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Comics - Ongoning Series - Batman: Shadow Of The Bat - Issue #6

BATMAN: SHADOW OF THE BAT #6
COVER TAGLINE: The Ugly American
TITLE: The Ugly American
STORY ARC: None

RELEASE DATE: September, 1992
COVER DATE: November, 1992

WRITER: Alan Grant
PENCILER(s): Norm Breyfogle
INKER(s): Norm Breyfogle
COLORS: Adrienne Roy
LETTERS: Todd Klein
EDITOR(s): Dennis O'Neil
COVER: Brian Stelfreeze

PRICE: $1.50 U.S./$2.00 Canada

CHARACTERS: Batman (Bruce Wayne); Commissioner James Gordon; The Ugly American (Jon Kennedy Payne)

INTERIOR ART:

PLOT:
Four youngsters are riding in a convertible on their way to the Starlite Club. Noticing that their vehicle is a “Toyola,” a man in a pickup truck suddenly rams into them, forcing them off the bridge and into the waters below. The blonde, muscle bound man is then seen in a tavern where the Hispanic bartender offers a bottle of Mexican beer. The blonde man crushes it and demands American beer. He then requests information on a girl named Tina, followed by a punch to the face of the Hispanic.

The Gotham police and Batman are investigating the scene on the bridge until being interrupted by members of the C.I.A. claiming that they're on classified, government business. As the C.I.A., who happens to have little experience in Gotham, navigate the streets, Batman follows closely in the Batmobile.

The story then cuts to Kim's Mini-Mart where an elderly woman is buying food for her beloved French poodle. As the woman and her pet leave, the Asian clerk's wife enters. Their peaceful moment alone, however, is interrupted by the abrupt sound of the French poodle's slaughtering outside. The large, blonde man then enters and, examining the clerk's wife, realizes that his search for Tina has ended.

The Hispanic bartender is once again harassed, this time by the C.I.A. members who are also requesting information on Tina Payne. As they leave the tavern, Batman is found standing next to their car. And after a brief confrontation, they drive off, allowing Batman to reveal that he stole their Top Secret files. The files detail the case of "The Ugly American," A.K.A. Jon Kennedy Payne, whose father died in a Korean swamp during the Viet Nam war. Years later, Payne would get life in prison for his patriotic actions during a war protest, leaving his wife to raise their two-year-old daughter. For a guaranteed pardon, Payne agreed to some experiments. His patriotism would be amplified with hallucinogens and hypnosis, and he trained in extensive physical combat. This would backfire as he attacked an African American scientist. Payne was then caged and pronounced dead due to a supposed prison fire.

Throughout Batman's reading of the files, the story progresses. Back at the Mini-Mart, Payne reveals that his funeral was pseudo. He then proceeds to attack his daughter's Asian husband, Kim, claiming that he's "the enemy." Just as Kim is tossed through the store window, Batman arrives. Batman and Payne begin to duke it out on the sidewalk, only moments before the C.I.A. make the scene. Just as the Dark Knight is about to apprehend Payne, an armed C.I.A. agent aims at Payne's head and fires, killing him instantly. In a fit of anger, Batman whips a Batarang at the agent's face, knocking him to the ground. He then shows the files to another agent, citing their idiocy for creating the maniac. Batman then promises to reveal the information to the public, before swooping into the sky.

Kim and Tina receive the Top Secret files by mail, along with a letter from Batman. It encourages them to expose the government’s experiments and encloses a lawyer who specializes in anti-government suits. Tina then surprises their revisiting customer with a new French poodle, allowing for a more upbeat ending.

REVIEW:
With a title like "The Ugly American," and the always breathtaking cover art by Brian Stelfreeze, I had a feeling that this would be an unusual Batman story. The story focuses intensely on discrimination and patriotism, and I can't help but feel that, because of that, it belongs in a Superman issue. Nevertheless, any comic book could use at least one story discouraging such taboos -- if nothing else, for the benefit of educating young readers.

By the end of the story, the C.I.A. is obviously portrayed as foolish and inconsiderate. Like a modern day Dr. Frankenstein, they went overboard in creating an uncontrollable monster, and consequently, innocent people suffer. It creates an interesting twist, and I'm curious as to whether it's actually apart of a greater message or belief held by writer Alan Grant. But I know little about the government's status in November 1992, so I can only speculate so much.

The constant diversity of culture and origin that Payne deals with just feels plotted out and almost silly at times. I understand that they exist to show his hatred for anything "non American" and that the story is only 24 pages, but for him to run into something with every step he takes, I can only wonder how long a path of destruction Payne would make before having the entire police force after him. Maybe it's because I'm from Iowa. Surely a big city like Gotham would make for a more diverse "melting pot."

Dan Jurgens uses a rather basic style for the artwork, yet gives Batman a phenomenally classic look. On occasion, he even uses Batman poses simply as a bordering effect for the panels and not as actual participants of the story artwork. I see surprisingly few flaws in terms of inking and the color choices fit well.

If you're the average Joe who stands for equal rights, but would rather not read stories dealing with the topic, you may want to skip this issue. The art layout is intriguing, but on the first read, the story doesn't seem deliver anything terribly unique other than a man calling Hispanics "ginks" and wearing a T-shirt that says "I eat roadkill." When you take it all in, however, it certainly has its qualities.
- 6/26/06

REVIEWED BY:

 

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