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Batman
Batman: Masque
Excellent Book
Comic
First published November 1, 1997
3 people are currently reading
173 people want to read
About the author
DC Comics
15.1k books140 followersDC Comics is one of the most influential and enduring comic book publishers in the world, widely recognized for launching the superhero genre and shaping the modern mythology of American pop culture. Founded in 1934 as National Allied Publications by Major Malcolm Wheeler-Nicholson, the company published the first comic book featuring all-original content. That early publication, New Fun Comics, marked the beginning of a new form of entertainment that would quickly gain momentum.
The transformation from a publishing experiment to a cultural powerhouse began in earnest with the creation of Superman by Jerry Siegel and Joe Shuster in 1938. Introduced in Action Comics #1, Superman is widely regarded as the first true superhero and set the standard for the genre. His instant popularity laid the groundwork for DC’s expansion and its rapid rise within the industry. The debut of Batman, created by Bob Kane and Bill Finger, in 1939, and Wonder Woman, created by William Moulton Marston and H. G. Peter, in 1941, added to DC’s growing pantheon of heroic figures.
As superheroes captured the public imagination, DC introduced a wide array of characters, including the Flash, Green Lantern, Aquaman, Martian Manhunter, and Green Arrow. In the 1960s, these characters were brought together as the Justice League of America, reflecting the company’s focus on interconnected storytelling and shared universes—concepts that would become central to comic book publishing.
DC’s influence extended far beyond its own titles. During the Silver Age of Comics, the company reimagined older characters and introduced new ones, revitalizing interest in the medium. The company also played a central role in the development of the Comics Code Authority, which shaped the industry’s self-regulation following public criticism and Senate hearings in the 1950s.
In the 1980s, DC undertook a bold redefinition of its brand and storytelling approach. The publication of The Dark Knight Returns by Frank Miller, Watchmen by Alan Moore and Dave Gibbons, and Swamp Thing marked a creative renaissance. These works pushed the boundaries of what comic books could express, bringing mature themes, literary depth, and psychological complexity into the spotlight. This era confirmed DC as a platform for serious artistic exploration, not just superhero adventure.
DC also took steps to streamline its increasingly complex fictional universe with the crossover event Crisis on Infinite Earths in 1985, an ambitious effort to consolidate decades of continuity. Since then, the company has repeatedly reinvented its universe through major storylines and publishing initiatives, including Zero Hour, Infinite Crisis, Flashpoint, and Convergence. In 2011, DC launched The New 52, a line-wide reboot that modernized characters and storylines. This was followed by DC Rebirth in 2016, which aimed to reintroduce classic elements and emotional resonance.
In addition to its core superhero line, DC has published influential works under its imprints, including Vertigo, which released genre-defining series like Sandman, Preacher, and Y: The Last Man. These titles broadened the scope of comics and attracted new adult readership. More recent imprints such as Black Label and DC Ink continue to offer creator-driven, experimental storytelling for mature and young adult audiences.
DC’s characters have transcended the comic book medium, becoming mainstays of global entertainment. From Christopher Reeve’s Superman films to Tim Burton’s and Christopher Nolan’s Batman adaptations, from animated series like Batman: The Animated Series to the DC Extended Universe, the company’s heroes have been interpreted and reinterpreted across generations. Games like the Arkham series and shows like The Flash, Arrow, and Peacemaker have extended DC’s reach into interactive and serialize
The transformation from a publishing experiment to a cultural powerhouse began in earnest with the creation of Superman by Jerry Siegel and Joe Shuster in 1938. Introduced in Action Comics #1, Superman is widely regarded as the first true superhero and set the standard for the genre. His instant popularity laid the groundwork for DC’s expansion and its rapid rise within the industry. The debut of Batman, created by Bob Kane and Bill Finger, in 1939, and Wonder Woman, created by William Moulton Marston and H. G. Peter, in 1941, added to DC’s growing pantheon of heroic figures.
As superheroes captured the public imagination, DC introduced a wide array of characters, including the Flash, Green Lantern, Aquaman, Martian Manhunter, and Green Arrow. In the 1960s, these characters were brought together as the Justice League of America, reflecting the company’s focus on interconnected storytelling and shared universes—concepts that would become central to comic book publishing.
DC’s influence extended far beyond its own titles. During the Silver Age of Comics, the company reimagined older characters and introduced new ones, revitalizing interest in the medium. The company also played a central role in the development of the Comics Code Authority, which shaped the industry’s self-regulation following public criticism and Senate hearings in the 1950s.
In the 1980s, DC undertook a bold redefinition of its brand and storytelling approach. The publication of The Dark Knight Returns by Frank Miller, Watchmen by Alan Moore and Dave Gibbons, and Swamp Thing marked a creative renaissance. These works pushed the boundaries of what comic books could express, bringing mature themes, literary depth, and psychological complexity into the spotlight. This era confirmed DC as a platform for serious artistic exploration, not just superhero adventure.
DC also took steps to streamline its increasingly complex fictional universe with the crossover event Crisis on Infinite Earths in 1985, an ambitious effort to consolidate decades of continuity. Since then, the company has repeatedly reinvented its universe through major storylines and publishing initiatives, including Zero Hour, Infinite Crisis, Flashpoint, and Convergence. In 2011, DC launched The New 52, a line-wide reboot that modernized characters and storylines. This was followed by DC Rebirth in 2016, which aimed to reintroduce classic elements and emotional resonance.
In addition to its core superhero line, DC has published influential works under its imprints, including Vertigo, which released genre-defining series like Sandman, Preacher, and Y: The Last Man. These titles broadened the scope of comics and attracted new adult readership. More recent imprints such as Black Label and DC Ink continue to offer creator-driven, experimental storytelling for mature and young adult audiences.
DC’s characters have transcended the comic book medium, becoming mainstays of global entertainment. From Christopher Reeve’s Superman films to Tim Burton’s and Christopher Nolan’s Batman adaptations, from animated series like Batman: The Animated Series to the DC Extended Universe, the company’s heroes have been interpreted and reinterpreted across generations. Games like the Arkham series and shows like The Flash, Arrow, and Peacemaker have extended DC’s reach into interactive and serialize
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Displaying 1 - 20 of 20 reviews
August 16, 2018
A Victorian Batman crossed with Phantom of the Opera. Mike Grell is the only thing making this one worth reading.
February 15, 2019
I always imagine that most experiments, outside of the parameters of the selected tried and true, fail. With good reason most everything opts toward conservatism. Case in point: this foray into another experimental take on the Batman mythos embraces the very worst in a disastrously open vision against what has been proven to work.
Truly deserving of the awfulness bequeathed to us by the Elseworlds imprimatur, a micro-tale that took as little work to conceive as it was utterly un-thought through in its execution has all of its failures well on display. Not a mere case of a benefited doubt, but rather this one is all warts. With little in the way of creativity, all modulations are merely cosmetic in nature. Costumes have been traded in for more period appropriate wear whilst the forms retain their essential essentialness. Ironically enough, this not-so fresh coat of paint does nothing more than cover its intrinsic staleness.
Accordingly, under their fetid veneers, known-known’s perform their known rituals since time immemorial (well more like the 40’s onward). And since the entire product is under 60 pages, things hardly have any room to germinate into anything memorable or enjoyable in the least. For all the promise of the Elseworlds take on things, this meta-series deserves all the scorn and derision that has been cast at its feet.
Let's leave this untouched relic under the cobwebs it deserves.
Truly deserving of the awfulness bequeathed to us by the Elseworlds imprimatur, a micro-tale that took as little work to conceive as it was utterly un-thought through in its execution has all of its failures well on display. Not a mere case of a benefited doubt, but rather this one is all warts. With little in the way of creativity, all modulations are merely cosmetic in nature. Costumes have been traded in for more period appropriate wear whilst the forms retain their essential essentialness. Ironically enough, this not-so fresh coat of paint does nothing more than cover its intrinsic staleness.
Accordingly, under their fetid veneers, known-known’s perform their known rituals since time immemorial (well more like the 40’s onward). And since the entire product is under 60 pages, things hardly have any room to germinate into anything memorable or enjoyable in the least. For all the promise of the Elseworlds take on things, this meta-series deserves all the scorn and derision that has been cast at its feet.
Let's leave this untouched relic under the cobwebs it deserves.
February 12, 2016
Well I love Mike Grell's art so that made this an above average read. Good gothic setting and story for Batman. Very recommended
September 25, 2020
Ahimè, le storie ottocentesche non mi sono mai piaciute granché, anche se capisco il fascino che si può provare per loro. Questa storia non fa eccezione, anche se si tratta di Batman.
Anche se non l'ho reputata un granché, mi sento tuttavia di salvare alcuni dialoghi legati alla dualità maschera/uomo che da sempre spacca i batfans: la vera maschera di Batman, è quella del giustiziere pipistrellato, o è Bryce Wayne?
Mike Grell dà una sua personale visione con scambi di battute e monologhi brevi, ma concisi e interessanti.
Anche se non l'ho reputata un granché, mi sento tuttavia di salvare alcuni dialoghi legati alla dualità maschera/uomo che da sempre spacca i batfans: la vera maschera di Batman, è quella del giustiziere pipistrellato, o è Bryce Wayne?
Mike Grell dà una sua personale visione con scambi di battute e monologhi brevi, ma concisi e interessanti.
August 2, 2024
This was purely fine story-wise, not anything groundbreaking and probably a bit of a weird read if you aren't familiar with Phantom of the Opera but for weird freaks like ME? This was beautiful, I want the cover art tattooed on my arm or thigh
May 9, 2021
Batman: Masque is an Elseworld one-shot published by DC Comics in 1997. The story is written and illustrated by Mike Grell. The story takes the Batman mythos and loosely combines it with Gaston Leroux's novel, The Phantom of the Opera.
Bruce Wayne as Batman is called to Gotham Police Headquarters by Commissioner Gordon. He is informed that three men broke out of Gotham jail. Two were already caught, but the third has taken to the rooftops and as Batman chases after the third, the fight moves to the Gotham City Opera House. The main lead, Harvey Dent, is scarred in a horrible accident when his costume caught fire.
The same night, ballerina Laura Avian meets Bruce Wayne, who was friends with her father when they were in school. There is an instant attraction between the two, but Laura expresses some concern for Harvey after his accident. As the love between Bruce and Laura grows, accidents begin to take place at the Opera House, which seems fortuitous for Laura Avian and it is revealed that Harvey is behind these crimes.
Mike Grell penned the entire trade paperback. For the most part, it is written moderately well. Grell blends the mythos behind Batman and The Phantom of the Opera moderately well. The narrative takes place during the 1890s, but not in France, but in Gotham City. Overall, the storyline is quite simplistic and slightly predictable.
Doing double duty, Mike Grell penciled the entire trade paperback. Since he was the only penciler, the artistic flow of the trade paperback flowed exceptionally well. For the most part, Grell's penciling depicts the narrative and captures the time and theme rather well.
All in all, Batman: Masque is a moderate narrative that melds the mythos of Batman and The Phantom of the Opera rather well with an execution that is much to be desired.
Bruce Wayne as Batman is called to Gotham Police Headquarters by Commissioner Gordon. He is informed that three men broke out of Gotham jail. Two were already caught, but the third has taken to the rooftops and as Batman chases after the third, the fight moves to the Gotham City Opera House. The main lead, Harvey Dent, is scarred in a horrible accident when his costume caught fire.
The same night, ballerina Laura Avian meets Bruce Wayne, who was friends with her father when they were in school. There is an instant attraction between the two, but Laura expresses some concern for Harvey after his accident. As the love between Bruce and Laura grows, accidents begin to take place at the Opera House, which seems fortuitous for Laura Avian and it is revealed that Harvey is behind these crimes.
Mike Grell penned the entire trade paperback. For the most part, it is written moderately well. Grell blends the mythos behind Batman and The Phantom of the Opera moderately well. The narrative takes place during the 1890s, but not in France, but in Gotham City. Overall, the storyline is quite simplistic and slightly predictable.
Doing double duty, Mike Grell penciled the entire trade paperback. Since he was the only penciler, the artistic flow of the trade paperback flowed exceptionally well. For the most part, Grell's penciling depicts the narrative and captures the time and theme rather well.
All in all, Batman: Masque is a moderate narrative that melds the mythos of Batman and The Phantom of the Opera rather well with an execution that is much to be desired.
December 29, 2021
This is an Elseworlds story, a story using DC characters outside of their main continuity. These are interesting ways to show these characters in a unique setting.
This story felt short—obviously because it is a one-shot, which constrains the story to 64 pages or what not. But there wasnt nearly as much characterization as, say, "Batman: Castle of the Bat". Which isnt bad, in fact it's a welcome change of pace. Nice quick read, but I felt there was so much more to be explored with this Batman and with this "phantom" of the opera. This universe quickly expanded and deflated. I want more.
I feel the story would have been better if Batman was the one whose face was burned. I find that more interesting and with more room for character development.
However, in the end, I feel this is a sturdy elseworlds. It's a change of pace. It's an interesting idea. I wish it was expanded on.
This story felt short—obviously because it is a one-shot, which constrains the story to 64 pages or what not. But there wasnt nearly as much characterization as, say, "Batman: Castle of the Bat". Which isnt bad, in fact it's a welcome change of pace. Nice quick read, but I felt there was so much more to be explored with this Batman and with this "phantom" of the opera. This universe quickly expanded and deflated. I want more.
I feel the story would have been better if Batman was the one whose face was burned. I find that more interesting and with more room for character development.
However, in the end, I feel this is a sturdy elseworlds. It's a change of pace. It's an interesting idea. I wish it was expanded on.
This entire review has been hidden because of spoilers.
November 5, 2017
In this Elseworlds graphic novel from 1997, the members of the Batman Family are still in Gotham City, but it's now around the turn of the 19th century and the characters are now players in the classic Gaston Leroux gothic classic, The Phantom of the Opera.
Selina Kyle is the Christine archtype; an up-and-coming opera singer in whom fate has begun to smile on her career thanks to an assortment of tragedies that have occurred at the Gotham Opera House.
Bruce Wayne is playing the Raoul role- a wealthy socialite and paramour of Selina.
But who is the mysterious Phantom that haunts the Gotham Opera House? Is it the urban viglante known as the Bat, who assists the Gotham Police at night? Or is it another unknown factor from Selina's past?
Selina Kyle is the Christine archtype; an up-and-coming opera singer in whom fate has begun to smile on her career thanks to an assortment of tragedies that have occurred at the Gotham Opera House.
Bruce Wayne is playing the Raoul role- a wealthy socialite and paramour of Selina.
But who is the mysterious Phantom that haunts the Gotham Opera House? Is it the urban viglante known as the Bat, who assists the Gotham Police at night? Or is it another unknown factor from Selina's past?
September 17, 2016
Fun. Dumb.
September 11, 2025
Batman: Masque is a DC Comics premium-format one-shot comicbook written and drawn by Mike Grell and colors by Andre Khromov. Released in 1997.
An Elseworlds take in which Batman is reimagined as a lonely debonair who haunts Gotham’s opera house.
This book is light on plot and heavy on imagery as Batman is reimagined into The Phantom of the Opera. I think an actual story could have been found here that could have been interesting, but Grell keeps is fairly simple to the Phantom source material in that Bruce is a vigilante by night who likes to visit the opera house and watch over the understudy that he has fallen in love with from a distance. It is both creepy and romantic in that uniquely gothic horror way. The art does the large lifting in this book and almost every page had a captivating panel. If you enjoy Grell’s art, which I very much do, you may find more to appreciate here than just a “What if Batman was the Phantom?”
An Elseworlds take in which Batman is reimagined as a lonely debonair who haunts Gotham’s opera house.
This book is light on plot and heavy on imagery as Batman is reimagined into The Phantom of the Opera. I think an actual story could have been found here that could have been interesting, but Grell keeps is fairly simple to the Phantom source material in that Bruce is a vigilante by night who likes to visit the opera house and watch over the understudy that he has fallen in love with from a distance. It is both creepy and romantic in that uniquely gothic horror way. The art does the large lifting in this book and almost every page had a captivating panel. If you enjoy Grell’s art, which I very much do, you may find more to appreciate here than just a “What if Batman was the Phantom?”
April 3, 2022
This concept should be fun. It does a few things that I hate in Phantom retellings
The original phantom of the opera was a mystery and there's no mystery here at all in this Batman comic. It's obvious how it's gonna play out. I had a brief thought that they were gonna go off the rail like a good Elseworld comic should but no, it's pretty standard.
The original phantom of the opera was a mystery and there's no mystery here at all in this Batman comic. It's obvious how it's gonna play out. I had a brief thought that they were gonna go off the rail like a good Elseworld comic should but no, it's pretty standard.
September 26, 2018
PHENOMENAL!
A review would give too much away- this is a MUST READ for fans of theatre!
A review would give too much away- this is a MUST READ for fans of theatre!
February 7, 2021
3.5 stars. A short, well-illustrated Elseworlds tale. The story isn't overly special, but it does have some memorable moments. Definitely pick this one up for the artwork alone.
June 27, 2021
Delightfully derivative of many things. With art that is lurid, striking, or delicate as the precise page's mood requires.
September 11, 2025
the phantom of the opera fits perfectly with the whole batman aesthetic
August 7, 2022
Very fun!! Not many surprises, but if you want to see what Batman and Phantom of the Opera look like smushed together, you will absolutely get your money's worth.
June 22, 2025
At the turn of the twentieth century, Batman's attempt to locate some escaped prisoners leads him to a theater debuting a production of Poe's short story "Mask of the Red Death". The ensuing conflict results in a fire which causes the severe disfigurement of the play's lead actor Harvey Dent. As Batman investigates the connection of the criminals to the theater he becomes romantically entangled with the play's lead actress and discovers the production company is hiding some dark secrets.
This has some damn nice art by Grell, especially in the panelless transition sequences, but develops a plot that feels pretty pedestrian. The narrative develops exactly as one would think reading the premise and does little to differentiate itself from the Elseworlds crowd outside of the vintage setting.
This has some damn nice art by Grell, especially in the panelless transition sequences, but develops a plot that feels pretty pedestrian. The narrative develops exactly as one would think reading the premise and does little to differentiate itself from the Elseworlds crowd outside of the vintage setting.
September 23, 2015
OMFG ¡Batman y el fantasma de la ópera combinados! omfg
No soy nadie para hablar de cómics ni de Batman, pero este es una de las curiosidades más memorables que he tenido la delicia de leer. El dibujo y sus detalles son hermosos, aunque la trama se complica un poco y de la nada sale Dos Caras...
La historia es casi idéntica a la del Fantasma (duh), sólo que aquí nuestra heroína es bailarina de ballet, no cantante de ópera, su enamorado es Bruce Wayne y su compañero de baile es Harvey Dent.
Me perdí un poco cuando decidieron que Bruce fuera, al mismo tiempo, Raoul y Erik, y que Harvey fuera la parte de Erik que Batman no podía ser.
Como sea, yo lo recomiendo tanto para conocedores de Batman como del Fantasma... O para los fans de los crossovers raros.
No soy nadie para hablar de cómics ni de Batman, pero este es una de las curiosidades más memorables que he tenido la delicia de leer. El dibujo y sus detalles son hermosos, aunque la trama se complica un poco y de la nada sale Dos Caras...
La historia es casi idéntica a la del Fantasma (duh), sólo que aquí nuestra heroína es bailarina de ballet, no cantante de ópera, su enamorado es Bruce Wayne y su compañero de baile es Harvey Dent.
Me perdí un poco cuando decidieron que Bruce fuera, al mismo tiempo, Raoul y Erik, y que Harvey fuera la parte de Erik que Batman no podía ser.
Como sea, yo lo recomiendo tanto para conocedores de Batman como del Fantasma... O para los fans de los crossovers raros.
This entire review has been hidden because of spoilers.
November 11, 2014
I don't find this Phantom version of Batman interesting or impressive. It's not that because it's a love story. Rather, it's because of the fact that Batman can't be about love. It's about being gritty and angsty.
February 16, 2011
Melihat covernya sekilas, sempat berpikir... Aha, Batman versi Historical Romance! Mirip cover novel HR jadul sih...
Displaying 1 - 20 of 20 reviews