Detective Comics #27 (FIGURE 2)

EXTENDED ESSAY
Michael de Alwis
November 2011
Candidate Number: 000434 016
Kristin School | 000434
Group Six

The artwork, design and look of DC Comics Batman has developed to

reflect societies changes from its early conservatism to the present era
of incorrectness, rebellion and sinisterism, to keep the product fresh and
current. How are these changes apparent, and how have these changes
reflected on advancements in art and technology?

WORD COUNT: 3987

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Michael de Alwis | NOV 2011

|CONTENTS|

| 3 |

INTRODUCTION

| 4 |

INVESTIGATION

CONCLUSION


IMAGE SOURCING

| 5 |

|14|

|15|

BIBLIOGRAPHY



EVALUATION OF INVESTIGATION

|17|

|20|

APPENDICES

|21|

ABSTRACT

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Michael de Alwis | NOV 2011

|ABSTRACT|

In this essay I will explore the changes in the Batman series and investigate why these changes
were made. I will look at the history of the series considering society, politics, demographics
and popular culture as I answer the question; the artwork, design and look of DC Comics
Batman has developed to reflect societies changes from its early conservatism to the present
era of incorrectness, rebellion and sinisterism, to keep the product fresh and current; how are
these changes apparent, and how have thease changes reflected on advancements in art and
technology?

My investigation will explore the origins of the Batman series, and its rise to popularity in the
early 1940s. I will explore the expansion of the Batman franchise into other mediums of culture
such as film, television and graphic novel and how these expansions affected the visual
components of the Batman series. The influence of Pop Art on the Batman series is investigated,
as I explore the influence of art movements on the look of Batman. I will discuss the societies
changes from convservatism in the 1950s into rebellion and incorrectness in the 1980s. I will
discuss particular artists, and how the interpretation of Batman for one artist was used to
distinguish different titles within the franchise. The investigation will look at the Batman films,
and how they have changed through the years to reflect on advancements in technology. I will
look todays Batman, and how it compares to the very first issues of the series.

WORD COUNT: 248

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|INTRODUCTION|

Comic books have been making an impact on popular culture since their inception in the United
States in the late 1800s.1 Presenting a story through the use of chronological illustrations and
minimal verbal narration, comic books were an innovative and exciting concept when first
introduced. Though very simple at first, comic books have grown from basic stories and
plotlines into cultural devices used to reflect on the social and political milieu of their time.

Comic books were originally light hearted and jocular, up until the 1930s, when the concept of
the superhero was introduced.2 Superheroes were introduced in 1938, when DC Comics first
published the Action Comics series. The first superhero to appear in this series was Superman.
Supermans debut presented comic book readers with a character who was possessed with
supernatural powers beyond the strength of normal humans. The stock character of the
superhero would combine elements of Greek Mythology with characteristics seen in common
action and mystery stories of the time. There are many qualities which defined the model
superhero.

In 1939, Bob Kane and Bill Finger introduced a character to the DC Comics Detectives Comics
series which took the main characteristics of the superhero but disregarded the concept of
superpowers. The Batman character was introduced as a superhero whose strength lay solely in
natural human abilities which allowed readers to relate to the character, yet still admire his
heroic qualities. Following Batmans debut in Detective Comics #27 (May, 1939), the character
received his own series which was published in 1940. Initially colourful, bright and light
hearted, Batman was a popular new superhero for a large demographic, ranging from young
children to young adults.

However, in the 1960s the Batman franchise began to change, become darker, deeper and more
sinister. Batman was completely re-imaged, with key elements of the comic book series
changing to reflect on the development of plotlines and themes. The changes in the visual
elements of the Batman are commentaries on socio-cultural evolution; the development of
society and culture over time, and reflect on the technological advancements as well as art
movements.





1

books&, t. t. (n.d.). History of Comic Books | Random History. Random History and Word Origins for the

History of Comic Book Superheroes - Mania.com. (n.d.). Your Comic Book, Fantasy, SciFi, Horror & Anime
Source - Mania.com. Retrieved May 18, 2011, from http://www.mania.com/history-comic-booksuperheroes_article_116423.html

Extended Essay

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Michael de Alwis | NOV 2011

|INVESTIGATION|

Batman was created in 1939 by Bob Kane. The
character, originally known as The Bat-Man
gained inspiration from Leonardo Da Vincis
ornithopter diagram; the character of Zorro,
played by Douglas Fairbank in the 1920 film
The Mask of Zorro and by the 1926 film The
Bat.3 Kanes original idea for the character
incorporated elements from all of these
influences. Kanes first sketch of Batman had a
mask similar to that of Zorros and wings which
resembled the wings of the ornithopter. In
keeping with the conventional look of the
superhero at the time, Kane had the character Leonardo Da Vinci's 'Ornithopter' (FIGURE 1)
dressed in red tights much like the popular
hero, Superman.4 This look, however, was not published. Comic book writer, Bill Finger, who was
working on the Batman series with Kane did not like the look for the character;

"I got Webster's Dictionary off the shelf and was hoping they had a drawing of a bat, and
sure enough it did. I said, 'notice the ears, why don't we duplicate the ears?' I suggested
he draw what looked like a cowl... I had suggested he bring the nosepiece down and
make him mysterious and not show any eyes at all... I didn't like the wings, so I suggested
he make a cape and scallop the edges so it would flow out behind him when he ran and
would look like bat wings. He didn't have any gloves on. We gave him gloves because
naturally he'd leave fingerprints." Bob Kane5

Fingers vision for the Batman took its inspiration from elements of the bat itself, creating a
character that was far more sinister than the original sketches. The new look for Batman was
used for the characters first published appearance. Bill Finger was not only responsible for
creating the first published look for Batman, but as the series first writer he was responsible for
the many famous plots and elements that create the deep and intricate background of Batman.
While Bob Kane focused on the art of the series, Finger thought about how he could make the
3

BOB KANE .COM . (n.d.). BOB KANE .COM . Retrieved May 18, 2011, from http://www.bobkane.com/
Batman YTB - Fansite For Batman Comics, Toys, Figures, News and more!. (n.d.).Batman YTB - Fansite For
Batman Comics, Toys, Figures, News and more!. Retrieved May 18, 2011, from
http://www.batmanytb.com/history/index.php
5
Who Is Bill Finger? - Bob Kane Created Batman, so who is Bill Finger? - Bill Finger Batman - The History of
Batman - Legions of Gotham - Batman Wiki - The Batman Homepage - Batman Fansite - The Batman
Authority - Legionsofgotham.org - Legion of Gotham . (n.d.). Legions Of Gotham - The Batman Homepage Batman Fansite - The Batman Authority - Batman Collector - Batman Collector Website - Batman Collecting
- Legionsofgotham.org - Top #1 Batman Website - Batman News & Rumors - Batman Film News - Batman
Movie News -. Retrieved May 18, 2011, from http://www.legionsofgotham.org/
4

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Michael de Alwis | NOV 2011

series compelling and unique. Fingers ideas were influenced by the pulp magazines that were
famous at the time.6 Pulp magazines, like comic books, were graphic stories which were popular
from the late 1800s to the 1950s.7 Pulp magazines were famous for their cheap manufacturing
and publication quality with the use of pulp paper, their complex artwork and their use of
exploitation fiction.8 These stories broke boundaries using stories involving sex, drugs and
violence to spark interest. The most prominent genres for pulp magazines were thriller,
romance, action and mystery. Bill Finger wanted to use elements from all of these genres, with a
particular emphasis on the mystery genre presenting Batman as a detective character, much
like famous pulp characters The Phantom Detective and Doc Savage. Finger was an admirer of
mystery novels and wanted inflect their style into the Batman comics.

The artwork of Batman has varied depending on the
illustrator and writer of each story, however, there is a clear
chronologoical evolution in the visual presentation of the
series. Batman, when first published in 1940, was supported
with a yellow and red colour scheme with traditional comic
book fonts, layout and illustration. The series maintained this
colour scheme through the early stages of the series before
new colours were introduced to the covers.

Bob Kane and Bill Finger did not anticipate the popularity of
the series and did not preparee for the chance of
longetivity. They felt that the format they had was not a
format which would maintain its popularity for a long period
of time.9 They felt they needed to add more to the series to
keep it fresh and different, for it was the uniqueness of the
series which attracted the interest of readers. The writers
thought of many ways to keep the series interesting and
alive; and these ideas were presented to readers throughout
Detective Comics #27 (Figure 2)
the early 1940s.

As Batmans popularity grew the series began to appear in other forms of media. Stories of
Batman began to appear in the form of newspaper strips in 1943, coinciding with the premiere
of the Batman film serials. Soon, the series was adapted into television, animation, film, radio
and other forms of media.

BOB KANE .COM . (n.d.). BOB KANE .COM . Retrieved May 18, 2011, from http://www.bobkane.com/
Pulpworld.com Read about the History of Pulp Magazines... Buy & Sell Pulp Collectibles.
(n.d.). Pulpworld.com Read about the History of Pulp Magazines... Buy & Sell Pulp Collectibles. Retrieved
May 18, 2011, from http://www.pulpworld.com/history/history_01.htm
8
Pulp, exploitation, noir, & melodrama. (n.d.). T y s t o. Retrieved May 18, 2011, from
http://www.tysto.com/articles04
9
Kane, B. (2004). Batman in the Forties. New York: DC Comics.
7

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In 1966 Batman premiered on television as a live action programme starring Adam West and
Burt Ward as Batman and Robin, respectively. The visual concept of the show was based on the
Batman comic books, but also based on pop art, an art movement which was popularised in the
1960s.10 Pop art reached mainstream success in the United States in the 1950s. The style was
embraced by many artists, one of which envisioned a fusion between pop art and comic book
culture. Roy Lichtensteins work was inspired by the artwork he saw in comic books. Using
techniques and elements traditional to comics such as Ben-Day dots and comic book panelling,
Lichtenstein adapted comic books into his own art in a way which had not been previously
explored.11 As the popularity of pop art rose producers decided to use the style as inspiration
for the 1960s television show. This is an example of how art movements influenced the Batman
franchise, and its visual development.

Batman #171 (Figure 3)

Andy Warhols Marylin Munroe Print (Figure 4)

Regardless of the exact sources, comic-book art of the 1960s and Pop Art shared many
of the same sensibilities. It was a world populated with oversized imagery, bright colours,
big worlds, and bold pronouncements, and all those elements informed Doziers
approach to the TV Series. Bill Walko, POW!: Batmans Visual Punch12

10

Beard, J. (2010). Gotham City 14 miles: 14 essays on why the 1960s Batman TV series matters.
Edwardsville, Illinois: Sequart Research & Literacy Organization.
11
IBID
12
IBID

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Michael de Alwis | NOV 2011

DC Comics capitalised on the popularity of the TV

show in the 1960s and the rise of pop art, gaining
inspiration from the programme and adapting
brasher and brighter colours and making their comics
even simpler. DC Comics began presenting all of their
comic books using go-go checks on the cover of each
comic, a pattern made popular through the art
style.13 The idea behind this is that the books would
appeal to an even wider demographic as it
attracted fans of pop art and acted as an accessory or
an art piece for students and fashionable
townspeople. The pop art trend gave the Batman
franchise a broader demographic.

A reason behind the simplicity of Batman comics
between 1939 and the mid-1980s is due to the
restrictions in the painting process of the books
themselves. Dr. William Brooker states that artwork
was restricted by the printing process -- the primitive
technology of colour separation, the poor quality of
the paper and ink, and so on. It improved in the
1970s, but the colours were still crudely separated
until the mid-80s graphic novel boom.14 Digital colouring wasnt used until the 1990s, and it
allowed for a higher level of complexity with colours, using computer effects to aid the
presentation of the comics.

As the pop art trend began to fade away and modernism rose in the 1970s writers and
illustrators began to develop new concepts to keep the product fresh and current. These
changes went hand in hand with the escape from the era of McCarthyism and conservatism,
and into an era of political incorrectness and rebellion. The 1940s was a time heavily revolving
around patriotism, coming out of the Second World War. This was a time of conservatism,
when the Batman franchise was used as a wholesome, lively outlet to take young childrens
minds away from war. In the 1950s the theory of McCarthyism further encouraged
conservatism, as artists became worried that their work could be interpreted as a push for
communism and they would be left without a job. This theory continued through the 1960s,
as rebellion began to balance the conservatism with the rise of the Hippie Revolution. As the
rebellion continued, society embraced incorrectness, and McCarthyism and conservatism faded
away. It was at this time that new authors and artists began working on the series, and Bob
Kanes name was no longer recognized at the writer and illustrator of each issue. The 1960s and
1970s saw comic book fans push for more idiosyncrasies and writers and artists with signature
distinct styles. Fans wanted to identify with particular styles wanting the series to expand as a

Batman comic using Go Go Checks (FIGURE 5)

13
14

Brooker, W. (Personal Communication) July 23, 2011.

IBID

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Michael de Alwis | NOV 2011

brand. These opinions were expressed through letter columns in comic books; letters from fans
to the publishers, which were published in the comics.

The 1986 publication of The Dark Knight Returns, a four part comic book series was one of the
first to feature the sophisticated and subtle style which soon became common.15 Frank Miller
was the writer and artist of the series and used his distinctive film-noir style to reinvent the
comic book in a way that had never been explored before. These changes coincided with
improvements in the quality of paper and printing, the use of glossy hard covers, the increase of
mainstream appeal to comic books and the increase in the price of comic books.16 The series
disregarded the lighthearted, family orientated format and projected its demographic at an
older, more mature reader. While some elements of the traditional comic book were kept, the
modernised approach to the series saw major changes in the themes and ideas in the books.
Batman was presented to readers as a vigilante who was being chased by the Gotham City
Police. This introduced the idea of Batmans darkside, and inner demons, which was a driving
factor in the development of the series into a darker and grittier product.17

Batmans presence in the film and television
industry also had a major impact on the look and
direction of the comic book series. Through the
expansion of the product to different forms of
media, the series was opened to a broader
demographic and the opportunity to introduce
new ideas and themes presented itself to the comic
books writers and artists. Films such as Tim
Burtons 1989 Batman used ideas of darkness and
horror which were being experimented in The Dark
Knight Returns and was the first to introduce ideas
of insanity and psychopathy. Burtons approach to
the film was an unfamiliar territory for the series,
and it expanded greatly on the dark side of the
Batman series, further discounting the brightness
and the lightheartedness of the original comics. An
example of visual development in this film was the
redesign of the Batsuit. The Batsuit in the 1989 film
was black and layered unlike the bright and simple
Michael Keaton in Batman, 1989 (FIGURE 6)
outfit the hero wore previously. Burtons
interpretation of the film took a naturalistic

15

The Dark Knight: Storylines: The Dark Knight Returns. (n.d.). Batman: The Dark Knight. Retrieved
August 12, 2011, from http://www.darkknight.ca/storylines/tdkr.html
16

17

Brooker, W. (Personal Communication) July 23, 2011.

Morrison, Grant., & McKean, Dave. (2011). Batman: Arkham Asylum Anniversary Edition. Paw Prints.

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Michael de Alwis | NOV 2011

approach to the storyline, and this reflected on the design of the film.18 Costume and makeup
presented every character in a realistic way, rather than using the exaggerated and outrageous
features seen in the comics. The naturalistic tones in Burtons films encouraged the comic books
to follow suit and test realism which influenced the design of the books.

The mid 1980s saw a rise in the popularity of graphic novels, and in turn, this revolutionised
comic books. Comics gained mainstream success among adults and older teenagers and
became marketed as proper books.19 This opened the opportunity for development in the
artwork and overall presentation of the franchise. Alternative styles of art were introduced into
the graphic novels which varied immensly from the traditional and conventional look of comic
books. Traditional fonts used in comics were replaced with darker and more mature typography
to support the changes in theme and demographic.

Abstract painting and chaotic sketchwork was
embraced by the franchise. The increase in
complexity of the illustrations in Batman came
hand in hand with the development of technology
through the 1980s. New editing tools allowed
artists to deviate from the traditional and simple
style of comic books.20 An example of the boom in
the commercial success of graphic novels was
Dave McKeans 1989 publication of Arkham
Asylum: A Serious House on Serious Earth.21
McKean, at the time, had just graduated from art
school, and was a comic book enthusiast. McKean
translated his distinct art style to the comic book
industry with Arkham Asylum.
When Grant first came up with the story he
didn't know who was going to be drawing it so it
was a very traditional Batman story. But, it had
Robin in it, and I didn't like that at all. At one point
he was Bruce Wayne, and I didn't want that either
because I don't believe in the character as a
Page from Arkham Asylum (FIGURE 7)

human being. I like the idea of him being sort of a

cross between man and an animal, and I think as

18

The Evolution of Batsuit in Two Decades. (n.d.).AceShowbiz.com - Celebrity gossip, celebrity photo, movie
reviews, dvd, interviews, new release album and other entertainment news. Retrieved August 9, 2011, from
http://www.aceshowbiz.com/news/view/00017008.html
19

Brooker, W. (Personal Communication) July 23, 2011.

IBID
21
Marshall, Z. (Personal Communication) July 5, 2011.
20

10

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a mythic story that's kind of interesting.

We chopped it and changed it around. It became sort of a symbolic play. We piled all this
stuff on top of it, and dressed it up in its best clothes, and sent it out. Then I sat down
afterwards and realized, "Why? Why bother? It's such an absurd thing to do." It's like
suddenly realizing the fact that you're desperately trying to work around the subject
matter trying to make the book despite the subject, rather than because of it. At the
end of the day, if you really love to do Batman comics, then that's probably the best
thing to do. Not liking them, and then trying to make something out of them is just a
waste of time.
Also, by the end of it I'd really begun to think that this whole thing about four-color
comics with very, very overpainted, lavish illustrations in every panel just didn't work. It
hampers the storytelling. It does everything wrong. It's very difficult to have any
enthusiasm about it after that. Dave McKean22
The first published Batsuit was unlike any other heroes in comics at the time. He wore black and
grey, while other heroes sported bright and lively colours. In order to keep with the
conventional use of uplifting colours and graphics Bob Kane and Bill Finger used the villains in
the Batman series to lighten up the tone of the comics. Villains in the Batman series were seen
as comical and satirical. The Joker was introduced in Batman #1 as a colourful character with a
distinct flair and panache about him which contrasted well against the dark and solemn stature
of Batman himself. The Joker was the idea of Jerry Robinson, Bob Kanes art assistant.23 In the
1980s there was a whole new perspective towards the character building of villians such as
Joker. Modern interpretations of the villians present them as insane, and sinister, rather than
bright and jovial. These ideas were reflected on the overall artwork of the series.

In the 1990s the comic book industry broadened, and the Batman franchise of comic books
became its own brand, rather than just one series. New interpretations of Batman were
introduced as new writers began to take fresh approahes to the series. As we entered the era of
grunge and rebelia the Batman franchise embraced ideas of sex and violence reflecting on the
shift in the socio-cultural zeitgeist of the time.24

Meanwhile, 1992 saw the release of the Tim Burton directed film; Batman Returns. A sequel to
the 1989 film, Batman Returns also took a sinister and dark approach to the series, refecting
on how Tim Burton felt the story would translate best to film. The film was directed at
teenagers and adults, and lacked the colour and ostentation which appealed to children in the
early publications of Batman comics.

22

Chritton, K. (n.d.). Comics Career Interview: Dave McKean. Bullets of Autumn. Retrieved July 24, 2011,
from www.bulletsofautumn.com/mckean-art/readings/Comics_Career_Interview.html
23

Kane, B. (2004). Batman in the Forties. New York: DC Comics.

24

Brooker, W. (Personal Communication) July 23, 2011.

11

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For the sequel of Batman Returns Tim Burton

left his role as director and was replaced by Joel
Schumacher. The concept behind the next two
films in the series; Batman Forever and
Batman and Robin was to bring back the
wholesome family feel of the Batman series.
The series was rebranded as a family friendly
franchise with a particular appeal to young
children. The films also served as reflections of
the technocentric boom coming into the 21st
Century. Outrageous settings, costumes and
props were used to dramatise the popularity of
technology at the time and give the films a
futuristic feel. Blatant colour schemes were Cast of Batman and Robin (1997) (FIGURE 8)
used to reflect the stereotypes of the villians in
the stories, and to boost the melodramatic nature of the redeveloped series.

Christopher Nolans Batman film trilogy, which
began in 2005 with Batman Begins is the most
naturalistic approach to the brand yet. Batman
Begins tells the story of Bruce Waynes journey to
becoming a hero. The core of the film is based
around Waynes training. The film deals with
Batmans main themes and elements in a realistic
and humanised fashion, while maintaining the
austere qualities of the series introduced in the
1980s.25 An example of the effect the direction of
the film had on the visual aspects of the series can
be seen through the Batsuit. The Batsuit, like the
other key features of the comics, has evolved
through the years. Originally the Batsuit was very
simple and straightforward. However, as the
franchise grew the Batsuit became far more
complex and detailed. One of the main
characteristics of Batman is the idea that he has no
supernatural powers, and instead relies on his own
abilities, along with his physical utilities for combat.
Because of this, Christopher Nolan felt that the
Batsuit from Batman Begins (FIGURE 9)
Batsuit needed to reflect on the idea that Batman is

25

Burns, K. (Director). (2008). Batman Unmasked: The Psychology of the Dark Knight. [Documentary].
United States: Prometheus Entertainment

12

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a normal human being, with no ulterior powers. The batsuit seen in Batman Begins was
designed to show the human qualities of Batman and was designed to be practical and agile for
the aid of the filming process.26 Practicality plays a part in the overall look of the Batman films
as the heavy combat scenes meant that the actor portraying Batman would need to move easily
in previous films Batman wasnt able to turn his head without moving his whole body.27 The
premise of the film is that Bruce Wayne learnt combat in Bhutan, where he was taught Martial
Arts and Keysi fighting methods. As a justification for the look of his costume the colour, shape
and features of Batsuit are a representation of Waynes history and his background training with
ninjas. According to the film, the suit was originally intended for military use before being
acquired by Wayne. The suit is heavily armoured with padding and guards. This is another
example of development in the Batman series; in this case to reflect on the theme of realism.


























26

Tassi, P. (2010, August 18). The Evolution of the Batsuit.Unreality. Retrieved May 23, 2011, from
unrealitymag.com/index.php/2010/08/18/the-evolution-of-the-batsuit/
27

Batsuit - DC Comics Database. (n.d.). DC Comics Database. Retrieved August 9, 2011, from
http://dc.wikia.com/wiki/Batsuit

13

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Batman #712 JULY 2011 (FIGURE 10)

|CONCLUSION|

The Batman franchise today embraces elements from all eras of the franchise with some
series adapting ideas from the flamboyant and jocular phase of the 1960s while others
maintained the dark and gritty style of the later comics and media. Development in the visual
elements of the series have reflected on art and cultural movements; such as the rise of pop art
in the 1960s, societal changes; such as the move from conservatism into rebellion in the 1980s,
and advancements in technology allowing more options and techniques for artists and
publishers to use. The Batman franchise has grown with society and has always mirrored the
zeitgeist of its time. The visual versatility of the Batman franchise has created an unforgettable
legacy which will remain one of the worlds most recognisable titles in the cultural world.

14

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|IMAGE SOURCING|

FIGURE ONE
A Brief History of Human Powered Aviation and Ornithopters | Human Powered Ornithopter Project - .
(n.d.).HPO Team News | Human Powered Ornithopter Project - . Retrieved May 18, 2011, from
http://hpo.ornithopter.net/?q=content/a-brief-history-human-powered-aviation-and-ornithopters

FIGURE TWO
GCD :: Issue :: Detective Comics #27 . (n.d.). Grand Comics Database . Retrieved July 28, 2011, from
http://www.comics.org/issue/442/

FIGURE THREE
Batman Vol 1 171 - DC Comics Database. (n.d.). DC Comics Database. Retrieved August 3, 2011, from
http://dc.wikia.com/wiki/Batman_ Vol_1_171

FIGURE FOUR
title. (n.d.). ANDY WARHOL Marilyn Monroe 1967. Pop Art, Edition Prints and Original Paintings for
sale.. ANDY WARHOL Gallery - Pop Art, Edition Prints and Original Paintings for sale.. Retrieved August 3,
2011, from http://www.gallerywarhol.com/andy-warhol-marilyn-monroe-1967-FS-II.31.htm

FIGURE FIVE
Karibian, S. (n.d.). Welcome! Lets Start with Batman #181 (June 1966). First Comics News. Retrieved July
22, 2011, from www.firstcomicsnews.com/?p=1611

FIGURE SIX
12) Batman (1989) - Digital Polyphony. (n.d.). Home - Digital Polyphony. Retrieved August 3, 2011, from
http://digitalpolyphony.webs.com/12batman1989.htm

FIGURE SEVEN
I Love Comics: Grant Morrison (Part One) | Comic Book Daily. (n.d.). Comic Book Daily | Discussing the
minutiae
of
the
comic
book
world..
Retrieved
Augus
3,
2011,
from
http://www.comicbookdaily.com/wp/columns/i-love-comics-grant-morrison-part-one/

FIGURE EIGHT
Batman Robin Batgirl Portrait Wallpaper - Batman Wallpapers. (n.d.). Batman Wallpapers - Batman Begins,
Dark Night. Retrieved August 3, 2011, from http://www.batmanwallpapers.com/batman-robin-batgirlportrait-wallpaper/batman-robin-batgirl-portrait-wallpaper-2

FIGURE NINE
File:Bale as Batman.jpg - Wikipedia, the free encyclopedia. (n.d.). Wikipedia, the free encyclopedia.
Retrieved August 3, 2011, from http://en.wikipedia.org/wiki/File:Bale_as_Batman.jpg

FIGURE TEN
GCD :: Cover :: Batman #712 . (n.d.). Grand Comics Database . Retrieved August 4, 2011, from
http://www.comics.org/issue/860727/cover/4/

15

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FIGURE ELEVEN (SEE APPENDICES)

Batman. (n.d.).SuperheroHype. Retrieved August 7, 2011, from
forums.superherohype.com/showthread.php?p=20463109

FIGURE TWELVE (SEE APPENDICES)
Batman DVD news: Press Release for Batman: The Movie (1966) on Blu-ray Disc | TVShowsOnDVD.com.
(n.d.).TVShowsOnDVD.com.
Retrieved
August
12,
2011,
from
http://www.tvshowsondvd.com/news/Batman-The-Movie-1966/9242

FIGURE THIRTEEN (SEE APPENDICES)
which batmobile was the best looking? . (n.d.). SodaHead - Ask or Answer Questions, Discuss News,
Express Opinions, or Create Polls. Retrieved August 12, 2011, from
http://www.sodahead.com/fun/which-batmobile-was-the-best-looking/question-127135/

FIGURE FOURTEEN (SEE APPENDICES)
Eva Green, Naomi Watts & A New Batmobile Join Batman 3? : 2011 Movies Trailers News Posters.
(n.d.). 2011 Movies Trailers News Posters. Retrieved August 12, 2011, from
http://www.oimag.com/movies/eva-green-naomi-watts-a-new-batmobile-join-batman-3/

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Michael de Alwis | NOV 2011

|BIBLIOGRAPHY|

12) Batman (1989) - Digital Polyphony. (n.d.). Home - Digital Polyphony. Retrieved August 3, 2011, from
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A Brief History of Human Powered Aviation and Ornithopters | Human Powered Ornithopter
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and-ornithopters

Azzarello, B., & Bermejo, L. (2008). Joker. New York: DC Comics.

Beard, J. (2010). Gotham City 14 miles: 14 essays on why the 1960s Batman TV series matters.
Edwardsville, Illinois: Sequart Research & Literacy Organization.

Batman & Robin Movie Poster. (n.d.). DVDs Release Dates. Retrieved August 3, 2011, from
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Batman Movies: The Dark Knight - Batman 3 - Batman Begins - Batman and Robin - Batman
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Batman YTB - Fansite For Batman Comics, Toys, Figures, News and more!. (n.d.).Batman YTB -
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2011, from http://www.batman-superman.com/bobkane.html

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Michael de Alwis | NOV 2011

BOB KANE .COM . (n.d.). BOB KANE .COM . Retrieved August 9, 2011, from
http://www.bobkane.com/
Burns, K. (Director). (2008). Batman Unmasked: The Psychology of the Dark Knight.
[Documentary]. United States: Prometheus Entertainment
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Burton, T. (Director). (1992). Batman Returns [Motion picture]. United States: Warner Home
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Brooker, W. (Email Interview). July 24

Comic-Con 2010: Young Justice - UGO.com. (n.d.). TV News - Best New Movies, Video Games &
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http://www.tysto.com/articles04/q2/20040504pulp.shtml

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Michael de Alwis | NOV 2011

Schumacher, J. (Director). (1995). Batman Forever [Motion picture]. United States: Warner
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The Evolution of Batsuit in Two Decades. (n.d.).AceShowbiz.com - Celebrity gossip, celebrity

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2011, from http://www.legionsofgotham.org

19

Extended Essay

Group 6

Michael de Alwis | NOV 2011

|EVALUATION OF INVESTIGATION|
For my Extended Essay I used many sources including books, comic books, graphic novels,
documentaries, films and personal communication. I used a great variety of sources as I feel
that the topic I was investigating had many perspectives, and I wanted to explore many
different opinions and viewpoints to form a conclusive direction for my essay. I spent months
researching through various websites including fan sites and forums as well as information sites
to gain perspective on why Batman changed the way it did. I purchased books that documented
the early history of the series as well as graphic novels that included information on the
background and artwork of the stories. By watching films and reading graphic novels and comic
books I was able to provide my own personal justification to Batmans development in my
essay. I read some publications from the 40s and 60s and others from the 2000s, and watched
every film in depth to extract information on the visual elements of them. From the moment I
chose the topic for my essay I had a clear idea of exactly what I wanted to write about and I
was able to follow a planned structure from the very beginning. As I began writing my essay I
continued research and came up with new points to cover. I conducted two interviews, one
with an enthusiast of the franchise, Zachary Marshall, and another with Dr. Will Brooker,
Reader and Director of Research at Kingston University, both of which helped me greatly with
my essay. A lot of my investigation came down to what I already knew about societal
development, and what I could detect from following the Batman franchise as an enthusiast for
many years. I used my own knowledge of the topic in my essay to support what I found through
my research. I feel my investigation was successful, and I was able to answer my research
question with conviction and strength.

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Extended Essay

Group 6

Michael de Alwis | NOV 2011

|APPENDICES|

Batman: The Movie Title Screen (1966); showing bright

colours and curves (FIGURE 11)

Batman Begins Title Screen (2005); monochrome and

slick with a sharper and straighter look (FIGURE 12)

Batmobile from Batman and Robin 1997; reflecting the

films over the top nature, as well as the films heavy push
technological advancements and ideas. (FIGURE 13)

Batmobile from Batman Begins, 2005 and The Dark

Knight, 2008, showing a far more realistic approach

reflecting on Nolans vision. The Batmobile for this series

is intended to look like a military vehicle, so the plot
suggests. (FIGURE 14)

21