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Under the pen of Grant Morrison we were introduced to an uber-competant version of Batman; unbeatable, unflappable, uncompromising and the de-facto strategist and field marshal of the JLA. During Morrison's run, he introduced the character of Prometheus. Loosely based according to Morrison on his character King Mob from "The Invisibles"; Prometheus has an origin story that reads like a twisted history of Batman and a serious desire to destroy "justice" in all it's forms. Naturally, he starts with the Justice League. Armed only with his enormous intellect, a lifetime of training and a plethora of technological devices (sound familiar?) Prometheus cuts a swathe through the top heavy JLA, including Batman. Of course, he is ultimately defeated (by Catwoman, who has stowed away on a publicity tour of the new JLA watchtower to pilfer a few choice items from its trophy room) but escapes from the JLA to strike again. This tale, despite the fact that it appears under a different writer in a different run on the title, was almost certainly the inspiration for Mark Waid's excellent "Tower of Babel"; in which two "normal" human beings become the most dangerous adversaries the near-gods of the JLA have ever faced. The men in question? Ra's al Ghul and .. Batman. As with most JLA tales there is a threat to the world's safety that the heroes must band together to fight against. The threat this time comes in the form of the immortal Ra's al Ghul, long time enemy of Batman and proponent of eliminating 90% of the human race for the good of the planet. However, the twisted eco-terrorist knows that before any such plan of his can succeed he must eliminate the one group of people who could stand in his way - the Justice League of America. Unfortunately for the JLA, Ra's has a secret weapon that none of them could have expected - the secret contingency plans developed by Batman to defeat a "rogue" JLA in a crisis situation. When presented in it's original 4 issue format, Batman's role was kept a secret until issue 2 when he astutely recognizes that the unusual methods that are being used to stop the individual members of the JLA are from his own secret contingency plans. The graphic novel lets the cat out of the bag on this part of the story somewhat, the back blurb and front cover both clearly showing Batman in his new role of nemesis to the JLA, albeit an inadvertent one. Ra's al Ghuls chosen method for wiping out humanity is innovative, although the pseudo-science behind it is glossed over in favour on concentrating on the execution Batman's plans for beating the JLA. On a second or third reading, any other madman with a taste for global destruction could just as easily replace Ra's Al Ghul so long as there was a plausible explanation for him attaining access to Batman's secret files. This story is really about Batman as a part of the JLA, a man walking amongst gods on a daily basis. Batman's tense and abrasive relationship with the rest of the JLA is infamous and his history with the group is plagued by arguments and resignations. Although this history is not touched on in too much depth, except when Batman attempts to justify his actions to the rest of the group, Waid conjures an almost palatable feeling of betrayal and fear in the heroes when they realize that one of their own has been plotting against them. Waid's writing is as character focussed as ever and it is the subtle interplay between the characters both in the foreground and background of the story that shows his ability as a writer to take characters to places where we have rarely seen them before. There are touching moments between the heroes as they struggle to deal with the consequences of what has happened; a particular example being a conversation between Green Lantern and Plastic Man where Green Lantern promises that "he'll never let him get hurt again"; these scenes are countered an equal amount of petty sniping from those on the team who's egos have been damaged by Batman's betrayal. Obviously, Batman never meant for his plans to fall into the wrong hands (who ever does?), but this does nothing to salve the feelings of the 'League. His efforts to track down Ra's al Ghul and put an end to his threat to the world populace do little to endear him to them again either. Waid provides a well-reasoned and pragmatic discourse on behalf of Batman when he explains why safeguards were needed should the JLA ever "go bad". This is an interesting point and one that is not fully realized within the confines of this story; whilst the JLA complain that Batman has abused their trust they never really appreciate that he has never truly trusted them in their roles as guardians of Earth or mankind. Throughout the story we are treated to the stylish pencils of Howard Porter. Porter has had a long run on JLA, drawing almost all of Grant Morrison's run before moving on to work with Waid during his run (now concluded). In some ways, for readers such as myself who got on board with the "relaunched" JLA, Porter is the JLA. He produces well-paced artwork always here, coupled with the cunning use of the background of panels to feature side conversations between members of the JLA. It is these that give the book a depth that usually isn't seen in team books such as JLA, where many popular characters are competing for "screen time" with each other. Characterization, the strong point of this drama is further enhanced by Porters attention to detail in the faces of the characters, often in contrast to the iconic of the JLA. Overall, Tower of Babel serves as an excellent piece both for existing fans of the JLA or Batman and an powerful introduction to this complex and dynamic team for those who have ignored it up until now. Those with an affinity for the characters will find their interest piqued by the depth of emotion and characterization that Waid gives, whilst new readers may be surprised at the complexity of what can be perceived as merely a group of iconic characters.
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