BATMAN ELMER FUDD #1 by Tom King and Lee Weeks
Art
Characterization
Plot
Summary
Tom King and Lee Weeks give us a re-imagined version of the Looney Tunes in the DC universe by throwing them in the dark streets of Gotham and showing us they truly are timeless.
100 %
Dark and gritty, a Looney Tunes for a mature audience
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BATMAN ELMER FUDD #1: Dawn of Bat Season

Tom King, who currently holds the reigns as the writer for BATMAN, brings us the best Looney Tunes/DC crossover yet. A gritty Bogart-detective tone along with perfect characterization for every character makes BATMAN ELMER FUDD #1 an essential for fans. King has fully integrated the Looney Tune world into the Bat-mythos. The issue is nothing short of perfection in a one shot, with every page providing Looney references and easter eggs that fans will adore. If one removed the Looney characters, this would certainly serve as a piece of Bat-continuity. It will draw readers in from line one, making the book impossible to put down.

READ: Want more Looney DC action? Check out our review of the LOBO ROADRUNNER #1!

Hunting Wabbits

The opening line of BATMAN ELMER FUDD #1 captures our full attention. “Sometimes the wain comes down so hawd you forwget you’ve ever been dwy.” With this gut-busting line that fills any Looney Tunes fan with nostalgia, King creates a dark and realistic tone featuring one of the most beloved and humorous characters in history. Elmer walks through the rainy streets of Gotham into a hole-in-the-wall bar, Porky’s. Hidden within are recreated Looney icons in human form. Bugs “The Bunny,” a redesigned big tooth-Bogart looking character, sits at the bar, pulling carrots from a dish like a cigar.

Bugs is there awaiting Elmer. Their conversation is filled with darkly toned one-liners instead of their typical gut-busting dialogue, and eventually, we find out that Bugs killed someone close to Fudd, his “wittle Cwoud.” Bugs, always quick to think, reveals the man who paid him to pull the trigger, Bruce Wayne. Now Elmer Fudd is hunting playboys.

Batman Elmer FUDD #1 Page 1
Image courtesy of DC Comics

Overall, the entire issue is a dark detective story that unfolds the truth slowly, page by page. It’s a team up and fight that exceeds expectations, along with continuous Looney characters that make their DCU debut. Although reading the narration in Elmer Fudd’s voice is beyond hilarious, King is still able to give the book a dark tone.

Creator Talk

Overall, Tom King’s BATMAN work has been receiving some great reviews. Dishing out two issues a month, the series is close to its year mark and still has a fresh feeling to it. As the successor of Scott Snyder and Greg Capullo’s run, King had a lot to keep up with. Despite the challenges, he has indeed found his own voice and created a Batman of his own.

Artist Lee Weeks is mostly known for his work with MARVEL, but he has worked on BATMAN titles in the past as well. While his detailed work goes hand in hand with King’s dark detective story, Weeks also finds the perfect way to envision Looney legends. It would be great to see him work with King again in the future. Also, Lovern Kindzierski has done coloring for MARVEL, DC, and VERTIGO series. With his wide spread of experience along almost every title out there he was a perfect choice for this book.

BATMAN ELMER FUDD Page 17
Image courtesy of DC Comics

READ: Curious about more of the Looney DC crossovers? Check out our full list!

Wast Thwoughts

When it all comes down to it, BATMAN ELMER FUDD #1 is everything it should be. It maintains the familiar and nostalgic LOONEY TUNES cast but tosses them into the dark streets of Gotham. It’s not the cartoons we knew when we were young, but a more mature and adult version of the icons. Overall, King delivers a one-shot that shouldn’t go overlooked. It would be interesting for some of these re-envisioned classics to be slipped in the DCU here and there just for kicks. If Lee Weeks ever works on a Bat book again, I’ll be more than excited. His detail and action sequences do this murder detective story full justice. This is the last of the LOONEY TUNES/DC crossover, and it ended on a perfect note.

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