“Pennyworth” #1

Look at classic British spy fiction with a DC Comics twist in this tie-in debut to the television series of the same name, following Batman’s butler Alfred Pennyworth decades before he worked in Wayne Manor and during that same tenure in interrelated stories across time!

Cover by Jorge Fornes

Written by Scott Bryan Wilson
Illustrated by Juan Gedeon
Colored by John Rauch
Lettered by DC Hopkins

Spanning the years between the hit TV show and today, Pennyworth tells the continuing adventures of Alfred Pennyworth as an MI6 counterintelligence agent—this time in Cold War-era Soviet Russia. When Alfred and his partner receive intelligence that nuclear weapons are being manufactured near the Arctic Circle, they’re off to infiltrate the remote military base to learn more. But things don’t go exactly as planned, and the ramifications of this mission may be more far-reaching than anyone could have guessed, as our present-day butler gets dragged back into his past…

Far from just a DC comic book limited series tie-in to a live action television series of the same name or just a classic James Bond-type spy fiction story that is instead in MI-5, Scott Bryan Wilson’s writing lays the groundwork in “Pennyworth” #1 for a story that could fit into the mid to late 20th century in the scope of the DC Universe, without requiring any of the popular superheroes (including the Batfamily as it would be in many a story involving Pennyworth himself, given it occurs decades before it was conceived as an idea).

The characters of the supporting cast, perhaps from the television show, are easily understood but have just enough complexity to keep them interesting and build interest for where their story went either in the past or during Alfred’s time as a butler decades later. From a potential live interest to a good friend, Wilson helps to build out Alfred’s life, making him into a character similar to, but distinctly different from, the famous James Bond of other British spy stories. Even beyond the characters and characterizations, the situations shown help build “Pennyworth” #1 from a traditional spy fiction tale to something altogether stranger and more science fiction in its concepts, much better fit to a comic book than most serious television may allow.

Much more interesting than the story in and of itself is the way in which Wilson develops the world of “Pennyworth” #1. Dialogue within scenes can be important, but at times narration boxes from the modern day in the 21st century can be more at the forefront, even to the point of deliberately covering over some of the dialogue. In a sense, this placement helps to show readers that what is being actually said is unimportant, given each spy’s vocation as, to state the title of “Pennyworth” #1, a ‘Professional Liar,’ and that the outcome and what is physically happening is more pertinent to the situation. Only the elements that are deemed as true are shown in full, the rest covered over as if mimicking a seasoned spy ignoring false information in search of the truth as an interrogation target knows it.

Captions form much of Wilson’s atypical explanation of how an MI-5 agent operates, pointing to various events or even dialogue boxes to explain what is truly happening, or what Alfred’s intentions in any particular situation happen to be, or even the occasional bit of comedy in the midst of combat. Yes, such a method of explanation may fall into the practice of telling, rather than showing, but Wilson makes it work through brief, educational explanations as if through Alfred’s thoughts themselves, including subjects as seemingly basics as how an agent walks, observes, and talks without ever actually stopping the narrative to provide exposition. Furthermore, there is peppered usage of Morse code, both translated and not, which gives a bit of added education for readers and, at times, something akin to investigative work for them to do as well to feel part of the tale through the sophisticated subterfuge.

Juan Gedeon’s illustrations show the importance of perspective in a story of espionage. Wide shots allow for more emphasis on the environment around Alfred, while close-ups concentrate upon emotion and overall stress. In particular, the lessened focus on faces and close-ups leads to the points when such faces are shown being all the more revealing about a given situation. Additionally, focus in on certain environmental elements such as doorknobs or walls helps to guide readers’ attention in similar ways to that which a camera or even an experienced spy may be concentrating.

On the subject of action, a staple of many a superhero series, there is a certain amount of fighting indeed, and Gedeon shows himself to be adept at showcasing the brutal efficiency of the MI-5 agents at taking down their opponents, each scene feeling fast-paced and brutal while simultaneously indulging in how exactly such actions are taken, fitting well into the likes of a live action television series that the “Pennyworth” miniseries seems to be trying to both continue on from and emulate at the same time.

John Rauch uses colors expertly to help set the tone of various scenes. There is of course the basic usage of light and darkness as supposed by times of day, but Rauch takes a step beyond, using shadows to show the depths of despair or monstrosity in opposition to the brighter, more “normal” and, if not peaceful then at least relatively understandable circumstances of a British spy in behind Soviet lines. The most comic book-like entity in “Pennyworth” #1, a pseudo “monster” of sorts, is deliberately shown in deep darkness, with red lights over it to emphasize it as almost demonic despite its mundane origins. Similarly, the dire straits in which Alfred Pennyworth finds himself in the apparent framing story are in darkness, or at least darker than the broad daylight of his earlier years. While such a state would be normal for Alfred as the right-hand man of the Batman, Rauch’s apparent comparison to his “glory days” in daylight show that such dim lighting is far from positive.

Final Verdict: 7.0– Though perhaps different from what some might expect, “Pennyworth” #1 is very good at drawing in new readers to its premise by indulging in both larger-than-life comic book adventurousness and down-to-earth spycraft.