Year One Week: Batman: Year One Artist’s Edition Spotlights the Genius of David Mazzucchelli

“What does Batman look like?” 

That question is the crux of David Mazzucchelli’s forward to the stunning Batman: Year One Artist’s Edition. The oversized recreation of the seminal origin story for Batman post-Crisis on Infinite Earth offers a detailed look into the creative process from Mazzucchelli’s perspective. After the artist penned an intro packed with detail and craft musings, the book then goes through each issue of Year One (originally published as Batman #404–407) via its rough layouts and then inked pages. Leading each issue is the artwork for each cover, which culminates in the linework for promotion material and the cover for the collected edition. 

Comparing the size of Year One Artist’s Edition with Mazzucchelli’s Daredevil: Born Again Artist’s Edition. 

Comparing the size of Year One Artist’s Edition with the standard trade paperback of Batman: Year One. 

Getting to read Mazzucchelli’s words in the introduction alone would justify the steep price for this volume. He guides the reader through his approach to Batman’s design, the unique approach to how the book was developed under editor Denny O’Neil, and maybe most importantly, the collaborative process between himself, colorist (and real-life partner) Richmond Lewis, and letterer Todd Klein. It’s a jam-packed introduction that functions as a miniature masterclass that everyone interested in [making, reviewing, or just enjoying] comics should read. 

Experiencing a window into Mazzucchelli’s thought process informs the rest of the book, flagging details and decisions in the linework to pour over. Knowing that Mazzucchelli used a nib that didn’t come to a point to achieve his “dumb lines” unlocks a new appreciation for the simplicity of the figures. Or the fact that the artist evoked Gregory Peck for the anatomy of Bruce, while Robert Duvall set the template for Jim Gordon. 

A massive boon of this edition is the sheer size of the book, which strives to replicate the pages that Mazzucchelli worked on. Introduced as a new format, the (mostly) 14” x 21” pages offered an opportunity for dynamic coloring work that can be seen in the final product. Here in this edition, the oversized format magnifies the linework and paneling in a way that resembles experiencing a movie in a theater versus your living room TV. Even without the coloring, the story becomes immersive and invites deep dives into the straightforward, economic storytelling on display. 

What also makes the pages such an enthralling experience is the actual scans of the original work, which carries warts and all. Tape, coffee rings, smudges, and production margin notes adorn every page. Leaving these in and refining them to the point of legibility after almost 40 years is a testament to the work of Scott Dunbier. The legendary editor has spent a large portion of his career developing and tweaking the scanning method for the Artist’s Edition line. As a final product, a book like the Year One Artist’s Edition feels like it’s coming straight from the DC bullpen. 

In addition to the production notes and imperfections, the inclusion of the letter adds to the presentation of the artwork. Developed in conjunction rather than passed from artist to letterer, the distinct style of captions for Bruce and Gordon respectively feed into the notions of the duel protagonist. Klein’s storytelling sensibilities are placed onto the page, working in harmony with the linework from Mazzucchelli. 

Brought together and designed by Chip Kidd, the book is a hefty item that will struggle to sit on a bookshelf. That form makes it an excellent item to rest on a coffee table or special stand. The interior covers create dynamic splashes that channel the iconic imagery of the story. Kidd weaves all of these elements into a cohesive collection that feels like a one-of-a-kind experience.