Batman: The Long Halloween
The Caped Crusader was my entry point into comics, but much
later than you’d think. I didn’t start reading comics until my sixth form years,
after playing the fantastic Rock Steady title Batman: Arkham Asylum. I
always enjoyed the movies and TV shows before, but they never stuck with me. The
hours spent on the Xbox 360 however did. As Kevin Conroy (bless his heart) so
rightly said: “I am vengeance! I am the night! I am Batman!”. Being in control Bruce
made the difference. After about my third playthrough, I decided to give the
source material a spin. My very first two Amazon purchases were Arkham
Asylum by Grant Morrison and Dave McKean, and Batman: Secrets by Sam
Keith. The rest is history.
I now have two shelves of trade paper backs solely devoted
to Gotham and her defenders. I’ve got a framed copy of the game and a 3D
printed batarang hung up in my office. I’m now a bit of a bat-fanatic. However,
this was my first read of The Long Halloween and I regret I didn’t read it
sooner.
What am I reading? Batman: The Long Halloween,
1996-1997, Issues 1-13, Written by Jeph Loeb and illustrated by Tim Sale.
What’s it about? Gotham is the plaything of one man,
Carmine “The Roman” Falcone. Three men make a pact to do their utmost to bring
down his criminal empire: Captain Jim Gordon, District Attorney Harvey Dent,
and the Batman. These men must do what they can, bending the rules but without
breaking them. They aren’t the only ones seeking to end Falcone’s grip on
Gotham. A serial killer, dubbed “The Holiday” by the press, is
systematically targeting the slimeball’s structure. Striking only on specific dates
of note: Halloween, Thanksgiving, Christmas, New Year’s Eve… it’s a race
against the calendar.
What’s good about it? Its hard to deny the influence
this story has had on the Batman mythos. Any layman who has only interacted
with Bruce through the big or small screen would recognise aspects of this
story. Most recently in The Batman (2022), which pulls liberally from
this. Its iconic for a good reason. This is flat out brilliant. Loeb and Sale
are both geniuses.
Sale’s style is impeccable. I adore the art in this. The
colours are perfect, the framing is superb, and a touch I love the most are the
transitions between points of view. I’m a big fan of a “Match cut” in comics,
especially when combined with the visual character work between subjects. The
colour shift between the Holiday and everyone else is simple and
affective. The care and attention to the craft makes this a delight to read.
Loeb’s mystery had me second guessing throughout. I think my
familiarity with The Long Halloween’s contemporaries compounded my confusion,
which made it more enjoyable for me.
What did I struggle with? Not a lot… some small things.
I know it’s a relic of when this arc was serialised, but I think the character
information balloons were overkill. You’re constantly being reminded of who’s
who and why we are here in persistent blue boxes of exposition. Do us all a
favour and free up the page.
There’s a famous image near the end of the story; a splash
page showing a collection of rogues. Nearly all of whom have played significant
role in the story so far… and the Penguin, for some reason? Cobblepot doesn’t feature
in the book at all, besides this one image. Why is he here? Is this an editing issue?
Was there once a section of the story that starred the Penguin that got excised?
No clue… bit weird.
Would I recommend? I would even go so far as to say that The Long
Halloween would make a great starting point for anyone new to reading comics. This
is an absolute must read.




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