Archie Goodwin (1937–1998)

Access a version of the below that includes illustrations on my blog.

I love Jim Gordon.

He's probably my favorite Batman supporting character, and I suppose that to anyone who knows me and my tastes, this is completely predictable. A man of the law, with no special powers, doing what he can to help in an unkind, unforgiving world, bit by bit. I like him a lot, but he's been a peripheral presence in most of these Batman tales I've been reading, bar Batman: Year One and a flash-forward in The show more Man Who Laughs. Night Cries features him shortly after his appointment to police commissioner, during an attempt to reconcile with his wife Barbara. (His niece/daughter Barbara is nowhere to be seen, but I think maybe she might be in college right now, living on campus.)

Night Cries shows that the fight Jim Gordon fights is not just against demons external, but internal ones as well. He's under a lot of stress here, trying to navigate the politics required of him by his new position while still wanting to be a beat cop and solve every crime himself, while not neglecting his family-- and also while dealing with his history of abuse. Night Cries reveals that Gordon was abused as a child, and that this has lingering effects. We saw his angry outbursts in Year One, which he channels for good, but here we see the darker side of Gordon, the one which he has to fight to keep in check, and which have a marked effect on his family, even if he's able to stop himself from hitting them.

Night Cries is a story about abuse; this moving story about Gordon is weaved together with one about Batman investigating a new serial killer in Gotham, one who seems to have their own issues with abuse. This is affecting in a different way, mostly for the sheer tragedy it evokes. The graphic novel opens with a meditation on the hearing of bats, cited to a 1990 book called A Guide to Wildlife. I didn't get it at first-- it just seemed kind of pretentious-- but upon finishing the book and seeing it repeated, I realized how awful its meaning. Batman fights crime, his whole reason for being is that having been touched by crime, Bruce Wayne devoted himself to (not unambitiously) the elimination of all crime. But at the end of the novel, as he stands and watches over Gotham, Batman realizes that there are crimes he just can't hear. There are children who need him... and he'll never know about it.

It's a sobering moment reflecting on a very real phenomenon, and in lesser hands, I think this book could be terrible. But in Archie Goodwin and Scott Hampton's hands, it's anything but. This book's seriousness and moodiness is such a contrast to what we just saw last week in The Cat and the Bat, yet it still works in its own way. It's a slow read, in a good way: they invite you to linger over the pages, to slowly absorb yourself in this sad, dark world, one which is our world. This superhero story is no fantasy, Batman can't swoop in and save the children here anymore than he can in ours. There are other ways child abuse has to be fought, and while it is, it will continue to have it pernicious effects on families long after the abusers are gone. As Gordon's story here shows, sometimes there are just no easy answers.

Or answers at all.

Batman "Year One" Stories: « Previous in sequence | Next in sequence » show less

I received this as a gift in the fall of 1980, a few months after seeing the newly released movie in theatres. This was significant in two respects, one being my impressionable age (7) and the other being that this predated the ability to re-watch movies at home, in any format. Thanks to this comic I could revisit the most spectacular movie I'd ever seen when I had no other means of doing so.

This is not strictly a scene-for-scene, line-by-line recreation of what you know. Like most show more adaptations that are composed at the same time as the film is in post-production, it has elements from earlier scripts and features scenes that were later cut, while missing others that were later added. It does not open with a star destroyer, and it includes the wampa attack on the rebel base. Darth Vader requests his ship as he is leaving Cloud City, which we didn't see him do on screen until the 1997 special edition.

Objects are not always accurately scaled (Yoda and the Executor, especially), and the shading gives an odd look to some scenes; as a prisoner of Cloud City, Han Solo looks ready for the discotheque. These are minor quibbles to me. I loved, and still love, every frame of my treasured copy and the fuel this provided to my young imagination. The original film trilogy is a significant memory for me and ESB most of all, in part because of this. show less

This review also appears here.

There have been a number of very violent murders in Gotham--whole families killed. At first, Batman suspects that it is related to a new drug, but as he continues to investigate, the facts don't line up. It appears that, in each case, the adults had committed some crime against children. Batman revises his theory: there is a new serial killer in Gotham, a serial killer motivated by the need for revenge against child abusers. As Commissioner Gordon and Batman show more seek out the killer, each must deal with his own demons. Batman remembers the night his parents were killed, and must reconcile his own actions, in many ways so like those of the serial killer. Jim is troubled by memories of his own abusive father, and is horrified to see that he may be starting down that road, himself.

For all the violence, this graphic novel has a very subdued feeling, which is reinforced by the dark palette common in Batman stories. At about a hundred pages, _Night Cries_ tells a tightly connected, effective story. The thematic connection between Batman's drug investigation, during which he repeatedly explains that these investigations involve following a chain of people to find the source, and the child abuse investigation, during which it is explained that the abused often become abusers themselves, perpetuating a cycle of violence, is very well done. Too, Jim's struggle, developed over the course of the book, with his own anger, and with his relationship with his wife and son, is a very strong point. This book is set fairly early in Batman's career, and the effects of Jim's infidelity during _Year One_ are still being felt.

Batman's experience follows a similar arc. During one part of the investigation, a traumatized young girl, who may have witnessed one of the murders, spots Batman through a window, and is terrified. As Batman says: "The trouble with an appearance that can strike fear in the minds of criminals--is that it sometimes strikes fear in the innocent as well." The girl may have important information, and Batman regrets frightening her, so he visits her in the hospital, to make amends: "I'm sorry. I don't want to frighten you. I did that once when you saw me through the window at your home. I know I look scary and there have been too many scary things in your life. So I want you to see--" here, he removes his mask, "--I'm just a man, a man who's trying to help." The scene is really touching. Sometimes, Batman seems far from being concerned with the people around him--those he's fighting, or those he's saving--but Goodwin's Batman shows a kind of empathy that Batman _must_ have, if he's more than just a reflection of the violent psychopaths he fights.

This is definitely one of the best Batman stories I've ever read. Its focus on the human impact of the crime in Gotham, and on its particular impact on Jim and Batman, is very welcome, especially coming, as I am, from reading a bunch of Golden Age stories. Comics have come a long way, and this is a great example of a comic that tackles a meaningful issue in a sensitive way. I strongly recommend it. show less

I'm not really a fan of the movies any more (Empire is pretty good) but I had read some of these comics when I was a kid and wanted to revisit them.

It's a very different experience reading this series today than it was back then. The first six issues, adapting the original film, are pretty rough in the art department. Howard Chaykin has said that if he knew how big Star Wars was going to be, he would have tried harder--movie adaptations being mostly forgettable merchandising tie-ins. Of show more course, no one knew how big it would be. The movie wasn't even out yet when the comic series began. Obsessive, err, I mean astute fans will notice "discrepancies" that are a result of having worked from an earlier version of the script (or not having been provided information at all)--most notably in the case of Jabba the Hutt who is neither human nor slug here. If you're going to get upset about such things, you won't enjoy this book at all. Die-hard fans should relax and try to see the comic as it's own thing.

Roy Thomas writes the first several issues, we get some great art by Tom Palmer and then the new team of Archie Goodwin and Carmine Infantino takes over for most of the duration. I was never a fan of Infantino's style, but it looks alright (particularly when inked by Terry Austin). Goodwin does a fine job building up his own Star Wars "universe" in spite of the restrictions placed upon him. He couldn't, of course, make any drastic changes or do anything that would interfere with George Lucas' plans for the continuing film story. This is where "knowing too much" as a reader affects the experience. After a while, it starts to feel like it is spinning its wheels waiting for the next "official" or "real" chapter to begin. Not fair, perhaps, but it can't be helped.

The book ends with the adaptation of The Empire Strikes Back. Goodwin continues to write while Al Williamson handles the art. The art in this section of the book is fantastic. Not only is it easier on the eyes, it also has a near-photo-realistic attention to detail. For the first time, everything looks just as it does in the movies. The story ends on a cliffhanger, but it finishes the volume on a high creative note. show less