Writer: Jeph Loeb
Artists: Jim Lee (p), Scott Williams (i), Alex Sinclair (c)
Publisher: DC Comics
This new oversized hardcover collects all 12 issues of the popular storyline in one volume, adding a slew of extras into the mix.
Published during 2002 and 2003 in Batman’s monthly title, Jeph Loeb’s "Hush" was a storyline which divided fans and critics alike. A thrilling 12-part mystery which spanned a year of comic books, the story was conceived as a crowd-pleaser in every sense. Uniting Jeph Loeb and Jim Lee as writer and illustrator was perhaps as much a cynical marketing ploy as a real creative imperative, especially after the success of the former with the previous yearlong Bat-mysteries of "Long Hallowe’en" and "Dark Victory" under his belt. Lee also brought his fair share of fans to the book, and even though his artwork isn’t to everyone’s tastes, you can’t deny the craftsmanship which goes into his work. Personally, my first reaction to Lee’s style was indifference, but after reading a couple of issues of All-Star Batman, I’ve become a definite convert (well, I liked it). Unfortunately, the flipside of this marketing coup is that a level of anticipation is created which can perhaps never be satisfied, and there was certainly something of a backlash to the story once it began to play itself out. I’m happy to say that I enjoyed rereading this story a lot more than I did when it was published in monthly issues, and that the benefit of perspective seems to have blunted the edges of the disappointment that was felt by some when the story ended.
I won’t say too much about the plot as it’s been covered in great detail elsewhere, but Loeb’s story begins with a fairly run-of-the-mill superhero plot which builds and builds from there. Along the way, he retrospectively introduces a new character to Batman’s history in the shape of Thomas Elliot; an old friend of Bruce Wayne’s who predates Bruce’s parents’ murder. This device allows the writer to tap into the kind of nostalgia and warmth which has characterised so much of his work, without ever tarnishing the harsh exterior of the Batman we know today. Loeb crafts a suspenseful plot of betrayal and paranoia, as Batman begins to face attacks from an unknown villain who knows some of his most closely-guarded secrets, and who goes to great pains to mobilise the hero’s most dangerous and classic villains against him - at the same time as he begins to embark on a tempestuous affair with Catwoman. It’s not the smartest or most intellectual story in the world, but it’s certainly written in a very compelling way, and manages to stay true to the basic tenets of a good Batman story. Loeb also manages to include a lot of fan-pleasing moments (including a standout Superman/Batman showdown) which make it very difficult not to enjoy the story on a certain level. In a similar vein to Mark Millar and John Romita Jr.’s recent Wolverine run, “Hush” stands up as a solid action-movie version of a very popular character, which takes advantage of Batman’s rich history whilst rarely relying on previous continuity to tell its own tale, and it makes for a very fun (if undemanding) read.
Lee and Loeb make the most of the sheer wealth of characters which makes an appearance here, and the story always look gorgeous thanks to Lee’s gift for atmosphere and detail, and his flawless character design (I particularly loved the black outfit which is worn under Hush’s trenchcoat, which cannily updates the look epitomised by Robin’s old costume with a dose of modern superhero chic). Lee’s Batman obviously draws a lot of influence from Frank Miller’s take, but still makes the character his own through his very different style. His penchant for detail and big images brings to mind the excesses of his Image stablemate Todd McFarlane, but Lee shows a consistency and realistic edge which really works to ground his flashy 1990s style. It’s a pleasure to see the illustrator’s artwork really develop over the course of the story, and a comparison between the bookend issues #608 and #619 shows an improvement which is interesting to observe, especially now that all 12 issues have been collected in one place. Lee also cuts loose with a different style when rendering the many flashback scenes between Bruce and his childhood friend, giving the panels a watercolour feel which evokes a certain security and softness for the sequences, which plays into the eventual twist in the story well. The colouring on the book treads a fine line between the more modern grim-and-gritty Batman and the kind of four-colour superheroics which made the character so popular in the first place, and it’s pleasing to see that Alex Sinclair often errs on the side of gaudy and colourful when there’s a creative decision to make in the colour scheme of the book. Such appreciation for the more flamboyant aspects of the Batman universe are a welcome sight among the legions of books published since Dark Knight Returns which seem intent on making Batman as gloomy and grey as possible.
However, despite my praise thus far there are a couple of flaws in the storytelling. One or two of the more minor revelations in the grand “Hush” mystery may seem a bit out-of-left-field for anyone with just a passing knowledge of Batman’s universe, as although Loeb’s text often goes to great pains to make ancient continuity accessible and easily understandable, there are one or two plot developments which by their very nature have to be handled as surprises – and if you’re not familiar with these characters or situations from prior reading of the batbooks, you won’t feel the full effect that those story elements are intended to create. It’s also the case that Loeb’s formula begins to grate in places, as even though his villain-of-the-month approach is a fun way to get a lot of different faces into the storyline, there’s an over-reliance on man-behind-the-man-behind-the-man plotting which becomes repetitive after a while. That said, there’s a lot of fun to be had in watching Loeb gradually craft his huge edifice of villainy, and even more to find in retrospectively analysing key plot points to see just how comprehensively this mystery was planned. There may also be some disappointment among readers in the final issue’s wrap-up of Hush’s mystery, which stretches comic-book logic in a barely forgivable way in order to make the revelation of the bandaged character’s identity make sense – and even then, it’s never conclusively proven. You could argue that you shouldn’t get too bogged down in the game of “Who is Hush?” (indeed, messageboard debates continue to this day as to possible alternative identities of the man in the trenchcoat with the bandaged face) instead of enjoying the ride, but when a storyline and character have been built up as extensively as this, the reader perhaps has a right to enjoy a slightly more satisfying payoff.
Nevertheless, the couple of years we’ve had to distance ourselves from the hype which surrounded “Hush” at the time of its release have done the story some favours. Whilst it’s arguable that no conclusion could ever live up to the rabid hype which was whipped up by the time the final issue hit the stands, this collected edition underlines the fact that the guessing game which surrounded the “Hush” mystery was almost beside the point of what Loeb and Lee were really trying to do to here: to use all 12 issues of the storyline to present us with a wild ride through Batman’s rogue’s gallery, whilst tipping their metaphorical hats to the character’s rich history, his high pedigree of creators, and his best-loved stories. It’s an affectionate love letter to the Dark Knight which at the same time emulates the successful formula of Loeb’s other Batman masterworks "Long Hallowe’en" and "Dark Victory" to create a fast-moving and action-packed mystery which breaks enough new ground to be interesting but never strays far enough from the Batman concept to really unsettle or challenge the reader. This isn’t The Killing Joke or The Dark Knight Returns, but then it never set out to be. If you’ve got any love for Batman, then it’s going to be hard to walk away from “Hush” without at least a small smile on your face.
However, this new edition is most notable not for the story, (which has already been collected in various editions, hardcover and softcover – albeit incomplete editions which frustratingly split the story into two uneven sections, and which I’ve held off from buying until I could get the complete storyline in my hands). Rather, it’s the lush and luxurious format which is the real attraction here, and from the moment I cracked open the package it was clear that this is a beautifully-conceived and lovingly-prepared volume that was definitely worth the wait. The high production values on this edition are apparent from even a cursory glance at the book, with the hugeness of the images really doing justice to the almost insane level of detail that Jim Lee crams into his pages (check out the opera scenes of issue #613 if any evidence of the benefits of an oversized edition is needed). The book is printed on weighty, thick paper which is finished with a fantastic gloss that really helps Sinclair’s colours to pop off the page, and it’s fair to say that I’ve never seen comicbook art presented better or with more care. Whether this story is worthy of such an indulgent showcase is of course for the reader to decide – and indeed, it’s promising to see other similar hardcovers for more classic DC books like Watchmen and V for Vendetta appearing alongside this relative new pretender. This is a classy product through and through.
It’s not just glossy print and big pages that make the volume so special, either. DC has truly gone the extra mile to include a great array of extras which any fan of the story that has any interest in the creative process will simply lap up. The book opens with a foreword in the form of a lengthy round-table discussion between the creators involved with the project, and it’s a very genuine-feeling conversation which allows for some real insight into the editorial and creative process that led to the creation of the story you’re reading. There’s a similarly candid commentary on all 12 issues by Jim Lee, which picks up on a lot of the Easter-Egg-style homages and references which are dotted throughout his artwork, as well as flagging up some interesting touches of foreshadowing which were written into the story well ahead of issue #619’s eventual reveal. Other extras serve to extend the story itself, as we’re treated to Loeb and Lee’s two-page origin of Batman, as well as a 6-page interlude between issues #616 and #617 which originally appeared in Wizard. We also get an extensive cover gallery which completists will adore, featuring as it does every alternative and variant cover which appeared during Loeb and Lee’s run, as well as all of the unique cover art which adorned the previous hardback and softback editions of this story.
As if this wasn’t enough, the final extra is a treasure trove of sketches, character concepts and pin-ups which you could lose yourself in for quite some time, many of which seem to have been culled from personal collections. Among these images is a section which shows several stage-by-stage breakdowns of Jim Lee’s pencils, which provide extra insight into just how far an image is developed and modified before it even reaches the inking stage, and there’s also an interesting segment which spotlights some noteworthy changes which were made to Lee’s original art in order to better incorporate both DC editorial policy and Loeb’s story demands. These sketchbook pages possess a rawness which seems very far removed from the glossy slickness of the final issues, and make a very convincing argument for Lee’s talents as an artist. The hurried half-finished pencil renderings help to appreciate the illustrator’s grasp of comicbook anatomy and also shed light on the skills of Scott Williams in inking Lee’s complex images. Many of these images are annotated by both Lee and Loeb, and their commentary can’t help but add greater depth to your appreciation of the story upon rereading.
All in all, this is as extensive a package as any Hush fan could ask for. The RRP for this volume is $49.99, but if you shop around online you’re virtually guaranteed to find it at a slightly more affordable price (even at full whack however, $4 per issue isn’t bad). You probably couldn’t buy the original issues for that amount today, and you’re getting so much more here - especially for such a luxuriously-presented product. If you’re a fan of Batman, Jeph Loeb or Jim Lee (or maybe all three), then this has got to be an early contender for this Christmas’ most-wanted stocking filler. A great package which does justice to a very popular story.
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