- ISBN13: 9781401225216
- Condition: NEW
- Notes: Brand New from Publisher. No Remainder Mark.
Product Description
The second volume of the Eisner and Harvey Award-winning GOTHEM CENTRAL array is picked up in hardcover, brought to you by acclaimed writers Ed Brubaker and Greg Rucka, and artist Michael Lark, with one some-more art by Greg Scott, Brian Hurtt and Stefano Gaudiano. This volume additionally facilities an key by Duane Swierczynski.
Cops usually do not have it easy in the city of the bat. Not usually do they have to understanding with the assault and crime of the world’s many notoriously crime-infested city, catering to a little of the many violent and savage criminals, but they additionally have to understanding with a vigilante who’s hellbent on personification by his own rules.
And to have things worse, the Joker is terrorizing the city at Christmastime–randomly executing people with a rifle, and no one from the Mayor on down is safe! Plus, some-more stories involving the lady whose pursuit it is to spin on the Bat-signal, a array of hideous murders which grab the courtesy of The Huntress, and an old box of unprepared commercial operation for ashamed investigator Harvey Bullock.
Collects issues 11-22 of the strange array
“Realistic, gritty, and many importantly, a provide to read!”–AIN’T IT COOL NEWS
Starting in 2003, the multiple-Eisner award winning “Gotham Central” series followed two separate shifts of police officers working in the present-day Major Crimes Unit of the Gotham City Police Department. In the GCPD’s struggle against crime and terror, Batman looms as both competitor and savior. This second DC hardcover collects issues #11-22 of the series. Most stories were a collaboration between writers Ed Brubaker and Greg Rucka.
Issue #11 is the “Daydreams and Believers” one-shot written by Brubaker with art by Brian Hurtt. The narrative is in the form of a letter from Stacy, the GCPD temp receptionist who is the only person permitted to turn on the Bat signal. #12-15 comprise the “Soft Targets” arc with artwork from Michael Lark and Stefan Gaudiano. After assassinating the mayor, the Joker terrorizes Gotham City in the days before Christmas. #16-18 is “Life Is Full Of Disappointments” with art from Greg Scott in which the GCPD investigates two mysterious deaths at an accounting firm. The final four issues are Brubaker’s “Unresolved” featuring the Mad Hatter, a retired Harvey Bullock and a very cold case of a high school locker room bombing.
While this series features some established characters from the DC Universe, the only required foreknowledge is a general awareness of Batman. Like most books from these writers, this excellent series is recommended for those who don’t normally read comics as well as established fans of crime comics, police procedurals and/or DC’s Bat-Verse.
Rating: 5 / 5
This second volume in a hardcover series collecting the totality of “Gotham Central”, DC’s landmark series focussing on the frontline detectives of the Gotham Police Department’s Major Crimes Unit, continues in the tradition established by the first. Namely, excellence. Slightly longer than the previous one, this volume collects issues 11 to 22 of the series. Separate, Ed Brubaker and Greg Rucka are two of the best writers in comics; their rare collaborations (and they are co-writing for most of this one) are always exemplary. Some spoilers follow.
The first volume, after the introductories stories familiarizing the audience with the concept and the initial main cast, was capped with “Half a Life”, Greg Rucka’s Eisner-winning Renee Montoya story, which is often thought of as “Gotham Central”’s finest piece. With her initial spotlight story over, Montoya figures very little into the events of this volume. The primary focus here is on Brubaker’s shift, especially Marcus Driver and Romy Chandler. We’re also introduced to a number of new characters, such as a detective with family ties to the Mafia. The work-life of the division is always exceptionally rendered, with rivalries of various types (Sarge’s frustrated career ambitions), and allusions to and glimpses of personal lives.
Plotwise, the series alternates between regular crimes and crimes involving members of Batman’s rogues gallery. Two-Face and Mr. Freeze were the most prominent in the first volume. Freeze’s story is briefly revisited here. The title of this volume supplies the name of one of the major villains present here; also around are the Mad Hatter and the Penguin. Batman is a vague presence whose existence sometimes functions as an anticlimax to the drama: and this is intentional, I think. Keep in mind that whenever a supervillain is involved, there’s a whole Batman story going on that we don’t see. In Batman’s own stories, we follow him as he cracks the case; here we follow the cops as they do the same work, only to be frequently beaten to the punch and denied any real catharsis. Indeed, the fallout of the Joker story is explicitly about how the Joker (and, by extension, most supervillains) treat the cops as simply an audience (or pawns) in a chess game with the Dark Knight. It’s on the smaller cases that they can generally get a bit more dramatic closure. Another aspect of the mythos, the constant survival of the horrible monsters that Batman routinely apprehends, is likewise milked for drama. Batman’s presence has other effects, as shown by a one-off story narrated by the Bat-signal operator, who has begun to daydream about him.
One of the most interesting things about this series focussing on the Gotham PD is the relative absence from the cast of its two most widely-known members: Commissioner Gordon is at the moment retired from his job, and Detective Harvey Bullock retired in disgrace before the series began. Bullock makes a return appearance here, as one of his unsolved cases resurfaces. This is a poignant reunion wiht Montoya, who still has issues with what he did to get fired, but also a subversion of expectations regarding this sort of story. Bullock is a shambling drunk who still nurses an interest in the case, and is convinced the Penguin was behind it, but it turns out he’s wrong. He proves virtually irrelevant to solving it; it’s Driver and co. who make the catch. The resolution to said case is unexpectedly haunting.
One of the most important aspects of the series’ success is the art of Michael Lark. Typical American comics art depends a lot on colourful costumes (and skin tones) to differentiate between characters, but the mundane atmosphere of this title leaves little room for that. And despite this, Lark mostly manages to give everyone a distinct look, whether through facial structure, hair and skin colour, or some tic (such as a pipe); though readers will probably still find themselves squinting or doublechecking at some of the standard white guys. It’s absolutely integral to the success of the series, as much as Brubaker and Rucka’s writing (if anything, I find Lark’s renditions of Batman and the rogues to be less impressive).
Highly recommended.
Rating: 5 / 5