Bought at Boocup, Kerry Parkside, Pudong, Shanghai, China.
Title: Batman: Whatever Happened to the Caped Crusader?
Date: October, 2010
Publisher: DC Comics
Writer: Neil Gaiman
Artist: Andy Kubert, Scott Williams, Simon Bisley, Mark Buckingham, Mike Hoffman, Kevin Nowlan, Bernie Mireault, Matt Wagner, Alex Ross
Colorist: Alex Sinclair, Nansi Hoolahan, Tim McCraw, Joe Matt
Letterer: Jared K. Fletcher, John Costanza, Augustin Mas, Todd Klein
Editor: Scott Nybakken, Maggie Howell
The title feature of this trade paperback is the two-part story that spanned Batman #686 and Detective Comics #853, which were the last issues of those series before they were renumbered as part of the New 52. The title is a tribute to the classic Alan Moore two-parter, Whatever Happened to the Man of Tomorrow, which was published at a similar moment, marking the division between the Pre-Crisis (On Infinite Earths) and Post-Crisis DC Universe.
The story has the Batman attending his own funeral, held in the back room of a Crime Alley bar, where Joe Chill serves as bartender, and all of the Batman's rogues gallery is in attendance as mourners, along with some more respectable members of the supporting cast. All of them are telling stories of the Batman's death while the Batman himself looks on unseen, with a mysterious woman as his guide.
And the stories are all contradictory.
This was an interesting examination of the symbolism of the Batman, and something of a reversal of the typical tale of transition into an afterlife. The fully-realized stories told by Selina Kyle and Alfred Pennyworth read like reasonably decent "What If?" tales, and artist Andy Kubert does a great job of evoking the styles of classic Batman artists. There are also some interesting stories that are just told as fragments from characters like Detective Bullock and Clayface.
The ending is a strange and surreal variant on (of all things), Margaret Wise Brown's Goodnight Moon, that should never have worked, but which Gaiman somehow manages to just about pull off.
Backup stories in this volume include a miscellany of Gaiman's Batman writing from Batman: Black and White and Secret Origins. The Black and White piece is an amusing bit of fourth-wall breaking. Of the Secret Origins stories, the Riddler story was the best of the bunch, a loving tribute to the Silver Age, and a lament against the turn toward darker fare that followed.
None of this is anywhere Gaiman's best work in terms of writing, but it's a nice look at his relationship with comics in general and the Batman in particular, and it has a decent number of stand-out moments.
Rating: 7/10
