As the character has evolved, Batman’s rogues’ gallery has become as popular as he is. To properly showcase these complicated characters, DC has launched eight 64-page one-shots that each endeavor to tell definitive stories that will impact the Caped Crusader’s mythos. Batman: One Bad Day – Clayface is the penultimate issue in this lineup, exhibiting the talents of writers Collin Kelly and Jackson Lanzing, artist Xermánico, colorist Romulo Fajardo Jr., and letterer Tom Napolitano.
Basil Karlo has left his checkered past behind in Gotham and moved to Los Angeles with a new identity and face. He goes by the name Clay now, working part-time as a waiter at a restaurant and auditioning for roles whenever he can. Like him, his colleagues dream about having successful careers in the movie business. One day Clay and his coworker, Corey, read for the same part, which happens to be the lead in an upcoming Red Hood adaptation. The casting director likes Corey’s audition over Clay’s for the humor he brings to the character. This enrages Basil immensely, as he had envisioned a darker portrayal. Something dark and angry surfaces in Basil — something that he has been trying to put a lid on.
Readers familiar with scriptwriting will immediately recognize the format writers Colin Kelly and Jackson Lanzing are going for –an environment exclusively for Clayface to be anyone he fancies to be. Batman: One Bad Day – Clayface opens with a scene heading and action layout, giving way to Basil’s monologue that details his intentions. Although the script gives Basil much leeway in getting in touch with his inner demon, it is not an introspective journey. He justifies his every action with lies, which come easily to an actor like him. Instead of working on his faults, he continues to repeat them, doomed until reckoning is at hand, pitting him face-to-face with his real self. Before each tragedy strikes, the scene builds in suspense, like watching a serial killer at work, until the readers see the horror unfold through the translucent yellow eyes of the villainous Clayface. The story allows the supporting cast to hold their stance, with Clayface’s actions being mostly reactionary to them, which takes the plot down a tragic character-driven route.
The panel layouts play a big role in steadying the story through undulating pacing. Adhering to the theme, Xermánico depicts Clayface off-guard in compromising situations. Even though his lines are supple and fill each scene with fine details, the real attraction is the sudden violence. This is when grotesque body horror comes into play. On one side is a beautifully colored page from Romulo Fajardo Jr. that enlightens every room, from marble-laid ballrooms to quaint old studios. While on the other end awaits the gnarly morphings of Clayface that bring out the book’s charm. When Clayface loses control, the speech balloons also get murky, reciprocating the protagonist’s mental state. Letterer Tom Napolitano emphasizes setting the tone, often highlighting words with yellow.
Batman: One Bad Day – Clayface #1 plays out like a movie from start to finish, with the screenplay keeping the limelight always on Clayface. His compulsion to be the leading man in every scenario drives him to go on a murderous rampage. Changing face comes easy to him, but even for the great Basil Karlo, the spiraling situation can have its breaking point. As he finally transforms into his monstrous shape, his inner self and outward appearance match for the first time, just in time for a surreal ending.
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