As part of the marketing blitz for the movie, the comic version of Batman naturally sold batloads [Editor's note: we apologize for nothing] and is a fixture of many a 30-something's comics collection. In an effort to extort as much as they could from the fanbase, DC Comics made the book available in two formats: a newsstand-friendly comic that set readers back a mere $2.50 and a prestige format version) with a painted cover and spine) that retailed for $4.95. Personally, the cheaper version’s cover has always appealed to me more, but I’ll admit that Batman kicking a clown has a visceral appeal to me than Batman standing on a gargoyle, even if it's nicely rendered. No matter what version you bought though, the interiors were the same, and they were among the best drawings of Jerry Ordway's already distinguished career.
Unfortunately, even with scripter Denny O'Neil's bonafides as one of the people behind the 1980s version of the caped crusader that inspired the film and Ordway's extraordinary ability to render likenesses, the comic is inert and suffers from a complete inability to be compelling on its own. That's something that can't be said about Burton's movie, as scattershot and disorderly as the final product is. Even if you're not a fan of the movie (and I'm not), if it's on a screen, you're going to watch its weirdness unfold — you can't say that about the comic version, no matter how pretty it is.
The Batmania of 1989 affected all of commercial entertainment, but perhaps nowhere was the impact felt more than in comic shops and bookstores. The wild success of Tim Burton's movie drove fans to seek out anything Bat-related, and DC Comics was prepared. The publisher had tasked two of its finest creators with producing a comic book adaptation of the film, and Jerry Ordway and Dennis O'Neill's comic became a sensation in its own right. The book was released in two editions (a 'floppy' for newsstands, and a squarebound edition for the book and comic shop market), and both became instant best-sellers.
For reasons explained below, the project was not altogether successful in creative terms, but Batman '89 is nevertheless one of if not the most proliferated comics of its type, occupying space in the collections of a whole generation of readers and fondly remembered as featuring some of Ordway's most exquisite artwork in an already very distinguished career. As part of ComicsAlliance's exhaustive remembrance of of all things Batman '89, we spoke with Ordway about his fascinating and uniquely challenging experience adapting the silver-screen superhero epic back into uncommonly beautiful book form.
There's a funny thing about superhero movies: Structurally speaking, they're fundamentally different from superhero comics, just by the very nature of how they're presented to the public. Or at least, they used to be. Until fairly recently, the appeal of comics had always been in the continuity, the ongoing sagas that built on each other and were designed to run indefinitely as a long-form narrative. The movies -- even when they were designed to kickstart a run of sequels -- were always meant to be self-contained stories.
That's flipped around the other way over the past ten years or so, with comics often looking to provide low-continuity, self-contained stories to readers picking up paperbacks and hardcovers even as the movies build billion-dollar franchises by creating a shared universe that stretches across multiple forms of media. It's no surprise, then, that if you really want to see where that trend got its start, you can trace it back to Batman '89 and the influence that came to the comics when screenwriter Sam Hamm was tapped to craft a story for Detective Comics #600 and provided the blueprint for the modern Batman event in the process.
Ah, I thought, as the camera panned lovingly down Vicki Vale’s high-heeled, black-pantyhose-clad legs — here she is. The Strong Female Character. The 1989 model had fluffier hair than her successors, but that's really the only significant difference. She establishes her Totally Empowered cred early, makes eyes at the hero, then gets the hell out of the way as he and the (male, naturally) villain go about the business of advancing the plot. She snaps a photo once or twice to remind us that she's a globe-trotting photojournalist — the kind of photojournalist with no compunction toward sleeping with her subjects, but hey, whatever. She ends the film in the hero’s arms, fulfilling her role as reward for his victory, with nary a whisper of the professional goals that drove her to him in the first place. She is pretty and in need of rescue and almost entirely in service to the male characters’ plot and characterization—but she gets to be vaguely spunky and is slapped with a typically male career, so it’s totally okay.
I can only imagine the interviews that took place upon the release of Batman, touting her modernity, her break with the damsels of the past, her ineffable 1989-ness. I’m sure the crew patted themselves on the back heartily for providing the women and girls of America with such a vibrant reflection and role model.
I'm sure of these things because 25 years later, very little has changed regarding how women like Vicki are portrayed: superficially empowered and ultimately disposable.
Michael Uslan's name might not be known to most comic book fans, but he is probably one of the most important figures in the cinematic history of superheroes. He obtained the film rights to Batman in the late 1970s, spent ten years fighting to bring a project to fruition, and since the completion of Batman '89 twenty-five years ago has been credited as producer or executive producer on every major cinematic Bat-project since (including Batman: The Animated Series, Mask Of The Phantasm, the Christopher Nolan trilogy of Dark Knight blockbusters, and the upcoming Batman v Superman: Dawn Of Justice film). He's a life-long comic fan, a pop-cultural historian, a conversationalist, and an author (his memoir, The Boy Who Loved Batman, is an essential read for anyone interested in comics and comic-influenced media).
As the man largely responsible for Batman '89 existing at all, there's no person better suited to tell not just the story of the film's production, but the long and winding path the project had taken over the preceding decade on its way to success. But besides the unusual story behind Uslan's relationship with the Dark Knight on film, the producer told us about his broader goals for Batman and comic books in general, which went far beyond simply making a successful motion picture.
On the occasion of the film’s 25th anniversary, ComicsAlliance represents our in-depth commentary and review of Tim Burton’s Batman ’89, the father of modern superhero cinema. Originally published in 2011 as part of our exhaustive Cinematic Batmanology series (which also included a massive five-part analysis of Christopher Nolan’s The Dark Knight), this piece by Chris Sims and David Uzumeri strips the fan favorite Batman ’89 down to the bone to get at what works, what doesn’t work, and what’s just plain crazy about Burton’s enduringly influential film.
There have been five men to portray Batman in the character's eight live-action feature-length films, from Adam West in Batman '66 to Christain Bale in 2012's The Dark Knight Rises. All five actors came with their strengths and weaknesses, but the best was Michael Keaton, who played the DC Comics superhero in 1989's Batman and 1992's Batman Returns.
In the first major scene of Batman '89, Keaton famously grabs a terrified mugger by the collar, holds him off the side of a building, pulls him close to his face, and hisses, "I'm Batman." As a 12-year old watching that moment on a VHS tape in my living room, I believed Michael Keaton. And I still believe him as a grown man watching it on DVD in my office 25 years later, even after having seen a half-dozen different Batman movies since.
I realize declaring Michael Keaton's performance as Batman to be not only my favorite Batman but the best Batman is a somewhat controversial statement, even (especially?) among my fellow writers at ComicsAlliance, but allow me to make my case.
On the occasion of the film's 25th anniversary, ComicsAlliance represents our in-depth commentary and review of Tim Burton's Batman '89, the father of modern superhero cinema. Originally published in 2011 as part of our exhaustive Cinematic Batmanology series (which also included a massive five-part analysis of Christopher Nolan's The Dark Knight), this piece by Chris Sims and David Uzumeri strips the fan favorite Batman '89 down to the bone to get at what works, what doesn't work, and what's just plain crazy about Burton's enduringly influential film.
I was an unabashed fan of the 1989 Batman movie around the time of its release (particularly after it hit VHS), but the years have worn down my appreciation of it, and quite a few aspects of it don't entirely stand up to the scrutiny of a critical lens anymore.
There are a few pieces of media related to the film, however, that I feel just as positively about as I ever have. The Prince soundtrack, for one. And for another, the Sunsoft-developed game for the Nintendo Entertainment System that included a few cutscenes with lines from the movie, and largely ditched its plot otherwise. I took a stroll down memory lane with it, and it still holds up.
There may be no better proof of just how much pop culture can shift in a quarter century than the above, 20-minute video Warner Bros. produced in 1988 to show ancient movie distributors who were not so sure a film about a dark, intense Batman would be something anybody would want to watch -- which is pretty funny considering just how massive and influential the film turned out to be.
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