DETECTIVE COMICS #39

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[ FIGHT FOR YOUR BARGAINS
Look out DC, because in the month of February, 2015, your comic book covers are going to be attacked by Harley Quinn. So go on. Get Francis Manapul to paint the town red. Or ask Brian Buccellato to paint his bathroom blue. It won't matter. Nothing will ever matter! Ever, ever again!

To QUOTE James Cash Penney: 'The best teamwork comes from men who are working independently toward one goal in unison'.

THE STORY:
Even though he'd rather shoot him in the face with a gun at point blank range, under duress, Detective Harvey Bullock still teams up with Batman, and together they figure out what the hell is going on with the hidden forces of Anarchy, plus why certain factions of the Gotham City Police department are trying to frame Bat's for a crime he didn't commit.

Yeah. That sounds about right. Don't you agree, Jarvis?  You hat wearing nutter.

THE GOOD:
In no uncertain terms this third part of Anarchy had all the ingredients needed for one hell of a great story. To start off with, it had amazingly expressive gritty artwork provided by Brian Buccellato (loved his double page spread by the way). It then had a great cast of characters that in essence counterbalanced each other out in temperament and tone (Especially Batman and Bullock). Plus to top it all off, it had a great cliff-hanger to work off of (one pertaining to a framed Batman and a crooked cop led astray by a master villain). 

Also, something else about this story-line I thoroughly enjoyed was how it lent itself to pathos. Almost as if it's central theme was based on the concept of partnerships and the duality of 'doing the right thing'. And I'd say this sentiment was particularly mirrored in those scenes where Bullock spoke to Yip about her 'shady antics', plus why he decided to partner up with a certain caped crusader sometime thereafter.

But having said that though...

THE BAD:
... on the down side of things I wasn't that keen on how this story was conveyed on the page.

You see, from my point of view the novelistic approach it took to get where it was heading was rather lopsided by nature. Starting at a future point in time before flashing back and forth again, thus allowing the general narrative to feel fractured, mumbled, and fairly confusing by design!

Also, something else I found fairly confusing was how the Mad Hatter and Lonnie Machin fitted into Sam Young's and Jeb Lester's plans. That's if either of these two characters are in actuality the main man Anarchy himself!

THE MUSIC:
I'd like to musically match up this comic book with the old school classic, 'The Sun Has Got It's Hat On', largely due to its hatter connotations plus its irritating ways.




THE COMPARISON:
Yes. That's right. You've caught a glimpse of the picture provided, and I'm now going to compare this comic book to the Tom Hanks canine comedy, Turner and Hooch. And do you want to know why I'm making such a bold declaration? Well, let's just say that it's all to do with Bullock and his saggy looking face. Say no more.  

THE CONCLUSION:
At the very end of this issue the Mad Hatter says something to Anarchy that I thought was rather revealing. So just for fun -- insert amusing counterpoint here -- how about you take a stab at picking what he said out of the following eight options?

  1. I can't go back to yesterday because I was a different person then.
  2. It was never like this when Lewis Carroll wrote about my exploits!
  3. Alice... Alice... everywhere.  
  4. No. I never wear headbands.
  5. Can someone please tell me why my nose is bigger than my hands?
  6. Excuse me. But do you know where I can buy a hat made out of sh*t?
  7. Batman doesn't wear hats, because he has a cowl. And cowls are so old they moo at cheese.
  8. Wait a minute! Did you just say, 'Plastic Man will star in the new Superman Vs Batman movie'? 
Nuff said.