The Long Halloween - written by Jeph Loeb and illustrated by Tim Sale - has been one of the most influential and recognizable Batman stories since its release. Storytellers of all mediums have used its blueprint as inspiration for their own Batman tales, and it’s no wonder why - the story is masterfully crafted and beautifully told. It’s a marvel of long-form storytelling in the comic book medium, and the future stories it inspired served to inspire my own love for the Batman mythos. Having recently re-read it - and having a passion for the characters - I figured this topic would be an excellent start to The Slayden Review publication.
Given the length of this comic series, I will be releasing this analysis in three separate parts - this first post covers the artwork; the second will focus on the story itself; and the third will analyze Harvey Dent’s character, his transformation into Two-Face, and the theme of disfigurement in comics. I hope you enjoy this first article, and make sure to check out the rest of this analysis! Happy reading!
First off, I want to give credit to Tim Sale’s art. It won’t be everybody’s cup of tea, what with its relatively exaggerated art style and scratchy line-work, but it also feels quite unique. There are times where the characters and/or environment can feel hastily drawn, but I also find that it emphasizes the fast-pace of the story. It certainly isn’t my favorite art style, but I also appreciate it for the atmosphere it provides and the uncanny element it adds to an already unnerving story.
That being said, I’m not as fond of all the flat colors Sale used. While I do think it helps prevent the simplicity of the black-and-white panels from standing out too starkly, the lack of dynamic lighting makes it more difficult to discern between subject and background. Sale is rather clever in his art, though, making up for this through his use of more stylized, single-color backgrounds along with plenty of close-ups. His use of hard shadows can also help the characters stand out from the environments - not to mention that it’s a great representation of the classic noir films that heavily influenced this comic.
The environments he drew also add a lot to the city itself, making it feel more alive and characteristic. The variety of settings throughout Gotham - such as Wayne Manor and the Falcone penthouse - adds a lot to the city’s sense of history, authenticity, and scale, and it is impressive how unique they can all feel. His depictions of Wayne Manor and the Dent home are particularly well done, as I feel he gives an excellent sense of these locations’ layout and architecture. Similarly, I find the consistency of these locations’ presence and style helps them feel more familiar and safe (much like it would be for the characters themselves).
I especially love Sale’s drawings of the Gotham alleys and rooftops; the gothic influence is immediately recognizable, and the architectural style and layout provides a very unique, identifiable city. The alleys and streets also feel very lived-in with plenty of detail, filled with neon lights, signs, and your typical miscellaneous items (subtle details that can go a long way towards adding believability to the setting). Sale typically used a pretty “basic” panel layout, but I appreciate how large some of them are as they really show off the detail in these environments and convey the grandiosity of the characters.
In terms of character designs, I generally like the dramatization of Batman’s appearance along with his rogue’s gallery. Most of your ‘average’ characters - like Carmine Falcone or Jim Gordon - display relatively realistic proportions and appearances, but Sale still does an excellent job giving them a unique look and facial structure to ensure each one is recognizable and distinguishable. The more eccentric characters are where the art can really stand out - for better and for worse - given the dramatization of their features and anatomy, along with the intricate posing and visual perspectives (some of which are admittedly quite odd and confusing, especially when it comes to Catwoman). Despite the occasional visual confusion, I still appreciate the attempt to use these visual perspectives to add dynamism to fight scenes and how it reflects the hectic, confusing nature of the story’s mystery.
I admit, I’m not as fond of Batman’s design - what with his oddly-proportioned anatomy and bizarrely-shaped bat insignia - though I appreciate the fact that his appearance stands out from our other main characters, instead being drawn in a style more closely resembling his villains - it’s an excellent example that the art style itself can represent a character’s relationship to the world around them. Batman may be a hero, but just from appearance alone it’s evident that he is more closely related to his foes than he is to Gordon or Harvey.
Sale’s attempt to create unique and original designs for most of the villains is also very commendable, even if some of them didn’t land for me. For example, I love the concept and color scheme of Catwoman’s costume (and how her ears stand out from Batman’s), but I’m not a big fan of her mask’s shape or the inclusion of a tail. Meanwhile, I love Poison Ivy’s design - particularly the decision to give her hair made of leaves and flowers and vines, rather than her typically natural red hair. While there are some costume designs that don’t feel very original, his flat colors really pay off to give them a simple yet stylized appearance.
Meanwhile, I think Sale’s depiction of Two-Face is amazing - it’s unnerving, grotesque and horrifying. For me, Two-Face’s design is the strongest aspect of Sale’s art and perfectly utilizes his scratchy linework to create a truly disturbing appearance. The hard shadows make his scarred half look a little odd at times, but Sale’s style is utilized excellently to portray the mess of peeling flesh and melted muscle that is Harvey’s face. There are certainly issues to be found in Two-Face’s depiction and its relation to social stereotypes (specifically those of disfigurement), but I generally find his design to be very effective in demonstrating the tragedy of his loss and ultimate betrayal.
Overall, I think Sale’s art in this comic conveys a very real sense of chaos and otherworldliness. He certainly has his own creative flare, and although his stylization is very unique and recognizable, it isn’t always visually pleasing. Proportions can be odd at times, as can perspective and posing, and his use of color isn’t always conducive to interpreting a panel’s perspectives. Still, there is plenty to appreciate and enjoy, even if it isn’t the most conventional style. Sale’s art may not suit everyone’s taste, but there’s no denying that it provides a unique atmosphere.
Welcome, and congratulations on your first post!
Great review highlighting many elements I never would have considered. Looking forward to more!