Flashpoint the world of flashpoint featuring batman

Whether Shade himself passes to the DC New 52 is left nicely ambiguous. Secret Seven serves as kind of a lead-in to Milligan's Justice League Dark series, in tone and in the characters who appear if not in the story events themselves. The story starts right in the middle of things, purposefully confusing, and Milligan's Shade, the Changing Man could as easily be his old DC Universe iteration as the one of the Flashpoint universe (the story suggests Shade spans multiple realities).

Peter Milligan's Secret Seven story that ends the book may be the best or worst of the lot, depending on your point of view. Palmiotti's story is like a 'pirate procedural,' if there is such a thing the plot is good, though the story is marred by some wooden dialogue and the art here, too, falls to pieces after Bennett departs. Jimmy Palmiotti and one of my favorite artists, Joe Bennett, tell a pirate tale that's engaging because they hew to the (imagined) rules of piracy - honor, loyalty, rivalry between boats, and so on. The difficulty, as with many Flashpoint miniseries, is that we lose the first-issue artist for the second and third issues I appreciated that the editors kept the Deadman story un-inked all the way through, but the support artists don't match Mikel Janin's work at the start.Дeadman has little to do with Flashpoint's main action, and even though Aquaman appears in the next story Deathstroke and the Curse of the Ravager, Deathstroke is even farther removed. The story's also filled with a bunch of unusual cameos, if that's your thing - Ragdoll and King Shark, otherwise unlikely to appear with Deadman and Dr. Krul has the characters of idealistic Dick Grayson and self-centered Deadman Boston Brand right enough that one might very well believe this could be the fate of these characters were circumstances otherwise. Krul's Deadman and the Flying Graysons is enjoyable in its own right.

None of the rest of the stories in this book come near to Azzarello's, but J.T. Azzarello pulls no punches, so to speak, and the story is better for it. Azzarello uses the violence to great effect - it is necessary, far from gratuitous - but bolder than what one normally expects from often-milquetoast crossover tie-in issues. The big reveal in Knight of Vengeance had already been spoiled for me, but I still found some surprise in the startling violence of the story. That this is the fate of the Wayne family seems almost worse than death by the hands of Joe Chill none of the Waynes, in essence, survive. Knight of Vengeance stands out against the backdrop of Flashpoint, however, at least in part because it suggests an alternate view of events - in the main series, Thomas Wayne seems to praise Bruce's choices in the letter he sends across dimensions, but Azzarello's is perhaps the more realistic view, presenting the role of Batman as a gruesome job, destructive and unenviable. This is not the first time we've seen the elder Waynes regret their son's superheroic choices (see Greg Rucka's Batman: Death of the Maidens) and Azzarello and Risso offer an equally dark take on Batman's origins in Batman: Broken City. This fact is so horrific, Azzarello suggests, as to completely fracture the Joker's hard-won sanity. When Thomas dies, Bruce becomes Batman when Bruce dies, Thomas becomes Batman the family is locked in a vicious cycle with the so-called Knight of Vengeance.

The Flashpoint Batman succeeds where 'our' Batman has failed, bringing a small semblance of sanity to the Joker, but what sparks the Joker's insanity again is this knowledge: that in at least two universes and likely more, the murder of Wayne family members drives the survivor to become the Batman. Notable also in the book is Brian Azzarello and Eduardo Risso's much lauded Batman: Knight of Vengeance story, significant not solely for the surprises it offers but also for what it has to say about the legacy of the Batman.ДЄzzarello's three-issue Knight of Vengeance, collected first here, tells us early on that the world is a bad place, and let's not mistake this as a commentary on the Flashpoint universe alone. Superman and Wonder Woman (and with that, Emperor Aquaman) weaved in and out of the front lines of the Atlantis/Amazon conflict, as did Lois Lane, Traci's 13's World of Flashpoint and others, whereas the Batman book often demonstrates the 'average citizen's' point of view. World of Flashpoint Featuring Batman distinguishes itself among the Flashpoint tie-in books I've covered so far in that it's the first to tell stories truly removed from the events of the main Flashpoint storyline.

Flashpoint the world of flashpoint featuring batman