"Gotham by Gaslight" marked a unique turning point for Detective Comics' writers, proving that their established popular characters could be taken out of their "canon" narrative environments and placed elsewhere in an entirely standalone story, echoing similarities while also diverging from what's known. While it doesn't carry the branding, this Batman book marked the first unofficial installment in the Elseworlds line from DC, which later guided the Caped Crusader through the mythos of vampires, pirates, even that of King Arthur. One of the key strengths of "Gotham by Gaslight" in particular comes in how the familiar entities of the Batman universe exist within the constraints of the 19th century, where most of them are nearly the same versions of themselves tweaked and limited by the antiquated environment. That's why one of the chief frustrations with DC's animated Batman: Gotham by Gaslight, despite capturing the gothic atmosphere of the era and the intensity of battle, can be found in tweaks made from the print version that more deliberately alter the personalities of certain main characters.
Galloping into the atmosphere of hazy streetlamps, horse-drawn carriages, opium dens and ladies of the night, this Elseworlds tale reimagines Gotham City as a Victorian landscape, including familiar faces in law enforcement department: Detective James Gordon (Scott Patterson), attorney Harvey Dent (Yuri Lowenthal), and others. Gotham's still corrupt throughout its police force, which demands the intervention of a masked peacekeeper and investigator who dresses himself in a bat-themed suit, an enigmatic presence feared by criminals and do-gooders alike. Filling the dustier, bulkier and more weathered version of the suit is, of course, Bruce Wayne (Bruce Greenwood), a wealthy playboy and socialite by day who exhibits a fondness for the orphaned children of the city. This version of Gotham plays host to the legendary killer Jack the Ripper, who has been murdering Gotham's more lascivious women in the dead of night. With the help of Selina Kyle (Jennifer Carpenter), Batman doubles-down on his pursuit of the killer after someone close to him is found dead, while coping with the city's uncertainty over his often-violent vigilantism.
It'd be tough to duplicate the iconic style of artist Mike Mignola in motion, so perhaps it's a good thing that Gotham by Gaslight doesn't really attempt to do so. Sticking with the spare and sharp-angled aesthetic of prior DC animated films, The Killing Joke and Batman and Harley Quinn director Sam Liu creates a Victorian-era version of Gotham City that's in the ballpark of similarity to the comic with its dusty, warm haze at night. Yet, one could argue that maybe it isn't distinctive enough to stand out as an Elseworlds animated creation. A noteworthy component of these DC stories comes in how those familiar characters are transported to radically different environments: swashbuckling on pirate ships, a far-future Orwellian dystopia, the distorted reality of becoming a vampire. Beyond the absence of technology and the haziness of streets and alleyways at night, this first true animated iteration of the brand comes across as if Sam Liu and the creative team wanted to play it safe by camouflaging status-quo Gotham with period adornments instead of transforming the setting into a truly unique haven for Batman.
This insecurity drips over into how Gotham by Gaslight emphasizes which characters tie to their modern counterparts, ensuring that audiences know that's Selina Kyle as she appears in the Victorian era, that's how Harvey Dent's presence and profession differs in this period, and those are the orphaned boys who may or may not transform into Robins one day. It's on-the-nose, especially upon the introduction of this period's Batman, whose open-eyed cowl and heavy leather tactical garments have become an urban legend feared by citizens and criminals alike. Bruce Greenwood, whose vocal performance in Under the Red Hood often goes overlooked, delivers a slightly more gruff and earthy performance as "The Batman", one that lacks charisma yet embraces the weatherworn gothic essence of the period. The same goes for Jennifer Carpenter's Selina Kyle: while she still exudes sultriness, it's been restrained to reflect the attitude of a physically and intellectually capable woman tamped down by the era's patriarchal obligations. All of this is plainly, bluntly explained in the film, as to not create confusion.
There's a reason for the obvious exposition in Gotham by Gaslight, in that the script from Jim Krieg, who also penned Batman and Harley Quinn as well as several other LEGO DC animated features, deviates in significant ways from the original Elseworlds narrative and incorporates new, different components. Those who've read the book will have picked up on that after seeing Selena Kyle mentioned in the previous paragraph, who doesn't appear at all in its original iteration. The intentions behind this can be assumed and justifiable: Krieg and director Sam Liu wanted to adapt the 19th-century Batman concept, while also crafting the atmosphere and mystery around the murders of Jack the Ripper in a way that'll be fresh for both new viewers and seasoned readers alike. As the killings claim the lives of prostitutes and other "women of the night", an air of suspense does sweep through the landscape of this early Gotham, elevated by the numerous suspects -- and red herrings -- put in motion by new and tweaked characterizations, staying outside of the reach of the Dark Knight due to his limited forensic tools.
With tweaks to the storytelling and the suspects in play, Gotham by Gaslight hits comparable, recognizable beats to those of the one-shot comic, yet arrives at different destinations that undercut -- and, in ways, overplay -- the intentions of this kind of Elseworlds story. While a few of the stories under that brand relish how perversely they twist the characters in strange directions, the enjoyment found in most of ‘em comes in seeing how familiar characters conduct themselves normally under different circumstances and limitations inherent in the setting. A substantial twist occurs here involving the identity of Jack the Ripper, bigger than that of the original comic, and it challenges that notion by warping established character temperaments and rules by which they abide, in service of novel shock value. While indeed shocking, the revelation also calls into question whether it fits with their pre-established presence in the books … and whether that matters. The Elseworlds label grants some freedom to the creative process, but this ends up being an outlandish alteration to a pillar of the Bat-verse.
Luckily, Gotham by Gaslight executes the follow-through with heaps of intense energy, telegraphing firm hand-to-hand brawls between a more stripped-down Batman and comparably trained and sized foes, as well as volatile explosions and a little slasher-film brutality that inch closer to that R-rating. Regardless of how one feels about whether characters both old and new to the "Gaslight" narrative should've been incorporated as they have been, it's tough to dispute the execution of how the pieces all fall into place, engaging in hard-hitting sequences that don't lack for thematic strength. Fueling both the protagonist's motivations and Bruce's personal drive to end their streak of violence, the momentum gradually builds into a chaotic final act full of nods to the standard Batman universe, in which head-scratcher lapses in common sense and unanswered questions about future complications are overcome by the boldness of the action within the novelty of the Victorian era. Alas, those broad deviations from the source ultimately diminish Gotham by Gaslight to a moody curiosity instead of making it something better.
The 4K Blu-ray:
Batman: Gotham by Gaslight arrives from WB and DC in a fairly stock 4K UltraHD package, presented in a black double-disc case with moody artwork duplicated on both the cover artwork and the slightly shiny slipcase. Inside, one will find a bare-bones, black-topped 4K disc alongside the standard Blu-ray as Disc Two, which features Batman's visage on the silver-and-green top. A Digital Copy slip has also been included.
Video and Audio:
I've seen Gotham by Gaslight twice now, once on traditional Blu-ray and the other via UltraHD, and unsurprisingly the biggest difference can be spotted in the subtle glow of the lanterns and "natural" light scattered throughout this rendering of Gotham, elevated by HDR in this 2160p presentation. Both transfers exhibit clean lines around the artwork, robust colors in fiery explosions and fluids in Bruce's laboratory, and tremendous contrast balance amid the dim alleyways and streets of a centuries-older Gotham City. This is inherently a dark film, though, and the palette constantly adjust to the brown-hued, dim appearance throughout, wrapping up details in the gloomy shadows. The 4K disc grasps at upticks in high-definition quality in the expected areas, the highpoints of radiant light and the rich lows of architecture cloaked in darkness; the glow within lamps and windows are dazzlingly radiant and stand out from the darkness, while the shadows are rich and complex without wiping out the fine details within. Color banding doesn't rear its ugly head, and the digital quality remains stable across all contours, yielding a handsome presentation of 4K artwork.
The atmosphere of Victorian-era Gotham also produces a reputably array of surround components worth relishing through the DTS-HD Master Audio track. Explosions, punches, and other types of crashes deliver stable, deep lower-end response, which also spreads between the front half of the surround stage for a satisfyingly dynamic effect. The clopping of hooves, the trickle of rain, and the chatter of rustic clubs spread across the breadth of the channels, while the atmospheric music permeates the full space with nuanced, yet balanced clarity. Dialogue finds a comfortable, effortlessly clear home in the center-channel space of the track, handling inflections and the depth of myriad voices with a strong grasp on naturality, Jennifer Carpenter's restrained yet alluring delivery of Selina Kyle and Anthony Stewart Head's velvety portrayal of Alfred are particularly delightful here. No perceptible distortion emerges anywhere, and the lack of an object-based track can't really be felt, though the track tends to be light in rear-channel activity and somewhat rigid in how it travels between the fronts.
An Audio Commentary with Bruce Timm, director Sam Liu and writer Jim Krieg spearheads the extras for Batman: Gotham by Gaslight, and it's a stock and amiable track in which they explore the animation and storytelling components. They discuss capturing the 19th-century period -- staying away from steampunk elements -- and connections to Sherlock Holmes, compositing characters and books in creating the story for this animated film, how they chose their vocal talents (and how Sam Liu's fan appreciation for Dexter came into play), and the practical difficulties in keeping Jack the Ripper's face hidden throughout the film and incorporating the real person's mythos into the narrative. His identity is revealed early on and gets incorporated into the discussion, which enriches the discussion. It's a pretty standard commentary.
The other key extras comes in Caped Fear: The First Elseworld (20:45, 16x9 HD), in which the DC creative team explore both the original comic book and how they adapted it into a feature-length film, as well as how they give it a "horror" keel. Interviews with Brian Augustyn (the author of the comic), creative guru Bruce Timm, and the animated film's team explore the translation of Batman-centered themes to the Victorian era, roping Mike Mignola into being the artist for the comic, flickers of German expressionism embedded in the imagery, and how Batman's detective deductions tie to the atmosphere, amounting to an enjoyable featurette. WB and DC have also included A Sneak Peek at the grindhouse-inspired Suicide Squad: Hell to Pay (8:33, 16x9 HD) animated film, a pair of other Sneak Peeks at past Batman stories, two episodes From the DC Comics Vault -- Batman: The Brave and the Bold's "Trials of the Demon!" (22:58); Batman: The Animated Series: Showdown (21:19) -- and a Trailer wing that disappointingly only includes one for Batman vs. Two Face and not one for Gotham by Gaslight.
Batman: Gotham by Gaslight becomes the first direct take on the Elseworlds brand of alternate-reality storytelling for DC's animated wing, and it can also be seen as a return to form after a rash of lackluster outputs from the studio, both their graphic-novel adaptations and their new creations. Journeying to a different time and space proves to be a welcome change for director Sami Liu and writer Jim Krieg, who utilize the "anything goes" aspects of this branch of storytelling to tell an even wilder version of Batman's investigation into the murders of Jack the Ripper in a Victorian-era Gotham. They don't really dig into the setting's atmospheric potential, merely draping earth tones, darkness, and lantern light atop Gotham while removing modern technology, and the transformations that have been made to certain characters take the concept of "the Batman universe in a different era" and distort it with surprising shifts in their modus operandi. The mystery is absorbing, though, and it's intriguing to see both Bruce Wayne and Batman tackle a different sort of villain and the antiquated themes of their villainous objectives, while also delivering strong white-knuckle animated brawls.
Gotham by Gaslight looks and sounds appropriate both in 4K and standard HD, and the Blu-ray comes equipped with a decent array of extras that include a commentary, a fine featurette on adapting the novel for the DCAU, and some other goodies. Mildly Recommended.