User:WesleyDodds/tempwork

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Contents 1 Fictional character history 1.1 Silver Age 1.2 Modern Batman 2 Characterization 2.1 Bruce Wayne 3 Skills, abilities, and resources 3.1 Costume 3.2 Equipment 3.3 The Batcave 4 Cultural impact 4.1 Merchandise 4.2 Homosexual interpretations 4.3 Homages and parodies 5 See also 6 References 7 Footnotes 8 Characterization 9 Musical style 9.1 Songwriting and lyrics 10 Legacy 11 Random citations

[edit] Fictional character history

[edit] Silver Age

See also: Batman (Earth-Two)

The Silver Age of comic books in DC Comics is sometimes held to have begun in 1956 when the publisher introduced Barry Allen as a new, updated version of The Flash. Batman is not significantly changed by the late 1950s for the continuity which would be later referred to as Earth-One. The lighter tone Batman had taken in the period between the Golden and Silver Ages led to the stories of the late 1950s and early 1960s that often feature a large number of science-fiction elements, and Batman is not significantly updated in the manner of other characters until Detective Comics #327 (May 1964), in which Batman reverts to his detective roots, with most science-fiction elements jettisoned from the series.

After the introduction of DC Comics' multiverse in the 1960s, it is retroactively established that stories from the Golden Age star the Batman of Earth-Two, a character from a parallel world. This version of Batman partners with and marries the reformed Earth-Two Catwoman, Selina Kyle (as shown in Superman Family #211) and fathers Helena Wayne, who, as the Huntress, becomes (along with the Earth-Two Robin) Gotham's protector once Wayne retires from the position to become police commissioner, a position he occupies until he is killed during one final adventure as Batman. Batman titles however often ignored that a distinction had been made between the pre-revamp and post-revamp Batmen (since unlike Flash or Green Lantern, Batman comics had been published without interruption through the 1950s) and would on occasion make reference to stories from the Golden Age.^[1] Nevertheless, details of Batman's history were altered or expanded upon through the decades. Additions include meetings with a future Superman during his youth, his upbringing by his uncle Philip Wayne (introduced in Batman #208, Jan./Feb. 1969) after his parents death, and appearances of his father and himself as prototypical versions of Batman and Robin, respectively.^[2][3] In 1980 then-editor Paul Levitz commissioned the Untold Legend of the Batman limited series to thoroughly chronicle Batman's origin and history.

Batman meets and regularly works with other heroes during the Silver Age, most notably Superman, whom he began regularly working alongside in a series of team-ups in World's Finest Comics, starting in 1954 and continuing through the series' cancellation in 1986. Batman and Superman are usually depicted as close friends. Batman becomes a founding member of the Justice League of America, appearing in its first story in 1960s Brave and the Bold #28. In the 1970s and 1980s, Brave and the Bold became a Batman title, in which Batman teams up with a different DC Universe superhero each month.

In 1969, Robin attends college as part of DC Comics' effort to revise the Batman comics. Additionally, Batman also moves from Wayne Manor into a penthouse apartment atop the Wayne Foundation building in downtown Gotham City, in order to be closer to Gotham City's crime. Batman spends the 1970s and early 1980s mainly working solo, with occasional team-ups with Robin and/or Batgirl. Batman's adventures also become somewhat darker and more grim during this period, depicting increasingly violent crimes, including the first appearance (since the early Golden Age) of an insane, murderous Joker, and the arrival of Ra's Al Ghul. In the 80s, Dick Grayson becomes Nightwing.

In the final issue of Brave and the Bold in 1983, Batman quits the Justice League and forms a new group called the Outsiders. He serves as the team's leader until Batman and the Outsiders #32 (1986) and the comic subsequently changed its title.

[edit] Modern Batman

After the 12-issue limited series Crisis on Infinite Earths, DC Comics rebooted the histories of some major characters in an attempt at updating them for contemporary audiences. Frank Miller retold Batman's origin in the storyline Year One from Batman #404-407, which emphasizes a grittier tone in the character.^[4] Though the Earth-Two Batman is erased from history, many stories of Batman's Silver Age/Earth-One career (along with an amount of Golden Age ones) remain canonical in the post-Crisis universe, with his origins remaining the same in essence, despite alteration. For example, Gotham's police are mostly corrupt, setting up further need for Batman's existence. While Dick Grayson's past remains much the same, the history of Jason Todd, the second Robin, is altered, turning the boy into the orphan son of a petty crook, who tries to boost the tires from the Batmobile.^[5] Also removed is the guardian Phillip Wayne, leaving young Bruce to be raised by Alfred. Additionally, Batman is no longer a founding member of the Justice League of America, although he becomes leader for a short time of a new incarnation of the team launched in 1987. To help fill in the revised backstory for Batman following Crisis, DC launched a new Batman title called Legends of the Dark Knight in 1989 and has published various miniseries and one-shot stories since then that largely take place during the "Year One" period. Various stories from Jeph Loeb and Matt Wagner also touch upon this era.

In 1988's "Batman: A Death in the Family" storyline from Batman #426-429 Jason Todd, the second Robin, is killed by the Joker. Subsequently Batman takes an even darker, often excessive approach to his crimefighting. Batman works solo until the decade's close, when Tim Drake becomes the new Robin.^[6] In recent years Batman writers have resurrected the Jason Todd character and have pitted him against his former mentor.

Many of the major Batman storylines since the 1990s have been inter-title crossovers that run for a number of issues. In 1993, the same year that DC published the "Death of Superman" storyline, the publisher released the "Knightfall" storyline. In the storyline's first phase, new villain Bane paralyzes Batman, leading Wayne to ask Azrael to take on the role. After the end of "Knightfall", the storylines split in two directions, following both the Azrael-Batman's adventures, and Bruce Wayne's quest to become Batman once more. The story arcs realign in "KnightsEnd", as Azrael becomes increasingly violent and is defeated by a healed Bruce Wayne. Wayne hands the Batman mantle to Dick Grayson (then Nightwing) for an interim period, while Wayne trains to return to his role as Batman.^[7]

1994's company-wide crossover Zero Hour changes aspects of DC continuity again, including those of Batman. Noteworthy among these changes is that the general populace and the criminal element now considers Batman an urban legend rather than a known force. Similarly, the Waynes' killer is never caught or identified, effectively removing Joe Chill from the new continuity, rendering stories such as "Year Two" non-canon.

Batman once again becomes a member of the Justice League during Grant Morrison's 1996 relaunch of the series, titled JLA. While Batman contributes greatly to many of the team's successes, the Justice League is largely uninvolved as Batman and Gotham City face catastrophe in the decade's closing crossover arc. In 1998's "Cataclysm" storyline, Gotham City is devastated by an earthquake. Deprived of many of his technological resources, Batman fights to reclaim the city from legions of gangs during 1999's "No Man's Land." While Lex Luthor rebuilds Gotham at the end of the "No Man's Land" storyline, he later frames Bruce Wayne for murder in the "Bruce Wayne: Murderer?" and "Bruce Wayne: Fugitive" story arcs; Wayne is eventually acquitted.

DC's 2005 limited series Identity Crisis, reveals that JLA member Zatanna had edited Batman's memories, leading to his deep loss of trust in the rest of the superhero community. Batman later creates the Brother I satellite surveillance system to watch over the other heroes. Its eventual co-opting by Maxwell Lord is one of the main events that leads to the Infinite Crisis miniseries, which again restructures DC continuity. In Infinite Crisis #7, Alexander Luthor, Jr. mentions that in the newly-rewritten history of the "New Earth", created in the previous issue, the murderer of Martha and Thomas Wayne - again, Joe Chill - was captured, thus undoing the retcon created after Zero Hour. Batman and a team of superheroes destroy Brother Eye and the OMACs. Following Infinite Crisis, Bruce Wayne, Dick Grayson, and Tim Drake retrace the steps Bruce had taken when he originally left Gotham City, to "rebuild Batman". In the "Face the Face" storyline, Batman and Robin return to Gotham City after their year-long absence.^[8] Additionally, Bruce adopts Tim as his son. The follow-up story arc in Batman, "Batman & Son", features Talia al Ghul and her son Damian who believes Batman to be his father.

[edit] Characterization

Batman's primary character traits can be summarized as "wealth; physical prowess; deductive abilities and obsession."^[9] The details and tone of Batman's characterization have varied over the years due to different intrepretations. Dennis O'Neil noted that character consistency wasn't a major concern during earlier editorial regimes; he said, "Julie Schwartz did a Batman in Batman and Detective and Murray Boltinoff did a Batman in the Brave and the Bold and apart from the costume they bore very little resemblance to each other. Julie and Murray did not coordinate their efforts, did not pretend to, did not want to, were not asked to. Continuity was not important in those days."^[10]

A main component that defines Batman as a character is his origin story. Bob Kane said he and Bill Finger discussed the character's background and decided that "there's nothing more traumatic than having your parents murdered before your eyes."^[11] Batman is thus driven to fight crime in order to avenge the death of his parents.^[9] While details of Batman's origin have varied from version to version, the "reiteration of the basic origin events holds together otherwise divergent expressions" of the character.^[12] The origin is the source of many of the character's traits and attributes, which play out in many of the character's adventures.^[9]

Batman is often treated as a vigilante by other characters in his stories. Frank Miller views the character as "a dionysian figure, a force for anarchy that imposes an individual order."^[13] Dressed as a bat, Batman deliberately cultivates a frightening persona in order to aid him in crime fighting.^[14]

[edit] Bruce Wayne

In his secret identity, Batman is Bruce Wayne, a wealthy businessman who lives in Gotham City. Like Superman, the prominent persona of Batman's dual identities varies with time. Modern-age comics have tended to portray "Bruce Wayne" as the facade, with "Batman" as the truer representation of his personality (in counterpoint to the post-Crisis Superman, whose "Clark Kent" persona is the 'real' personality, and "Superman" is the act).

To the world at large, Bruce Wayne is often seen as an irresponsible, superficial playboy who lives off his family's personal fortune (amassed when Bruce's family invested in Gotham real estate before the city was a bustling metropolis) and the profits of Wayne Enterprises, a major private technology firm that he inherits. Forbes Magazine estimated Bruce Wayne to be the 7th-richest fictional character with his $6.8 billion fortune.^[15] However, Wayne is also known for his contributions to charity, notably through his Wayne Foundation charity.^[16] Bruce creates the playboy public persona to aid in throwing off suspicion of his secret identity, often acting dim-witted and self-absorbed to further the act.

[edit] Skills, abilities, and resources

Unlike many superheroes, Batman has no superpowers and instead relies on "his own scientific knowledge, detective skills, and athletic prowess."^[17] Batman is physically at the peak of human ability in dozens of areas, notably martial arts, acrobatics, strength, and escape artistry. Intellectually, he is just as peerless; Batman is one of the world's greatest scientists, criminologists, and tacticians, as well as a master of disguise, often gathering information under the identity of Matches Malone. He is regarded as one of the DC Universe's greatest detectives. Rather than simply outfighting his opponents, Batman often uses cunning and planning to outwit them. In Grant Morrison's first storyline in JLA, Superman describes Batman as "the most dangerous man on Earth," able to defeat a team of superpowered aliens all by himself in order to rescue his imprisoned teammates.^[18]

[edit] Costume

Main article: Batsuit

Batman's costume incorporates the imagery of a bat in order to frighten criminals. The details of the Batman costume change repeatedly through various stories and media, but the most distinctive elements remain consistent: a scallop-hem cape, a cowl covering most of the face featuring a pair of batlike ears, and a stylized bat emblem on the chest, plus the ever-present utility belt. The costumes' colors are traditionally blue and grey, and Batman's gloves typically feature three scallops that protrude from the sides. A yellow ellipse around the bat logo on the character's chest was added in 1964, and became the hero's trademark symbol, akin to the red and yellow "S" symbol of Superman.^[19] The overall look of the character, particularly the length of the cowl's ears and of the cape, vary greatly depending on the artist. Dennis O'Neil said, "We now say that Batman has two hundred suits hanging in the Batcave so they don't have to look the same . . . Everybody loves to draw Batman, and everybody wants to put their own spin on it."^[20]

[edit] Equipment

Batman utilizes a large arsenal of specialized gadgets in his war against crime, the designs of which usually share a bat motif. Comics historian Les Daniels credits Gardner Fox with creating the concept of Batman's arsenal with the introduction of the utility belt in Detective Comics # 27 (July 1939) and the first bat-themed weapons the batarang and the "Batgyro" in Detective Comics #24 and #25 (September; October, 1939).^[21] Many of the items are prefixed with the word "bat" in order to enhance the motif. The 1960s Batman television series took the concept of the bat-arsenal to extremes, with such items as the bat-computer, bat-scanner, bat-radar, bat-cuffs, bat-pontoons, bat-drinking water dispenser, bat-camera with polarized bat-filter, shark repellent bat-spray, and bat-rope. The storyline "A Death in the Family" suggests that given Batman's grim nature, he is unlikely to have adopted the "bat" prefix on his own.

Batman keeps most of his field equipment in his yellow utility belt. Different versions of the belt have these items stored in either pouches or hard cylinders attached evenly around it. Items Batman frequently carries include batarangs, grappling hooks, incendiary devices, and various other items. In some of his early appearances, Batman uses side arms,^[22] but later interpretations of the characters stress an aversion to guns, since they were the type of weapon that killed his parents.

Batman utilizes a number of vehicles in order to move around Gotham City. Batman's primary vehicle is the Batmobile, which is usually depicted as an imposing black car with large tailfins that suggest a bat's wings. Batman's other vehicles include the Batplane (aka the Batwing), Batboat, Bat-Sub, and Batcycle.

When Batman is needed, the Bat-Signal is activated, which shines a bat silhouette over the Gotham City skyline.

[edit] The Batcave

Main article: Batcave

The Batcave is Batman's secret headquarters, consisting of a series of subterranean caves beneath his residence, Wayne Manor. It serves as his command centee for both local and global surveillance, as well as housing his vehicles and equipment for his war on crime. It also is a storeroom for Batman's memorabilia. In both the comic Batman: Shadow of the Bat issue #45, and the 2005 film Batman Begins, the cave is said to have been part of the Underground Railroad. Batman also has several little caches throughout the city, linked together through his computer, where he stores extra equipment.

[edit] Cultural impact

Batman has become a pop culture icon, recognized around the world. The character's presence has extended beyond his comic book origins; events such as the release of the 1989 Batman film and its accompanying merchandising "brought the Batman to the forefront of public consciousness."^[23] In an article commemorating the sixtieth anniversary of the character, The Guardian wrote, "Batman is a figure blurred by the endless reinvention that is modern mass culture. He is at once an icon and a commodity: the perfect cultural artefact for the 21st century."^[24]

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[edit] Merchandise

The Six Flags theme parks feature Batman stunt shows and rides.

Warner Bros. Movie World also has a Batman-themed simulator ride called Batman Adventure - The Ride, with a vertical ride named Batwing Spaceshot opening on 26 December 2006, exactly one year after another Movie World Attraction, Superman Escape.

[edit] Homosexual interpretations

Homosexual interpretations of Batman have been part of academic study of the character since psychologist Fredric Wertham asserted in Seduction of the Innocent that Batman and Robin are lovers. Wertham wrote, "Only someone ignorant of the fundamentals of psychiatry and of the psychopathology of sex can fail to realize a subtle atmosphere of homoeroticism which pervades the adventures of the mature 'Batman' and his young friend 'Robin.'"^[25] Wertham claimed his studies of youths at the Quaker Emergency Service Readjustment Center discovered that "The Batman type of story may stimulate children to homosexual fantasies, of they nature of which they may be unconscious."^[26]

Andy Medhurst wrote in his essay "Batman, Deviance, and Camp" that Batman is interesting to gay audiences because "he was one of the first fictional characters to be attacked on the grounds of his presumed homosexuality," "the 1960s TV series remains a touchstone of camp," and "[he] merits analysis as a notably successful construction of masculinity."^[27]

Creators associated with the character have expressed their own opinions. Writer Alan Grant has stated, "The Batman I wrote for 13 years isn't gay. Denny O'Neil's Batman, Marv Wolfman's Batman, everybody's Batman all the way back to Bob Kane... none of them wrote him as a gay character. Only Joel Schumacher might have had an opposing view." Writer Devin Grayson has commented, "It depends who you ask, doesn't it? Since you're asking me, I'll say no, I don't think he is ... I certainly understand the gay readings, though."^[28] While Frank Miller has described the relationship between Batman and the Joker as a "homophobic nightmare,"^[29] he views the character as sublimating his sexual urges into crime fighting, concluding, "He'd be much healthier if he were gay."^[30] Burt Ward has also remarked upon this interpretation in his autobiography Boy Wonder: My Life in Tights, noting the relationship could be interpreted as a sexual one, with the show's double entendres and lavish camp also possibly offering ambiguous interpretation.^[31]

While changing morals have made the issue less important today, popular culture and a number of artists continue to play off the homosexual connotation of the Batman-Robin relationship against the wishes of the publisher.^[32] One notable example occurred in 2000, when DC Comics refused to allow permission for the reprinting of four panels (from Batman issues 79, 92, 105 and 139) to illustrate Christopher York's paper All in the Family: Homophobia and Batman Comics in the 1950s.^[33] Another happened in the summer of 2005, when painter Mark Chamberlain displayed a number of watercolors depicting both Batman and Robin in suggestive poses. DC threatened both artist and gallery with legal action if they did not cease selling the works and demanded all remaining art, as well as any profits derived from them.^[34]

[edit] Homages and parodies

Given Batman's cultural ubiquity and long-standing iconic status, references to Batman — either as homage, influence, or parody — are common. Several other comic companies have created their own versions of the character, such as Marvel's Nighthawk and Image Comics' Shadowhawk.

[edit] See also

• List of Batman comics

[edit] References

• Beatty, Scott, et al., The Batman Handbook: The Ultimate Training Manual. Quirk Books, 2005. ISBN 1-59474-023-2
• Daniels, Les. Batman: The Complete History. Chronicle Books, 1999. ISBN 0-8118-4232-0
• Daniels, Les. DC Comics: Sixty Years of the World's Favorite Comic Book Heroes. Bulfinch, 1995. ISBN 0-821-22076-4
• Jones, Gerard. Men of Tomorrow: Geeks, Gangsters, and the Birth of the Comic Book. Basic Books, 1995. ISBN 0-465-03657-0
• Pearson, Roberta E.; Uricchio, William (editors). The Many Lives of the Batman: Critical Approaches to a Superhero and His Media. Routledge: London, 1991. ISBN 0-85170-276-7

[edit] Footnotes

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[edit] Characterization

Captain Marvel is "the classic example of American naivete, cheerfulness, and undying optimism."^[1]

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[edit] Musical style

Nirvana was primarily a three-piece rock band that consisted of Kurt Cobain on vocals and guitar, Krist Novoselic on bass, and an assortment of people who handled the drums. Jason Everman and Pat Smear were added to the band's touring line-up on separate occasions as second guitarists so Cobain could focus on singing in concert.

"The crucible at the center of Nirvana’s song furnace is Kurt Cobain’s rhythm guitar. Power chords, low-note riffs and a loose/funky right-hand approach are the key components of the band’s sound and their winning songs. Structurally, the songs are sectional, consisting of very few "cells," usually only two or four bars in length. These are repeated and spliced together in modular fashion, providing the framework for the song. Cobain will often play the verse riff clean first, then double it with distorted guitars when the figure is repeated. The "Big Guitar Solo" is rare for Cobain, who prefers to play slight variations and interpretations of the melody in his single line work. The occasional solo is almost always blues-based, out of tune, and bordering on anarchy—almost an iconoclastic parody of the traditional instrumental break."^[2]

Cobain favored low-end guitar models like the Fender Mustang and the Fender Jaguar primarily because that was all he could afford.^[3]

Grohl's drumming "took Nirvana's sound to a new level of intensity."^[4]

"Dave's contribution to the band has largely been unsung. His powerful drumming propelled the band to a whole new plane, visually as well as musically. Try to image "Come as You Are" without the inspired cymbal-bashing near the end that simply sends the track through the roof, the might snare rolls that machine-gun the band in the chorus of "in Bloom." Although Dave is a merciless basher, his parts are also distinctly musical--it wouldn't be difficult to figure out what song he was playing even without the rest of the music."^[5]

During live performances, Cobain and Novoselic would always tune their guitars to E flat.^[6] Cobain noted that "We play so hard we can't tune our guitars fast enough."^[3] The band made a habit of destroying their equipment after shows. Novoselic said he and Cobain created the "schtick" inorder to get off of the stage sooner.(Nevermind DVD)

• loud/quiet dynamic--Pixies
• influences: Beatles, heavy metal, hardcore, noise rock, R.E.M.
• Grohl's loud drumming

[edit] Songwriting and lyrics

Everett True said in 1989, "Nirvana songs treat the banal and pedestrian with a unique slant."^[7] Cobain said, "When I write a song the lyrics are the least important subject. I can go through two or three different subjects in a song and the title can mean absolutely nothing at all."^[8]

"It [songwriting] is usually done on an acoustic guitar, sitting around in my underwear, just picking out riffs, pieces of songs," Cobain said on Australian radio. "Chris and Dave have a big part in deciding on how long a song should be and how many parts it should have. So I don't like to be considered the sole songwriter. But I do come up with the basics of it. I come up with the singing style and I write the lyrics, usually minutes before we record."^[9]

• Most songs written by Kurt; even created the drum parts
• Burroughs cut-up technique
• often wrote lyrics at last moment

[edit] Legacy

• brought alternative to the mainstream
• "voice of a generation"
• influence on later bands
• regarded as one of the greatest rock bands ever

[edit] Random citations

"The succes of college radio, the Amerindie scene, the formation of alternative music departments at record companies, the International Pop Underground, Nirvana. Ultimately, you can lay it all at R.E.M.'s feet." Despite the groundwork laid for them and their predecessors, "Even so, it was R.E.M. and only R.E.M. who galvanized the entire subculture and made it into a community."^[10]

Nils Bernstein said, "Big Black, Scratch Acid, and Killdozer [...] Those were the bands that got everyone turned on to having a lot heavier sound."^[11]