The Death of the Family-Batman #13
Spoilers ahead!
As Batman #13 begins, so, too, does the promised epic storytelling event, “Death
of the Family,” and I’m reminded of how perfect for Scott Snyder’s Batman Greg
Capullo’s art style is. His highly detailed, yet reservedly subdued renderings are perfect
for establishing the bleak, weary look of Gotham city – like Capullo’s multifaceted art,
Gotham thrives with a vitality that pulses through the cracks of its concrete, even while
playing host to some of the most deranged killers this side of Arkham. So – the scene is
set, and we see our first hints of what’s to come, with the first appearance of the cannily-
placed Forget Me Not Catering van.
Of course, this is the Joker’s message to citizens of Gotham after his prolonged
absence, and, of course, more particularly to his two favorite citizens: “Commish”
and “Batts.” We start the issue with Jim Gordon and fellow GCPD’er, Harvey, sharing a
smoking break as they set the stage for what’s to come. It’s these quiet moments that
really recommend Scott Snyder as a phenomenal writer of comic books, moments so
slow-paced that other writers would pass them over, automatically deeming them
unworthy of inclusion when a limited count of available pages suggests prioritizing
another foreshortened Bat-boot. The unhurried conversation that Snyder packs into this
calm moment is much more believable than the abbreviate tripe we usually see, directly
proclaiming characters’ thoughts, emotions, and intent. Instead, here, we feel as though
we’re leaning against the GCPD roof ledge in the rain, sharing a stoge with two of
Gotham’s finest. We just happen to be inadvertently invisible, and to overhear Jim’s
progress with his smoking habit, and Harvey’s worries about the portentous happenings
around Gotham (the reversal of the Gotham river and the birth of a two-headed lion cub
at the Gotahm zoo).
I would already consider this “full-throttle,” but Snyder is purposely disguising
the revving of his comic-book engine. The calm vibe of two smoking buddies returning
to work continues, with some rare, character-appropriate humor as Gordon claims to be
able to smell counterfeit $20 bills, immediately recanting, and explaining that Jackson’s
face is looking the wrong way. It is out of the blue, just at this unsuspecting moment, that
the Joker makes his appearance, turning off the lights, and disabling the GCPD backup
generator to keep the entire room full of cops completely “in the dark.” “Suddenness” is
sometimes a difficult concept to convey in still images, but it is handled masterfully here
by Snyder and Capullo, with the visual referent of Gordon looking between the shoulders
of two fellow policemen repeated from frame-to-frame to anchor us, changing time
moreso than space.
What follows is one of the most spine-chilling, cold-sweat-inspiring, page-
turning-hand-trembling, sheer, outright, fear-inducing pair of comic book pages in my
personal, lifelong history of reading: the Joker, babbling like a potentially-prophetic-
psycho the entire time, snaps the neck of every cop in the room, save for Jim Gordon. Of
course, just like Gordon, we aren’t shown any of this: our perspective remains with the
GCPD Commissioner as red “CRACK” SFX are drawn over darkened panels showing
only the terrified Commissioner’s face. Again, Snyder and Capullo are masters of
establishing a “vibe,” bringing a real feeling of authenticity to the vicarious experience of
being trapped in a dark room, alone, with a killer who is murdering all of your friends.
Next are the least impressive, or, rather, least exciting, scenes of the book: a
bunch of Bat-cave explication, background-establishing, communications with other
members of the Bat-family, the review of old records, and watching of new news
footage. All of it serves to establish the status-quo for the early stages of “Death of the
Family,” including the Joker’s year-long absence from Gotham, and what seems like his
intentional plan to leave the actual skin of his face behind to mess with Batman, only to
retrieve it during his GCPD stunt, itself explained during this sequence as a repurposing
of the GCPD’s own E.M.P.-type weapon. Nightwing, Red Robin, and Batgirl are all
alerted to the situation and offer to help, but Bruce insists that they’re all involved in
important work, and goes so far as to cut communications with them mid-sentence,
presumably in an effort to keep them isolated from whatever insanity the Joker’s
planning. Most interestingly of all, Snyder points out, for those of us not steeped in
continuity or blessed with a company archive worth of back-issues, that various elements
point to the Joker’s attempt to re-enact his first-ever crimes.
As we move back to the action, Snyder once again starts slow, with Jim Gordon
surreptitiously removing himself from a roomful of GCPD officers for a one-on-one
conversation with Batman in an elevator. Batman, of course, stands atop that elevator, in
the shaft, with a quartet of holographically-projected monitor screens. Gotham’s two best
hopes are working together to protect the Mayor, whom the Joker threatened in a
broadcast in a previous scene. Once again, it’s this quiet, tension-building moment
between Batman and Commissioner Gordon that allows Snyder to shine, right on down
to an unspoken understanding between them on the discussion of fear. Unspoken, sure,
but Snyder has a bit to say, and breaks into the first inner-monologue narration boxes of
the issue.
Batman reflects that things are different this time; most interestingly, the Joker
did his own dirty work, instead of sending in henchmen. The difference in “Mista J’s”
demeanor is also too much for Harley Quinn to handle; after saving the Mayor, Batman
finds himself facing off with Quinn, disguised as The Red Hood and pretending to be the
Joker. Eventually, she snaps, giving up a fight in which she arguably had the upper hand,
and tells Batman that she can’t go along with the Joker’s plans, this time.
The cliffhanger is the Joker approaching Alfred with menacing intent, having
lured him out of Wayne Manor’s front doors with the two-headed lion cub. Afterwards,
we’re treated to a Jock-illustrated short of the Joker, as he fills Harley in on her part in
his plan. Dig the awesome Joker-illustration here by Jock!
All in all, a fantastic comic book issue containing everything one would need to
start off a new story arc: fantastic character moments, the upheaval of standard character
roles and expectations, the explanation of where we stand and what it means, and a
heaping plate-full of action. All in all: exactly what I’ve come to expect from every
single issue from the pen of Scott Snyder.
I said I might not ever rate another comic, but here I go again: shall we call this
one an 8.9? There was nothing wrong with it, but I want to leave some headroom: after
all, the “Death of the Family” event continues into 2013, and one can only hope that it
will get better and better as the story progresses!
