#dc audio

[splinterofpandora]

Ah, superheroes origins and average people inside them! Have they always been here?

50/50. On the one hand, standalone stories about random cops, Jim's personal adventures, etc took up space in the old comics. Their appearance varied from decade to decade, but you can easily find them on the Batman pages in the 60s and inside Detective Comics of the early 80s.

However, these were more random stories from individual authors. Year One was a true revolution in DC's superhero narrative, establishing the place of Gotham, the Department, and a little thieves as a key component of Batman's plots. In other words

It's not just the foundation of everything in Dark Knight after the Great Crisis. No. It's the foundation of the entire Batverse itself.

And you can see how the authors developed ideas about not so powerful, inexperienced, protector of the weak in Legends of the Dark Knight. How Gotham became a modern comic book hero thanks to Scott Snyder. How Catwoman blended elements of luxury, street life and unusual roots into one person.

Moreover, Year One is the start of the important Year Trilogy for understanding Bruce's psychology. Also it's basically modern approach - visual style is important, deep cinematic narration, feelings behind hero, plot twists, idea of fight with something much bigger than Gotham itself.

Now that we've dealt with the importance of the comic on the outside, let's talk about the inside. It's a start of Jim's long run. Trouble with his wife and new love in the form of his partner. Problems with being a father and a cop in a dirty system. An unbearability of living in the city where psychos trying to kill their own family have become the norm. All of these things will shape the image of the commissioner in the past, present or even...

...a future...

How does he do it? Well, details make things happen. On the first panels we see the man. Very tired but generally believing in a bright future. The reality of Gotham forces him to act differently. More brutal and severe. But at the same time, he remains an honest man. Frank Miller asks the reader to believe in Jim as much as Jim himself believes in the rule of law. So even when he plays dirty...

It's still about the letter of the Law. Miller makes visual storytelling the backbone of the show. The colors, the shifting beauty and dirt of the city, the variety of streets and the people on them captivate the imagination.

In the finale of the first issue, we get Bruce drowning in devastating thoughts. Trying to help isn't working. His life has been wasted. Or it is not? Of course, criminals are a cowardly and superstitious lot. He got his answer! He's supposed to become a Bat!

Bruce, Jim, even Selina...it's just a symptom. They become the answer to Gotham's call to free itself from the old order, where there are only mad kings and the oppressed poor soul.

We either fight to the death of the enemy or we die ourselves. To defeat monsters, we become monsters ourselves.

And now you're thinking: Hey, crazy fellow, we've all read the Batman classics! Why are you saying all of this clear conclusions?

Because we will never learn what are adaptations without the original. A comic book is a product of its time. When Batman was just beginning his modern journey. When his Darkness was everywhere. When Robin died, when the Batfamily was only a distant Dick and a rare visitor, Barbara. When Tim didn't know how to handle his life.

Batman: Year One is the answer to the question of who Batman is after his reboot, the reboot of all of DC. As universe, as publisher, as one (of two) biggest gamers at picture stories wildspace in its renaissance.

The End of Part One. High Volume YO cycle.

[hereliesbeetlejuice]

Reason I Miss DC Beetlejuice #1837484:

this part of No Reason

“The innate nature of nature is to do good!”

“Oh my god did you get that from a book?”

“God is a consciousness between the atoms.”

“Actually I prefer the term ‘shit happens’.”

“No one’s whole until they know their soul!”

“The soul was created for state control!”

“Well every cloud has a silver lining!”

“So there’s a bright side to my mother dying??”

“.......no.”

[bd-z]

I spent some of my afternoon cleaning up the audio balance for the Beetlejuice DC run. Cuz, you know.... supporting the fandom is my joy.

[jinkies-its-a-writer]

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“Gotham Police declare war on Batman?”

“I gather you’ve been reading How to Make Friends and Influence People.”

“Somebody’s setting me up.”

“My heavens. You mean it wasn’t you tossing guards out of windows last night?”

“I only toss butlers, Alfred.”

[splinterofpandora]

High Volume: Year One. Part Three. Audio. The voice that will define your world...

My first Jim Gordon was the Arkham Knight. In some way, it's an ultimatum variation that had the honor of both reciting the famous line about criminals from the debut issue and announcing Batman's death.

Jim could be rude, dangerous, because that's how circumstances work. More often than not, however, he was tired, observant, loving. We're talking about the man who lived his work. Who lost his wife because of it, almost lost his daughter twice...

He continued because he believed in the Law. That some people deserve help while others deserve second chances. Year One was the culmination of the journey. The point of no return, after which he could not going back. His future became in the commissioner, the mayor, the Batman.

My soul belongs to this cluster of pathos, duty, confidence to the system. But it's an old approach. It's the idea of world near the end of time. It doesn't work right these days.

At first I was angry with audio-adaptation for dropping the shadow of the Bat's flashbacks from the script. Every hero has golden steps.

It's a stage that fully demonstrates how a character is both perceived and perceived by the world within comics.

On an external level, i.e. for our world, it also carries a strong weight because we're talking about elements that have become entrenched in society's public consciousness after their first appearance or the debut of a particular element.

For example, Clark's connection with trains is a consequence of 2 basic concepts at once - the phrase "Faster than a rushing train" and numerous covers/moments where he stops the train.

When we talk about Batman's first steps, it's about completely "overcoming" himself as a human being. On the surface, it's just a cool and intimidating demon. But on an ideological level, it's really about trying to break beyond all the limitations that humans have. We show the Knight as a monster because his liberation, at this stage, a priori cannot be otherwise. This is what he strives to become - the perfect weapon of fear.

The Batman passage always messes up the bad guys' plans. It's an unfortunate flashback after which the integrity of their story is compromised. In other words, Batman destroys the evil that has become the norm. And we need to see it! Aren't we?

There are two major points of divergence in the comic and the film adaptation.

First, the pitches of Bruce inside the burning house are very different. If in the second half, when he starts beating the police, it's more about overcoming himself, through great pain, through effort.

In the movie, it's more about the invulnerability of the hero. The power of the image that Batman is. Even the music supports this narrative, creating an upbeat and frightening (if you're a cop in the building) mood. You know that no bullet will take him. He's an instrument of Justice. And he hits hard.

In the comics, Bruce is a human being and a bit of a victim of circumstance(in a moment, not the entire project). He's still incredibly strong and able to scare, but at the same time...the text emphasizes his vulnerabilities.

Perhaps this is why Miller spells out the moment of Batman's preparation for future missions as he came to "summon the bats". Whereas the cartoon relies specifically on the action itself. The awakening of the creatures of the night and Gotham takeover.

All of this leads us to a simple conclusion. If Miller, being the beginning, is interested in revealing HOW Bruce works, then the animation that came out at the peak of Batman's career speaks to WHY he works. That there is a Batman as a symbol, as an image in people's minds...

The audio adaptation emphasizes speed of analysis, something no one else does. Batman here acts like it's an everyday routine, nothing more. It's our days. The well known character with new patterns and psychology. Maybe that's why it doesn't need all those classic flashback moments...

And yet, why so much Jim in our text? I start with him, then I think about Bruce...crazy!

Jim finds his place through Gotham. The city shows him the true faces of people, the price of love, the difference in ideas...

In audio, he sounds softer and acts lighter. He feels younger. Juggles Frank's killer mistakes and animation's caring. The audio is more about observing what's going on, a calmer rhythm of life. On the surface, he's younger.

Ideologically, rightly older. As if he's finally found his peace. If we change Bruce's position, we change Jim's. We change Jim = we change Bruce. Because Batman would never have succeeded without a purge within the police force. And the GCPD wouldn't have been successful if they'd gone to Gordon's head or his family.

At the end of the comic, we see Bruce's silhouette in the darkness. In the animation, Wayne is smiling. In the audio, those two are literally laughing after saving their son. They did it. They defeated the Darkness.

And if you still remember past posts, we've said that each adaptation is a reflection of its era, the condition of the medium within that.

Audio has...strange times these days. We have the successful The Flash and The Sandman. For Batman, we have the utterly failed Spotify projects and the good as an idea but broken in the implementation aspects Audio Adventures. Year One has its own difficulties. There are some baffling action moments here. It doesn't convey the intensity of the pain of the blows. Sometimes it requires context, which is impossible to find if you don't know the comic. That's...absolutely not ultimate start.

But it also has important new things. A really young Holly who sounds like a child for the first time, not a teenager. Gentle Barbara.

You feel the pain in Jim's words when he talks about the possibility of losing his wife.

A new school of old ideas. Give it a chance.

[darrencriss-news-blog]

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“Cheers (Drink To That) [Live]” - LP Feat. Darren Criss | Download

[fyeahcaraudio]

DC Lvl 4  18′s

[jasondlanderos]

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