In this first of the two omnibuses, we find the three aforementioned storylines, which in my view form a steady upward trajectory. By that I mean Snyder matures as a writer with each one, not that he wasn’t already talented, but there is a difference between creating something original, like American Vampire, and taking on a legacy title such as Batman, a character with decades of history. It is a challenge to adapt it to your own voice, while still respecting all the editorial guidelines imposed by the publisher, refreshing the character yet leaving your distinctive mark.
Snyder has always carried a strong element of horror in his writing, and I believe he still does. He is a genuine fan of the genre, and an exceptional craftsman at it, just look at Wytches. Before this, he delivered the excellent and inspired Batman: The Black Mirror, but what he achieves here is the fusion of his horror sensibility with large-scale adventure and expansive, serialized storytelling across multiple issues. His run on the title spans fifty main issues (with a few additional tie-ins, though I’m not sure he wrote all of them). This is no small feat, both because Batman comes with a massive legacy of countless writers before him, and because the audience is vast and demanding, stretching across the entire spectrum of comic book readers.
But to avoid going on for too long, let me say a few words about the three arcs included in this omnibus.
First, The Court of Owls shook readers with its originality, a secret elite controlling Gotham from the shadows since the city’s foundation. What makes it brilliant is the symbolic choice of the owl, the natural predator of the bat, which Snyder uses to give Batman’s new enemy an allegorical and archetypal presence. He doesn’t stop there, of course, but makes all the necessary connections so that the story remains believable within the framework of Batman’s world.
From there, we move to the height of Snyder’s particular tone and approach: Death of the Family. Here, he takes Batman’s greatest foe, arguably the most famous villain of all time, and turns him into a terrifyingly sadistic creature. It’s not the first time the Joker has been portrayed this way, but Snyder’s touch, especially combined with Capullo’s astonishing artwork, pushes it a step further, at least visually. Given the limits of mainstream comics, the depiction of violence can only go so far, yet what Capullo shows us is more than enough. I felt completely satisfied.
This is a story of revenge and hatred, perfectly suited to the Joker, who is determined to break Batman and sets the stage for a grotesque, twisted spectacle. I loved it.
And then, just as Snyder reaches this narrative peak, instead of staying on the same path, he shifts gears. He changes the color palette, moving away from dominant blacks, blues, and whites, and bringing in greens, purples, yellows, and bright whites. With Capullo still at his side, an artist of rare caliber, he chooses a new adversary. But this time the villain’s arrival coincides with the transformation of Gotham itself, and thus Zero Year is born: the most spectacular story of the omnibus, both narratively and visually, as well as in its ambition.
What makes it stand out? The sheer abundance of events, the layered structure, showing us the endgame first, then going back to the beginning, and finally carrying the story forward. The Riddler executes his plan flawlessly, and no one seems able to stop him. Gotham collapses, and Batman’s classic detective framework, gathering clues to solve the mystery, gradually morphs into a survival tale. The best part is that even Batman himself doesn’t realize the shift until it is already happening. Of course, that’s my interpretation; others may see it differently.
Until next time — be well, and keep
reading.
It’s important!
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