What do you think?
Rate this book
Batman (2011) #4-5
Batman: Zero Year
Antes da era dos super-heróis - antes do Batman passar a proteger os inocentes e punir o mal -, o filho pródigo de Gotham City, Bruce Wayne, ficou desaparecido por anos. Usando esse mistério como cobertura, o jovem patrulhou as ruas de sua cidade assumindo uma série de disfarces e iniciando sua lendária carreira como um vigilante sem rosto. No entanto, o verdadeiro nascimento do Homem-Morcego só se deu meses depois, quando um genial e maligno criminoso conhecido como Charada resolveu lançar Gotham na escuridão, roubando o controle da metrópole com as piores intenções possíveis. Foi ali que o jovem Wayne precisou provar sua coragem e suas habilidades. Foi ali que surgiu o Batman!
Batman 21-27, 29-33
Batman 21-27, 29-33
390 pages, Kindle Edition
Published August 31, 2021
63 people are currently reading
483 people want to read
About the author
Scott Snyder
1,777 books5,114 followersScott Snyder is the Eisner and Harvey Award winning writer on DC Comics Batman, Swamp Thing, and his original series for Vertigo, American Vampire. He is also the author of the short story collection, Voodoo Heart, published by the Dial Press in 2006. The paperback version was published in the summer of 2007.
Ratings & Reviews
Friends & Following
Create a free account to discover what your friends think of this book!
Community Reviews
Displaying 1 - 30 of 124 reviews
July 8, 2022
After reading Old Man Logan, the first graphic novel I have picked up in many years, I felt the urge to carry on, so whose story better to dive into than that of Batman?
Thoroughly enjoyed this origins story about the hero of Gotham. The same awesome characters with interesting new backgrounds that made this graphic novel all the better. I'll definitely be diving into others in the near future.
We have The Riddle acting as a major villain, as well as a smattering of others, with a present timeline of Batman combating these, as well as a few flashbacks into the past looking at how Bruce Wayne has become the man he now is.
The ending was a bit underwhelming, but the rest was very good. Gordon was done very well, and there was a good dose of tension, and the art was great!
4/5 STARS
Thoroughly enjoyed this origins story about the hero of Gotham. The same awesome characters with interesting new backgrounds that made this graphic novel all the better. I'll definitely be diving into others in the near future.
We have The Riddle acting as a major villain, as well as a smattering of others, with a present timeline of Batman combating these, as well as a few flashbacks into the past looking at how Bruce Wayne has become the man he now is.
The ending was a bit underwhelming, but the rest was very good. Gordon was done very well, and there was a good dose of tension, and the art was great!
4/5 STARS
April 21, 2022
Scott Snyder and Greg Capullo’s Batman run was proving such a success that the two felt able to craft their own new take on Batman’s origin that would be treated as the definitive origin story for the rebooted DC Universe of the New 52. This meant overwriting and replacing Frank Miller’s much loved Batman Year One. Snyder had his own separate vision for Batman’s first year though, one interwoven with countless references to other takes and iterations of Batman to prove his Bat-love credentials, and titled Zero Year - a name similar enough to Year One to show the two texts had the same mission statement, but different enough to let this story stand on its own two feet and be recognised as something new.
Zero Year is a compelling and cohesive narrative and different enough to what’s come before to be worth reading. If this was the beginnings of an elseworlds like Batman Earth One then I’d be on board. As the canonical in-continuity origin of Batman though, I’m not convinced. It lacks the iconic simple imagery of Year One and quite simply isn’t as good. It’s also wrapped up in its own cleverness and that doesn’t help it.
The very first words bug me, although that isn’t the fault of this book so much as the whole New 52 initiative. Setting this only 6 years ago reminds me of the absurdity of the idea Batman’s whole history including at least 4 Robins could be squished into 6 years without losing anything.
In Year One, Bruce Wayne is entirely mission-driven. His rage is quiet and cold. Here, Bruce is very angry and emotional. It’s more human, sure. But it’s less impressive and less Batman. He’s also just not a very likeable central protagonist at times. I think this is intentional from Snyder but it works against him in the first few issues at least. The word censored is plastered across a couple of panels in a big black box highlighting the modern immaturity of Snyder’s take on Bruce Wayne here.
The first third of the story (Secret City) revolves around Bruce’s struggle with the Red Hood gang while still operating as a faceless nameless vigilante with attitude. This is a strong set up. I liked Bruce’s increasingly desperate clashes with the Red Hood army. The problem with this being the definitive canon origin though is, firstly it erases the classic Batman story it’s paying tribute to (The Killing Joke) but more importantly it ties the origins of Batman and Joker together. We might not see Red Hood One emerge as Joker from the acid but we know its him and Snyder’s next epic, Endgame, confirms it. As an elseworlds, fantastic. But a definitive origin is something Joker in mainstream continuity should never have.
I mentioned that the book is full of loving references to other parts of Batman mythology. This includes fun cameos (The Penguin, Vicki Vale, Carmine Falcone’s cousin) but mostly it means blimps. Lots and lots of blimps. Because who didn’t love Batman The Animated Series. And obviously we all loved that show for one reason and one reason alone: the blimps. More seriously though, the blimps are fun. However it just makes it feel even more like an elseworlds because there are no blimps hovering around Gotham at any other point in the New 52.
The first three issues are sadly a slow and boring slog despite the promising premise. Then suddenly part 4 concludes the ‘Secret City’ portion of the narrative in an extra-sized issue that does far more than the first three dreary issues combined.
First, it gives Bruce a new rubbish haircut. We know he doesn’t keep it so what’s the point, Snyder?
We also get to see Bruce’s first appearance as Batman, beautifully rendered by Capullo, and I have to say: I love the Zero Year suit. The perfect combo of modern and classic, and the purple gloves are a masterstroke.
It is undeniably cool when Bruce blacks out part of Gotham in the shape of a bat. The final battle with the Red Hood gang at Ace Chemicals is awesomely rendered and Red Hood One’s fall into the chemical vat is done so well I can ALMOST accept it as canon. The ambiguity over his identity and how long he’s been Red Hood One is a nice touch that makes having a canon Joker origin story more bearable.
Here, Gordon finally enters the story too, having been absent thus far, though his main story is held back for the second section of the story: Dark City. Gordon was the viewpoint character of Year One. Here their roles are flipped so Gordon is a mystery Batman has to unravel, which was a nice twist.
I liked Gordon’s new backstory, linking him to the night Bruce’s parents were murdered, giving the trench coat a dark origin, giving Barbara a puppy, and pitting Jim against corruption in the GCPD in a different way to Year One.
The middle section of the book (Dark City) is an odd beast otherwise though. Having just introduced and established Riddler as the big bad of the piece, it then immediately tries to pretend Dr Death and his 400 teeth are the big bad so that Snyder can have another “Riddler is the real villain” reveal in another four issues time.
I’d love to talk about Dr Death except I have nothing to say about him. He’s present in this story. He looks a bit ridiculous. Let’s move on.
The first part of Dark City also features the last back up story (each cowritten with James Tynion IV). I mention it only because its the only one that left any impression, teasing the various Zero Year tie ins from other books at the time. It focuses on Harper and Cullen Row and everyone who’s read my other reviews will know I hate Harper Row. But even my cold heart has to melt in the face of two cute children looking after each other in a dark city. Okay Harper, you win this round.
Both Dark City and the last segment (Savage City) are interspersed with short mysterious flashes to Bruce’s past and to parts of Dr Death/Riddler’s plans that make the story start to feel like a non-linear puzzlebox. Unfortunately a lot of it does not come together as cleverly as Snyder clearly hoped you’d think it would. Once all is revealed, it mostly ends up leaving you thinking it was trying to be clever rather than feeling it actually was clever.
The oversized finale to Dark City doesn’t feel as satisfying as Secret City’s ending and lacks any narrative closure. Dark City is left simply as a forgettable prelude to Savage City.
I will give a shout out though to Capullo’s tribute page to The Dark Knight Returns and its iconic lightning jump image. Loved that.
As we reach Savage City, Riddler is finally allowed to actually be the villain so at this point I should comment on him. Snyder reinvents Riddler here as Batman’s first villain and a genuinely capable threat. He started this modernisation/reinvention in the background of Death of the Family but that was really a tease for this.
Scott Snyder gets The Riddler. The villains month issue he wrote for him is genuinely brilliant and I adored it. His writing for Riddler is spot on here too and I love how he’s built Riddler up from a position as a strategist working for Wayne Enterprises to Gotham’s first genuine supervillain (and possibly the DC Universe’s, given the New 52 timeline). For Riddler fans at least, Zero Year is a must read.
The third and final chapter of Zero Year sees Bruce wake up in a Riddler controlled Gotham City, overrun by moss making the whole thing very green. An odd aesthetic for a Batman story but I guess it is Riddler’s colour. It’s been so long in fact, Gordon’s moustache has grown into a full beard.
It’s also the introduction of Duke Thomas. Here he represents the good kids of Gotham that Batman is fighting for. The fact he is then never seen or mentioned again for 6 years until Endgame sits weirdly with me and I can’t say his introduction here makes me particularly desperate for more Duke, though I did like him.
Filled with edge flashbacks such as Bruce setting fire to his teacher’s lawn as revenge for being asked a trick question in class, I can’t say I loved Savage City. Batman with full mad max fury road vibes fighting lions to annoy Riddler is entertaining but doesn’t inspire.
The conclusion of Bruce rapidly riddle-answering his way towards Riddler through lasers to save the city is a good one though and the blade answer to the gordian knot riddle appealed to me, (as did Riddler getting finally punched in the face).
Bruce being willing to sacrifice himself to save the day is hardly a surprise but Alfred being the one who saves him is a nice touch. It also closes the character arc from the start where Bruce realises he needs Alfred and Alfred realises he needs Bruce despite the Batman sized differences between them. That arc did sort of vanish for a large part of the book but we can pretend it was the core of the story long enough to enjoy that moment.
We get a brief tease of Snyder’s take on Julie Madison (ready for her role in his later arcs) but, just like Robert Pattinson’s Batman in the new Matt Reeves film, this Batman is already spoken for.
I did largely enjoy Zero Year but I didn’t love it. In isolation, it’s actually very enjoyable. As part of the wider universe, I have issues and I struggle to accept it. This is not helped by all Batman comics around the same time suddenly referencing it like the event of a lifetime. It’s a nice try but it doesn’t work for me.
Zero Year is a compelling and cohesive narrative and different enough to what’s come before to be worth reading. If this was the beginnings of an elseworlds like Batman Earth One then I’d be on board. As the canonical in-continuity origin of Batman though, I’m not convinced. It lacks the iconic simple imagery of Year One and quite simply isn’t as good. It’s also wrapped up in its own cleverness and that doesn’t help it.
The very first words bug me, although that isn’t the fault of this book so much as the whole New 52 initiative. Setting this only 6 years ago reminds me of the absurdity of the idea Batman’s whole history including at least 4 Robins could be squished into 6 years without losing anything.
In Year One, Bruce Wayne is entirely mission-driven. His rage is quiet and cold. Here, Bruce is very angry and emotional. It’s more human, sure. But it’s less impressive and less Batman. He’s also just not a very likeable central protagonist at times. I think this is intentional from Snyder but it works against him in the first few issues at least. The word censored is plastered across a couple of panels in a big black box highlighting the modern immaturity of Snyder’s take on Bruce Wayne here.
The first third of the story (Secret City) revolves around Bruce’s struggle with the Red Hood gang while still operating as a faceless nameless vigilante with attitude. This is a strong set up. I liked Bruce’s increasingly desperate clashes with the Red Hood army. The problem with this being the definitive canon origin though is, firstly it erases the classic Batman story it’s paying tribute to (The Killing Joke) but more importantly it ties the origins of Batman and Joker together. We might not see Red Hood One emerge as Joker from the acid but we know its him and Snyder’s next epic, Endgame, confirms it. As an elseworlds, fantastic. But a definitive origin is something Joker in mainstream continuity should never have.
I mentioned that the book is full of loving references to other parts of Batman mythology. This includes fun cameos (The Penguin, Vicki Vale, Carmine Falcone’s cousin) but mostly it means blimps. Lots and lots of blimps. Because who didn’t love Batman The Animated Series. And obviously we all loved that show for one reason and one reason alone: the blimps. More seriously though, the blimps are fun. However it just makes it feel even more like an elseworlds because there are no blimps hovering around Gotham at any other point in the New 52.
The first three issues are sadly a slow and boring slog despite the promising premise. Then suddenly part 4 concludes the ‘Secret City’ portion of the narrative in an extra-sized issue that does far more than the first three dreary issues combined.
First, it gives Bruce a new rubbish haircut. We know he doesn’t keep it so what’s the point, Snyder?
We also get to see Bruce’s first appearance as Batman, beautifully rendered by Capullo, and I have to say: I love the Zero Year suit. The perfect combo of modern and classic, and the purple gloves are a masterstroke.
It is undeniably cool when Bruce blacks out part of Gotham in the shape of a bat. The final battle with the Red Hood gang at Ace Chemicals is awesomely rendered and Red Hood One’s fall into the chemical vat is done so well I can ALMOST accept it as canon. The ambiguity over his identity and how long he’s been Red Hood One is a nice touch that makes having a canon Joker origin story more bearable.
Here, Gordon finally enters the story too, having been absent thus far, though his main story is held back for the second section of the story: Dark City. Gordon was the viewpoint character of Year One. Here their roles are flipped so Gordon is a mystery Batman has to unravel, which was a nice twist.
I liked Gordon’s new backstory, linking him to the night Bruce’s parents were murdered, giving the trench coat a dark origin, giving Barbara a puppy, and pitting Jim against corruption in the GCPD in a different way to Year One.
The middle section of the book (Dark City) is an odd beast otherwise though. Having just introduced and established Riddler as the big bad of the piece, it then immediately tries to pretend Dr Death and his 400 teeth are the big bad so that Snyder can have another “Riddler is the real villain” reveal in another four issues time.
I’d love to talk about Dr Death except I have nothing to say about him. He’s present in this story. He looks a bit ridiculous. Let’s move on.
The first part of Dark City also features the last back up story (each cowritten with James Tynion IV). I mention it only because its the only one that left any impression, teasing the various Zero Year tie ins from other books at the time. It focuses on Harper and Cullen Row and everyone who’s read my other reviews will know I hate Harper Row. But even my cold heart has to melt in the face of two cute children looking after each other in a dark city. Okay Harper, you win this round.
Both Dark City and the last segment (Savage City) are interspersed with short mysterious flashes to Bruce’s past and to parts of Dr Death/Riddler’s plans that make the story start to feel like a non-linear puzzlebox. Unfortunately a lot of it does not come together as cleverly as Snyder clearly hoped you’d think it would. Once all is revealed, it mostly ends up leaving you thinking it was trying to be clever rather than feeling it actually was clever.
The oversized finale to Dark City doesn’t feel as satisfying as Secret City’s ending and lacks any narrative closure. Dark City is left simply as a forgettable prelude to Savage City.
I will give a shout out though to Capullo’s tribute page to The Dark Knight Returns and its iconic lightning jump image. Loved that.
As we reach Savage City, Riddler is finally allowed to actually be the villain so at this point I should comment on him. Snyder reinvents Riddler here as Batman’s first villain and a genuinely capable threat. He started this modernisation/reinvention in the background of Death of the Family but that was really a tease for this.
Scott Snyder gets The Riddler. The villains month issue he wrote for him is genuinely brilliant and I adored it. His writing for Riddler is spot on here too and I love how he’s built Riddler up from a position as a strategist working for Wayne Enterprises to Gotham’s first genuine supervillain (and possibly the DC Universe’s, given the New 52 timeline). For Riddler fans at least, Zero Year is a must read.
The third and final chapter of Zero Year sees Bruce wake up in a Riddler controlled Gotham City, overrun by moss making the whole thing very green. An odd aesthetic for a Batman story but I guess it is Riddler’s colour. It’s been so long in fact, Gordon’s moustache has grown into a full beard.
It’s also the introduction of Duke Thomas. Here he represents the good kids of Gotham that Batman is fighting for. The fact he is then never seen or mentioned again for 6 years until Endgame sits weirdly with me and I can’t say his introduction here makes me particularly desperate for more Duke, though I did like him.
Filled with edge flashbacks such as Bruce setting fire to his teacher’s lawn as revenge for being asked a trick question in class, I can’t say I loved Savage City. Batman with full mad max fury road vibes fighting lions to annoy Riddler is entertaining but doesn’t inspire.
The conclusion of Bruce rapidly riddle-answering his way towards Riddler through lasers to save the city is a good one though and the blade answer to the gordian knot riddle appealed to me, (as did Riddler getting finally punched in the face).
Bruce being willing to sacrifice himself to save the day is hardly a surprise but Alfred being the one who saves him is a nice touch. It also closes the character arc from the start where Bruce realises he needs Alfred and Alfred realises he needs Bruce despite the Batman sized differences between them. That arc did sort of vanish for a large part of the book but we can pretend it was the core of the story long enough to enjoy that moment.
We get a brief tease of Snyder’s take on Julie Madison (ready for her role in his later arcs) but, just like Robert Pattinson’s Batman in the new Matt Reeves film, this Batman is already spoken for.
I did largely enjoy Zero Year but I didn’t love it. In isolation, it’s actually very enjoyable. As part of the wider universe, I have issues and I struggle to accept it. This is not helped by all Batman comics around the same time suddenly referencing it like the event of a lifetime. It’s a nice try but it doesn’t work for me.
This entire review has been hidden because of spoilers.
October 16, 2022
Excellente BD et à un prix ridicule pour un tel format! J’ai adoré l’intrigue. Les illustrations sont également bien, certaines pages sont superbes et la fausse fin m’a eu avec une violence émotionnelle surprenante pour une BD.
January 25, 2023
I love Batman: Zero Year. It's become one of my favorite Batman stories and it has nice artwork. It is also a great origin story for Batman himself. We get to see him as a young man before he donned the cape and cowl and see his journey, which takes place over two stories. One is his struggle against the Red Hood gang and the other is his struggle against the Riddler.
Bruce/Batman's character arc is solid in both stories. Snyder did a superb job in showing why he chose to become Batman as well as the struggles he encounters. Like Batman: Year One and Batman: Earth One, he encounters a lot of difficulties in his early days as Batman. These challenges and setbacks force him to confront his guilt and doubts. In doing so, he grows and has a great character arc. I love the character development in this story.
I also love how the book showcases other key aspects of Batman. We not only get to see his dedication towards justice and fighting skills, but also his intellect and detective work. Snyder also does nice work in showing the symbolism of Batman. Specifically, we're shown a hero who endures in spite of hardship and the hope and selflessness that he symbolizes.
Another thing I like about the book is seeing his relationships with Alfred Pennyworth, Jim Gordon, and Lucius Fox. His bonds with the first two get fairly strained at times. There is conflict with both Alfred and Jim. Yet, as the story progresses, we see Bruce and Alfred growing close and a new partnership and friendship formed between Jim and Batman/Bruce. There is a new twist in Jim Gordon's story here and I thought it was well written with solid growth. As for Batman/Bruce and Lucius, we see them working together well. While there was much less conflict between them both (in comparison to Alfred and Jim), their friendship is also very well-written. I enjoyed seeing them both use their intellect to help fight crime. Thus, character relationship and characterization is a key strength to this book.
The book has a few minor weaknesses though. Sometimes, there will be too much exposition through the antagonist talking about their plans. There are also a lot of flashbacks and detailed backstories at times. But, they all tied in well with the main plot. They also didn't take me out of the story too much, though they did lead to some uneven pacing.
Still though, the story is good overall. Stakes remain high throughout. Plus, there are superb characters and great arcs. The tone is consistent as well. I really like this book. It's a great origin story and, in my view, enjoyable for both longtime fans of Batman as well as those who want to learn more about him/just beginning to read comics about the Dark Knight. :)
Bruce/Batman's character arc is solid in both stories. Snyder did a superb job in showing why he chose to become Batman as well as the struggles he encounters. Like Batman: Year One and Batman: Earth One, he encounters a lot of difficulties in his early days as Batman. These challenges and setbacks force him to confront his guilt and doubts. In doing so, he grows and has a great character arc. I love the character development in this story.
I also love how the book showcases other key aspects of Batman. We not only get to see his dedication towards justice and fighting skills, but also his intellect and detective work. Snyder also does nice work in showing the symbolism of Batman. Specifically, we're shown a hero who endures in spite of hardship and the hope and selflessness that he symbolizes.
Another thing I like about the book is seeing his relationships with Alfred Pennyworth, Jim Gordon, and Lucius Fox. His bonds with the first two get fairly strained at times. There is conflict with both Alfred and Jim. Yet, as the story progresses, we see Bruce and Alfred growing close and a new partnership and friendship formed between Jim and Batman/Bruce. There is a new twist in Jim Gordon's story here and I thought it was well written with solid growth. As for Batman/Bruce and Lucius, we see them working together well. While there was much less conflict between them both (in comparison to Alfred and Jim), their friendship is also very well-written. I enjoyed seeing them both use their intellect to help fight crime. Thus, character relationship and characterization is a key strength to this book.
The book has a few minor weaknesses though. Sometimes, there will be too much exposition through the antagonist talking about their plans. There are also a lot of flashbacks and detailed backstories at times. But, they all tied in well with the main plot. They also didn't take me out of the story too much, though they did lead to some uneven pacing.
Still though, the story is good overall. Stakes remain high throughout. Plus, there are superb characters and great arcs. The tone is consistent as well. I really like this book. It's a great origin story and, in my view, enjoyable for both longtime fans of Batman as well as those who want to learn more about him/just beginning to read comics about the Dark Knight. :)
May 19, 2023
Snyder nakon prvih 20 brojeva gde je ima sjajnu "Saga o sovama" i "Smrt porodice" odlučuje da priču preseli u mladost Brus Vejna neposredno nakon odluke da postane Batman. Idejano nije loša ali realizacije je malo zaškripala.
Kad se neko odluči na takav korak odlaska u istoriju nekog lika očekujem neka ozbiljnija lična preispitivanja i neku kompleksniju priču zašto smo sada tu gde jesmo. Snzder je u tom pogledu malo zakazao, on je samo želeo da se igra sa mlađim i jačim Batmanog od onog kakvog ga mi znamo. Na momente ima nekih preispitivanja od strane Batmana i Alferda ali nedovoljno po meni da pi se menjao narativni tok i išlo u istoriju, pogotovo što se deo pričle dešava u "post-apokaliptičnom" Gotamu koji je bio u istoriji pa se onda posle izgradio u ono što danas jeste. Komotno je cela priča mogla biti u "sadašnjosti", ne bi bilo puno razlike.
Sa druge strane ima previše stvari koje Snyder uvodi u malom prostoru. PReviše je i neprijatelja koji samo iskaču i nastavljaju se jedan na drugi. Snyderovi likovi su brzi i dinamični i akcenat je na akciji koja non stop traje.
Nije mi se svideo Zapitkivač i u šta se pretvorio Gotam pod njegovom vlašću, kao da je ciljana dosta mlađa publika jer je sve previše edgy za moj ukus i Batman je pravi akcioni heroj. Rešenja "slučajeva" koja Snyder nudi u ovom broju ostaju mlaka i više su u službi akcije a više volim kada je obrnuto.
Teško mi je da ne poredim sa trkom Grant Morrisona obzirom da su to jedina dva run-a koja sam čitao a koja su sličnog obima. Mislim da Morrison više "brine" o svojim likovima i događajima trudeći se da ima da neki kontinuitet i neku povezanost iako je kod njega tempo dešavanja možda još jači. Snyder se više trudi da pravi atmosferu i akciju ne pridajući značaj negovanju likova i događaja, barem u ovom broju.
Kretanje kroz vreme i nelinearnost ranje je takođe prisutno kod obojice ali kod Morrisona se to dešava u kontinuitetu šetajući nas napred nazad kroz radnji i dajući nam kontekst priče ili stvarajućoi neizvesnost. Kod Snzdera nema toliko skakanja kroz vreme ali ima ovaj istorijski blok "Godine nulte" koji je umetnut u sredinu trka, ali ostaje da vidim u narednim brojevima koliko je on tu zbog kompleksnosti priče a koliko je tu jer je Snyderu bilo zanimljivo da se vrati u prošlost i ima mlađanog Brusa.
Kad se neko odluči na takav korak odlaska u istoriju nekog lika očekujem neka ozbiljnija lična preispitivanja i neku kompleksniju priču zašto smo sada tu gde jesmo. Snzder je u tom pogledu malo zakazao, on je samo želeo da se igra sa mlađim i jačim Batmanog od onog kakvog ga mi znamo. Na momente ima nekih preispitivanja od strane Batmana i Alferda ali nedovoljno po meni da pi se menjao narativni tok i išlo u istoriju, pogotovo što se deo pričle dešava u "post-apokaliptičnom" Gotamu koji je bio u istoriji pa se onda posle izgradio u ono što danas jeste. Komotno je cela priča mogla biti u "sadašnjosti", ne bi bilo puno razlike.
Sa druge strane ima previše stvari koje Snyder uvodi u malom prostoru. PReviše je i neprijatelja koji samo iskaču i nastavljaju se jedan na drugi. Snyderovi likovi su brzi i dinamični i akcenat je na akciji koja non stop traje.
Nije mi se svideo Zapitkivač i u šta se pretvorio Gotam pod njegovom vlašću, kao da je ciljana dosta mlađa publika jer je sve previše edgy za moj ukus i Batman je pravi akcioni heroj. Rešenja "slučajeva" koja Snyder nudi u ovom broju ostaju mlaka i više su u službi akcije a više volim kada je obrnuto.
Teško mi je da ne poredim sa trkom Grant Morrisona obzirom da su to jedina dva run-a koja sam čitao a koja su sličnog obima. Mislim da Morrison više "brine" o svojim likovima i događajima trudeći se da ima da neki kontinuitet i neku povezanost iako je kod njega tempo dešavanja možda još jači. Snyder se više trudi da pravi atmosferu i akciju ne pridajući značaj negovanju likova i događaja, barem u ovom broju.
Kretanje kroz vreme i nelinearnost ranje je takođe prisutno kod obojice ali kod Morrisona se to dešava u kontinuitetu šetajući nas napred nazad kroz radnji i dajući nam kontekst priče ili stvarajućoi neizvesnost. Kod Snzdera nema toliko skakanja kroz vreme ali ima ovaj istorijski blok "Godine nulte" koji je umetnut u sredinu trka, ali ostaje da vidim u narednim brojevima koliko je on tu zbog kompleksnosti priče a koliko je tu jer je Snyderu bilo zanimljivo da se vrati u prošlost i ima mlađanog Brusa.
December 9, 2024
Batman: Zero Year
A compilation of the Zero Year volumes, bringing the Riddler's storyline to a close.
Great artwork and a good use of colour design to show the contrast between Gotham and Batman's world. It is reminiscent of the change of style between 'Batman Returns' and 'Batman Forever'.
A compilation of the Zero Year volumes, bringing the Riddler's storyline to a close.
Great artwork and a good use of colour design to show the contrast between Gotham and Batman's world. It is reminiscent of the change of style between 'Batman Returns' and 'Batman Forever'.
May 10, 2025
zero year is an alt-world batman origin story reimagined. initially i struggled to get into it bcs earlier it alternates from the main storyline to experiences bruce has prior to returning to gotham city
it picks up in the second half for me, i wish jock did the art for this but ig with the riddler being the main villain the bright-pop colouring makes sense. wish i read this before hush, makes me understand the capacity of riddler as a bad guy
ending made me a little sad - overall a good read if you can stick around to take the cause and effect of it all
4/5.
it picks up in the second half for me, i wish jock did the art for this but ig with the riddler being the main villain the bright-pop colouring makes sense. wish i read this before hush, makes me understand the capacity of riddler as a bad guy
ending made me a little sad - overall a good read if you can stick around to take the cause and effect of it all
4/5.
October 11, 2018
Só não dei zero estrelas por que não existe essa opção. Fraquíssimo. Um Batman cansativo, moralizante e repleto de clichês. Alguns desenhos são ótimos, contudo: a estrela vai para eles, reduzida por causa do roteiro capenga.
August 1, 2021
Mexeu muito com a criação do Batman, ficou bem fraquinha essa visão nova da criação dele. Batman Ano Um é muito mais brabo.
Apesar de bagunçar bastante a criação do Batman, alguns momentos de ação de da HQ são interessantes, principalmente quando o Charada domina a cidade.
Apesar de bagunçar bastante a criação do Batman, alguns momentos de ação de da HQ são interessantes, principalmente quando o Charada domina a cidade.
October 20, 2021
Yet another re telling of Bruce Wayne's origin
His transformation into
The Batman.
It's been done
Again
and again
and again.
This is neither
the best nor the worst.
His transformation into
The Batman.
It's been done
Again
and again
and again.
This is neither
the best nor the worst.
October 1, 2025
“As I told you. I might not agree with you, ever… But I’ll always be there to patch you up.”
Me encantó este comic. 😭
O sea, sí, entiendo que la gente prefiera Batman One Year, y sí, me gustó más ver a Bruce comenzando como un Batman que se enfrenta primero a criminales urbanos como ladrones y demás primero (fallando en el proceso porque no se acostumbra todavía a su fuerza que ha obtenido de su aprendizaje), en eso sí puedo estar de acuerdo, ¿pero luego? Me gustó muchísimo más este, porque no solo era desde el pov de Jim Gordon (god save us por ver el pov de gordon primero dios es que encIMA ERA INFIEL en One Year, puaj 💀), sino también por el hecho de que todo se veía más dinámico y nos dieron más apariciones de Alfred y un Gordon más piola.
I mean, sí, One Year es tremenda forma de comenzar porque incluso hasta tenemos la aparición de mi hermosa Selina 🥺, pero este comic me hizo lagrimear más, estar más enganchada con la historia de Riddle y Red Hood. Además, estuve enamorada del dibujo, fue increíble really.
Psdt: me importa una mrd que digan que no importa si lees este o no, yo lo disfruté bastante y recomiendo totalmente. 🫡
Me encantó este comic. 😭
O sea, sí, entiendo que la gente prefiera Batman One Year, y sí, me gustó más ver a Bruce comenzando como un Batman que se enfrenta primero a criminales urbanos como ladrones y demás primero (fallando en el proceso porque no se acostumbra todavía a su fuerza que ha obtenido de su aprendizaje), en eso sí puedo estar de acuerdo, ¿pero luego? Me gustó muchísimo más este, porque no solo era desde el pov de Jim Gordon (god save us por ver el pov de gordon primero dios es que encIMA ERA INFIEL en One Year, puaj 💀), sino también por el hecho de que todo se veía más dinámico y nos dieron más apariciones de Alfred y un Gordon más piola.
I mean, sí, One Year es tremenda forma de comenzar porque incluso hasta tenemos la aparición de mi hermosa Selina 🥺, pero este comic me hizo lagrimear más, estar más enganchada con la historia de Riddle y Red Hood. Además, estuve enamorada del dibujo, fue increíble really.
Psdt: me importa una mrd que digan que no importa si lees este o no, yo lo disfruté bastante y recomiendo totalmente. 🫡
This entire review has been hidden because of spoilers.
August 14, 2025
Very peak
Where Year one held the ground work for Batman, this one went into all sorts of depth and intricacy about Bruce Wayne's backstory and philosophy. Plus the story was several times more engrossing and the characters were awesome etc etc
The riddler is just a funny villain gang that one line he has got me laughing
Where Year one held the ground work for Batman, this one went into all sorts of depth and intricacy about Bruce Wayne's backstory and philosophy. Plus the story was several times more engrossing and the characters were awesome etc etc
The riddler is just a funny villain gang that one line he has got me laughing
March 14, 2022
Honestly one of the better contemporary era Batman comics I’ve read. Clearly a huge inspiration on the new film, but also very different from the film in several ways. A quietly beautiful ending here too, rather unexpected after the blockbuster excitement of the Riddler’s reign of terror.
January 16, 2024
Solid origin story for New 52 Batman. I know a lot of people like to compare this to Year One but I look at it as its own thing. Arguably my favorite of Greg Capullo’s art and the colors POP in this book. Snyder’s writing for Bruce and Riddler is still one of the best. Great run on the character.
September 4, 2024
A fantastic, gripping epic that charts an alternative origin for the Bat. Occasionally a few characters are quite naive when it comes to not realising the identity of Batman (Jim Gordon, I'm looking at you!), but yes....an excellent graphic novel!
Read
May 31, 2025i have realized that scott snyder's thematic and character interests are almost always in line with mine but his aesthetic sensibilities are....not. this just felt like too much, and i felt this take on the riddler made sense as a batman villain but was also not silly enough for my taste
November 20, 2025
this was honest to god one of the best batman comics i’ve ever read.
it truly shows how to fail, pick yourself up, and fail again just to win in the end.
i felt so much throughout this book i really liked it if anyone ever wants to read batman i recommend this one to start
it truly shows how to fail, pick yourself up, and fail again just to win in the end.
i felt so much throughout this book i really liked it if anyone ever wants to read batman i recommend this one to start
May 1, 2022
Pretty good!! I liked the unique way of beginning the Batman mythos this time around. Also the ending was bittersweet, which was nice. I got a little confused with the Riddler’s motives in this one but it wasn’t bad! Overall I’m glad it read it!
July 20, 2022
first scott snyder this was so fucking fun
August 7, 2025
está entretenido
March 6, 2022
Early career Batman dealing with the Red Hood gang and Riddler. Very good story, spectacular art.
June 3, 2025
Secondo me è il perfetto esempio di quanto sia versatile il personaggio e quanto si possa spaziare con i supereroi e con le storie. Lo scenario post apocalittico e distopico non è un'idea originale ma comunque l'insieme dei vari elementi la rendono una storia nuova e avvincente. Sono sempre contenta di vedere l'enigmista ma questa è veramente una bella versione, davvero cattiva e anche questa che rischia di far crollare Batman. Disegni bellissimi ma non c'è nemmeno bisogno di dirlo.
March 10, 2022
Me pasan cosas con Snyder. A veces me aburre, la mayor parte del tiempo me parece grandilocuente al pedo, pero siempre tiene buenas ideas y a veces la emboca. Capullo como siempre, una bestia. Pero ya basta de contar historias de origen.
April 30, 2021
BOM, MODERNO, MAS NÃO EXCELENTE COMO ME DISSERAM
Eu devoro qualquer leitura que existe de Batman, eu venho lendo toda história do Batman em ordem cronológica desde o início da Era Moderna (Nova Terra), e Ano Zero é minha entrada para os Novos 52.
Percebi que o roteirista reconta os acontecimentos da era moderna, mas de uma forma mais trabalhada e dentro de uma única narrativa nova. Diferente da Era Moderna que as histórias eram contadas em espaços muito diferentes e depois encaixados na cronologia. A origem do Coringa/Capuz Vermelho aqui é muito mais trabalhada e melhor, assim como o Charada e de outros personagens. Mas como história, já li coisas melhores, mas isso não tira o brilho desta história. A forma de contar a história aqui não é linear, ela transita entre momentos diferentes do passado, terá momentos do Bruce criança, jovem e após uma catástrofe em Gotham. Isso pode ser ruim para muitas pessoas, mas isso não me incomoda.
Pra mim, um ponto positivo do Snyder, é o forma que ele cria as interações entre os personagens, a forma como Bruce interage com Gordon ou o Alfred, ou o desenvolvimento do Capuz/Coringa e outros personagens, ele mostrou muito bem isso em Black Mirror e continua esse estilo aqui. Um ponto negativo, é que para contar sua história e desenvolver os personagens, Snyder precisa de balões e mais balões excessivos de textos, tem momentos que a página praticamente só tem balões. Alguns diálogos são desnecessários e não precisaria ser colocados ali e em muitas vezes inchou a leitura.
Por último, ao contrário de muitos ou da maioria. A arte aqui não é uma das melhores coisas pra mim. Não é ruim, mas o estilo muitas vezes não é do meu agrado, principalmente em relação as cores. As cores possuem pouco sombreamento e é mais focado em cores vibrantes. Mas não é algo que incomoda, apenas não é meu estilo favorito.
Eu devoro qualquer leitura que existe de Batman, eu venho lendo toda história do Batman em ordem cronológica desde o início da Era Moderna (Nova Terra), e Ano Zero é minha entrada para os Novos 52.
Percebi que o roteirista reconta os acontecimentos da era moderna, mas de uma forma mais trabalhada e dentro de uma única narrativa nova. Diferente da Era Moderna que as histórias eram contadas em espaços muito diferentes e depois encaixados na cronologia. A origem do Coringa/Capuz Vermelho aqui é muito mais trabalhada e melhor, assim como o Charada e de outros personagens. Mas como história, já li coisas melhores, mas isso não tira o brilho desta história. A forma de contar a história aqui não é linear, ela transita entre momentos diferentes do passado, terá momentos do Bruce criança, jovem e após uma catástrofe em Gotham. Isso pode ser ruim para muitas pessoas, mas isso não me incomoda.
Pra mim, um ponto positivo do Snyder, é o forma que ele cria as interações entre os personagens, a forma como Bruce interage com Gordon ou o Alfred, ou o desenvolvimento do Capuz/Coringa e outros personagens, ele mostrou muito bem isso em Black Mirror e continua esse estilo aqui. Um ponto negativo, é que para contar sua história e desenvolver os personagens, Snyder precisa de balões e mais balões excessivos de textos, tem momentos que a página praticamente só tem balões. Alguns diálogos são desnecessários e não precisaria ser colocados ali e em muitas vezes inchou a leitura.
Por último, ao contrário de muitos ou da maioria. A arte aqui não é uma das melhores coisas pra mim. Não é ruim, mas o estilo muitas vezes não é do meu agrado, principalmente em relação as cores. As cores possuem pouco sombreamento e é mais focado em cores vibrantes. Mas não é algo que incomoda, apenas não é meu estilo favorito.
May 30, 2019
Lee toda la reseña aquí: http://www.bauldelibros.es/resenas/ba...
Batman: Año Cero no es un mal cómic pero es irregular y no funciona en su planteamiento de historia fundacional del nuevo Batman. Como historieta puramente de aventuras es más interesante, pero estoy seguro que Snyder y Capullo tienen obras mejores con el Hombre Murciélago.
Batman: Año Cero no es un mal cómic pero es irregular y no funciona en su planteamiento de historia fundacional del nuevo Batman. Como historieta puramente de aventuras es más interesante, pero estoy seguro que Snyder y Capullo tienen obras mejores con el Hombre Murciélago.
April 5, 2021
Nossa, tudo bem que eu estava em uma fase ruim pra ler mas esse foi puxado. Que lixo.
September 22, 2025
Quite easily the best Batman Origin story with the most beautiful art of the series
June 18, 2023
I had read these stories (years ago) when they came out in the three volumes of TPB but I wanted this collection because I wanted a collection with Greg Capullo's art and man this does not disappoint on that front. Greg just kept getting better and better on his art on his classic run on Batman. Also a shout out to Danny Miki the inker. I don't know Greg's are well enough to know how different inkers affected it but I can't imagine any inker could do better than what I was seeing. I won't go on too much about the art but Greg does it all - the action sequences feel alive, the quiet dialogue scenes always have a point of interest in them, his backgrounds are vibrant and his ability to tell the story clearly and cleanly makes him one of the best artists of any era.
What about the story? Second time through I actually enjoyed it more. Scott is a writer who frustrates me at times. He is clearly an intelligent writer who plans out a lot of things that end up paying off. His stories have a clear plot and a satisfying ending for the hero. He puts his heroes through hell and gives them worthy villains to fight. He delves into their characters so they aren't just two dimensional people we don't care about. So this means he should be one of my favourite writers, right? Then why do I find myself not seeking out more of his writing?
A couple of things. He has a habit (at least on the Batman run) of making his villains too godlike. This is on full display here. Red Hood is able to blackmail any citizen he wants to join his gang and turn into a killer. He is able to keep all this under perfect control with nobody betraying him. He is able to plan a way to kill everyone in the city...again, all of this with reluctant helpers and nobody tries to stop him except Batman. Riddler - one man - is able to lock down an entire city and turn it into a post apocalyptic jungle-cape in a few months. It makes for interesting stories because our hero Batman is up against impossible odds and his victory is even more satisfying. But it takes me out of the story that each and every villain does the impossible (when they are just one HUMAN - no powers). It will get worse when we see the Joker (in a later volume). This human can take down 20 police officers by himself in 10 seconds.
His stories also get very dark and conspiracy - Red Hood has an army that could be anyone. The police force are all corrupt (yes Frank Miller did this in Year One too but his felt more realistic). Riddler controls an entire city. We saw it in the Court of Owls and we see it again and again in his stories.
There was also the weird way this volume starts off - with Batman in the Riddler's jungle Gotham and it will be 10 issues before we understand what this was a preview of. The first time through reading these stories, that was confusing and jarring. At least this time I knew we wouldn't be revisiting it for a long time but when you don't know you are left thinking "was that a printing error?" Not sure why Scott decided to do that.
So yes, Scott is a brilliant and thoughtful writer...I just wish I didn't see the same tropes happen again and again. Riddler being smart is cool - him being so smart he can lockdown an entire city...too much. I also feel it is a case of the author having this great idea "wouldn't it be cool if the Riddler locked down the entire city and Batman had to lead a resistance against him" and shrugging off the fact getting to that premise makes no sense.
Overall though - there is no question this was a classic Batman run. Scott's writing may be a bit too dark but his well thought out stories make it worth it and Capullo's art makes it REALLY worth it.
What about the story? Second time through I actually enjoyed it more. Scott is a writer who frustrates me at times. He is clearly an intelligent writer who plans out a lot of things that end up paying off. His stories have a clear plot and a satisfying ending for the hero. He puts his heroes through hell and gives them worthy villains to fight. He delves into their characters so they aren't just two dimensional people we don't care about. So this means he should be one of my favourite writers, right? Then why do I find myself not seeking out more of his writing?
A couple of things. He has a habit (at least on the Batman run) of making his villains too godlike. This is on full display here. Red Hood is able to blackmail any citizen he wants to join his gang and turn into a killer. He is able to keep all this under perfect control with nobody betraying him. He is able to plan a way to kill everyone in the city...again, all of this with reluctant helpers and nobody tries to stop him except Batman. Riddler - one man - is able to lock down an entire city and turn it into a post apocalyptic jungle-cape in a few months. It makes for interesting stories because our hero Batman is up against impossible odds and his victory is even more satisfying. But it takes me out of the story that each and every villain does the impossible (when they are just one HUMAN - no powers). It will get worse when we see the Joker (in a later volume). This human can take down 20 police officers by himself in 10 seconds.
His stories also get very dark and conspiracy - Red Hood has an army that could be anyone. The police force are all corrupt (yes Frank Miller did this in Year One too but his felt more realistic). Riddler controls an entire city. We saw it in the Court of Owls and we see it again and again in his stories.
There was also the weird way this volume starts off - with Batman in the Riddler's jungle Gotham and it will be 10 issues before we understand what this was a preview of. The first time through reading these stories, that was confusing and jarring. At least this time I knew we wouldn't be revisiting it for a long time but when you don't know you are left thinking "was that a printing error?" Not sure why Scott decided to do that.
So yes, Scott is a brilliant and thoughtful writer...I just wish I didn't see the same tropes happen again and again. Riddler being smart is cool - him being so smart he can lockdown an entire city...too much. I also feel it is a case of the author having this great idea "wouldn't it be cool if the Riddler locked down the entire city and Batman had to lead a resistance against him" and shrugging off the fact getting to that premise makes no sense.
Overall though - there is no question this was a classic Batman run. Scott's writing may be a bit too dark but his well thought out stories make it worth it and Capullo's art makes it REALLY worth it.
January 7, 2024
This is a hard book to rate or review, because I don't like it much as a Batman treatment, but I do think it's a really strong comic book in its own right.
After reading dozens of treatments and famous runs of Batman comics, I have to say that Miller and Mazzuchelli's Year One remains my absolute favorite. This book returns to the moments when Bruce Wayne became the Batman and tells an entirely different story, made from the same pieces. But this one is washed in amazing day-glo neon colors, modernized for the 21st century and infused with the sensibilities of a Hollywood blockbuster rather than an old noir film. It accomplishes what it sets out to do really well, particularly with regard to Capullo's art - which has never looked better - but what it's doing isn't really what I want from a Batman read.
Okay, here's the grumbling: Firstly, the Red Hood. In reviewing the last volume (Death of the Family) I said that I thought it misread The Killing Joke pretty badly by reifying the fact that the Joker had been the Red Hood and collapsing his status as an unreliable narrator. Moore's point wasn't that the old "Red Hood" story was *good*. Rather it was that the Joker himself doesn't know and is trying on identities like suits of clothing, trying to find a story to tell himself. AND IN THAT STORY, HE MAKES HIMSELF SYMPATHETIC. The point of the story is that Joker casts himself as this shambling nebbish - the very opposite of his current personality. But was that who he really was? Or just who he longs to have been? That question is actually interesting (despite the fact that much of the rest of The Killing Joke was not, to say nothing of the misogyny and fan service). Throwing it out gets rid of everything that makes The Red Hood interesting.
In this volume, Snyder retells and origin where the Red Hood is a massive, organized gang and the primary antagonist for the first phase of the story. And their mysterious leader is the guy who takes the tumble into the chemical vat and (we assume) emerges as the Joker. I find this even *less* interesting than before. Now the chemicals' impact is reduced to the cosmetic: Suddenly he was *already* a hyper-confident, sassy, evil genius with a nascent love for Batman before he even fell into the vat. All that it did for him was change his pigmentation. I find that really underwhelming. I also find that the more front-and-center Bruce Wayne is allowed to be as a tough guy public figure fighting off menaces to the city the more it stretches my suspension of disbelief that no one puts it together that he's Batman.
Finally, the Riddler. On the one hand, it's nice to see a treatment where the guy's not a joke and actually offers up some threat. And smarmy tech bro riddler is definitely a fun take on the character! But this treatment leaned really, really heavily on the frankly boring trope of the "hyper genius" who has foreseen everything the heroes will do and prepared for it. I find that storytelling move unconvincing and dull at the best of times and here Snyder deploys it like six times in a row with Nygma. By the time Batman finally punches him in the face I was. So. Done. With. Him. Which, I guess, is part of the point. So maybe it succeeds as art but not (for me) as entertainment?
Alright. So that's a lot of negativity for a book that I'm giving four stars. Honestly, if you don't have my particular hang ups about what Batman is and how storytelling should work, this comic is pretty good. It's a nice meaty hunk of Batman storytelling, gorgeously illustrated and with some fresh ideas. If you can successfully parse them as "a Batman story" or don't care about that, then you'll have fun.
After reading dozens of treatments and famous runs of Batman comics, I have to say that Miller and Mazzuchelli's Year One remains my absolute favorite. This book returns to the moments when Bruce Wayne became the Batman and tells an entirely different story, made from the same pieces. But this one is washed in amazing day-glo neon colors, modernized for the 21st century and infused with the sensibilities of a Hollywood blockbuster rather than an old noir film. It accomplishes what it sets out to do really well, particularly with regard to Capullo's art - which has never looked better - but what it's doing isn't really what I want from a Batman read.
Okay, here's the grumbling: Firstly, the Red Hood. In reviewing the last volume (Death of the Family) I said that I thought it misread The Killing Joke pretty badly by reifying the fact that the Joker had been the Red Hood and collapsing his status as an unreliable narrator. Moore's point wasn't that the old "Red Hood" story was *good*. Rather it was that the Joker himself doesn't know and is trying on identities like suits of clothing, trying to find a story to tell himself. AND IN THAT STORY, HE MAKES HIMSELF SYMPATHETIC. The point of the story is that Joker casts himself as this shambling nebbish - the very opposite of his current personality. But was that who he really was? Or just who he longs to have been? That question is actually interesting (despite the fact that much of the rest of The Killing Joke was not, to say nothing of the misogyny and fan service). Throwing it out gets rid of everything that makes The Red Hood interesting.
In this volume, Snyder retells and origin where the Red Hood is a massive, organized gang and the primary antagonist for the first phase of the story. And their mysterious leader is the guy who takes the tumble into the chemical vat and (we assume) emerges as the Joker. I find this even *less* interesting than before. Now the chemicals' impact is reduced to the cosmetic: Suddenly he was *already* a hyper-confident, sassy, evil genius with a nascent love for Batman before he even fell into the vat. All that it did for him was change his pigmentation. I find that really underwhelming. I also find that the more front-and-center Bruce Wayne is allowed to be as a tough guy public figure fighting off menaces to the city the more it stretches my suspension of disbelief that no one puts it together that he's Batman.
Finally, the Riddler. On the one hand, it's nice to see a treatment where the guy's not a joke and actually offers up some threat. And smarmy tech bro riddler is definitely a fun take on the character! But this treatment leaned really, really heavily on the frankly boring trope of the "hyper genius" who has foreseen everything the heroes will do and prepared for it. I find that storytelling move unconvincing and dull at the best of times and here Snyder deploys it like six times in a row with Nygma. By the time Batman finally punches him in the face I was. So. Done. With. Him. Which, I guess, is part of the point. So maybe it succeeds as art but not (for me) as entertainment?
Alright. So that's a lot of negativity for a book that I'm giving four stars. Honestly, if you don't have my particular hang ups about what Batman is and how storytelling should work, this comic is pretty good. It's a nice meaty hunk of Batman storytelling, gorgeously illustrated and with some fresh ideas. If you can successfully parse them as "a Batman story" or don't care about that, then you'll have fun.
This entire review has been hidden because of spoilers.
February 17, 2023
It has been retold time and time again. The Origins of the Caped Crusader is one of the most-told stories in Modern Media but in 2013, two of the biggest creators in the Comic Book Industry took on Batman/Bruce Wayne’s Origin Story with a modern approach. Writer Scott Snyder and Artist Greg Capullo bring readers a great story with great artwork. Get your Utility Belts and your Mask, we’re entering the Zero Year!
It was a time before superheroes, a time before criminals in Gotham would begin to fear the night. Gotham City’s Prodigal Son, Bruce Wayne has been missing for several years but it was also the cover of darkness he needed in his plan. Before he became the Dark Knight, he was a faceless vigilante, patrolling the streets of Gotham under different disguises. Before he would become the hero Gotham needs, from the time of his training to run-ins with an aspiring attorney named Harvey Dent, he learns to work with his future ally, Lieutenant James Gordon. It would also see the rise of Batman’s future rogues like The Riddler, and Doctor Death.
Collecting Issues 21-27, and 29-33, this was a diamond in the rough during the New 52 Era, I may get slapped for describing a Batman Story in this way but I’ll say it anyway. It is a great story for its time but I wouldn’t put it in the same category as Frank Miller’s Batman Year One or The Dark Knight Returns in terms of a classic. It’s a good story that helps newer readers get a good grasp of who Batman is, and what kind of threats he faces. It also was divided into three parts, Secret City, Dark City, and Savage City.
What works so well for this book is that it pulls inspiration from what made Batman so memorable in countless tales, even reaching back into the Golden Age by reintroducing one of his first rogues, Doctor Death. Doctor Death was first introduced in Detective Comics #29 (July 1939) and was the first supervillain Batman fought at the beginning. Even in the beginning, he still had elements of Science Fiction and Horror. As for the Riddler, this was one of the greater stories that helped define the character. Edward Nygma was a villain who had a great intellect that could help keep Batman sharp. He not only is the first masked villain to not only beat the Dark Knight twice but to also completely take control of Gotham, by plunging it into the dark and making it into a wasteland where only the intelligent would be able to survive.
Scott and Greg weren’t the only creators involved in this story, Writer James Tynion IV and Artist Rafael Albuquerque helped shape the story, which includes elements of Bruce’s training and backstory. Overall, it is a great story that featured a great creative team, a well-written story, and beautifully detailed artwork by both Rafael Albuquerque and Greg Capullo. Their artwork has always been one of the best things in whatever book they are involved in, especially Greg Capullo, who captured how dark and gritty Gotham could be, which included well-drawn action sequences and background detail.
It was a time before superheroes, a time before criminals in Gotham would begin to fear the night. Gotham City’s Prodigal Son, Bruce Wayne has been missing for several years but it was also the cover of darkness he needed in his plan. Before he became the Dark Knight, he was a faceless vigilante, patrolling the streets of Gotham under different disguises. Before he would become the hero Gotham needs, from the time of his training to run-ins with an aspiring attorney named Harvey Dent, he learns to work with his future ally, Lieutenant James Gordon. It would also see the rise of Batman’s future rogues like The Riddler, and Doctor Death.
Collecting Issues 21-27, and 29-33, this was a diamond in the rough during the New 52 Era, I may get slapped for describing a Batman Story in this way but I’ll say it anyway. It is a great story for its time but I wouldn’t put it in the same category as Frank Miller’s Batman Year One or The Dark Knight Returns in terms of a classic. It’s a good story that helps newer readers get a good grasp of who Batman is, and what kind of threats he faces. It also was divided into three parts, Secret City, Dark City, and Savage City.
What works so well for this book is that it pulls inspiration from what made Batman so memorable in countless tales, even reaching back into the Golden Age by reintroducing one of his first rogues, Doctor Death. Doctor Death was first introduced in Detective Comics #29 (July 1939) and was the first supervillain Batman fought at the beginning. Even in the beginning, he still had elements of Science Fiction and Horror. As for the Riddler, this was one of the greater stories that helped define the character. Edward Nygma was a villain who had a great intellect that could help keep Batman sharp. He not only is the first masked villain to not only beat the Dark Knight twice but to also completely take control of Gotham, by plunging it into the dark and making it into a wasteland where only the intelligent would be able to survive.
Scott and Greg weren’t the only creators involved in this story, Writer James Tynion IV and Artist Rafael Albuquerque helped shape the story, which includes elements of Bruce’s training and backstory. Overall, it is a great story that featured a great creative team, a well-written story, and beautifully detailed artwork by both Rafael Albuquerque and Greg Capullo. Their artwork has always been one of the best things in whatever book they are involved in, especially Greg Capullo, who captured how dark and gritty Gotham could be, which included well-drawn action sequences and background detail.
Displaying 1 - 30 of 124 reviews