing a mystery you'll have long since figured out, Steve Niles wraps things up with Alfred lecturing Batman... for three solid pages!
Not the best outing for Niles, Jones or Batman.
October 7, 2019
Gotham After Midnight is a miniseries published by DC Comics and introduces April Clarkson as Midnight. This miniseries is told in the style of the horror genre. Batman: Gotham After Midnight collects all twelve issues of the 2008 miniseries.
It's Halloween in Gotham City and Bruce Wayne as Batman must attend to bizarre and frightening cases featuring grave-robbers, men making monsters, night terrors, and villains in Jonathan Crane as Scarecrow, Robert Langstrom as Man-Bat, Cassius Clay Payne as Clayface, The Axe-Man, and introducing a new villain – April Clarkson as Midnight.
Steve Niles penned the entire mini-series. For the most part, it is mediocrity written – the narrative seemed interesting, but the execution is wanting. The dialogue is a tad forced and tin eared, but it did give the horror feeling that Niles was intending to give.
Kelley Jones penciled the entire trade paperback. Since he was the main penciler, the artistic flow of the trade paperback flowed exceptionally well. For the most part, I enjoyed his penciling style – it gives a wonderful horror feeling that the narrative had suggests.
All in all, Batman: Gotham After Midnight is a mediocrity written storyline, which serves as a somewhat well introduction to Midnight.
It's Halloween in Gotham City and Bruce Wayne as Batman must attend to bizarre and frightening cases featuring grave-robbers, men making monsters, night terrors, and villains in Jonathan Crane as Scarecrow, Robert Langstrom as Man-Bat, Cassius Clay Payne as Clayface, The Axe-Man, and introducing a new villain – April Clarkson as Midnight.
Steve Niles penned the entire mini-series. For the most part, it is mediocrity written – the narrative seemed interesting, but the execution is wanting. The dialogue is a tad forced and tin eared, but it did give the horror feeling that Niles was intending to give.
Kelley Jones penciled the entire trade paperback. Since he was the main penciler, the artistic flow of the trade paperback flowed exceptionally well. For the most part, I enjoyed his penciling style – it gives a wonderful horror feeling that the narrative had suggests.
All in all, Batman: Gotham After Midnight is a mediocrity written storyline, which serves as a somewhat well introduction to Midnight.
This entire review has been hidden because of spoilers.
September 16, 2011
I find Gotham after Midnight to be a Halloween themed story arc. It features most of the villains from Batman's rogue gallery that would be featured in horror films: Axeman, Killer Croc, Scarecrow, Clayface, Man-Bat and Catwoman but this is to be expected from horror comic writer Steven Niles. This series also introduces a new villain: Midnight, a ghoul-faced villain who tears hearts out of people's chests. The story is over the top at points and is a little difficult to follow but Kelley Jones' artwork has always been a favourite of mine. His exaggerated Batman ears and cap length fit well in this story. Unfortunately the goal of the villain is somewhat banal and surely didn't need this grand of a scheme to carry out. The conclusion is similar to other Batman tales and I wished it was different but still this earns its place next to more stronger stories thanks to Jones' artwork.
March 2, 2013
there might have been an okay story in here, but everything about this graphic novel was horrid for me: from the expositiony dialogue, bad narrative (and bad font for the narrative), plot holes and continuity issues (and convolutions!), and a very undramatic four-page denouement that was just a wall of words explaining (maybe) what happened (bleh). add onto it that i don't like kelley's style at all (overdone, manic blobs that represent people and batman's always growling and pawing at everything with claws ~ ugh). this, coupled with psychotic coloring, i'm frankly surprised i got through the whole thing.
the "romance" between clarkson and batman was beyond dumb, and the random use of the rogues gallery, while mildly entertaining, seemed like just an excuse to shoe-horn known villains into a story with a primary villain who just wasn't interesting enough to keep it going.
the "romance" between clarkson and batman was beyond dumb, and the random use of the rogues gallery, while mildly entertaining, seemed like just an excuse to shoe-horn known villains into a story with a primary villain who just wasn't interesting enough to keep it going.
May 7, 2016
I liked this, mostly, as I was reading it. The big bad, Midnight, and Batman both succumbed to declaiming, which got wearying, though Batman's exhaustion and Midnight's madness made that somewhat easier to bear. Alfred was snarky, which seemed utterly appropriate. And I appreciate the chutzpah of making Midnight a serious enough villain, and a serious enough echo of Batman, to take on the big bads and bring them to heal behind her. Er, I mean him. Spoiler alert.
As a story telling, I appreciated the end of the story. Alfred gives good counsel, and the Bat shows grown up judgment listening to it. But it's hard to imagine that Batman would not follow this darkness to the very end.
As a story telling, I appreciated the end of the story. Alfred gives good counsel, and the Bat shows grown up judgment listening to it. But it's hard to imagine that Batman would not follow this darkness to the very end.
January 19, 2011
Storywise, this reminded me way too much of MASK OF THE PHANTASM. Switch some characters around, add the red herrings, then we get this book. Even down to the mysterious Midnight character, the similarities are too many.
With the art, I felt like some panels were rushed while others were lavishly detailing others. Batman's shape was varied, which was fine by me. The most charming bits for me were his technological tools, especially his lab instruments. The details, shapes, and colors sort of reminded me of something that Bill Watterson would have drawn.
With the art, I felt like some panels were rushed while others were lavishly detailing others. Batman's shape was varied, which was fine by me. The most charming bits for me were his technological tools, especially his lab instruments. The details, shapes, and colors sort of reminded me of something that Bill Watterson would have drawn.
This entire review has been hidden because of spoilers.
May 21, 2018
I love Batman; however the writing in this story is weak, disregarding earlier elements as "red herrings", storyline that tries to hit as many cliches as it can on the way before reaching a "twist" that was signposted a mile off it's disgraceful Barman didn't see it coming. Even the artwork is a mess. At least the colouring seems to have an idea what to do, taking inspiration from Mignola.
February 7, 2024
It starts off fun then just goes on way too long. It would have been better if it was a more succinct 6 issue volume as opposed to 12.
August 30, 2024
This was actually a pretty cool series until the ending and the reveal of who the villain was, like it was dumb I felt like and on one hand predictable and yeah their death will throw you off but you know the whole point of it being don't be blinded by love or something that you don't see the reality of whats happening around you.. Idk I am confused on that end but still solid and maybe some people will like the mystery and the big reveal but even till #11 I loved the whole aspect of this villain being so insane and pardon my pun, but bat-shit crazy, and them terrorizing Gotham and going after cops and criminals, its like hard-core villainy and you will find similar villains in other Batman tales but its still so cool.
Like from the first issues to the last it was kinda fun, and was like Batman vs so many of his villains and their M.O. doesn't click so yeah he fights against Man-Bat who was better written for the most part, Scarecrow, an Axe-man, Clayface who was super dangerous here and had a mecha fight with Batman which was cool and even Joker, and it was a typical Joker-halloween tale and nothing new but still.
There is a part where he falls in love with this new police detective April, and yeah their romance should have been better built as it becomes the back bone of the series and like after #12 even more crucial, so that was a short coming I found, and from the get go with so much emphasis on her you can pretty much surmise who she was gonna be revealed as ultimately, but you know her character is well written in some places and you can see the heartbreak Bruce has to contend with after he death but yeah a big mystery there.
I like the way Selina was written and how she wanted revenge as she doesn't like people controlling her but if we had gotten a big fight between her and Batman as she was involved in the big incident in #8 that would have gelled better for the series. And yeah other characters involved are written well too. Gordon yes, Alfred even better. Typical Batman cast character.
As for the villain, Midnight, yeah coming back to the start, they were cool and till #11 end you can see how messy and dangerous they were, and I really liked how they were controlling villains and were the anti-thesis of Bruce in a way, like going after everyone, and their idea of order was to have gotham in fear and terror and yeah tbh thats pretty much so much of other Batman villains motivations but yeah the reveal idk maybe I have to read the last issue again but it does change so many things and makes you revaluate Batman that was the truth hidden there all along and he got blind to it, and tbh with it being the last issue, it did feel like the conclusion was rushed and maybe not that good in a way.
So you know mixed feelings, but still enjoyed it overall even if it got underwhelming with the ending, but the idea of Gotham being this gothic, horror, dark place and a mystery at the centre of it, it makes for a fun story and the art was one of the reasons I enjoyed the book. The artist really makes Gotham so strange kinda like Tim Burton's version and his version of Batman is strange with the way the eyes and capes are drawn, and thats their style and its distinctive though and cool.
So, yeah its fun, one-time read, and maybe I will have different opinions if I read it again. But you know see for yourself.
Like from the first issues to the last it was kinda fun, and was like Batman vs so many of his villains and their M.O. doesn't click so yeah he fights against Man-Bat who was better written for the most part, Scarecrow, an Axe-man, Clayface who was super dangerous here and had a mecha fight with Batman which was cool and even Joker, and it was a typical Joker-halloween tale and nothing new but still.
There is a part where he falls in love with this new police detective April, and yeah their romance should have been better built as it becomes the back bone of the series and like after #12 even more crucial, so that was a short coming I found, and from the get go with so much emphasis on her you can pretty much surmise who she was gonna be revealed as ultimately, but you know her character is well written in some places and you can see the heartbreak Bruce has to contend with after he death but yeah a big mystery there.
I like the way Selina was written and how she wanted revenge as she doesn't like people controlling her but if we had gotten a big fight between her and Batman as she was involved in the big incident in #8 that would have gelled better for the series. And yeah other characters involved are written well too. Gordon yes, Alfred even better. Typical Batman cast character.
As for the villain, Midnight, yeah coming back to the start, they were cool and till #11 end you can see how messy and dangerous they were, and I really liked how they were controlling villains and were the anti-thesis of Bruce in a way, like going after everyone, and their idea of order was to have gotham in fear and terror and yeah tbh thats pretty much so much of other Batman villains motivations but yeah the reveal idk maybe I have to read the last issue again but it does change so many things and makes you revaluate Batman that was the truth hidden there all along and he got blind to it, and tbh with it being the last issue, it did feel like the conclusion was rushed and maybe not that good in a way.
So you know mixed feelings, but still enjoyed it overall even if it got underwhelming with the ending, but the idea of Gotham being this gothic, horror, dark place and a mystery at the centre of it, it makes for a fun story and the art was one of the reasons I enjoyed the book. The artist really makes Gotham so strange kinda like Tim Burton's version and his version of Batman is strange with the way the eyes and capes are drawn, and thats their style and its distinctive though and cool.
So, yeah its fun, one-time read, and maybe I will have different opinions if I read it again. But you know see for yourself.
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January 24, 2025TODD MCFARLANE'S BATMAN
ive always had a hard time with the phrase "style over substance" (even if it's complimentary) because, to me, sometimes style is exactly the substance; i absolutely think you can trade in textual/narrative depth for ones more visual/aesthetic-focused and still demand merit and meaning. the notion that all narrative visual art (animation, comics, film, etc.) is mostly graded on thematic text-based constraints is quite frankly absurd and disrespectful.
GOTHAM AFTER MIDNIGHT is, centrally, like many others, a noir-inspired, 12-issue mystery about an ambiguous masked serial-killer terrorizing the city that also happens to (creature-)feature some of the caped crusader's more familiar foes as flashy red herrings (HUSH, morrison's GOTHIC, THE LONG HALLOWEEN etc.) it's not a very unique story nor a very deep one — especially because of how steve niles writes the ambiguity and abstract with such plain straightforwardness — but it's an incredibly interesting one due to how it visualizes its story with such dynamic surrealism and a neverending streak for the weird; it's this mixture of golden-age comic theatricality and EC horror comic abstraction (one particular halloween-themed chapter features a TALES FROM THE CRYPT-like introduction from batman himself) that contains all different kinds of sub-styles ranging from victorian gothic to steampunk oppresive to silent-era horror cinema under one roof and onto one page. it's a complete page turner in a simple sense of "man, i wonder how this next page will look". rarely has the dark knight been portrayed in such an unglamorous manner. it's honestly disturbing how otherworldy and demonic batman is drawn here sometimes; like this dancing, monstrous spectre of shadows and neon colors with a cape that's just as lively as he is. and bruce wayne is drawn straight-up ugly too; a hulking troll of suppressed emotion with a penchant for violence hiding under glossed skin. there's so much gleeful, dark idiosyncrasy to enjoy so ill just start listing them: the way characters are dominated by old architecture and statues, the retrofuturistic design of batman's automobiles, the way miscellaneous objects always seem to arrange in the outline of midnight's skull, when characters are reduced in shape and color in favor of their environments, the oppressive bat-symbol reflections, the pulp horror-coded issue number descriptors/titles, every single splash page.
look, the plot isn't very interesting or rewarding. the repetitive, almost childish messaging underlined and bolded. you can see the big twist coming from a mile away (which normally wouldn't bother me if the book didn't so heavily rely on it to shock you). but the artwork/paneling/coloring is ghoulish! terrifying! wickedly addicting! give me more superhero comics that embrace golden-age theatrics and take influence from vintage horror classics (the final climax is directly lifted from the original FRANKENSTEIN) and osbcure psychosexual cinema like that of jesus franco. that is some damn fine style!
ive always had a hard time with the phrase "style over substance" (even if it's complimentary) because, to me, sometimes style is exactly the substance; i absolutely think you can trade in textual/narrative depth for ones more visual/aesthetic-focused and still demand merit and meaning. the notion that all narrative visual art (animation, comics, film, etc.) is mostly graded on thematic text-based constraints is quite frankly absurd and disrespectful.
GOTHAM AFTER MIDNIGHT is, centrally, like many others, a noir-inspired, 12-issue mystery about an ambiguous masked serial-killer terrorizing the city that also happens to (creature-)feature some of the caped crusader's more familiar foes as flashy red herrings (HUSH, morrison's GOTHIC, THE LONG HALLOWEEN etc.) it's not a very unique story nor a very deep one — especially because of how steve niles writes the ambiguity and abstract with such plain straightforwardness — but it's an incredibly interesting one due to how it visualizes its story with such dynamic surrealism and a neverending streak for the weird; it's this mixture of golden-age comic theatricality and EC horror comic abstraction (one particular halloween-themed chapter features a TALES FROM THE CRYPT-like introduction from batman himself) that contains all different kinds of sub-styles ranging from victorian gothic to steampunk oppresive to silent-era horror cinema under one roof and onto one page. it's a complete page turner in a simple sense of "man, i wonder how this next page will look". rarely has the dark knight been portrayed in such an unglamorous manner. it's honestly disturbing how otherworldy and demonic batman is drawn here sometimes; like this dancing, monstrous spectre of shadows and neon colors with a cape that's just as lively as he is. and bruce wayne is drawn straight-up ugly too; a hulking troll of suppressed emotion with a penchant for violence hiding under glossed skin. there's so much gleeful, dark idiosyncrasy to enjoy so ill just start listing them: the way characters are dominated by old architecture and statues, the retrofuturistic design of batman's automobiles, the way miscellaneous objects always seem to arrange in the outline of midnight's skull, when characters are reduced in shape and color in favor of their environments, the oppressive bat-symbol reflections, the pulp horror-coded issue number descriptors/titles, every single splash page.
look, the plot isn't very interesting or rewarding. the repetitive, almost childish messaging underlined and bolded. you can see the big twist coming from a mile away (which normally wouldn't bother me if the book didn't so heavily rely on it to shock you). but the artwork/paneling/coloring is ghoulish! terrifying! wickedly addicting! give me more superhero comics that embrace golden-age theatrics and take influence from vintage horror classics (the final climax is directly lifted from the original FRANKENSTEIN) and osbcure psychosexual cinema like that of jesus franco. that is some damn fine style!
July 7, 2020
Note to creators: if you're going to name your new work after a previous work, maybe don't make the 'reveal' the same as the previous one's. Obviously, not every Batman fan is going to get the reference in the title of this book (a loving nod to the Lon Chaney 'lost' film London After Midnight), but those of us who do will know before opening the cover just who is behind the identity of eerie new supervillain Midnight.
I only got this book because of Kelley Jones, who I think of as a latter-day Bernie Wrightson, with all that implies. Jones' art is always a visual feast, and he doesn't disappoint here; each panel is densely packed with blacks put to audacious use, and complemented by a striking palette from Michelle Madsen. Unfortunately, his talent is in still imagery, and there is very little of the flow that is essential to the medium, with every panel looking like an individual pin-up. His frequent references to pop-culture of the 40s are fun (Abbott and Costello as orderlies, Spirit-influenced introductory pages) and add a light touch to a fairly dark story.
Steve Niles brings his ability for horror storytelling to a tale that is firmly rooted in that tradition, incorporating Batman's rogues gallery of grotesqueries into the introduction of a new character. Though the denouement is quite wordy, most of his text has a near-poetic touch that elevates this slightly above a typical cowls-and-capes story.
I remember glancing through this series when it originally came out, but it just didn't pull me in at the time. Reading it now years later, in this collected form, I'm glad I didn't spend the considerably-more money on the issues than I did getting this book. It's a handsomely executed collection of Batimagery, but not something that really advances the mythos or the medium.
I only got this book because of Kelley Jones, who I think of as a latter-day Bernie Wrightson, with all that implies. Jones' art is always a visual feast, and he doesn't disappoint here; each panel is densely packed with blacks put to audacious use, and complemented by a striking palette from Michelle Madsen. Unfortunately, his talent is in still imagery, and there is very little of the flow that is essential to the medium, with every panel looking like an individual pin-up. His frequent references to pop-culture of the 40s are fun (Abbott and Costello as orderlies, Spirit-influenced introductory pages) and add a light touch to a fairly dark story.
Steve Niles brings his ability for horror storytelling to a tale that is firmly rooted in that tradition, incorporating Batman's rogues gallery of grotesqueries into the introduction of a new character. Though the denouement is quite wordy, most of his text has a near-poetic touch that elevates this slightly above a typical cowls-and-capes story.
I remember glancing through this series when it originally came out, but it just didn't pull me in at the time. Reading it now years later, in this collected form, I'm glad I didn't spend the considerably-more money on the issues than I did getting this book. It's a handsomely executed collection of Batimagery, but not something that really advances the mythos or the medium.
April 29, 2019
The book itself was nothing particularly special, not horrible, just a bit bland. The first and last few issues were the weak point, while the writing peaked in the middle imo. That being said, what I do like is Kelley Jones' art. I always have,and i wanted to take the time to discuss that now before I review his work on the main continuity of Batman (because by the time that comes around- the story will be whats most important). Jones' art is not for everyone- its extremely stylized, not at all realistic, objects and characters in the background are drawn crudely while images in the forefront are way over the top. And I love it. But i understand completely if you dont. Its weird to say the least. I love how the ears on Batman's cowl are like 3ft tall and his cape is so large and in the way it couldnt serve any real helpful function in a fight. But it looks effin cool. I love how Batman is always hunched over and holding his cape in front of his face like in old vampire films. I also love the way he does the joker. The jokers mouth curves into a sharp v-shape like a dr suess character, his hair is always disheveled and seems to have a mind of its own from panel to panel. He looks more like a nightmarish creature than anything resembling a human. The best way to describe Jones' artistry is twisted, and since this particular book is meant to play as a horror story i think it fits great. If you like this sort of art, pick up this book, but if you just want a good read you can skip it.
May 7, 2022
Probably more like 2.5 stars. I didn’t love it or hate it. The mystery was decent, even though I figured it out, and the lesson—about not being blinded by love or hate through sharing those feelings and finding hope and clarity—was solid, but…. The whole story/art was very stylized. And I get that was the point, as it was kind of paying tribute to old school horror, but that just wasn’t my cup of tea. There were some panels and covers I really liked (the Joker one was cool), but as a whole, the art style kind of took me out of the story. Batman would be standing there like the Creeper from Scooby Doo, and I’m just thinking… that feels like he’s trying too hard to be intimidating. What makes Batman intimidating is that he doesn’t have to TRY at it. Some of the dialogue at times came across as a bit unnatural to me, too. I will also say that I liked some of the Bruce and Alfred moments, but as a whole, the comic was just kind of… meh. Fine, worth finishing if you start it, but not on a “must-read” list.
January 24, 2024
In my opinion Kelley Jones draws the best Batman. He is dark, scowling, and menacing. The cape is highly exaggerated and seems to have a life of its own. With the dark shadows and Michelle Madsen's wonderful coloring the art perfectly captures the feel of the world of Batman and Gotham City.
Some of the characters are much more simply drawn and colored creating a nice division between Batman and Gotham's villains versus the world of Bruce Wayne.
The story is a balancing act with goofy machines such as the weird combat suit with a macabre tale about stealing human hearts. The mystery has several twists and turns with an ending that is way to heavy handed. The explanation at the end could have been shorter, however it does demonstrate Alfred's importance with keeping the balance between the polar opposite personalities of Batman and Bruce Wayne.
Batman is the Dark Knight and this books demonstrates it wonderfully.
Some of the characters are much more simply drawn and colored creating a nice division between Batman and Gotham's villains versus the world of Bruce Wayne.
The story is a balancing act with goofy machines such as the weird combat suit with a macabre tale about stealing human hearts. The mystery has several twists and turns with an ending that is way to heavy handed. The explanation at the end could have been shorter, however it does demonstrate Alfred's importance with keeping the balance between the polar opposite personalities of Batman and Bruce Wayne.
Batman is the Dark Knight and this books demonstrates it wonderfully.
April 1, 2024
An OK Batman story that's more about the parade of villains then it is about the rudimentary story of its new bland villain, Midnight. Batman is the world's biggest dummy in this instead of the world's greatest detective. He doesn't even figure out who Midnight is until the issue after they already died. Then he finally does his research and figures out who was punching people's hearts out with a cane. Nothing is explained satisfactorily. It just shows how long Niles has been skating off the success of 30 Days of Night. I do like Kelley Jones art in this. It's toned down from the days when he drew the main Batman comic and he'd give Batman a 20 pack. It's a devisive choice but I do like it.
This new deluxe edition also has a new Batman story from Batman: The Brave And the Bold #4. I'm not sure why it's included other than Kelley Jones also drew it. By the way, it's terrible.
This new deluxe edition also has a new Batman story from Batman: The Brave And the Bold #4. I'm not sure why it's included other than Kelley Jones also drew it. By the way, it's terrible.
March 4, 2024
Steve Niles and Kelley Jones create an amazing romp through Gotham with this collection of stories that create one epic story! This may sound strange, but I think I prefer Kelley Jones art work the majority of the time in Black and white. Colors don;t always do his work justice to enhance it. That said, I felt the coloring on this collection was well done. Batman is hunting down evil...like he usually does and he faces off with a number of his rogues gallery opponents....but something feels off to him. This leads to an even bigger villain he is facing off against in this collection. The deluxe edition has some great pieces in the back that truly make the book great. Seeing the Dennis O'Neil style of plotting used for this series in the back and the raw pages of Kelley Jones makes this Deluxe Edition totally worth it!
January 27, 2022
It is very rare that I quit reading a Batman comic some way through, however this is one of those exceptions. Gotham After Midnight was a bit of an ugly Batman story. The story, villain, and artwork was just too grotesque for my taste. Although I loved his otherworldly Batcomputer design, I don't think I am a fan of Kelley Jones' artwork. The story just sort of moved along randomly and frenetically. In a way, the story felt purposeless. My biggest complaint against this book is a little subjective: I really didn't like the vibe of this book. Icky. Grotesque. Dark. Dull. Senseless. Ultimately, I ended up putting it down.
If you want to read a better Batman story illustrated by Gotham After Midnight, I can recommend Batman: Kings of Fear.
If you want to read a better Batman story illustrated by Gotham After Midnight, I can recommend Batman: Kings of Fear.
August 12, 2025
4.3/5 as another commenter said I’m giving this a five just to counteract the insane amount of ones and threes. The Kelly Jones art style absolutely won me over, and I was kind of in awe of it by the end whereas I had previously never appreciated it, even mocked it. This was a frenetic mystery with some great twists and turns that kept me guessing and you get to see Batman do some real detective work. There are red herrings in both the story and the artwork, which is a great touch. The only thing I can identify with in some of these reviews is the ding against some of the dialogue. It can be stilted and unnatural at times but most of the time I found it completely fine. All in all this is a really fun ride and I urge you to completely ignore the reviews and try it for yourself.
May 12, 2020
Uma história longa e estranha.
Batman After Midnight dava para ser feito em menos capítulos. Achei a história muito comprida aqui, algumas histórias com muitos capítulos parecem que tem poucos capítulos por serem boas histórias, isso não acontece aqui.
O Batman nesta história possui algumas tecnologias estranhas que não lembro de vê-lo usando novamente em outras histórias, como uma espécie de "robô" gigante. E ao contrário do que muitos dizem, eu não gostei da arte, alguns Splash Screens são legais, mas no geral não é lá essas coisas.
Batman After Midnight dava para ser feito em menos capítulos. Achei a história muito comprida aqui, algumas histórias com muitos capítulos parecem que tem poucos capítulos por serem boas histórias, isso não acontece aqui.
O Batman nesta história possui algumas tecnologias estranhas que não lembro de vê-lo usando novamente em outras histórias, como uma espécie de "robô" gigante. E ao contrário do que muitos dizem, eu não gostei da arte, alguns Splash Screens são legais, mas no geral não é lá essas coisas.
May 31, 2022
Una lectura quizá sólo apta para batmaníacos completistas como yo. Estuvo bien, pero reconozco que podría haber estado mejor. Steve Niles y Kelley Jones hacen buen equipo creativo. Argumento: "Hay una nueva clase de lunático suelto en Gotham, y está dispuesto a robar el corazón de la ciudad. El monstruo llamado Medianoche está convencido de que puede hacer el trabajo de Batman, solo que mucho mejor que él. Cuando la ciudad se adentra en la locura, Batman se ve en la obligación de detener a Medianoche".
November 19, 2024
Enjoyed this story way more than I thought I would. The art style is very unique, but I’ll admit it had to grow on me, but once I did I found great appreciation for it. The story itself feels very classic Batman, with an emphasis on a villain I don’t think I’ve ever seen used since. I’ve always enjoyed the more detective focused stories with the rogues as a side piece. While I’ll admit, I seen the twist coming about a mile away, the simplicity of the story was still nice.
This entire review has been hidden because of spoilers.
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