Batman Black and White

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Batman Black and White
Cover of Batman Black and White 1 (June 1996).
Art by Jim Lee and Scott Williams.
Publication information
Publisher DC Comics
Schedule Monthly
Title(s) Batman Black and White
Formats Limited series
Genre
Publication date June – September 1996
Number of issues 4
Main character(s) Batman
Creative team
Writer(s) Archie Goodwin, Jan Strnad, , Chuck Dixon, Neil Gaiman, Andrew Helfer, Denny O'Neil
Artist(s) Ted McKeever, Bruce Timm, Joe Kubert, Howard Chaykin, José Muñoz, Walt Simonson, Richard Corben, Jorge Zaffino, Simon Bisley, Klaus Janson, Tanino Liberatore, Bill Sienkiewicz, Brian Bolland, Kevin Nowlan, Brian Stelfreeze
Editor(s) Mark Chiarello
Scott Peterson
Darren Vincenzo
Reprints
Collected editions
Volume 1 ISBN 1-4012-1589-0

Batman Black and White refers both to a four-issue comic book limited series published in 1996 by DC Comics, and three collections of 8-page black-and-white Batman stories, comprising the limited series and backup features from the Batman: Gotham Knights comic.

Publication history[edit]

The origin of the series is told by editor Mark Chiarello in his introduction to the first collection, in which he writes about a dinner table-discussion with "a few famous comic-book artists," at which they pondered the "desert island" question in terms of a single complete run of comics one would be happy to be stranded with.[1] Ultimately, with "half a minute"'s thought, they "amazingly... all agreed, pound for pound, page for page" that the unequivocal choice was Warren Publishing's Creepy, a high point unmatched since "there has never been such a collection of stellar artists assembled under one banner publication" as in Creepy, whose pages were host to (among others) "Toth, Frazetta, Williamson, Torres, Colan, Ditko, Wrightson, Corben[, etc.]."[1] Chiarello notes that "most of those stories" were written by one man: Archie Goodwin "probably the very best editor ever to work in comics, probably the very best writer ever to work in comics," (and early mentor to Chiarello when the two worked at Marvel) whose Warren work was itself an "homage to the favorite comics of his youth, the E.C. line."[1]

When Chiarello became a Batman editor "a whole bunch of years" later, he naturally "pitch[ed] the idea of a black and white anthology."[1] Told by many colleagues that it wouldn't sell - both as an anthology and a black-and-white title, neither purportedly widely liked by comics readers - the idea was green lighted, and Mike Carlin and Scott Peterson joined Chiarello to "make sure [he] didn't destroy the integrity of [Batman]."[1] Chiarello's initial thought - "to hire the very best artists in the business" led to he and Peterson assembling a wish list and contacting artists.[1] The series ultimately became "a creative and financial success," when the first four-issue volume was published between June and September 1996.[1] (There was also a free Preview issued in 1996.[2]) Each of the four issues featured several self-contained short-stories, all written and drawn by a diverse group of comic artists and writers, most of whom had previously worked on Batman comics. Each story varied in theme, setting, and tone (depending on the creative team involved), offering multiple interpretations of Batman - and, in some cases, his supporting characters - usually by exploring their inner pathos and relationships.

Contents and synopses[edit]

Volume 1[edit]

This contains all-new material.

Issue #1 - June 1996[edit]

  • "Perpetual Mourning" - By Ted McKeever (This story was nominated for an Eisner Award)[3]
    • Batman conducts an autopsy on a murder victim to help find her killer.
  • "Two of a Kind" - By Bruce Timm
    • Two-Face has his face reconstructed and is seemingly rehabilitated, but is tempted back to the dark side by a femme fatale.
  • "The Hunt" - By Joe Kubert
    • A surreal take on Batman.
  • "Petty Crimes" - By Howard Chaykin
    • Batman hunts a murderous vigilante who is lethally punishing people for their lack of manners and civil respect.
  • "The Devil's Trumpet" - Written by Archie Goodwin, art by José Antonio Muñoz
    • A jazz musician's search for a legendary trumpet leads him into the path of the Batman.

Issue #2 - July 1996[edit]

  • "Legend" - By Walter Simonson
    • The legend of Batman as interpreted by a mother to her son in a futuristic Gotham.
  • "Monster Maker" - Written by Jan Strnad, art by Richard Corben
    • Batman has a violent run-in with several eleven year old black children, who he deems "monsters", before launching into an extended criticism of urban society.
  • "Dead Boys Eyes" - By Kent Williams
    • Batman reaches out to the soul of Gotham during a near-death experience.
  • "The Devil's Children" - Written by Chuck Dixon, art by Jorge Zaffino
    • Batman investigates a series of mysterious gangland murders.
  • "A Black & White World" - Written by Neil Gaiman, art by Simon Bisley
    • A behind the scenes look at Batman and the Joker during the 'production' of a comic book.

Issue #3 - August 1996[edit]

  • "Good Evening, Midnight" - By Klaus Janson
  • "In Dreams" - Written by Andrew Helfer, art by Tanino Liberatore
    • A woman seeks help for her recurring nightmares involving Batman.
  • "Heist" - By Matt Wagner
    • A gang of thieves are hunted by the Batman during a botched home robbery.
  • "Bent Twigs" - By Bill Sienkiewicz
    • Batman tries to mend the relationship between a single dad and his son.
  • "A Slaying Song Tonight" - Written by Dennis O'Neil, art by Teddy Kristiansen
    • Batman must protect a family from an unknown assassin during the holidays.

Issue #4 - September 1996[edit]

Pin-ups[edit]

The first volume also included single-page pin-up renditions of the Caped Crusader by:

Volume 2[edit]

Collects backup stories from Batman: Gotham Knights #1-16[4] with five new tales.

Contents

  • "Case Study" - Written by Paul Dini, art by Alex Ross (New material)
    • When the Joker is once again captured and sent to Arkham Asylum, a doctor laments that all of his work has not pierced the Clown Prince of Crime's insanity. Another doctor offers up a report written years ago, which suggests that the reason the Joker cannot be cured is because he is not insane. The report outlines the Joker's history before his accident, and suggests that his "revenge" against Gotham for ruining him is to commit perfectly sane crimes under the guise of madness. The doctors are convinced, but Harleen Quinzel is then escorted past, commenting that she was the one who wrote the report prior to her personal sessions with the Joker. The doctors wearily put the document away, realizing that though it is plausible, its origin renders it worthless - it is just another one of the Joker's sadistic pranks, left where it would someday be found, examined, and ultimately dismissed; a spot of hope crushed just as it shines brightest.
  • "Batsman: Swarming Scourge of the Underworld" - Written by Ty Templeton, art by Marie Severin (New material)
    • A parody.
  • "A Matter of Trust" - Written by Chris Claremont, art by Steve Rude & Mark Buckingham (New material)
  • "Night After Night" - Written by Kelley Puckett, art by Tim Sale (New material)
    • Bruce recalls the murder of his parents every night, and uses it as his drive for Batman to stop the Joker.
  • "Fortunes" - Written by Steven T. Seagle, art by Daniel Torres (New material)
  • "To Become the Bat" - Written by Warren Ellis, art by Jim Lee (Originally published in Gotham Knights #1)
    • A great many experiences prepared Batman for his role as Gotham's protector: he has learned what sort of wounds different bullets make, he knows the distinctive aroma of every brand of aftershave, and he has discovered how every gadget he came in contact with in his youth works. All of it is essential to some cases, such as tracking down a pregnant prostitute's murderer - a political candidate.
  • Untitled - By John Byrne (Originally published in Gotham Knights #2)
    • Batman and Robin capture Thick and Thin Lyman and their gang, but neither they nor the police can get them to reveal any further information about a major shipment of drugs due in the city. The Lyman's suddenly get bailed surprisingly easily, but find their every move dogged by either Batman or Robin, night and day. When they finally find themselves alone, Thick and Thin get to a meeting place as quickly as possible. However, once there, Thick reveals himself as Batman, but refuses to tell Thin when the switch took place
  • "Broken Nose" - By Paul Pope (Originally published in Gotham Knights #3)
    • Alfred treats Bruce Wayne for the first broken nose he has sustained in his career as a crimefighter. It was given him by Mabuse, a 'geek in a trashcan', a suit of armour he made himself. Batman tracks Mabuse down to the scene of his next crime and fights a more creditable fight against him, finally doling out a broken nose once Mabuse has surrendered.
  • "Greetings from Gotham City" - Written by John Arcudi, art by Tony Salmons (Originally published in Gotham Knights #4)
    • Ivan writes a postcard to his mother from Gotham City, detailing the amazing exploits of the Batman in breaking up a gang of bank robbers. What he doesn't tell her is that he is one of the robbers and is writing from behind bars.
  • "Hide and Seek" - Written by Paul Levitz, art by Paul Rivoche (Originally published in Gotham Knights #5)
    • At the scene of a train wreck which may well be the result of malice rather than an accident, Batman seizes on the smallest of clues to follow someone's trail through the train system and up into the light. Here he finds a small boy and reassures him that he is now safe, telling him that he knows what it's like to be young and lost.
  • "The Riddle" - Written by Walter Simonson, art by John Paul Leon (Originally published in Gotham Knights #6)
    • A wealthy Gothamite with a huge collection of Lewis Carroll memorabilia has died. It is rumoured that in his possession he has Carroll's answer to the riddle "Why is a raven like a writing desk?"; This proves an irresistible target for The Riddler. He breaks into the house and negotiates his way through a maze of Alice in Wonderland and Through the Looking-Glass-related animatronics, until he finds himself at the Mad Hatter's Tea Party, where the answer is tucked into the Hatter's hatband. The Riddler declares his triumph, but Batman then appears; to add insult to injury, he tells the Riddler that the "solution" he found is one that the Caped Crusader himself made up after discovering the real answer and taking it.
  • "A Game of Bat and Rat" - Written by John Arcudi, art by John Buscema (Originally published in Gotham Knights #7)
    • A bunch of low-lives think they witness the death of the Batman, but a derelict claims that he saw Batman climb out of Gotham River and make his way to a warehouse, badly injured. Thet decide to make his death a reality, and find themselves under attack from an uninjured Batman. When their leader confronts the derelict, claiming that he deliberately set them up, the derelict admits that this is true - he is Batman in disguise, after all.
  • Untitled - Written by Brian Azzarello, art by Eduardo Risso (Originally published in Gotham Knights #8)
    • Batman confronts the serial killer Mr. Zsasz at the scene of his latest massacre, and the two exchange their views on power before Batman trusses Zsasz up and leaves him for the police.
  • "Blackout" - Written by Howard Chaykin, art by Jordi Bernet ("An Elseworlds tale, occurring in 1943"[5]) (Originally published in Gotham Knights #9)
    • Batman encounters Catwoman stealing from Albion Price, who, she claims, is a Nazi spy. Incredulous, Batman stakes Price out and discovers that she was telling the truth. They take him down together, but Batman still doesn't allow her to get away with the Nazi's stash of diamonds.
  • "Guardian" - Written by Alan Brennert, art by José Luis García-López (Originally published in Gotham Knights #10)
    • While pursuing some arsonists, Batman encounters Green Lantern, who protected Gotham City during the 1940s and 1950s. He expresses concern at Batman's violent methods, warning him that he could go the way of The Reaper, but recognises the good he's doing. Batman is angry with Green Lantern for having turned his back on Gotham, but Lantern explains it is because he is afraid of the seemingly limitless potential of his power ring. The two of them come to a semi-understanding, and Lantern leaves Gotham in Batman's care.
  • "Snow Job" - Written by Bob Kanigher, art by Kyle Baker (Originally published in Gotham Knights #11)
    • Batman dreams of going skiing with his son and rescuing a rich girl from her evil twin sister and assorted hired assassins.
  • "The Black and White Bandit" - By Dave Gibbons (Originally published in Gotham Knights #12)
    • A painter who has lost his sense of colour due to toxic paint fumes exacts his revenge in a series of black-and-white themed crimes. However, he is soon fooled by Batman and the police who set up the possibility of stealing the Milan Shroud. Despite disguising himself as a nun, he is apprehended and taken away in a panda car, a concept which reduces him to helpless laughter.
  • "Funny Money" - Written by Harlan Ellison, art by Gene Ha (Originally published in Gotham Knights #13)
    • Commissioner Gordon asks Batman to have a few words in his office. Here he meets US treasury agents who inform him that not only has a consignment of "the paper from Dalton" (used to manufacture US currency) been stolen, but a master engraver from Switzerland has just been arrested at Gotham airport. Batman pays the engraver, Kaes Poppinger, a visit in his cell, and persuades him to assist the police. Some time later, Batman, disguised as engraver's assistant Dirks Baekert, accompanies Poppinger and the plates necessary to create money to the arranged meeting point, and from here watches the progress of the plates until they have been used to print the money. He, the police and the treasury crash the scene, but the counterfeiters are confident that as the money they have printed is indistinguishable from the real thing, there is no actual evidence that a crime has been committed. Batman then places one of the bills under a microscope, revealing that Poppinger secretly engraved an error in the plates, a miniature Batman and the words, "YOU*ARE*SO*BUSTED*".
  • "The Bet" - Written by Paul Dini, art by Ronnie Del Carmen (Originally published in Gotham Knights #14)
    • Poison Ivy and Harley Quinn, incarcerated in adjoining cells in Arkham Asylum, challenge each other to a friendly one-dollar wager: which of them can get a kiss from every man in the building first? The competition starts with each kissing a passing guard, who Ivy infects with her pheromones; as the guard wanders the building, every man who smells the chemicals is entranced, and lines up outside of Ivy's cell for a kiss. Things look grim for Harley, and she becomes hysterical when the Joker enters, seemingly under Ivy's spell; however, as the Clown Prince of Crime kisses the eco-terrorist, he murmurs under his breath about how much he loves Harley. Ivy decides that Harley has won the bet, and pays her a dollar--which Harley quickly gives, along with her own cash, to The Ventriloquist, the real power behind Joker's sweet nothings.
  • "Stormy Weather" - Written by Tom Peyer, art by Gene Colan & Tom Palmer (Originally published in Gotham Knights #15)
    • Batman and Prave (a child kidnapper) battle atop the Gotham rooftops. After falling, Prave finds himself relentlessly pursued by supernaturally invulnerable Batmen everywhere he goes. Elsewhere, Batman and a policeman contemplate Prave's dead body and wonder whether he got what he deserved.
  • "The Bat no More...?" - Written by Alan Grant, art by Enrique Breccia (Originally published in Gotham Knights #16)
    • A derelict tells a tale of the Batman in a Gotham City bar. He saw the vigilante confront The Scarecrow and then become increasingly paranoid at the sight of any of his equipment, somehow having developed a fear of bats. Scarecrow then talks to this man, wanting to know all the details, but is himself sprayed with a gas that gives him a fear of his own books - it is Batman. The two of them then face each other, to see who will give in first in revealing their own anti-toxin - will Batman cave in to a fear of the dark, or Scarecrow to a fear of words?

Volume 3[edit]

Collects backup stories from Batman: Gotham Knights #17-49. (Mostly edited by Mark Chiarello, Bob Schreck & Michael Wright)

Contents

  • "A Moment in the Light" - Written by Joe Kelly, art by Aaron Wiesenfeld (Originally published in Gotham Knights #17)
    • Batman encounters Mr. Zsasz in a junkyard, where the serial killer has imprisoned several kidnapped children. As the two battle, the scene begins to fade, revealing it to be a memory that Bruce Wayne is using during a meditation session. Though he claims that these sessions are simply to help him relax, he uses the techniques he learns as Batman to help increase his focus, and puts his skills to the test by analyzing evidence while listening to the laughter of children, driving himself to stop Zsasz and all other criminals.
  • "Fat City" - Plot & script by Mick McMahon and Dave Gibbons, art by Mick McMahon (Originally published in Gotham Knights #18)
    • A monster made of grease is brought to life in a freak accident in Gotham's sewers, and begins to kill people by sucking all of the fat from their bodies. Gotham's citizens begin a fitness craze in an attempt to protect themselves, but the beast is not thwarted, and even the mayor is murdered. Eventually, Batman calls upon an odd ally to help him defeat the monster--Chloe Willow, "Gotham's fattest woman," whose noble self-sacrifice proves that heroes come in all shapes and sizes.
  • "The Call" - Written by Mark Schultz, art by Claudio Castellini (Originally published in Gotham Knights #19)
    • Batman meticulously prepares for a raid on a party being held by a group of mafia criminals, analyzing every detail and possibility in advance. However, his careful planning is all for naught when a small-time crook reveals a hidden gun, which he blindly fires; the bullet strikes an innocent young woman in the throat, and Batman must halt his crime-stopping to save her. With no time to bring the woman to a hospital, the Caped Crusader uses a special signal to summon Superman. As the Man of Steel uses his incredible powers to save the girl's life, he and Bruce have a discussion about their respective methods of heroism. They eventually realize that while incredibly different, they are both dedicated to helping as many people as possible, and that the world desperately needs each of them.
  • "The Lesson" - Plot & script by Julius Schwartz and Dan Raspler, art by Christian Alamy (Originally published in Gotham Knights #20)
    • Cleverly juxtaposing the stories of Dick Grayson and young Bruce Wayne, the youthful central figure is reassured by the theory of the Batman and led to conquer his fears, mask his pain and project a face for the rest of the world to see for the first - but never the last - time.
  • "Day & Night in Black & White" - Written by Mike Carlin, art by Dan DeCarlo & Terry Austin (Originally published in Gotham Knights #21)
    • Day contrasts starkly with night in Gotham City as Barbara Gordon and Pamela Isley's daytime routine is mirrored in twisted fashion by their respective nighttime pursuits as Batgirl defeating Poison Ivy. NOTE: Listed on the contents page of B&W: Volume 2 as "Day and Nite in Black & White".
  • The Bottom Line" - Written by Michael Golden, art by Jason Pearson (Originally published in Gotham Knights #22)
    • In this almost wordless comic, a group of thugs employed by the Joker has been tasked with stealing a small suitcase. Batman pursues them and snatches the bag for himself, leading to an intense game of cat-and-mouse. The struggle ends with Batman throwing the suitcase into the air--where it explodes, revealing that the apparent loot was actually a bomb which the Joker planned to use to kill both his henchmen and the Caped Crusader.
  • "Here Be Monsters" - Written by Paul Grist, art by Darwyn Cooke (Originally published in Gotham Knights #23)
    • A mysterious villain named Madame X attempts to poison Gotham City's water supply with a powerful hallucinogen. When Batman arrives to stop her, she douses him with the toxin, which leads him to have horrific visions and doubt that he isn't just as monstrous as the villains he pursues. But his powerful will manages to shake off the accusation that he himself created the evil he fights, and the Caped Crusader apprehends Madame X while asserting his heroic nature.
  • "Urban Legend" - Written by Todd Dezago, art by Mike Wieringo (Originally published in Gotham Knights #24)
    • A reporter attempts to purchase definite photographic proof of the rumoured vigilante and shed some light on the creature of the night. The Batman explains that the mystery is far more powerful than the truth, and convinces the reporter that he is merely an urban legend - and functions better for being in that mysterious grey area. For the opposite suggestion on Batman's status as an urban legend, read Brian Azzarello's "Cornered". For a less scrupulous journalist's attempts to photograph the Batman, see John Ostrander's "Snap".
  • "Last Call at McSurley's" - Written by Mike W. Barr, art by Alan Davis & Mark Farmer (Originally published in Gotham Knights #25)
    • Matches Malone's local bar McSurley's is threatened with closure due to unpaid debts. This is bad news for Bruce Wayne, who uses various disguises to eavesdrop on the criminals who frequent the bar and thus solve a crime a night. He eventually devise a solution, which he puts into action when Matches passes a hat to collect cash to save McSurley's; to the bartender's surprise, someone places ten thousand dollars into the collection, ensuring the bar's continued existence. Back in the Batcave, Alfred asks about a large sum of money--specifically, ten thousand dollars--that seems to have mysteriously gone missing.
  • "Bruce Wayne is Batman!" - Written by Cyrus Voris, art by Chris Bachalo (Originally published in Gotham Knights #26)
    • An Arkham Asylum inmate conjures a demon and discovers that Batman is Bruce Wayne. Two cleaners discuss her story, and conclude that this "fact" is not worthy of further thought, coming from such a deranged and damaged mind. The more compassionate of the cleaners does a disappearing act, secure in the knowledge that his secret remains safe.
  • "Never Say Die" - Written by Dwayne McDuffie, art by Denys Cowan (Originally published in Gotham Knights #27)
    • A small-time crook nicknamed "Do-Boy," who is in the employ of The Penguin, is determined to prove his worth by standing up to the Batman or die trying. While "just a man," Batman proves he can thwart all manner of plans - even last-ditch, desperate attempts at criminal glory.
  • "Thin Edge of a Dime" - Written by Don McGregor, art by Dick Giordano (Originally published in Gotham Knights #28)
    • The Batman's work is never done, and trying to talk a non-descript Gothamite out of his suicidal tendencies is every bit as important as his regular duties.
  • "No Escape" - Written by Paul Kupperberg, art by John Watkiss (Originally published in Gotham Knights #29)
    • Batman is captured by Riddler and placed in an amazingly well-constructed death trap. As he struggles to escape the trap, he reflects on his training in the art of escapology, which he received from Max Dodge, a master escape artist. It is then revealed that Dodge himself, now in desperate need of money, designed the mechanism which now holds Batman. As he watches the Caped Crusader try to free himself, Dodge realizes the identity of the man behind the mask, and decides to fight back against the Riddler to help his former student. Though this heroism leads to a fatal heart attack, he is able to die knowing that he refused to give into villainy--a fact which Batman acknowledges as he talks to his old friend in his final moments.
  • "Punchline" - Written by Doug Alexander, art by Rob Haynes (Originally published in Gotham Knights #30)
    • This dialogue-free story opens with a criminal running along the rooftops, carrying bags of cash from a bank heist. He eventually stumbles across some directional signs and the Bat-Signal, and drops the loot in terror to save himself. Harley Quinn then emerges from the shadows, giggling and clutching a flashlight with a miniature Bat-Signal, which she has used to frighten off her accomplice and take all of his ill-gotten gains for herself. However, the flashlight appears to be malfunctioning, as it continues to show a signal on the wall even after Harley turns it off. When she investigates, she discovers that the "signal" is actually the insignia on Batman's costume--he has been watching from the shadows as well, and spoils Harley's joke.
  • "Hands" - Written by Scott Peterson, art by Danijel Zezelj (Originally published in Gotham Knights #31)
    • Highlights two under-explored sides of Batman, those of forensic investigator and granter of absolution. Batman discovers an old death, and has to decide the path of least heartache when conveying the results of his investigation into the death of a young child to her surviving family.
  • "Toyride" - Written by Mark Askwith, art by Michael William Kaluta (Originally published in Gotham Knights #32)
    • Three little girls write a letter to Bruce Wayne in which they tell a story about their strange classmate, who has a genius-level intellect and a knack for invention. Recently, the boy tried to destroy Batman by planting computer technology in a gigantic dinosaur statue; the boy used a remote control to steer the beast as the Caped Crusader struggled to contain it. The three girls saved the day by attacking their classmate and stealing his remote, defeating him. The letter ends with a "thank you," as Wayne has had the dinosaur filled with concrete and turned into the centerpiece for a playground for Gotham's children, including three small but brave heroes.
  • "The Monument" - Written by Darwyn Cooke, art by Bill Wray (Originally published in Gotham Knights #33)
    • A wealthy philanthropist erects a tribute statue of Gotham's Guardian in Robinson Park. Mixed reactions see the silent statue act as a shrine, a deterrent a homeless shelter and a graffiti-covered wall. Acting as a focal point for the pro-/anti-Batman camps, Professor Hugo Strange decides to destroy in a symbolic gesture that emphasises his belief that Batman represents the worst of humanity. While Batman must apprehend Strange, he has more mixed feelings about saving the statue, declaring his aversion to a fan-club.
  • "The Delusions of Alfred Pennyworth" - Written by Danielle Dwyer, art by Scott Morse (Originally published in Gotham Knights #34)
    • Alfred becomes convinced that the benevolent ghost of an old friend is haunting Wayne Manor, but decides not to tell Bruce Wayne, thinking that his master has enough delusions of his own. But Batman knows all.
  • "Cornered" - Written by Brian Azzarello, art by Jim Mahfood (Originally published in Gotham Knights #35)
    • A world-weary Gothamite living in a crime-riddled area of the city witnesses Batman's just-too-late attempts to stop street hoods engaging in a gunfight, and questions the Batman's methods. Would not a real threat be more likely to inspire the younger generation to be law-abiding than an urban legend? For the opposite suggestion, read Todd Dezago's "Urban Legend".
  • "Fear is the Key" - Written by Mike Carey, art by Steve Mannion & Hilary Barta (Originally published in Gotham Knights #37)
    • An medieval sorcerer conjures a Bat-demon, but is revealed to be the Scarecrow, who has inadvertently absorded a high dosage of an experimental hallucinogen and his own fear toxin. Triumphing over impossible odds, the Batman returns Scarecrow to Arkham Asylum, where he ponders the incredible resilience of Batman, who must similarly have been hallucinating wildly, and yet managed to maintain a grip on reality.
  • 'Untitled' - Written by Ann Nocenti, art by John Bolton (Originally published in Gotham Knights #38)
    • The seedy underbelly of the Gotham underworld includes a large number of criminals who need the vicarious thrill of seeing Batman - and Catwoman - trussed, tortured and killed. One man runs a small 'business' to provide just such a thrill.
  • "Sunrise" - Written by Alex Garland, art by Sean Phillips (Originally published in Gotham Knights #39)
    • An elderly Gothamite encounters a recovering Batman, and muses on the importance of memories, mementos and the privileges and responsibilities of old age.
  • "Neighbourhood" - Written by Robert Rodi, art by Jon Proctor (Originally published in Gotham Knights #40)
    • Petty criminal Rico Tagliani lives in perpetual fear of the Batman for decades, getting increasingly more paranoid as time passes. Ultimately his paranoiaic delusions lead him to larger crimes, even as it is revealed that there is always truth behind fears of the Dark Night Detective. See also Ed Brubaker's "I'll Be Watching," for a similar story with different actions and results.
  • "I'll Be Watching" - Written by Ed Brubaker, art by Ryan Sook (Originally published in Gotham Knights #41)
    • The janitor at Sprang Hall, Gotham's juvenile correctional facility, recalls the event that set him on his path to redemption and sees the guiding presence of Batman as a perpetual and comforting reminder of his new life. Meanwhile, Batman's inspirational second-chance offer is shown to be neither unique nor forgotten.
  • "Gargoyles of Gotham" - By Dean Motter (Originally published in Gotham Knights #42)
    • An art exhibition featuring photographs of some of Gotham's gargoyles allows art patron Bruce Wayne to recall his own memories of such omnipresent parts of the city's landscape, including their structural integrity and the secrets some of them hide, including one nick-named "Clark," who secretly guards the garb of one Bruce Wayne when his alter-ego is on patrol.
  • "Snap" - Written by John Ostrander, art by Philip Bond (Originally published in Gotham Knights #43)
    • A down-on-his-luck photojournalist attempts to get photographic proof of Batman's existence. Attempts to bribe Commissioner Gordon fail, and a staged crime scene makes the photographer into a criminal himself. Both Gordon - and Batman himself - reiterate the importance of the unreality of the urban legend. For a more understanding photographers take on the rights and wrongs of photographing the Batman, see Todd Dezago's "Urban Legend". For the opposite suggestion on Batman's status as an urban legend, read Brian Azzarello's "Cornered".
  • "The Best of Gotham" - By Jill Thompson (Originally published in Gotham Knights #44)
    • A newspaper-style text and 'photos' guide to some of Gotham's "must see" highlights, including mentions of the philanthropy of Gotham's most famous son, as well as the inspirational activities of the city's protector, which can be seen in the theaters, stand-up clubs, clothes shops, night clubs and a tailored museum: "Hideout" showcasing some of the items confiscated from Batman's rogues gallery, and funded by the Martha Wayne Outreach program.
  • "Sidekick" - Written by Kimo Temperance, art by Nathan Fox (Originally published in Gotham Knights #45)
    • Batman has to carry out his patrol while babysitting a child who has been abandoned on the Batmobile by someone eager for fame.
  • "Urban Renewal" - Written by Will Pfeifer, art by Brent Anderson (Originally published in Gotham Knights #46)
    • Writer/photographer Daniel McKinley notes the changing face of Gotham - and the world - from the kitsch architecture of "buildings shaped like cash registers" to the faceless conformity of the modern era. Turned down by publisher after publisher, he has almost resigned himself to writing a book about "gargoyle-covered skyscrapers," when his proposal is accepted by Signal Publishing, a division of Wayne Enterprises. Bruce Wayne, like McKinley, has a keen sense of nostalgia. See also Dean Motter's "Gargoyles of Gotham" for more on those iconic structures.
  • "Riddle Me This" - Written by Judd Winick, art by Whilce Portacio (Originally published in Gotham Knights #47)
    • The Riddler, in a series of highlights from across his career runs through a series of riddles before settling on one which describes his nemesis, as well as indulging in a spot of soul-searching, concluding that he wants to be caught.
  • "The Mob is Dead, Long Live the Mob" - By Eric Cherry (Originally published in Gotham Knights #48)
    • A former snitch tries to set himself up as a new mob boss, using Batman as a cover by feeding him information about minor drug deals while the major ones are carried out with impunity. The new "Boss" is ultimately brought low by another snitch who fears that Batman is now in the employ of the gangs.
  • "Fear is the Key" - Written by Geoff Johns, art by Tommy Castillo & Rodney Ramos (Originally published in Gotham Knights #49)
    • Scarecrow runs through a litany of phobias, and regrets that his own addiction to fear has been compromised by an increasing immunity to his toxins. There is always something to fear, however, and for the Scarecrow, Batman is both the ultimate fear and the ultimate thrill.
  • "The Gasworks" - Written by Mike Mignola, art by Troy Nixey (Originally published in Gotham Knights #36)
    • Two villains attempt to use a powerful hallucinogenic compound to incapacitate Batman and kill him. In an ironic twist of events, they manage to disable him enough that he cannot subsequently come to their rescue.
NOTE: "The Gasworks" is the only "Black & White" story to include color - red permeates the story, the color of both the hallucinogen and the blood. This is likely the reason this story was moved to the end of the volume.
  • DC Direct Gallery - Showcasing the first dozen DC Direct-produced statues in the "Batman: Black and White" series.
    • Eduardo Risso's statue. (Sculpted by Tony Cipriano.) /Simon Bisley's statue. (Sculpted by William Paquet.)
    • Sketches by Alex Ross.
    • Sketches by Paul Pope. (Designs for his Batman: Year 100 Batman.)
    • Brian Bolland's statue. (Sculpted by Jack Mathews. (sic))
    • Small rough sketches and statue by Tim Sale. (Statue sculpted by Jonathan Matthews.)
    • Steve Rude's statue. (Sculpted by Jonathan Matthews.)
    • Sketches by Steve Rude.
    • Rough sketches by Jim Lee.
    • Sketch and statue by Jim Lee. (Statue sculpted by Erick Sosa.)
    • Individual cowl and close-up sketches by Kelley Jones.
    • Kelley Jones' statue. (Sculpted by Ray Villafane.)
    • Matt Wagner's statue and sketches. (Statue sculpted by Paul Harding.)

Collected editions[edit]

Volume 1 was subsequently collected as an oversized hardcover and then reprinted as a trade paperback in 1998. In September 2007, it was reissued in a "new edition", in normal comics TPB format (ISBN 1-4012-1589-0).[6]

Volume 2 was initially published in September 2002 as a hardcover book (ISBN 6194123175). It collected black-and-white Batman backup stories from the first sixteen issues of Batman: Gotham Knights, as well as five never-before-published tales. The five new stories were subsequently included in later issues of Batman: Gotham Knights. Volume 2 was released as an oversized softcover in October 2003 (ISBN 1-56389-917-5).

Volume 3 was published as a comics-sized hardcover in May 2007 (ISBN 1-4012-1531-9). It collected the black-and-white Batman backup stories from Batman: Gotham Knights #17-49. A softcover edition was released in 2008 (ISBN ISBN 978-1-4012-1354-1).[7]

Motion comics[edit]

Warner Premiere, Warner Bros Digital Distribution, and DC Comics produced semi-animated adaptations of several of the Black and White short stories and released them as motion comics. The motion comics were produced and directed by Ian Kirby and feature an original musical score by composer Adam Fulton and voice-actors, such as Michael Richard Dobson as the voice of Batman, The Joker, Thomas Wayne and Alfred Pennyworth, John Fitzgerald as Commissioner Gordon and Two-Face, Janyse Jaud as Harley Quinn, Catwoman and Martha Wayne and Joseph May as Superman. Currently 10 episodes divided into 2 seasons are available via online streaming off of TheWB's website. The episodes are also available for purchase online via Apple's iTunes Store and other distribution channels, such as Amazon's Video On Demand for $0.99/2-episodes.

Season 1 Episode List (debuted on 12/8/2008):

  • 1 - Here Be Monsters
  • 2 - Broken Nose
  • 3 - Two of a Kind
  • 4 - Case Study
  • 5 - Black and White Bandit
  • 6 - Punchline
  • 7 - Good Evening Midnight
  • 8 - Hide and Seek
  • 9 - Night After Night
  • 10 - Perpetual Mourning

Season 2 Episode List (debuted 7/23/2009):

  • 1 - I'll Be Watching
  • 2 - The Call
  • 3 - Monsters in the Closet
  • 4 - A Game of Bat and Rat
  • 5 - Hands
  • 6 - Sunrise
  • 7 - In Dreams
  • 8 - Heroes
  • 9 - Legend
  • 10 - Blackout

Critical reaction[edit]

IGN Comics ranked Volume 1 of Batman: Black and White #14 on a list of the 25 greatest Batman graphic novels, saying: "Though having just eight pages to tell a story can certainly be confining, it also proves to be liberating. Forced to scrap complex plots but create something indelible, these tales are often parables, send-ups or unforgettable vignettes surrounding the Batman."[8]

Merchandise[edit]

Statues[edit]

Artist David Mazzucchelli with the statue based on his artwork in the series at a June 28, 2012 book signing at Midtown Comics in Manhattan.

Several Batman: Black and White statues have been released by DC Direct. Most of these are based on the Batman designs used by various artists for their contributions to the three volumes of Black and White stories. Artists' interpretations of Batman (along with other characters) currently released include:

[9] [10]

Awards[edit]

  • 1997:[3]
    • Won "Best Short Story" Eisner Award, for "Heroes"
    • Won "Best Anthology" Eisner Award
    • Nominated for "Best Limited Series" Eisner Award
    • Nominated for "Best Short Story" Eisner Award, for "Perpetual Mourning"
    • Scott Peterson/Mark Chiarello nominated for "Best Editor" Eisner Award
  • 2003: Won "Best Graphic Album--Reprint" Eisner Award, for Batman: Black and White Volume 2[11]

Notes[edit]

  1. ^ a b c d e f g Chiarello, Mark "Introduction" in Chiarello, Mark and Peterson, Scott (ed.s) Batman Black and White (DC Comics, 1998) ISBN 1-56389-439-4
  2. ^ Batman Black and White Preview (1996) at the ComicBookDB. Retrieved February 2, 2008.
  3. ^ a b c 1997 Will Eisner Comic Industry Award Nominees and Winners, Comic Book Award Almanac
  4. ^ DCU Guide: Gotham Knights. Retrieved February 2, 2008.
  5. ^ DCU Guide: Gotham Knights #9. Retrieved February 2, 2008.
  6. ^ Batman: Black & White Volume 1 - New Edition, DC Comics.com. Retrieved February 2, 2008.
  7. ^ Batman: Black and White Volume 3, DC Comics.com
  8. ^ The 25 Greatest Batman Graphic Novels, Hilary Goldstein, IGN, June 13, 2005
  9. ^ http://www.dccomics.com/dccomics/search/?q=black+and+white&x=0&y=0 Retrieved January 10, 2012.
  10. ^ http://www.batmanblackandwhite.com Retrieved March 24, 2012.
  11. ^ 2003 Will Eisner Comic Industry Award Nominees and Winners, Comic Book Award Almanac

References[edit]

External links[edit]