Before you venture further, please note that this article is full of SPOILERS regarding Batman in The New 52! (I am compelled always to include the !) up to and including #25. So please don’t read on if that is going to bother you.
In 2013 DC released the Zero Year story arc. It covers several issues of Batman and also ties in other DC titles. Zero Year covers Batman’s origin – his transition from being a non-costumed vigilante to donning the cape and cowl. However, this is not the first time we have read such a story. This tale was first told in Batman’s seventh appearance in Detective Comics – #33 November 1939. Since then, Batman’s beginning has been repeated multiple times, most notably by Frank Miller in Batman: Year One. This begs the question – why? To some (and I’ve seen comments online expressing this) it seems a tiresome, lazy exercise in plot repetition. Why have DC sought to repeat Batman’s genesis again in Zero Year?
Here is the cynical answer; one that strikes me in my darkest hours: MARKETING. That single word could sum up all research on Batman’s 75 years. Batman is the ‘cash-cow’ of DC Comics and Warner Bros. – a mature product that still makes profits. As part of managing the product life cycle of The Bat, DC recognizes that customers buy into Batman at different points in their lives. The main entry point to comic reading is the 15-25 year old demographic. This age group is also a big consumer of other types of media – video games, cinema, Blu-ray – and thus are likely to buy other Batman merchandise to go along with their comic. Therefore, DC created Zero Year in a company-wide effort to ensnare young people and their money. Boo-hiss! How cynical! How awful! And how utterly in keeping with the history of the major comic publishers, where some of the first-ever comic books published were advertisement give-aways.
But in these dark hours when the Marketing Joker laughs in my face at my ‘SHUT UP AND TAKE MY MONEY!’ gullibility, someone always comes to save me. A pair of opaque white eyes flash past me in the darkness, a gloved fist swings through the gloom, and when he meets with my cowardly and superstitious tormentor he knocks it sideways. This is because – in spite of such cynical and awful corporatism – Batman means something to me; something special and unique. This uniqueness is derived, not only from everything I know of him, but also everything I know of me. I bring my own beliefs, my own values to bear upon his broad shoulders and he carries them superbly. In doing so, I am no different to any other fan – we all have our own Batman.
So, let’s give another answer to why Zero Year exists; a reason as valid as any other. That is:
New readers want Batman’s story told to them, in their way, for them to call their own.
Therefore, in order to give new readers in the target demographic their own Batman, Scott Snyder and Greg Capullo have done this in the most direct way possible. They have created a Batman origin story where he acts like a 25 year-old man. And in doing so, Messrs. Snyder and Capullo have provided a real contrast to the two seminal texts on Batman’s origin – Detective Comics #33 and Batman: Year One. But this fact is also very interesting. Why is youthfulness so absent in these earlier versions?
Readers know that Batman was once a young person because of his all-important origin stories. Canon states that Thomas and Martha Wayne were murdered when Bruce was eight. The 1939 original does not give Bruce’s age explicitly when he decides on the costume, but by inference from other text within the story, it seems that he is 23 years old here:
As you can see, Bruce appears in desperate need of a facial in both of these representations. Readers would be forgiven for thinking he was 35, not 25. As well as his features, Batman does not act in an archetypal youthful manner either. This is because Batman is not a joyful figure; he has a great responsibility to endure. Therefore, youth is represented by the Robins, by the Batgirls. So Batman has been forever doomed by his nature. The trauma he witnessed at the age of eight has – up to now – largely excluded him from ever having a childhood, a teendom, an early-twenties. He is suspended in a crotchety, grumpy middle-age. Some people like that about Batman. Miller wrote Year One in the eighties when there was a prolific representation of young people in the media – their lifestyle, their fashion, their music (MTV started broadcasting in 1981). In other words, there was a strong youth culture at the time. But in Year One there is no trace of this; younger people may as well not exist. Indeed, it is hard to imagine that his Batman is ever going to team-up with a younger person. Miller effectively drowns Robin in a hessian sack like a newborn kitten because Year One is all about the writer’s own Dynamic Duo; the grown-up, manly-men of Bruce Wayne and Jim Gordon – Dark Knight and Mr. Movember.
Furthermore, the transition between childhood and adulthood has not always meant the same thing or been represented in the same way. For 1939 Bruce, the concept of the rebellious teenager was not his experience of growing up. The dawning of young punkery seems set in our minds from 1950 onwards. This is an over-simplification. In reality there was rebellion and youth culture in the 30s but it was not as widely represented in the media of the time. Hence, if Bruce had first become Batman in the rock ‘n’ roll age he might have screamed at Alfred like James Dean does to his well-meaning elders in Rebel Without A Cause. Instead, the popular image of young people in the Golden Age revolved more around Andy Hardy movie-types; affable, clean-cut young men who had good relationships with their parents. College in thirties movies do not allude to the kind of raucousness of Animal House either. Instead, 30s college men dedicate themselves to study, to football and to close-harmony singing in barbershop quartets. Then when all this youthful niceness is done, 30s boys leave college and immediately take up jobs in American industries. They wear suits and smoke pipes. They marry quickly and settle down. No flat-sharing with your best friend, playing on the PS4 all night-long, chugging soda and doing each other ‘a solid’ like in Regular Show. Nope. You’re a man now, Bruce. You must put Arkham Origins down and go smoke your pipe at Wayne Industries.
In the UK, we call this a dirt-bike. Young men ride these (mostly illegal) vehicles round our suburbs, rattling our teeth loose with the tremendous noise emitted from stinking, belching exhaust pipes. And older people shake their fists at them and shout, ‘They should be locked up, the lot of ‘em!’ or words to that effect.
Let us now consider the first appearance of the Batmobile in Zero Year. The message this vehicle conveys is ‘My owner has too much money and an over-active imagination!’ I guarantee that the first time Alfred saw this, he went away and quietly googled ‘How to tell if your boy is on drugs.’
And finally, here we have the face of Zero Year Bruce Wayne:
Now, that is a face my grandma would love. She would pat that face on the cheek and ask if it had eaten that day. Then she’d ignore its answer entirely and force it to sit down to tea and cake anyway. It is a baby-face, the face of a man who was once someone’s son, someone’s grandson. It is a 25 year-old face.
As well as looking young and driving ridiculous automobiles, Zero Year Batman acts his age. He gives bad guys the finger, he answers back and he goes against the advice of his parent-figure, Alfred. Therefore Zero Year represents a serious attempt to give Bruce a youth period, albeit still within the confines of canon – a man forced to eschew the normal experiences of growing-up to become the world’s greatest crimefighter. This emphasis on youth is why Zero Year is so fantastic and vital. Yes – DC Comics grasps at young people’s money, but Batman needs young people too. Without new readers, he would die along with his ageing readership. Furthermore, the young readers of today become the writers of tomorrow. They will bring their own ideas, their own experiences, their own meaning to Batman. The reason he has lasted for 75 years has as much to do with our own fan interpretation of him as it does from any marketing drive. So re-interpreting the Batman origin story, which is the fundamental feature of the character, also introduces him to a new generation for these purposes. And this process will be repeated, I guarantee.
The comics industry was born out of the basest of notions – profit. But because it is staffed by talented people like Snyder and Capullo, they make something beautiful out of it. Zero Year Batman is beautiful, though I’m sure its creators would laugh at that sentiment. Even though I am outside the target demographic, my Batman seems to have benefitted from Zero Year. I guess he wanted to know what it was like to be young.
Okay, if you haven’t already gathered, I am a bit of a fan of The New 52! Batman so I urge you to go read it. This post was not designed to go into laborious detail about the comic. Instead it was designed to get you thinking about some of the concepts that may go into making it.
I would therefore encourage you to go and read Batman. For the full back-catalogue of New 52! Batman, go to www.comixology.com or ask at your local comic book store – they may have remaining copies.