"SHAMAN"
Written by Denny O'Neil
Pencils by Ed Hannigan
Inks by John Beatty
Few decisions taken by an American comic book company produced as much creative and commercial fruit as DC's to create a third monthly ongoing Batman book in the late 80's, and for that book to be an anthology without the constraints of continuity, set in the first three years of The Batman's career. These simple stipulations do much to allow the stories within to sidestep nearly all the pitfalls of contemporary Batman comics: Batman's overwhelming competence is scaled back considerably, and he's capable of making mistakes-- indeed, many of the stories are incited by Batman making a serious error. The "gee whiz" sci fi gadgetry that can sometimes overwhelm Batman stories are also absent, and these initial stories feature a Batman without a Bat-mobile, a Bat-signal, and few gadgets. All these details conspire to create "back to basics" Batman stories that illustrate something timeless and essential to the character. The crowning touch of the entire project was the decision to use an anthology format, drawing in an incredible bevy of comic talent that would never commit to an ongoing "run" on one of the mainline titles.
DC's definition of "superstar talent" in the late 80's feels contemporary because it's so writer-forward. Rather than springing for the most dynamic artist, DC chose to give the first story to then Bat-Editor, and the all-time king of the Batman tale, Denny O'Neil. As O'Neil's script was constructed to take place around the events of BATMAN: YEAR ONE, GRREN ARROW artist Ed Hannigan was selected to present a muted, stripped-down, "clean line" style that marries well to David Mazzucchelli's seminal work on that story, embellishing the feeling that this story is taking place "between panels" of its more famous inspiration.
DC's definition of "superstar talent" in the late 80's feels contemporary because it's so writer-forward. Rather than springing for the most dynamic artist, DC chose to give the first story to then Bat-Editor, and the all-time king of the Batman tale, Denny O'Neil. As O'Neil's script was constructed to take place around the events of BATMAN: YEAR ONE, GRREN ARROW artist Ed Hannigan was selected to present a muted, stripped-down, "clean line" style that marries well to David Mazzucchelli's seminal work on that story, embellishing the feeling that this story is taking place "between panels" of its more famous inspiration.
With all that out of the way, what makes SHAMAN a perfect Batman story?
Stories about Batman himself, as a concept, tend to be static; more pontification than actual character work. This is natural because not only is Bruce not going to stop being Batman, but it's hard for any individual story to fundamentally change who Batman is and stories where there's no significant growth feel like they're spinning characters in place. SHAMAN is set right on the cusp of Bruce's transition to Batman beginning with Bruce's final globe-trotting adventure and ending with a Batman who has solved his first major mystery and is assured in his new role. O'Neil has strategically chosen a moment where he can pay off all the introspection with actual character development.
The other big pitfall this story avoids is believing that you can just build the story around Batman conceptually, and not really invest the audience in a meaty story. SHAMAN is a great, complex, mystery plot that rewards careful and multiple readings. Bruce Wayne is in Northern Alaska, tracking Doggett, an Inuit killer with a legendary bounty hunter. Doggett gets the jump on them, and dispatches the bounty hunter, but he underestimates Wayne and ends up pitched off the mountain with all of Bruce's gear. Bruce is rescued by local Inuit trappers, who tell him a tribal healing story about Bat and Raven.
Bruce returns to Gotham, has his disastrous first outing as a crime fighter and, with the new context of the Alaskan episode, the adoption of the Bat as totem takes on new layers of meaning. We don't have time to dwell on it though because as Batman is getting his feet wet someone posing as the priest to Caribbean vulture god is running the drug trade, and a different killer wearing the ceremonial Bat-mask of the Inuits who saved Bruce is icing everyone who was involved in a Wayne Enterprises funded expedition to Northern Alaska. Batman must find the connection between the two masked killers and stop them both as he spends his first Christmas under the cowl.
Enough plot summary, what stands out here to the reader:
- Fantastic mystery plot with suspects, red herrings, and an explanation that makes sense. This is Batman as detective and not a detective who lets his Bat-computer do all the work. He's putting the hours in and the pieces together to try and connect the seemingly disparate elements.
- Fantastic mystery plot with suspects, red herrings, and an explanation that makes sense. This is Batman as detective and not a detective who lets his Bat-computer do all the work. He's putting the hours in and the pieces together to try and connect the seemingly disparate elements.
- Alfred is just tremendous here, both as a sounding board for Bruce's deductive skills and a reminder of the basic humanity that underlies all this theatricality and deception. This is a master-class in how to write this character with real sardonic wit and heart.
- I like how little goes as expected but everything is logical: Batman's first outing goes as expected when the thugs he's targeting are put down easily but then the victim turns a knife on herself in fear. Bruce's decision to fund an expedition to the people who saved his life, an innocent gesture, causes much of the misery of the story but he takes responsibility for it and works to make it right. Those who seem most trustworthy in Gotham reveal themselves to be ruthless exploiters and a cold-blooded killer still has some of his humanity remaining on his death-bed.
- Most of all, and this is the key detail that puts this story into the ranks of the all time greats, the power of the Batman totem is NOT primarily its ability to strike fear or to hurt criminals but to help the innocent. In the final act of the story Batman must put aside his own cynicism and rationality and what motivates him to do this is to save an innocent woman who is dying. The core of what The Batman is isn't a guy who punches maniacs who scares people-- that's the wrapping that makes him cool. The core of The Batman character is a guy trying to help as best he can. So few modern Bat writers besides Morrison understand this.
- Most of all, and this is the key detail that puts this story into the ranks of the all time greats, the power of the Batman totem is NOT primarily its ability to strike fear or to hurt criminals but to help the innocent. In the final act of the story Batman must put aside his own cynicism and rationality and what motivates him to do this is to save an innocent woman who is dying. The core of what The Batman is isn't a guy who punches maniacs who scares people-- that's the wrapping that makes him cool. The core of The Batman character is a guy trying to help as best he can. So few modern Bat writers besides Morrison understand this.
