Movie Reviews and Editorials Archives - The Batman Universe: Recent Episodes
Movie Reviews and Editorials Archives - The Batman Universe
In this review of Nightwing #141, Bludhaven waits with bated breath to find out if Nightwing will come forward and surrender for the Superhighway accident…Nightwing #141 main cover by Jorge Fornés (DC Comics)
NIGHTWING #141
Written by DAN WATTERS
Art by DENYS COWAN
Main Cover: JORGE FORNES
Variant Covers: DUSTIN NGUYEN, TIM BRADSTREET, DAN MORA
Page Count: 32 pages
Release Date: 8/19/26
This review contains spoilers
As Bludhaven prosecutor Emily Eastbourne waits for Nightwing to turn himself in at the courthouse. Nightwing doesn’t know what he’s going to do, dressed in a jacket and blue ball cap in the crowd, and hears a loud man saying Nightwing going too far beating a corrupt cop is finally “doing the right thing”, after being too weak on crime, telling a story from the past about Nightwing letting a drug dealer go with a fright. Kate Spencer, Manhunter and attorney, approaches Nightwing in the crowd and asks him not to turn himself in, but she will represent him if he does so the Justice League doesn’t start getting convicted. They overhear another woman talking about how Nightwing talked her off a roof, literally, when her father died, and she knows Nightwing will turn himself in to clear his name. The deadline comes, and just as Nightwing is about to put on his mask and step forward, the witch steps forward, calling herself Anita Lee, claiming responsibility for grabbing the wheel of Nightwing’s car and causing the accident. As she is arrested, Nightwing notices a man who isn’t watching Anita, and chases after him as Kate Spencer is annoyed. Breaking into the man’s apartment, Nightwing learns that Anita, who he recognized as not the witch of Bludhaven, was paid to take the fall for the real Witch by Mayor Bisogni, who left a note with the man thanking Nightwing for dealing with the consequences of the Superhighway. We see the Witch still predicting doom in the company of the Mayor, as Nightwing struggles through a panic attack.
Times up, Nightwing… (DC Comics)
Analysis
Dan Watters continues to bear down on Nightwing like a skyscraper’s weight on one man with the conclusion to his Bludhaven Lore arc. With Bad Seeds coming next, it seems extremely unlikely that any relief for Dick Grayson is on the horizon, and the overall suffocation of the arc, while very effective, isn’t much fun. Though I like how he’s woven both new characters like his medical examiner from Dark Patterns and one of my favorites, Kate Spencer, Manhunter (created by Mark Andreyko and Jesus Saiz), neither of them are well integrated. The purpose of the Bludhaven Lore arc seems largely to flesh out the history and “normal” characters of Bludhaven, though unlikely that many of them will be seen again. While I heartily approve of expanding the civilian cast of superhero comics – the sense that capes only spend any time with other capes is a frustrating result of the power creep of the past 15 years – I feel the development of more of a Commissioner Gordon and other standard figures would be helpful. If the ME and Kate prove to be such characters in the ongoing arc, that would be great, but given how Martian Manhunter and other cameos have gone in Watters’ run so far, I am not too hopeful. There’s a general sense that Watters is nowhere near done slamming Dick into the ground, and while few writers are as good as it as Watters (despite a few significant critiques I’ve voiced in these reviews during this arc), I’d really like an upswing sometime soon.
Denys Cowan provides striking and appealing linework, proving once again why he’s a DC Legend, with another Legend, Norm Rapmund, providing inks for his energetic and powerful linework. Francesco Segala’s colors, carefully limited in palette, give a sense of seriousness and emotional weight to every carefully rendered panel. Again, Nightwing is one of the most consistently effective books on the stands artistically, and it’s a pleasure to see such a great team working on a book with a lot of eyeballs on it.
Our main cover by Jorge Fornes shows Nightwing being taken against his will to The Courthouse – more nice design from Fornes. Tim Bradstreet’s variant shows a Nightwing, downcast and in deep shadow, against a target. Dustin Nguyen’s variant features Nightwing semi-transparent torso against a rain-soaked Bludhaven street – very evocative. Dan Mora’s Dark Knight Returns 40th Anniversary cover features his rendition of Batman and Carrie Kelly Robin and the iconic lightning.
Final Thoughts
Watters and Cowyn weaves a well crafted tale of Nightwing as a conclusion to his Bludhaven Lore arc, but nothing is resolved and our hero remains in a horrible state.
The post Review: Nightwing #141 appeared first on The Batman Universe.
In this review of Batman/Superman: World’s Finest #54, Neron challenges the DC heroes to a baseball game in Hell in order to prevent global annihilation. Wonder what the prediction market apps think of this?Batman/Superman: World’s Finest #54 main cover by Dan Mora (DC Comics)
BATMAN/SUPERMAN: WORLD’S FINEST #54
Written by MARK WAID
Art by BRUNO FRENDA
Main Cover: DAN MORA
Variant Covers: MIGUEL MERCADO, ADRIAN GUTIERREZ, BILL SIENKIEWICZ
Page Count: 32 pages
Release Date: 8/19/26
This review contains spoilers
Batman/Superman: World’s Finest #54 begins with the world in turmoil as Qurac and Bialya prepare for war. Batman and Superman observe the growing crisis from the Batcave, and are surprised by a ghostly intruder who unexpectedly transports them to the underworld where they join more than a dozen heroes captured by Neron. The demonic despot explains how prayers from hell have created the potentially disastrous situation on Earth, but he is willing to resolve this issue…for a price.
Neron proposes a baseball game be played between the heroes and his demonic hordes for the fate of the world. Superman accepts the terms while Batman looks for a loophole. He recognizes the person who abducted them as a former baseball player (and Clark’s childhood hero), Steet Wensler, who was condemned to hell for a lifetime of bad decisions.
Wensler warns Superman that the heroes cannot win against Neron, and at first the disgraced ballplayer is proven right. Batman advises the other heroes to play dirty (except Superman). The heroes give as good as they get and are within one run of the opposing team at the end of the ninth inning. The heroes score two runs and declare victory, but Nero cries foul and asks for a judgment call from Wensler.
Batman/Superman: World’s Finest #54 ends as Wensler tells the truth, giving the heroes the win, but sacrificing himself to Neron’s punishment. Batman calls Neron’s bluff over the agreement and the villain relents, ending the conflict above. Back at the Batcave, Batman and Superman applaud each other’s approach to the crisis and later Superman visits Wensler’s grave to pay tribute to his fallen hero.
Analysis
Batman/Superman: World’s Finest #54 pulls off a clever done-in-one tale, spotlighting Batman and Superman’s greatest strengths. Writer Mark Waid never seems to tire from sampling Silver Age DC Comics and giving them a modern spin. Batman/Superman: World’s Finest #54 contrasts the Dark Knight’s ruthless strategizing with the Man of Steel’s steadfast earnestness. Both men are heroes with their own distinct methods, and those differences make the World’s Finest team an effective and enduring partnership.
A game for the fate of the world is an age-old plot (see Web of Spider-Man #34 or Avengers: No Surrender, for example), but while Batman/Superman: World’s Finest #54 reflects tensions of the modern world but still knows how to have a fun along the way.
While Batman and Superman get the spotlight, Plastic Man has a few good one-liners while Black Lightning and G.I. Robot bring a gleeful edge to their aggressive tactics during the ballgame. Superman’s optimism is his secret weapon, and he radiates it like the sun, eventually making an impression on the cynical Wensler (in hell) while Batman’s pragmatism rallies the Justice League to win the game.
Guest artist Bruno Frenda brings a sense of fun and a bundle of energy to Batman/Superman: World’s Finest #54, (along with the requisite doom and gloom of the underworld setting). Frenda’s style is well suited to the mix of drama, adventure and slapstick humor the series is famous for. Frenda’s artwork feels familiar but fresh, providing a barrage of thrilling action set pieces and a cool comedic montage and it will be interesting to see more in this title or elsewhere.
Final Thoughts
Batman/Superman: World’s Finest #54 offers up an enjoyable one-off story with themes of friendship, morality, legacy and sacrifice, but doesn’t forget to have some fun along the way. Guest artist Bruno Frenda complements Mark Waid’s wildly imaginative script with impressive visuals.
The post Batman/Superman: World’s Finest #54 Comic Review appeared first on The Batman Universe.
In this review of Catwoman #90, it’s the final battle between Black Mask, Katarina Belov, and CatwomanCatwoman #90 main cover by Sebastián Fiumara (DC Comics)
CATWOMAN #90
Written by TORUNN GRONBEKK
Art by DAVIDE GIANFELICE
Main Cover: SEBA FIUMARA
Variant Covers: FRANK CHO, JEEHYUNG LEE, CHLOE BRAILSFORD, JOËLLE JONES
Page Count: 32 pages
Release Date: 8/19/26
This review contains spoilers
Catwoman #90 opens with Black Mask recruiting people and supplies for his big strike against Catwoman. Cut to the present and Black Mask has Gotham burning down as he has Catwoman cornered.
Fast forward forty minutes and Black Mask has Catwoman and Slam tied up on a boat in Gotham Harbor. Mask has a sick and twisted game of Wheel of Fortune set up for Catwoman. He will spin the wheel and find a new way to torture her. Also he has three people trapped in a box and two cats that he will kill every time she talks. How will Catwoman get out of this one? Black Mask spins the wheel and begins to suffocate Slam.
Quick flashback to before this when Maggie Kyle called Selina’s phone and Black Mask answered. We don’t get to hear the conversation.
Selina speaks to save Slam but that means one of the hostages is going to die. Selina still thinks he wont do it and maybe the hostage isnt real. However she is very real and Black Mask shoots a harpoon through the hostages chest. Black Mask spins the wheel and is going to drop a kitty cat into acid.
The boat is reaching land and Maggie Kyle is out there waiting on the dock. Catwoman is freeing Slam who is still alive while Black Mask and Maggie embrace. After their hug, Black Mask starts to feel dizzy and falls down. Maggie has poisoned Black Mask. Katarina pulls a gun on Maggie.
Just then Catwoman appears and slashes her across the face exposing her true face underneath her flesh mask. Katarina and Catwoman go overboard and start sinking to the bottom of the ocean. Katarina drowns and Catwoman escapes.
Later, Selina is on the phone with Carmine and Carmine says that Sinios wasn’t found but Holly is safe. Carmine is happy Selina is still alive and he will call her soon. Selina relaxes with Maggie and Slam and are recovering from the madness of Black Mask’s attack.
Next: Bad Seeds!
Analysis: For a storyline where it seemed that every issue ended with a bang, this ending did not. Black Mask gets incapacitated but gets away. We don’t know where he went. Catwoman and Katarina end up overboard and she just drowns. And that’s it. This seemed like a very rushed ending. This storyline clearly had to be finished because of Bad Seeds. And that is always the rub with crossovers. That the crossovers can get in the way of a storyline in another book. Obviously Batman and Detective Comics will be fine because those books set up the storyline but the “B” titles are the ones who get their stories rushed to make room for the major crossover.
I don’t know how I feel about this characterization of Black Mask. The elaborate planning, the showmanship, the goofy jacket. This Black Mask acted more like a Joker or Riddler than the Black Mask I have normally read in comics. The Black Mask I knew would torture and then eventually kill. But this Black Mask put on a big show. It didn’t really work for me.
Lets see if Grønbekk picks up the seeds planted in this storyline after the Bad Seeds event. Black Mask is still out there. And we never got an ending for Holly. Just Falcone saying she was “safe”. There is still a lot of meat on the bone here.
The post TBU Review: Catwoman #90 appeared first on The Batman Universe.
In this review of Batwoman #6, we take a look back at the mystery of how Kate and Beth came to where they were in the Eschatology arc, and a hint at their future.Batwoman #6 main cover by DaNi (DC Comics)
BATWOMAN #6
Written by GREG RUCKA
Art by JEFF SPOKES
Main Cover: DaNI
Variant Covers: STJEPAN ŠEJIĆ, JEFF SPOKES, JORGE FORNES, WALTER SIMONSON
Page Count: 32 pages
Release Date: 8/19/26
This review contains spoilers
About two months ago, northwest of Gotham in the mountains during a massive thunderstorm, Batwoman and Alice plummeted from a cliff into a roaring river. Batwoman reached to save Alice, but her sister was swept away by the waves, and Batwoman hit by a huge log. She makes it to Jacob Kane’s manor, where he is startled from his miniature painting by her bloody appearance.
Though Kate is distraught thinking she killed Beth, Alice arises from the waters and wanders into a town, where Anna, Kate’s ex-girlfriend (from the beginning of Elegy) mistakes her for Kate. Beth insists Anna bring her to Kate’s apartment, and begins to try to take Kate’s place, cutting her hair and getting tattooed, trying to shut up the reflection of Alice in the mirror.
Bruce Wayne visits a catatonic Kate, recommending a mental health facility in Petalon, Greece. Kate weakly accepts, saying the bag guys won.
Jacob stops by Kate’s apartment, not seeing Beth, but she follows him into the Batcave in the apartment, and learns that her sister is Batwoman.
Now, in the present, Kate reveals she is Batwoman to her doctor in Greece, and asks her to help Beth. The doctor and Beth both agree, and Kate and Jacob watch as she enters the facility.
Where it all ended for Kate and Beth… or did it? (DC Comics)
Analysis
After the end of the first arc, Eschatology, Greg Rucka and guest artists Jeff Spokes (finding some interior work after the Red Hood series he was on was cancelled earlier this year) take a look back at how we got from the fight between Kate and Beth seen in the first issue and their tense reunion in the heart of the Religion of Crime. Though I’ve gone on record as saying the first three issues should have been combined into one issue, I wonder if Rucka had chosen to tell the story more as parallel narratives rather than a mystery if it might have played better. Hard to say, but this issue is very satisfying in seeing how Kate came to be in the Petalon facility, and how Beth came to think she was Batwoman. I hope we’ll get some further delving into questions such as – why was Beth Alice again, and why were she and Batwoman fighting in the first issue? What happened between Jake and Kate that they are working together again, after Rucka had broken their relationship pretty thoroughly in Go? Or is he accepting the healing that the otherwise mostly ignored stories between Elegy/Go and Eschatology did? We likely won’t get answers for a while, as the next two issues of the series feature Batwoman facing the wrath of Poison Ivy in the Bad Seeds event!
After main series artist DaNi’s thick-lined, moody pencils, it’s fascinating to get Jeff Spokes’ clean lined, very appealing art. Though not as dramatic in layout as Elegy/Go artist JH Williams III, Spokes still uses some creative framings, and the way he draws the characters feels more in line with that original depiction, still so engrained on Batwoman fans’ eyeballs. We’ll have to see if DaNi manages to break that visual stranglehold for Batwoman! If Spokes becomes a regular guest artist, that would be delightful as well!
Rucka seeds tons of fascinating and fun details throughout this issue, from Jake’s miniature painting (a very soldierly hobby), the return of Kate’s ex-girlfriend (now married to another woman, but still apparently concerned about Kate), and more. Hopefully he’ll have time after the Bad Seeds issues to explore these rich elements, as well as dig into the questions of the Religion of Crime, who all these villains are, and what they really want (other than just killing one or both of the Kane sisters). Plus, of course, the mystery of why they killed Kate and Beth’s mother and kidnapped Beth all those years ago! It’s also very nice to see Rucka write a Bruce Wayne able to express his concern and care for his family. Hopefully when Kate and Bruce cross paths again, whether during Bad Seeds or later on in the series, this healthy attitude will continue!
Main series artist DaNi, though on a break from interior art this issue, provides a dramatic Alice vs. Batwoman fight from the flashback, providing nice artistic continuity even with a different interior artist. Stjepan Sejic continues his series of variants for this series with a portrait of Alice in a cave full of water, dangling a pistol from one hand as red bats fly. Guest artist Jeff Spokes provides a gorgeous Batwoman and Alice portrait style cover, with ominous ring and rock formation imagery behind. Jorge Fornes gives us a Batwoman mask close-up, with red Gotham City details in the hair and background, colored with heavy zippetone effects. Lastly, comics legend Walt Simonson provides a Batman vs. Superman Dark Knight Returns 40th Anniversary cover as part of that series.
Final Thoughts
Though it doesn’t push the story forward too much, it’s great to get a sense of how all the disjointed pieces of the Eschatology arc fit together, and guest artist Jeff Spokes provides an absolutely gorgeous rendering of Batwoman and her world.
The post Comic Review: Batwoman #6 appeared first on The Batman Universe.
In this comic review of Barbara Gordon: Breakout #4, as Babs struggle with the likes of Die and Sparrow, a new ally arrives to help. Is it enough?Barbara Gordon: Breakout #4 main cover by Karl Kerschl (DC Comics)
BARBARA GORDON: BREAKOUT #4
Written by MARIKO TAMAKI
Art by AMANCAY NAHUELPAN
Main Cover: KARL KERSCHL
Variant Covers: DUSTIN NGUYEN, DAVE JOHNSON, GERALD PAREL, KLAUS JANSON, and FRANK MILLER
Page Count: 32 pages
Release Date: 8/12/26
This review contains spoilers
Barbara meets Officer Myrna Shelton who is a fellow inmate. She asks why she is behind bars in the Supermax and Shelton tells a story of how she saved a defenseless kid from being harassed by Vandal Savage’s squad of goons. Shelton holds her own but they wear her down and give her a scar on her hand. Shelton says she owes her dad a lot but that’s a story for another time. Tease!
Babs and Myrna find out that the next member of the Supermax will be former city council member Vanessa Woods. Afterwards, Barbara is heading back to her cell when she hears a scream. She tried to run to help but one of the workers throws her back in her cell and prepares to beat her. Babs fights the thug while the person continues to scream while Die walks in and the screaming stops.
Barbara and Shelton think that it was Woods that was screaming and plan to recruit a guard on their side. They can’t find Woods and wonder if she’s dead. As they are discussing that, they find the murdered body of Barbara’s old friend Sparrow in the laundry bin. The issue ends with Barbara realizing she has no idea what is going on in this prison.
Analysis
Not much happens in this issue. Maybe that was intentional to make the end of the issue that much more shocking. Babs finally has some help in the prison and she continues to be beaten down by guards and Die continues to threaten her. So it is pretty par for the course and Babs think she is starting to get a routine in the prison. But then that is all turned upside down by finding Sparrow’s dead body. Sparrow seemed to be against Babs because she kept drugging her but now she’s dead. Will Barbara be blamed? It is too easy to assume Die killed her. It is a new mystery to solve in this crazy prison.
It seems that every issue that Barbara has been beaten or tortured and it is a good piece of continuity that we see the effects that those beatings have on her. She’s bandaged from her head to her toes. Not only that but she is the only inmate who is bandaged. Is she getting extra special treatment from the Savage thugs because of her dad or because she wont comply and will fight back.
The Vandal Savage Supermax holds many secrets and I am looking forward to see Barabra Gordon investigate the death of Sparrow in the next few issues.
The post TBU Review: Barbara Gordon Breakout #4 appeared first on The Batman Universe.
In this review of Batgirl #33, while Bronze Tiger and the others battle Dr. Forget-Me-Not in the real world, can Batgirl defeat her psychotic foe by herself in her own mind?Batgirl #22 main cover by David Talaski (DC Comics)
BATGIRL #22
Written by TATE BROMBAL
Art by STEPHEN SEGOVIA
Main Cover: DAVID TALASKI
Variant Covers: KYUYONG EOM, STANLEY “ARTGERM” LAU
Page Count: 32 pages
Release Date: 8/5/26
This review contains spoilers
Bronze Tiger leads Jaya and Tenji downstairs of the warehouse where they’ve been sent to investigate the corpse of a dead girl, along with Batgirl who’s suffered a seizure and his currently comatose, battling a mental attack from Dr. Forget-Me-Not. Tasked with solving the murder of Victoria Rose – the rival trainee under the instruction of Forget-Me-Not and the League of Assassins, Cassandra begins to believe she killed Victoria, until she begins resisting the doctor’s mental hypnotism that’s intended to assault her as a young girl. Now as a grown woman who has learned speech, Cassandra reworks the evidence in her memories, realizing that Forget-Me-Not blamed Cass for Victoria’s death and that she likely died while on an assassination mission to compete with her and David Cain. Recognizing the evil doctor’s failure brings Cass out of her coma, just as a brainwashed Tenji has begun attacking his father. Batgirl knocks out both attacking parties, bringing Tenji back to his senses.
With Forget-Me-Not in custody, the heroes note that the corpse was that of a different murdered girl, surmising that Victoria’s body was never recovered. Tenji asks Cass if it means Victoria might still be alive, which Cassandra confirms is her belief.
Analysis
Retcons are an inherent risk in superhero storytelling, because for the majority of the various franchises the writer is invoking long-understood canon to enhance the emotional weight of the idea they’re putting across. Take for example the (as of now) current Matt Fraction run on Batman. We now have a new butler named Verity Pennyworth, Alfred’s heretofore unmentioned great-niece who is replacing her relative’s position under Bruce Wayne. Alfred’s quit his position before, twice in fact, before dying years later. So why hasn’t Bruce been made aware that a successor was waiting in the wings? That actually matters less if the story Fraction tells is good, so an explanation can take its time on it, especially as the efficacy of her presence can be felt in issues to come. Personally I enjoyed her opening debut.
I write all this to put across that for Tate Brombal, there must’ve been a real point to bring in Cassandra’s lost memories of her previous life training under David Cain. In the last issue, it seemed to further torture her in presenting a memory of killing a childhood friend, thereby worsening Cass’ already low opinion of herself, and deepening the (admittedly well worn) conflict of how she views her bloodline in the face of all her assassin relatives. In this issue, we learn that not only was she a scapegoat for another man’s failures, but in fact Victoria Rose a.k.a. Paper Doll was Cassandra’ earliest friend who “taught her how to love”. But not only was Victoria a tragic figure in that Cassandra’s memories of her were taken away, but she’s potentially another lifeline to her past in that she may still be alive – despite the fact that in her memories lil’ Cassandra is looking at a report of Victoria’s dead body.
My problem with this is that Tate Brombal’s run is far too occupied with trying to overwrite Cassandra’s history with family members parallel to the Bat-Family. The comparisons were already present with Shiva and Batman and Oracle, predating this run. But since this series began, the cast of characters introduced have all been trained assassins with dubious moralities meant to reflect Batgirl, in ways which – to my mind – are meant to invoke the Batman characters. Tenji’s relationship with Cass isn’t exactly like the relationship she had with Duke Thomas, but it comes across as though it’s filling the same slot I.E. the fresh-faced, young man who’s eager to fight and tries to hide his insecurities in the face of Batgirl. Far closer of a comparison is Victoria Rose and Stephanie Brown. Victoria is very clearly drawn similarly with Stephanie, and images of the two sharing hobbies as girls feel like one eye was kept on the pages of the Batgirls book from a couple of years ago.
It would be a more interesting retcon to learn that Cass had this blonde friend who “taught her how to love”, and then died, only for her to find a new blonde friend in Stephanie. But the idea that Victoria might still be alive wears me out. What’s the point of bringing in yet another character from her past? If the character remains dead, then the purpose of this arc was to show how much Cass has changed, and how the detective skills she’s learned as Batgirl helped to recognize the truth from her past. Not a bad idea, but the execution ends up muddied and mixing with different purposes.
Additionally, why was Forget-Me-Not’s revenge plan against Cass anyway? He implanted a mental trap to spring on her randomly years into her adulthood? How did she know she would even feel guilt if she lost her memories? Did he imagine she would escape the tutelage of David Cain? Why wouldn’t he blame Cain more directly, or the League of Assassins? And if someone paid for him to attack Cass now, why wouldn’t he just kill her instead of torture her with a blend of a Riddler-meets-Scarecrow mental attack? He says he wasn’t anticipating the others being present, but this is taking place in Gotham City. At the very least, the Bat-Family would likely be around for him to expect trouble.
I also still really dislike the revelation that Forget-Me-Not’s basement dwelling where all of this took place in the past was located in Gotham City. It’s stupidly convenient, and takes away from the international origins of Cassandra and Cain’s backgrounds.
The one aspect I enjoyed from this revelatory issue was Cass’s recognition that the skills she now had were her own, and she did not have to view herself as that eight-year-old girl anymore. It’s a strong realization for the character, illustrating genuine growth and makes this Batgirl embody the difference between someone who better understands herself with someone still searching for herself, which is at times what Cass comes across as in this book.
Overall, I wasn’t thrilled with the conclusion of this mystery, but I wasn’t surprised by it either. I’m just bothered that we’re bringing about more retcons to concern ourselves with, when we could be telling different stories for Batgirl to be challenged by. But this book is way too concerned with addressing her past, it distracts more than entertains.
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In this review of Batman #12, as Batman ponders the new entry into his life, Verity Pennyworth, five assassins slaughter freely in Gotham.Batman #12 main cover by Jorge Jiménez (DC Comics)
BATMAN #12
Written by MATT FRACTION
Art and Main Cover: JORGE JIMENEZ
Variant Covers: DUSTIN NGUYEN, JORGE MOLINA, RYAN SOOK, JORGE JIMENEZ, MARCIO TAKARA, DAVID AJA
Page Count: 40 pages
Release Date: 8/5/26
This review contains spoilers
As Batman #12 begins, Bruce watches Damian and Verity Pennyworth on the couch, talking to his Alfred ghost/hallucination, revealing he’s not yet read Alfred’s last wishes. Ghost Alfred reveals that the Society of the Midnight Key exists to help heroes like Bruce. Still suspicious, Bruce is surprised when Verity gets Damian to laugh deeply.
In Robinson Park, an elderly assassin called Der Giftmorder (Prof. Anton Anker) murders a man with a poison-laced chess piece. In the Neapolitan hotel, a mobster in witness protection falls prey to Lord Fantome (Thomas Doinel). A wrestler called King Panther brags to Vicki Vale about defeating and exposing the murderous Sr. Sueño (Cesario de Diaz Hermanos), but falls prey to Sueno instead. At the restored Monarch Movie Theater, a predatory film director is killed via scorpion in popcorn by Vector (Dr. Amelia Danton). A bluebeard-esque playboy on a blimp is blown up by Spyder Black (Ludlow Durand).
Batman, Damian, and Verity analyze why all these master assassins are taking hits in Gotham now, theorizing it’s linked to the contract on Bruce himself.
At the West Side Beacon Hotel, Der Giftmorder fights Lord Fantome in a glass elevator when Batman crashes in. Though both assassins are deadly with poison and blades, Batman subdues them both, dryly telling people to take the next elevator.
Bruce has his doubts. Damian however… (DC Comics)
In the Financial District at the Bank, Minotaur tortures a Yakuza who tried to go to the police, but he’s warned that his car has been bombed, so he sets off the trap with decoys.
As Verity sews him up, Bruce and Damian argue about the ethics of holding the two assassins hostage themselves instead of turning them over to the authorities. Verity reveals she was behind the assassins meeting each other, so Batman wouldn’t have to fight all five at once, impressing both Batman and Robin.
At Arkham Towers, The Joker receives an unseen visitor who tells Joker that he (the visitor) isn’t going anywhere.
Analysis
Matt Fraction and Jorge Jimenez’s run on Batman continues with an issue that, despite being heavily advertised as the introduction to Verity Pennyworth as a character, mostly spends its energy on five super-assassins (though unpowered). Verity does impress Batman and Robin multiple times in the issue, particularly in her having two assassins meet and fight each other to give Batman an advantage, but nothing specific of her training, history, and little of her personality really shine through yet. There are a lot of plates spinning – the wave of assassins coming for Bruce Wayne, the Ojo’s place among them, the Minotaur, Vandal Savage – but this issue feels a bit deceptive in not giving us very much meat of Verity herself.
Aside from that frustration, though, Fraction and Jimenez provide a diverting cast of wacky assassins, a vicious and very cool fight between two of them and Batman on a glass elevator, and two mysterious pieces of the Minotaur and Joker ongoing threads. Is the Minotaur going to pretend to be dead? Was it Batman visiting Joker in Arkham Tower? We’ll have to wait and see!
Despite the strong action and creativity, Batman #12 is one of the first issues in Fraction’s run that feels a bit short and not quite sufficient in itself. There’s something missing amidst all the murders and punching and Batman posing epically. The sheer number of characters leaves none of them quite feeling as real as one could hope. But Fraction and Jimenez will very likely deepen them all in the coming issues, after Bad Seeds takes over the title for the next two months! It is a bit odd that nothing in this issue seems to lead to Bad Seeds at all – not even an editorial final caption at the end.
Series artist Jorge Jimenez’s main cover features Verity Pennyworth’s blonde self on a platter, all ready to buttle for Batman! (also available as a virgin foil variant for a surcharge) Going with a similar concept, Dustin Nguyen’s latest in his watercolor series of covers for this run features Verity with a Bat-cowl on a platter in the cave. Jorge Molina’s cover shows Batman standing a bit Frank Miller-like – grimacing, thick with muscle, with graffiti behind him. Ryan Sook’s cover features a neon-lit Batman on a chessboard of villains, Gotham in the backdrop – a very nice bit of urban gamesmanship! David Aja’s 1 in 25 incentive variant features one of the many assassins from the issue, holding a red knife and standing in red. Jorge Jimenez also provides a Verity Pennyworth Design variant, showing his clear joy in creating this new figure for the Batman universe. And in a similar vein as Jimenez and Nguyen, Poison Ivy artist Marcio Takara creates a Verity cover with Alfred looming in the background, a pink bubblegum popping on her lips, and a platter of tea in her hand, highlighting the modern nature of our new majordomo!
Final Thoughts
Though it offers several intriguing pieces in the ongoing puzzle of Fraction’s Batman story, this issue doesn’t quite illuminate enough of its central advertised figure to satisfy yet.
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In this review of Batman/Superman: World’s Finest 2026 Annual #1, if it’s the fifth Wednesday of the month and it’s Summertime, expect a little bonus in your pull box courtesy of DC Comics. Two all-new titanic tales featuring the World’s Finest and some endearing costars.Batman/Superman: World’s Finest 2026 Annual #1 main cover by Dan Mora (DC Comics)
BATMAN/SUPERMAN: WORLD’S FINEST 2026 ANNUAL #1
Written by MARK WAID, MARK RUSSELL, and TYRONE FINCH.
Art by CLAYTON HENRY and PATRICK BOUTIN
Main Cover: DAN MORA
Variant Covers: RAHZZAH and CLAYTON HENRY
Page Count: 48 pages | Variant $4.99 US (card stock)
Release Date: 7/29/26
This review contains spoilers
Batman/Superman: World’s Finest 2026 Annual #1 starts with “The Hero Trap” as Clark Kent and Bruce Wayne await their respective adoptive fathers at a Middle Ages themed restaurant (picked out by Clark of course) for Fathers Day. Jonathan Kent and Alfred Pennywoth arrive. Soon, Clark and Bruce covertly tell each other that they received an alert from the JLA. Bruce excuses himself and climbs into an old pickup truck (which turns into the Batmobile).
Back inside, Jonathan ponders the menu as Alfred flashes on the numerous times he treated Batman’s injuries, clearly concerned for Bruce’s safety.
Meanwhile, Batman arrives at his destination which is (a trap) a top-secret laboratory. After fighting through Lex Luthor’s armed thugs, Batman walks through an energy door and finds the Flash who warns Batman that any attempt to escape will doom hundreds of innocents.
Back at the restaurant, Clark excuses himself and moments later becomes trapped alongside Batman and Flash. Jonathan and Alfred bond while swapping tales of raising their sons, and Pa Kent suggests they go find their boys. As the three heroes try to solve the deadly puzzle, Alfred and Pa Kent track them down, using their own distinct approach to distract the guards. The pair realize exchanging an unconscious guard for each hero will allow for them to escape.
Batman/Superman: World’s Finest 2026 Annual #1 “The Hero Trap” ends as the heroes enthusiastically reunite with their fathers before tracking down Lex. Pa Kent and Alfred share a more relaxed conversation (and breadsticks) after their unusual but rewarding Father’s Day.
Batman/Superman: World’s Finest 2026 Annual #1 “Date Night” finds Bat-Mite and Mr. Mxyzptlk going full meta and pitting Batman against Superman for the hand of Lois Lane. With Superman in orbit contending with a decaying satellite, Bruce Wayne encounters Lois and takes her to a county fair (as a favor to Superman to protect her from an attack). Bruce tries and fails to win over Lois and win her a prize (thanks to Superman’s meddling).
Batman/Superman: World’s Finest 2026 Annual #1 “Date Night” ends with Bruce wrestling a greased pig as a disgusted Lois drags Clark away, leaving the finally triumphant Bruce Wayne alone with his prize.
Analysis
Batman/Superman: World’s Finest 2026 Annual #1 offers up two more feel-good stories of yesteryear that span the past and present (at least until the next Crisis reset). Writer Mark Waid continues his favorite pastime of serving up classic Silver Age comic book tropes with a modern twist. Both “The Hero Trap” and “Date Night” play to Waid’s penchant for humorous rivalry between the World’s Finest and their supporting cast.
The awkwardness of the dinner scene between Pa Kent and Alfred is played mostly for laughs but has an undertone of fatherly love and concern for their sons running headlong into danger. Pa Kent’s wise observations serve to comfort Alfred, but not as much as the pair taking it upon themselves to rescue their boys without making it seem out of character or left field. Pa Kent’s folksy distraction and Alfred’s SAS training get the job done.
It’s also heartwarming to see Alfred and Batman drop their guard and show actual affection, in contrast to how they greeted each other in the beginning of the story. Questions arise from stories like these including why superfast Flash and Superman’s reaction time didn’t allow them to escape the trap, but where is the fun in that?
While the stakes are high, it is the emotional undercurrent that provides the most tension in this story.
Watching Batman, Superman and Flash futilely brainstorm is classic, as is Batman and Flash’s facepalm when Superman rushes in. Thanks in part to artist Clay Henry, the story balances the emotional, the heroic and the humorous in equal measure. Also, one might wonder how a high-profile figure Bruce Wayne could appear at a public establishment without being mobbed, but alas, that isn’t the point of the story.
Batman/Superman: World’s Finest 2026 Annual #1 “Date Night” is mostly slapstick, as Superman repeatedly foils Bruce (under the sway from the Fifth Dimensional imps) and his attempts to woo Lois Lane. Pat Boutin’s minimalist art style complements Waid’s absurdist tale, as both writer and artist deliver on the repeated sight gags, wreaking havoc on one poor man’s vehicle. The exaggerated facial expressions and body language sell the story.
Final Thoughts
Batman/Superman: World’s Finest 2026 Annual #1 delivers two charmingly enjoyable stories that will delight both readers of this series and also fans of the classic tales they were inspired by. The fact that Mark Waid has a seemingly inexhaustible supply of story ideas while attracting both established and fledgling art talent into the fold is testament to the quality and love that Waid weaves into every page.
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In this review of Detective Comics 2026 Annual #1, if it’s the fifth Wednesday of the month, DC Comics fills it in with a bonus installment of your favorite ongoing series. Two all-new tales to thrill. Lobo is in the first story (they probably booked him before the movie tanked).Detective Comics 2026 Annual #1 main cover by Nicola Scott (DC Comics)
DETECTIVE COMICS 2026 ANNUAL #1
Written by TOM TAYLOR and DAVE WIELGOSZ
Art by NICOLA SCOTT and FRAN MARISCAL
Main Cover: NICOLA SCOTT
Variant Covers: GUILLEM MARCH and JAVI FERNANDEZ
Page Count: 48 pages
Release Date: 7/29/26
This review contains spoilers
Detective Comics 2026 Annual #1 begins with a story (with a revealing title) that finds Batman at Alfred Pennyworth’s grave commemorating his surrogate father’s memory with his favorite tea. An alert comes too late for Batman to react as intergalactic bounty hunter Lobo zooms by and nabs the Dark Knight. Knowing about the Main Man’s healing abilities allows Batman to cut loose against the miscreant, forcing a truce with Lobo, while also hiring him to track down whoever framed Batman for murder (a regicide).
Batman hitches a ride on Lobo’s bike to the planet Durghan where the king was murdered and the pair forcibly visit the body after gathering information from some of the locals. Batman realizes traces of the dreaded Black Mercy on the deceased’s torso as the duo are ambushed by Durghan’s president, who attacks them both with the same plant.
Bruce Wayne awakens in Wayne Manor, married to Selina Kyle as they send off their daughter Helena and son Damian to see a movie with Bruce’s parents, allowing the pair to prowl Gotham City as Batman and Catwoman. Later, Bruce shares an emotional moment having tea with Alfred. “Batman” tells Bruce it’s time to wake up. Batman frees himself and Lobo and hands over the traitorous president to the authorities.
Detective Comics 2026 Annual #1 “For the Main Man Who has Everything” ends with Batman flying Lobo’s bike back home as Lobo gets his wish to experience the bliss of the Black Mercy again, his secret desire revealed to be a space dolphin.
Detective Comics 2026 Annual #1 “Pyg Pen” unfolds from the point of view of a group of artists using a shared space to create their masterpieces. When Mr. Sty arrives, his obnoxious behavior (and warped Batman obsession) drives away many of the tenants, prompting the remaining few to demand the owner kick out Mr. Sty.
The owner admits that Sty has been compensating her financially and now she feels trapped. One of the tenants discovers that Sty (Professor Pyg) is holding the real Batman prisoner and tells her friends. As Batman and Pyg trade accusations, the tenants burst in and rescue Batman. Pyg gives chase, but Batman overpowers him.
Detective Comics 2026 Annual #1 “Pyg Pen” ends weeks later after most of the tenants have returned and a gallery showing brings art patrons including Bruce Wayne, Ted Kord, Oliver Queen and Dinah Lance making the art show a success.
Analysis
Detective Comics 2026 Annual #1 runs the gamut with its twin tales. “For the Main Man Who has Everything” mixes the familiar with a few clever twists, gorgeous visuals and a healthy dose of humor and pathos. Writer Tom Taylor weaves a new tale into recent continuity, mixing in the mismatched duo road trip trope with a murder mystery and the happy ending the Dark Knight can never have.
The Black Mercy is a solid metaphor in and of itself and provides the emotional weight for the story as Bruce Wayne gets his every wish, even though he never seems to fully buy into it. Having “Batman” break the spell for Bruce is its own metaphor as to who controls Bruce Wayne’s psyche. The Wayne family sequence is brief but poignant, with artist Nicola Scott adding solid artwork, and reintroducing the retro 1990s Batman and Catwoman costumes.
The tea-time sequence with Alfred is momentary but touching and ends with Alfred asking Bruce to go easier on himself. Part of Bruce’s psyche channels Pennyworth’s pearls of wisdom beyond the proper way to serve Earl Grey tea. Lobo for his part gets to shine with his no-nonsense approach. He’s even happy to get paid to help Batman uncover the true killer after getting jabbed in the eye with his own hook. Lobo also enjoys Batman’s bluff.
Nicola Scott’s artwork renders the familiar and the fantastic (outer space dolphins) in equal measure, Scott’s gorgeous layouts and skill with figure work and facial expressions help to sell Taylor’s moving story. Taylor’s script is enjoyable and solid, although Batman repeating Lobo’s healing talents in both narration and later to Lobo himself feels redundant in an otherwise taught script.
“Pyg Tale” is an unusual story, with Batman in the background, although the Dark Knight’s presence looms large before he ever enters Professor Pyg’s lair. The story of the struggling artist cooperative hits the right notes from the importance of creative expression to struggling for your art. The few featured characters come across as decent, likable and resourceful. Writer Dave Wielgosz crafts an overly wordy tale, not allowing Fran Mariscal’s retro styled painted artwork to do more of the heavy lifting.
While “Pyg Tale” could stand a little less text (and that final reveal could use a better angle), the twists and the final sequence make for an overall charming (if imperfect) story. Professor Pyg is an unfortunately gruesome character, but his Mr. Sty fits into the story as a crass and irascible recluse.
Final Thoughts
Detective Comics 2026 Annual #1 succeeds mostly on the efforts and charm of the first story. “For the Main Man Who has Everything” makes this a must read and a visual delight. “Pyg Tale’s” drastic change in look and tone might turn off some readers, but it isn’t without its own good qualities.
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In this review of Harley Quinn #64, break out your d-list supervillain scorecard as Harley’s “greatest” enemies team up to destroy Bat-Quinn (but only one-at-a-time). But who is the true mastermind behind Harley’s numerous nemeses?Harley Quinn #64 main cover by BrandtStein (DC Comics)
HARLEY QUINN #64
Written by ELLIOTT KALAN
Art by CARLOS OLIVARES
Main Cover: BRANDT&STEIN
Variant Covers: DAVID NAKAYAMA, TERRY & RACHEL DODSON, DERRICK CHEW
Page Count: 32 pages | Variant $4.99 US (card stock)
Release Date: 7/22/26
This review contains spoilers
Harley Quinn #64 picks up after the Harley Quinn Revenge Squad leveled part of Mrs. Grimaldi’s apartment and injured both Mrs. G and Bat-Quinn (who the bad guys think is still Harley). Bat-Quinn awakens sometime later strapped to a roller coaster in an abandoned theme park and breaks free. She realizes she has been outfitted with new gear and an oxygen mask to protect her from monochromatic poisoning she received earlier.
Bat-Quinn’s inner monologue has a sizable workout as the grim and gritty heroine searches the park for the missing Mrs. Grimaldi but encounters first of several enhanced baddies including Brock Blomquist, the gun-toting so-called “Super Hunter” followed by the angst-ridden Generation Z Penny Plunderer as the pair unleash their pent-up frustration on Bat-Quinn. Meanwhile, the anti-hero’s monochromatic infection worsens as her face and hair are drained of all color.
Things shift in Bat-Quinn’s favor after 4Forehand (formerly Backhand, as if that matters) confronts her in a hall of mirrors over the savage beating she gave him on live television. Bat-Quinn compliments one of the villain’s many literary quotes which sends him over the moon (not literally). The pair are attacked by Colonel Blimp (in a hover car), but Bat-Quinn gets the drop on the Colonel as he monologues. 4Forehand returns and gives Bat-Quinn a helping hand (it’s funny when you see the artwork).
Another sad sack villain called The Amenity is quickly dispatched as 4Forehand leads Batquinn to Mrs. Grimaldi’s likely location.
Harley Quinn #64 ends as Mrs. G is found safe and sound, held hostage by the mastermind of the entire scheme by none other than Harleen, Harley Quinn’s alternate personality given human form. Batquinn is ready for this to end.
Analysis
Harley Quinn #64 again explores Bat-Quinn’s character through her inner monologue, but to greater effect in this issue as the would-be dark avenger experiences a bit of personal growth. Writer Elliot Kalan balances the rapid-fire action sequences with the rapid-fire dialogue delivery and manages to make Bat-Quinn’s innermost thoughts less grating. But is what Bat-Quinn believes to be character development in fact Harley Quinn’s personality reasserting itself?
The twist reveal of Harleen as the mastermind behind the revenge squad (and Mrs. Grimaldi’s kidnapping) makes sense, but aside from Harley always being her own worst enemy (Harley Quinn #64 makes that statement literal), what prompted the so-called “Quinntellect” break bad? Perhaps a reveal next issue before the “Bad Seeds” event swallows up Gotham. HQ is for sure to be involved where Ivy is concerned.
The revenge squad storyline allows Kalan to come full circle with many of the colorful characters he has created for his Harley run (including Bat-Quinn and Harleen), allowing for Bat-Quinn to stand in as Harley’s proxy (she certainly remembers the details). While this doesn’t appear to be Kalan’s last hurrah, many plot points seeded across the past two years seem to be weaving together for an enjoyable comedy of errors.
Bat-Quinn comes off as vulnerable and thus more likable in her narration than in previous issues. Her deadpan humor is a welcome change even when she’s not trying to be funny.
Carlos Olivares continues to provide wildly energetic artwork that complements the heightened reality of Harley’s world and the colorful backdrop of Throatcutter Hill and its unusual denizens. From the hazy dream state opener to the sprawling shot of the nearly abandoned theme park to Bat-Quinn’s encounters with the various revenge squad members, Olivares nails the assignment.
In service of the dangerous absurdity of Bat-Quinn’s predicament, Olivares’ tight camera angles and dramatic close-ups convey the anti-hero’s current existential crisis and her spreading monochromatic infection (with help from colorist Marissa Louise).
Final Thoughts
Harley Quinn #64 sets up the final chapter of “The Harq Knight Returns” with wild action, humorous callbacks, gritty and colorful action and a wild cliffhanger.
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In this review of Detective Comics #1111, Prion’s tragic end is only one shocking revelation that rocks the Bat, The Canary and The Arrow as sinister machinations have only begun to reveal themselves.Detective Comics #1111 main cover by Mikel Janín (DC Comics)
DETECTIVE COMICS #1111
Written by TOM TAYLOR
Art and Main Cover: MIKEL JANIN
Variant Covers: DECLAN SHALVEY, CARMINE DI GIANDOMENICO
Page Count: 32 pages
Release Date: 7/22/26
This review contains spoilers
Detective Comics #1111 begins ten years ago as Batman enters Prion’s ramshackle home outside Gotham. The young hero is surprised to see the Dark Knight, but one ups him by revealing he knows Batman is secretly Bruce Wayne. Without skipping a beat, Batman offers resources to the homeless hero. Prion declines but promises to keep Batman’s secret. Later, Prion meets up with Green Arrow, Black Canary, Wildcat (and an unmasked Batman) at Wildcat’s gym.
Sporting their new “Flight Squadron Delta” uniforms, Prion and Canary trade blows in the ring, but Prion unexpectedly drops his guard, and Canary’s blow proves fatal. As Prion collapses, he utters a strange phrase that will haunt the heroes for years. Back in the present Black Canary finishes telling Prion’s daughter Arabella how her father accidentally died at her hands. Rita Reynoso, the head of the operation (and Arabella’s grandmother) blames Canary for Prion’s death and attacks her.
No longer brainwashed, Arabella comes to Canary’s defense, and the pair escape to the Batplane waiting outside. Green Arrow joins them as Batman tracks down a hunch at the Gotham morgue. Batman and Canary update each other including Prion’s real first name: Ramon. A fire alarm draws Batman to Wildcat’s gym where he is attacked by Rita. Batman repeats the phrase Prion uttered years ago and Rita collapses.
Detective Comics #1111 ends as the real Rita awakens, realizing that she has been mind-controlled for ten years. Batman vows revenge for Prion’s death, but does he know who is behind everything?
Analysis
Detective Comics #1111 plunges headfirst into the widening mystery of the training compound that birthed young assassins just as the truth behind Prion’s tragic death is explored in flashback, while a shocking twist possibly upends the sinister forces pulling all of the strings. Writer Tom Taylor continues to leave his mark on the legacy of not only Batman and Bruce Wayne, but of Oliver Queen and Dinah Lance. Their short-lived team-up from ten years earlier has left an impact that ripples into the present day.
The tragedy behind Prion’s death, an accidental killing blow during a spar with Black Canary, illustrates how the three heroes rarely discussed this particular part of their shared history, and also why the girl, Arabella, has affected all three heroes in the present, particularly Black Canary. While Dinah Lance took a shine to Arabella early on and is protective of her, in part probably because of Prion, it is encouraging that the “true” Arabella jumps to Dinah’s defense against her grandmother.
While the trope of secret assassins is well explored, the plot twists in Detective Comics #1111 are head spinning, especially concerning the grandmother, Rita. The realization that she lost the past decade of her life while an altered personality was in control might prove devastating, but she’s probably in shock at the moment. Who the mastermind behind this and how Rita can help is yet to be seen with one chapter left.
The Klep Corp witnesses are given only cursory focus in Detective Comics #1111, but they are only a small part of a larger conspiracy. On the flipside, the ride in the Batplane with Green Arrow, Black Canary and Arabella is warm and funny (Batman even gets to one up Green Arrow by providing amenities).
Mikel Janin continues to provide stellar art and color for the series, crafting one of the best-looking comics on the stands. Janin’s mastery of camera angles and fight sequences along with the mood setting single color backgrounds ratchet up the tension from cool blues to warm reds. Janin’s knack for facial expressions and body language comes in handy as Rita’s transition from unfeeling killer to her “normal” self is felt in every excruciating panel.
Final Thoughts
Detective Comics #1111 mixes street level action with sharp detective work, shocking twists, wry humor, clever character moments and gorgeous art to great effect.
The post Detective Comics #1111 Comic Review appeared first on The Batman Universe.
In this review of Nightwing #140, the origin of the Superhighway, REVEALED!Nightwing #140 main cover by Jorge Fornés (DC Comics)
NIGHTWING #140
Written by DAN WATTERS
Art by DENYS COWAN
Main Cover: JORGE FORNES
Variant Covers: GUILLEM MARCH, WERTHER DELL’EDERA, DAN MORA
Page Count: 32 pages
Release Date: 7/15/26
This review contains spoilers
As a result of the new Blüdhaven Superhighway, the once popular Divebar now has just a few despairing patrons in a crime-filled area. He crashes the Divebar looking for Cannibal Colm, suspect in a murder discovered by Nightwing’s new Dark Patterns friend, Dr. Sereika, from the harbor confluence point explored last issue. Charles Halstead’s arm with bite marks matching Colm prompts Nightwing’s furious rampage, intensified by the deadline from Blüdhaven’s prosecutor to turn himself in by Friday morning. Finding Colm in his apartment, Nightwing subdues the maniacal man, who tells a tale of working for the old and new mayors (Blockbuster and Bisogni), who employed Charles Halstead, the first Psycho Pirate. Halstead says he can reduce crime through Medusa architecture, which steals the population’s hopes, which leads to no crime – starting with a highway.
Colm watches as the highway, supernatural or not, destroys the poor AND suburban parts of Blüdhaven, and when Halstead asks him how the destruction makes him feel, he thinks about it and then hacks the man to death with a machete. Nightwing wants to take Colm in, but Colm knows Bisogni will tidy him up as a loose end – and the cops burst in and blast him to pieces as he predicts. They try to kill Nightwing, too, but he beats them to a pulp.
Analysis
After last month’s Knives Out 3: Wake Up Dead Man parallel issue, this week we have another horror tale of spookiness that focuses more on comics lore – the architect of the evil Superhighway, the first Psycho Pirate. I’m a bit bummed that there’s no reference to Nightwing’s confrontation with the SECOND Psycho Pirate in Shadows of the Bat: The Tower by Mariko Tamaki (a very delightful story), but this issue makes good use of an aging supervillain trying to make the world a lot worse in a mundane way. The idea that crime will go down if you’re as miserable as you can be seems like what would appeal to a villain or supervillain, though Watters stays away from any kinds of studies or statistics that might make an argument either way.
There’s an effective sense of dread and absolute exhaustion, both moral and physical, that pervades Nightwing #140, beautifully conveyed through Denys Cowan’s legendary pencils, inked expertly by another industry legend, Norm Rapmund. Though I’m still unconvinced of the horror approach to Nightwing, the art and craftsmanship on the book continue to be consistent and fairly high quality. With the next issue promising to bring things to a head, it will be interesting to see if Watters pulls all his horror anthology tales together, or merely pushes the arc to its stopping point for the next phase of Nightwing’s descent into hell. Hopefully he’ll have a longer period of rising than just a few issues, though it’s hard to see the daylight after so many issues of gloom.
Jorge Fornes’s main cover features Nightwing’s fist, huge against an image of The Dive’s door, blood and a mask on the ground. Guillem March’s variant features an intense Nightwing vaulting in vicious rain, only blue, black, and white colors creating a gorgeous effect. Werther Dell’Edera’s variant features a fisheye effect Nightwing crouching amidst a neon yellow and pink alleyway – nicely dramatic. Dan Mora’s swimsuit variant features Dick in board shorts with his logo all over them, giving a “hang ten” as he heads out to the sparkling waves.
Final Thoughts
Cowan and Watters craft another spooky, horror-filled tale of urban despair and a man succumbing to it.
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In this review of Batman/Superman: World’s Finest #53, the battle for Skartaris ramps up as Robin takes charge in a tour de force against Tyrant Rex. Warlord Travis Morgan does not like being second guessed in his own world.Batman/Superman: World’s Finest #53 main cover by Dan Mora (DC Comics)
BATMAN/SUPERMAN: WORLD’S FINEST #53
Written by MARK WAID
Art by ADRIAN GUTIERREZ
Main Cover: DAN MORA
Variant Covers: RACHTA LIN, ADRIAN GUTIERREZ
Page Count: 32 pages | Variant $4.99 US (card stock)
Release Date: 7/15/26
This review contains spoilers
Batman/Superman: World’s Finest #53 begins in the aftermath of the devastating attack by Tyrant Rex’s superpowered horde. Robin (Dick Grayson) deduces that the five mutants have divvied up Superman’s powers, so the teen wonder devises clever strategies to subdue each one, much to Travis Morgan’s chagrin. A dead enemy is one that won’t come back, but Robin plays by another set of rules.
Meanwhile in Tyrant Rex’s thrall, Superman and Batman contend with some of Morgan’s allies, but despite the Rex’s magical control, the heroes do not kill their foes. At Tyrant Rex’s hideout, Rex gloats to the captured Shakira (no relation) about his scheme to gain power from the Atlanteans’ archives. Elsewhere, Robin’s gambit pays off as the super powered mutants fall one-by-one without deploying lethal countermeasures (except possibly in one instance).
Morgan and Robin confront the ensorceled Batman and Superman at the Atlantean archives, and Morgan again attempts to drive home to Robin that the dire circumstances on Skartaris are different than on Earth. The siphoned powers from the incapacitated mutants are absorbed by the one remaining mutant who chases down Morgan. Believing his victory is at hand, Rex gloats to the trapped and outnumbered Robin, demanding his fealty.
Robin is in charge of this mission… (DC Comics)
The teen wonder deploys his final gambit by dropping down a shaft. The shock breaks Rex’s spell, and Batman saves his partner while Superman clobbers Rex with help from Shakira’s cat form. Morgan prepares to end the final mutant, but Robin stops him in time.
Batman/Superman: World’s Finest #53 ends as Batman, Superman and Robin return to Earth as Morgan grudgingly admits that the Earth heroes’ intervention helped save Skartaris.
Analysis
Batman/Superman: World’s Finest #53 wraps up the Skartaris storyline with a rollicking adventure featuring Robin as the central focus. The teenage hero best known in this series for his witty comebacks, puts his training to the test and time and again outwits and outmaneuvers his opponents. Robin’s final ploy seems more out of desperation than strategy, but when outnumbered and overpowered, a bold move is warranted (see Spock’s effort in The Galileo 7).
Robin displays some remarkable out-of-the-box thinking and clever strategizing by using the unfamiliar surroundings to his advantage against the super powered mutants (although he is still somewhat distracted by his teenaged hormones).
Writer Mark Waid loves to stretch concepts to the breaking point, such as the DC heroes’ no kill policy in the hostile Skartaris, but it works as Waid’s script is a testament to these legendary heroes’ immutable moral code (Zack Snyder’s opinions not withstanding).
Despite being trapped in Tyrant Rex’s thrall, the World’s Finest team refuse to kill their opponents, and when Robin appears to be in mortal danger, the sudden shock severs the spell. Waid has reinforced classic Silver Age concepts for costumed heroes in every issue of this series, proving that the no kill policy is more important than ever in our complicated modern world.
Travis Morgan meanwhile feels a bit like a side character on his own world (although it’s not his title), but he gets to display some old-school Warlord heroism and fighting skills, while grudgingly admitting that the three interlopers were integral to their success in stopping Rex’s scheme. Rex himself is a tyrant: powerful, self-absorbed, with an all-consuming ego and a desire for total control.
Artist Adrian Gutierez provides an epic farewell to Skartaris with some clever (and familiar tropes) throughout Batman/Superman: World’s Finest #53, from large splash page action shots to the dreaded nine-panel grid, providing scope and pacing in both the jungle setting and the Atlantean archives.
Final Thoughts
Batman/Superman: World’s Finest #53 delivers a fun finale full of old-school heroism, swash-buckling adventure, sharp humor and stylish artwork. There is nothing wrong with a rousing, fun and feel-good pulpy adventure story.
The post Batman/Superman: World’s Finest #53 Comic Review appeared first on The Batman Universe.
In this review of Dark Knights of Steel II #1, a new threat from the sea threatens the peace between the kingdoms. Elsewhere, someone sees the threat to come.Dark Knights of Steel II #1 main cover by Yasmine Putri (DC Comics)
DARK KNIGHTS OF STEEL II #1
Written by TOM TAYLOR
Art by OTTO SCHMIDT
Main Cover: YASMINE PUTRI
Variant Covers: TRAVIS MOORE, DAVIDE PARATORE, JOSH MIDDLETON
Page Count: 40 pages
Release Date: 7/15/26
This review contains spoilers
Dark Knights of Steel II #1 begins with an unknown narrator recounting their earliest memory, seeing the Doomstone being torn from the ground, though they themselves were nowhere near it and still an infant. The narrator’s curse, which their father calls a blessing, allows them to see things far in the distance.
A few years later, when Bruce, Zala, and Kal were children, Victor Carmine and his father from a neighboring kingdom come to visit the royal Kent family, bestowing puppies for the boys. However, when the children go to play, Victor viciously kills Ace, Bruce’s dog. Kal reacts with his powers, but the king admonishes him.
In the present, Zala Kent is joining the Amazonians as Dianah’s partner. Kal and Constantine and allowed to set foot on the women-only island for the ceremony. However, Zala doesn’t come to greet them because she is fatigued.
Meanwhile, Bruce, roughing it in bars, is found by Talia. She has left her father to find Bruce so that they could travel together getting away from their families.
Zala is accepted by the Amazonians, but just as the ceremony ends with a kiss, a Kraken appears and starts attacking. The warriors start fighting back, but a mysterious man appears from the ocean, appealing to them to stop fighting so he can talk to the Kraken. Apprehensive, they let him and he is able to calm the vicious beast.
He introduces himself to the league as Arthur, King of Atlantis. However, he soon notices that the new Amazonian princess Zala is not among them. Kal finds her unconscious in the water, however she has not been injured by the Kraken. She simply passed out from fatigue. Laying in Diana’s arms, she suddenly begins coughing up blood.
Dark Knights of Steel II #1 ends far away, Barbara awakens, calling out Zala’s name, and announcing a betrayal against the Els. She is Oracle, the mysterious narrator.
Analysis
Starting with the art, it once again is fire. I love the bright colors, the well drawn action, and the characters. Schmidt’s art is such a delight to look at and is the perfect choice for this fantasy setting.
We don’t know for sure who the villains are yet, but the introduction of Victor as a child and already bloodthirsty and vicious is setting him up as something sinister. I don’t recall Doomsday in the first story (it’s been a hot minute since I’ve read it), and I have to admit I skipped Allwinter, but the Doomstone appears to also be important for this series.
I love the introduction of Barbara and I can’t wait to see how Oracle will be incorporated more into the story. As Bruce is traveling, and Oracle is a TBU character, I assume he will join up with her at some point.
Speaking of Bruce, I can only assume that teaming up with Talia means we will get a baby Damian and ultimately the betrayal of her going back to her father. (I’m not bitter, I just don’t trust her as far as I can throw her).
Zala, the super powered alien princess, having been brought to her knees by a mysterious illness is very worrying. If what Oracle is seeing is correct, all the Els are in danger, not just the princess.
The pacing so far is great, giving just enough in the first issue to get us excited, introducing new key elements, and whetting our appetite for more story.
All in all, I am excited for this new series (I was bored with Allwinter, so it isn’t a loyalty to the franchise that has me excited).
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In this review of Absolute Batman #22, we get another Absolute origin story, another twist on a classic Batman character.Absolute Batman #22 main cover by Nick Dragotta (DC Comics)
ABSOLUTE BATMAN #22
Written by SCOTT SNYDER
Art by WERTHER DELL’EDERA
Main Cover: NICK DRAGOTTA
Variant Covers: DAN QUINTANA, BRETT BEAN, DERRICK CHEW, WERTHER DELL’EDERA
Page Count: 32 pages
Release Date: 7/8/26
This review contains spoilers
In Absolute Batman #22, we learn the origins of this universe’s Harley Quinn and its psychological journey that ends with what is a new a classic Absolute Batman twist on her history. Don’t worry, despite her being an aide to Batman she still has a connection to Jack Grimm/The Joker but in a way that hasn’t been done before. She’s still very much a sympathetic figure, but by the end of the issue we start to see a change in Harley that will make her future development very interesting to watch.
Harley starts out like many girls, the young daughter of a single mom, who’s scared of a monster in her closet. She’s told by her mom that if you believe something, even if it’s not real, it’s still true.
”Even if it’s not true, it’s true” is a phrase to keep in mind throughout the entire issue.
Her mom is a brain surgeon of some sort. We find out later exactly what she does and who she works for and by the time we reach the end of the issue, we understand why Harley is the way she is. It’s a truly brilliant psychological thriller of a tale.
Add in a dynamic between Harley and Batman as they avoid police and the Robins and you have one of the best issues of Absolute Batman’s run.
Analysis
The first thing that is absolutely (pun not intended) fantastic about this story is that despite the very normal act of a mom reassuring her child that monsters aren’t real, you have to remember they very much are in this universe. You know something is actually in that closet but you don’t know what. Absolute Batman #22 does a great job of building that suspense right from the first few pages. Guest artist Werther Dell’Edera’s child-like drawings of these flashback scenes add even more tension to the atmosphere.
This story isn’t all in the past however. Friction between Batman and Harley builds as they elude and eventually pulverize officers. Harley is very much a talker, and Batman, well, isn’t. She opens up to him about her traumatic past and he all but stonewalls her. You can see where this is going.
Meanwhile we continue to follow Harley’s origin story through her teen years and we see her trying to find out who her father is through letters and DNA kits. It’s a story that’s very relatable to countless young women and girls around the world and makes Harley just that much more compelling. It’s also unfortunately a little bit of a slog to get to the big reveal of who her dad is, and it’s a doozy.
Being a teenager even in a healthy home is isolating, but when you have no father in your life and your mom becomes increasingly distant as she gets more obsessed with work, it becomes downright traumatizing. That trauma is kicked up to 11 when Harley finds out where her mom has been going and what’s happened to her below their crooked house.
That house being crooked is perfectly symbolic of this family’s dynamic and when we learn who Harley’s father is it makes perfect sense but also no sense at all. It does set up a heck of a story going forward, though.
You might be thinking, “this is two issues in a row they’ve diverted from the Scarecrow storyline they setup in issue 20.” Have no fear, he’s here. It’s a brief appearance, but it also sets up the issue’s final big reveal and this time it’s one that’ll rock Batman’s world to its core.
He might have some regrets over how he treated Harley as she was opening up to him.
Final Thoughts
Hats off to Scott Snyder and company for this one. The story built anticipation from the very start and not only paid off the story of Harley’s true parentage but also hit us out of nowhere with something for Batman as well.
Dell’Edera’s artwork also addressed one of my biggest nitpicks of the series but making the flashback artwork distinguishable from the main/present storyline. It also made Harley’s story that much more haunting.
My only complaint is the Harley story reveal took a little too long to get to, but the payoff is overall worth the wait.
I can’t wait for issue #23
The post Review: Absolute Batman #22 appeared first on The Batman Universe.
In this review of Absolute Batman #13, Selina Kyle makes her return to Gotham to find a Bruce Wayne unlike the one she knew before.Absolute Batman #13 main cover by Nick Dragotta (DC Comics)
ABSOLUTE BATMAN #13
Written by SCOTT SNYDER
Art and Main Cover: NICK DRAGOTTA
Variant Covers: STANLEY “ARTGERM” LAU, JENNY FRISON, ADAM HUGHES, BRIAN BOLLAND, DAVID NAKAYAMA, NICK DRAGOTTA
Page Count: 32 pages
Release Date: 10/8/25
This review contains spoilers
Absolute Batman #13 opens with Bruce and Selina debriefing after meeting with Falcone about Waylon’s fight and how it is the only way Waylon can win.
Cut back to the present and Batman is asking Catwoman why she has returned and she says that his mother called her because he was missing for four months. Alfred mentions that she has heard of her and that Batman shouldn’t trust her. Batman says to not worry because she is leaving right now.
Cut to Bruce and Selina doing the Battusi in the sheets if you catch my drift. Bruce asks Selina if she wants to go out on a date and we see a great splash page of Batman and Catwoman leaping through Gotham.
They go to meet the Red Hood gang to speak with their leader but they attack. As they attack, Catwoman pulls out a gun and mows them down. Batman is outraged but Catwoman just shot them full of tranquilizers. In a ferris wheel, someone is about to fire a rocket at them but Batman still has the venom in his veins and Hulks out and knocks the whole ferris wheel over. You read that right. He knocks down a whole ferris wheel.
Catwoman calms him down but Batman says how he needs help because he is going to destroy Bane and Ark M because they made him into a monster. The leader of the Red Hoods says how they weren’t sure of Batman but after hearing they want to take down Ark M, they’re sold. The leader is revealed to be….. Harley Quinn.
Bruce and Selina reunites (Alfred is there too)… (DC Comics)
Batman puts a message out on tv to Bane. One final battle, winner take all. If Bane wins, he’ll go back to Ark M but Batman guarantees victory.
Flashback to Bruce telling Waylon about the deal with Falcone and Waylon is furious and fires Bruce and is sad that his best friend doesn’t believe in him.
Selina is telling Bruce not to use the venom because it can really damage him. Bruce tells Selina he has to use it because he can control it and it’s the only way he can win. Selina begs but Bruce says that she should leave and she does. As Absolute Batman #13 ends, Alfred tells Bruce that he is right and to do whatever it takes.
Analysis
We finally meet Absolute Catwoman in Absolute Batman #13 and while she leaves I think we all know that she will show up in the Batman/Bane fight ala the Tom King run and provide some much needed help to Batman to turn the tide.
It seems that this venom can almost take over Bruce’s mind and create a Hulk/Bruce Banner situation. Will we get Catwoman playing Black Widow to Batman’s Hulk? The sun’s getting real low….
Dragotta’s Batman seems a lot simpler and cleaner and I really like it a lot. The splash of Batman and Catwoman is Dragotta’s best work so far and I hope he keeps it up for the Batman vs Bane fight.
Quick glimpse of Absolute Harley and of course she’s a good guy. Or anti hero. I knew the leader of the gang was going to be a familiar character but I didn’t suspect Harley but I should have.
We know Joker is coming. Is he part of Ark M? Harley mentioned that she doesn’t like Ark M. Did they do something to her boyfriend?
Final Thoughts
My bold prediction for the Batman/Bane fight. This time Batman lifts Bane up and breaks his back on his knee in a venom fueled rage.
The post TBU Comic Book Review: Absolute Batman #13 appeared first on The Batman Universe.
In this review of Batman and Robin #26, the Dynamic Duo come face to face with the Quiet Man as he closes in on the Penguin.Batman and Robin #26 main cover by Tony S. Daniel (DC Comics)
BATMAN AND ROBIN #26
Written by PHILLIP KENNEDY JOHNSON
Art by FICO OSSIO
Main Cover: TONY S. DANIEL
Variant Covers: GUILLEM MARCH, CLAYTON CRAIN, ASHLEY WOOD
Page Count: 32 pages
Release Date: 10/8/25
This review contains spoilers
Batman and Robin #26 opens in a wood workshop with an old man working on a project while the news reports about the attack on the Iceberg Lounge.
At the Lounge, Batman and Robin questions Penguin and his men about the attack. The unknown assailant was unarmed, before taking the guns of the guards, talked real quiet and polite, and left silver dollars on the eyes of the deceased. Penguin claims to not know who the man was, and after Batman leaves, he reveals that he isn’t sure, but he does suspect someone very concerning.
Robin confesses his regret about going to the movies, but Batman insists he wants his son to have both the life of Robin and of Damian Wayne, and refuses to be controlled by fear.
The Quiet man, in his hideout, cleans his guns while talking to his deceased son. He tells him he laid silver coins on the dead men, but “didn’t’ learn a damn thing”. There is also a note on his bedside table that reads “He’s out. Penguin and Two-Face know where. Don’t let ‘em get away with it.” The Quiet Man wonders if he will join his son tonight.
In the Bat-cave Damian practices fighting while Bruce examines the coins. They’re very rare Justice Dollars that had evidently been buried in a box near a body. They’re worth about $25,000 each, meaning that the man left $250,000 worth of coins on the corpses at the crime scene. Having left a bug at the Iceberg Lounge, Batman knows that Penguin thinks Two-Face is involved somehow, either as a culprit or a potential victim, and has arranged to meet with him at the Asher Estate. Batman and Robin go stake it out.
Penguin and Two-Face reveal that The Quiet Man is related to The Falcone Heist, and that he was released two days ago. Just then the man in questions appears, telling the two villains that they wronged him, and they know who he wants – their friend who killed his son. Robin, distracted by the Gotham Irregulars, notices and swoops in while Batman is en route.
Batman and Robin #26 wraps up with the fight escalating and taking people out until it’s just The Quiet Man, Batman, and Robin duking it out. While fighting, The Quiet Man reveals that someone Batman set free the lunatic that killed his boy, and Batman puts the pieces together – he’s after Arnold Wesker, The Ventriloquist, who currently is creating a wood puppet at a workshop.
Penguin doesn’t understand how this works (DC Comics)
Analysis
First off, I am excited that Batman is refusing to back down from doing father/son things as Bruce and Damian. He isn’t letting the fear of what will happen when they’re not on duty control him, which is a huge point of growth for the character. It’s also a good growth point for Damian showing him as a sort of mentor for the Gotham Irregulars, not lashing out or judging them for doing what they have to to live on the streets (i.e. steal food).
The art in Batman and Robin #26 is great, with very well-executed and fun action sequences. A highlight is the scene where Damian practices during Bruce’s analysis and hilariously decapitates a dummy hostage, claiming she “was acting suspicious.” This could foreshadow a future mistake or show his growth in accepting them. I also enjoyed seeing Damian’s relationship with the Gotham Irregulars deepen; he accepts their stolen snack and even compliments it, a sign he’s less “jerky” than before. He’s clearly starting to take on a mentor role, a development I hope is permanent.
The story itself is okay. Two-Face has very limited panel time, appearing only to confirm that the Penguin knows who the Quiet Man is, and then they and their goons get their butts handed to them before Batman and Robin take over as the primary fighters. The man appears to have a straight forward revenge motivation, and when it is revealed that the “big bad” that he’s after is the puppet-less Ventriloquist, I have to say my hopes weren’t raised and my appetite for the story was not whetted.
However, if the relationship building continues as is, and the character development and interactions stay as lovely as they have been so far, I am okay with it.
The post Comic Book Review: Batman and Robin #26 appeared first on The Batman Universe.
In this review of Batman #2, the Teen Wonder is in a world of hurt and a world of trouble with the GCPD! Can Batman come to his partner’s rescue in time?Batman #2 main cover by Jorge Jiménez (DC Comics)
BATMAN #2
Written by MATT FRACTION
Art and Main Cover: JORGE JIMÉNEZ
Variant Covers: JIM LEE, JULIAN TOTINO TEDESCO, JORGE JIMÉNEZ, MICHAEL ALLRED, DAVID AJA
Page Count: 40 pages
Release Date: 10/1/25
This review contains spoilers
Batman #2 begins with a brief flashback at the former Wayne Manor years ago. Bruce is getting ready to train Tim to drive the Batmobile, to the delight of Alfred and displeasure of Damian. To prepare him properly, Bruce instructs Tim on how to drive a stick-shift manual truck, which Tim has difficulty getting the hang of.
Cut to moments ago in Gotham, some armed robbers hold up a delivery truck. One of the gunmen gets nervous and shoots the driver. Another flees, and gets dropped by Robin (Tim Drake). Just as he’s inspecting what he thinks is a new narcotic but is actually baby formula, GCPD officers arrive at the scene. The gunman starts to run and gets gunned down by the cops. Robin begins exiting the scene as well but gets shot in the side while in mid-air, knocking him out. He awakens handcuffed in the paddy wagon, surrounded by uncuffed goons. The cops – under the employ of Commissioner Vandal Savage – are determined to prove they’re tough on crime and don’t need Savage in Gotham but “rough riding” the prisoners harshly throughout the streets of Gotham. Despite the harsh ride and the attacking thugs in the back, Robin manages to hold his own long enough for Batman to arrive on the scene, taking out the paddy wagon with some “Batspikes” which shred the armored car’s tires.
Freeing his partner from the back of the wagon, the Dynamic Duo are again held at gunpoint by the crooked cops. They manage to disable the cops just as they’re shot at, resulting in the policemen hitting each other. As Batman’s back is turned, the more aggressive of the two cops fires a blast from his shotgun right at the back of Batman’s head.
Temporarily knocked unconscious, Batman comes to and is led by Robin to the Batmobile, the latter having bandaged up the bleeding cops on the ground. Robin takes the wheel, dismayed that the current edition of the Batmobile has thirteen gears installed on it. As the two speed throughout the night, word of the destroyed paddy wagon and the shot police officers make the evening news. Savage arrives at the scene where one of the policemen has had his bandages removed and he’s died from his injuries. Savage returns to GCPD headquarters and ties the dead policeman to Batman and Robin, brandishing a bloodied batarang as evidence of their criminality.
Analysis
Batman #2 is a very solid, straightforward Batman comic, confidently told by a writer who clearly loves the characters and is leisurely pacing out the story because he enjoys playing in the world of Gotham. Issue #1 of Matt Fraction’s fresh new run had Batman take on Killer Croc – establishing his new suit, gadgets and detective skills. This second issue continues presenting the reader with new gadgets for both Batman and Robin, telling a fun tale of instructing Tim on a skill he now needs to save his and Bruce’s life. It’s a somewhat standard “Batman vs. the Gotham City Police” story, but it’s presented in a fun enough way that any sense of well-worn tropes or cliches goes unnoticed by this longtime fan.
In fact, most stories that have Batman against the cops haven’t really gone down as detailed as this issue does, with the relatively genteel nature of Batman and robin allowing two everyday police to get the drop on them. For a while, I was questioning Robin actually suffering damage with his gunshot wound, as the Bat-suits have now long been established as being generally bulletproof. Of course they still hurt, but to immediately draw blood was somewhat questionable. Even though Tim later confirms that most of his armor his shield his body from the worst of it, he’s bleeding all throughout this issue. It’s not that big of a deal, because it help showcase how both he and Batman operate on the backfoot when the odds are against them. It’s also rare to see both Batman and Robin battered and bleeding in the same story, slowly making their way to the Batmobile and briefly arguing on who’s in worse shape. It’s a fun, detailed bit of writing and nice showcase for the Caped Crusaders.
Of course, Tim Drake fans are eating with Batman #2, seeing their favorite Boy Wonder back with the Dark Knight. I’m personally not a reader of the ongoing Batman and Robin series, with Damian not ranking terribly high on my list of favorite Robins. And while it is certainly a step back for Tim to just fall back into the sidekick role with Bruce, I love seeing these two work together. I think in terms of Batman and Robin partnerships, the original Bruce and Dick team may be my favorite, but Bruce and Tim is also right behind it. While Tim enjoyed many solo adventures in his original ongoing series in the 90s, Chuck Dixon also wrote Batman and Robin regularly together during his run of Detective Comics. This doesn’t read exactly like that, mainly because Tim was younger then and much older now, but it’s just plain good to see them work together here.
Tim knows Bruce, he knows what he’s both good and bad at, and he can reason and communicate with him better than most. I also loved seeing him break out of his handcuffs and outfight the thugs in the armored car all on his own. Most stories don’t tend to show off Tim’s fighting skills, leaving that to the acrobatic Dick or tough-as-nails Jason or Damian. Tim is in his late teens/early twenties, and as such should be a much more accomplished martial artist, so it was not only enjoyable to see that on display but also logical. I will say, speaking as a Tim fan, I don’t think Fraction got his voice exactly right. Lines like “Man, you really got your bell rung.” and him yelling about the thirteen gears in the Batmobile sounded more like a generic Robin reaction than something Tim would say. It’s not a huge demerit, not like Tim was made to look bad or anything. Just something that jumped out at me.
Jorge Jiménez is mostly the star of this book, sprinkling in fun artistic details like the info-dumps on the various new gadgets (I love the Batboots) and even subtle shots like the Batmobile riding into the night and the faint visages of Batman and Robin through the window. I have to say, the exact designs of Batman and Robin I’m of two minds on. While I like that they’re both quite colorful, I wish the bright blue on Batman wasn’t so blue. He’s not looked this bright since the Jim Aparo days over thirty years ago. Love blue on Batman, but this is a touch much for my exact tastes. And I don’t love the haircut Jiménez gave Robin. While I’m also not a big fan of the red/black look that’s been assigned to Tim for years (I never thought those colors spoke to Tim, they’d work better for Jason), I do like the design of this new suit. Less so for the “R” insignia, but the blacks on the shoulders and armpit are pretty neat. Also the red bo staff is a cool fresh touch. It’s also cool that both he and Batman now have matching belt designs for once.
I thoroughly enjoyed Batman #2. It’s my favorite characters at their best, with a cliffhanger that’s almost traditional every now and then, leaving me excited to see what happens next. It’s a pretty bog standard issue of Batman, but done with style and flair, while being new reader friendly. Fraction, Jiménez and crew are two for two as far as this fan is concerned.
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In this review of Batgirl #12, Batgirl and her allies travel to Samara, to meet with Nyssa Al Ghul in talks of joining her crusade against the Unburied!Batgirl #12 main cover by David Talaski (DC Comics)
BATGIRL #12
Written by TATE BROMBAL
Art by TAKESHI MIYAZAWA
Main Cover: DAVID TALASKI
Variant Cover: RIAN GONZALES
Page Count: 32 pages
Release Date: 10/1/25
This review contains spoilers
Batgirl #12 begins as Cassandra Cain, Tenji Turner and Jaya Jayesh travel the globe to hold court with Nyssa Al Ghul, now the leader of the League of Shadows. The journey takes time, resulting in the occasional battle with assassins sent to stop them. Over time, Cass trains Tenji to improve his fighting skills, while Jaya trains both of them in the art of healing. And in the evening, Cassandra rarely answers Oracle and Stephanie Brown’s radio signals for her to come home, and suffers from old nightmares of her first kill.
Eventually the three reach Samsara, a Himalayan haven for lost souls and a paradise for those who want to live in peace. Cass encounters Aruna Shende, a shapeshifter whom she encountered with Batman way back in Batgirl Annual #1 (2000). As Aruna explains how she arrived to improve her skills and techniques, Nyssa appears and gives her pitch for her and Batgirl to join forces. Her plan is to steal and destroy the Unburied’s poppy garden, robbing them of their power. Cass agrees but Tenji is uninterested in teaming up with villains.
Just then, Chodak the Unbowed escapes the clutches of the League’s capture. He attacks and injures Nyssa, but Batgirl – sword in hand – takes him down immediately, swearing that she’ll defeat the Unburied once and for all as Batgirl #12 comes to an end.
Siblings just having a little fun… fighting. (DC Comics)
Analysis
The three part Dragon Ranch arc is behind us, and we’re all the better for it. After three months of irritating melodrama, we’re back to a forward moving plot and decent character work with our main girl. Batgirl #12 isn’t brilliant by any means, but it’s decently enjoyable on its own merits and a definite step above what we’ve been given in this series over the summer.
Starting with the negatives, Batgirl #12 is a textbook example of telling over showing. The first several pages are Cassandra’s recorded mission logs with scant scenes of what’s been happening for…what really is an undetermined amount of time. Have they been traveling for weeks? days? A month? It’s been long enough that Babs and Steph are worried about her, but we’re just not told how long this has been. Later we’re taken to Samara, a haven which serves as a heavenly spiritual oasis for needy souls. A typical action/anime story trope, soon to be destroyed any issue now – but whatever. Just before we get into what Cassandra might think of such a place (the implication briefly begins just before she asks about Nyssa), we are reintroduced to a character so deep cut even I had to stop and try to remember where she came from.
Aruna Shende isn’t simply from an old Batgirl annual from 25 years ago. She’s specifically from the Planet DC event that DC attempted to introduce new characters from across the globe. Aruna is Indian, and had encountered both Batgirl and Batman while they were investigating a kidnapping. To my knowledge she hadn’t been seen since, so I wish Brombal and Miyazaki would’ve given us an actual flashback page as opposed to a minimized editor’s note.
This brings me to a point I’m concerned about for this book. Tate Brombal’s very clearly a fan, and is reintroducing classic events and themes from Batgirl’s past adventures. But it’s done very quickly with little context surrounding it. For instance, Cassandra dreams of her first kill – which was foundational in the first two years of her last series. Might there have been a better way to illustrate what exactly she was dreaming about? I may be overthinking it, and the event is obvious, but taken in concert with bringing back Aruna and later referencing Cass under Deathstroke’s brainwashing (Slade isn’t even specifically mentioned, just that Cass was brainwashed in the pages of Robin and nearly killed Nyssa), I worry that this series might become too inside baseball for new fans. I mega-appreciate all the history and continuity, but I don’t want any of that to turn new fans off, especially when they’re being invoked to drive Cass’ character development.
But overall I liked Batgirl #12. I liked that we got Babs (in her now classic James Tynion era Oracle fit) and Stephanie worried about her, and Cassandra’s shutting them out speaks to how personally she’s been taking these adventures. Recall that in the first two issues, she was ready to go to Batman right away. The scene where she hangs up on Oracle after Babs says she’s returning to old habits is a solid one, speaking quite a bit on how she’s been changing, and maybe not for the better. I also, despite my nitpicks, liked the appearances of Aruna and Nyssa in this. We saw Nyssa earlier in the run, but her taking more of a headstrong role now that Shiva’s out of the picture worked well. I didn’t care too much for Tenji Turner being an impudent loudmouth, but there was enough self-awareness for that to be commented on by the other characters. I liked Nyssa’s line about the Dollar-Store Bronze Tiger calling the shots.
I am still eager for this Unburied arc to end, because it really isn’t compelling, but this was a good issue for Cass’ development and to take inventory on how she’s been dealing with all these revelations and adventures. The cover to Batgirl #12 has exactly nothing to do with the story, except that we are back on track for Cass being the star of the book.
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In this review of Gotham Academy: First Year #1, Olive Silverlock, new scholarship student at the prestigious Gotham Academy, navigates her new life among the rich kids and her secret terror of Batman and her mother.Gotham Academy: First Year #1 main cover by Karl Kerschl (DC Comics)
GOTHAM ACADEMY: FIRST YEAR #1
Writers: BRENDEN FLETCHER, KARL KERSCHL, and BECKY CLOONAN
Artist: MARCO FERRARI
Main Cover: KARL KERSCHL
Variant Covers: DUSTIN NGUYEN, SWEENEY BOO
Page Count: 40 pages
Release Date: 10/1/25
This review contains spoilers
September in Gotham Academy, Olive Silverlock, new scholarship student, hides under her bed as a new student enters. The student, Lucy Hunt, is surprised and a bit snooty about having to share a room with Olive (who is struggling with flashbacks to her violent summer), but is pleasant enough and willing to help Olive for her first day of class. Olive feels completely alone during orientation.
One month prior, in August, Bruce Wayne drops Olive off at Gotham Academy while he sorts out her situation after her mother went to Arkham. Professor Elle MacPherson greets Bruce at the gate, and Alfred tries to comfort the shell-shocked Olive. Professor MacPherson introduces Olive to Headmaster Hammer, and we flash back to the present where Olive’s sullen resentment proves a barrier between her and the other kids. Her older student guide, Annie, rejects her, but Olive tags along anyway, meeting Ducky and Pomeline Fritch, who unfortunately mock Olive’s sad vibe. Once again, we flash back to Olive finding her mother in the middle of a horrifying firestorm in their house, as Batman breaks in to help them. Unfortunately, Olive sees Batman as a monster.
After throwing away the shoes the older girls made fun of her for wearing, Olive trudges away alone, but a friendly and cute boy with a huge backpack picks them up and runs after her. He introduces himself as Kyle Mizoguchi, and quickly helps Olive feel better and more welcome. He offers his services as a guide instead of Annie, and Olive accepts. Kyle puts on a show for Olive, touring the athletic facilities and showing off his tennis skills. Back at her room, Lucy is happy to see Olive more cheerful, and Olive gets a visitor pass to Arkham to see her mother.
In flashback, we see that Batman saved Olive from her mother’s explosion by throwing her out the window attached to his belt and line. Present day, at Arkham, Olive meets Jonathan Crane, the Scarecrow (though she doesn’t know that) and former Gotham Academy professor. Though warned by the guard not to talk to visitors, as Gotham Academy: First Year #1 comes to an end, Crane gives Olive a bottle of pills to “help” with her fear.
Unexpected roommates… (DC Comics)
Analysis
It’s BACK! After Spring 2024’s “Mother’s Day” story by Karl Kerschl in the Batman: The Brave and the Bold anthology title, the whole Gotham Academy creative team reunites – Brendan Fletcher, Becky Cloonan, and Kerschl with Gotham Academy: First Year #1. They are joined for this prequel limited series (indicating that if this does well, there may be more Gotham Academy to come!) by new artist Marco Ferrari and colorist Eva De La Cruz, taking over for previous series artists Kerschl and Adam Archer. Though I’ll have to reread my beloved Gotham Academy trades, as I thought Olive’s Summer of Trouble where her mom went to Arkham was between her first and second years at the Academy, but it looks like, according to this first issue, it was actually before her first year.
Despite this confusion, it’s very delightful seeing Olive drawn out of her (honestly somewhat obnoxious) class-warfare sullenness and genuine grief and trauma by the sincere and really loveable Kyle Mizoguchi (last seen romancing Stephanie Brown in Cloonan’s title Batgirls). The mixing of a more detailed look at the clash between Olive’s mother “Calamity” and Batman and Olive slowly learning more about her new home is nicely done, and the creepy ending at Arkham with Scarecrow leaves a lot of tension about whether Olive’s first year will be ruined by Scarecrow’s fear toxin!
Of course, the elephant in the room is Maps, Kyle’s beloved younger sister who steals every scene she’s in of the first several series of Gotham Academy adventures. Thankfully, it appears that Maps and Olive will have their first meeting sometime in this series, leaving much to anticipate. The overall plot of the series is a bit murky, as the mystery about Olive and her mother were dealt with in the original series, thus that can’t be the main plotline for this run. The friction between Olive and the snooty girls, her blossoming romance with Kyle, and of course the dark hints of Scarecrow hopefully will form a delightful plotline that will carry these six issues to a memorable conclusion that will bring many new readers to this and the original series!
Original series artist Karl Kerschl’s main cover features Olive in a typical pose of looking back at the reader over her shoulder, highlighted in warm colors as Colton, Pomaline, Kyle, and Lucy wait for her at the gate colored in cool blues. Longtime Gotham Academy fan and contributor Dustin Nguyen’s cover is a lovely watercolor of Olive, Kyle, Lucy, Colton, and Pomeline lying in a circle on the grass. Sweeney Boo provides our final variant with Olive looking sadly out of the window while in class as bats fly past – a nicely evocative and symbolic piece!
Final Thoughts
The anticipation couldn’t be higher, and our original Gotham Academy creative team doesn’t let us down with Gotham Academy: First Year #1, along with their new artistic collaborators! Olive, Kyle, Pomeline, and more are back and having great adventures where the mundane mixes with the Batman!
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In this review of Birds of Prey #26, the Birds of Prey play a game…one that could end in their final moves!Birds of Prey #26 main cover by Annie Wu (DC Comics)
BIRDS OF PREY #26
Written by KELLY THOMPSON
Art by SAMI BASRI
Main Cover: ANNIE WU
Variant Covers: KYUYONG EOM, CHRISTIAN WARD, SERG ACUÑA
Page Count: 32 pages
Release Date: 10/1/25
This review contains spoilers
Birds of Prey #26 begins as Black Canary (Dinah Laurel Lance) and Batgirl (Cassandra Cain) heist their way into the Unreality building to install a piggyback for Oracle. After evading security, Dinah and Cass leave the building, and Dinah confesses she is nervous about the plan, with Cass concurring.
In Sewer BOP temp HQ, Oracle (Barbara “Babs” Gordon) goes over the plan again – to find out what Vivi, the developer of the VR suits the team tested last issue are up to with the Shadow Army. Babs wants the Birds to parachute into the VR finale of the game, but Cass insists that the enemy is searching for something in the Gotham Augmented Reality portion of the game.
The Birds go through the AR game in Gotham, solving riddles. Barda is extremely bored, and when she sees some Shadow Army members, she and Canary break off to fight them. They fare well against the gang, but one of the Army members casts a spell on nearby GCPD police, who fire on the Birds. Barda shields Dinah from the fire, taking several hits. The two teams of Birds reunite, and Cass tells the team she’s figured out the goal of Vivi’s game – to find the entrance to The Seam.
Analysis
The Shadow Army arc will be the final storyline for Birds of Prey, concluding with issue #28, and in Birds of Prey #26, the stakes are heightened for the team of Big Barda, Cassandra Cain, Sin/Maegara, Black Canary, and Oracle, who have united after their initial battle against the Shadow Army. While the augmented reality game element resembles fantasy ARGs more than the popular Pokémon Go, it provides artists the opportunity to showcase the heroines’ entertaining alter egos.
Those alter egos do prompt the question – how was the creepy ending of last issue resolved? Does the mind control of the technology fade away? Did Oracle figure out a way to prevent it? The transition sadly isn’t very smooth, leading to a sense of disconnect.
However, Thompson does make the heist opening, the briefing room scene, and the ARG scene each feel different and fun, giving each Bird personality and things to do, as any good Bird writer should. Current series regular artist Sami Basri and inker/penciller Vicente Cifuentes do a great job of showing off the Birds both as fighters and as characters with their acting, continuing to make this book a pleasure to read visually. Hopefully Basri is able to finish out this arc as main artist without too much need of fill in! The consistency of art has been a real strength of this book since I’ve started reviews.
How did the creepy ending of last issue resolve?
In Birds of Prey #26, the main cover by Annie Wu features the four field Birds and Inque, who is mentioned but not seen, posing around a car trunk, with Batgirl humorously depicted as a cute gremlin. KyuYong Eom’s variant presents a sexy and distressed maskless Batgirl and Black Canary in a digital style, while Christian Ward’s variant shows Barda, Batgirl, and Canary in full costume, with Canary using her cry towards the reader. Lastly, Serg Acuna’s variant captures all five main Birds joyfully leaping across city rooftops.
Shorten with AI
Final Thoughts
As the finale to this run looms, the Birds navigate uncertainty and unreality (pun intended on so many levels) towards the final confrontation with the Shadow Army!
The post Review: Birds of Prey #26 appeared first on The Batman Universe.
In this review of Immortal Legend Batman #2, an unexpected trip to a pirate base uncovers a Shadow Bruce was not expecting, especially when he doesn’t have access to his powers.Immortal Legend Batman #2 main cover by Dan Mora (DC Comics)
IMMORTAL LEGEND BATMAN #2
Written by KYLE HIGGINS and MAT GROOM
Art by ERICA D’URSO and DAN MORA
Main Cover: DAN MORA
Variant Covers: MICHAEL CHO, SERG ACUÑA
Page Count: 40 pages
Release Date: 9/24/25
Bruce’s solo mission to locate and eliminate the Shadows continue in Immortal Legend Batman #2. The story takes a somewhat different approach the issue #1. Whereas in the first issue, Batman goes directly at the Shadow beast disguised as Bruce Wayne, in Immortal Legend Batman #2, writers Kyle Higgins and Mat Groom sends Bruce on an undercover mission. In doing so, we’re introduced to this universe’s iteration of long-time Batman alias Matches Malone.
In explaining the need for this mission in this way, Higgins and Groom highlight something that wasn’t clear in the first issue of the series. Because the powers of Immortal Legend Batman, Nightwing, and Robin originate from the same place the Shadows come from, the beasts can sense when Bruce is near just as he can sense them. So for Immortal Legend Batman #2, Bruce becomes “(Matches) Malone”. This issue also debuts some other well-known figures from the world of Batman. First, there’s Alfred. However, this Alfred Pennyworth is a robot. Yet, Alfred still finds himself in the service of Bruce Wayne and his secret identity.
A backstory also introduces readers to Lady Shiva, who trains the young Bruce Wayne in fighting (in typical Shiva fashion). It’s unclear if Bruce hired her after picking up the mantle of Batman from Roger Elliot (Tommy Elliot’s father and the previous Immortal Legend Batman or if this was done before then. I would hope to come back to this a some point in future issues as it would help flesh out the Bruce Wayne of this universe more. Two issues in, this is the most we’ve learned of the hero’s secret identity.
Batman’s quest to find the Shadows in Immortal Legend Batman #2 places Malone on a freighter with other traveling through an area known as a haven for pirates. This is known to the ship’s captain, so when a pirate vessel accosts the freighter, the captain assures his passengers that the pirates only want credits (or money). Yet, as the pirates board the ship, their leader makes it known they want more than money. They want the ship. He not only kills the captain, but a member of his own crew before literally letting the “women and children go” (along with an elderly man).
This is not your typical pirate… (DC Comics)
Malone and the remaining passengers are taken along with the ship to the pirate’s base for a “job interview” the join the pirate gang. After dispatching of the goons, we experience the third debut in this new universe. The pirate leader reveals himself to be this universe’s version of Bane (The Bane of Man). He reveals knowing who Bruce was based on his fighting technique, which tells me Bane interacted with Shiva (or was her). But Bane also appears to be a Shadow because Bruce has no problem destroying Bane after the two fight.
It would be interesting to see how Higgins and Groom follows up with this connection that apparently exists between Bruce, Bane, and Shiva. Having the backstory just to prove that Bruce doesn’t give up doesn’t make much sense, even this early in the series. There’s a connection there that I can’t wait to read more about — unless there is none.
The art in Immortal Legend Batman #2 is truly impeccable. It looks like D’Urso penciled the backstory and the non-Batman pages. The faces appear eerily similar to her work on Inferno Girl Red (also written by Groom). Based on the cover work, Mora handled the Batman pages and the pages with Nightwing and Robin. Either way, the colors from Igor Monti (who also does the colors on Inferno Girl Red) really bring things together with the two artists. There’s enough change in the pages’ hue of the colors to distinguish between the backstories and the present. What is also apparent in that this trio of the artistic team work well together.
Before Immortal Legend Batman #2 ends, we finally get some pages highlighting the other members of the Immortal Legend Trio — Nightwing and Robin. They’re facing off with a Shadow beast. While the beast succeeds in injuring Robin, Nightwing destroys it. But as the story ends, they realize it’s time to get to the bottom of something they’ve been putting off… They need to figure out what’s going on with Batman.
Final Thoughts
Immortal Legend Batman #2 succeeds in two things. First, it fleshes out a little about who the universe’s Bruce Wayne is under the cowl (do we call it that). Second, and most important, it finally sets the stage for an encounter to occur between our trio of heroes. One would think it won’t all be roses. Either way, this reader is here for it.
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In this review of Catwoman #79, Selina is on the hunt in Italy for a prize important to her past.Catwoman #79 main cover by Sebastián Fiumara (DC Comics)
CATWOMAN #79
Written by TORUNN GRØNBEKK
Art by DANILO BEYRUTH
Main Cover: SEBA FIUMARA
Variant Covers: FRANK CHO, DAN PANOSIAN, CATHY KWAN
Page Count: 32 pages
Release Date: 9/17/25
This review contains spoilers
Catwoman #79 opens with Selina having a flashback to a happier time she spent with her mother and sister. They were enjoying their time together until Maria Kyle’s abusive husband came home.
In the present Selina is in Italy having wine with Dominique Allard and finding her way to be invited to an action where she has her eye on the Palmero Pearl which is an item that has been in the Falcone family for decades.
Next we see Carmine Falcone in Italy who is unhappy to be there , surrounded by family members that he does not trust. Selina is spying from across the way and Falcone and the party. She questions herself if this job is worth it as she is suiting up to become Catwoman. She says this job is more than worth it.
As Selina breaks into Falcone’s room, she thinks back to an early interaction with Carmine Falcone when she was just starting out before she became Catwoman. She broke into his room but had to hide as Carmine brought a girl back to the room. Selina hides as Carmine takes advantage of the young girl and Selina vows to steal the pearl from him.
Carmine’s nephew catches Catwoman in the room and they have a scuffle. Catwoman slashes him across the eye and she is able to escape as Catwoman #79 ends.
Analysis
For Part One, Catwoman #79 was a good issue. It sets up Selina’s motivation as this pearl is something that she has been chasing for a decade. I think that Selina will get her score, or donate it, and take down some bad guys along the way. To me, that seems to be how a lot of Catwoman stories go.
The Catwoman/Carmine Falcone rivalry is well documented dating back to Year One. Who knows where continuity is these days so I do not know if Carmine is Selina’s father or not. I have always been a fan of that inclusion that we first saw in The Long Halloween. The idea that Selina became a master thief to get what she felt was hers as she was denied her life of privilege.
The art was a standout. It was very reminiscent of Year One. Simple, realistic art with strong colors to make it pop. I thought the ending was abrupt as we finally get an action scene but Catwoman dives out of the window and the issue ends. I get you only have 22 pages and it’s a multipart storyline but still. Let’s get the action earlier in the issue.
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In this review of Harley Quinn #54…Harley is missing? We all need to go look for her. Wait…she’s just on an unplanned, cross-country road trip with her new arch-nemeses? Yeah, that tracks.Harley Quinn #54 main cover by Yanick Paquette (DC Comics)
HARLEY QUINN #54
Written by ELLIOTT KALAN
Art by CARLOS OLIVARES
Main Cover: YANICK PAQUETTE
Variant Covers: DAVID NAKAYAMA, GABRIELE DELL’OTTO, MAHMUD ASRAR, MANNY CARBONILLA
Page Count: 32 pages
Release Date: 9/24/25
This review contains spoilers
Harley Quinn #54 starts in the Throatcutter Hill neighborhood of Gotham City, as Harley’s friends and neighbors post flyers for missing their friend, and local protector. Cut to real estate mogul (and Harley’s frenemy crush) Althea Klang, who has not yet received a reply to her proposed date with Harley, and is now being slowly driven mad as she screams “Where are you Harley Quinn?”
Elsewhere, Harley Quinn is curled up on a bed in a strange room wondering the same thing. Harley realizes that she’s moving, so she must be in a vehicle. A quick inspection finds a hidden cache of weapons. Now armed, Harley bursts through the bedroom door to find the Gunbunnies in the front cabin of a RV driven by Gunbunny, with Mayfly riding shotgun, (well, actually semi-auto pistol).
Mayfly gets the drop on Harley, and Gunbunny explains that they got the drop on her earlier and are now taking her out west where a client is offering top dollar to add her to his private collection (ew). With the helpful distraction of a disruptively large pothole, Harley clobbers Mayfly and mayhem ensues. Gunbunny and Mayfly take turns trying to kill Harley as the now runaway RV barrels down a crowded freeway, wrecking everything in its path.
The RV crosses into Coast City, home of Hal Jordan (and only destroyed by aliens once) and crashes.
At a tenant meeting in Throatcutter Hill, Althea Klang contends with frustrated residents as a mysterious figure calling himself the “Deconspirator” speaks up, challenging the concept of social conformity. The man is persuasive enough to sway Althea’s bodyguard Ravager, but not her partner Amygdala and The Deconspirator leaves as the entire room descends into chaos.
Harley wakes up in the Coast City zoo, and escapes from the trigger-happy Gunbuddies (with help from a large Tapir). It turns out that the zoo was on the Fire & Ice tour, and the two heroes manage to take down the Gunbuddies and Harley without too much trouble.
Harley Quinn #54 ends in the firelit parlor of the Gunbuddies client and “super-hunter” Brock Blomquist (AKA Gunbunny’s dad), who receives word of the incident in Coast City, and decides to track down Harley to add her head to the collection of masked people and monsters mounted on his wall.
Analysis
Harley Quinn #54 is chock full of silliness, action and bizarre characters that tend to inhabit Harley’s world. The Gunbuddies are free-wheeling, gun-toting mercenaries (and possibly nepo-babies), the residents of Throatcutter Hill are either strange on their own or are somehow corrupted by Harley’s presence. Althea Klang also succumbs to Harley’s bewitching charms. Strange attractors, possibly, as the Deconspirator barely stands out in the tenant meeting that descends into something reminiscent of the town halls from the classic “Parks & Recreation” sitcom.
Writer Elliot Kalan continues his successful charm offensive on this title with another hilarious, offbeat, but well-structured story, populated by an assortment of odd characters who continually fire off volleys of one-liners at each other or even themselves. Harley’s self-reflection and doubt makes her more relatable, as her acceptance of the intrusive aspect of her brain she calls “Quinntellect” allows her to continue growing as a person.
The Gunbuddies continue to function inept foils for Harley, routinely causing small headaches, but not much else, as Harley, (as flighty as she appears) is quite adept at defending herself (while also befriending a Malayan Tapir). Introducing the sister act of Fire & Ice into Harley’s world just adds to the chaotic fun, (Harley can be serious and empathetic when she needs to be, but most of the time she just wants to enjoy herself).
Althea Klang’s slow descent into madness after being ghosted by Harley while scrolling through the Gunbuddies social media feed (featuring the pair propping up an unconscious Harley at several US landmarks) is interrupted by the stranger (emphasis on “strange”) calling himself the Deconspirator, whose anti-conformity speech at Althea’s tenant meeting sends the residents into a full-on brawl. Is this fellow a metahuman, or just a skilled and manipulative orator?
Carlos Olivares’ art style captures the heightened reality, and off-center strangeness of Harley Quinn: the exaggerated facial expressions and body language, sketchy linework that draws the eye, while even supporting characters are given a distinctive look. Olivares’ composition and camera angles add to the frenetic pacing (even when characters are standing still).
Final Thoughts
Harley Quinn #54 is a wildly entertaining romp outside the confines of Throatcutter Hill. Plenty of action and absurdist humor, plus a dash of the macabre (that trophy wall).
The post Comic Book Review: Harley Quinn #54 appeared first on The Batman Universe.
In this review of Detective Comics #1101, “The Courage that Kills” begins with a shocking discovery near Gotham Harbor that might be connected to Batman’s earliest days as a crimefighter.Detective Comics #1101 main cover by Mikell Janín (DC Comics)
DETECTIVE COMICS #1101
Written by TOM TAYLOR
Art and Main Cover by MIKEL JANÍN
Variant Covers: GABRIELE DELL’OTTO, FRANK CHO, STEPHANIE HANS
Page Count: 56 pages
Release Date: 9/24/25
This review contains spoilers
Detective Comics #1101 opens with a flashback to Batman’s early days (complete with voice over), as an unnamed man hides his young son Leo from an impending threat. With Leo tucked away, the father draws his pistol but is caught off guard as a monster (it’s Batman, sort of) crashes through a window and attacks him. As gunshots ring out, the terrified Leo breaks from his hiding place, watching helplessly as the monster drags his father away into the night.
Cut to the present day, as a packed party boat travels past Gotham Harbor. The revelers experience their first shock of the evening as their boat drifts into a sea of floating corpses, followed quickly by the appearance of an enormous (and out of control) fishing vessel that crashes into them. Oracle (Barbara Gordon) picks up the party boat’s distress call, and Batman arrives fast enough (in the Batplane) to rescue a woman who was knocked overboard.
After reviving the stunned woman, Batman (in his new costume) questions the party boat captain, and programs the Batplane to remotely tow the damaged vessel to safety, while Batman stays behind to investigate the fishing boat. The Dark Knight is met with a gruesome sight on the upper deck, with at least 41 dead, all of them in various states of decomposition. Oracle remotely views the grisly scene through Batman’s cowl lenses as the pair attempt to make sense of the carnage.
Batman follows an electronic noise below deck and finds a young boy playing a handheld video game. The boy is filthy and emaciated, with swollen eyes and lesions on his skin. He mutters something about not being afraid and collapses in Batman’s arms as Oracle directs the Dark Knight to the ominous message scrawled on one of the metal walls, signed by someone named “The Lion”. Batman quickly assesses the boy’s symptoms and (finally) dons a protective mask.
Batman brings the unconscious boy to the upper deck, while Oracle contacts the approaching rescue team and requests an additional hazmat response. Half an hour later, the fishing vessel swarms with first responders wearing protective suits. Batman briefs one of the scientists on his initial findings before leaving with one of the bodies for further study.
Detective Comics #1101 ends at the lab of Mister Terrific (Michael Holt) , as the smartest man in the DCU confirms Batman’s suspicions of damage to the victim’s amygdala (the part of the brain that controls inhibitions), and even worse, that Batman is also infected.
Analysis
Detective Comics #1101 is a sufficiently creepy story ideal for the Halloween season. Even without much action (other than the opening few pages), the unfolding mystery and the high stakes reveal keeps the story moving along as Batman (and Oracle) piece together what befell the victims on this ship of horrors. Initially thinking that the Scarecrow (Jonathan Crane) is behind this gruesome experiment is understandable, (fear is his brand), but obviously Batman’s abduction of Leo’s father sent a frightened child over the edge into a new study of mad science.
Writer Tom Taylor is skilled at condensing multiple story elements into a lean, focused narrative that drives the story forward, using first-person narration and focus on the interesting parts.
Don’t ask how Oracle’s message got Batman to the ship crash in two minutes. Maybe he was in his Batplane and already in the area? Who cares? We don’t want to see the nice lady drown. Also, a grown up Leo is most likely the “Lion” in Detective Comics #1101, and while it’s a bit on the nose, the name can actually refer to either the brave king of the jungle, or the cowardly lion from Wizard of Oz. Taylor cleverly informs readers with simple ideas.
Much can be said about the psychological impact on young Leo in Detective Comics #1101. Batman’s brutal crime fighting tactics (and his whole “creature of the night gimmick”) during his early days clearly factors into the tragic origin story of Leo becoming “The Lion”, as he apparently has dedicated his life to the pursuit of removing all fear, but with a twisted methodology, and countless casualties. Also, what are the odds Scarecrow shows up at some point?
Mikal Janín’s art is stunningly cinematic, (especially in that opening sequence), as young Leo’s fear-distorted perceptions show Batman as a terrifying, winged creature with large, razor sharp talons blended with aspects of Batman’s original costume. The rust and decay on the ship of horrors, the skin lesions and blood spatter on the walls are highly detailed. (Even the interior Oracle’s clocktower lair shows visible signs of damage).
The brighter blue elements from Batman’s new costume stand in stark contrast to the heavy shadows and grim visuals on the ship of horrors. Janin’s color truly palette sets the mood; the seascape painted in hazy greens for the fog, the roiling sea, and the ship interiors, while the underwater sequence is a calming array of blue.
Final Thoughts
Detective Comics #1101 is an engaging psychological thriller that introduces an all-new villain, and a virulent threat that even Batman is not immune to (yet). The gripping story and gorgeous art make this well worth the read.
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Batman and Robin: Year One #1 main cover by Chris Samnee & Mat Lopes. Image: DC Comics
In Batman and Robin: Year One #1, Mark Waid and Chriss Samnee take us through the very beginning of the legendary Dynamic Duo!Title: Batman and Robin: Year One #1
Writer: Mark Waid Artist: Chris Samnee Colorist: Mat Lopes
Letters: Clayton Cowles Main Cover: Chris Samnee & Mat Lopes Variant Covers: Chris Samnee, Alex Ross, Mikel Janin, Matteo Scalera, Karl Kerschl & Lee Weeks Release Date: October 16, 2024
This comic book review contains spoilers.
Three weeks after the deaths of The Flying Graysons, young aerialist Dick Grayson is living with millionaire Bruce Wayne and his butler Alfred Pennyworth. Having taken up the costumed mantle of Robin, the Boy Wonder, he and Batman race towards Gotham City Police Headquarters to make their public debut to Commissioner Gordon. Gordon is uncomfortable with Batman enlisting a young boy in his war on crime but relents and informs the masked duo of a stolen file from his office, taken by the madman Two-Face.
Batman and Robin decide to hit up the city’s informants but are soon under attack by hoods on the lookout for their chase. They’re led to a rigged floor at the feet of Two-Face and his twin henchmen. Two-Face tells Batman that a new crime boss is on his way towards Gotham with the intent to start a gang war. While the Dynamic Duo escape the villain’s deathtrap, the aforementioned crime boss arrives in Gotham later that night with his wheelchair-bound elderly father. As they make their way into the city, his men murder the flight crew that brought them into Gotham, making sure no one knows of their arrival.
Batman and Robin: Year One #1 NYCC variant cover by Alex Ross. Image: DC Comics
As a classic DC Comics writer, Mark Waid knows Batman and Robin. Not just by their characters, as proven throughout his Batman / Superman: World’s Finest run where a Bronze-Age-esque Dynamic Duo regularly feature. He knows that the classic version of the two are legends in DC, and – with hindsight and dozens of events and characters to come in the future – he knows how to retroactively approach defining them for a modern audience. That’s something that Batman and Robin have needed for a long time, and Waid is the perfect writer for the task.
While everyone knows Batman and Robin, the Dynamic Duo have had a troubled history for the past twenty-five years or so. I’m talking in the larger culture. Since about 1997 when the film Batman and Robin notoriously made a splash in comic book media, the idea of Batman fighting alongside a young partner has taken a large hit in the perceived viability of the character in the modern era. As it was the second major live-action property to adapt the two heroes together after the 1966 Batman television series, it had a task to bring forth the best dramatic potential to an audience that would’ve seen the concept as innately ridiculous. Everyone always has something to say about the idea that such a dark and violent character like Batman would never take on a kid in his war on crime. Somewhere along the way, whether it was writing sensibilities in the comics in the 21st century or the Christopher Nolan The Dark Knight trilogy (where star Christian Bale said that he would chain himself to a bedpost and refuse to work should Robin ever be introduced in the series), Robin is often viewed as a relic of a bygone era that oughtn’t be taken seriously at all, ‘lest he ruin Batman’s viability. This idea hasn’t completely taken hold, as comic book fans still very much love Robin. The various character who’ve inherited the mantle – from Jason Todd to Tim Drake to Steph Brown and Damian Wayne – all have large swaths of fans, and with modern readers connecting through various social media outlets such as Tumblr and Reddit, much of the fandom sustains the concept of the Bat-family as an enjoyable in-roads into the Batman series distinct from the grim and gritty punch-outs of fans who are mainly interested in The Dark Knight Returns, Zack Snyder and the Arkham video games (even then, those three examples include Robin in their continuities). So there’s polarization on the kind of Batman and Batman with Robin represents.
Looking Beyond The Polarity of The Dynamic DuoWhen it comes to the comics, much of the inconsistent history of Batman and Robin is hazily referenced in the far-off past, rarely to be referred back to. Anytime Nightwing or someone else references the days where he grew up in Wayne Manor and suited up with Bruce Wayne night after night, there’s a cheeky comment or reference to the most recognizable era of Batman and Robin: The Silver Age. The references blend with the 60’s show, but it’s always to put those days at a stark distance, implying a passage of time and maturing of the world they live in. And often times whenever there is a flashback to the days of the original Dynamic Duo, it’s usually to show that things always weren’t as light-hearted as the old comics and shows portray. In modern day flashbacks, Batman is usually shown harshly reprimanding a too youthful and too glib Robin, Robin is either woefully out of sorts or just sticks out like a sore thumb in comparison to Batman, who was always the dark, gritty Year-One-esque avenger of the night. It’s Robin who was silly and unsuited for Batman’s world, Batman had never been different. This is the strange narrative that the last few years have kept coming back towards, despite the real world fact that Batman was a more popular character in the original comics once Robin was brought into the books.
So now we have Mark Waid, a self-proclaimed expert of Batman who has no interested in seeking to legitimize Batman and Robin to fans who may not be open towards them. In the pages of World’s Finest, Dick is about 16-17, and a fully capable partner. While still young and underage, he and Batman work together terrifically, and Dick’s light-hearted humor isn’t rebuked by Bruce but compliments his serious mood. In my opinion, it’s the best the two have been written together in decades, and only goes to show how Batman flourishes when he’s given a young partner to mentor and work with.
So How Does It Feel to See the Early Days of the Dynamic Duo?Some of my complaints on past retroactive presentations of the Robin of old are present here, but there’s a caveat. Dick is very new to his life as a costumed crime-fighter, and as such he’s loudly showing off and bouncing around like a performer. This, in and of itself isn’t a bad read of his character, as he’s still very much a circus acrobat. But it does underline his relative immaturity in the role. And while the classic Golden Age Robin was pretty much exactly like this, here Waid uses this characterization to underline his youth and inexperience. Which…again, is a smart take on his characterization. My issue is that in past retellings of Robin’s early days (and there have been so many, from the various Robin: Year One books to Batman Chronicles: The Gauntlet), Dick wasn’t so giddy over being Robin that he failed to take things seriously. It’s a balancing act, and a young Dick Grayson needs to be chipper and get things wrong when he’s first starting out. But how do you do that when many retellings often depict that as his overall characterization in general?
The counterbalance Waid strikes in Bruce’s characterization, which is not only great but underrated in my eyes when it comes to writers’ takes on Batman’s headspace, Bruce never shows anger, irritation or disdain for Dick – as he shouldn’t – even when you would be expecting that he might. The pivotal scene is in the car ride to GCPD HQ. Robin is fist-pumping in classic Burt Ward fashion, musing that they might be fighting the Joker, and Batman says nothing. Robin apologizes, acknowledging that this is serious, to which Batman informs him that often times his silence is mental preparation, and that this is when he’s his best self, not condemning Dick’s attitude but advising that he use any time he has to rely on his mental facilities for the challenge ahead. What makes this work is the fact that Dick becoming Robin, in the original Detective Comics #38, was Bruce’s idea to begin with. He understands Dick at this stage in Dick’s life more than anyone, and he openly relates to Alfred that Dick’s rage threatens to destroy him if it’s not properly redirected. So what we have in the Batmobile scene isn’t a scene of “LOL Robin is being goofy” but a true scene of guidance from mentor to protege. It’s a scene that not only informs the perfect relationship between the two in World’s Finest, but it’s one that we never get anymore these days. It engages with the idea of Batman and Robin, it doesn’t repel at it.
Most everything in this issue is great, from Bruce’s characterization to Chris Samnee’s sublime artwork. His Batman and Robin art every October during the online trend “Batober” shows that he too fosters a deep love for these characters. So my nitpicks with this first chapter really are simply nitpicks, and they come down to continuity. As referenced earlier, there have been several retellings of Batman and Robin from the early days, half of them involving Two-Face. Robin: Year One by Chuck Dixon, Javier Pulido, and Marcos Martin expanded on Robin and Two-Face’s relationship directly, which in continuity is later referenced in the pages of Tim Drake’s Robin series and during the Prodigal arc when Dick Grayson was first Batman. So seeing Batman and Robin interact with Two-Face in a completely new setting here bugged my brain. But that’s no one’s fault but my own. On the other hand, this is three weeks after Dick’s parents were killed, and he’s already Robin?
Another element of the Post-Crisis Batman continuity was that both Dick and Jason Todd had at minimum six months of training before donning the cape and mask, with Dick referenced to have trained for at least a year before becoming Robin officially. Here, it’s been less than three weeks? Granted, Bruce and Alfred mention how supremely physically adept Dick is at his young age (something that always made Dick becoming Robin the most sense, he’s a world-class athlete at age twelve), but I’m thinking in less than three weeks he was adopted, trained to swing on the bat-ropes, use Batarangs, run around in a weighted costume, and dodge gunfire? The short timeline does explain Dick’s very young mental state, but it’s just a bit too short for my personal liking. A month, two months even, and I would have rolled with it better. But that detail given at the very top of the story threw me for the rest of the story.
At the end of the day though, Waid’s characterization of Batman and Samnee’s classic artwork carries this solid first issue. But nitpicks are only those – nitpicks. With great artwork and storytelling, there’s little else you could ask for. And for Batman and Robin, this miniseries could be just what the Dynamic Duo need moving forward into the future.
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In this review of Poison Ivy #27, Poison Ivy investigates an eco-terrorist group called “The Order of the Green Knight” while Janet and Killer Croc get closer in the sewers.Poison Ivy #27 main cover by Jessica Fong
Poison Ivy #27Writer: G. Willow Wilson
Artist: Marcio Takara
Colors: Arif Prianto
Main Cover: Jessica Fong
Variant Cover Artists: Jenny Frison, Noobovich, and Puppeteer Lee
Release Date: November 6, 2024
This comic book review contains spoilers
The Story
Poison Ivy #27 begins as “Wanted” posters for Poison Ivy have been posted up on storefronts and telephone poles all over the city following the terrorist attacks last issue. This catches the attention of Batman who confronts Ivy in an alleyway, but once Ivy is able to pitch her case as to why she’s not involved, he lets her off scot free. Ivy then scoops up Janet and flees to the abandoned ghost town that cropped up in the middle of Slaughter Swamp.
Back in Gotham, Ivy returns to the scene of one of the attacks when she bumps into a member of “The Order of the Green Knight.” He tells her that she appeared to their first disciple in a dream and that the world will be reborn through her. Ivy rejects this role of cult leader explaining that this scorched earth mentality will do nothing but hurt the earth further. The cult member says he’s convinced but she’ll still have to convince everyone else. Ivy turns to see an audience of cult members have congregated behind her, all wide-eyed and slack jawed at her prophesied appearance.
Meanwhile, Janet is afraid that the Swamp’s ghost down is haunted so she calls up Killer Croc to keep her company. They go down into the town’s sewers and find graffiti all over the walls with the words: “we tried.” Janet abruptly turns and passionately kisses Croc on the lips.
Analysis
Poison Ivy #27 really leans into exploring Ivy’s psyche and her evolving views on the sanctity of human life. She opens by rattling off a list of people she has killed but later when viewing the ruins of a recent Green Knight attack, she says “once, when confronted with so much death, I might have felt nothing. Now I feel a twinge of regret.” If it can be said that this run has had any lasting impact on Poison Ivy, I’d say it is giving her a more empathetic view of humanity. Previously, depending on who was writing her, she has been characterized by greed or an unyielding desire to cleanse the world from environmental threats, namely humans. G. Willow Wilson has broadened Ivy’s perspective with characters like Janet and Harley, while still having her feel cohesive with the countless iterations we’ve seen before.
I love the idea in Poison Ivy #27 of Ivy appearing to these people in the form of a dream, picking up a thread from issue #17 where she accidentally infected a factory worker with a labia strain, giving him vivid hallucinogenic dreams. That was one of the most interesting ideas touched upon earlier in the run so it’s great to finally see it get paid off. Ivy has inadvertently become the very cult of personality that she so fervently rejected a few issues prior (remember Woodrue). It will be interesting to see how her reaction to being viewed as a cult leader will differ from his.
Poison Ivy #27 isn’t all dream telepathy and cult-y shenanigans, however. The bizarre Batman appearance seems to hold no purpose at all, as he has no impact on the story. They don’t even exploit it on the cover, so why is he here? Every time Batman has appeared in this run it has felt ham-fisted and superfluous. I don’t know if it’s a DC mandate that he has to appear in every handful of issues, but Wilson has yet to justify his inclusion. Ivy and Janet moving in together in swamp town has some fun sleepover vibes, and I don’t even mind Croc showing up, but the ending is completely baffling. Is Janet supposed to be possessed? The kiss comes out of absolutely nowhere, and possessed or not, we’re rapidly running out of characters for Janet to try and hook up with.
Like usual, I can’t say enough good things about Marcio Takara and Arif Prianto. Takara’s character work is as top of the line as ever. Just look at his characters’ eyes. Their poses. Look at the way Ivy confidently puts her body weight on her right leg and hand on her hip in the middle of page 10 when they arrive at Slaughter Swamp. Compare that to Janet’s feeble pose with one arm wrapped around her torso and the other supporting her chin. A look of both fear and disappointment. This is what makes Takara so good. Every panel conveys character. And with a character as complexly layered as Ivy, panels can convey different modalities of character. Like her cheesy self-effacing “realtor” pose at the top of page 11 when showing Janet the town, or her elegant but incognito sun hat and dress combo in a Priantian shade of yellow.
The classic costume is getting more play now and it looks alive and ever-growing in a way it rarely has in the past. We get a great look at it in the terrific full page splash where Ivy is confronted with the mob of her misguided followers. And I might be crazy but her walking as vines grow up the side of a building at the bottom of page 8 looks like a nod to Jim Lee’s Ivy walking with the stolen briefcase in Batman #609.
Final Thoughts
The central narrative of Poison Ivy #27 with “The Order of the Green Knight” is interesting enough and the art is strong enough to carry the issue.
If you would like to buy a copy of this title, and help support The Batman Universe at the same time, consider purchasing this book at Amazon or Things From Another World.
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After almost twenty years, Cassandra Cain is back in a new solo title! This time she and her mother Lady Shiva are on the run from ninjas! This is our review of Batgirl #1.Batgirl #1 main cover by David Talaski
BATGIRL #1
Written by: TATE BROMBAL
Art by: TAKESHI MIYAZAWA
Main Cover: DAVID TALASKI
Variant Covers: JEFF DEKAL STANLEY “ARTGERM” LAU, SKYLAR PATRIDGE
Page Count: 28 pages
Release Date: November 6, 2024
Synopsis
Batgirl #1 kicks off as Batgirl a.k.a. Cassandra Cain, is approached by Lady Shiva, warning her of a threat that demands they both leave Gotham City at once. Cassandra has a storied history with her mother, so she refuses to believe her, especially whenever Shiva expresses concern for her. The two don’t have much time for debate, as The Unburied – an ancient order of long-dead fighters – have come for their lives. Mother and daughter seek refuge at Shiva’s Temple, where her followers have been killed and the Unburied ambush them once more. Despite detesting Shiva, Cassandra remains stalwart in her vow to prevent death and not take any life, resolving to fight alongside her murderous mother.
Analysis: Longtime listeners of The Batman Universe Comic Podcast know that I was THE Cassandra Cain fan for the website. My early time on the podcast came when Cass’ appearances were dwindling just before the new 52 where she disappeared completely. While James Tynion IV brought her back in Batman Eternal and she would increasingly be made more prominent in his Detective Comics title, Cass’ presence in the Batman books has increased dramatically since the launch of her YA GN Shadow of the Batgirl. This Young Adult comic for teens was published around the time of the Harley Quinn/Birds of Prey film which used Cassandra’s name but for a character who didn’t resemble her in the least.
While my anxieties on what that large-scale media appearance would do for my favorite Bat-character, it can be argued that the high public profile helped put her back in the spotlight of the Bat-Family. But I’m more convinced by the open engagement with fans yearning for the Bat-Family of old and not simply the four Robins and Barbara Gordon be given their proper due. This is what James Tynion helped usher back in the books, and writers such as Tom King and Chip Zdarsky have been all to happy to follow suit.
While Cassandra’s time as Batgirl was pushed out of DC’s memory by Dan Didio and Geoff Johns running the company in favor of the Silver Age Barbara Gordon, we’re now currently enjoying a era where Cass is the Batgirl again. Between reclaiming the mantle and appearing in a Batgirls title with Stephanie Brown (whose own Batgirl history is still a bit muddied admittedly), and Babs ceding back into the Oracle role in DC, there’s little left for Cass’ fans to ask for.
All that was left was her own title, unceremoniously canceled in 2006 to make way for a Batwoman book that never came to pass. Now, after all this time, our girl has a title again.
Tate Brombal is the kind of Cass fan I relate to a lot. It’s obvious throughout this fairly quick read in Batgirl #1 where his appreciation for her and Shiva lie, as it’s similar to mine. Going back to Cassandra’s first series, the major arc that began from issue #7 through issue #25 was the rivalry and death-duel between the two women. The revelation that they’re mom and kid wasn’t written until the series’ end (something I don’t mind but don’t actually find as compelling as when the two were merely rivals), but it’s clung to their characters ever since. Both Tynion IV and Michael Conrad got into their relationship in Detective Comics and Batgirls respectively, but Brombal signals more of the deeper enmity between the two. And while Cassandra is quickly nailed with the focus on her body reading abilities and even her speech (returning to the ellipses to present how she’s still new at speech), it’s Shiva’s characterization that I was leaning into the most.
Lady Shiva is a long-running character, first appearing as somewhat of an antihero in the pages of Richard Dragon: Kung-Fu Fighter, created and written by Denny O’Neil. Ten years after that series wrapped, O’Neil brought her into his revival of Steve Ditko’s The Question. For those who have not read, this series features the quintessential Shiva. Neither heroic nor villainous, O’Neil’s Shiva is a force of nature utterly unencumbered by the simple ways and moralities of men. Utterly indomitable in combat, she’s neither cruel nor kind, unpredictable and actually best represents the death God of which she gets her namesake. Somewhat ironically, it’s during O’Neil’s editorship of the Batman books where Shiva’s appearances sanded off the complex edges of her character. Starting with her appearance in A Death in the Family and continuing throughout Tim Drake’s first miniseries, Knightsend and the Batman/Green Arrow crossover story Brotherhood of the Fist, Shiva was watered down to a more conventional – and in some ways highly stereotypical – villainous persona. She not only had no compunction for refraining from killing, she seemingly craved death, and sought to kill everyone she came across in combat. This led her appearances to pigeon her more as a supervillain for Batman and other heroes to fight against, which detracted from her unique place in the DC pantheon. When she appeared in Cassandra’s first title, while still antagonistic, much of her nuances were brought back, as she related to Cassandra by being both an unbeatable fighter and seeking an eternal challenge.
With all that being said, eagle-eyed readers can spot the influences in Brombal’s Shiva. Her quip about despising violence is a line taken right out of The Question #1 (1989). Her communicating and efforts to manipulate Cassandra through body language is an ability only the two would be able to do, referencing their first encounters in Cass’ 2000 series. These – to this fan’s mind – are the very best comics to refer to for this mom and daughter duo, reflecting more characterization than the Shiva of recent years, or Cassandra simply being good at martial arts.
The issue overall is mostly about their interactions, with the action surrounding the Unburied being a simple driving factor in how they get along. Not everything to my mind is perfect however. While we don’t know much about The Unburied, it’s difficult to imagine Shiva running from a fight. Cassandra sees her as totally villainous (for good reason), and Shiva conforms to some of those tropes, not quite matching the unique qualities from O’Neil and Kelley Puckett’s writing (‘Lest I forget, Bryan Edward Hill also wrote a great Shiva in his Batman and the Outsiders series a couple of years back).
I also think that more could’ve been put on display around Cass and Shiva’s supreme martial arts skills. These two are in the top five table for best fighters in the DC Universe, and we don’t see that presented in this first story where they are running from ninjas. Having Cass find out for herself how tough they are, rather than being told by Shiva would’ve been a better way to show what she’s up against.
Still, Tate Brombal understands the assignment when it comes to these two characters, and Takeshi Miyazawa’s artwork is simple and effective in the body-language-led storytelling. This is a solid start to a book that has a ton of potential, and above all else, the creators have proven their bonafides in representing two of the coolest women in comics.
You can find this comic and help support TBU in the process by purchasing this issue digitally on Amazon, My Comic Shop, or through Things From Another World.
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In Batman #154, Batman and Jim Gordon team up to solve Mayor Christopher Nakano’s murder, and a new Court of Owls player reveals himself. Batman #154 main cover by Jorge Jimenez & Tomeu Morey. Image: DC Comics
Title: Batman #154 — “The Dying City” Part Two
Writer: Chip Zdarsky
Artist: Carmine Di Giandomenico
Colors: Tomeu Morey
Letters: Clayton Cowles
Cover: Jorge Jimenez & Tomeu Morey
Variant Covers: Tony Harris, Jeremy Clark, Gabriele Dell’Otto, Nicola Scott, Annette Kwok & James Harren
Release Date: November 6, 2024
This comic book review may contain spoilers.
Batman #154 opens in the aftermath of last Batman #153, which saw the murder of Mayor Christopher Nakano. Harvey Bullock, who recently rejoined the GCPD, is running the crime scene, giving direction to the other officers on the scene. When he steps out to take a smoke break, he’s confronted by Batman and Private Investigator James Gordon, both of whom he’ll do no favors for in order to keep his recently reacquired station at the GCPD.
Batman goes to interrogate Nakano’s assistant, who reveals that Nakano had fights with both Edward Nygma and a “strange man” by the name of Leonid Kull. Though Gordon and Batman are unable to enter the room, they have a tap on the interrogation room, where they see Bullock questioning Mrs. Nakano. Batman watches from afar while Gordon stands in the hall, where he is confronted by Commissioner Vandal Savage (a rather recent development in the Batman title). When Savage jokes about Gordon looking for work, Gordon cuts back with a comment about how Nakano was murdered before being able to fire Savage, which was next on his agenda.
The colors and mood set by Tomeu Morey is relatively on point for a crime noir-style story. The art, however, is a little too clean and cartoony. It could be because Morey is working with Carmine Di Giandomenico this time around, but it’s hard to say. While Gordon has age-lines above his brow, he also has almost a glowing, cherubic cheek in a panel or two that adds a splash of anime style to what would be a hardboiled detective story. Readers’ mileage may vary, depending on the mood they’re looking for. Personally, I’m not fond of a Gordon who looks like he’s under a TikTok filter, but it’s a minor gripe in the story thus far.
At a restaurant across Gotham City, NygmaTech innovator Edward Nygma dines with the newly made Mayor Jacob Morgan and apparent mover-and-shaker Leonid Kull. Batman interrupts their toast, accusing Kull of murdering Nakano. He then pieces together that Kull, the new leadership behind the Court of Owls, is plotting with Nygma for a Gotham City takeover. The wrench in the theory is that Batman can’t prove anything yet, and since this was a private event that he interrupted, Kull orders some cops to tango with The Bat.
Batman roundly beats up some police officers, then vanishes. If it sounds out of place, that’s because it feels out of place. Why would Batman wander into the middle of a dinner, make some wild accusation, beat up some cops, and then just… bail?
Right after, Batman bargains with the coroner, Louis, to get a few minutes along with Nakano’s body.
At Wayne Enterprises the next day, Bruce talks with Rowan about this new “secret Wayne heir” that surfaced last issue. Rowan says that this heir, William Pureford, has strong legal representation, and his mother worked at the same hospital that Thomas Wayne did, which adds legitimacy to the claim. Rowan recommends that Bruce give over half his shares to William, then buy them back secretly, forcing the heir to sign an NDA.
Bruce then visits Dr. Leslie Thompkins, who reveals that Thomas Wayne had an affair with a woman named Tara, but it ended quickly. Though an affair took place, Dr. Thompkins strongly doubts Tara had a baby, as she couldn’t believe that Thomas would abandon a child of his. Before they can continue their conversation, the clinic is attacked.
A bunch of conspiracy theorists break into Dr. Thompkins’ clinic ranting and raving about free housing and support for illegal immigrants and other typical conservative talking points. It’s clear what Writer Chip Zdarsky is doing here, tying this story to very real events in the modern-day. With the right art and writing at the helm, this moment could be poignant and an interesting parallel, but in this moment, with a story that’s just zipping through plot development after plot development, it comes across as hackneyed and lazy.
Commander Star in all of his red, white, and blue glory comes to the rescue, telling Wayne that these people just want to be heard. He then refers to some of the violent thugs as “bad actors” who “infiltrated” a protest, which is clearly a callback to January 6th, 2021, when supporters of Donald Trump violently assaulted our nation’s capital. Before we can take this moment in and meditate on another quip from Zdarsky, we whisk off to another scene.
In Nakano’s office, Batman and Gordon go over the clues, trying to piece together what kind of killer would murder the mayor. Bullock calls in, letting them know that Koyuki Nakano’s phone revealed that she was having an affair. It’s then that Gordon pulls a gun on Batman, saying that he was defending himself. Batman knocks Gordon’s lights out, breaking the old man’s glasses in half.
The issue ends with the two of them sitting across from each other, heads lowered in despair.
Batman #154 variant cover by Tony Harris. Image: DC Comics
What in the WHAT?!In many ways, Batman #154 feels like a bad trip. It’s as if we, as readers, took some mushrooms handed to us by Poison Ivy and are watching this insane plot play out, complete with zany twists and turns, political “jabs,” and gleefully cartoonish art that feels closer to Joel Schumacher’s Batman Forever than it does Matt Reeves’ The Batman. If the tone was consistently this one, it would work. However, while Batman #154 is certainly a mood, it breaks what was a promising setup in the last issue. This arc overextends the many plot threads it wanted to juggle, turning Batman #154 into a roller coaster ride that I’m not sure I want to be on.
Why? Because there are so many swerve plot threads, that it’s hard to fully digest or understand any of them. We get swerve after swerve after swerve with little downtime in between, and without the cooldown periods to fully digest or understand what’s happening, the cracks in the plot show clearly. It makes us, as readers, question what we just read as we juggle development after development. A problem set up in one panel is cleared up in the next, right before we’re thrown into something entirely different. Bruce’s long-lost brother? Oh, Thomas Wayne had an affair, but he didn’t have any children outside of his marriage! Then, we’re onto stand-ins for the Trump crowd before Commander Star pops in just long enough to remind us of his existence, so he can echo a phrase or two reminiscent of a dark day in America. Before we can take that in, we’re off to yet another plot thread.
There is no justification for any of this. NygmaTech. The Court of Owls. Bruce Wayne’s “long lost” sibling. It feels as if Zdarsky is just throwing words at us, hoping something will draw us in and keep us reading.
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The year of the flightless bird continues in this review of The Penguin Special #1 which features an original story and reprints with a focus on Oswald’s early years in crime.
The Penguin Special #1 main cover by Mikel Janin
The Penguin Special #1Writer: Jermey Adams and others
Artist: Howard Porter and others
Cover: Mikel Janin
Release Date: October 30, 2024
The Penguin Special #1 opens with a woman in some type of rehab facility with a nurse. The nurse is saying how he fixed her medication and she is becoming more aware. He greets someone at the door and says how he made some adjustments to her medication and the man at the door clearly isn’t happy about that. He reintroduces the woman to ….Mr Cobb (still not used to that).
It is our favorite well dressed villain The Penguin. Oswald clearly is not happy that the nurse is “waking up” this woman who is revealed to be his wife, Madeine. The nurse is confused by Oswald’s remarks that “it’s too bad” he fixed Madeline’s meds. As the nurse asks why, Penguin slices the back of his foot with his trademark knife umbrella.
Oswald comments that Madeline is not the nurse’s but “MINE”. He talks about how she belongs to him and that she once tried to take his children from him. Madeline faintly whispers “kill me” to Oswald but he says no because of their wedding vows. Through sickness and health and all that. He then tells her that their children are dead and if their mother was around, they might still be alive.
The nurse tries to crawl away but Penguin drags him back in and takes care of him. The story ends with Penguin seeing another nurse saying that Madeline is the same as always. And Oswald comments that that’s how it should be with an evil look in his eyes.
Analysis: So I guess it is officially Cobb in the comics and not Cobblepot. I think that is kind of lame. I understand corporate synergy and all that but it is still so goofy. I don’t think anyone is gonna go from the show to comics and be thrown off by Cobblepot vs Cobb. But I guess it is what it is now.
As far as the story, this is pretty evil and messed up by the Penguin. We have read about the crime and murders for years, that is pretty basic Batman villain stuff but this is something different that we are seeing from the Penguin. At least for me. Drugging his wife and keeping her stored at a medical facility. She even begged to die in this story and Penguin would not grant that wish. He clearly just visits her to taunt her and add to her torture.
The rest of The Penguin Special #1 contains reprints that delve into Oswald Cobb’s (or Cobblepot’s for my purists out there. This issue seems to be a perfect starting point for fans of the HBO show looking for more Penguin in their lives. Sets up Penguin’s place in the current DCU and shows off his past.
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In this review of Harley Quinn #44, Harley returns to her old neighborhood of Throatcutter Hill, determined to restore its now gentrified status to the crime-ridden hellhole she once knew it to be!Harley Quinn #44 main cover by Elizabeth Torque
Harley Quinn #44
Written by: ELLIOTT KALAN
Art by: MINDY LEE
Main Cover: ELIZABETH TORQUE
Variant Covers: DAVID NAKAYAMA, JORGE FORNÉS, SARAH BASLAIM, KELLEY JONES, DANIEL SAMPERE
Release Date: October 23, 2024
This review contain spoilers
Harley Quinn #44 begins as, in a funk over self-doubt after the events of Absolute Power, Harley seeks to find new meaning in her life by returning to the neighborhood she first moved to upon graduating college years ago: Throatcutter Hill. The area was bereft with crooks, swindlers and muggers, but at the time – Harley became accustomed to the rough and tumble ways of the streets. Seeking a fresh start, Harley and her pet hyenas Bud and Lou move back to Throatcutter Hill, only to find the streets entirely clean and bereft of crime.
Harley “inquires” to source of Thoratcutter’s newfound respectable status, which leads her to Nowegose – a.k.a. Northwest Gotham South East, a tower headed up by Althea Klang – manager of the building and Gotham entrepreneur. Harley’s taken with Klang’s evil yet attractive demeanor, but still vows to restore the neighborhood back to it’s pre-Nowegose roots once Klang makes it clear she has no regard for the downtrodden whom threaten to bring down the property value of the area.
Harley finds a room to rent from an old woman named Mrs. Grimaldi who says that Klang and her forces have tried for years to get her to move out of her home. Along with the Grimaldi’s grandson Richie who’s charmed by her, Harley is committed to keeping Throatcutter safe for those who’ve always belonged, and opens up a new front: The Harley Quinn Destructive Agency. Unbeknownst to her, Althea Klang has taken steps to get Harley forcibly removed from town by any violent means necessary.
Analysis
Despite (or perhaps due to) her surge in popularity over the years, Harley Quinn is actually a difficult character to pin down. In various media such as ensemble casts like the 2016 and 2021 Suicide Squad films, DC Superhero Girls or the Injustice games, she slots in fine as a wacky wild card who’s fun nature offsets her potential for extreme violence. In the original Batman: the Animated Series incarnation, she was a foil for the Joker who quickly shot up to superstar status when she began appearing in episodes without him. Probably the most consequential of those old episodes is “Harley’s Holiday”, where – without even mentioning the Joker – Harley gets the spotlight as a troubled but ultimately well-meaning young woman who has a propensity for both bad luck and wonton destruction. In the decades since that 1994 episode, I think “Harley’s Holiday” remains the best thesis on the character as someone who really does need help, but has enough of her faculties not to fall totally into evil inclinations.
That characterization opened up avenues for her to be pitted more as an anti-villain, but quickly she became slotted into anti-hero status with her early ongoing series in the 2000s. That ran for a few years, but through Gotham City Sirens (by creator Paul Dini), the Jimmy Palmiotti and Amanda Conner runs and her newfound popularity through the Margot Robbie performances as well as the aforementioned DC Superhero Girls – which it should not go misunderstood is a huge reason why Harley maintains young fans – Harley is currently an A-Lister in the DC Universe. Look no further than the fact that she’s sitting right next to Superman in the Justice League Watchtower when he reveals his identity as Clark Kent (since retconned), or front-lines a movie that saddles the Birds of Prey title in it. Or even the Harley Quinn animated series, which posits a Venture Bros-esque narrative that while Harley is screwed up in many ways, the patriarchal DC Universe is far worse off, where characters from Gordon to Nightwing to Batman have unresolved neuroses that put hers in sharp relief. Additionally, it’s been a very long time since Harley’s actually been portrayed as a villain. Disregarding adaptational material like the animated Hush movie, I’m thinking Batman vs. Teenage Mutant Ninja Turtles (a very solid watch, genuinely recommended) where Harley was a baddie alongside the other Gotham City rogues.
All this is to say that Harley’s undeniable popularity and status quo as a forward moving protagonist with flirtations of villainous tendencies has not for a long time sat right with me, personally. I don’t dislike Harley Quinn whatsoever. Her B:TAS incarnation is rightfully iconic and remains the funniest version of the character. Margot Robbie is perfectly cast and delivers the best performance in each of the three films she’s ben in. And frankly, adding to the list of DC’s best characters being a fun clown that young girls adore is a great thing for the company. But I do have trouble with the anti-hero yearnings the character is written with, which too often come down to the writers wanting it both ways. As it tends to be with The Joker, much of Harley’s mania falls down to “she’s crazy”, and are simply used as fodder for action scenes which she would not reasonably survive. Beyond plot armor, the scenarios call upon us to root for her getting what she wants which at the best of times is a sense of stability, self-worth and love. Totally appreciable. But when those goals are blended with destruction and violence, the stories more often than not get confused, and the intentions of the writers start to reveal themselves as just making it through the story with her at the center of it than carrying the character and readers through the story.
I’ll grant a large caveat that I’ve not read the majority of the Palmiotti/Conner run, where most of her development took place. Nevertheless, this new run by comedian Elliott Kalan and Mindy Lee reek of much of the same: Harley wants to go back to her beginnings and gain new perspective on her life, but the bad neighborhood she started out from has improved over time, hence she seeks to restore it to ruin. There is a line thrown in about her wanting Throatcutter (a groaner of a name) to be as bad as she is and change only if she does, but the potential psychological subtitles have yet to bear fruit in this first issue. And the rest of the characters are so broadly depicted, it’s hard to presume this will delve any deeper than it might.
So that’s a long a grumpy start for a review where the writer has a chip on his shoulder. What’s to like?
Honestly I do enjoy how Kalan write Harley. Talking to herself out loud, blending both psychology language and her Brooklyn accent from open self-diagnosis while leaving snide remarks in every conversation is fun. Mindy Lee’s whirling, swooping artwork also is solid stuff, and evokes Bret Blevins on some of the recent Harley titles. So the actual writing and illustrating of Harley is good.
But I will conclude on some other personal annoyances. This might not be thrown simply at Kalan’s feet, but it’s such a cliche’ now for writers to create pockets of Gotham so harsh and bad that “not even Batman would step foot in them”. As a Batman fan first, last and always, this is nonsensical and insulting to the concept of the character. Either he returned to Gotham to stamp out crime or he didn’t’. Previous tales that went at this idea at least commented on real world racialized policing and crime like The Hill, but this has nothing to offer other than to fall down this trope. Why even make it in Gotham except to expect a Batman appearance down the line? Additionally, there’s tons of commentary on gentrification and how corporations ruin old neighborhoods, but the neighborhoods in Harley’s memories were crooked and corrupt to begin with, so her goals are actually horrid and Nowegose isn’t doing anything actively immoral as presented. Yes, Althea Klang is given the evil swipe by how Lee draws her and her villainous scene at the end, but what are we doing here? What’s the goal? A twisted take on Tom Taylor’s recent Nightwing run where the hero seeks to revitalize the neighborhood, but in the opposite direction? I will say this may be Kalan setting up how Harley might be mistaken and even wrong in her memories, which would make for solid storytelling. But as I’ve described her history above, it’s more likely that whatever the character wants, she’ll get and it’ll be depicted as always the right thing.
This is a biased, prejudiced review for a title that’s doing much of what’s been done with the character in the past decade. The writing and artwork are solid enough that for new readers to the character it’s a decent recommendation. I’m personally less inclined to see where things lead, but I’m not the intended audience and would still recommend this for current Harley fans. Just barely though.
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In Batman: The Brave and the Bold #18, John Constantine teams up with Streaky the Supercat, Miss Martian teams up with Aquaman, and Robin teams up with Robin. Batman: The Brave and the Bold #18 main cover by Simone Di Meo. Image: DC Comics
Title: Batman: The Brave and the Bold #18
Writer: Christian Ward, Zipporah Smith, Jeremy Adams, Marguerite Sauvage, Brendan Hay
Artists: Patric Reynolds, Mike Norton, Laura Braga, Marguerite Sauvage, Marco Santucci
Colors: Luis Nct, John Kalisz, Arif Prianto, Marguerite Sauvage, Luis Guerrero
Letters: Hassan Otsmane-Elhaou, Josh Reed, Becca Carey, Carlos M. Mangual
Cover Artist: Simone Di Meo
Variant Cover Artists: Christian Ward & Carmine Di Giandomenico
Release Date: October 23, 2024
This comic book review contains spoilers “Doubt” Writer: Christian Ward
Artist: Patric Reynolds
Colors: Luis Nct
Letters: Hassan Otsmane-Elhaou
Years ago, Alfred Pennyworth gives Bruce Wayne a pep talk before he has to speak at his parents’ funeral. Now, a man with a snake face tattoo and a trenchcoat accompanies an entranced woman who is withdrawing her savings at a Gotham bank. But when they open her vault, they find none other than Batman. He tells us that the man’s name is Benjamin Blik, a.k.a. Doubt, and he has a metalevel ability to bend people’s wills with a whisper. Batman is able to subdue the attack and muzzle Doubt before Doubt pulls out an electronic dictaphone that speaks: “I doubt you’re Batman anymore.” Batman immediately passes out.
About an hour later, Batman wakes up beside Gordon and then has to return to the cave where he is overcome with self doubt. “You’re too slow, amateur, stupid, you’re too old, too tired, what were you thinking” etc. Bruce is able to guide himself back to sanity when he remembers the hallowed words Alfred imparted to him on the day of his parent’s funeral: “Everyone is scared. You can’t be brave without being scared.”
Batman busts through the window of the woman’s home where Doubt is staying and plays him a new recording from the dictaphone. It says “I doubt you’re Doubt anymore” and Doubt a.k.a. Benjamin Blik succumbs to his own medicine.
This is a simplistic story with a lot of repeated ideas. I can’t tell you how many times I’ve seen Batman get psychically attacked in recent months whether it be aliens forcing him to relive all his worst memories or here where a dictated statement causes him to develop crippling self doubt. I say it’s time to retire this concept. The villain Doubt has the snake motif that made me initially wonder if he had some connection to Kobra. But nope, his whole schtick is that he basically uses a Jedi mind trick to coerce people into emptying their bank accounts for him. It’s not too interesting and the way Batman defeats him isn’t clever at all. It’s effectively the same as gassing Jonathan Crane with his own fear toxin. Boring.
And just one note on the final scene. Diane, the woman being held hostage, finds a note on her coffee table that says “stay away from the window” right before Batman bursts in. This comes immediately after Batman’s dark night of the soul in the pits of the batcave. How did this note get in there? Did he sneak into her house before taking out Doubt just to leave that note?
I will say, despite the narrative shortcomings, Patric Reynolds pencils and Luis Nct colors are quite painterly and beautiful. The sketchy watercolor aesthetic gives the flashback and hallucination scenes a real dramatic weight that is stark contrast to the somewhat pedestrian storytelling.
“Petsurrection Part 2” Writer: Zipporah Smith
Artist: Mike Norton
Colors: John Kalisz
Letters: Josh Reed
John Constantine and Streaky the Supercat team up to investigate the mutilated zombie pets that have been returning around town. Clues lead them to the Oak Park Animal Rescue where a disturbed employee named Jeremy attacks the team. We learn that Constantine exorcised his brother in the past, but since he didn’t give him any guidance, Jeremy blames Constantine for his brother’s death. A flashback reveals that Streaky stole the talisman he was using to try and resurrect him. Without it, he could only reanimate pets. When Constantine shows him what form his brother would be in if brought back from the dead, Jeremy gives up.
Much like last month, I struggle with how to approach this story other than saying that it’s just not for me. Zipporah Smith’s writing comes across as uninspired. John Constantine and Streaky the Supercat is just not an interesting team up when only one of them can talk and even then only in the most cringe-inducing imitation-British vernacular. There is no emotional investment or really anything to latch onto at all. Constantine and Streaky supposedly have a prior connection to Jeremy that we’re only told about, and it feels slotted in as a last ditch attempt to form some semblance of a story. The wrap up is just goofy. Also could you possibly think of a more boring name for an animal shelter than the “Oak Park Animal Rescue”? It seems like that’s about the amount of effort used to write this entire story.
Mike Norton’s art is exaggerated and cartoonish. Streaky has some cute moments. If only he could draw his human characters as well as the animals. I don’t know why the team felt the need to stretch this one over the course of two months, but I can’t say I’m not glad it’s over.
Batman: The Brave and the Bold #18 variant cover by Christian Ward. Image: DC Comics
“Reflections” Writer: Jeremy Adams
Artist: Laura Braga
Colors: Arif Prianto
Letters: Becca Carey
Miss Martian and Kaldur’ahm Aquaman attempt to save a sinking ocean liner when they are sucked deep underwater and seemingly wind up on the surface of Mars. They locate a temple with a White Martian named Tan’ax Tan’azz inside who is using a mystical Alantian pearl that will terraform the Earth to create Mars. M’gann is able to take him out with a psychic punch which inturn, reverses the terraforming process. Back on the surface, M’gann and Kaldur ask each other if they considered going along with the White Martin’s plan. M’gann admits that she did, but ultimately Earth is still worth saving.
There’s a strong sense of repetition growing in this book that is particularly acute this issue. Stories consistently follow a couple of unlikely DC characters who team up to take down a minor threat, with no actual character development or narrative permanence. Ultimately this is the structure that a lot of comic book stories take, but in an anthology book where each story is no more than a handful of pages, it just feels like they’re trading character slots in the same story structure again and again. It is to the point where I literally would’ve rather seen Aquaman and Miss Martian in any other kind of story. Something that would actually be revelatory of their characters. Have M’gann show Kaldur artifacts from Mars and talk about how much she misses it. How she still feels disconnected from Earth. That’s a level they could actually connect on. But instead we get a forgettable and ultimately meaningless story of the pair encountering a run-of-the-mill White Martian character that is defeated over the course of a single page, before an obligatory dimensionless conversation about how the world is still worth saving. Nothing is revealed or illuminated or changed about these characters. It just feels like wasted time.
Laura Braga art style is flat and even the action panels lack a dynamism that could elevate the formulaic storytelling. Arif Prianto’s coloring does at least give it a digestible gleam.
“Swipe Left on Scams” Writer, Artist & Colors: Marguerite Sauvage
Letters: Carlos M. Mangual
Ho boy. Harley Quinn realizes that the dating app she’s been using has been siphoning her data and only feeding her fake accounts. She goes to their headquarters building to beat up the CEO and apparently have him arrested.
I mean I’m all for exposing the life-sucking evil of dating apps, but unfortunately this is just another half-baked story. There’s no logic, there’s no conflict, and there’s nothing interesting, just like every other story in this book. Harley just discovers a dating app is evil, strolls into the CEO’s office somehow without a single obstacle, and trounces him. This is like an idea for a story. It’s like an outline that still needs fleshing out. But here it is in all its undeveloped glory.
Marguerite Sauvage provides the art as well as the story. For what it is, the art is fine. It makes Laura Braga’s art look vivid and complex by comparison, but to be fair it’s not going for anything too intricate. It honestly just looks like stills from Teen Titans Go! or Gotham Girls.
Batman: The Brave and the Bold #18 variant cover by Carmine Di Giandomenico. Image: DC Comics
“Robin Season Part 1” Writer: Brendan Hay
Artist: Marco Santucci
Colors: Luis Guerrero
Letters: Carlos M. Mangual
Tim Drake and Damian Wayne rescue a group of three endangered kids dressed as Robins. They say they were hired by someone online to dress up for a social media “bird watching” challenge when they were attacked by fire and somebody flew off with their fourth friend. Tim recognizes the tailor who made these faux-Robin costumes and questions him to get the location of the kidnapped boy. They track him down to Dworkingham Brewery where they are ambushed by Killer Moth.
It seems like this book has completely abandoned the original conceit of ending with a standalone black and white story. This is probably the best story in the collection since Brendan Hay is the only one who really nails the chemistry between the lead characters. Tim taking a bit of a mature paternal position to Damian’s unfleeting arrogance and superiority complex is fun to read.
Marco Santucci draws the action well and Luis Guerrero gives the story a moody darkness that suits Gotham well. Killer Moth looks great in his full stature at the end as well. I can’t say I’m clamoring for more, but after slogging through all the stories preceding it, this one reads all the better.
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In this review of Nightwing #119, as dark forces swirl around Bludhaven, a gang war rages for months, and Nightwing frantically seeks to stem the escalating violence.Nightwing #119 main cover by Dexter Soy
Nightwing #119Writer: Dan Watters
Artist and Main Cover: Dexter Soy
Colors: Veronica Gandini
Variant Covers: Dan Panosian, Gleb Melnikov, Daniel Sampere, Kelley Jones, Ethan Young
Release Date: October 23, 2024
This review contains spoilers
Nightwing #119 begins with as a dark and creepy clown narrates Dick Grayson’s history from boyhood to Nightwing, acted out with marionette puppets, and says Dick was an “imp” as a boy, and lost his mirth. The clown then turns the page in a 4th wall break, and we see the gang leaders of Bludhaven – Mama Bear of the Teddies, Boss Bludgeon of the Clean-Cut Crew, Dr. Proboscis of the Flyboiz, and Don Dalla Blockbuster Gang, meeting to stop the gang war that’s raged for two months. Nightwing shows up too, to arrest them, and a huge fight ensues, but before Dick can subdue the gang leaders, the creepy clown says “hee” and blows the whole building up.
Dick survives in the nearby water, then goes to his half sister Melinda, the mayor, the next day. She signs a deal with Olivia Pearce and Spheric Solutions to equip the police to deal with the gang war, against Dick’s protests That night the gang war intensifies into wild murder and violence, and Dick goes into overdrive, beating and intimidating the fighting gangs into stopping before Spheric Solutions stops them permanently. He then breaks into Spheric Solutions itself, triggering a robot security droid. Olivia Pearce, CEO of Spheric, watches the fight on security cameras with the creepy clown, both apparently part of a group called the “Cirque du Sin”, and she triggers another explosive like the one that killed the gang leaders.
Analysis
After Tom Taylor and Bruno Redondo’s run ended with the Fallen Son arc, Dan Watters enters the Nightwing circus ring with Nightwing #119 with a whole new trick. Similar to fellow new wave of British writers Spurrier, Paknadel, Ram V, etc, Watters has an affinity for horror, the weird, and the meditatively spooky – which creates a fun and interesting contrast to the warm and sweet personality of Dick Grayson, which Watters manages to capture quite well. The darkness of the gang war is leavened by the amusing concepts for each gang, and I hope some recognizable recurring minor villains will arise from this, though the gimmick mob bosses were all killed pretty quickly here. Watters doesn’t jettison any of Taylor’s status quo, but builds upon it nicely, using Dick’s relationships with his half sister Melinda and his girlfriend Babs to strong effect.
A bit of speculation on our creepy clown narrator. To this reviewer, it seems likely this is one of the strange beings from Knight Terrors: Detective Comics – the Pentapriests. Or maybe the man who found the clock dreamed to summon the Pentapriests at the end of that miniseries comic. It would seem to fit with the fourth-wall breaking power of that character, their obsession with strange emotional responses, and their alignment with the powerful arms manufacturer Spheric Solutions, similar to the “Good People of Gotham” who summoned them in Knight Terrors.
Dexter Soy, known for excellent long runs on Batfamily comics like Red Hood and the Outlaws Rebirth and Batman and the Outsiders Rebirth, puts in appealing, dark, and energetic pencils, assisted ably by Veronica Gandini’s muted but not monochromatic coloring. Hopefully editorial has a good handle on scheduling and is able to keep Soy and Gandini for several years, similar to the work Redondo put in during Taylor’s run. A consistent tone really helps maintain a run!
Dexter Soy’s main cover features his powerful rendition of Nightwing in a cover reminiscent of many of the Rebirth variant covers, standing over a large symbol of Nightwing. Dan Panosian’s first variant features Nightwing surrounded by pigeons, smiling – nicely capturing Dick’s personality. Gleb Melnikov’s variant goes for a Blue Batman vibe, with Nightwing clinging to an iron bar in the rain over the rooftops. Kelley Jones gives us a baby Nightwing in a pumpkin shape, surrounded by Halloween decorations, fitting the Trick or Treat theme of that series of covers. Daniel Sampere’s foil All In variant looks somewhat like Dexter Soy’s main cover, with the absence of the Nightwing symbol replaced by the silver background. Lastl, Ethan Young’s 1 in 25 incentive variant features Nightwing fighting a large number of burly gang members, a nice (if imprecise – clown masks instead of one of the five gangs featured inside the comic) reference to the opening gang war.
Final Thoughts
Dan Watters blends his dark, moody style with the warm, sweet personality of Dick Grayson, and the result is quite enjoyable, especially when penciled by the veteran Dexter Soy.
You can find this comic and help support TBU in the process by purchasing this issue digitally on Amazon or a physical copy of the title through Things From Another World.
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In this review of Detective Comics #1090, Bruce encounters a new vigilante/villain on the streets of Gotham while dealing with a new issue… age.Detective Comics #1090 main cover by Mikel Janin
Detective Comics #1090
Writer: Tom Taylor
Art and Main Cover: Mikel Janín
Variant Cover: Bruno Redondo, Dan Panosian, Tony Harris,Daniel Sampere, Ashley Wood
Release Date: October 23, 2024
This review contains spoilers
Detective Comics #1090 begins as Batman stands over a bloodied figure in a chair. He is conversing with an unseen interlocutor who has invited Batman to watch the figure’s last moments. Batman objects and comms Oracle for an ambulance. The interlocutor’s gloved, clawed hand swipes the ear from Batman’s cowl and warns Batman not to make the same mistake as Thomas.
Flashback to Gotham where Thomas Wayne is awoken by a colleague and informed that the hospital has admitted car accident victims. Thomas instructs that the male patient be prepped for surgery, but his colleague suggests Thomas see the female patient, who had gone into early labor, first. Thomas quickly apprehends that some of her injuries antedate the car accident and deduces that the male patient beat her. Thomas’s colleague notes that only by virtue of a physician of Thomas’s unique skill could the patient survive. Thomas rejects the implication and proceeds forthwith to surgery.
The patient survives a nine-hour surgery and Thomas visits the woman patient, as per her request. She pleads with Thomas to take her newborn son and support the story that the baby died. She corners Thomas rhetorically by pointing out that his oath to save lives extends to her infant just as much as it does to his father.
The following day, Thomas visits again, but this time with Martha. Martha tells the woman that she can secrete both the woman and her son, so that they can be kept safe and together. Back at Wayne Manor that evening, Thomas and Martha argue about the demands of the Hippocratic oath. Bruce has snuck out of his bedroom and is listening on the stairs. Alfred apprehends him and apologizes to the Waynes. Martha releases Alfred to sweet slumber and Bruce asks Thomas why he saved the man’s life. Thomas states that “[w]e don’t know how a life will be lived. We don’t know it’s value.”
Flash forward to Batman soaring through Gotham,, wondering if he, at eight years old, could have saved his parents’ lives. Batman arrives on scene at a jeweler’s shop and takes down the young perpetrator with a single punch. On the floor, bleeding, is the proprietor, but the shooting was a mistake and the shooter had been in the process of dialing 911. While Batman is tending to the proprietor, the shooter rises and flees. Batman tells Oracle he will go after him, but so too does the gloved interlocutor glimpsed in the opening panels.
Batman chases the shooter, a seventeen-year-old named Sam Kristof, according to Oracle. His records indicate that he has a history of family violence and trauma and in fact fits the profile of a Robin. Oracle doubts Batman will catch up, but all of a sudden the target stops moving. Batman finds him dead in the sewers, the ninth such victim. Only the scent of white musk gives Batman a clue as to the identity of the killer. He departs for an event that Bruce Wayne must attend.
At the event, Bruce embraces one Scarlett Martha Scott, an ace geneticist who spent time in a Wayne shelter and was one of the last people Martha directly assisted. The former chief geneticist for Waynetech, Dr. Scott invites Bruce to a private clinical space where East Egg billionaires Daniel and Gina O’Malley toast Bruce and remove the IVs from the backs of their hands. Bruce is shocked to see that they look impossibly young. Dr. Scott offers Bruce a vial and he contemplates its use, noting how old and slow he felt when he was chasing Kristof.
Flash back to the Gotham hospital where the patient Thomas treated has grown violent. Thomas notes that, having saved the patient’s life, he can no longer be responsible for the man. He asks for the chart to document the discharge, and we see the man’s name. It is Joe Chill.
Analysis:
Well! Fresh off his run on Nightwing, writer Tom Taylor gives us a Detective Comics #1090 that feels shot out of a cannon. Subtlety is in short supply in Taylor’s opening moves. We have a big, lush story that harkens back to the origin myth itself, canonizing a stunning twist in the events leading to the murder of Thomas and Martha Wayne: Thomas personally saved the life of the man who would end his own.
Readers will no doubt differ on the wisdom of this addition to the origin myth, but it is a bold choice for the inaugural issue in Taylor’s run. As a professional bioethicist, I was particularly interested in the moral question running through the book: To what extent are judgments of moral worth relevant in allocating life-saving resources? There is general consensus among ethicists that such judgments are not relevant and including them in allocation decisions is unethical. Such judgments risk perpetuating deeply entrenched stigmas against disfavored and marginalized people – those judged of less value will all too often track stigmatizing and oppressive social structures.
The risk is not hypothetical; social worth judgments animated the worldwide eugenics movement of the late 19th and early 20th c., catalyzing horrifying violations of human rights against disabled people, women, Jews, Romani, and other marginalized groups all over the world. Many people rightly associate these abuses with the medical crimes of the Third Reich, but there is no question that eugenicist perspectives that valued some human lives over others attracted leading scientists, politicians, wealthy capitalists, and health professionals in the U.S. and, indeed, all over the world.
Thus, despite Martha’s objections, this is not remotely a close call from a medical ethics perspective. I find the inclusion of these themes fascinating, even as I am unsure the twist at the end of the book is worth the fairly dramatic change to the Batman origin myth.
While I found that previous artist Stefano Raffaele’s turn on Detective Comics fit Ram V’s approach, I was very excited at the news that Mikel Janín would be taking over on #1090. I am personally a huge fan of Janín’s horrorcore style, sharp lines, Gothic imagery, and dedicated realism. The artwork in #1090 does not disappoint; the panels on p. 13 are especially gorgeous, propelling the reader forward directly from a flashback to Batman soaring through Gotham, bats trailing behind him. The perspective is beautifully rendered, and the soft glowing greens and oranges typical of Janín’s colors highlight the grey and black Batman that he prefers. It’s fantastic and I am so glad to see Janín back on main.
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In this review of Catwoman #69, clouds gather around Selina as an international conspiracy against her springs into action!Catwoman #69 main cover by Sebastián Fiumara
Catwoman #69
Writer: Torunn Gronbekk
Artist: Fabiana Mascolo
Colors: Patricio Delpeche
Main Cover: Sebastian Fiumara
Variant Covers: Frank Cho, Homare, Daniel Sampere, Noobovich
Release Date: October 16, 2024
This review contains spoilers
Catwoman #69 begins in Selina’s apartment, as she wakes up to news of her own death – one of her old identities, Evie Hall, in Berlin. Noticing heavy undercover surveillance from the police, she discovers she’s also wanted as Selina Kyle in connection for a lethal Gotham sniper shooting the night before at a society event she attended.
Elsewhere, a tech tracks Selina’s face through the internet, ordered by a voice on the phone to kill her before the police find her.
Putting on her suit, Selina exits her apartment and heads out over the rooftops as a mysterious setup shoots some of the cops surveilling her. Breaking into another one of her apartments, Catwoman finds a European hitman there first, fights him, and knocks him out. The hitman’s employer on the phone threatens her, and Selina heads out of Gotham disguised as a nurse. She discovers her old crew when she was Evie Hall is being murdered, and flies to Berlin to find out why – alerting the tech to her location.
Analysis:
After the dreadful run by Tini Howard, focused on telling readers that Selina is super competent while showing her failing and needing her bloated army of out of character gal pals to save her from an army of evil evil men, Torunn Gronbekk’s first issue with Catwoman #69 is a breath of fresh air. Selina is shown to be competent three times, though not perfect since she does get tagged by facial recognition at the end (but could that perhaps be on purpose? We shall see!) First in spotting and evading the cops watching her, second in beating the hitman trying to kill her, and third in getting out of town and to Germany. All this with the melancholy, noir-atmopheric narration that practically has a muted trumpet wailing in the background like LA Confidential. The action is brutal, punctuating the slow burn mood with bursts of urgency and horror. All in all, a really well crafted introduction to this adventure, with clear stakes and murky villains, just the way an opening should be.
Fabiana Mascolo’s art, with beautiful colors by Patricio Delpeche, perfectly complements the storytelling by Gronbekk. Mascolo’s art is more detailed than the last main artist for the run, Nico Leon. That allows the book to feel a bit more equally divided between colorist and linework, and Selina in particular has a great flair and expression, even through all her disguises! Mascolo also designed the new Catwoman costume – similar to the Joelle Jones design from 2018 with the short jacket, this one also has a distinctive jacket, highlighted by a collar exposing cleavage instead of armpits, and striking textured shoulder pads. Time will tell how it works, but just being free of the armpit holes is a big relief for this reader!
Moving from regular variant cover artist on Detective Comics for Ram V’s just completed run to main cover artist on this new run of Catwoman, Sebastian Fiumara (an old favorite of mine from over a decade ago on the Ender’s Shadow comics for Marvel) provides a great action shot of Selina in her new costume slashing her whip at the reader, with a simple white background with pink/purple claw slashes – vivid and exciting. Master artist Frank Cho provides the first variant plus a virgin 1 in 50 incentive using the same linework of a black and white woodcut-style Selina sitting on a thronelike chair surrounded by cats in her underwear – pretty classic Cho! Homare provides a pensive look of Catwoman on a stool in front of a bigger bust of Selina.
Daniel Sampere (Dark Crisis and current Wonder Woman artist) provides a single full body figure Catwoman in the new costume against the stark silver foil cover to add to the All In variant collection. In addition to the 1 in 50 virgin variant, Noobovich provides a sexy and pink-heavy 1 in 25 incentive variant of Selina cracking her whip as she jumps from a building in a foreign land.
Let me know what you think on twitter @ibmmiller, or join the conversation in our Discord!
Final Thoughts
Starting out her run with a slow burn and haunting mood, punctuated by bursts of terrifying violence, Torunn Gronbekk and Fabiana Mascolo give Selina a globe-trotting mystery to solve with Catwoman #69 that promises thrills and emotions galore.
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In Batman #153, it’s a fresh new day in Gotham City, one teeming with a score of new plots, a new vigilante, and a rising corporate giant in NygmaTech.Batman #153 main cover by Jorge Jimenez. Image: DC Comics
Title: Batman #153 — “The Dying City” Part One
Writer: Chip Zdarsky
Artist: Jorge Jimenez
Colors: Tomeu Morey
Letters: Clayton Cowles
Cover: Jorge Jimenez
Variant Covers: Tony Harris, Jeremy Clark, David Nakayama, Marco Mastrazzo, Walt Simonson, Laura Martin, Daniel Sampere, Alejandro Sanchez, Kelley Jones & Jose Villarrubia
Release Date: October 2, 2024
This comic book review may contain spoilers
Batman #153 opens in an older area of Gotham City. A family is following a map down into a dark, dingy alleyway. Jorge Jimenez opens this book with the first panel looking down upon them from above, and in many ways, it feels like an homage to the opening of Batman 1989.
A man who looks an awful lot like a mugger stops the family. Rather than robbing or attacking them, this man tells them that the alley dead-ends, as it’s fenced off on the other side. Batman, looking down from above, is taken aback. James Gordon, who is enjoying a hot cup of coffee nearby, notes how it’s nice that Gotham City is so calm right now.
Through some expository dialogue, we learn that WayneTech has been rebuilding and improving Old Gotham. People are happier, and crime is down. Even Gordon is happier with his private investigator business, now that Harvey Bullock rejoined the GCPD. As the two talk, Batman looks up to the NygmaTech sign, glowing in the distance.
We jump to a news report that fills in the blanks since Batman #150. Edward Nygma has been exonerated after it was revealed to the public that he was experimented on in Blackgate by Daniel Captio (The Warden). He used his own cryptocurrency to start a tech business that has support from Bruce Wayne and part of WayneTech. Though Major Nakano isn’t keen on trusting Nygma, for some reason, Bruce is.
This feeds into Mayor Nakano at his office, where a visitor by the name of Leonid drops by. Through more dialogue, we learn that Leonid might be part of the Court of Owls and that he’s pressured Nakano to install Vandal Savage as commissioner and wants the mayor to embrace Nygma as well. The two bicker, with Leonid threatening to reveal some damning personal information about the mayor.
At NygmaTech Tower, Batman pays Riddler a visit. It seems everything we’ve learned is just a facade. Batman is wary of Nygma and his massive security company that sprung out of nowhere, and he reveals as such. The two exchange words, and the sequence is extremely Noir-inspired and moody. Jorge Jimenez crafts some beautiful paneling between the two, with exceptional colors by the ever-amazing Tomeu Morey. It’s a glorious display of neon greens and shadows, of a looming, dark Batman against a relaxed, lounging Riddler.
Back at the Nakano household, Koyuki drops a bombshell on the mayor. She’s going to leave him, no longer content with dealing with his coldness and anger after long days at the mayoral office.
Batman #153 variant cover by Walt Simonson. Image: DC Comics
At WayneTech the next day, one of the other investors tells Bruce that they can’t keep investing all this money in nonprofits, that it’s hurting the bottom line. We learn through their conversation that Bruce has been pushing a housing initiative among others, and that he has a reputation as a “commie” that is doling out “handouts to migrants.” If any of this reeks of the current political situation with the election coming up, this feels ever-so-present and wrapped up in the zeitgeist.
When Bruce leaves, we learn that this investor, named Rowan, is secretly working for The Riddler and is trying to push a merger between the two companies.
Meanwhile, a truck with some criminals is barreling down the streets in broad daylight, and a man garbed in American flags intercepts. Batman also joins the fray, stopping the vehicle. It’s then that this hero, Commander Star, pulls out a gun and fires. Batman’s about to stop Star when Commissioner Vandal Savage shows up and essentially deputizes Star. When Mayor Nakano shows up, who apparently was also nearby, he bickers with Savage. Nakano says they can’t have yet another vigilante running around. Savage agrees, then orders the GCPD to arrest Batman for “his many crimes.”
It’s a bright, colorful scene, with such kinetic action by Jimenez. The intensity of the art overwhelms the senses, but when you think about this moment for a second, it’s pretty silly, isn’t it?
Afterward, Bruce gets patched up at Dr. Leslie Thompkins, and on his way home, we get an inner monologue about how he wants to help this city but that it feels like Gotham is refusing him. When Bruce offers help to a homeless man, he’s called a commie. Elsewhere, Riddler tells a riddle that seems to imply a gun, right at the time that Christopher Nakano opens a door to his home to take two gunshots to the chest. It’s also at this moment that Rowan reveals that Bruce may have a “brother” who threatens his holdings of WayneTech shares.
The paneling, artistry, coloring, and lettering in these final few pages is on point, culminating and combining all of this silliness and exposition into an incredible murder and “smoking gun” mystery of Bruce Wayne’s brother(!?). It’s pulse-pounding, exciting, and makes readers instantly forgive the heavy-handed dialogue and overtly obvious theme of America during the 2024 election. After some weak plotting and stories in the latter half of Chip Zdarsky’s Batman of Zur-En-Arrh epic, it feels like he’s back. Batman is fresh, exciting, and something to look forward to again, and one can only hope this storyline continues to arc upward.
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In this review of Batman: The Brave and the Bold #17 readers get stories with the psychotic Calendar Man, the Yakuza gang, John Constantine, Streaky the Supercat, Captain Marvel, Green Arrow, and more! Batman: The Brave and the Bold main cover by Simone Di Meo
Batman: The Brave and the Bold #17
Writer: Michael W. Conrad, Zipporah Smith, Alex Segura, Troy Peteri, G. Willow Wilson
Artists: Miguel Mendonça, Christopher Mitten, Mike Norton, Andy MacDonald, David Baldeón, Jason Shawn Alexander
Colors: Mike Spicer, John Kalisz, Patricio Delpeche, Veronica Gandini, Lee Loughridge
Cover Artist: Simone Di Meo
Variant Cover Artists: Miguel Mendonça, Mike Spicer, Christopher Mitten
Release Date: September 25, 2024
This comic book review contains spoilers
“What’s a Calendar?” Writer: Michael W. Conrad
Artist: Miguel Mendonça and Christopher Mitten
Colors: Mike Spicer
On leap year, one hour before midnight on February 28th, Julian Day AKA Calendar Man holds a group of hostages born on 2/29 at gunpoint in a Gotham City hotel. A rookie negotiator named Brooks desperately tries to de-escalate the crisis before Harvey Bullock can send in his team of snipers. Meanwhile, Batman infiltrates the lobby through an air shaft and discovers that one of the hostages is Masa Hari, son of Hinata Hari Kaikei of the Yakuza gang. The Yakuza arrive in unmarked trucks and engage in a shootout with police. Brooks gets tagged in his false leg, and an armored truck explodes feet away from him and Bullock.
Simultaneously, one of the Yakuza’s trucks busts into the hotel lobby and Batman takes on a group of armed mercenaries. Once the Yakuza threat is neutralized, Batman tasks Masa Hari with getting the hostages to safety and warns him that if anything were to happen, he knows where he lives. Finally, Bullock and Brooks clear the hostages and move into the hotel lobby to find Calendar Man hanging upside down, ready to be taken into police custody.
This is a nice standalone story to open the issue, probably most notable for its eclectic mix of influences both from a visual and narrative standpoint. We see the return of Calendar Man as a paranoiac domestic terrorist. His being set off by an extra day in February is so on-brand, it’s surprising that it’s not been done before. His plot draws an unfortunate real world parallel to the online astrologist who killed her family during a recent solar eclipse.
Writer Michael W. Conrad’s inclusion of the Japanese gang the Yakuza adds a force of chaos to the plot and an serves as an excuse to see Batman take down some nameless thugs. I can never see the Yakuza in a comic and not think of Frank Miller even if this particular instance is more of a coincidence than a direct nod. But the true heart of the story is in the buddy-cop relationship between Harvey Bullock and Brooks. Bullock is the same old “shoot first, ask questions later” cop that we’ve known for years, but we get to see his soft side come out when he jumps to help Brooks after he thinks he is shot. Even with his mere 16 hours of hostage rescue training, Bullock still lets Brooks attempt to de-escalate before bursting in and once the hostages are successfully rescued, Harvey wraps his hand around Brooks with a goofy grin and tip of the hat. How can you not love him?
Artists Miguel Mendonça and Christopher Mitten alternate pages and both offer a compelling visual style in their own right, even if jumping between them can feel jarring at times. Miguel Mendonça’s style is more vividly detailed and painterly, showing the complex emotions on Bullock and Brooks as they debate the next course of action. Meanwhile, Christopher Mitten offers sketchier and more action heavy pages with particles and grime layered on like crumbled charcoal.
Initially, the comic’s internal logic seems to be that Mendonça draws the exterior scenes such as the police standoff outside, and Mitten draws the interiors with Batman facing off with Calendar Man and the Yakuza. However, since they are literally alternating pages, this rule is broken several times including on page 8 when Mendonça gives us a vivid scene of Day pointing his gun at hostages and page 11 when Mitten gives us a chaotic depiction of the shootout outside. Personally, I prefer Mendonça’s characters so when Mitten depicts Julian Day, Harvey Bullock, and Brooks later on in the issue, it leaves something to be desired.
“Petsurrection Part 1” Writer: Zipporah Smith
Artist: Mike Norton
Colors: John Kalisz
John Constantine and Streaky the Supercat team up when a number of dead suburban pets return as mutated zombie monsters. Streaky has a talisman with a missing center stone that is somehow tied in with all of this. So, despite his feline allergy, Constantine decides to partner up with Streaky to get to the bottom of exactly what is going on.
I don’t have much to say about this story. Constantine and Streaky is not a team up I ever needed or wanted and even if I had, I can’t say there’s anything interesting done with it in this first part. Constantine feels like a caricature of himself as he speaks entirely in on-the-nose British-isms: “bloody hell… could you bug off…smells like absolute rubbish… ah bullocks… not the telly…” etc. That’s seriously most of his lines. As for Streaky, well he just meows. So after what is undoubtedly the longest nine pages of this book, I’m left asking myself: why?
Mike Norton serves as the artist and John Kalisz as the colorist here. The art is simple and clean with Norton presumably being chosen for his proficiency in drawing animals. Streaky completionists, this one’s for you!
“Duality Part 3” Writer: Alex Segura
Artist: Andy MacDonald
Colors: Patricio Delpeche
Letters: Lucas Gattoni
Renee Montoya’s secret is out: she spends her nights moonlighting as the vigilante known as The Question. Meanwhile a masked man calling himself Zero is attacking her closest friends and colleagues. After visiting her sponsor Allie in the hospital, she meets Vic Sage, the original Question, on a rooftop in Hub city. Not only has he supplied evidence to the media exonerating Montoya from being the Question, but he also gives her a lead as to who Zero might be. Shortly thereafter, Montoya busts into Kate Kane’s apartment with Zero trailing right behind her. Inside, she is able to remove his mask revealing Jordan Rich: the man who shot Jim Gordon back in Batman #587. He thinks Montoya ruined his life and he’s out for revenge.
This is a disappointing followup to last month’s entry. For one thing, the entire cliffhanger of Renee’s identity being revealed to the public is resolved off panel. We’re just told that Vic Sage worked it out, he sent in some kind of evidence that completely exonerates her in the eyes of the public. As for what that evidence is exactly, your guess is as good as mine. Alex Segura doesn’t bother to tell us.
Additionally, after originally being outed as The Question, Renee is able to visit her sponsor in the hospital before she is suddenly in an entirely different city on the same rooftop as Vic Sage so they can have a faceless conversation. I get that this is comic book logic, but really, this meeting could’ve been an email. Renee can’t fly, how long do you think it took her to get out there for a four minute conversation? Also someone is trying to kill her, maybe she should be laying low. Later when she bursts through Kate Kane’s window dressed as the Question instead of knocking on the door, Zero is already waiting in the frame. In other words, a lot is left unexplained and a lot of credulity is asked to be stretched.
Furthermore, on top of everything we’re asked to accept, Renee’s journey just feels stagnant here. She visits some familiar faces and learns information but overall takes a much more passive role than she has in previous chapters. I will give them props for the final twist, though. Somehow they were able to make Zero’s identity both someone I’m familiar with and yet still someone who’s completely surprising. That’s ironically very hard to do in comics, and all my worst casinerio guesses from last month ended up being wrong.
Andy MacDonald and Patricio Delpeche continue to provide an effective approximation of Michael Lark’s work on Gotham Central which this story serves as a spiritual continuation of. At the end of the day, despite all my problems including this chapter completely undoing last month’s last cliffhanger in careless 1960s Batman fashion, I’m still curious to see how it all wraps up. I just can’t get enough of these GCPD characters.
“Downtime at the Diner” Writer: Troy Peteri
Artist: David Baldeón
Colors: Veronica Gandini
An insecure Billy Batson takes Oliver Queen up on his offer to grab a friendly coffee at Grell’s Grill. Billy tells him about a friend of his who had to transfer schools after being bullied and asks why bad guys do what they do. Meanwhile, Clayface and a group of henchmen begin to wreak havoc in the diner. The pair change their identities to Captain Marvel and Green Arrow to take down the gang. Afterwards, Arrow answers Batson’s question about why bad guys do what they do with the old truism: “hurt people hurt people” and even upgrades his nickname from “kid” to “buddy.” Batson is satisfied.
This is a very low stakes story that explores some general platitudes in a straightforward way. It doesn’t try to go for a deep or nuanced exploration of good and evil, and Clayface’s precise motivation is muddy (forgive the pun). While Green Arrow is historically not above pontificating about human nature, his final monologue is pretty elementary and reads more like Troy Peteri using the character as a vessel to convey his own theories about behavior. On the other hand, Billy Batson is what? 10 years old? So maybe Oliver is better at knowing his audience than I’m giving him credit for. Batson’s overactive inner monologue gives a fun contrast to what he says (“coffee tastes like garden dirt”/”sounds great!”) and provides an accurate portrait of social anxiety (“crowded restaurant full of adults, one of them is kinda a friend from work, but not a friend-friend”).
David Baldeón and Veronica Gandini’s art match the story’s tone perfectly: simple and cartoony. But is it just me or does this and “Petsurrection Part 1” just feel oddly out of place in this issue. It’s hard to imagine someone picking up this book for “What’s a Calendar?” and “Duality Part 3” would be too interested in these stories which seem to be aimed at younger readers (and vice versa).
“Bats Again: A Microstory” Writer: G. Willow Wilson
Artist: Jason Shawn Alexander
Colors: Lee Loughridge
The anthology closes with less of a story than two pages of flash fiction. Kirk Langstrom pulls an all-nighter in his lab before a scheduled meeting with a divorce counselor. When trying to reach for caffeine he carelessly drinks an open vial of MatBat serum, transforming himself into the monster. He realizes he’s out of antidote so he must attend the meeting as MatBat.
So Kirk keeps an open vial of MatBat serum right beside his coffee at all times? That makes no sense but I think G. Willow Wilson is going more for metaphor here: “sometimes you can’t hide the monster inside.” Well at least it looks cool with Jason Shawn Alexander and Lee Loughridge providing art that’s way too good for this story. You’re not going to make me miss the black & white closers DC, although this brief non-story gets me close.
Final Thoughts
Batman: The Brave and the Bold #17 reinforces that uneven storytelling seems to be this book’s brand. The opening Calendar Man story and the twist in Duality are just worth the cover price but the other stories are some of the least interesting yet.
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In this review of Detective Comics #1089, Batman and the Orghams fight their final battle, and it all ends in a song.###### This Review Contains Spoilers
Detective Comics #1089 main cover by Evan Cagle
Detective Comics #1089
Gotham Nocturne: Act III – Finale, Part 2Writer: Ram V
Artist: Guillem March
Colors: Luis Guerrero
Main Cover: Evan Cagle
Variant Covers: Guillem March, Jose Luis Garcia-Lopez, Sebastian Fiumara
Release Date: September 25, 2024
Detective Comics #1089 begins outside the Reality Engine chamber, Batman fights an army of Orgham foot soldiers as the azmer demon-possesed Orgham Queen rushes towards him. He fights her to a standstill, and then Arzen Orgham, resurrected by Talia, arrives with the mystery box which fells the Orgham soldiers and wipes the azmer demon from his mother’s body. Arzen tosses a sword to his mother and they duel, as Nightwing and Cassandra Cain Batgirl save innocents from the blaze. Jim Gordon takes the music from The Maestro, fights his way past gang members into the broadcasting building with surprise help from Renee Montoya Question, and gives Oracle access to the studio to play the Maestro’s music all over the city, freeing them from the azmer demons. Oracle also plays the footage of the Orghams killing a cop, helping destroy the people’s trust in their new rulers. We see people all over the city shining homemade batsignals into the sky as the snow falls.
Catwoman opens the reality engine from the inside, having snuck in disguised as a guard. There’s no way to stop the Orgham plan to make all of Gotham afraid using Scarecrow except by killing him, so Batman forces Crane to look at him, projecting fear of Batman into a city which has forgotten him.
Interlude for the backup, placed in the middle:
Luftpause
Writer: Dan Watters
Artist: Christopher Mitten
Colors: Triona Farrell
Freeze feels Gotham remembering Batman, recognizing the parallel between his own quest to save Nora and Batman’s quest to save Gotham. Two-Face feels the change in reality, and since Gotham is Batman’s city again, he decides to head to Bludhaven after flipping his coin. Ten Eyed Man runs around the blinded Shavod, dropping eyeballs everywhere, fearing the panopticon of a renewed Batman-patrolled Gotham. Azrael, nearly subdued by Orghams, hears Batman’s voice, and his sword ignites again as he fights free. All around the city, Gotham sings.
Resume the main story:
On the rooftops, Batman and Catwoman listen to the song. Batman tells Catwoman his interpretation of his journey, then leaps off into a Gotham still in flames, happy that he is Gotham’s night.
Analysis
Two years from its starting point, Gotham Nocturne is over. I am curious to see how this run is remembered. Whether it becomes a cult classic like City of Crime, little known but passionately loved by a few who reread or discover it. Or if it will be like Hush, perennially reprinted as a showcase of talent DC wants as a “face title.” Or if it will be completely forgotten, like James Robinson and Peter Tomasi’s runs on Detective Comics. Only time will tell, of course. For anyone who’s been listening to the Comic Podcast or reading these reviews, it will come as no surprise that I think it will be forgotten, collapsing under its own weight and plot incoherence. A shame, as Ram V does create “impeccable vibes” (the most common defense I see when talking about the run with other readers), and the art has been consistently excellent (even though I maintain that it should not take three artists to finish the main story on DC’s number 2 Batman book in a single issue).
Overall, aside from the vibes, Ram V manages to pay off most of the threads he set in motion over the past two years with Detective Comics #1089. The Orghams are at least defeated (though in very comic book fashion, though I am curious to see if any writer actually wants to use them again), the villains Batman has allied with find various new paths, and Batman takes his place fighting for his city once again.
However, the collapsing in incoherence does overwhelm this surface level structural conclusion. The shallow use of the Maestro as the plot device who defeats the azmer demons (who are even in this final issue displaying new and bizarre and completely inexplicable powers), the complete non-resolution of the Joker’s Daughter plotline (started by Catwoman for completely incomprehensible reasons at the last moment), and the complete handwave of how Selina got into the tiny Reality Engine to provide the big reveal of opening the door from the inside – it’s just more indications of effect over cause which plague this run from beginning to end. The strange boy accompanying Jim Gordon and the Earworm villain from Si Spurrier’s backups at the start of the run are completely forgotten and unresolved (even though Earworm could have been a more interesting solution to the azmer demons than the empty shell of The Maestro).
Ram V also fills this finale with plot points and visuals ripped straight from so many other Batman runs. The citizens of Gotham filling the sky with their own Batsignals immediately brought Batman Eternal and Batman Endgame/Superheavy to mind. Jonathan Crane being the key to a city-destroying threat by fear is more than a bit repetitive just three years after Fear State. Unlike Chip Zdarsky’s Batman #152, which beautifully referenced Tom King’s Beach arc of City of Bane, giving full weight to the previous story, Ram V’s re-used elements are either unconscious parallels (which editorial should have pointed out) or so quickly referenced that they have none of the weight they should.
A much more effective reference is having Batman scaring Crane as a vision of terror from Batman Begins. That plot point is also nicely setup – using the engine to erase Batman’s memory from Gotham, and him using it again to make Gotham fear him. Adding to this structural strength is the well done use of the repeated phrase “Look at me” – Batman’s first line in the issue, and repeated in the backup as his command to Crane is sent all over the city.
Guillem March provides beautiful work as usual, excelling in the disgusting alien contortions of the azmer demon possessed Orgham Queen, to Batman’s strength and power as he battles for his city. It’s nice to see how Ram V and Dan Watters structured the backup placement so the whole story feels complete instead of having a weird afterthought of a backup following the main story ending.
Backup Analysis
Using a two page repeating structure, Dan Watters returns for (likely) his final backup for Detective Comics (for now) to give four characters their final note in this gothic opera. Mr. Freeze, Two-Face, Ten-Eyed Man, and Azrael (the latter two featuring heavily in Watters’ Arkham City and Sword of Azrael miniseries) all react to Batman’s command being broadcast to Gotham in different ways. It’s a beautifully written little “rest” in the symphony, and like most of the backups for this run, is a strong complement for the main story.
Dan Watters sets up a plotline in his upcoming Nightwing run with Two-Face heading towards Bludhaven. I will be following Watters over to Nightwing as a regular reviewer, and I’m looking forward to it!
Our main cover artist, Evan Cagle (soon to join Ram V on his New Gods series) shows the Dark Knight Rising into a hole of light in the clouds, creating a Batsignal effect, a red rose on the right side rooftop reminding us that this was an opera. Partial interior artist Guillem March provides a two-part connecting cover showing Batman on one cover and the Orghams on the other, a nice nod to March’s fine work, but a naked cash grab expecting readers to buy two copies of the more expensive cardstock covers to get the single image.
The Hispanic Heritage month cover featuring Renee Montoya as The Question by master artist Jose Luis Garcia-Lopez and prominent DC inker Joe Prado is a nice choice given Renee’s place in this run. Lastly, Sebastian Fiumara’s 1 in 25 incentive variant shows Batman stalking up a frozen hill towards a city trapped in ice, a spidery bat-shadow behind him – very striking, and matches the Mr. Freeze portion of this arc, so that’s clever.
Let me know what you think on twitter @ibmmiller, or join the conversation in our Discord!
Final Thoughts
In Detective Comics #1089, Ram V, with an able assist from Dan Watters, sends his Gotham Nocturne into the air with a big Finale. Only time will tell how we remember this run – whether the strong vibes of the writing and art can overcome the myriad incoherencies of structure and conception.
Editor’s Note: You can find this comic and help support TBU in the process by purchasing this issue digitally on Amazon or a physical copy of the title through Things From Another World.
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In Batman ‘89: Echoes #4, all heck breaks loose at Arkham Asylum, and Bruce finally dons the Batsuit for the first time this miniseries. Batman ‘89: Echoes #4 main cover by Joe Quinones. Image: DC Comics
Title: Batman ‘89: Echoes #4
Writer: Sam Hamm
Artist: Joe Quinones
Colors: Leonardo Ito
Letters: Carlos M. Mangual
Main Cover: Joe Quinones
Variant Covers: Sebastian Fiumara & Jahnoy Lindsay
Release Date: September 11, 2024
Please Note: This comic book review may contain spoilers
Batman ‘89: Echoes #4 opens at Arkham Asylum, with a sedated “Robert Lowery” (Bruce Wayne) telling Rahim to get a message to Drake Winston. It’s the location of a Nepentholene capsule on his utility belt. When used, this drug prevents the human brain from forming new memories, or so readers are told from Alfred Pennyworth in a brief interlude back at the Batcave.
Pennyworth, who has been kept in the dark throughout all of this, confers with Drake, who reveals that the drug is intended for Bruce. Readers already know that it’s probably to counteract the effects of Dr. Crane’s fear gas while he investigates the mysterious death of Dr. Hugo Strange. Before Drake heads out to fulfill Bruce’s wishes, he tells Alfred that the whole Batman “business model” is flawed, that Batman needs a support team and can’t do it all alone.
Meanwhile, at Dr. Harleen Quinzell’s private practice, the rising star Dr. Q is performing therapy with Selina Kyle (who is donning her Catwoman mask). Kyle lets it slip that she’s upset at Barbara Gordon, who received a bunch of files at the end of the previous Batman ‘89 miniseries from Kyle. Since then, it seems that Gordon has been dodging Kyle’s calls, and Selina isn’t having any of it.
When Dr. Q reveals that she’s giving up her private practice, Selina erupts, threatening Harleen and demanding to be treated three times a week, regardless of Dr. Q’s TV schedule.
Elsewhere, the feds learn that the “Robert Lowery” they captured isn’t the Firefly, that it’s someone undercover who likely burned up the body in the blast in Batman ‘89: Echoes #1, then posed as Lowery. At Arkham, Crane cleans up all his files and records, as he gets word that the feds are on the way.
Harley Quinn shows up, decked out in a classic Harley-inspired costume, to interview “Robert Lowery” as part of her “persona therapy” schtick. Crane uses this to send in Mark Desmond (also known as “Blockbuster” in DC Comics) to break up the party. Artist Joe Quinones has some fun here, casting Desmond as Arnold Schwarzenegger. Desmond’s trigger, apparently, is clowns, so he goes ballistic on Quinn, “Lowery,” and Maynard (this universe’s Riddler that Quinones fan-casted as Martin Short).
Bruce and Maynard work together to take Desmond down long enough to escape with Dr. Q. Drake, meanwhile, rigs up an explosion that sends everyone into a frenzy and places Arkham in lockdown. It stalls the GCPD and the feds, who both arrive at the scene only to succumb to an attack by a fully realized Scarecrow.
Scarecrow’s costume reveal is imposing, haunting, and gothic. It’s almost all black, with straw jutting down from the top of his stovetop hat. It’s a close ringer for Scarecrow’s outfit in The Long Halloween, albeit bulkier.
Batman ‘89: Echoes #4 variant cover by Jahnoy Lindsay. Image: DC Comics
On the roof of Arkham Asylum, Maynard meets Drake, who is suited up in a suit that looks like a cross between Nightwing’s red garb and something that is slightly Batman Beyond-inspired. It’s a cool suit, only second-best to Bruce’s transformation into his classic Burton-era Batsuit.
The issue ends at Arkham, with Harley Quinn, Scarecrow, Robin(?), and Batman finally altogether in their costumes, ready to do battle once more.
Though Joe Quinones’ art is absolutely fantastic and such a joy to view with each turn of the page, this book has been and remains such a tedious read. There are layers upon layers of backstories, misdirections, subplots, secret motives, and more. It feels like 5 or 6 spy novels interwoven into one 6-issue miniseries, and at best, it’s a mind-boggling and dizzying read, especially with Batman ‘89: Echoes’ inconsistent release schedule.
Simply put, it’s maddening, overstuffed to the gills with everything from too much story, too many characters, and too many cuts between events both past and present. Catwoman makes her return in this issue, and because we haven’t seen much of her since the first miniseries, her motivations and characterization seem out of left field, completely unhinged, and out-of-character for the Burton-verse.
How Many Villains Are In This Book, Anyway?
Let’s count them:
- Harley Quinn (Dr. Q)
- Scarecrow (Dr. Crane)
- Riddler (Maynard)
- Firefly (the deceased Robert Lowery)
- Blockbuster (Mark Desmond)
- Barbara Gordon? (She’s an antagonist to Bruce Wayne)
- Dr. Hugo Strange (deceased but alive in flashbacks)
Beyond the plot points and overstuffed exposition, we don’t get to see Bruce Wayne suit up as Batman until this issue. Again, for a book that sometimes takes three-to-four months between issue drops, that’s a long time for readers to wait for Batman to appear. Yes, there was a fake-out sequence in Batman ‘89: Echoes #1, but that doesn’t count. All in all, this book is beautiful but aggravating.
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In Batman / Superman: World’s Finest #31, the Justice League are under siege by the resurgence of Eclipso. Batman / Superman: World’s Finest #31 main cover by Dan Mora. Image: DC Comics
Title: Batman / Superman: World’s Finest #31 – Shadows Fall Part One
Writer: Mark Waid
Artist: Adrian Gutierrez
Colors: Tamra Bonvillain
Letters: Steve Wands
Main Cover: Dan Mora
Variant Covers: Ian Churchill, Edwin Galmon, Marco D’alfonso, Nicola Scott, Annette Kwok, Jose Luis Garcia-Lopez, Joe Prado & Alex Sinclair
Release Date: September 18, 2024
This comic book review contains spoilers.
Batman / Superman: World’s Finest #31 opens on the Justice League satellite, some years back. Green Arrow is questioning Superman about how he knocked out Eterno, the Immortal Giant in one punch while Red Tornado is monitoring the eclipse. Once it’s a total eclipse, the Justice League admires its beauty. Superman is about to ask Green Lantern about the stars, when it’s revealed that Hal Jordan, Oliver Queen, and Dinah Lance (Black Canary) have been transformed.
Twenty-four hours earlier, the Justice League is working on constructing Solar City ahead of the eclipse with the help of Dr. Bruce Gordon, who has been cured of his Eclipso curse. The goal is to provide a city that runs on clean energy, one that can be a proof of concept to the rest of the world. While the super-powered heroes help with construction, Batman and Robin are on patrol, revealing in exposition everything readers need to know about this city, as well as Dr. Gordon’s currently Eclipso-free diagnosis. A line of dialogue notes that Eclipso is imprisoned in a black diamond, which is being held on the Justice League satellite.
Meanwhile, in the control center, Dr. Bruce Gordon is losing his cool after finding out that they’re only 92% effective. He considers Solar City an abject failure, rummaging through equipment from Dr. Light in search of Prometheum cell. Though not a cell, he finds something that explodes. Once more, Gordon is infected with Eclipso.
While this issue is definitely exposition-heavy, once we turn to Dr. Gordon, the art really adds a rhythm. Prior to the explosion, Eclipso is unfurled in a couple of panels. Tamra Bonvillain plays with two sides of color here, juxtaposing the darkness and coldness of the moon in Eclipso’s reveal against the fire and violent light of the explosion.
It’s a cool moment, and the issue quickly jumps back to the opening of the issue. Batman arrives to the Justice League satellite only to find members fighting each other, with roughly half bearing the face of Eclipso. It’s an all-out brawl, one where Red Tornado stands at the center.
Batman / Superman: World’s Finest #31 main cover by Ian Churchill. Image: DC Comics
As the beleaguered Leaguers (HA!) battle each other, Red Tornado makes it to the teleporter. Down in Solar City, Dr. Gordon is putting together some kind device, and a light quickly emits from Earth. Red Tornado flies through the teleporter, just as the satellite is enveloped in some kind of powerful blast.
Tornado, barely functioning, makes it to the doorstep of the Justice Society of America in Civic City. The original Flash carries Tornado in for aid.
While the story brings a classic villain back to the forefront in a promising epic that brings in both the Justice League and the Justice Society, the art in this issue lacks the stylistic punch that Dan Mora previously brought to this series. There are plenty of action shots, but each one focuses solely on one hero surrounded by a ray of color. These panels are layered one after the other, almost like a series of action shots from an anime.
While it’s pretty on its own, in a book populated with so many heroes, both the other characters and the backgrounds are removed from these panels. It’s as if the action is but a series of wall posters, with the comic-ness stripped from the action sequence of Batman / Superman: World’s Finest #31. It’s sort of the point, but it also prevents those glorious, grand-scale battle sequences that comic book fans crave.
The paneling itself is also functional, sticking closely to convention with half-page panels allowed to breathe in larger space. Unfortunately these larger panels are fixated on explosions and little else—no characters, no backgrounds (other than space), nothing. It’s a pretty firework, but as readers, we’re left feeling nothing.
And that’s the problem with this book. The setup and characterization by Mark Waid is up to its usual snuff, but the art feels weirdly focused on the wrong parts of the action, and what should be a pulse-pounding page-turner feels more like a safari of stationary shots.
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In this review of Catwoman #68, as Catwoman’s forces battle the White Glove for the docks, Batman and Catwoman fight for her survival against Hush and Flamingo.Catwoman #68 main cover by David Nakayama
Catwoman #68
Writer: Tini Howard
Artist: Carmine Di Giandomenico
Colors: Veronica Gandini
Main Cover: David Nakayama
Variant Covers: Rachta Lin, Rose Besch, Nicola Scott, Marcio Takara, Tirso
Release Date: September 18, 2024
This review contains spoilers
Catwoman #68 begins as Catwoman’s allies battle the White Glove, Hush operates on the meteorite in Selina’s brain, and bullies her group to protect him from Batman. Meanwhile, he promises her face to Flamingo to eat. Eiko Hasigawa Catwoman agrees reluctantly, along with Dario Tomcat, as Batman watches the conflagration at the docks from above.
In her dreams, Selina sees Bast, the Egyptian cat goddess, who says she has come to love Catwoman, and offers Selina her life back if she can find her way through the desert.
Eiko Catwoman confronts Batman on the rooftops, and Batman vows to watch over (but not protect) Selina through Hush’s surgery.
In Selina’s dream, her cat Duchess leads her to Valmont, and they say goodbye to each other. She hears Batman’s voice, appearing as a bat-god of justice, as he radios through her tooth fillings. Batman tells her to wake up and strike as soon as Hush sews her skull back up while he takes care of Flamingo. Batman takes the unconscious Hush and holds off the police as Selina takes command of her forces in the fight. She forces the White Glove leader and survivors to retreat, then helps her supporter Hoops to the hospital. As she walks with Hoops, she repeats the goddess Bast’s words to the city of Gotham – she loves it, and cats don’t choose idly.
Analysis
I return for Catwoman #68, at the turn of the creative teams! After a blessed break from reviewing Tini Howard’s run, I’m coming back to review the book when Torunn Gronbekk’s tenure starts next month, and jumped in to cover this finale before that. For the most part Tini Howard seems to craft a finale where all of her heroes get some fun stuff to do (though Tomcat probably gets least to do, which given his awful costume design, is understandable, but it’s kind of a bummer given the rich setup he got in the first half of the run).
Though the way she writes Batman as being hypersensitive about stepping on Selina’s toes, as if she’s a toddler who will melt down if he helps her, is more than a bit annoying. It’s nice to see the passion Howard injects into Batman and Catwoman’s communications and scenes, even while Catwoman says goodbye to the most inexplicable love interest ever, Valmont.
Howard falls into some of the traps she set for herself in the first half of the run here, too. First, having Selina be constantly talked about as a huge powerful force, but then when she is actually on page, she fails as often as she succeeds. Her victory against the White Gloves is just forcing a retreat, she spends the first half of the book asleep going through a speed-run rehash of Ram V’s desert spirit quest for Batman in Detective Comics, and instead of ending the comic with an iconic character like Batman or Eiko Catwoman or even the new original character Dario, she walks off to the hospital with Hoops, who only showed up a year ago.
Not to mention, though Howard has laid off the “all men are evil or pathetic, all women help each other”, since the White Glove is led by a very evil woman, and Batman and Dario both appear as “approved” allies, Selina still chooses to say that “I’d do it for any woman” instead of “I’d do it for anyone who needed it.” All in all, the Tini Howard who started this run is still here in the end. I appreciate her classy post on her subtract saying farewell, not farming for trolls but just saying goodbye to fans and haters alike. But I have to say that I’m glad we’re turning the page.
Carmine Di Giandonmenico once again turns in fantastic work. His spikey lines and strong expressions really work in this epic finale issue. The work he does with the vision of Batman as a bat-god in Selina’s dream is very striking indeed. Veronica Gandini’s colors are rich, full of light and dark, and exciting – just as such an action, destruction, mysticism, and romance issue demands. It’s nice to see the run end on a high note artistically, for sure. Looking forward to what Gronbekk and artist Fabiana Mascolo give us next month!
David Nakayama finishes up his run as the main cover artist for this part of Tini Howard’s run with an image of Catwoman, in her squeaky-shiny purple suit, exiting through a window into a flaming Gotham, winking and holding a white cat, with a farewell postcard. Humorous and appealing, and appropriate for a final issue of a run. Rachta Lin’s variant shows Catwoman putting on a crown in an art gallery, aided by little burglar cats – again leaning into the humorous, in a style reminiscent of Peach Momoko or Rose Besch. Speaking of Besch, her variant for this issue shows an extremely cute pair of Catwoman, Harley Quinn, and a cat with a red bow, plus some post it note decorations.
As part of her Artist Spotlight Costume Variant series, Nicola Scott gives us a gorgeous array of Catwomans. Marcio Takara’s 1 in 25 incentive variant shows a smirking Catwoman leaping through the air following a black cat, their huge necklaces flowing into the orange sky behind them. Lastly, the 1 in 50 incentive variant by Tirso Cons shows a Selina lounging in shorts and tank top, reading with cats piled around her – a cute domestic portrait, an interesting contrast to the rest of the covers.
It will be quite interesting seeing how the new main cover artist, Sebastian Fiumara, coming off of a run of incentive variants for Detective Comics (and before that, some gorgeous variants for Robert Venditti’s truly excellent Hawkman series), handles the upcoming run by Torunn Gronbekk. In addition to Fiumara, DC will continue to provide 25 issue and 50 issue incentive cover schemes. We’ll be here next month to find out!
Let me know what you think on twitter @ibmmiller, or join the conversation in our Discord!
Final Thoughts
As Tini Howard wraps up her run with Catwoman #68, she manages to avoid some of the pitfalls that have plagued it since her first issue, but overall still turns in an incoherent, messy finale, albeit one with gorgeous art by Carmine Di Giandomenico.
Editor’s Note: You can find this comic and help support TBU in the process by purchasing this issue digitally on Amazon or a physical copy of the title through Things From Another World.
The post Comic Book Review: Catwoman #68 appeared first on The Batman Universe.
In Batman: Gotham by Gaslight – The Kryptonian Age #4, Writer Andy Diggle, Artist Leandro Fernandez, and Colorist Matt Hollingsworth show no sign of slowing down in the latest installment of their globe-spanning 18th century epic.Batman: Gotham by Gaslight – The Kryptonian Age #4 cover by Leandro Fernandez & Dave McCaig. Image: DC Comics
Title: Batman: Gotham by Gaslight – The Kryptonian Age #4 Writer: Andy Diggle
Artist: Leandro Fernandez
Colorist: Matt Hollingsworth
Letterer: Simon Bowland
Cover: Leandro Fernandez & Dave McCaig
Variant Cover Artists: Martin Simmonds & Chris Weston
Release Date: September 11, 2024
This comic book review contains spoilers.
The StoryIn Colorado, the sole survivor of a train crash stumbles out of the wreckage: arealist huckster Alan Scott. The woman he was seated with bleeds out, but not before entrusting him with the coveted emerald Ring of Jong Li. The League of Shadows assassins who derailed the train in Batman: Gotham by Gaslight – The Kryptonian Age #3, are after the ring as well, but when they attempt to retrieve it from Scott they are incinerated by the ring’s burst of green energy.
Back in Gotham Harbor, a vessel carrying a new shipment of contraband is ambushed by the Batman himself. After dispatching the crew, he leaves the captain with a final demand: “you smuggled assassins into my city. So if you ever want to take another breath, you’re going to tell me everything you know about the League of Shadows!”
Zipping all the way down to Antarctica, we catch up with professor Adam Strange who is coming to terms with the apocalyptic implications of what Diana of Themyscira told him last issue. The two of them board a ship for South America in the hopes that Bruce Wayne will be able to get them an audience with the US President, so they can share with him what they know.
Next, we get our first glimpse of Victorian Metropolis and a very analog Daily Planet. Turns out a corrupt business tycoon named Lex Luthor wants to buy the paper and hothead reporter Lois Lane isn’t happy about it. She’s convinced it’s part of a larger plot by Luthor, which involves buying up mines in rural areas such as Smallville, Kansas, and she wants out there to get to the bottom of it. It takes some convincing, but editor Perry White finally agrees and sends Lane along with freckle-faced photographer Jimmy Olsen to get to the bottom of it.
Finally, in what’s been named “Luthorville Minehead, Kansas,” Lex Luthor recruits a man named Victor Stone to assist him with select science experiments he’s conducting. When Stone asks for clarification on exactly what Luthor means, he guides him to a vaulted room inside the mine where a man is being electrocuted at high voltage.
Batman: Gotham by Gaslight – The Kryptonian Age #4 variant cover by Martin Simmonds. Image: DC Comics
AnalysisIf you’re worried about the creative team behind this book being able to maintain the high standard they’ve set for themselves, rest assured. All the things that are great about the first three issues are still great in Batman: Gotham by Gaslight – The Kryptonian Age #4. Namely, the propulsive globe-spanning narrative and the intriguing artistic representations of the 19th century DCU. Much like I praised the Holmesian tactility of Leandro Fernandez’s Batcave, I was thrilled to see the post-industrial Daily Planet full of papers and books and scrolls and cubbies.
Notably, Batman seems more and more like an afterthought as Diggle’s scope continues to zoom out to include more corners of the DC Universe. That doesn’t mean I don’t like the glimpses of him we get here. I like the way the officers aboard the contraband ship talk about Batman: “They say the bat can’t be killed! Say it’s a vengeful spirit, summoned up by the heathens for what we done to ‘em.” The rumors are appropriately cranked up for a time period when people were more prone to superstition.
Alan Scott’s deadly metamorphosis into Green Lantern is brutal and well handled even if it’s only afforded a handful of pages. The same is true of Lex Luthor and Victor Stone’s introduction, which leads me to my main problem. Andy Diggle’s ambitious scope causes the narrative to jump around so much, it prevents me from getting emotionally invested in any one character.
After four issues of setup, the book is at risk of developing a problem with narrative momentum. We’re now following 10 independent threads (not counting flashbacks) that have yet to meaningfully intersect:
- The Kent’s discovery of a Kyrptonian meteorite in Kansas.
- Selina Kyle and her home for destitute women.
- The League of Shadows and their pursuit of the Ring of Jong Li.
- Adam Strange and Wonder Woman leaving an Antarctic expedition to warn of an alien threat.
- Queen Victoria conferring with John Constantine in the crypts of Balmoral Castle, Scotland, to bring about glory to the British empire.
- Alan Scott coming into possession of the real Ring of Jong Li in Colorado.
- A Martian awakening on Mars.
- Lois Lane and Jimmy Olsen convincing Perry White that they should investigate Lex Luthor.
- Luthor’s mining operation and human experiments with Victor Stone.
- Oh and don’t forget this is a Batman book, so he’s in the mix as well.
What this means is we end up getting little more than a handful of pages before jumping across the world to follow an entirely different storyline. And Andy Diggle’s penchant for dramatic revelation is such that we often switch scenes just as something incredibly interesting is about to happen. Now obviously this is an old storytelling technique, and it can work great, but it’s at risk of being overused when nearly every scene in the past four issues has ended that way.
Since we’re right at the 1/3rd point of this arc, we should be nearing the end of first act setup and entering into the period of more substantial narrative collision. Let’s just hope Diggle has a plan for all these spinning plates.
Unfortunately this issue is not a showcase for the strongest of Leandro Fernandez’s art either, but it has its moments of visceral efficacy in scenes like Batman’s assault on the contraband cargo ship in Gotham Harbor. On the flip side, he has an unfortunate tendency to draw certain characters with prominent front teeth, which leaves Lois looking like Shelly Duvall and Jimmy looking like a cross between Moe Howard and a post-transformation Peter Pettigrew.
Matt Hollingsworth ends up being the real MVP of the issue, giving every page a welcoming and satisfying balance of colors. He has a real talent for creating a dynamic page from color perspective, careful not to let any one pallet overly dominate a layout. A good example of this is the first page establishing Gotham Harbor: Full of cool blue fog, but with a single burst of hot red in the water’s reflection of a buoy.
The post Review: Batman: Gotham by Gaslight – The Kryptonian Age #4 appeared first on The Batman Universe.
In this review of The Penguin #12, we get the conclusion of Tom King’s story of Oswald Cobblepot’s return to Gotham.The Penguin #12 main cover by Carmine Di Giandomenico
Title: The Penguin #12Writer: Tom King
Artist: Rafael De Latorre
Colors: Marelo Maiolo
Letterer: Clayton Cowles
Main Cover: Carmine Di GiandomenicoVariant Covers: Felipe Massafera
This review contains spoilers
The Penguin #12 begins immediately after the end of the last issue, where the Help has informed Batman of the hit on the Penguin. Batman is racing in the Batcave with Penguin by his side thinking about how he encountered hundreds of hitmen and got hit in the crossfire. Batman is thinking about how when he was younger, his body would go into shock when he would get hit but that slows down the reflexes so now he has trained his body to stay awake when he gets hit and now he feels everything. We then see that Penguin is wounded in the Batmobile with Batman and Batman thinks to himself how he is not dying for the Penguin.
Cut to immediately after Penguin killed Aiden. Penguin is cleaning himself up as Batman barges in. Black Spider has a gun set on Penguin and is prepared to kill him for all that he has done. Spider fires and Batman jumps in between and Batman and Penguin get blasted out the apartment. Batman is able to get them to the car but they are both badly injured. Hurt enough that Batman is swerving around in the car and drive off a cliff. So now we are back to where we first started this series with Batman and Penguin sinking into the water in the Batmobile with no hope to escape.
But like any good butler, the Help is there to pull Batman and Penguin out by lifting the Batmobile up via helicopter. While Help is nursing Batman back to health, Penguin goes to see his daughter Addison. She asks about her brother and Oswald lets her know he killed him. She asks if he is going to kill her and he says he never could and gives her a hug. Just then Black Spider puts a bullet in the back of her head. Black Spider pledges his allegiance to the Penguin of Gotham while Oswald celebrates in the back of a limo with Lisa.
Batman and Penguin talk. Batman is very upset at Penguin but Penguin says they have two options. Batman and Penguin do the old thing where they fight and again and again. Or the same deal as before where Penguin works for Batman and Batman lets Penguin operate freely.
The Penguin #12 ends with Penguin feeding the bird in the park and being proud that he has taken back his city.
Analysis: These last two issues are really strong and Tom King wrapped everything up nicely. The art remained consistent throughout the story which is always appreciated. As far as all time Penguin stories, this has to be high on the list. Not many times have we gotten such an extended look at one of Batman’s all time rouges. There were a few times throughout the run of the classic Tom King tropes that we have come to expect. Flashbacks, flashbacks within flashbacks, characters swearing up a storm but overall I really liked this story. Of Penguin starting with noting and manipulating and lying and killing his way back to the top. It puts Oswald back to where we have always known him. No kids, presumably back at the Iceberg Lounge and back on top of the underworld of Gotham. Well done.
The post TBU Comic Review: The Penguin #12 appeared first on The Batman Universe.
In this review of Batman and Robin #13, we get the finale of Joshua Williamson’s run on the title as a venomized Damian looks for revenge against Bane.Batman and Robin #13 main cover by Simone Di Meo
Batman and Robin #13
Written by: Joshua Williamson
Art by: Juan Ferrerya
Main Cover: Simone Di Meo
Variant Covers: Juan Ferrerya, Travis Mercer, Carmine Di Giandomenico, Christian Ward
Release Date: September 11, 2024
This review contains spoilers
Batman and Robin #13 begins on Dinosaur Island, as Robin is transformed by a new version of Venom that amplifies a person’s inner rage. Robin charges Bane, but Batman intercedes and tells Maya to get anti-Venom from the Batplane. At that moment, Vengeance appears with a Venom-loaded firearm and tells Batman he must fight his son. Batman refuses; just as Vengeance is about to fire, Bane snatches the weapon from her hands and snaps it in two. He tells a shocked Vengeance that he is ready to pay for his sins against Batman and Robin; in chains, he will accompany Batman to Gotham.
Just then Kobra cultists appear astride dinosaur mounts and Bane proposes to Batman a temporary alliance for the purpose of addressing the new threat. The panel snaps to a flashback in which Damian is discussing with an unseen adult mentor at school his relationship with his father. Back on the island, Batman and Bane are summarily disposing of Kobra, but Vengeance is furious about Bane’s intentions. Just then Maya arrives in the Batplane and shoots Robin with an anti-Venom-filled dart.
Flashback to the counseling session at school, and Damian is admitting that his relationship with his father has been both complicated and difficult.
Flash forward to Dinosaur Island, and Batman is cradling Robin as he transitions roughly from the enVenomned state. Batman tells Robin he will always be there, but, he removes his cowl and says that he will be present as Damian’s father. Damian regains full control and smiles weakly at Bruce just as a dinosaur launches itself at the pair, sickle claws primed for full violence. Bane appears out of nowhere to smash the dinosaur. He tells Batman to pick Robin up and they walk off into the afternoon sun, headed to Gotham.
Flashback again to the counseling session, and Damian struggles to talk about himself rather than his father. He finally relates his experiences over the last few years and reveals that he finally need not hide and that he now gets along with his father. The counselor suggests that it is alright for Damian to be unsure of who he is and recommends Damian use his drawing talent to express himself.
Back home, Bruce and Damian discuss the counseling session and the fact that Bane willingly entered solitary confinement at Blackgate, seeking time and space for contemplation. The Dynamic Duo contemplates their plans, which include a possible movie. But then an alarm trills, signaling that the Terrible Trio are on the move. They rush off in their respective vehicles. Damian’s lush, hopeful sketch of the Bat-Family remains on the bed where he left it, captioned “ I AM … LOVED.”
Analysis:
Batman and Robin #13 ends writer Joshua Williamson’s run on the title. And what a run it has been! In the final issue of his work on the book, Williamson continues to draw on the choices that have made the run so strong. He tells a relatively simple story, sets the characters in motion, and offers an authentic Batman and Robin. The addition of Bane is welcome, as he is nothing if not one of the most intelligent, complex, and multidimensional Rogues in The Batman Universe. Given that, his decision to ‘go quietly’ and reflect in Blackgate is believable, especially because, as everyone knows, including our heroes, Bane can depart any time he wishes.
The warmth and love on display in Batman and Robin #13 has been a breath of fresh air given the bleakness of Gotham and The Batman Universe in general and the character of Batman himself. It has always been true that Robin functions in part to save Batman from the darkness within, and here where Robin is his progeny, his soteriological role blazes even more strongly.
The emotional resonance of Batman and Robin #13 and their relationship is almost heavy-handed here in the finale, but that can be forgiven given how deftly Williamson has handled the theme overall. In particular, artist Juan Ferreyra’s rendition of Bruce on p.13, sans cowl, is affecting. The soaring spread on pp. 16-17 is fantastic, with Damian’s own sketches superimposed on the physical features of the Gotham cityscape. Some of the artwork in this run, especially from cover and occasional main artist Simone Di Meo, have been breathtaking in their dynamism, and this spread evokes the same.
Final Thoughts:
I am sad to see Williamson’s run end; it has been a stellar book.
Editor’s Note: You can find this comic and help support TBU in the process by purchasing this issue digitally on Amazon or a physical copy of the title through Things From Another World.
The post TBU Comic Review: Batman and Robin #13 appeared first on The Batman Universe.
Summer is over and Batman: Wayne Family Adventures on Webtoons is going strong…but Steph and Ian have been busy soaking up the rays outside and forgot to review! Now they’re diving in head first to review as many episodes as they can!
Steph: Wow, Ian! Man, did I lose track of time or what? We’ve got some many Wayne Family Adventures to catch up on!
Ian: A fun “problem” to have! Especially in this more serialized storyline!
Steph: Oh I know, last we left off the Joker had tried to take the Signal out, but failed and now Bruce is worried about the family and Jason isn’t taking things so well.
Which kicks of the first episode we’re looking at, #120 – “Break Myself To Pieces”.
Ian: I REALLY liked the tiny detail of Cass holding Duke when he’s found. It is a great callback to her specifically telling Duke to be careful, showing her care for him – and fear that something big was coming.
And Joker’s threat spray-painted on the walls really makes me think – normally I’m all for the Batfamily butting in and helping Bruce. But Joker knows they will butt in…and he wants to hurt them to hurt Batman. I think it makes it a harder choice than sometimes when it feels like Batman just wants to be the Guy Who Does It All.
Steph: For sure. I did like Alfred ribbing Batman about losing his belt along with his ability to communicate with his kids, but yes, Bruce knows that Joker will make good on his word and that his kids are in real danger.
A large portion of this episode is about the Jason coming to realize he’s on a bad trajectory, with Dick’s help. What did you think of Dick’s approach? Reaching out to help find Joker, but then using grounding techniques when Jason starts to have a paralyzing panic attack?
Ian: I thought it was a nice way to showcase some of those kinds of techniques – reminds me of the Netflix show Jessica Jones. It’s nice seeing Jason and Dick having a solid connection.
What did you think of the way Damian and Cass responded to Bruce ordering them once again to stay home? I thought the difference in reaction highlights the way CRC Payne really has a strong and solid characterization for each of the Batfamily – they’re not just interchangeable soldiers, but family members with unique relationships with every other member.
Steph: For sure. Damian wants to fight for his place by Bruce’s side, but Cass, more trained in reading emotions, knows to back off for now. I do love that, in spite of this being a Jason and Dick episode, we get to see inside a lot of the family.
Ian: Yep. And we get to see flashbacks with Jason’s old Robin costume designed specially for WFA, which is a really nice thing that sets it apart from other comic versions.
Steph: I also feel I can’t fault Bruce too much because Joker and proven in the past how far he is willing to go to take the Bat-kids off the table.
Ian: That’s the tricky thing! Because we know just how vicious Joker has been to Jason, and Babs, and Duke. We don’t want to see Steph, or Cass, or Damian, or Dick have to go through that!
And we know Bruce is desperately afraid of that too. So it’s HARD to fault him, even though at some point they do need to work together!
Steph: Yeah. And that brings us to episode #121 – “In Shatters All Around Me”…which starts with…
the name of the hero escapes me…
Ian: Bluebird?
Harper Row?
Steph: Spoiler! I guess it doesn’t start with Tim and Steph, it starts with Batman finding out that the Arkham guards are being watched by Joker.
Ian: Oh yeah.
She sounds vaguely familiar
hahaha
But really, I love the way Tim and Steph’s detective duo works. They have a shorthand and really dig into the investigation well together. Bruce working with Alfred is always good to see, as it both gives him community and helps to avoid too much internal monologue
Steph: I had a question for you specifically, as a Spoiler Super-Fan.
Ian: Ask away!
Steph: I don’t know why, but I noticed Steph was twirling her hair while Tim was clickity-clacking on the keyboard. Is that a canon thing? Does she play with her hair?
Ian: She will sometimes. It’s not one of her “key mannerisms”, but she does like to do it sometimes.
I do really love the way that Steph and Tim’s reactions differed strongly from Cass and Damian’s. Where Cass knew not to prolong a conflict, and Damian reacted with longing, Tim goes for logic, and Steph hits home with devastating emotional insight and a powerful urge to push back when she sees Batman pushing in the wrong direction. Or when she thinks it’ll be funny (like her drinking from a Green Arrow cup!), but in this case, it’s very much driven by her desire to see Bruce make better choices.
Steph: Yes, in my notes I had written “Spoiler dropping the truth bombs on Batman”.
I feel like Batman’s excuse that the family is distracting and delaying him is of his own making. He could let them help, but he is choosing to see their help as a distraction.
Ian: I really think CRC Payne knows and loves these characters very passionately and intelligently – they each have their personalities very strongly!
I think Bruce is definitely making the wrong choice here, but that’s why I think it’s so crucial to see him acting in fear, rather than out of arrogance. The spray-painted threat and the flashbacks to previous attacks really highlight that it’s not a game – these kids really are in danger.
Steph: Fully agree, but also, don’t be a jerk.
As Steph says.
Both of us.
Ian: Two Stephs, both wise
Steph: The episode ends with Dick and Babs talking to Jason and his decision to step back and be away for a while. This whole arc did have me thinking, do you think that Bab’s level of trauma reaction is appropriate (virtually nothing in these episodes), or do you think that she is being downplayed too much?
I know she is literally in a wheel chair due to Joker, and Jason isn’t, but he also had experience prolonged torture and murder face to face with Joker, while Babs, though facing long term suffering and recovery, only had to face Joker for a split second.
Ian: I do think it’s interesting that WFA Babs is either much farther along the road to recovery/stability, or that’s just not the story they’re interested in telling here.
Steph: The healthy recovery is a good point.
Ian: I think that Babs in this series is supposed to have the years and years of Dixon and Simone’s Birds of Prey, facing Joker herself multiple times (particularly in the great issue #16 by Dixon), whereas Jason has spent a lot more time running from the problems, and so he’s still working through a lot of the stuff that Babs has travelled to.
Steph: All very good points.
Which brings us to episode #122 – “Always Leaving, Never Staying”. I really was interested in Dick’s interactions with Bruce in this one. Dick very much approaches Batman as a peer rather than a “Robin”. And Bruce appears to see him as one.
Ian: I also really appreciate the way in these three episodes particularly Dick steps up and takes a leadership role.
He’s not just acting or reacting, he’s planning and using his mind and heart to help the whole family.
Steph: How do you think CRC’s Batman would describe Nightwing’s relationship with Batman?
Ian: I think this is clearly a Nightwing who has gone through hell and back with Batman, and then gone there and back on his own, so he knows he can stand on his own two feet, and has the tools of Batman without being driven as much by fear.
Steph: I do love that it’s Dick that gets Bruce to admit to at least needing to at least talk to the family.
Now, to shipping. In Webtoon’s “Red Hood and the Outlaws” Jason and Artemis end up together, and the series’ did overlap at one point, making the relationship canon in the Wayne Family Adventures series. Do you think they’re together in this story?
Ian: I think that’s really tricky, because in that series, Dick and Babs are also very much together – and while there’s clearly sparks between them, nothing nearly as overt as the relationship between Bruce and Selina.
So I think they’re probably at a more intermediate stage in this storyline.
Steph: Hmm, make sense. What do you think of Artemis’s decision to call in more friends? I know Jason wants to withdraw, and sometimes that can be helpful, but this is going against his wishes to bring reinforcement in.
Ian: I think it’s a good thing. Jason has a perhaps surprising amount of nicely defined relationships, and getting a band together seems like a very solid way to deal with the threats that Joker poses!
Steph: I agree, though I would be mad for a bit.
Did you have any more thoughts about this set of episodes?
Ian: I think this set of episodes is a bit less structured per episode than I hope. I’ll admit that my own hope for a stronger serialized element for WFA tended more towards the soap opera relationship aspect, rather than necessarily wanting to see more of a big case or villain battle – but I think that the comic is growing in its ability to handle the ongoing stresses, setups, and payoffs, and the strong character voice individuality really helps it stand on its own. Even though I’m not 100% convinced that the world of WFA is ready for a No Man’s Land or City of Bane, it’s handling things pretty well by focusing on the family relationships, as the name of the series always suggests the focus is.
Steph: I do love that the story is moving on, but we are still getting little family focus’s and even a mini-family member arc within the episodes. This definitely shows a growth is story telling for me. We’re getting more serial story telling without losing the family aspect, which literally in the name of the series.
I can’t wait to cover more of this story with you Ian! See you next time?
Ian: See you indeed!
The post Batman: Wayne Family Adventures #120-122 Webtoon Review appeared first on The Batman Universe.
For months I’ve been bemoaning the direction this book has gone in and pushing them to give it a new spin. The double-length Poison Ivy #25 finally takes a new direction, but is it for the best? Poison Ivy #25 main cover by Jessica Fong. Image: DC Comics
Writer: G. Willow Wilson, Joanne Starer, Grace Ellis, Gretchen Felker-Martin, Dan Watters
Artist: Marcio Takara, Haining, Brian Level, Atagun Ilhan, Dani
Colors: Ivan Plascencia, Arif Prianto, Déborah Villahoz, Brad Simpson
Letters: Hassan Otsamne-Elhaou
Cover: Jessica Fong
Variant Cover Artists: Marcio Takara, Noobovich & Brian Bolland
Release Date: September 4, 2024
This comic book review contains spoilers
“Rewilding Part 1 & Part 2” Writer: G. Willow Wilson
Artist: Marcio Takara
Colors: Arif Prianto
In a shift from normal proceedings, Poison Ivy #25 has turned into an anthology this month with the book’s original A-team of G. Willow Wilson and Marcio Takara providing a two-part story to bookend the issue. In the aftermath of Ivy’s battle with Jason Woodrue and the mushroom zombies, Ivy doles out assignments to her crew to help return things to homeostasis. Killer Croc is in charge of checking out the town that has cropped up in the middle of Slaughter Swamp, Janet from HR is scoping out the state of Gotham City, and Harley and Ivy are going to clear out the bodies. Ready? And… Break!
Jumping ahead to the second part of this story at the end of the issue, the four regroup, exhausted from their respective tasks. Ivy promises that she’ll make it up to them as they walk into the sunset like the ending of The Last Crusade.
Marcio Takara’s return to this book is like a breath of fresh air. His work on Ivy is still unmatched. He takes the iconoclastic Pamela and Quinn and gives them a relatable panache. While they may be supervillains, they also look like a couple you might just run into at your neighborhood coffee shop. Pam’s jacket is tied casually around her waist, and Croc’s wearing a bathrobe. We’re relaxed here, the hard part’s over. There’s not much in the way of a narrative within the framing device, but I still enjoyed it. I enjoyed that Pamela finally calls her friend “Janet” instead of “Janet from HR.” There’s an entire page of a crane landing on a branch at sunset. I enjoyed that a lot.
Poison Ivy #25 variant cover by Marcio Takara. Image: DC Comics
“Beneath the Surface” Writer: Joanne Starer
Artist: Haining
Colors: Ivan Plascencia
The next story in the anthology takes us years ago to an earlier encounter between Batman and Ivy. Batman enters a greenhouse from the roof and is immediately assaulted by the hallucinogenic pheromones of “jimsonweed” and the poison of “aconite wolfsbane.” He must fight the psychic attacks forcing him to relive the murder of his parents while also inoculating himself from the deadly poison. When he finally comes to, he finds himself alone in the greenhouse, with only the smell of roses and wet earth to greet him.
This is a fairly inessential story and the concept of Batman being psychically attacked by his past trauma is entirely worn out. Since Poison Ivy successfully escapes, it ends with an anti-climax and doesn’t end up being much of anything outside of a showcase for Haining’s art. Haining is certainly a talent, as this series has established, and this brief story gives her a chance to experiment with some more psychedelic and chaotic page layouts. She is also able to exhibit her horror chops with a horrifically deformed version of Ivy, created inside Batman’s jimsonweed-induced subconscious.
Poison Ivy #25 variant cover by Noobovich. Image: DC Comics
“Mushroom Hunters” Writer: Grace Ellis
Artist: Brian Level
Colors: Arif Prianto
Somewhere in Wyoming, a couple of rocking chair yokels experiment with some mysterious psychedelic mushrooms one of them found growing out of a cow. Their trip is so intense that they become determined to find more, which prompts them to drive across America in search of the psychedelic lamia shrooms. This journey leads them to a van in Montana where they encounter Poison Ivy herself who has no sympathy for their psychonautic plight. “Unhinged junkie trash” she calls them before infecting them with a lethal dose of lamia. They both die, holding each other on the ground as the mushrooms subsume their bodies. “I see it. I see everything. I know everything,” one of them says before losing consciousness.
This is my favorite story in the collection. It’s so dark and haunting, like Romeo and Juliet for stoner bros. I love that Flint, the initial skeptic of the two, is the one that develops an insatiable addiction to the substance. His cousin Cody looks at the shrooms as just means to get some kicks while Flint wants to unlock the secrets of the universe. It’s the urge for knowledge that eventually leads him down the journey to find as many of these mushrooms as he can. Even at the end when Cody is prepared to walk away, Flint can’t fight his desire for more. More knowledge and more mushrooms. “I need this,” he says. It ends up costing him and his cousin their lives. I was not familiar with Grace Ellis prior to this story but color me a fan. In just a handful of pages she creates a beautiful allegory for addiction and a creepy little fable set inside the DCU. Brian Level’s art is also effective in depicting these two hapless mind travelers with patchy outfits and 3PM stubble. Arif Prianto’s coloring helps to give continuity, and the final image of the two glossy eyed men holding each other beneath layers of assimilative lamia shrooms is not one that I’ll be able to shake off any time soon.
Poison Ivy #25 variant cover by Brian Bolland. Image: DC Comics
“Boots and Handbags” Writer: Gretchen Felker-Martin
Artist: Atagun Ilhan
Colors: Déborah Villahoz
Back at Slaughter Swamp, Killer Croc is attacked by a group of alligator hunters who bite off more than they can chew. Croc makes easy work of them before spotting a town that has seemingly just cropped up on the opposite shore.
There’s not much to work with here outside of a simple action scene, and writer Gretchen Felker-Martin keeps it short and sweet. I’m not sure why Croc is so shocked by the sight of that town when Ivy literally told him about it at the start of the issue, but who knows, maybe he wasn’t listening. Artist Atagun Ilhan and colorist Déborah Villahoz do good work. Croc looks like a hulking, scaly beast, and the sky subtly gets darker as the sun sinks a bit each page. Not much else of note here. It seems more like a setup for later issues.
“The Pyrophyte” Writer: Dan Watters
Artist: Dani
Colors: Brad Simpson
The Gotham City Police track a former MI5 Counter-Terrorism agent named Robson who has gone rogue after interpreting messages he believes to be from Ivy herself. Devi, his former partner and potentially former lover in the GCPD, believes he is planning an attack on the city and is determined to stop him. Using her insider information, they are able to disable two of the three bombs Robson has planted throughout the city, but when Devi has a chance to take out Robson before the final bomb goes off, she hesitates. That gives Robson just enough time to denote it. It explodes, killing Robson, but not before he sees a vision of Ivy and professes his love with his dying breath.
Dan Watters is able to pack a lot of drama into eight short pages. Giving Devi a personal connection to the terrorist is a great choice, and the moment where she gets Robson in her scope but doesn’t shoot presents a terrifically dramatic panel. I love the ambiguity of whether Robson is actually communicating with Poison Ivy or just thinks that he is. It’s also an interesting bit of dramatic irony that his plot involves destroying a tree in order to release its seeds.
The art by Dani and colors by Brad Simpson have a great urban feel, which provides a stark contrast to the other stories in this collection. It’s got the grimy feel of Darick Robertson’s work on Transmetropolitan. I love the black squiggles on the wet Gotham streets and the cigarette butts beside weeds growing out of the cracks in the sidewalk. I love that everything inside the squad car is red and black, and finally I love that the final explosion looks like a golden plant sprouting out of its concrete jungle. “See it bloom.”
Editor’s Note: You can find this comic and help support TBU in the process by purchasing this issue digitally on Amazon or a physical copy of the title through Things From Another World.
The post Poison Ivy #25 Comic Book Review appeared first on The Batman Universe.
In this review of the Trinity Special: World’s Finest #1, we look at the collected edition of backup stories from Tom King’s Wonder Woman run.Trinity Special: World’s Finest #1
Written by TOM KING
Art by BELÉN ORTEGA
Cover by DANIEL SAMPERE
Variant covers by BELÉN ORTEGA, SWEENEY BOO, CHRISSIE ZULLO, SAOWEE
Page Count: 56 pages
Release Date: 9/4/2024
This review contains spoilers
Story 1 Summary: (Lizzie 4y, Damian 18y, Jon 23yo):
The boys are babysitting again and airing out some grievances towards each other about who’s had the worse life, when little Lizzie comes out of bed in her Wonder Woman pajamas, unable to sleep.
Damian, as skilled as he is in other aspect of life, demonstrates his lackluster story telling skills recounting a embellished Final Crisis fight between him against Darkseid, accidentally slipping in some more foul language.
Lizzie is unable to sleep now, thinking Darkseid is hiding in her closet with math (fearing the Anti-Life Equation). The two boys argue about the best way to wear her out so she has to go to sleep, with her insisting, while playing with her tappy pad, the only place she wants to go is the moon. Which they do.
Tucking her in after their romp on the moon’s surface, Damian guarantees her there is no Darkseid or math in her closet. Lizzie says she loves Damian, an emotion which he returns flustered. She then realizes she’s not sure what math looks like, at which Damian loses his final marble.
The boys pass out on the sofa, only to be joined moments later by Lizzie, her stuffed Jumpa, and her tappy pad.
Review:
I love this era of the trio. Tiny Lizzie and her baby sitting brothers makes me so happy. We once again get the running gag of Damian coming up with another thing “S” stands for (Schnook). The boys’ arguing can go a little long sometimes, but King finds way of having it not always be inane arguing for the sake of arguing. In typical meta King fashion, the TV Sports announcer’s commentary is paralleling the events in the story, which is a clever little story telling element. There is obviously some things going on that these two will need to talk out later, and showcases that Jon has really grown up in his ability to defend himself against Damian and fire back, something that was only in the very early stages when Jon was younger.
Lizzie is the perfect chaos agent in that she’s just a normal little girl. You can imagine almost any kid being like her – can’t sleep, only happy with one thing, asking all kids of questions, and having an irrational fear of a concept in her closet. The art is really cute and, other than a weird face Jon makes on the moon, is well done. One thing I like about Tom King’s writing is that he allows the art to speak for itself sometimes, and there are 7 panels at the end of the issue where Jon and the couch don’t move at all, allowing space for Damian to enter the panel, pass out, and for Lizzie to crawl on the couch and yawn, setting up a final gag with one word.
Story 2 Summary,
The next day Lizzie is trying to learn kite flying. The boys are arguing and Lizzie is struggling on her own in her Wonder Robin tutu and cape. She finally gets frustrated enough the boys finally pay attention to her. This doesn’t last long though, as Damian isn’t done ribbing Jon.
After some time Lizzie has a modicum of success, but the Wonder Woman kite, or Mommy Kite, slips out her fingers. The young hero is distraught, and while Jon flies off to fetch the kite, Damian tries to comfort the girl by instilling some nihilistic principles, suggesting that all things, include flying a kite, are meaningless. Both boys try to show Lizzie some tricks to flying the kite, both failing miserably until the kite’s string is tangled in knots. Damian wants to get help from an unnamed “bad guy” and Jon is determined that they don’t need the help of a criminal and that all Lizzie needs is more time and practice. However, after the young Prince has a tantrum of epic proportions, he relents and after more discussion, the three of them suit up and break a criminal out of Arkham Asylum. In the finale, we learn that Tom King’s beloved Kite Man is the villain they broke out, and he is successfully mentoring his new kite protégé. Damian suggests that the “S” stands for Impossible, and no one will think that’s dumb.
Review:
Once again the boys are arguing the whole way through, but Lizzie has them wrapped around her finger. I love that both of them are brought to their knees, needing to admit defeat in the face of a foe they can’t defeat – a little girl’s desire to fly a kite. These paragons of virtue, when alone, can be more open and vulnerable than they can in other company. Jon becomes a bickering child, Damian faces defeat, and both are willing to commit a crime to make little Wonder Robin happy. Though this of course would be enabling and not a good trait to have in real life, for the story it shows a love and dedication these two young men have for the youngest of the trio.
If I had to something negative about these first two stories, it would be that the bickering does seem to go on for a bit. But, the previous issue cycled through the ages, whereas this time we had two stories back to back with the characters at their youngest, so there would be more bickering by default, so I won’t hold that against the story too much.
I love the appearance of “Mr. Kite Man” who, as King fans know, is a common cameo. The art once again is so lovely, and I can’t help but laugh at the last panel at the absolute delight at Lizzie’s face, and the trepidation and side-glance at Robin and Superman on Kite Man’s face.
Story 3 Summary: (Lizzie 13yo, Damian 27yo, Jon 32yo)
Jon returns to the Fortress of Solitude where he’s left Damian watching over Lizzie. However, Robin is playing a handheld game and Lizzie is missing, along with the Time Sphere. Damian admits that Lizzie was doing a history report and pestering him with questions, so he sent her off to do some in person interviews.
In ancient Japan, Wonder Girl meets a what she believes to be an samurai warrior and introduces herself, tells him all about mom, and asks if she can ask him some compare and contrast questions for her history report.
In the present, Jon is freaking and out Damian is nonplussed. He told the girl to not to talk about herself and just the the information and leave. As Jon cries out in frustration we see the boys’ normal outfits change to Wonder Woman themed ones.
In ancient Japan, Lizzie is sparring with the samurai while telling him all about her flying uncle Clark, her bat-costumed uncle Bruce, her uncle who talks to fish, and the one who shrinks…but she really shouldn’t be telling him that much and needs to get back to her interview of him.
In the present, Superman and Robin are now sporting some Golden-age style costume, then they suddenly become cowboys in the desert, monkeys in the jungle, and robots in a space ship – all while Jon is losing it about the changes to the time stream her visit would cause, and Damian, oblivious to the changes of the time stream, insists that that’s nonsense.
In ancient Japan, Lizzie, looking very much like Rurouni Kenshin, insists that after helping the Samurai liberate just one village from an oppressive overseer she has to get the info on the Muromachi period for her report and then must go right home.
In the present, Jon is still worrying while Damian refuses to take responsibility. All the while they become Kingdome Come Superman and Red Robin, Lex Luthor and Joker, Lady-Superman and Robin, Old Superman and Robin, and Starro-Faced Superman and Robin.
Lizzie finally returns and Super-Duck and Duck-Robin rush to meet her, Jon demanding to know if anything major has changed. Wonder-Girl announces that a lot has changes – as she’s a Samurai now! Jon, back to normal, hope’s she gets an A on her paper, and Damian is thrilled as he has just achieved a new high score on his game.
Review:
This story is a little more simple, and certainly the main gag here is the different iterations of Jon and Damian we get to see. It’s fun seeing the time line change going unnoticed by the two, as every few seconds Lizzie changes the world the entire universe changes. It’s a fun and stake-less exploration of time-travel story telling, while Lizzie gets to have un-supervised fun in ancient Japan. The art is top-notch again, and I enjoyed the different settings of the story, one being the ice-world of the Fortress and Muromachi era Nippon.
Story 4 Summary:
Later on, Damian and Jon are utterly unexcited about attending a Black Canary concert, whereas Lizzie is sporting her own Black Canary cosplay and is so excited she can barely contain herself. Damian, though giving her a hard time, in spite of promising not to judged her, later reveals that he go them front row seats through some personal connections. Jon admits through a smirk that, after Dick Jason, Time, and Steph, Damian is is favorite Robin.
Damian is still going on about how sub-bar Canary’s music is when she comes out on stage and the boy is struck dumb with awe at her performance. His wonder must make him stand out because Dinah asks him to come dance with her. After the concert, Damian is a changed man, jumping on the Black Canary Crazy Train with Lizzie.
A month later, while fighting Mongul, Lizzie and Damian, now full blown Canaries, are analyzing Dinah’s social media posts and trying to figure out what secrets she’s sharing in code about her upcoming album. Mongul, catching on to what they’re talking about, reveals himself as a fellow Canary and starts chatting with them about their theories. Jon sits back slack-jawed.
Review:
Though there was a lot of bickering in the first two stories, there is definitely more maturing by this age. The boys aren’t tearing each other down as much, but are still able to be their unpleasant selves (at least one of them is). However, Damian is also not afraid to show his change of heart, also able to join with Lizzie in her fanaticism for Black Canary. I really love the evolution of their relationship and of all the characters. The gag at the end of the villain also being a fan and abandoning his villainous plans in order to chat Canary was hilarious. Tom King doesn’t seem to be running out of material, and I really like seeing Jon and Damian continue to flip the script and evolve into new people around Lizzie. Our relationships shape us, whether we want to or not, and having people that challenge us and stretch us is important. That may be a little deeper than what King is going for, but I’m here for it and I continue to love this series.
Story 5 Summary: (Lizzie late teens, Damian early 30s, Jon mid 30s)
Years later, in San Francisco, Zatanna reveals that magic can take time to wear off – an hour, a week, a month, a year…never? Elizabeth prince is infuriated as she know has two new pets, Super-Corgi and Bat-Corgi, on her hands and only time and “belief” can bring her brothers back to normal. After a month of trying various things and going insane, the three of them fall asleep on the beach together, and the boys wake up back in their old bodies. Confused about where and when they are, the two go back to bickering, somehow still claiming ownership of the ball they had fought over as dogs. Lizzie’s eye begins to twitch.
Review:
This was a fun story. Seeing the two men as dogs was everything you could hope for. And Lizzie losing her marbles and narrating the dog-dialog between Super-Corgi and Bat-Corgi was fantastic. This was a cute, fun story, wonderfully illustrated, and magical to read.
Story 6 Summary:
A few weeks after the Corgi incident, the New Trinity are on a mission to save the universe, but it will take 73 days to cross the universe to arrive at their location.
Day 6, Lizzie can no longer take their bathroom habits.
Day 24, Damian hasn’t done laundry yet and Jon is getting sick of Damian’s movie commentary.
Day 39 Jon can’t sleep because Lizzie snores like a chainsaw.
Day 51, Damian claims his ability to determine a murderer in a mystery movie is his skill, not the fact that he’s seen a film 15 times. They all hate each other.
Day 64 – Lizzie and Jon and stolen Damian’s Batman costume, and appear to have gone insane.
Day 72 – they are approaching an unimaginably hard fight with the Mongul of Infinite Earths and death is almost certain – Wonder Woman can’t wait.
Day 73 – The fight goes faster than expected as Mongul hasn’t had time to power up. The trio realize that the trip back will take 94 days due to cosmic headwinds, and so they try to wake up the villain in hopes more baddies to fight.
Review:
This one is fun because it showcases the bad side of each of the characters who might normally show more decorum. It also reveals the off-panel land a regular comic must have. The boring times. The long times traveling. But here, we see a day (or 73 days) in the life of super heroes traveling across space, and it’s terrible. It’s so fun seeing the human side of our favorite heroes, and the unseen dilemmas they face. As a fan of Slice of Life anime/manga and the Batman: Wayne Family Adventure on Webtoons, these kinds of stories are my jam. Where the biggest threat is boredom and bad habits, and people are learning to get along with each other, or rather, trying not to kill each other. I think King continues to do a great job of capturing the real human side of heroes and the hilarious chaos his causes.
The sneak peek at the end of the issue reveals all three iterations of Lizzie talking to each other on the Wayne Family couch, discussing a quest to find her unknown father while three versions of the Super Sons as Corgis (Tomasi era Super Sons, current Robin and Super-boy/Superman, and Future Superman and Batman) all cause puppy chaos. I am very excited.
Editor’s Note: You can find this comic and help support TBU in the process by purchasing this issue digitally on Amazon or a physical copy of the title through Things From Another World.
The post Review: Trinity Special: World’s Finest #1 appeared first on The Batman Universe.
In Batman and Robin #12, Batman squares off against Vengeance and Kobra while Robin, reflecting on Alfred’s murder, takes on the might of Bane.Batman and Robin #12 main cover by Simone Di Meo
Batman and Robin #12
Writer: Joshua Williamson
Artist & Colorist: Juan Ferrerya
Cover Artist: Simone Di Meo
Variant Cover Artists: Juan Ferrerya & Travis Mercer with Andrew Dalhouse, Simone Di Meo, Vasco Georgiev
Release Date: August 14, 2024
This comic book review contains spoilers.
Batman and Robin #12 begins on Dinosaur Island, Robin (Damian Wayne) charges out of the underbrush astride his saurian steed, thinking only of Alfred and of dealing death to Alfred’s killer. Vengeance banters with Batman, warning him to leave her and her father alone. Robin attacks Bane, and they battle. Bane pummels Robin, but in between flashbacks to conversations with Alfred, Robin recovers and taunts Bane.
Vengeance and Batman pursue the antagonists, and Batman discovers Bane’s Venom lab. To Batman’s questioning, Vengeance admits Bane contracted with Kobra to create a new form of Venom, the effects of which did not fade. Instead, he and Vengeance succeeded only in creating a new form of Venom that exposed its users to the side effect of animalistic rage. Batman is furious, and just as Vengeance prepares her attack, she is neutralized by Maya.
Amidst tall trees, Bane stalks Robin. He falls for a ruse; Robin takes advantage with a well-timed kick to Bane’s knee. He advances on the vulnerable Bane, but stays his sword as Bane notes that he never had any real choice but to become a monster. Bane invites Robin to finish the deed, and Robin, filled with rage and grief over Alfred’s murder, grants Bane the mercy he withheld from Alfred.
Bane points out that they share a monstrous capacity, and Robin rejects the notion, expressing disgust, rage, and sadness at the fact that Bane never had anyone who showed him an alternate means of facing historical trauma. Batman and Maya burst into the clearing, and as they prepare to depart, Vengeance shoots Robin with a vial of Venom. Robin transforms into a monstrous version of himself and roars at Bane, “I AM GOING TO BREAK YOU!”
Batman and Robin #12 variant cover by Juan Ferreyra. Image: DC Comics
Although the first entry of this final arc in writer Joshua Williamson’s run left me pining for the cityscapes of Gotham, this is a dense, fascinating book that is packed with important moments. Readers have been waiting many months to see how Batman creatives will handle the death of Alfred, and it is spellbinding to see Robin’s rage and grief unfold in the pages of Batman and Robin. This is truly ‘The Third Book.’
I have been so impressed with Williamson’s work on this book, and Batman and Robin #12 is no exception. He has an incredibly deft touch, discerning with an almost uncanny feel when to say more and when to leave spaces for readers. The settings, narratives, and plot structures have been well-formed, logical, sequential, and above all simple. This is a book about Batman and Robin. The wisest choice any writer could make would be set the stage carefully but simply and leave it as a canvas on which The Dynamic Duo can display the full range of emotion, action, and perspective that makes them arguably the most important pair in any comic universe. Williamson has chosen exactly that path, but the skill and care with which he has rendered its contours is astonishing.
In Batman and Robin #12, the flashbacks do not distract; they artfully and obviously cast Robin’s choices with regard to Bane in sharp relief. The vastness of his rage and anger at Alfred’s senseless murder is boundless, and yet it is the photo-negative boundlessness of his love and respect for Alfred that stay Robin’s hand. Williamson clearly loves and respects Damian Wayne, and he shows this by portraying a mature, thoughtful Robin who, while still caught in the throes of adolescence, is nevertheless a fully-formed being capable of growth and agency. Williamson reminds us that Damian may be a youth, but he is not a child, and while he is as accountable to his past as we are, he not ruled by it – contrary to what the brilliant Bane asserts.
So too does Williamson skillfully render the ironic contrast with Bane’s progeny, the aptly named Vengeance. Batman’s child will not become vengeance, not only departing from the choice Vengeance seeks to force on him, but from his own father. Batman too had to learn that the vengeance he embodied in Years One and Two was insufficient. Gotham needed more from him, and Robin seems already to have internalized that message.
Perhaps it is because I rewatched Matt Reeves’ The Batman twice this summer and am somewhat obsessed with it, but I perceived echoes of the film in this book. The resonance is apparent not just in Robin’s comprehension of the limits of vengeance – a key theme in the 2022 film – but also in Bane’s remonstrance that he never had any choice but to become a monster, a perspective also explicitly adopted in the film by Riddler.
The 12 books in this series have been among the best 12 books in a comic series that I have read since I began seriously collecting in 2015. It’s been a pleasure and an honor to have been a reviewer on this book, and while I am sad that Williamson’s run is ending, I am also excited for the upcoming creative team of Philip Kennedy Johnson and Javier Fernandez. May we go from strength to strength!
Editor’s Note: DC Comics provided TBU with an advance copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Amazon or a physical copy of the title through Things From Another World.
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In Batman #151, Batman and Catwoman must team up in search of Amanda Waller’s Mother Box in this Absolute Power Tie-In. Batman 151 cover by Salvador Larroca & Matt Herms
Title: Batman #151 / Absolute Power Tie-in — “Into The Unknown”
Writer: Chip Zdarsky
Artists: Mike Hawthorne
Colors: Romulo Fajardo Jr.
Letters: Clayton Cowles
Cover: Salvador Larroca & Matt Herms
Variant Covers: Guillem March, Jill Thompson, James Harren & Stevan Subic
Release Date: August 7, 2024
Please Note: This comic book review may contain spoilers
Batman #151 opens in the midst of DC’s “Absolute Power” event that sees Amanda Waller hunt down superheroes with her Amazo-powered machines. Batman enters Selina Kyle’s hideaway and asks her to help him stop Waller. While she pours freshly brewed coffee, she talks about a cat she had as a kid who would hide in a drawer until the threat was over. When Batman says that he needs her help, she throws back that Batman doesn’t need anyone’s help. Bruce, however, does.
Artist Mike Hawthorne takes over pencil duties in this issue, giving Selina Kyle a Mae West-style mischievous glow. Bruce is more chiseled and distinguished than we’ve seen him lately, with a jaw that gives Jay Leno’s a run for its money. Batman’s suit is also a strange combination of the hyper tech-inspired look from video games like Injustice and notes of Batman’s comic book history, namely the purple gloves, which are a callback to his original appearance.
Later, Selina and Bruce go undercover as Mr. Blackwell and Ms. Tessworth, two private military operators. While Mr. Blackwell tries to rob the general on the Okinawa base, Ms. Tessworth sneaks around, looking for the key to Waller’s strangehold — a mother box!
Selina follows some of Waller’s Suicide Squad out into the jungle, but she’s caught by Black Alice. As Deadeye and Clock King (who is drawn to look like the Batman: The Animated Series Clock King and not William Tockman) move to engage, Batman intervenes. It looks like the fight is turning in the heroes’ favor when Bizarro shows up, powered by Brainiac tech.
Batman and Catwoman get away and find Waller’s boom tube. Before they leap in, Batman tells Selina that she can leave and go back underground, that she doesn’t need to risk her life. Against the backdrop of a bright, near-blinding boom tube, these two lone figures face each other. Batman grabs Catwoman’s shoulders, and it’s a moment of heart in an issue that serves as a functional point A to point B for the “Absolute Power” event.
Catwoman tells Batman she’s done crazier things, and the two take the leap of faith together. They find themselves in a tomb with Waller’s family members, and as Batman explores right outside the tomb, he realizes that they’re on Czarnia, the home planet of Lobo.
Gunsmith, a villain from way back in James Tynion IV’s run, shoots Batman, and the rest of the Suicide Squad arrive to apprehend both heroes.
The best word to describe this Batman #151 tie-in issue is “functional.” If you’re invested in the “Absolute Power” event, this is another piece of the puzzle meant to fill in the gap between issues, like all tie-ins. Beyond that, it serves no purpose, and readers who aren’t up to date on Amanda Waller’s takeover will be lost. Having Chip Zdarsky stay on as writer, however, helps keep the flow and voice consistent across the main Batman title and this interlude.
Batman 151 variant cover by Guillem March. Image: DC Comics
Title: “Absolute Power Plant!”
Writer: Tini Howard
Artists: Marianna Ignazzi
Colors: Giovanna Niro
Letters: Clayton Cowles
While Batman and the heroes are fighting Amanda Waller, Harley Quinn is keeping an eye on Gotham City. During her patrol, she finds out that Riddler has hijacked the nuclear power plant and is threatening to irradiate the city. Harley finds Riddler, and much to his dismay, solves his riddles, saving Gotham from a nuclear fallout.
The issue is pretty straightforward, but Tini Howard brings a bubbly energy that moves the story along. It feels like Harley, delivering some much-needed fun to a comic book whose main story was a bit of a bust. Even better, Marianna Ignazzi’s art paired with Giovanna Niro’s absolutely gorgeous colors is a match made in heaven. There’s a classic style at work here, one with realistic depictions set to vibrant colors reminiscent of 80s films (or even cascades of 70s Italian horror).
Editor’s Note: DC Comics provided TBU with an advance copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Amazon or a physical copy of the title through Things From Another World.
The post Batman #151 Comic Book Review appeared first on The Batman Universe.
In this review of Red Hood: The Hill #6*, the saga of the Hill ends or does it?Red Hood: The Hill #6Writer:* Shawn Martinbrough
Artist: Tony Akins
Color Artist: Matt Herms
Main Cover: Sanford Greene
Variant Covers: Shawn Martinbrough
Release Date:** July 31, 2024
This review contains spoilers
Red Hood: The Hill #6 — The Story
Red Hood: The Hill #6 begins after the disaster of the night in the previous issue, the attack on the Batmobile and the explosion and theft of Waynetech, Batman, Strike, and a perfectly fine Red Hood question their prisoners. Batman tells Strike that he has notified Denise Harlow and she is on her way to investigate the lead. Batman surmises that she will send a field team. Red Hood corrects him that she will go alone. Red Hood convinces Dana to back up Denise. Batman and Red Hood will take care of Omar and the Grand Imperial. Of course Batman lied he did not contact Denise he just wanted Strike to get to her sooner. He now has Oracle contact Denise. Red Hood goes to handle Omar.
Omar and Korlee argue over the phone and Batman contacts Korlee making it look like he is the Grand Imperial.
Denise is waylaid by Korlee Sr’s guards but she is soon helped by Strike. Strike later provides the muscle allowing Denise to interview Korlee Jr.
In the Hill, Red Hood confronts Omar and detonates the stolen weapons. He then tells Omar that the death of his daughter was orchestrated by Korlee Jr. Red Hood explains this before the police arrive to pick him up.
At the retirement compound of Korlee Sr. Denise and Strike have left and Korlee Jr arrives to kill his father and the survivors of the compound.
Back at Gotham News One, Denise learns of the massacre at the compound and she prepares to go on air to expose Korlee Jr.
Dana visits Captain Battle and her team at the hospital as they all recover. And in the jail Omar is approached by Tommy Maxx from the very beginning of this story. He suggests the two get together to go after Korlee Jr.
Everything then is treated like it is over? Korlee Jr may have been exposed but his is still free and he rejects Batman’s menacing tone. Omar is freed on bail and the Grand Imperial is still loose. All Red Hood says is that the bad guys are always out there. Jason has some stops to make before he leaves the Hill but he insists that he will. The only thing resolved appears to be Dana and Denise’s relationship.
Analysis
The art in Red Hood: The Hill #6 is alright. Unfortunately the characters keep looking different from issue to issue. For example Denise is hard to recognize in this issue it is only through the dialog and her actions that the reader can even know it is Denise Harlowe. Dana herself has gone through various changes throughout this story and this issue is no different. It helps that she mostly appears in her Strike costume.
Of course this conclusion leaves me with a huge question of what was the point? Nobody was really put in prison. The only exception could have been Omar who was given a sympathetic quality in that his daughter murder was actually set up by Korlee Jr. Now he is free like everyone else but his goal is to get revenge on Junior. The writer decided to bring back Tommy Maxx to lead into this pot point, again why?
The way it looks is that Korlee actually wins, his father is now dead so he is seemingly the crime lord of the Hill and he has the courage to stand up to Batman. My question remains: what is the point? This story has no conclusion.
One more question, this is a Red Hood book, why did we not see the battle alluded to in the previous issue? He only made a scant appearance in the beginning of that issue and Batman was told he was killed. Now he is miraculously back. Show Red Hood doing what he is good at.
Final Thoughts
A really pointless story and a pointless conclusion. Not a great showing of Red Hood. He needs Batman to come in to clean up the Hill but even he fails to do it. There is no change from the beginning except for alliances are different and some people are dead and most of the Watch was beat up.
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With just three issues to the finale, Detective Comics #1087 once again plunges the Bat-family through the fires on the streets of Gotham as the Orghams and Joker’s Daughter clash.Detective Comics #1087 Main Cover by Evan Cagle
Title: “Gotham Nocturne: Act 3: Crescendo, Part 4”
Writer: Ram V
Artists: Christian Duce and Stefano Raffaele
Colors: Luis Guerrero
Main Cover: Evan Cagle
Variant Covers: Kelley Jones, Guillem March, Sebastian Fiumara (1:25 incentive)
Release Date: July 24, 2024
Batman watches as the new masked Orgham commander, Shadow Angel, marches through the flaming streets of Gotham, collecting people to hang. Nightwing, Azrael, and Cassandra Cain Batgirl intervene.
Ten-Eyed Man points Batman in the right direction for his next strike.
Commissioner Montoya leads her GCPD loyalists to the roof where they light the forgotten Batsignal, and Mr. Freeze causes a massive upwards cold front, slowing down the azmer demons.
Batman arrives at the Batsignal to fight the attacking Orgham werewolf, but the werewolf injects Montoya with something and throws her in a van. Two-Face shoots the werewolf with silver bullets and tells Batman to chase Montoya.
The Orgham Queen looks over her plan to flood reality with Scarecrow’s nightmares. Shavod plans to make a mind control broadcast, and the Queen orders Neang to stop Mr. Freeze.
Batman gives Montoya to Catwoman and says all is going according to plan. She doubts it.
While Shadow Angel makes a broadcast (though possibly it’s Shavod wearing his mask), Joker’s Daughter (Duela Dent) cuts her head off on live TV.
Detective Comics #1087 variant cover by Guillem March. Image: DC Comics
Three issues from the end of Ram V’s Detective Comics opera, the resolution of the conflict between Batman and the Orgham family seems as far away as ever. Though Batman’s plans to counter the azmer demon army and the lower level Orgham commanders seem effective, how he will wrest control from the Orgham Queen and her high-level lackeys, not to mention how the threat of the Joker and Joker’s Daughter will wrap up, seem murkier than ever.
Dashing from scene to scene, unfortunately relying on some of the weaker team-book-type writing, Ram V’s Batman lets Ten-Eyed Man figure out that the Batsignal is the next target, he lets Two-Face take on the werewolf (with perhaps the biggest ass-pull in a story full of ass-pulls, the “reveal” that silver bullets hurt the werewolf three issues from the end, after many, many confrontations with Batman), and he gives the drugged Renee to Catwoman, who’s betrayed him. All in all, messy and frustratingly ineffective.
That being said, Ram V does occasionally drop in a moment that really shows the power he can wield. Two-Face assisting Batman to rescue Renee called back powerfully to No Man’s Land and Gotham Central – the twister relationship between Harvey and Montoya that Greg Rucka so carefully built up references subtly but with great weight. As with Mr. Freeze, Ram V’s writing of these tormented villains and their history with Batman and Gotham City could have been such a powerful, rich story on its own. From the bizarre return of the hanging motif, to the possible swapping of Shadow Angel’s mask onto Shavod who is then beheaded, there’s no rhyme, reason, or endgame to the motiveless Orghams, who suck all plausile character motivation from every scene they visit.
Main arc artist Stefano Raffaele shares the pages in this issue with Christian Duce. Though both artists are excellent, and indeed Duce is one of my favorites from his work on the Batman Eternal series and The Flash with Jeremy Adams, it’s once again extremely frustrating to see Detective Comics, the longest-running and highest-numbered of DC’s books, refusing to make consistent art a priority. Though inconsistent, the artists do work together well without jarring transitions, and the art is high quality throughout.
Detective Comics #1087 Variant Cover by Kelley Jones. Image: DC Comics
Detective Comics #1087 Backup StoryTitle: “BONK”
Writer: Dan Watters
Artist and Colors: Francesco Francavilla
Azrael watches the azmer demons driving cars and crashing into others. He prepares to attack, but Nightwing hits him with an escrima stick, saying he doesn’t trust Azrael’s intentions. Azrael seems content to let the demon-possessed destroy themselves, but Dick and Cassandra Cain Batgirl try to save the azmer victims. Nightwing rages at Azrael, but Cassandra says to trust him. Azrael cuts open a car and reveals a terrified mother and child. He tells Nightwing that he’s the Angel of Mercy now, with a new covenant with God. He also says Nightwing has three chances, one used up by the escrima hit earlier. Nightwing responds by hitting him again.
Dan Watters reaches backwards and forwards with this humorous little scene. His Azrael clearly develops from his Arkham City and Sword of Azrael miniseries, and his Nightwing provides a hint of where he may take the character in his upcoming All-In run on the book. Though the clash between the normally affable Dick Grayson and Jean-Paul Valley is grating, as Dick doesn’t usually judge lethal vigilantes so harshly, his frustration with Azrael makes more sense in the context of the Prodigal arc, where he has to pick up the pieces of a Gotham broken by Az-Bats many decades ago. The formal trick of the repeated “bonk” panel and sound effect provides a humorous stinger and pleasing structural effect as well as strong characterization and thematic exploration. As usual, veteran DC artist Francavilla proves he still knows how to make Gotham look neon-drenched and exciting!
Evan Cagle paints the main cover with Batman looking down on Gotham City in flames – a gorgeous rendering of the interior events. Kelley Jones uses very clever and dramatic composition to have Batman casting a Batsignal shadow from vivid lightning strikes for the first variant. Guillem March shows a thoughtful Batman looking at cyberpunk-style holograms around him – not particularly reflective of the story itself, but a lovely image as usual with DC’s variants. And Sebastian Fiumara’s 1 in 25 incentive variant highlights the absolute creepiness of Ten-Eyed Man’s hand poking through an empty Bat-Cowl.
Editor’s Note: DC Comics provided TBU with an advance copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Amazon or a physical copy of the title through Things From Another World.
The post Detective Comics #1087 Comic Book Review appeared first on The Batman Universe.
It’s been too hot this summer, so Ian and Steph have been preferring indoor activities…like catching up on Webtoons! And, as luck would have it, season 3 of Batman: Wayne Family Adventures has dropped!
Steph: Hi Ian! I am so excited to talk to you about the Batman: Wayne Family Adventures Season 3 premier! Episodes 117-119!
Ian: Hi, Steph! I am so excited to talk to you about season 3 as well! It’s been quite a while! About 6 months!
Steph: Well, they are hitting the ground running for sure, because right out the gate they’re hitting us with what looks like a real story arc!
Ian: They are! I think our first episode, #117, “One Bad Day Part 1” does a really good job transitioning from the slice of life self-contained, almost newspaper-like comic strip structure to the longer form story format. It starts with your typical WFA setup of the family gathering for summer fun in the Manor, and then BAM, hits you with a bullet in the grappling rope!
A Bat-family breakfast! Image: Webtoon
Steph: Which…okay…that was a part of the plot that had me scratching my head juuuuust a bit. The Bat-grapples definitely are made with rope that could withstand bullets, or else Batman would have been taken out a long time ago. That’s a whole thing in Hush, right?
Cutting of the Bat-rope. Image: Webtoon
Ian: I only remember someone cutting Batman’s rope at least once in Hush. Was it said to be special rope?
Steph: Batman. Cause he doesn’t make the same mistake twice. That’s just me assuming, though.
But yes, it’s starts of very fun and light and goes dark pretty quick, but no darker than other past episodes. I really liked seeing the Bat-family doing a little detecting as a team in this.
Ian: Yeah, when you look at the backstory episodes for Cass, Jason, and Damian particularly, I feel like this is pretty much of a similar piece and works pretty well. It’s nice seeing Bruce leading the Bat-family in a pretty effective way like this!
Steph: I have always wondered why Duke is the only daytime hero in Gotham. It really seems like he should have a partner. Who would be best suited, do you think and why?
Ian: Honestly, I’m not sure there is a ready-made partner for Duke in the daytime. Maybe Steph and Harper, as we’ve seen Steph operate in the daytime before when she was hero of the suburbs in her early days in the Robin title, and Harper’s Bluebird thing doesn’t have as much of a night or Bat theme as the other Robins do. Though this does make me salty that Duke is Signal instead of Lark, so Lark and Bluebird could be a duo!
Steph: Who’s Lark?
Ian: originally Scott Snyder had a couple possible futures for Duke – as a Robin, as seen in the Future’s End event, as Lark, as seen in a couple alternate futures and hallucinations during the Endgame arc, and finally the dreadful Signal naming by the Joker in the terrible Metal event. I firmly believe that naming him after a bird to fit with the Robin theme is way cooler than naming him after your flashlight.
But that is perhaps a bit off topic
Steph: Just a wee bit. Doesn’t “lark” mean “a joke”?…that wouldn’t have been cool.
Ian: puns!
Steph: Well, I enjoyed it, and I’m glad I didn’t read it till part 3 of the story was out! Because in #118, “One Bad Day Part 2” , we see a new skill of Duke’s that helps him escape! I don’t think this is anything that has ever been addressed in the comics before!
Duke’s new abilities. Image: Webtoon
Ian: I will admit I have large gaps in my Duke knowledge, and one of my biggest frustrations with the character is that his powers do not make intuitive sense to me, and they keep doing new and wacky things with them. However, I think the way WFA did this new power was quite sensibly explained and works very well in the story. I think it’s cool that Duke gets his backstory nicely highlighted early in this season, though some fans have been frustrated that Duke is the one who got hurt in the Bat-family. What do you think about the fact that Duke is probably going to be out of commission for the first big part of the story?
Steph: Well, if I know anything about the Bat-family, a few broken bones won’t keep them down long. It does make him a little damsel-ly, but he did save him self and unlocked a super power, which was pretty cool. I think he, hopefully, will have the power to get through to Jason, as the two of them have been first-hand traumatized by the Joker.
Ian: I think that’s a good potential connection! I myself think that Joker’s connection to Duke makes him a logical target, the more so because he is the only daytime Bat. And I have a hard time thinking that Duke is going to stay down for too long. He’ll be back for the final confrontation and I’m sure be a crucial part of the victory!
Steph: Kickapow! In episode 3 of the arc, and the season, #119 “We’re Not Gonna Take It”, Bruce enacts a “No one leaves in masks” mandate and stamps down any and all protests. What did you think of that? Was it a forced plot device? Is it too tropey for Batman? Or was it worth it to see Tim freak out about Damian moving his animals into his apartment.
A Bat-freakout. Image: Webtoon
Ian: I thought the Tim and Damian interactions were a delightful reminder of the relationship that has developed between those two in this comic, as well as a very WFA-style gag. I hope they pay it off a bit in a future scene! I also think that Stephanie Brown, as usual, speaks for me in her summoning of the “Bruce can kick rocks” meeting! There’s a reason she’s my favorite character! I do think that Bruce has good reason to be terrified of his family being killed by the Joker – Duke just got badly injured, and of course Barbara and Jason are living reminders of the Joker’s malice and power.
Steph: That is true. I feel like it has been done often, but I also think there is enough unresolved trauma in Bruce, Jason, Barbara, and Duke that it is justified. Though, I do feel like the Barbara trauma is mostly overlooked in the series…though it is one of the nastiest storylines of all time, so maybe it’s too much for WFA to deal with. Which is completely reasonable.
Ian: I think it’s a normal part of Bruce’s character – his love for his family and his fear for them, since they, after all, are what has built up around him after his own family was ripped from him. I am curious if the WFA team has plans for multiple story arcs, either this season, or in multiple future seasons
Steph: I hope so! Interspersed with one-shots and gags, hopefully!
Ian: and if so, if they plan to repeat this trope. I certainly hope not! We haven’t seen it much in WFA, so I find it ok this time, but if it becomes a normal thing, that would make it a bit disappointing and same-feeling.
Steph: I think, as a non-canonical series that doesn’t have to return to any status quo, they have the freedom to have…character development (le gasp!)
Ian: Indeed! I very much hope so!
Steph: I would love to see growth in the characters that, when faced with similar situations in the future, would cause them to make different choices.
Ian: And a future longer storyline where Bruce shows his newer maturity would be really welcome
But of course, we have to get through one crisis at a time!
And right now, Bruce is really struggling.
I wanted to make another note about the structure of the new format.
The first two episodes form a two-parter – Duke gets hurt, and Duke escapes and meets the Bat-family again.
It’s nicely shaped, and I like that you have little structural elements like Cass telling Duke to “Be safe” and then Cass being the one to find him – gives it a sense of more than just an ongoing plotline with cliffhangers. A more episodic sense
Cassandra Cain is the GOAT. Image: Webtoon
And “We’re Not Gonna Take It”, the third episode, is mostly the Bat-family’s Council of War in Tim’s apartment, so it has a nice unity of place that makes it stand out as its own episode.
Steph: Oh man, I didn’t even think of that. I love that!
Ian: I’ll be paying attention to the structure going forward, as the first time I read these episodes, I was sad at the loss of the episodic feel, but now I feel like there’s more structure than I originally saw.
Steph: That makes sense. In previous episodes, we’d pick up in the middle or at the end of an adventure we never got to see, so when I read 119 first (before 117 and 118) it didn’t seem off from normal, because even though it starts in the middle of a story, it’s not too confusing about what has happened, and it falls within the type of story setup up from the past.
But I will be paying more attention to new types of payoff to be sure.
Are you excited for more? Last season was longer that season 1. I hope this one is bigger and better than ever!
Ian: I am excited for more indeed! I’ve noticed some interesting art changes – there’s some new inkers this season, and it makes the art feel more consistent, though not exactly the same as when Starbite was inking alone. I’m guessing the big break was partly to build up the whole story arc – though I kind of hope that the season will actually have two or three story arcs instead of just being one big arc. But we’ll see! How do you feel about the setup and execution of the longer-form storytelling that we’ve been asking for? Is it what you imagined?
Steph: I love it, but I do hope it’s not all one big long story all season long. As we just have come off the current Detective Comics and Batman storylines…there is such a thing as too long and it can get painful, even if you enjoy it.
I can’t wait to enjoy more with you Ian! TTYL!!!
Ian:
The post Batman: Wayne Family Adventures #117-119 Webtoon Review appeared first on The Batman Universe.
In this review of Nightwing #116*, Nightwing is drugged, injured and under police custody. But that won’t stop him from conquering his fears and clearing his name before Heartless destroy Blüdhaven!Nightwing #116 Written by: Tom Taylor
Art by: Bruno Redondo
Cover by: Bruno Redondo
Variant covers by: Dan Mora, Marco Santucci, Vasco Georgiev, and Bruka Jones
Page Count: 32
Release Date:* 6/18/2024
This review contains spoilers
At a press conference outside of Blüdhaven Police Department, Commissioner Maggie Sawyer fields questions about the latest Heartless murder and Dick Grayson’s involvement – not disclosing that Dick’s under custody for suspicion of being Heartless. The reporters go over the last year of public events involving Dick, Heartless and the late Roland Desmond a.k.a. Blockbuster. With Melinda Grayson assuming the role as mayor and Desmond’s fortune going over to Dick, everything looks as though Dick planned to take over the city by day in the public eye and by night as Heartless.
Inside, Dick comes to groggy and injured. Determined not to let Heartless get away with destroying Blüdhaven, he immediately escapes and makes it back to his apartment, just as Oracle informs Nightwing’s closest allies on what their options are to rescue him. Barbara informs him that Batman has examined Dick’s blood, finding trace amounts of Scarecrow toxin which would explain his acrophobia. She also says that he’s suggested everyone publicly give up their identities in order to clear Dick’s name. Dick resolves that the fallout would too big a price and that Heartless needs to be stopped as soon as possible. He asks Babs to remain in Blüdhaven and protect it while he travels to Nanda Parbat. Through the assistance of Bea, he takes Haley and undergoes a long trip on foot to the hidden city, home to the goddess of karma Rama Kushna and Boston Brand, a.k.a. Deadman – the former acrobat who initially helped Dick get over his fear of heights when he was a boy.
Back in Blüdhaven, Heartless goes on camera and claims to be Dick Grayson, describing his plot to take over the city economy. He orders The Titans to leave town or else people will die every half hour. While the Titans accommodate, Batman and Oracle resolve to keep up Nightwing’s appearances until Dick is back in town. Bruce disrobes and remerges as Nightwing in Dick’s place.
Analysis: While the previous two parts to this arc have been solid, this is where my umbrage with Taylor’s writing and characterization return. It’s not a huge gripe, but ultimately fall back on his writing of the Nightwing title to be too soft-handed as to always be believable.
But let’s get the positives on the record. Bruno Redondo is still doing stellar work on art duties. Hardly a surprise, the man is one of the industry’s best by this point. I’ve written before that while the book has generally enjoyed a bevy of solid artists, Redondo’s work makes it feel more wholesomely complete. Whenever this man is on the book, the grade will always be at least generally positive. There are some background characters whom I’m sure are references to real life people such as the news anchors and reporters, but in any case it shows off his flair for making people as characteristically distinct as possible.
I also think that Taylor’s working of Dick’s good fortune as a giant set-up for his public fall is well realized. So many things have gone right for him, and while the majority of my gripes happened in the micro with Bea and the like, things like Melinda changing her name really have screwed him over, which is good plotting. I’m not suspecting that this will remain and Blüdhaven will go back to being a cesspool, but it’s nice to show that actions still have consequences, even if they were planned ahead of time.
For my quibbles, 1) Dick’s off-panel escape from the cops reads like shorthand and kind of cheats the audience. It’s reminiscent to a few scenes from the classic Chuck Dixon and Scott McDaniel Nightwing run in which Dick had to escape the cops before (He’s also been framed for murder before as well, see Nightwing: The Target), but Dick’s seriously on the ropes when we open the issue up. He’s shot, doubly drugged with Heartless’ gas and morphine, and has broken ribs from the fight in the fire last issue. I can buy him breaking his handcuffs and escaping, but not so easily that it’s off-panel and we have to imagine how he did it. The specific detail which halts me is the silhouetted image of half-a-dozen cops watching over his hospital room just before he breaks the cuffs. That puts his objective in keeping his identity secret and escaping without anyone noticing on hard mode, but we’re just told he did it. Come on, that’s cheap. A page of panels showing how he thinks his way out of the building wouldn’t be a large ask, but putting him this much on the backfoot, then ignoring those odds erases the drama entirely.
Secondly, I didn’t like the speed at which it was suggested – by Batman of all people – that the Bat-Family give up their secret identities to clear Dick’s name. As I’ve said earlier, this isn’t the first time Dick’s been framed for murder, but even if we’re playing fast and loose with continuity (or, more realistically Tom Taylor either forgot or never read The Target which isn’t unreasonable), how many times have member of the Bat-Family been framed for murder? One of the biggest and best stories in the last twenty years was Bruce Wayne: Murderer, in which this exact scenario nearly broke the Bat-Family in half. The suggestion to reveal Bruce identity was hardly ever brought up. With everyone else, Cassandra Cain was recently framed for murder in the pages of Batman: Urban Legends. Understandably, there’s a difference between the hero’s persona being seen as the culprit and the civilian identity under suspicion, but this is inside of twelve hours of Dick being framed and arrested. It also doesn’t speak to Bruce’s detective skills. He can’t figure out how to save his adopted son without potentially ruining everyone’s lives in the process after a few hours? I understand it’s a nice thing for everyone to be ready to give up their lives for Nightwing, but the situation has yet to call for that kind of response. But that seems to be in the forefront of Taylor’s mind in writing it, which in my opinion clouds his storytelling skills from proper characterization of these heroes. If The Titans or even Starfire were to suggest this (and I don’t think she would), it would make more sense than Bruce Wayne, Barbara Gordon, Tim Drake and the other trained detectives who could solve this in a few hours. It’s a small couple of lines of dialogue, but it speaks volumes against who these people to this reader.
Now the big reveal at the end which may result in some wild reactions is Bruce resolving to act as Nightwing in Dick’s stead while he’s in Nanda Parbat. This is actually a really fun idea, and one I imagine is inspired by fan art of Bruce dressed as Robin that has popped up online in the last few years. But as things remain, it is an inversion to the two times Dick has done the same for him, and it’ll be fun to see Bruce operate in another persona in another city. It’s really fresh, and the questions that arise from it don’t rob the idea of its storytelling potential. I was left thinking that maybe Jason could be a better pick to fill in, although admittedly he’s busy in his own title at The Hill. Jon Kent also could’ve done it, but he might appear too recognizably himself since he’s Superman. With Bruce, his Batman operation has been a lot more lowkey since the events of Joker War in the last few years. After losing his fortune and Wayne Manor, and the events of Failsafe, Batman’s not been as public a hero as he used to be. And Gotham is patrolled by Robin (Damian), Robin (Tim), Batgirl (Stephanie), Batgirl (Cassandra), The Signal and Red Hood. So he can actually take time out his schedule to do this. It should be fun, and I’m looking forward to seeing how this plays out. I’m hoping for a return to what Taylor did in those two issues pioneered by Bruce’s POV, taking in Blüdhaven through Nightwing’s eyes.
I should probably not end before mentioning the invocation of Deadman in this story and Dick’s history. I’m not super read-up on Deadman comics outside of the initial run of his early appearances by Neal Adams. I’m aware of the tangential connection he has with Haly’s Circus, and while the detail of him helping Dick as a kid feels like a retcon, it’s not really that big of a deal and puts him around Batman’s age – as though age even matters with a dead guy. I do like whenever the larger cosmic/spiritual side of DC is brought in to relative street level books like this.
Overall my quibbles with this issue were big to me but still personal. Things like Dick’s escape and Bruce’s suggestions are really minor compared to the overall story. I think there were stronger ways to write this issue, but they don’t detract too much from the idea of this issue.
The post Comic Book Review: Nightwing #116 appeared first on The Batman Universe.
In Batman/Superman: World’s Finest #29, Batman, Robin, and Superman come up with a plan to stop Doom-Mite once and for all!Batman / Superman: World’s Finest #29 main cover by Dan Mora.
Title: Batman/Superman: World’s Finest #29 – Impossible: Part Four
Writer: Mark Waid
Artist: Dan Mora
Colors: Tamra Bonvillain
Letters: Steve Wands
Main Cover: Dan Mora
Variant Covers: Bjorn Barends, David Lafuente, Matt Herms, Jerry Gaylord
Release Date: July 17, 2024
This comic book review contains spoilers.
Batman/Superman: World’s Finest #29 opens on the events of Batman / Superman: World’s Finest #28, wherein Batman was turned into a puppet by Doom-Mite. The aforementioned villain is toying with their world, playing with buses and cars. It adds some much-needed characterization for this villain, who has thus far simply been the “big bad” who wanted to fight this dimension’s greatest champion. Doom-Mite won, but as he toys with items around Metropolis, it comes across from the creative team that Doom-Mite is nothing more than an overgrown child, and a bully, at that!
As Robin (Dick Grayson) cradles the puppet Batman, Superman and Mxyzptlk have a back-and-forth about where Superman’s been (he was trapped in the sixth dimension with Batman and Robin in Batman / Superman: World’s Finest #27). Batman uses all of his strength to muster the world “pull’ through the puppet’s wooden lips.
Bat-Mite wonders if Batman means strings, but Robin doesn’t think so. Superman steps in, and thinks that Bat-Mite is correct. The new plan is to send Bat-Mite and Mxyzptlk out to find every magic user on Earth and bring them here. In the meantime, Superman and Robin will stall for time, keeping Doom-Mite preoccupied.
Bat-Mite and Mxyzptlk travel around the world, trying to pull in magic users. Bat-Mite gets Zatanna, and Mxyzptlk recruits Dr. Fate. Meanwhile, Superman faces Doom-Mite head-on, goading the imp killer into a battle.
The strength of this issue really shines in the art department. Dan Mora delivers some stellar, creative, and fun work. Tamra Bonvillain’s colors are quite literally out of this world! Each turn of the page is like looking into a kaleidoscope of color. Despite the brightness and zany eyes and hair of Doom-Mite, the two artists manage to create a griminess to the villain, as if this is some basement-dweller coming out to throw his weight and might around.
Oddly enough, that’s where the idea of this villain may have come from. Up until now, we haven’t seen much background to Doom-Mite, but the more one looks at him, the more one wonders if Mark Waid and Dan Mora channeled the worst nerd they saw at comic con. There’s just something smarmy, repugnant, and surprisingly childish and lacking in real-life experience to this character that screams “comic con.”
Speaking of comic book nerds, Bat-Mite and Mxyzptlk recruit deep cuts Dr. Occult and Prince Ra-Man to their magic squad. They make a joke about never having heard of the characters, which is writer Mark Waid’s self-jest at how obscure of characters these two are.
What follows is a really cool action scene. The magic users arrive, and they rope up Doom-Mite with strings. Robin surmises that they must pull the “sixth-dimension” out of the villain. As they pull, the heroes pull on time itself, and in their ropes readers can get glimpses of popular DC iterations of Batman and Superman. It’s a neat trick, one that forces readers to slow down to really take in the beauty and grand scale that Mora and Bonvillain are creating.
Doom-Mite fights back, and magic begins to explode around him. The villain needs one final blow, and in a surprising twist, Bat-Mite lunges at the imp killer. Batman tries to stop him, but in a sideswipe of heart and heavy emotions, Bat-Mite says, “Be proud of me, Batman. Thank you for being my hero.”
A 60s-era “Kapow” fills the page, and then the imp killer and Bat-Mite are gone. I’m not crying; you’re crying!
Playing in the background of this whole action vehicle of an arc has been this coldness from Batman toward Bat-Mite. It hit a turning point when Superman encouraged Batman to open up to Bat-Mite, and the Caped Crusader truly saw his imp as a person. That seemed to be the completion of an arc at that realization, but here Waid comes with a wallop to the emotions. Bat-Mite’s sacrifice draws on that character arc and gives this issue a heavy dose of humanity. With his final words, he’s also channeling every fan who has ever been inspired by the Dark Knight.
Batman/Superman: World’s Finest #29 variant cover by David Lafuente. Image: DC Comics.
Each day we, as Batman fans, go out into the world, whether we realize it or not, we’re channeling the stories, morals, codes, and legends of our Caped Crusader. It’s not uncommon to call on Batman when we think of how we can better serve the world, of how we can help others. Batman’s inspiration and effect on people has been codified into strong, real-world examples of a mythological hero inspiring others. Senator Patrick Leahy of Vermont, a well-known Batman fan, created a comic book (Batman: Death of the Innocents) with the hero to help inform the public and his fellow Congressmen about the dangers of landmines across the world. He used this information to help convince others to ban the production, export, and international sale of landmines, as well as support efforts to clear and remove them.
This is just one example,of how the existence of Batman has made the world a better place. What Waid, Mora, Bonvillain, and Wands are getting at in these panels, however, is sort of the point of superheroes. They inspire us. They inspire us to action, and hopefully someday, like Bat-Mite, we’ll repay the favor and help those in need.
In the final few panels, Batman picks up Bat-Mite’s mask, seemingly all that’s left of him. They mourn the loss of Batman’s imp while Dr. Fate and the other magic users take a depowered Doom-Mite to a special prison.
Suddenly, Bat-Mite bursts back into reality, though without any clothes! His face without the Bat-Mite mask surprises Batman, who laughs. Batman thanks his imp, then reminds him that the world he walks through is dangerous. Batman encourages Bat-Mite to help out in his own world, which would keep him safe.
As Bat-Mite prepares to leave, he asks Batman to promise not to forget him. In the last panel, Bat-Mite’s suit hangs in the Batcave alongside the costumes of Batman and Robin.
Batman’s last words are in a word bubble near the outfit. “I promise.”
The end is sweet and beautiful, and while Bat-Mite still lives, his legacy and impact have earned a place in Batman history. I mentioned earlier about the point of superheroes being to inspire readers to action, and the creative team seems to agree. Waid puts a pin in it, making sure to elaborate on what that inspiration to action means — it doesn’t mean violence or vigilantism, as noted in the speech Batman gives to Bat-Mite at the end. What the creative team is trying to say (and celebrate) is how, with Batman at our side, we can lift others up, not fight crime. We can choose to connect with others, donate our time for a person in need, or support organizations that house, feed, educate, and clothe the less fortunate.
Batman/Superman: World’s Finest #29 is a thrill ride of a comic, and it’s one that celebrates what superheroes mean to us. It’s heartfelt, action-packed, and surprisingly thoughtful. The art is also some of the best on the comic book shelves.
Editor’s Note: DC Comics provided TBU with an advance copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Amazon or a physical copy of the title through Things From Another World.
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In Batman: Gotham by Gaslight- The Kryptonian Age #2, the 19th-century world expands far beyond the reaches of Gotham.Batman: Gotham by Gaslight – The Kryptonian Age #2 by Andy Diggle, Leandro Fernandez & Dave Stewart. Courtesy of DC Comics.
Writer: Andy Diggle
Artist: Leandro Fernandez
Colorist: Dave Stewart
Letterer: Simon Bowland
Main Cover: Leandro Fernandez & Dave McCaig
Variant Cover Artists: Riley Rossmo, Ivan Plascencia, Denys Cowan, Christopher Sotomayor & Ejikure
Release Date: July 10, 2024
This comic book review contains spoilers
The StoryAt the turn of the century, an expedition financed by Bruce Wayne and led by Professor Adam Strange discovers the icy continent of Antarctica. There, they find an abandoned industrial structure with alien hieroglyphics and half of the corpse of their team’s missing navigator. Back in Gotham, Batman’s fight with Talia Al Ghul atop an elevated train ends with him getting bested and then crash-landing into a room where four individuals sit at a table praying to the demon Barbatos.
Meanwhile in Balmoral Castle, Scotland, Queen Victoria is awoken by a servant who informs her that her “personal spiritual advisor” is awaiting her in the castle’s crypt. The Queen goes down to greet none other than Mr. John Constantine. Constantine is interested in the glowing emerald relic hidden in a chest beneath the castle. Victoria informs him these relics didn’t start glowing until the year 1860, after what Constantine calls “the Carrington event.” Constantine is shown tried and hanged for witchcraft among other crimes. Thus his immortal spirit becomes an “unofficial agent of the crown,” which the Queen will use to seek out the mysterious ancient power of these relics and harness it for the benefit of the British Empire.
Back in Gotham, Bruce informs Dame Julie Madison of his findings regarding these mystical glowing relics. In a final scene, the Antarctic explorers are attacked by a giant alien centipede. After a skirmish, they are saved by a familiar-looking female warrior with a star emblemed headpiece, a sword, and a golden lasso.
Batman: Gotham by Gaslight – The Kryptonian Age #2 variant cover by Riley Rossmo (Credit: DC Comics)
AnalysisAndy Diggle continues to demonstrate he has no dearth of ideas when it comes to this most recent revival of the Gotham by Gaslight story. This second issue introduces more layers and elements to juggle from all corners of the DC Universe. While Catwoman and the Kents take a backseat this issue, other exciting chess pieces are moved into play, including a reinterpreted version of Adam Strange who successfully completed his Peru expedition and has moved on to the ice tundras of Antarctica. They appear to be harboring a Kryptonian structure of some kind.
Additionally, we’re introduced to a new subplot featuring the Queen of England partnering with or maybe subjugating Constantine for empirical gain. With this storyline, it becomes clear the extent of Diggle’s ambitions on this run. This is no longer just a Batman story. We’re spanning all over the globe and to all corners of the DC Universe. Perceptive fans will notice some carefully placed easter eggs on Bruce’s desk near the end of the issue that may hint at further superhero appearances in a somewhat more graceful version of Batman’s discovery in Zack Snyder’s BvS. Of course, the issue isn’t satisfied with just hinting at what’s to come, so we end with a cool action scene from a supremely redesigned 19th-century Wonder Woman.
This level of complexity in a brand new comic run is both refreshing and exciting. At this point, we don’t know how Wonder Woman and Queen Victoria and Antarctica and the League of Shadows and Selina Kyle and Krypton all tie in together, but Diggle’s elegant balancing act in the first two issues indicates that we’re in good hands. I only hope that we’re headed into a more interesting direction than an inevitably simplistic Justice League-centered 19th-century slugfest. Luckily, it seems that writer Andy Diggle has a lot more up his sleeve for the remaining 10 issues than that.
Additionally, the great work by artist Leandro Fernandez and colorist Dave Stewart truly elevate this issue to the next level. The globe-spanning narrative gives the story an epic scope, and whether it’s the catacombs of Scotland, the grime of Gotham City, or the icy tundras of Antarctica, the team gives each location a distinctive identity. I want to give a particular shout-out to Fernandez’s Batcave, which has never looked more like Detective Holmes’ personal study. I must have that room in my house. Exactly as it is here. The full-page splash of Batman falling off the train is disorienting and thrilling. This may just be me, but some of the character close-ups like the bartender on Adam Strange’s ship or John Constantine yelling about the glowing pendant distinctly reminded me of the late, great Norm Breyfogle. And I really can’t think of any higher praise than that.
Editor’s Note: DC Comics provided TBU with an advance copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Amazon or a physical copy of the title through Things From Another World.
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Overview: In Batman ‘89: Echoes #3, Harleen Quinzell reveals the identity of Firefly to the public, and Bruce Wayne succumbs to Scarecrow’s fear toxin. Batman ’89: Echoes #3 main cover by Joe Quinones
Title: Batman ‘89: Echoes #3
Writer: Sam Hamm
Artist: Joe Quinones
Colors: Leonardo Ito
Letters: Carlos M. Mangual
Main Cover: Joe Quinones
Variant Covers: W Scott Forbes & Paolo Rivera
Release Date: July 10, 2025
Please Note: This comic book review may contain spoilers
Batman ‘89: Echoes #3 opens at Arkham Asylum, where one of Dr. Strange’s “Monster Men” is recounting a tale from the war when he killed the enemies, then turned on his fellow soldiers in battle. He wound up at Arkham, taking a drug to subdue his memories and guilt. Dr. Jonathan Crane listens to the man’s story and notes that he would benefit from “persona therapy,” a new program that Crane is initiating.
Elsewhere in Arkham, the cameras are strangely taped off. Before security can investigate, a mysterious hand delivers beer and pizza. It’s likely belonging to one Dr. Harleen Quinzell, who has come to check security footage from a very specific date. Meanwhile, Bruce is escorted to the roof of Arkham by Rahim, one of his helpers inside, to meet with a visitor.
Drake Winston (Robin from the last Batman ‘89 miniseries) greets Bruce. Everything is going according to plan, and the charges are set where Bruce wanted them. Drake asks what he’s an accessory too, and finally, Bruce reveals what’s going on.
Bored and isolated from retiring as Batman (see the first Batman ‘89 series), Bruce was investigating the Firefly attacks in Central City. He realized that this Firefly had a mutual connection to one recently deceased Dr. Hugo Strange. Bruce found Firefly’s cabin, suited up as Batman, and went in to have a conversation.
Finally, in this third issue of Batman ‘89: Echoes, we get to see Bruce Wayne once more donning the cape and cowl. It’s a brief moment, but there’s something beautiful about seeing Joe Quinones draw the ‘89 Batsuit. It’s also paired with exposition of what inspired Bruce to set up this false identity and ruse in the first place, though over the course of the last two issues, readers have presumed what is explicitly stated here. At this point, we still don’t know who or what Hugo Strange means to 1989’s Bruce Wayne, and what we do get is a flashback that would have been a little more interesting at the start of Batman ‘89: Echoes #1. This late in the game, it isn’t salvaging this exposition-heavy story.
After Batman confronts Firefly, the villain, overwhelmed with fear, takes his own life. In searching Firefly’s cabin, he realizes that Robert Lowery, the name of Firefly, has been writing with Hugo Strange up until Strange’s death. It’s revealed that Strange had a “pupil” who was experimenting on inmates, which is why Lowery likely is suffering from such intense fear.
Drake hands Bruce a communicator, and Rahim comes back to escort “Mr. Lowery” back to his cell. Bruce runs into the inmate seen at the start of the issue, one who goes by “Edward Nigma.” Nigma gives Bruce a puzzle to solve, revealing that there were more “Monster Men” before, most of whom had been whittled down. The biggest and baddest of the bunch, a man by the name of Desmond (Blockbuster) is currently drugged up.
At GCPD, Captain Barbara Gordon enters the station to be greeted with a photo acquired by the media of the elusive Robert Lowery, the Firefly. It’s clearly a Bruce Wayne look-alike, which prompts Gordon to contact Alfred Pennyworth and let him know that their deal (which is to leave Bruce along so long as he retires from being Batman) is over. Before Gordon can head to Wayne Manor and act on her plan, she’s stopped by the FBI.
Undercover Bruce Wayne and Drake Winston (Robin) meet
At ACN, Harleen Quinzell’s producer, Chuck Lantz, promises that her show will be back on the air soon, but they have to hide the fact that she leaked the photo of Robert Lowery to the public. At Arkham Asylum, Dr. Crane confronts Bruce, telling him that his fear tests reveal that he’s overcome his phobia of bats. He’s suspicious, but Bruce tells Crane that he’s been practicing meditation.
Crane’s questioning goes deeper, noting that Bruce showed a fear to young mothers getting gunned down, which triggers a memory of Jack Napier murdering the Waynes. Crane then puts on a gas mask and blasts Bruce with fear toxin. Quinones gets to stretch his muscles here, showing a trippy blend of nightmarish visions and real-time questioning from Crane.
Scarecrow demands to know who sent Bruce, asking if it was the FBI or the CIA. Bruce, succumbing to the fear, admits that no one sent him, that Strange worked for him. He then tells Scarecrow that he’s Batman, though Crane is hard-pressed to believe it.
If this review has read like one long exposition, it’s because that’s what this series continues to be. We get a little momentum at the end of Batman ‘89: Echoes #3, as well as a cliffhanger teasing a showdown between Scarecrow and Bruce Wayne, but it’s too little to muster any sort of thrill or excitement.
The reality is, there are so many moving parts and characters to Batman ‘89: Echoes, that reading it can feel like a slog, making one feel like a casual viewer popping into this alternate Gotham City but never staying long enough to fully digest a story. It doesn’t help that this series releases issues every three months.
Editor’s Note: DC Comics provided TBU with an advance copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Amazon or a physical copy of the title through Things From Another World.
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In Batman & Robin #11, the Dynamic Duo head to Dinosaur Island, only to find Bane making quick work of Kobra cultists.Batman & Robin #11 main cover by Simone Di Meo
Title: Batman & Robin #11 – “Welcome to Dinosaur Island”
Writer: Joshua Williamson
Artist & Colorist: Juan Ferrerya
Cover Artist: Simone Di Meo
Variant Cover Artists: Juan Ferrerya & Travis Mercer, Andrew Dalhouse, Christian Ward
Release Date: July 10, 2024
This comic book review contains spoilers.
On Dinosaur Island, Bane stalks a Tyrannosaurus Rex. It swallows him, and he bursts forth, Jonah-style, through its jaw. Elsewhere on the island, the Dynamic Duo are swooping in, Batman in the Batplane, Robin astride Goliath. A horde of pterosaurs hurtles towards them, and as Batman and Robin navigate through, they realize the saurians are fleeing rather than attacking.
The source of their fear soon becomes apparent. Maya shows herself and leads them to a clearing where the Kobra cult is trying to capture the dinosaurs in cages. Bane appears and summarily disposes of the cultists, but, as Batman points out to Maya, he does not kill any of them. Batman cautions that Bane is incredibly intelligent and needs to be watched before engaging. Robin, enraged at the sight of Bane and thinking only of Alfred, mounts a dinosaur and charges into the clearing to attack Bane. Batman and Maya race after him, only to find themselves amidst a herd of dinosaurs. As Batman prepares to defend, he is grabbed around the neck from behind. Vengeance hoists him with one arm and warns him to leave her father alone.
What is Bane up to on Dinosaur Island? (Credit: DC Comics)
Towards the end of the book, Batman states, “I miss Gotham,” and he is not alone. Perhaps writer Joshua Williamson is reassuring the audience that we will find ourselves back in Gotham soon enough, which, for this reader, would be welcome news. This is a straightforward opening sequence in the new arc, and Williamson wastes no time in setting the characters, the backdrop, a mystery (what is Bane doing?), and the ghost that initiates the movement (Maya). In that vein, it is remarkable how quickly Williamson advances the arc in a single book and is a sharp contrast to the longform currently being used by Ram V on Detective Comics (for example). Williamson has mostly opted for a light-hearted tone in his work on Batman and Robin, as even the plot Man-Bat pushed felt more “Scooby-Doo” style villainy as opposed to the dark, almost horror stylings we saw in James Tynion IV’s Joker War and Fear State.
The bleaker throughline relates back to the very important death of Alfred, and Robin’s rage and trauma at being made a witness to Alfred’s murder literally at Bane’s hands. It’s worth pointing out how important Batman and Robin must be to the editors, if they are choosing this book as an outlet for creatives to circle back around to Alfred’s death.
Although it is nice to see Nikola Čižmešija take a break from the book in favor of Juan Ferrerya, it’s unfortunate that artist Simone Di Meo, who has been doing incredible work recently, only has the cover here. Hopefully we will see more of him soon!
Editor’s Note: DC Comics provided TBU with an advance copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Amazon or a physical copy of the title through Things From Another World.
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In Poison Ivy #24, Solomon Grundy uses the power of Slaughter Swamp to resurrect Poison Ivy.Poison Ivy #24 main cover by Jessica Fong
Writer: G. Willow Wilson
Artist: Haining
Colors: Arif Prianto
Letters: Hassan Otsamne-Elhaou
Cover: Jessica Fong
Variant Cover Artists: Frank Cho, Sabine Rich, Chris Bachalo, Nimit Malavia, W. Scott Forbes
Release Date: July 3, 2024
This comic book review contains spoilers
The StoryPoison Ivy dies surrounded by her friends: Harley Quinn, Solomon Grundy, Killer Croc, Janet from HR, and Peter Undine. Quinn laments that it’s only the people who try to fix what’s broken that end up being punished while Grundy offers a chance at resurrection. The group is in Slaughter Swamp: the place where Grundy died and came back. Grundy submerges Ivy in the heart of the swamp, and she has another one of those psychedelic visions this run has become known for.
Ivy once again sees the tree of life, which tells her that she violated the boundary between green and grey by taking the power of the lamia for herself. She promises to stop messing with mushrooms before she is returned to the land of the living. During the big reunion, Janet from HR is so overcome with emotion that she admits that she slept with Ivy and kissed Harley. But good news for her: neither of them actually care.
She Lives! So here we are, after 24 months of teasing Ivy’s death as a result of the toxic labia spores, we finally get to see the narrative conclusion to this arc. The result is… disappointing. It’s yet another Deus Ex Machina: the undead zombie Solomon Grundy uses the regenerative swamp that cured him on Poison Ivy. Instead of coming back as a grey monosyllabic corpse, however, Ivy inexplicably returns good as new.
I have been all over the place with this run. Initially, what began as a Thelma & Louise-road story with a ticking clock element of Ivy’s eventual death was compelling. The pandemic-body horror elements provided a topical resonance, and Ivy’s internal conflict coupled with demons of her past and her awareness of an impending death all created great character depth. Unfortunately it seems like writer G. Willow Wilson’s planning only went so far as after an interlude into Ivy’s early life, we were presented with one of the most repetitious and drawn-out arcs in recent comics. The last three issues have all dealt with Ivy’s final death scene, all in the midst of a mystical resurrection swamp that served to undo everything we’d been building up to in the first place. I’m not saying I wanted or expected Ivy to die, but it would’ve been nice to see her brought back in anything other than the laziest way possible.
Solomon Grundy carries Ivy’s body into Slaughter Swamp. (Credit: DC Comics)
The End of the (non)Love Triangle Another way this arc wrapped up in a less-than-satisfying manner is with the Janet from HR, Harley, and Ivy love triangle. For months Wilson has been teasing an imminent blowup as Janet from HR has engaged in relations with both Harley and Ivy, unbeknownst to them. The couple is presumably still in something resembling a monogamous relationship, after all. That trail that we’ve been literally following for months ends here with a comical moment where Janet admits her indiscretions to virtually no reaction from the couple. Granted, Ivy did just return from the grave, so maybe they have more immediate concerns, but it’s still a huge slap in the face to anyone who has been following this storyline for months for the resolution to be, well, nothing. None of the characters have to confront their own actions or grow or learn anything. This entire storyline was pointless through and through.
The ArtHaining has not been listed as a guest artist since joining the run on issue 22, and it’s not hard to see why she was chosen as a replacement. The art is good. Haining deftly balances strong character work with action, and it bears more than a passing resemblance to Marcio Takara’s striking work, while not quite reaching the same highs. Arif Prianto’s colors are vivid and pleasant enough to, along with Haining, provide an animate visual contrast to the wearisome storytelling.
Editor’s Note: DC Comics provided TBU with an advance copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Amazon or a physical copy of the title through Things From Another World.
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Overview: In Batman #150, the man who learned Batman’s secret identity finds himself way over his head, and only Batman can save him.
Batman #150 main cover by Jorge Jimenez
Title: Batman #150 — “Be Better”
Writer: Chip Zdarsky
Artists: Denys Cowan & Jorge Jimenez
Colors: Tomeu Morey
Letters: Clayton Cowles
Cover: Jorge Jimenez & Alejandro Sanchez
Variant Covers: Dustin Nguyen, Mattia de Julis, Tirso, Chris Samnee & Mat Lopes
Release Date: July 3, 2024
Please Note: This comic book review may contain spoilers
Batman #150 opens with a former cat burglar of Catwoman’s at a bar, seeking out advice from the bartender. The cat burglar’s name is Teddy, and he needs money. This Teddy is also the one who found one of Batman’s secret hideouts in Batman / Catwoman: The Gotham War: Scorched Earth #1.
Flannigan, the bartender, warns Teddy not to go through with his plan to make money off of this. He relays a story from a few nights ago, when Batman was found lying in the street outside of the bar. Some patrons decided to take off Batman’s mask, and they took a beating as a result.
As Teddy mulls this story over, another patron intervenes. This other man, named Percy, can connect Teddy with some of Gotham’s villains who will pay handsomely for information about this hideout. Percy makes a deal with Teddy, asking for a small cut, and the two toast to their new business venture.
Much of the art in this issue comes from Denys Cowan, a legendary illustrator who, among working on Batman titles over the years, also co-created Henri Ducard and founded Milestone Comics. As a longtime Batman fan, it’s great to see Cowan back on the title, layering in a street-level grit that, beyond setting the scene, adds a realism and grounded-ness not seen on the title in a while. The first few panels opening the issue hit heavy with this 70s/80s era pulp style that harkens back to a more classic Batman tone, despite Batman’s costume fitting the modern look.
The next day, Teddy awakens with a hangover. He was beating down the door of Kim, the mother of his son, Yuto. Kim let Teddy in and watched over him, making sure he didn’t kill himself in a drunken stupor. It’s during their conversation that Teddy learns that their son, Yuto, moved out. Teddy is heartbroken by this, and Kim stops the wannabe bigshot from self-pitying. She tells him that he always has “something big” in the works, but he never gets a real job, never gets rid of that “chip on his shoulder” that holds him back from actually achieving.
It’s a refreshingly adult conversation, one drenched in emotion from writer Chip Zdarsky and penciled beautifully by Cowan. The way Cowan subtly layers in complex emotions on characters’ faces, the way he uses eyes to reflect care and love buried beneath Kim’s cold, straightforward demeanor, is incredible. This opening feels so real, as if this Gotham City is populated by complex humans layered with contradicting emotions, ideas, and personalities.
Later, Percy takes Teddy to meet with Two-Face. Harvey Dent asks everyone to leave the room except for Teddy, and that’s when he tells Teddy that he already knows who Batman is. He assumes that Teddy knows Batman’s secret identity as well but not really well. Two-Face waxes on about how he knows the real man behind the mask, about how the “four of them” have fought. Two-Face realizes that if one took full control of the other, the beauty of their duality would be gone, and that a true Batman would be a relentless monster.
Two-Face pulls a gun on Teddy, but it’s Harvey threatening to kill Teddy. Two-Face’s personality steps in, telling Teddy to leave. He tells the wannabe bigshot that he’ll soon learn exactly what he’s dealing with. As Teddy and Percy leave, Teddy spots Batman perched on a rooftop across the street. Teddy freaks out, but Percy convinces him to stay calm. The two take their business elsewhere.
At the Iceberg Lounge, Teddy and Percy meet with Aiden and Addison Cobblepot. They make a deal together, and then the siblings leave to take care of an intruder — Batman. One of their bodyguards, an old colleague of Teddy’s by the name of Roger, warns Teddy and Percy that the Cobblepots intend to kill them. The logic checks out, but before Teddy can bail, there’s an explosion.
Teddy awakens in a hideout belonging to Roger and some other former henchmen of Catwoman’s. They used their burglary training to steal from their other former bosses and are now a team that could use Teddy’s information.
Later, Teddy is riding in a van with a bunch of them, and they’re going to hit a bank, using Teddy as a warning to Batman. They believe Batman won’t throw Teddy in prison because it would force him to make a deal. At the bank, as Belle, Cut-up, and the others run out, they’re greeted by Batman. One of their own has betrayed them for a reduced sentence. As the gang battles Batman, Teddy runs for it, but it’s no use.
Batman towers over him, and his cloak descends on the poor hoodlum.
Throughout this story, Batman’s body and build changes, morphing with the interpretation of whoever is seeing him. In some flashbacks, he’s crisp and cleanly drawn by Jorge Jimenez. In others, he’s a towering figure overwhelmed with muscles. In this last shot of Teddy at the scene of the crime, Batman’s entire face is masked, including his mouth. He’s a broad-shouldered phantom.
Teddy awakens in Yuto’s dorm room just as Yuto is returning home. Yuto is surprised, and at first, he thinks his dad is drunk. The two argue, with Teddy trying to defend himself by saying he was trying to put food on the table. Yuto, who is attending Gotham University for a business degree, tells his dad that he used to look up to him, that he even tried to work for a criminal once.
We see Yuto’s story working for the Scarecrow, learning how dispensable he was when Batman arrived. It was Batman who held out a hand to Yuto; it was Batman who saved him.
Yuto relays how Batman listened to him, then encouraged him to apply for a scholarship at Gotham University. Batman knew who he was and knew who his dad was. Yuto got the scholarship and heeded the advice of Batman, “Be better.”
The words echo as Teddy leaves his son’s dorm only to be greeted by Bruce Wayne. Teddy realizes that, with everyone knowing that he knows Batman’s identity, it’s dangerous in Gotham for him. Bruce agrees, but he’s here to help. He has a new place, job, and identity for Teddy in Metropolis. When enough time passes, Teddy can come back, and in that time, Yuto will be okay. All the two of them can hope for is that their children are the best parts of them.
Teddy leaves Gotham, looking out at the Batsignal and remembering Bruce’s parting words that when he returns, Batman will be there to help.
After all the action-packed battles with Zur-En-Arrh, the Daniel Captio surprise, and the non-stop battle across different dimensions of Gotham, Chip Zdarsky finally brings it home with Denys Cowan, Jorge Jimenez, and Tomeu Morey. This issue has so much heart and love to it. It’s a one-shot story that ranks among the best of them as a man gets in over his head and realizes that he’s been getting in his own way all these years.
“Be Better” is exactly the kind of story we have been missing from the pages of Batman for some time now. It’s the story that challenges us to be our best selves, with beautifully dramatic and emotional art by Cowan that feels so realistic and lifelike.
Teddy can’t resist making an easy buck. (Credit: DC Comics)
Title: “Brick-by-Brick”
Writer: Chip Zdarsky
Artists: Mike Hawthorne
Colors: Romulo Fajardo Jr.
Letters: Clayton Cowles
In the backup story, which is a direct tie-in to DC’s summer Absolute Power event, Batman tracks down Cyborg in order to get help fighting Amanda Waller’s army of Failsafe-empowered Amazo robots. It’s mostly expository captions that explain what’s happened to the world and how Waller has created a robot army to assume control. The heroes are on the run; Cyborg gets captured; and Batman needs to regroup with other Justice Leaguers.
All in all, it’s mostly an advertisement for Absolute Power #1, which is out in stores currently. As an addendum to Batman #150, this tacked-on story takes all the energy, love, and power from the main story. It takes those feel-good emotions and tosses them in a shredder, and with that said, it’s really not worth your time. Just read the main story, then close the book.
Editor’s Note: DC Comics provided TBU with an advance copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Amazon or a physical copy of the title through Things From Another World.
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In The Penguin #11, Penguin sets in motion a plan to reclaim Gotham, all while the Batman lays out a threat to the would-be king of Gotham’s underworld.The Penguin #11 main cover by Carmine Di Giandomenico
Title: The Penguin #11
Writer: Tom King
Artist: Rafael De Latorre
Colors: Marcelo Maiolo
Letterer: Clayton Cowles
Main Cover: Carmine Di Giandomenico
Variant Covers: Tirso Cons
Release Date: June 25, 2024
This comic book review contains spoilers.
The Penguin #11 opens with Batman kicking the crap out of Penguin. The reason behind the beating is that Addison Cobblepot confessed her crimes to Batman, telling the hero that Oswald is playing him in order to retake control of the Gotham underworld. Batman tells Oswald that their deal is over and if he breaks the law, he can expect Batman to break his nose.
Penguin gets word to The Help to get to the gold that he has stashed away below Gotham City, but when The Help gets there, all he finds is a Batarang. Lisa St. Claire breaks up with Oswald by writing him a note. Her inner monologue lets us know that Oswald is the talk of the underworld as he is mocked for being broke and being a snitch to Batman. Penguin gives Sparkler a speech about how he is not good and then gives him a bus ticket back home.
Addison thinks Penguin’s Force of July squad is gone, so she sends Aiden Cobblepot to kill Oswald. However, Two-Face goons want revenge, so they go to kill Oswald. A massive shootout takes place. Force of July goes down. The FBI shows up. Aiden opens fire. It’s that massive battle that we saw the aftermath of in a previous issue. All of this is happening while Penguin sits in his apartment and reads a book.
Aiden makes his way to Oswald’s room. He is looking for help because of the wounds that he has suffered, but all Penguin does is stab him with his umbrella. The Help informs Batman of the massive shootout, and Batman heads out to deal with it.
A threat from Batman is not one to take lightly. Courtesy of DC Comics.
I like this issue a lot. There’s betrayal everywhere you look. Penguin is manipulating everyone into that shootout at the end, which was a stroke of genius. I liked it at the start when Batman has finally had enough of Penguin, and Penguin tells Batman that he has broken his nose 37 times. Outside of Joker and Catwoman, Batman has as much history with Penguin as anyone else, so I like that little tidbit of backstory.
The art is as strong as ever. This was one of my favorite issues of this series. Maybe it was because it involved more action, but I really liked seeing Penguin maneuver all the pieces on his chessboard in a way that benefits him. Gotham thinks he’s down and out but that is what Oswald Cobblepot wants.
Editor’s Note: DC Comics provided TBU with an advance copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Amazon or a physical copy of the title through Things From Another World.
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In Harley Quinn #41, Pulaski forces Harley Quinn to be a mole to uncover the identities of the Bat-family. How will Harley get out of this predicament?Harley Quinn #41 main cover by Sweeney Boo
Title: Harley Quinn #41
Writer: Tini Howard
Artist: Sweeney Boo
Color Artist: Sweeney Boo
Main Cover: Sweeney Boo
Variant Covers: Francesco Francavilla
Release Date: June 25, 2024
Quit Buggin’ Me!We find Harley Quinn teaching her class. She was just released from police custody.
Pulaski, in interrogating Harley, told her about her daughter, who idolized the Sirens and as a result turned to a life of crime. Pulaski herself had to arrest her, and she now wants revenge. The target is Batman, after all none of the criminals in Gotham would be there if not for the existence and actions of the Dark Knight and his allies. Her plan is to get Harley to uncover their secrets.
To convince Harley, Pulaski decides to pay Quinn a visit and beat her senseless. Harley leaves, now given a new mission that will take her away from her Ivy mission. Poison Ivy will have to wait. Harley finally returns home, decides to communicate with Ivy by signs as she is bugged. She decides to hunt out Tim Drake. Harley insists that this will be over soon.
Harley sucker-attacks Tim, and the two get into a tussle. Tim has already deduced that Harley has been bugged, and Harley triggers a car alarm, so she can speak to Tim. She tells him about the cop’s plan and Mr. Freeze.
Later Robin and Harley visit Freeze’s Ice Scraper and get into a fight with freeze’s guards. The two decide to meet again and take care of Mr. Freeze. First Harley has to make a stop.
She visits Maxie and gives him some food; she also leaves Maxie a note saying that she is bugged but be patient. She tells him to eat the note. Harley leaves and Pulaski arrives to take the note back and drug Maxie. Pulaski decides to beat Maxie Zeus up.
Harley takes a few lumps (Credit: DC Comics)
First off the good. The art is very enjoyable. It has the whimsical quality that I expect in a Harley Quinn book, and Sweeney Boo does a great job in making it fun to look at. Sweeney uses bright colors to make panels pop and her designs of the characters from Robin to Harley herself is very good and believable.
Unfortunately this is where the comic stops being good and enters cringe territory. I do not appreciate using Pulaski this way, including her motives and actions. First, her motive in being a thorn to Harley Quinn is not just being a cop bringing in a criminal. She is seeking revenge for the fall of her daughter. She blames the Sirens for planting ideas of grandeur in her mind. However, she ultimately blames Batman, and this is a tired plot point that keeps resurfacing. Is there ever a fresh idea in storytelling? She blames Batman for the rise of the criminals. In her mind, if Batman was not around the Sirens would not be around and therefore her daughter would not have been corrupted.
Now to the actions, can anyone say police brutality? Not to mention that she fired on an unarmed Harley Quinn in the last issue, she takes this issue to basically beat Harley into submission. This is reminiscent of the Joker’s mistreatment of her. She basically slaps around an unarmed and helpless Harley Quinn. She is handcuffed to a chair. At the end of the issue, Pulaski states that she is going to beat Maxie who she just drugged to incapacity. Pulaski even threatens Harley’s innocent students at the college who really have no idea what is going on.
This is just proving that the police in Gotham are just as incompetent and corrupt as they ever were in the other titles. This is a poor direction to send Harley Quinn. It is her wackiness that gets her in these situations, but in this issue the onus falls on Pulaski and her literal misconduct in office all because she had a difficult time being a parent to her daughter.
Editor’s Note: DC Comics provided TBU with an advance copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Amazon or a physical copy of the title through Things From Another World.
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In Detective Comics #1086, the Orghams kick their plan to take over Gotham into yet another gear as Batman and his allies, both heroic and villainous, strike back.Detective Comics #1086 main cover by Evan Cagle
Title: “Gotham Nocturne: Act III – Crescendo, Part 3”
Writer: Ram V
Artist: Stefano Raffaele
Colors: Lee Loughridge
Main Cover: Evan Cagle
Variant Covers: Javier Fernandez/Dave McCaig, Seb McKinnon, Sebastian Fiumara (1:25 incentive)
Release Date: June 25, 2024
This comic book review contains spoilers.
Batman, sporting his new bloody Batsymbol on his chest, beats up dozens and dozens of gang members in an ancient trainyard on his way to meet Two-Face. Using his tiny sound wave speakers, Batman rids Two-Face of the azmer demon, so Harvey can take over again. He apologizes for not understanding the struggle against the azmer and asks for Harvey’s help against the impossible Orgham forces.
Three years after being dragged out of her Joker’s Daughter persona, Duela Dent rents from a kindly old couple in Gotham. Joker sits next to her on a bench and tells her he’s microwaved one of her landlord’s cats to frame her, then leaves her his old mask of his face (from the n52 Detective Comics run).
Jim Gordon gets data on the Orgham’s mysterious plans from his daughter, Oracle, and gives it to Commissioner Montoya (obviously, this story happens on a completely different timeline from the main Batman book).
Batman gives the Ten-Eyed man the same data, looking for patterns.
The Orghams plan to set loose the disenfranchised on the streets of Gotham, led by a Shadow Angel taking the place of Prince Arzen.
On the rooftops, Batman meets with Nightwing, Cassandra Cain Batgirl, and Azrael, recognizing the false flag attack by the Orghams on themselves to paint themselves as innocent responders when they take over Gotham officially. Batman leads his family to fight for Gotham’s dark soul.
Duela reclaims her mission as Joker’s Daughter, murdering her kind landlords brutally, and putting on her old mask as Gotham burns.
Batman and Harvey meet face-to-face-to-face. (credit: DC Comics)
With three issues following this until the end of his run, Ram V adds multiple new elements to the story as it builds to its climax. The mysterious Shadow Angel, yet another Orgham villain with unspecified origin, powers, and motivations, arrives and seems to look a lot like Prince Arzen (but can’t be because Shiva stole his body and gave it to Talia to dunk in a Lazarus Pit a few issues ago). Ram V also drags Joker’s Daughter in from her peaceful retirement. Plus, the Orgham’s have an additional new plan that Batman, Oracle, and the Ten-Eyed Man are trying to predict. This is all while the Orghams launch a false flag attack on themselves, so they can appear like they are responding to a threat when they take over the city. All of these new elements are completely confusing.
Shadow Angel perhaps was set up by the Orgham Queen’s mysterious plan last issue, but again, with so many Orgham villains having no origin, powers that have no definition, and no motivation whatsoever, adding another villain only adds to that frustration. Joker’s Daughter, last remembered in the new 52 where she turned the stomachs of so many readers, is dragged into Joker’s plot against both Batman and the Orghams in yet another stomach-churning, disgusting way. Microwaving a cat to incite a girl to murder people who have been nothing but kind to her is very characteristic of the Joker, but it’s also the kind of thing that is designed to make the reader hurt and disgusted without any recourse. It’s the kind of thing that’s best done at the beginning of an arc so there can be processing and justice. Instead, it’s just thrown in as another escalation of plotlines when the plotlines we already have don’t make sense.
The Orgham’s secret new plan seems to exist just to give Oracle and the Ten-Eyed Man something to do, without having any stakes we actually care about. And of course, the Orghams launching a false flag attack no doubt has wonderful Nazi parallels, but since they already held a public execution in the middle of the city, and talk all the time about how they control the city, having another plan to take over the city again is absolutely bizarre. Add to that the use of extremely complicated symbolic figures like JFK and Gandhi, a gratuitous repetition of Morrison’s “Hole in the world” imagery from the end of Batman Incorporated Vol 2 (far surpassed by Vol 3 by Ed Brisson recently), and you have a book that is trying to say something serious about the world, and crime, and the oppressors and oppressed, but instead get something that runs purely on vibes and falls apart at the slightest breath of careful reading.
A few things stand out as positives. The writing of the established characters, from Jim Gordon to Azrael, continues to show that if Ram V weren’t obsessed with the Orgham plot, this could have been a strong series. The excellent art of Steffano Raffaele also remains a stunner, and it’s nice to see the maintaining of single artists per issue. However, these minor positives don’t outweigh the consistent unnecessary frustration of the plot and main villains.
What About the Backup?Title: “Habeas Corpus”
Writer: Alex Paknadel
Artist: Lisandro Estherren
Colors: Patricio Delpeche
One of Two-Face’s boys called Stumbles betrayed him and killed another gang member in a gun-buying operation. Two-Face argues with himself about killing Stumbles, imagining a court of law and his old principles. Harvey gets Two-Face to flip for it, and the clean side lands up. Two-Face orders Stumbles banished instead of killed and rounds up his entire gang to go to war with the Orghams.
I really struggle with the sympathy this comic is attempting to arouse in me for characters like Duela, Stumbles, and Two-Face. The sympathy is good to remember the darkness in all of our hearts, but the idea that because they faced hard choices and abuse it’s okay that they murder others is completely unpalatable. It leans towards the idea that Batman has more sympathy with his villains than with the people he’s trying to protect that seems to be one of the main ways The Killing Joke has pushed his character.
That extreme rejection of the story’s apparent moral point aside, Paknadel’s writing is nicely deployed. The internal conflict and lawyer’s setting is fun to see deployed in a Two-Face story, and the tension leading to Harvey’s final decision is very nicely handled, and dovetails well into the main story, as these backups often have been.
The art by Lisandro Estherren, however, is very messy and unappealing. One could argue that it may be intentional – similar to artists like Eduardo Risso or Denys Cowan, Estherren may be capturing the ugliness of the Gotham underworld – but it seems unnecessarily off putting. Fans of Batman: The Animated Series may appreciate the design similarities that Estherren puts into the Harvey side of Two-Face, however!
Evan Cagle’s main cover shows Batman wrapped in his cape as bats made up of Joker smiles fly away – a clever way of hinting at the growing Joker menace in the book. Seb McKinnon’s variant paints Batman in a cemetery beneath a stone angel, a very emotional and lovely image, though the connections to the main story are much harder to discern (if there are any). Veteran artist Javier Fernandez’s variant shows Batman fighting gang members with bar codes on the backs of their heads, a very visceral scene compounded by the glaring red and orange lighting. Sebastian Fiumara once again provides the 1 in 25 incentive variant, this time a statue of Batman defaced with Joker graffiti – another nice nod to the rising Joker plotline in the story, though the cover lacks a lot of Fiumara’s stylistic flourishes.
Editor’s Note: DC Comics provided TBU with an advanced copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Amazon or a physical copy of the title through Things From Another World.
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Where does the time go? Steph and Ian got together, even though their summer is ramping up, and took some much-needed Batman: Wayne Family Adventures time. See what they have to say about the newest Webtoon mini episodes!
Steph: AHHH! IAN, IAN, IAN…GUESS WHAT!
Ian: Let me guess…There is pizza for dinner! No? What about a pig flying, that would be in the news? No? Wait…IS WAYNE FAMILY ADVENTURES BACK?
Steph: Well, really, really close. There are 3 new mini episodes before the launch NEXT WEEK! And I had pizza for lunch.
I am so excited. Have you read the mini episodes?
Ian: Delish! I have read the mini episodes, and I love them so much! I cannot wait to review them with you!
Steph: Let do it then!
First is Break Time! Alfred just wants sip his tea and to read a book, but the family is having trouble letting him!
This was so cute. It featured everyone struggling to make it without Alfred for 15 minutes.
Ian: It was a great concept for getting back into the series – it sets up the type of story WFA has always excelled at, introduces all of the main players and many of their relationships with each other, and does so very efficiently so that the art duties wouldn’t be too hard for just one artist – TobyFan – to handle instead of the normal team of three to five artists! I’m really impressed!
What would you say your favorite character interaction was? Can I guess it has something to do with a certain “uncrackable” safe (Dark Knight Rises reference, I see you!)
Steph: Well, duh, that one was great. I always love seeing Batman admitting he needs help, especially from his girlfriend. But I have to say seeing Damian kiss Alfred the Cat was my favorite, especially since Steph captured the moment. What was your favorite?
Ian: Steph both razzing and supporting Damian in his gentler side, of course! Her facial expressions are so perfect – the blend of mischief and affection is unbeatable – and it brings so many memories of her Batgirl series where she and Damian first met!
Steph: Yeah. I love that she knows that Damian will want to see himself loving animals when he gets older. Wise foresight on her part. I do have to wonder what Cass, Jason, and Duke were up to with the painting and the green…slime?
Ian: nothing good, that’s for sure! Thus Duke’s apologies!
Steph: And Dick really did look worried. What do you think he did to Tim?
Ian: Probably stole his coffee, knowing WFA! Though to be fair, WFA hasn’t leaned TOO hard on the “Tim drinks too much coffee” fanfic trope
Steph: He looks very wet. I wonder if he got dumped on or something.
Next we have “Third Time’s The Charm”…I know you were pretty excited about this one.
Our favorite villains are back…the Tim Drake kidnappers. Do you think Tim over planned things?
Ian: He absolutely over planned them! In classic Tim Drake fashion – reminds me of the (in my opinion a bit tragic) “Tim plans too much” comics like Robin #183 and Red Robin #26. It was such a wonderful bit of continuity and shows that even with a joke we’ve seen multiple times, the CRC Payne can figure out a new angle and new bit of humor to evoke!
What did you think of this episode of the continuing saga of Tim and Jason and The Kidnappers?
Steph: I liked it. It seemed like, though they’re still villains, they seem to be slowly reforming. Like…they didn’t seem eager to actually kidnap Tim, they just nicely asked for his money.
Ian: I mean, I think ultimately robbing someone is still bad, but they didn’t seem that intent on violence, and treated Tim with friendliness!
Steph: Honestly, I think Jason was not justified in his actions! They didn’t do anything to require getting beat up…other than Tim needing an out.
Ian: Interesting…I think robbing someone justifies you being stopped for sure! I dunno if Jason needed to be quite as violent, but he is Jason, after all! I also liked the emphasis on chibi art this episode.
It’s not something I’d want to see as prominently in a “main episode”, but I think it fits the idea of a “mini episode”
Steph: I loved all the chibi. It helped differentiate that past/memory and the present really well. Also, it was foreshadowing that maybe it wasn’t the most thought-out plan.
Ian: For sure! It both emphasizes the cuteness of the series, and gives a comedic tone that helps the jokes land well!
Steph: Do you think we’ll ever see them again?
Ian: I think it’s inevitable! Though I’d imaging in different contexts – maybe Tim running into them individually, so we get a sense of them as characters instead of a bumbling trio! Maybe pushing them even further on the redemption arc?
Steph: Maybe. That would be interesting.
Ian: What do you think? More of these three?
Steph: Oh, I hope so. I agree with you, pushing them into a redemption arc, or at least a journey of some kind would be fun. Like, if the next time they kidnap Tim they have a heart-to-heart. I’d love that.
Or maybe Jason get’s kidnapped. That would be fun, too.
Ian: that would be AMAZING! And Tim getting to rescue him would be a hilarious turnabout
and maybe he fails at the last second and Jason has to save again haha.
Steph: Next we have “Super Friends” where Duke bemoans the fact that he, unlike all the other Bat-family, does not have his own Flash, Amazon, or Kryptonian friend.
Ian: A real problem indeed!
Steph: This was my least favorite of the three, but still cute!
Ian: I don’t know if I could say it’s MY least favorite
for a very predictable reason!
of course
Steph: I did get to see baby Jon Kent, which I always love.
Ian: STEPH WAS IN IT AGAIN! And her amazing adventures with Kara Supergirl were mentioned – something that I have always loved from the wonderful World’s Finest miniseries by Sterling Gates and the great Batgirl #14 issue! I get a real sense that CRC Payne definitely read Steph’s Batgirl run carefully – the continuity references are too precise for anything else!
Steph: Oh, I can see how that would make you so excited! I kind of wish they had referenced where all the stories can be read so I can look into some of them!
Ian: Editor’s notes would be so great!
But I dunno if many others would agree.
I think it would be a great way to sell more older comics to new WFA fans, though!
(I definitely drop into the comments and try to recommend the issues referenced, though!)
Steph: I was thinking that this episode was probably put in here because this season we’re going to see a lot more of the DC universe in the “pages” of Wayne Family Adventures”. What do you think?
Ian: I certainly hope so! And maybe they’ll try a new strategy instead of launching a ton of series, and instead grow series out of something from WFA! I’d love to see more of the DC Universe explored in Webtoon format!
Steph: That would be fun. They snuck in a couple of Kent Family Adventures last season that I hope were well received. I loved them!
Ian: For sure!
Steph: When did Cass and Connor date?
Ian: An EXCELLENT question!
I happen to be online friends with the biggest fan of Cass and Conner’s relationship (who has commissioned literally hundreds of art from different artists featuring them). And so I know that Cass and Conner dated back in the early 2000s, in the Superboy and Batgirl series (Superboy #85 and Batgirl #39-41)
It was just a few issues, but was quite fun!
Steph: That would be an interesting pairing.
So, Ian, on a scale of 0 to ecstatic, how excited are you about this upcoming season?
Ian: The most incandescent ecstatics of all! What is your excitement rating?
Steph: Oh man…I’m off the scale. I cannot wait to see more Bruce/Selina romance, Super Sons adventures, and Bat-Family shenanigans.
Ian: For sure! I also wanted to mention the latest collection of WFA – volume 4!
It’s got an amazing special feature of Vasco Georgiev’s cover process, from concept sketches to fully colored art! Shows a lot of the goals and designs that went into the process of getting these delightful comics in our hands in hard copy!
Steph: That sounds so good! I have volumes 1-3, but I need to get the 4th one too!!
Ian: I can’t wait for volume 5 particularly, with Steph’s origin to match my Dark Knight Detective vol 8 trade!
Steph: Man, I can’t wait to review these with you again this season. It’s going to be so fun!
Ian: It’s going to be wonderful! I hope everyone tunes in with use next week as Season Three officially kicks off!
The post Review: Batman: Wayne Family Adventures Season 3 Mini – Episodes appeared first on The Batman Universe.
In Catwoman #66, Selina Kyle and Scandal put their plan in motion to enlist the alliances of Santa Espada and Flamingo.Catwoman #66 main cover by David Nakayama.
Title: Catwoman #66
Writer: Tini Howard
Artist: Ivan Shavrin
Color Artist: Ivan Shavrin & Veronica Gandini
Main Cover: David Nakayama
Variant Covers: Rachta Lin & Pablo Villalobos; Otto Schmidt (1:25); W Scott Forbes (1:50)
Release Date: June 18, 2024
This comic book review contains spoilers.
Scandal Savage and Selina Kyle are asleep. Selina is suffering from a nagging headache, and Scandal can hear something that is driving her crazy. Selina has a dream with the cat god who tells her that there is something foreign in her. Scandal wakes up Selina, and since Selina cannot hear or detect anything, they put their plan into motion.
Scandal calls Flamingo and Santa Espada separately, saying that she has the item they are looking for. Neither villain is aware that the other is involved. Scandal is to present a seemingly unconscious and captured Catwoman. She will turn over her prisoner for the right price.
Both villains take the bait. Scandal presents the prize and then leaves to negotiate with the two villains separately. Catwoman, using a device she “borrowed” from Batman, will make her escape to the second container, rebind herself, and be presented as a helpless captive. Santa Espada suspects a trick when she notices blood on the floor. Flamingo stabbed Selina in the leg to verify that she was still alive. This leads to a standoff where Catwoman knocks out Flamingo, and Scandal fights with Santa. Eventually the henchmen of the two villains are killed, leaving all the main villains to discuss what is happening.
The four agree that Viceroy is pulling a scam on all of them, so they set up a last stand in Gotham with Selina and Scandal’s people to help.
Scandal Savage’s wake-up call. Image courtesy of DC Comics.
The best part of this book again is the art. I actually preferred the final product of the second colorist better than the first colorist but there are noticeable continuity errors. In the beginning pages when Selina is shown in the container as a prisoner, her costume is still torn up as was shown in Catwoman #65 and her hands are handcuffed in her front. The last time Flamingo opens the container before the fight, Catwoman’s costume is whole and her hands are handcuffed behind her back. There is definitely something up here.
Catwoman does noticeably look better after her hands cuffed behind her back scene. The musculature in her body is more pronounced, and yes, she has a sexier look. The issue though is with her ears. They are droopy, and that is not a part of any of her costumes I have seen in the past.
There really is not much to say about this story. In my summary, I left out the main reveal which goes back to the Gotham War story. Not really worth repeating here. Now this story has moved from its religious exploration to a heist type of story with deception? This whole plot is so convoluted that it is really hard even to describe, somehow both Scandal and Selina have to be two places at once involving two villains who do not know the presence of the other. This just reads and sounds like a bad double date where the guy has a date with two women at the same time.
Editor’s Note: DC Comics provided TBU with an advanced copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Amazon or a physical copy of the title through Things From Another World.
The post Review: Catwoman #66 appeared first on The Batman Universe.
In this review of Nightwing #115, we get “Fallen Grayson Part 2!” As the siege on the Alfred Pennyworth Foundation Fundraiser continues, Dick is separated from his family and gets attacked by Heartless!###### This review contains spoilers
Nightwing #115 main cover by Bruno Redondo
Nightwing #115 Written by: Tom Taylor
Art by: Bruno Redondo
Cover by: Bruno Redondo
Variant covers by: Dan Mora, Marco Santucci, Vasco Georgiev, and Bruka Jones
Page Count: 32
Release Date: 6/18/2024
As the sprinkler system douses their guests, the Bat-Family (Dick Grayson, Barbara Gordon, Damian Wayne and Bruce Wayne) help evacuate the room before the fire spreads throughout the building. Shelton Lyle approaches Dick for help, claiming he’s unable to find his butler Gerald. While the room is emptied, Dick goes off on his own to find Gerald, only to be ambushed by the man, Lyle, and drugged gas that throws off his senses. Cold-cocked into the wall unconscious, the flashbacks of Dick’s first fall at Haley’s Circus continue.
Lyle and Gerald bring Dick out and take his to an ambulance, telling Bruce he’ll be transported to Gotham General. Secretly, the ambulance stops in an alley, where the paramedics deliver Dick’s unconscious body to Heartless and Tony Zucco. Searching for his phone to destroy, they find his Nightwing domino mask, deducing his identity immediately. Gerald murders the two paramedics, leaving him, Heartless and Zucco as the only witnesses to the scene.
Dick awakens on a rooftop and discovers the body of Mr. Waghorne, the journalist who interrogated him over his funds being used to acquire Blockbuster’s holdings earlier in the evening. Waghorne’s heart has been plucked from his chest, and just as Dick sees the Heart-Gun clenched in his hand, he’s tackled by Blüdhaven PD, alerting him to his whereabouts. Dick’s disguised in Heartless’ costume, mask and all. He tries to flee the cops on the rooftop, but his acrophobia cripples his timing, leading to him getting shot in the shoulder and quickly unmasked.
Trap sprung… (Image Credit: DC Comics)
Analysis:
The team of Tom Taylor and Bruno Redondo keep the fires burning with Fallen Grayson Part 2, where the rhythm of Dick’s descent increases which each new calamity. He’s tricked and injured (Lyle’s punch broke his ribs), kidnapped, secret identity blown and framed for murder before being arrested – all in one issue. A solid series of events well paced with good insertions of his childhood flashbacks and increased amounts of violence.
Characterization is good throughout as well, from Barbara’s pleased reaction to Damian’s mastery of all potential exits in the building, to Bruce’s glare on the ambulance as Dick is carried off. That last detail is once again owed to Redondo’s subtle renderings, but has me figuring that whatever evil plan Heartless has for Dick, even with finding out that he’s Nightwing, he couldn’t have accounted for Batman and we’ll be seeing Taylor’s penchant for bringing in the storm of the DC Universe to save our boy before long. I like this potential a lot, more so than Dick simply calling in favors, which he did several times during Taylor’s first year on the book. While I may be wrong on that outcome, I don’t think I will be. After three years on this title, I’d like to think I’ve got Taylor’s writing down.
That’s not to suggest that there’s any weaknesses in this part either, but there is something that I’m curious about. Shelton Lyle a.k.a. Heartless discovers that Dick Grayson is Nightwing in this issue. While this may reveal poor reading comprehension on my part, I had presumed him to already be well aware of Dick’s secret identity the whole time. Reading back, there’s nothing substantial to corroborate my guess, but Lyle’s obsession with Dick seemed to be all-encompassing. I suppose it explains how he’s been unable to account for the Titans or Batman family showing up to help Nightwing whenever they did, but I went into this arc anticipating that revelation to have already happened and for it to be a surprise for our hero. But it’s a surprise to the villain. Nothing wrong with it, just my assumption for a while.
So where’s this going? Now that Heartless knows Dick is Nightwing, does his revenge end simply with framing him for his own crimes? In a scene with Dick fighting the cops (which echoed Watchmen’s scene with Rorschach’s arrest hardcore), one might imagine it would end there, but to be honest that’s not much in the realm of revenge. Would he try and capture Barbara or his sister and pull out their hearts in front of him? Will he go after Batman now after learning the secret? And where does Zucco fit into all of this? I’ll have to read back again, because I’m unsure why Zucco hates Dick Grayson so much, since his arrest was at the hands of Batman and Robin years and years ago (hopefully that hasn’t been retconned, still not liking Taylor’s fussing around the details of that original story). Nevertheless I’m once again in a position to merely praise and ponder the outcome, which means for the second month in a row Nightwing’s knocked it out of the park.
Editor’s Note: DC Comics provided TBU with an advanced copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Amazon or a physical copy of the title through Things From Another World.
The post Review: Nightwing #115 appeared first on The Batman Universe.
In this review of Batman #149, Bruce deals with the aftermath of the battle against Zur en Arrh, especially with the clone of himself that was turned into a twisted vision of Robin…###### This review contains spoilers
Batman #149 main cover by Jorge Jimenez
Batman #149
Main Story: “A Good Fantasy”
Writer: Chip Zearsky
Artist: Michele Bandini
Colors: Nick Filardi
Main Cover: Jorge Jimenez
Variant Covers: Gabriele Dell’otto, Belen Ortega, Dan Panosian, Steve Lieber/Nathan Fairbairn
Release Date: June 18th, 2024
Two weeks after the end of “Dark Prisons”, Zur en Arrh’s Bruce Wayne clone Robin fights crime in Gotham alleyways, and Batman stops him and embraces him. Bruce takes him to the cave under the brownstone and runs tests, revealing that clone Bruce has manipulated memories from Bruce’s life, and he’s aging at an incredible rate. Clone Bruce admits that Zur planned to let him die and put another clone in his place, so none of the “Robins” could ever break free of his control. Damian tells Bruce that he’s going to get the Failsafe body back from Amanda Waller, but Bruce feels his priority has to be the clone for now. Batman takes Tim Drake Robin to Zur’s base, where they search for a cure to clone Bruce’s aging, and Bruce talks about the fallout in his mind and heart after Zur’s attacks. Back at the brownstone, clone Bruce notices Bruce’s robot hand, and Bruce, slowly gaining Zur’s memories, realizes that Zur had secret accounts with more than 3 billion dollars. When he comes back to the brownstone, Tim and Damian tell Bruce that clone Bruce has cut off his hand for Bruce to use.
Dick Grayson arrives, meeting Damian, Tim, Barbara, and Mr. Terrific, but none of them can figure out a solution to clone Bruce’s aging. Clone Bruce, now very, very old, says he doesn’t want to die underground, so Bruce (sporting weeks worth of beard) takes him outside to watch the sunset in the yard of Wayne Manor. Clone Bruce dies, saying that a good life is helping and being helped, and Bruce thanks his clone.
Vandal Savage lights up the Batsignal, offering to let Bruce be Batman if he just does some jobs for him. Batman blows up the Batsignal in response, punches Vandal, and says he’s going to take him down.
Analysis:
After the non-stop high intensity of Mindbomb, Joker Year One, and Dark Prisons, Zdarsky takes this issue as a one-shot examination of Batman’s mission, themes, as well as a fun classic Batman and Robin action in a dark Gotham alleyway, with a twist! The tale of clone Bruce was touching and fun – a really nice way for Zdarsky to have Bruce reflect on his own memories and what Batman means – particularly in clone Bruce’s final words – “To help and be helped” is a good life. Similar to Zdarsky’s work on Daredevil, that lasered in on Daredevil’s heart to help others, we see his grasp of Batman as a hero – one who inspires because he helps others. And also dresses as a bat and is very cool. But mostly because he helps others, and slowly learns to accept help from those he inspires.
The sense of “putting the toys back in the toybox” is strong in this issue, with Bruce’s severed hand being fixed by the clone Bruce’s sacrifice, Zur en Arrh being said to be completely wiped from Failsafe. With Tom Taylor, Ram V, Tini Howard, and Josh Williamson all ending their run on Bat-books in September, it’s looking like a complete relaunch of the Bat-line, possibly under Katie Kubert’s hand, possibly as the start of a new Bat-editorial’s tenure. No announcement from Zdarsky, unlike the other four who are leaving, so it’s possible that he’s staying for a final arc, but I hope he’s able to finish up the way he wanted. He said back at the beginning of his run that he had about 2-3 years planned, up to about 2025, and it’s quite possible that the end of this year will see the end of his run. A shame for me, personally, if true, as I’ve generally enjoyed the run quite a bit. Lower points like The Bat-Man of Gotham or of course Gotham War are more than balanced out by the high-energy fun of Failsafe, the Tim Drake multiverse backups, and the last year of increasingly dark Zur en Arrh stories. Zdarsky’s managed to write a Bruce who is very flawed, but also very loveable, and juggle the Batfamily pretty well, giving everyone their moment to shine (even if it’s also clear that he loves Tim Drake the best).
Artist Michele Bandini draws very appealing characters – and has since I first encountered his work in Amazing Spider-Man by Nick Spencer and the Insomniac Spider-Man video game adaptation. While the clean lines and layouts don’t have the same absolutely brilliant energy of Jorge Jimenez’s work, they work perfectly for the quieter story, while also emphasizing the darker emotions of the opening. Veteran colorist Nick Filardi returns to the Bat-titles after a long absence and knocks it out of the park – from the dark, high contrast lighting of the Gotham alleyway and rooftops, to the intensely warm and sweet hues of the sunset as clone Bruce dies. Artistically, the book remains in top form as usual, and if one can’t have Jorge on the interiors, Bandini is more than sufficient for a good Batman story.
Backup Story:Writer: Chip Zdarsky
Artist: Steve Lieber
Colors: Nick Filardi
The Batfamily gathers in civilian clothes, starting with Dick and Babs, joined by Damian and Duke, Cass, Steph, and Tim, and they wind up at an old, broken down mansion Bruce is fixing up. He tells his kids that it’s the Lohmuller Mansion, taken over by the Joker. Bruce plans to convert the buildings around the mansion into affordable housing, charities, and gardens for the public, and rename the house “Pennyworth Manor.” He invites the kids to consider Pennyworth Manor their new home, too, saying they’re not an army, but a family. He wants Batman and the Batfamily, as well as the Wayne family, to live in Gotham, not outside it. He tells Dick that getting old with his family is a good fantasy.
Later that night, as he receives the coffin for clone Bruce and buries it, Selina arrives. They laugh about the weirdness of their lives (his clone, her space adventures in Tini Howard’s run), and Bruce apologizes for his actions during Gotham War. He asks if Selina wants to move in with the rest of the family, and she turns him down, but comes in to see the house and his plans nonetheless.
Backup Analysis:
Though not officially labeled a backup (indeed, the title at the beginning references a line near the end of this portion of the story), the sharp cutoffs in setting, theme, and of course the change in artist means I think it should be reviewed as one. Zdarsky is setting up a new status quo for Batman and the Batfamily – instead of being a millionaire in a brownstone with the family scattered, Zdarsky’s given Bruce his money and his hand back, and given him a project to revitalize part of Gotham and make an impact as the Waynes with his family around him. Reminiscent of Tom Taylor’s work in Nightwing as Dick Grayson inherits Alfred’s fortune and uses it to establish charities and community in Bludhaven, this has a more Bruce flavor to it, even as it also pays homage to the beloved Alfred and his impact on Bruce and the family. It’s great to see the Batfamily, including of course Catwoman, find a new space with Batman, and I hope that however much time Zdarsky has left on the title, he manages to make this status quo stick for a while even after he leaves. The character writing is pitch perfect for each character, though some commentators have been irritated that Jason doesn’t show up in this backup story. Given his huge role in the last issue, and the potential for Jason to play a big part in Absolute Power, my guess is that Zdarsky wasn’t able to include him, but not that he considers Jason “not part of the family” at all.
Classic artist Steve Lieber (who drew one of the first comics I remember reading as a kid, Detective Comics #767) draws this 8 page backup, once again colored by Nick Filardi (confirmed on twitter). His clean lines have humor and a bite to them that Bandini’s don’t have. Not that Bandini’s characters and faces don’t have expression and pungency, but Lieber has such a finely honed sense of comedy, appeal and ugliness, and linework that it’s cool seeing how he manages to imbue so much life into minor interactions between the Batfamily in their civilian clothes. Plus, he throws in absolutely beautiful touches like the shadow of the Batman as Bruce receives the coffin. The interactions between Bruce and Selina are also pitch purrfect – flirty, romantic, wistful, regretful – all the emotion of the dialogue is impeccably enhanced by Lieber and Filardi’s skilled work. All in all, this short 8 page backup provides a perfectly conceived and executed new status quo for Batman and the Batfamily, and I hope that it proves durable for a few years, come what may.
Series main artist Jorge Jimenez provides our main cover, a nicely rendered image of Bruce facing Batman with his mask off – a nice reference to the interior story of Bruce dealing with his own clone. Gabriele Dell’Otto’s variant features Bane pushing Batman down, instead of raising him up, a somewhat novel framing of the arch-rivals! Frequent backup artist Belen Ortega (of the Trinity backups in Wonder Woman and the Catwoman backup that Zdarsky started this series out with) draws a Bruce lit all in red kneeling in contemplative fashion against a backdrop of blue smoke and red sky. Dan Panosian’s 1-in-25 incentive is a gorgeous Batman marching towards the reader through an alleyway lit in golden glow. Lastly, interior backup artist and all time classic Batman artist Steve Lieber provides the 1-in-50 incentive variant featuring a carefully selected array of objects – a bad, a skull, a glove (hinting at Batman’s hand shenanigans in the issue), the utility belt, and of course, a photo of the Waynes and Martha’s pearls.
Editor’s Note: DC Comics provided TBU with an advance copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing it this issue digitally on Amazon or a physical copy of the title through Things From Another World.
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In Batman / Superman: World’s Finest #28, Batman, Superman, and Bat-Mite struggle to get back to the third dimension in order to help Jimmy Olsen overcome Doom-Mite. Batman/Superman: World’s Finest #28 main cover by Dan Mora
Title: Batman / Superman: World’s Finest #28 – Impossible: Part Three
Writer: Mark Waid
Artist: Dan Mora & Travis Mercer
Colors: Tamra Bonvillain
Letters: Steve Wands
Main Cover: Dan Mora
Variant Covers: Felipe Massafera, Nathan Szerdy & Matt Taylor
Release Date: June 18, 2024
This comic book review contains spoilers.
Batman / Superman: World’s Finest #28 opens right after the cliffhanger ending of Batman / Superman: World’s Finest #27. Jimmy Olsen, having been bestowed with powers from Mr. Mxyzptlk, is the last champion standing. Doom-Mite, the imp master behind this fifth-dimensional catastrophe, reveals himself, ready to face Earth’s mightiest contender. Some of the heroes come to Jimmy’s rescue, but Doom-Mite sends them away. All but Jimmy, Robin (Dick Grayson), and Mr. Mxyzptlk remain, and Mxyzptlk tries to bolt. Robin grabs the imp and forces him to do something. Mxyzptlk’s solution is to bestow all of his powers on Jimmy and call it a day.
The art opening this issue is wild, which isn’t unexpected. This whole arc has been nothing but a Silver Age explosion of zany color. It’s as if Tamra Bonvillain, Dan Mora, and Travis Mercer got together and committed to Lisa Frank-ifying every page. The result is eye-catching, dizzying, and akin to the sweetest sugar rush.
Jimmy, who is now an imp, takes the form of Superman, flies toward Doom-Mite, and is crushed by Doom-Mite’s gargantuan fist.
Elsewhere, in the sixth dimension, Batman, Superman, and Bat-Mite find themselves trapped at the temporal convergence of all time. Behind them, black and white panels canvas this dimension, as the heroes try to figure their way out of here. For the art team, this adds a creative outlet to reference familiar storylines, including a fantastic nod to Batman: Year One, among other favorites.
Whereas Batman threatens Bat-Mite, Superman uses a gentler touch, convincing Bat-Mite to help them get back to their home dimension. What follows is a series of fourth-wall-breaking, as Bat-Mite literally tears the pages until they arrive in the third dimension, their home dimension. Unfortunately, Bat-Mite goes too far, and the three of them end up in the first dimension, which is mostly a blank canvas.
Before Batman can go off on Bat-Mite, Superman tries to intervene. However, Batman realizes what he must do. As the art reappears, showing our heroes and Bat-Mite in an ever-growing bubble, Batman empathizes with his number one fan. He realizes that Bat-Mite misses going on silly adventures with Batman and Robin, but as Batman points out, the world isn’t like that anymore. Batman isn’t an idol, he’s a man trying to prevent trauma and loss, and that there isn’t that zany silliness anymore. However, as Bat-Mite’s eyes well up with tears, Batman asks for one last team-up, so they can stop Doom-Mite.
This is the emotional heart to this story we didn’t see coming. The last couple of issues have been devoted to good, old-fashioned fun. They were comics that harkened back to a seemingly simpler time, bringing back a blast of fun with characters that aren’t often used anymore. Then writer Mark Waid, artists Dan Mora and Travis Mercer, colorist Tamra Bonvillain, and letter Steve Wands hit readers with the feels. It almost creeps up out of nowhere, with everything going white, then images of our heroes slowly growing bigger as Batman removes his mask to reveal the human face behind the Dark Knight.
It’s a work of genius. It’s only a few pages, but the paneling makes it feel like this moment drags out time, slowing down the pacing of this otherwise pulse-racing adventure. While Waid, speaking through Batman, confesses that the world isn’t like the Silver Age era anymore, that classic, empathetic, and so very human Batman shines through. He convinces Bat-Mite with soft-spoken words, with an appeal to emotions. It’s a Batman we haven’t seen in a while, but it’s an incarnation that is timeless, a depiction that has and always will be synonymous with the character.
Maybe that’s the subtext behind this scene. Or maybe I’m reading too much into this? Either way, it’s a beautiful moment that lands as we enter the final act of this storyline.
Jimmy Olsen gets imp-ed! (Credit: DC Comics)
Meanwhile, Robin buys time by taunting Doom-Mite, who tries and fails to blast the gymnast. It’s enough, as Jimmy Olsen, who said his name backwards to escape his destruction, arrives from the fifth dimension with an armada of imps who idolize the Justice League. The imps team up to fight Doom-Mite just as Batman, Superman, and Bat-Mite arrive. Batman has a plan, but before he can enact it, Doom-Mite zaps the Dark Knight, transforming him into a scrawny little imp.
If that heartfelt moment between Batman and Bat-Mite was a surprise, the ending certainly was an even bigger zag in this arc. Right as readers are comfortable and expecting a resolution, the creative team swerves as Doom-Mite makes quick work of Batman’s plan (or does he?). Part of me wonders if everything is going according to plan and Batman wanted to be blasted. The other part of me wonders if that’s just wishful thinking on my part.
Regardless, the ending is colorful, grotesque, and a little bit horrifying as Batman face stretches and eyeballs bulge as he’s transformed. Our final shot is of Doom-Mite blowing the smoke off his finger gun, with a smug look on his putrid face.
Editor’s Note: DC Comics provided TBU with an advanced copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Amazon or a physical copy of the title through Things From Another World.
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In Batman: Gotham by Gaslight – The Kryptonian Age #1, readers return to the 19th-century world of Gotham by Gaslight. Batman: Gotham by Gaslight – The Kryptonian Age #1 main cover by Leandro Fernandez
Title: Batman: Gotham by Gaslight – The Kryptonian Age #1 Writer: Andy Diggle
Artist: Leandro Fernandez
Colorist: Dave Stewart
Letterer: Simon Bowland
Cover: Leandro Fernandez and Dave Stewart
Variant Cover Artists: Francesco Mattina, Kendrick “Kunkka” Lim, Jock
Release Date: June 11, 2024
This comic book review contains spoiler.
The StoryThe year is 1860. The place is the Kansa Tribal Territory, a Native American territory a year before Kansas was officiated into the Union. A kindly couple: Jonathan and Martha Kent, arrive in a horse and buggy from the smoke-and-soot-filled city. Right as their horse Pegasus is nearing his last leg, a meteor comes hurling out of the sky and lands in a fiery pit just a few meters away, destroying their carriage and killing the horse. Martha notices that the crater contains a pyramidal vessel emitting a green radiance. A little ways off, a group of Natives sees the emerald glow fill the sky.
The year is 1893. The place is Gotham City. Selina Kyle heads to an evening Gala, but not before making a pit stop in a Narrows alleyway. She comes across a homeless woman with a child and presents her with several silver dollars and a calling card inscribed: “Felix Home for Destitute Women.” Deeper into the alley, Selina encounters a group of scarlet women surrounding a small fire. One of the women wears a black-eye given to her by a dirty Gotham cop. Selena vows to take revenge and asks if any of them have seen their ‘nocturnal visitor.’ They haven’t, and the injured woman speculates that he might be dead. Selina has her doubts.
At the Gotham Museum Gala entitled: The Kryptonian Age, Kyle arrives and asks to be introduced as “Lady” Selina Kyle. She is immediately confronted by a snooty aristocrat and her weak-willed husband for providing charity to women of “ill repute.” Kyle feigns grief and requests that the host show her to his private office. Once alone, Kyle opens a window and lets in her buggy driver: Holly (presumably a 19th century cockney version of Holly Robinson) to take her place at the Gala while Kyle changes into her own feline jumpsuit. While Gotham socialite and Bruce Wayne fiancée Julie Madison speaks about industrial progress at the turn of the century, Selina sneaks into the Kryptonian Age exhibit and purloins a luminescent emerald ring.
Selina takes the ring to a couple of buyers at the Gotham docks who look suspiciously like dollar-store versions of Mad Hatter and the Penguin. They’re soon murdered though, along with the rest of their crew when a gang of bow & arrow-wielding assassins appear in pursuit of the ring. The leader discovers the ring is actually a forgery when the “Bat-Man” suddenly appears and engages in a fight with the gang. The fight escalates to the top of an elevated passenger train. When it finally comes down to mano-a-mano, the group leader reveals herself to be the one and only: Talia al Ghul.
The Kryptonian Age crash-lands! (Credit: DC Comics)
It has been 35 years since the original Gotham by Gaslight hit comic shelves, and while there have been a few brief revivals as well as a 2018 animated movie, it remains one of the most discussed but least iterated Elseworld stories. That’s something writer Andy Diggle, artist Leandro Fernandez, and colorist Dave Stewart seek to change with their newest take on the classic setup featuring hints not only at a wider array of Batman characters, but also the DC universe at large. The first issue of the Kryptonian Age strikes a nice balance between the original ‘89 and ‘91 stories, which largely showed restraint in utilizing Batman universe characters outside of Wayne and Gordon, and the animated adaptation which took a decidedly more fan-service based approach by filling its cast with familiar faces in Victorian era dress-up.
Here, Andy Diggle gives readers the best of both worlds by slowly reintroducing us to a fully realized Victorian era Gotham while also showing us fan-favorite characters such as Catwoman and the League of Shadows. As the title indicates, they even hint at a future Superman appearance. Diggle imbues this issue with a perspicacious gravitas by opening with an abbreviated excerpt of Walt Whitman’s poem “Year of Meteors (1859-60)” and giving the characters intelligent period-accurate dialogue (get your dictionary ready for this issue).
Selina Kyle takes center stage in part one, and Diggle has her character adopt a socially progressive attitude when it comes to what are termed here as “destitute women,” even to the point of being scorned by the high-society types later on. This Robin Hood-demeanor is obviously in-line with her character and provides some nice historical insight into the social mores of the time. Perhaps our attitudes today don’t vary that much from those of 130 years ago. Maybe we’re just better at hiding it. The story is perfectly paced, with a patient and moody reintroduction to the world in the first 25 pages leading to a sudden burst of action when the Batman of Gaslight finally appears.
Leandro Fernandez’s art and Dave Stewart’s colors are truly stunning. From the expanses of the western frontier in future Kansas, to the grime of the forever corrupted Gotham City streets, the pair creates a fully-realized world that not only builds upon what has come before, but exceeds it with flying colors. The theme of class disparity is hammered home by the dripping ugly alleyways contrasted with the pristine starkness of the museum Gala. In a bout of paradoxical ingenuity, Fernandez positions the panels of the ‘destitute’ from below so that we are looking up at them into a skyline polluted with ugly metallic structures and smokestacks. Conversely, at the Gala we are looking down at the prim and proper suits and dresses that mask an inner ugliness in the Gotham upper class.
Editor’s Note: DC Comics provided TBU with an advanced copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Amazon or a physical copy of the title through Things From Another World.
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In Red Hood: The Hill #5, The God Mode grand opening quickly becomes overshadowed by attacks on the Batmobile and Red Hood. Who will survive, and will Demitrius Korlee Jr be exposed?Red Hood: The Hill #5 by Shawn Martinbrough, Tony Akins & Matt Herms. Cover by Sanford Greene. Image courtesy of DC Comics.
Title: Red Hood: The Hill #5
Writer: Shawn Martinbrough
Artist: Tony Akins
Color Artist: Matt Herms
Main Cover: Sanford Greene
Variant Covers: Dan Mora
Release Date: June 11, 2024
This comic book review contains spoilers.
Grand OpeningThe story opens exactly where the Red Hood: The Hill #4 left off. Denise is on Red Hood’s bike speeding away; she wants Red Hood to drop her off downtown as she has a stop before the downtown grand opening. At Annie B’s Diner, Dana confronts Korlee. He tries to convince Dana that he is the good guy here and offers to pay for the medical care of the injured Watch members. Korlee leaves; he has to see his father under the watchful eye of Batman.
Dana, still reliving her Olympic Trial Accident, talks with Jason Todd. They debrief each other, and Jason encourages her to go to the grand opening.
Across town, Omar is at Wayne Tech stealing more weapons. He is made aware of the presence of Red Hood and makes his move to eliminate the interloper. At the grand opening, Denise and other reporters approach Demitrius. Soon Dana makes a scene, calling Korlee a killer and hands him a gift. She walks off; Denise tries to stop her, but Dana just storms off. Lenora is told to keep an eye on her, and Bruce Wayne walks in. Korlee excuses himself, he has just gotten word that the Batmobile was spotted. He joins Omar and orders an attack.
Bruce continues his conversation with Lenora, trying to ascertain her role in this situation, while the attack on the Batmobile commences. It is soon discovered that Batman is not behind the wheel, and Oracle takes remote command of the car. Red Hood is presumably down, and Bruce asks Oracle to look for any connection to Korlee Jr.
A tense exchange. (Credit: DC Comics)
The art in this story continues to excel. The facial expressions on the characters are very expressive of their emotions. There is even a quick glance of Red Hood, fully masked, that is very telling of what that character is thinking as he talks to Denise. More than likely, they’re thoughts that he shares with Dana later before the grand opening.
Unfortunately that is where the positives end. The story now has quickly devolved into a Batman story complete with most action involving Batman if not indirectly. The attack of the Batmobile. Red Hood’s fate is not shown at all, only eluded to possibly being “done,” with no confirmation of that. What I was hoping to be a Red Hood story has now forced Jason to the far background once again. I am waiting for the rest of the Bat-family to enter this story, as we already have the mention of Oracle.
Editor’s Note: DC Comics provided TBU with an advance copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Amazon or a physical copy of the title through Things From Another World.
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In Batman & Robin #10, the Dynamic Duo thwarts Man-Bat with a little help from their friends.Batman and Robin #10 main cover by Simone Di Meo
Title: Batman and Robin #10 – “Bat vs. Bat”
Writer: Joshua Williamson
Artists: Nikola Čižmešija & Simone Di Meo
Color Artists: Rex Lokus; Giovanna Niro
Main Cover Artist: Simone Di Meo
Variant Cover Artists: Gleb Melnikov, Guillem March & Serg Acuña
Release Date: June 11, 2024
This comic book review contains spoilers.
Robin manages to free Batman from his chains inside the Man-Batcave, but Man-Bat and his horde of bats escape. The Dynamic Duo make short work of the remaining Man-Bat cultists. They soar off into the night, but not before Robin reminds Batman that they are not to harm the poisoned bats. He has a plan to stop them without harming them.
Meanwhile, Flatline supports a grievously injured Ms. Hall (who is Shush) to Gotham General Hospital. She leaves Ms. Hall there, but not before Ms. Hall gives Flatline a vial and tells her to get it to Batman and Robin.
Elsewhere in Gotham, Man-Bat is riffing to his bats and denigrating Langstrom. Batman interrupts him, and they battle. Down in the Robinmobile, Robin meets up with a speeding Flatline who hands him a particular kind of firearm. Robin hurls it up to Batman and informs him that it holds gas pellets rather than bullets. Batman catches it and fires it in Man-Bat’s face. The descending horde of bats sweeps parabolically into an attack on Man-Bat. Batman, Robin, and Flatline watch as the bites transform Man-Bat into Kirk Langstrom. He is confused and has no memory of his actions.
The bat-horde is still angry, but Robin blasts them with a freeze gun, so that they can be cured using the formula provided by Ms. Hall.
Back at Gotham City High School, Chase Meridian takes Principal Stone, aka Mistress Harsh, into custody. Her trained bullies are also apprehended. Batman acknowledges that Robin was essentially right about everything and apologizes for disbelieving him. Batman explains that Dr. Kafira managed to save all of the poisoned bats, but that Langstrom now appears to have multiple personas and is in need of greater assistance. He exits stage left as Flatline appears.
They banter playfully and then Flatline rushes off abruptly. She argues with Ra’s Al Ghost and explains that she plans to protect Damian from him and from her.
Back at home, Bruce ushers Damian to the rooftop for a candlelit vegan meal. They chat but are interrupted by Goliath, who comes with a message: Maya appears and informs Robin that in fact an important Rogue did not die in the attack on Arkham Asylum. Bane is alive on Dinosaur Island.
Battlin’ the Man-Bat Cult. (Credit: DC Comics)
I’ve enjoyed the Man-Bat arc, though there’s little that’s truly original in it. For this reader, that is justifiable, as writer Joshua Williamson has appropriately left the focus on Batman and Robin and his dialogue and character development has been first-rate. The resolution and denouement of the arc feels a bit flat, however. It reminds me a bit of how a tie-up might work in Batman the Animated Series, but there is usually some added complexity or discomfiting leave-behind to suggest to the audience that The Batman Universe is as multi-dimensional as ‘real life.’ Perhaps the notion of Kirk Langstrom having multiple personas qualifies, but the ending of Man-Bat’s plan feels a bit flat and two-dimensional. I think it might have been possible for Williamson to do a bit more with it, to somehow play further on the always-fascinating dynamic of Bat vs. Bat involved in Man-Bat arcs.
Would doing so risk destabilizing the emphasis on the Dynamic Duo that has been the hallmark of this book so far? Perhaps! But I want to think there is enough light between a flat ending and a needlessly-intricate resolution, and it would have been nice to see the issue do more than simply resolve one arc and set up the next.
Still, transition books are necessary and a legitimate part of any comic run, so there’s no need to be overly harsh on Williamson for his choices in moving the audience from one arc to the next. The dialogue and relationship between Batman and Robin remain the beating heart of the book, and it is just as compelling here as it has been in the series.
What is less compelling is the continued practice of having two artists illustrate the book. This does not work well because Nikola Čižmešija just has a wildly different style from Simone Di Meo. Di Meo’s horror tones and sweeping panoramas are lush and stunning, and his covers on this book and on Batman: The Brave and the Bold are full of vibrancy, movement, and emotion. I really hope Di Meo is able to take over the book completely, as the discordance in hand-offs between the two artists here is obvious and jarring.
Still, this remains a high-quality book and I’m looking forward to seeing what Williamson does with a more prominent Rogue – and how Di Meo illustrates him!
Editor’s Note: DC Comics provided TBU with an advance copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Amazon or a physical copy of the title through Things From Another World.
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In Poison Ivy #23, readers follow the continued conflict between Ivy and Woodrue and sees the return of a gamut of classic characters. Poison Ivy #23 main cover by Jessica Fong (Credit: DC Comics)
Writer: G. Willow Wilson
Artist: Haining
Colors: Arif Prianto
Letters: Hassan Otsamne-Elhaou
Main Cover: Jessica Fong
Variant Cover Artists: Frank Cho, Sabine Rich, Chris Bachalo, Nimit Malavia, W. Scott Forbes
Release Date: June 4, 2024
This comic book review contains spoilers.
The StoryAfter the events of Poison Ivy #22, the swamp that Killer Croc, Janet from HR, and Solomon Grundy call home is being infested with lamia infused plant-zombies. When all hope seems to be lost, a familiar face shows up to save the day: Harley Quinn. Harley finds Ivy, barely clinging onto life, and Peter Undine who offers to help separate Ivy from the carnivorous lamia corpses. While he does that, Harley, Janet from HR, and Grundy take out as many lamia zombies as they can before we get another guest appearance by none other than Red Hood (Jason Todd).
Red Hood says that the only way to fully take down Jason Woodrue is to make sure that every trace of his DNA is destroyed. This prompts Harley to hop on Hood’s motorcycle and use its pre-equipped flamethrower to burn everything in sight. The issue ends with Harley cradling a near-dead Ivy in a callback to the classic Death in the Family panel.
Deus Ex Harley Here is another month of this book incrementally moving forward with this Woodrue storyline. Last time I complained at how little story we got, with an issue entirely dedicated to a battle between Ivy and Jason Woodrue. This issue is something of a glorified do-over of last month’s, with some fan-favorite character’s to sweeten the blow.
Harley Quinn shows up somewhat unprompted, and we get a wince-worthy scene between her and Janet from HR, who complains about her lack of purpose and desire to become a main character of the story. Janet lets slip that she has an ongoing relationship with both Quinn and Ivy, which causes Harley to do a double-take. Peter Undine’s appearance makes this issue feel almost like a class reunion for this run, but I love his design so much that I can mostly forgive his uselessness in this story. Oh right, he’s “isolat[ing] Woodrue and the reanimated lamia corpses” (we’re told, not shown), whatever that means. Finally, Jason Todd AKA Red Hood shows up on instruction by the “big man.” His appearance is pure fan-service. A desperate attempt to juice up interest in this long-dead storyline.
How many times has G. Willow Wilson used Poison Ivy’s near-death as a cliffhanger at this point? Not counting her origin excursion, I think this is the third issue in a row. It has gotten to the point of self-parody. My theory that the prior issue could be skipped by readers without missing anything turned out to be correct as this month follows the same conflict of Woodrue vs Ivy without so much as a setting change. The issue is marginally improved by the cheap appearances of Quinn, Todd, and Undine, but it’s never been more clear that Wilson is desperately spinning her wheels by trying to drag this plotline out as long as possible. Even Ivy’s constant weighty inner-monologuing is beginning to wear on me. Hopefully this is finally the ending of this Woodrue storyline and we can finally move onto something completely new.
The ArtReturning guest artist Haining provides some strong artwork on this issue. Harley, Undine, and Jason all look on-point as do the rest of the core cast. The action is chaotic and muddy, but there’s only so many ways to depict people fighting rogue plant monsters, which seems to happen ad infinitum on this run. Unlike with Marcio Takara’s work, the art isn’t strong enough to recommend picking up solely on visuals alone, but it’s certainly not a bad-looking issue. Arif Prianto colors and Hassan Otsamne-Elhaou lettering remain consistent as well.
Editor’s Note: DC Comics provided TBU with an advance of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Amazon or a physical copy of the title through Things From Another World.
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In Birds of Prey #10, the Birds continue their search for Barbara Gordon. In their travels they discover that they are in a pocket dimension, which is the hunting ground of a malevolent spirit. Birds of Prey #10 main cover by Leonardo Romero
Title: Birds of Prey #10 – “World Without End Part 2 (of 5)
Writer: Kelly Thompson
Artist: Robbi Rodriguez & Gavin Guidry
Color Artist: Jordie Bellaire
Main Cover: Leonardo Romero with Jordie Bellaire
Variant Covers: Sweeney Boo; Serg Acuna (1:25)
Release Date: June 4, 2024
This comic book review contains spoilers.
The birds of prey arrive in 50’s-like style complete with matching costumes. As the team try to assess their location, they struggle with the fact that they may be further from Barbara Gordon, and Vixen still has no connection to the red. Arrows fly by, and Big Barda is hit in the chest. She goes down. Dinah Lance helps her up, but they are being attacked by the bat demon that has been pursuing them. A stranger shows up and blasts at it, and the portal they all entered closes. Dinah is certain that Barbara is trapped with that thing. The stranger says that the portals do not alter their location, instead it just re-skins the world based on the first to enter it. In this case it was Barda. They have not left Barbara.
On their trek, they learn that the woman who found them is named Cela. She does not have any desire to remain with the Birds. Dinah follows her to try to convince her to stay.
Suddenly Barda collapses. Dinah again urges Cela to stay with them, and Cela then tells them the story of how she ended up in this pocket dimension. She is one of seven sisters, and all of them developed different powers. The dimension they are in was created by one of the sisters. After the death of their mother, the sisters retreated back in the pocket dimension, only to be hunted one-by-one by their own, a sister named Maia, who has now taken the form of the bat demon. Cela is the only one left after killing one of her sisters at her request to get her power. After this story, Cela tells the Birds that they are really her end game. Cela tells them that in the future, Barbara Gordon and the Birds kill her mother. The mother was also known as the Velvet Tiger.
Elsewhere in the pocket dimension, Barbara Gordon regains consciousness. She finds herself in a new prison, and there’s no escape. She goes to work creating a way out.
With the rest of the Birds, Barda wakes up, but she is possessed by Maia and attacks. They all attempt to fight back, but Barda proves to be formidable. She is even able to get through Megaera, which has possessed Sin. With all the birds down, Dinah orders Cass to run, which she refuses. Cela prepares an escape portal, but Cass stands her ground and talks Barda into expelling the demon, which is successful. Maia herself finally arrives, and Cela pushes Sin through the portal with the others closely following.
Ouch… (Image Credit: DC Comics)
The character designs are absolutely fantastic. All of the characters, especially Vixen and Dinah, have 50’s hair styles, and I like each of their costume designs. I also liked the design of Barbara’s Batgirl costume in the scene she was in as well.
Story-wise, we get closer to what Meridian was talking about when she tried to save Barbara from their first mission on Themyscira. It appears that this situation was the cause of each of Barbara’s deaths. It is her involvement with the Velvet Tiger’s death.
The pocket dimension they find themselves trapped in is particularly interesting. It is populated with different portals that do not change the location, but they change the aesthetics of the world they are in. Since Barda is the blueprint for this world, it is appropriate that she is the main character affected in this story. With that pattern, it looks like Sin and Megaera may take center stage in the next issue.
Editor’s Note: DC Comics provided TBU with an advance copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Amazon or a physical copy of the title through Things From Another World.
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In Batman #148, Batman and the Bat-family team up to stop Zur-En-Arrh and Daniel Captio once and for all. Batman #148 main cover by Jorge Jimenez
Title: Batman #148 — “The Storm”
Writer: Chip Zdarsky
Artist: Jorge Jimenez
Colors: Tomeu Morey
Letters: Clayton Cowles
Main Cover: Jorge Jimenez & Tomeu Morey
Variant Covers: Woo-Chul Lee, Yasmine Putri, Homare & Gabriele Dell’Otto
Release Date: June 4, 2024
This comic book review contain spoilers.
Batman #148 opens with a moment in the past as a young, bruised, and scarred Bruce Wayne trains under the mentorship of Daniel Captio. Bruce is in an ornate villa that sits atop a rocky cliff overlooking the sea. It’s a picturesque day, and Bruce refuses to continue, standing up from his meditation stance and walking out to greet the day. While Bruce dismisses the idea of creating multiple personalities as a method of losing control, Captio follows behind, refuting those claims. To Captio, a man who claims to have seen the evils that will cause the world to crumble, this is about creating a personality that is greater than Bruce Wayne, about creating something that’s the most “in control” by way of becoming a storm.
The two overlook the sunny horizon before the issue abruptly cuts to Tim Drake roping down into a cave. Before we move on, I want to stay a moment with this opener. The youthful vigor artist Jorge Jimenez draws each of the characters with comes across as almost Manga-like, and there’s this vibrant, matching energy in the colors by Tomeu Morey. Neither of these two artists are subtle, but for this flashback, they leaned extremely into a picturesque scene that overwhelms readers’ senses with a hopefulness that feels almost unreal, as if it truly is a heavily edited memory meant to highlight the goodness. From the colors of the character to the lighting and landscaping, there’s a saccharine joy that’s suddenly ripped away by the darkness of a cave on the next page.
That’s an artful pivot, and it’s one worth noticing.
In the cave, Tim Drake looks for Bruce, who is working on something on a table. He’s in his Batsuit, his back to Tim, but he hears his adopted son.
“Call everyone, Tim,” Bruce says. “Call the Family. It’s time.”
As Bruce looks over his shoulder, his eyes are wiser, older, and far from the gleam in that opening page. This is a much different Bruce, one no longer able to be led by the whims of others.
Elsewhere, Robin (Damian Wayne) is tethered to a wall. Zur-En-Arrh’s Robin taunts him, and when Damian starts making morse code signals with his hand, Batman of Zur-En-Arrh intervenes, shocking Damian. Daniel Captio walks in, informing the robotic dynamic duo that their machine to “cure Gotham” is ready.
Across the city, we get some exposition as to what’s happened. Zur-En-Arrh has encapsulated Gotham City in a force field of some sort, and no one can enter or leave. Commissioner Vandal Savage (that’s still weird to say, right?) is mobilizing an effort to assault Blackgate while the Bat-family battles Zur-En-Arrh’s bots.
At the machine, Zur-En-Arrh and Captio have Riddler strapped in. They’re going to “cure” Gotham by giving Riddler a “personality upgrade.” If it works on Nygma, it should work on everyone else and free Gotham from evil once and for all. The evil pair pull the trigger, and Nygma is released after an electroshock.
For readers who have been with Batman for a while, if Riddler is fixed, one wonders if this will be like that era when he was a private detective helping to solve crimes. That era didn’t last long, and all it took was an explosion to send Riddler right back to clue-ridden capers.
At Bruce’s cave, Barbara Gordon, Dick Grayson, and Jason Todd come to hear out their father figure. When Dick and Babs express doubt, Tim tries to remind them that this isn’t Batman’s doing, but Bruce accepts the responsibility. After all, he created Zur-En-Arrh. While Bruce initially rejected Captio’s offer, he later doubled back and created Zur-En-Arrh after his first year as Batman.
Bruce gives a little speech, apologizing for his actions and admitting that Zur-En-Arrh is an untethered piece of him, so it’s his fault. The Bat-family seems to forgive Bruce pretty easily, and Bruce, who just finished saying that it was his hubris that led to Zur, responds to a question about having a plan with, “I’m Batman, aren’t I?”
It’s time… (Image Credit: DC Comics)
Has Bruce Learned Nothing?!If this quick little speech did little to move the needle for readers, the arrogant “I’m Batman, aren’t I” won’t help either. It’s a cute line, one that carries a lot of weight and references to callbacks and Batman memes, but to be used in this moment when Bruce is trying to get the Bat-family on his side? This speech already felt like an afterthought, and this smart-mouth comment gives the impression that Bruce was spinning a yarn about “hubris” so he can get his “kids” on his side again. I get that the intention is to unite the Bat-family and this line was meant to be amusing and nothing else, but when you think about it, it undermines unearned coming together of the family.
The Bat-family jumps into action, and Commissioner Savage surrounds Blackgate. It’s all a series of distractions and battles to get Batman to Blackgate, and what follows are a glorious few panels of Bruce, in a gorgeous new Batsuit, marching into the prison.
Bruce confronts Zur, who has more villains strapped into the machine. Red Hood leaps from the shadows, slicing at Zur, and the battle is on. Elsewhere, Tim Drake is about to free Damian when that Robin of Zur-En-Arrh stops him. It’s revealed that this Robin is a clone of Bruce, which is why his hair and face pass a resemblance to the youthful Bruce in the opening panel.
Batman battles Zur while Red Hood takes on Captio. Tim Drake fights the clone Bruce, and Damian, who frees himself, joins in. Drake tries to reason with the clone, telling him that if they win, they’ll just be dictators.
Jason leaps away from Captio, helping out Bruce, and in the process sacrificing himself. His “death” sends Zur into a spiral, as Failsafe’s programming was meant to stop Batman if he committed murder. Zur is finally down, but Captio uses a special word he implanted in Bruce to take Batman down.
We flashback to a moment earlier, when Jason and Bruce are talking about a piece of the Lazarus meteor beneath Gotham. Batman was planning to sacrifice himself and program his suit to reanimate him with the Lazarus. Jason vies for it instead, saying it would work better he Hood died temporarily.
Back in the present, Red Hood stands back up, and the entire Bat-family joins together to take down Captio. The military is shelling the prison from the outside, and Batman gives Captio a parting shot before leaving with his family.
For now, it seems that Zur-En-Arrh is gone, as is Captio, who is presumably buried under the rubble. We know, however, that Failsafe will return, working with Amanda Waller in a big event over the summer, so one can assume that either Zur, Captio, or both will be tagging along. After all, for these big Batman arcs, new villains don’t get their comeuppance until audiences are exhausted of them.
Batman #148 is… an ending. Bruce Wayne is back as Batman, no longer infected with Zur-En-Arrh, which is a win. The Bat-family, seemingly, is united. The story and long road getting here has been a long, drawn-out exercise in exhaustion, and even Jorge Jimenez’s fantastic art with Tomeu Morey’s colors can’t save it. That’s where we’re at with Batman #148, so very tired.
Editor’s Note: DC Comics provided TBU with an advance copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Amazon or a physical copy of the title through Things From Another World.
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In Harley Quinn #40, Harley accepts Freeze’s offer to train his new crew. Harley’s training goes south when the GCPD shows up, and Mr. Freeze unveils his plan.Harley Quinn #40 by Tini Howard, Natcha Bustos, and Nick Filardi. Courtesy of DC Comics.
Title: Harley Quinn #40: The Big Freezy
Writer: Tini Howard
Artist: Natacha Bustos
Color Artist: Nick Filardi
Cover: Sweeney Boo
Variant Covers: Leirix; Daniel Hillyard (1:25); Caspar Wijngaard (1:50)
Release Date: May 28, 2024
This comic book review contains spoilers.
One has to dress for success and when seeking a job with Mr. Freeze; that dress has to include a parka. Harley Quinn meets up with Mr. Freeze in his building that’s still under construction. Freeze introduces her to his two newest recruits: Harmada and Vampire Squid. Harley asks her new pupils to attack in order to see what they got. The two do just that, but their attacks are ineffectual at best. Harley quickly gets the upper hand on them. Freeze returns and says that he is sure the two would be ready in two nights.
Harley, exhausted from her day job and her side hustle, meets up with Maxie Zeus in a coffee shop. She asks Maxie about his mortal wife, and Maxie relates his story. The story tugs at Harley’s heart and hugs him. Afterwards Harley tells Maxie about her gig with Freeze. She is concerned about the two kids. She devises a plan with Maxie to scare these kids without harming them. She is going to lead them to the hockey rink to steal the Manly Cup, and Maxie will be waiting there. Harley goes in first to verify with Maxie, then she calls her proteges down. They both arrive to be faced with Maxie Zeus, who engages them. All combatants are defeated, and then the GCPD rappels down. They apprehend Harmada and Vampire Squid and presumably Maxie as well; we do not see it on panel. Pulaski herself goes after Harley. Harley escapes out the window, attempting to call Mr. freeze for backup
This is where we learn that Mr. Freeze double crosses Harley. He uses this outing as a diversion, so he can steal the Ice Alpha, a piece of space ice. He actually called Pulaski and told her about the hockey rink heist, so he could easily steal this ice cube. Harley does end up surrendering to Pulaski.
In prison, she sees the formation of Mr. Freeze’s Ice-scraper. He uses the space ice to coat his tower under construction.
Harley Quinn #40 by Tini Howard, Natcha Bustos, and Nick Filardi. Courtesy of DC Comics.
I like my comics to have true premises and issues to explore. Maybe I am a high-brow comic fan, but I also do enjoy whimsy. A comic should and can be fun, but it has to make some sense. This book does not. There is no point to this story. Mr. Freeze wants to coat his building scaffolding with space ice? Why does he want to do that? The character of Mr. Freeze made great strides as a result of his portrayal in Batman: The Animated Series. He had pathos and that deepened the character. I prefer depth, and that depth persists in the whimsical film Batman and Robin. It’s not a great film, but the character motivation of curing his frozen wife was there. What do we get here? A nonsensical ice heist with no point whatsoever?
The characterization of the two recruits is laughable but I am willing to give that a pass. Harley is a whimsical character, but she has empathy. That empathy is in full display here, first with Maxie, then for actually wanting to protect her students.
The students themselves really are weird. Vampire Squid is a polite guy dressed in a submersible suit that can create tentacles? What does any of that have to do with a vampire? Harmada’s power ushers an array of ship-shaped hats that can fire cannons that have absolutely no effect when she shoots people. This whole story is a facepalm for me.
What saves this is the art. It is well drawn. The art is whimsical and for the tone of the story that fits. The colors are vibrant, and it is easy to distinguish the different characters and the action. Unfortunately the art cannot save this book.
Editor’s Note: DC Comics provided TBU with an advance copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Amazon or a physical copy of the title through Things From Another World.
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In The Penguin #10, the war between Oswald and his children heats up, and Batman appears to be playing both sides. The Penguin #10 main cover by Carmine Di Giandomenico
Title: The Penguin #10
Writer: Tom King
Artist: Rafael De Latorre
Colors: Marcelo Maiolo
Letterer: Clayton Cowles
Main Cover: Carmine Di GiandomenicoVariant Covers: Christian Ward
Release Date: May 28, 2024
This comic book review contains spoilers.
The Penguin #10 opens with Penguin and Batman meeting on a roof in the rain to discuss Penguin’s children. Before they get started, Oswald Cobblepot needs a smoke. Luckily, Batman is always prepared and pulls out some matches from his utility belt. (What doesn’t he keep in there?)
Cut to Penguin’s children torturing a man who is from Metropolis and a part of Intergang. He has come to tell them that a shipment was not made, because of Batman, and is promptly killed by the twins. Addie still shows no fear of the Batman.
The twins have taken up all of Penguin’s deals and operations, and since Penguin is feeding information to Batman, they know exactly how to stop it. We get a pretty sweet two-page sequence of Batman in every vehicle taking down Cobblepot operations. We see the Batplane, Batboat, Batcycle, Batcopter, Batjetski, and of course, the Batmobile. The more vehicles, the better.
The twins keep picking off the men from Metropolis and are burying them. In need of some help, they turn to Black Spider. With Oswald’s help, Batman is really putting a dent into Addison’s plans. He comments on how she is just as smart as her father. We’re treated to another great spread by Rafael de Latorre of Batman just punching out henchmen, and it’s just as cool to see as the vehicles.
Addison and Penguin meet and talk at the park. She tells him that Metropois is coming for her and that they are going to kill her. Oswald casually tells her not to worry, and they he’ll have killed her long before then. It’s a great little scene written by Tom King of two people who hate each other but are pretending to be nice.
Batman thinks to himself of how peaceful Gotham is as we then cut to the next day as Addison has sent her brother and her men to kill Oswald. Of course, Oswald and the Force of July stop them, and Oswald spares his son, so he can deliver a message to his daughter. The message is that they will never surpass his legacy and will always be beneath him.
The issue ends with Addison turning to Batman for help as he offers her a light.
(Credit: DC Comics)
Now this ending is interesting. Batman knows that Oswald constantly lies to him and has from the start. Addison knows all his lies and secrets and is willing to tell them all to Batman in exchange for protection. The question is if Batman is truly looking to take down Oswald for good or will he use this opportunity to take the Cobblepot empire out for good? Or is he still on Oswald’s side?
Like I said, I really like the art. The two main set pieces were great. Any time you can throw in all the Bat-vehicles in an issue is major points from me. I just wish we saw the Whirly Bat.
King usually leaves a great hook for an ending, and this might be his best one yet. It will be fun to see which way Batman goes and how he is going to play this. Knowing King, however, we’ll find out four issues from now. I hope not.
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In Batman: The Brave and the Bold #13, we are treated to 5 stories featuring Batman, Nightwing, Deadman, Booster Gold, and Guy Gardner!Batman: The Brave and the Bold #13 cover by Simone di Meo. (Credit: DC Comics)
Title: Batman: The Brave and the Bold #13
Writer: Tim Seeley, Mark Russell, Delilah S. Dawson, Joshua Hale Fialkov, Jason Shawn Alexander, Rodney Barnes
Artists: Kelley Jones, Jon Mikel, Serg Acuña, Lisandro Estherren, Jason Shawn Alexander
Colors: Michelle Madsen, Mike Spicer, Matt Herms, Patricio Delpeche
Letters: Rob Leigh, Ferran Delgado, Dave Sharpe, Becca Carey, Tom Napolitano
Cover Artist: Simone Di Meo
Variant Cover Artists: Jason Shawn Alexander, Francesco Mattina
Release Date: May 28, 2024
This comic book review contains spoilers.
“Nightwing & Deadman: Down the Road Part 1” Writer: Tim Seeley
Artist: Kelley Jones
Colors: Michelle Madsen
Letters: Rob Leigh
During a routine nightly patrol of Bludhaven, Nightwing (Dick Grayson) notices a woman standing on the edge of a bridge. He stops to talk to her down and sees that she has bloody back wounds and is covered in tattered ribbons. She looks at him and speaks the cryptic message “if I fall may I never land” before jumping into the harbor. Nightwing jumps in after her, but she seemingly disappears into thin air before he can save her. After a series of investigative dead-ends, Nightwing is visited by Boston Brand AKA The Deadman who provides him with a bumblebee token that allows them to communicate. Having both previously worked in the circus, they deduce that the ribbon-covered woman must have hailed from there too. “If I fall may I never land” is an old circus superstition Deadman says, it also happens to be the last words Dick’s parents said to him before they died. The pair decide to stow aboard an old train carrying circus performers, but they are attacked by a group of performers after being discovered in one of the boxcars. Deadman dispatches one of the men who is then chased through the nearby woods by a large supernatural creature calling itself “The Unfallen.”
Nightwing and Deadman are both welcome additions to this book, and their shared circus background opens the door for an intriguing dynamic. Nightwing even comments on the fact that they have so rarely crossed paths despite their uniquely shared experience. Hopefully we will get more of the budding good-cop/bad-cop partnership in later issues. The mystery centered around the ribbon-covered woman has yet to really grab me, as it relies mostly on retconned information. There isn’t much trust granted to the reader as nearly every development is explained meticulously through Nightwing’s expositional narration.
Kelley Jones is obviously a legend, and there are times when the art distinctly recalls his iconic 90s runs on Batman, helped in no small part by Michelle Madsen’s wonderful washed-out coloring. Having said that, the character designs vary drastically from panel to panel and at times appear sloppy and slapdash. Nightwing looks bloated, and Deadman’s figure is detached from anything resembling normal human anatomy.
“Time Jerks Part 1” Writer: Mark Russell
Artist: Jon Mikel
Colors: Mike Spicer
Letters: Ferran Delgado
Time Jerks opens with an immediate homage to James Gunn’s Guardians of the Galaxy with Booster Gold flying through space in a dome-windowed craft listening to a CD mixtape labeled “Tame Travel Jamz.” After accidentally bumping an asteroid, Gold crash-lands on Earth 65-million years in the past, and Skeets warns him to try not to do anything to throw the timeline off its axis. Then, with the help of the “Jurassic League” (a group of human-dinosaur hybrids in spandex superhero costumes), he is able to repair his vessel and launch himself back into space and back into his original time period of 2471 C.E. The only problem is, when he lands, he discovers that the entire planet is now populated with those dinosaur-human hybrids from before. It turns out that the meteor Gold hit was the same one that was supposed to wipe out the dinosaurs, so they now inhabit the Earth as intelligent beings.
I’m a sucker for anything off the wall like the “Jurassic League,” and while I haven’t read the 2022 run, I had a good chuckle seeing them here. Maybe I would need to read that to understand how dinosaurs were sentient 65-million years ago, because that’s just treated like an established fact in this story. Otherwise, it’s pretty much just a Planet of the Apes story with dinosaurs (SPOILERS! the 2001 version more so than the 1968). It’s ok. Jon Mikel, who worked on the original Jurassic run, provides some really fun art here. A T-Rex dressed as Batman is just… wow. The best thing I can say about this is it makes me want to check out the original Jurassic League story.
“Artemis: The Poison Within Part 4” Writer: Delilah S. Dawson
Artist: Serg Acuña
Colors: Matt Herms
Letters: Dave Sharpe
This month finally sees the conclusion to the drawn out Artemis-AXE story we’ve been following since February. Artemis faces off against the AXE (Amazon eXtradition Entity) troops in the deserts outside of Qurac. After co-opting a helicopter and dodging areal cannon fire, Artemis is rescued by two fellow Amazonians in a passing jet.
My thoughts on this story remain the same as in past months. It reads to me as filler. Almost an advertisement for Tom King’s Wonder Woman run with almost nothing to grasp onto in and of itself. It even ends with a tag “follow the saga of Amazons in the pages of Wonder Woman.” There was no great revelation or twist in the final part of this story. No reason to justify its existence beyond that final tag. Serg Acuña and Matt Herms’ art and colors are fantastic as always. Otherwise this just felt like a wasted exercise.
Nightwing & Deadman: Down the Road Part 1 by Tim Seeley, Kelley Jones, Michelle Madsen & Rob Leigh. Courtesy of DC Comics.
“The Invader Part 1” Writer: Joshua Hale Fialkov
Artist: Lisandro Estherren
Colors: Patricio Delpeche
Letters: Becca Carey
In the issue’s fourth story, we finally get our first appearance of Batman (unless you count Batsaur), and I’m not complaining. Here Batman comes across a grounded UFO straight out of a 1950s movie. When he attempts to enter it, he experiences a psychic attack that forces him to relive past trauma through a distorted green haze. He calls resident JL spaceman Hal Jordan for help but is instead sent the affable and occasionally hapless Guy Gardner. Guy is unable to identify the craft even with the help of the Guardian’s knowledge. On the final page, we finally get a glimpse of the alien itself. It’s a classic Roswell gray shooting beats of light out of its three-digit hand.
This chapter is light on story but still an intriguing setup for things to come. Guy Gardner and Batman are always an enjoyable pairing, as highlighted in the Brave and the Bold TV series. Joshua Hale Fialkov’s dialogue skews a little juvenile at times, especially with Batman. Lines like “I do know how to ask for help- on the EXTREMELY rare occasions I need it” and “The guardians know literally everything in the universe” sound more like they’d be coming from a Dick Grayson than Bruce, but on the other hand, this is a story where Batman has a space helmet with translucent bat ears that serve no practical purpose other than to look cool (goofy?). Maybe it’s Batman’s unwonted self-awareness, maybe it’s the 50s-era UFO plot, or maybe it’s just Guy’s appearance, but this really feels like it could’ve been one of those teasers for the aforementioned Cartoon Network show. And that’s a compliment!
Lisandro Estherren and Patricio Delpeche give the story a beautiful sketchy watercolor look. It carries over a bit of the janky design elements from Kelley Jones’ Nightwing & Deadman work, but it suits this one better since the story is shorter and taking itself far less seriously.
“Perp Walk” Plot and Artist: Jason Shawn Alexander
Script: Rodney Barnes
Letters: Tom Napolitano
Perp Walk ends the issue with a short out-of-continuity story about a regular perp finally murdering the Joker for good. Rather than experiencing relief, Batman appears indignant towards this man, telling him how the Joker pushed him to be better. He takes the man to a cell at police headquarters and tells the on-duty cop that the man’s a murderer. Finally, he mournfully says goodbye to Joker at the morgue and thanks him.
Batman claiming that Joker “pushed him out of his comfort zone” is just an absolutely bizarre thing to say even in the modern era obsessed with the two’s paradoxical codependence. I miss the days when Joker was simply Batman’s nemesis and any deeper connection was just lightly conveyed subtext. Now every Batman/Joker story has to be about how they have some deep spiritual connection. They have to love each other more than they hate each other. It just doesn’t make a whole lot of sense when presented literally. Batman tells a man who killed a serial killer in self-defense that he will spend the rest of his life behind bars before visiting the Joker’s corpse, gingerly touching his hand, and thanking him. This kind of thing has just gone too far. It’s not interesting anymore.
The artwork by Jason Shawn Alexander has a creepy sketchbook quality to it. Batman’s ears jut high above the cowl and his shoulders curl like a gargoyle. Joker’s smile also twists into a spiral at the ends. At its most abstract, it recalls Dave McKean’s work on A Serious House.
Editor’s Note: DC Comics provided TBU with an advance copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Amazon or a physical copy of the title through Things From Another World.
The post Review: Batman: The Brave and the Bold #13 appeared first on The Batman Universe.
In this review of Detective Comics #1085, Batman’s campaign against the Orghams kicks into overdrive. But in the shadows, the Joker stirs…###### This review contains spoilers.
Detective Comics #1085 main cover by Evan Cagle (Credit: DC Comics))
Detective Comics #1085
Gotham Nocturne: Act III – Crescendo part 2Writer: Ram V
Artist: Stefano Raffaele
Colors: Lee Loughridge
Main Cover: Evan Cagle
Variant Covers: Javier Fernandez, Steve Beach, Gene Ha, Sebastian Fiumara
Release Date: May 28th, 2024
Selina tells Joker Batman is back to fight the Orghams again, but will fail because he and Orgham are both agents of order. Joker is needed as an agent of chaos, she goads him.
Batman conducts a massive campaign against the Orghams, and their Queen rages. She orders her henchman Neang to prepare a mysterious armored figure.
In an abandoned factory-type area, Jim Gordon meets Batman – a back up Batcave. Batman tells Jim that victories only matter to the mask, and all that matters is the struggle. Jim acts as mission control as Batman attacks Blackgate – leaving a gasoline fiery bat on the ground, and recruits a violinist called the Maestro who can create music that sends the azmer demons to sleep. Breaking the Maestro out, Batman then has Jim find the coldest spot in the city, where he finds Mr. Freeze. He convinces Freeze to prepare his eternal winter for Gotham to freeze the azmers.
The Orghams bring out the Scarecrow to fight Batman’s grip on the Gotham peoples’ hearts.
Selina and Joker share in a chat. (Credit: DC Comics)
Analysis
As Ram V’s Batman Opera builds to its finale, he plays with the themes he’s been weaving throughout the run – themes of order vs. chaos, tyranny vs. resistance, victory vs. endurance. For all that Batman claims to have abandoned his need for victory, it feels a bit hollow if he then defeats the Orghams. However, by having Selina set up the Joker to perhaps defeat both of them, Ram may be setting a thematic defeat with Batman rising again as his answer to “Batman must always win” that too many writers have made an explicit part of Batman’s writing. It’s an interesting idea, though frustrating. If a reader really likes the ending of Grant Morrison’s second volume of Batman and Robin, in which Batman loses every battle and everything he cares about, but ends with the statement, “Batman always comes back, bigger and better, shiny and new. Batman never dies. It never ends. It probably never will.” then such an ending might be satisfying. I personally much prefer when Batman is able to face defeat that doesn’t destroy everything – one of the biggest problems with the increasing escalation of threats Batman has faced since Morrison’s run started. If it’s not Gotham City being mind controlled by magical “reality engine” technology, it’s a bomb that destroys the entire world, or villains taking over Gotham one after another. When you raise the stakes that high, of course Batman can’t lose. But if Batman is facing a deadly crime lord, then he COULD lose, but rise again to fight another day, and it won’t feel so empty.
Be that as it may, Ram V continues with the Orgham/Reality Engine plotline, with the continued hollow masks of the Orghams being perhaps literally mirrored by the masks on the Orgham walls. With so much of their story told in fairy tale style, their defeat of Batman and taking over of Gotham has an otherworldly, ludicrous feeling. There’s no tangibility to their motivations, abilities, or consequences for their actions. Ram V also hasn’t drawn any strong obvious parallel to a philosophy or group, making them feel both thematically and narratively hollow. Perhaps this is a strength – it avoids the sense of shallow preaching through the villains – but given how obvious and on the nose Batman’s dialogue about his “change’ is, it doesn’t seem to have gained much in that department.
A practical criticism – given that The Maestro last appeared in Detective Comics #1063, over 20 issues (almost 2 years) ago, an editor’s note seems appropriate.
Stefano Raffaele’s art, aided beautifully by veteran colorist Lee Loughridge, continues to hold up high standards for this run, and it’s very nice to see scheduling back on track with only one artist credited on the main story. The choice to make the Batsymbol on Bruce’s chest be bloody, messy red perhaps symbolizes Batman’s lack of polish – a primitive force of “resistance” rather than a polished, trained knight – though odd considering Selina’s description of Batman as a force of “order” needing the chaos of Selina and the Joker. It definitely fits the thematic and mood goals of the run, though it once again highlights just how disconnected this entire run is from any other title. One can’t really imagine the “Ram V bloody bat” costume being as fondly remembered as the yellow batsymbol of the 90s or the simple gray and black of Jim Lee’s Hush suit. But perhaps I’m wrong, and 20 years from now in the 2040s a writer and artist will bring it back. That would be something, indeed!
Backup Story:
Mr. Freeze in “Auto-De-Fe”Writer: Alex Paknadel
Artist: Christopher Mitten
Colors: Trinoa Farrell
Mr. Freeze meets his old friend, Magda, now a lobbyist, who sheltered him years ago when he was first starting out as Mr. Zero. She campaigned against the corruption of the city politicians and police, and he saved her during the NML. She asks him for life-extension so she can fight longer, and he gives her a recipe that will kill her. He decides Gotham’s corruption has left her corrupt too, and continues his plans to save the city with an ice age.
Analysis
Alex Paknadel, taking over from Dan Watters, who took over from Si Spurrier, has a similar solid grasp on the mood with which Ram V and his collaborators have permeated this run. This Mr. Freeze talke is dark, moody, and tragic – but unlike the previous two collaborators (and Paknadel’s last backup story), this tale doesn’t push anything forward. If it has a plot, it’s just Mr. Freeze murdering his former friend Magda, with most of the story being them meeting for coffee and talking about old times in flashback. Christopher Mitten’s art is a good blend of appealing, sketchy lines, with a nice line in darkness. However, Mr. Freeze’s plan to blanket Gotham City in ice, which Batman plans to use to stop the azmer demons, doesn’t gain or lose anything, leaving it ultimately feeling very pointless. A disappointment, as it could have been Freeze getting something important to push the plan forward or jeopardize it – but instead, it’s just showing Mr. Freeze is still torn between good and evil, leaning towards evil.
Evan Cagle’s main cover shows Batman perched in a gothic style window, looking like a giant demonic bat with wings dripping far below him – classic atmospheric Batman in the city stuff! Javier Fernandez’s variant splashes a black and yellow only colorscheme on a Batman fleeing a spotlight over a concrete bridge – classic Batman/manhunt imagery – very thematically appropriate, though perhaps moreso for earlier issues. Steve Beach, perhaps better known for his excellent run on Action Comics main covers for Phillip Kennedy Johnson, shows Batman’s mouth with clenched teeth, dripping with rain, over a red cityscape – extremely intense, reminiscent of Alex Ross’s photoreal painted style. Gene Ha’s AAPI Heritage Month variant shows many of DC’s AAPI heroes from the We Are Legend three miniseries last year. Lastly, Sebastian Fiumara’s 1 in 25 incentive variant shows an upside down Batman highlighted in blood red, really emphasizing a jagged bat motif.
Final Thoughts:
Five issues from conclusion, Ram V adds a new element to the final struggle, perhaps to avoid the predictable outcome of a Batman vs. supercriminals story he’s setup. Raffale and Loughride provide suitably operatic visuals, but the story continues to move glacially, with too many thematic frustrations.
Editor’s Note: DC Comics provided TBU with an advance copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Amazon or a physical copy of the title through Things From Another World.
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In Catwoman #65, Selina Kyle is able to get one more chance at life from a reluctant cat god. Unfortunately, she finds herself in a black ops installation and has to fight her way out without getting killed.Catwoman #65 main cover by David Nakayama
Title: Catwoman #65, Nine Lives Part 7
Writer: Tini Howard
Artist: Ivan Shavrin
Color Artist: Ivan Shavrin
Main Cover: David Nakayama
Variant Covers: Pablo “Lobos” Villalobos & Rachta Lin; Otto Schmidt (1:25 Variant Cover); Eliza Ivanova (1:50)
Release Date: May 21, 2024
This comic book review contains spoilers.
Catwoman #65 opens in Las Vegas. Viceroy is notified that the body of Catwoman has been located. She does not believe it, based on her prior reports. Rosie, on the other hand, does not believe that Selina Kyle could have survived the reentry. Viceroy wants to see for herself.
Selina is shown back in the other realm. She is surveying the wreckage, and the cat god shows up to tell her this is it. Selina pushes back; she doesn’t believe in religion or being tested, and this angers the cat god who snatches Selina and shows her her prior deaths. It appears that Selina squandered her lives, but the god relents and places Selina in a sarcophagus. She wakes up in a freezer.
Selina escapes the container her body was in, and now she is faced with having to get out without her gear. As she sneaks down the corridors, she realizes that she needs to find help. She runs into some guards and takes out one of the soldiers. She borrows his clothes and weapons and sets out to discover that she is not in a government installation. Everything here is analog, there is no computerization. This gives her hope that she can delete her presence in this installation.
Selina is discovered and one of the soldiers, strangely a pretty veiny guy, starts to hit on Selina. This interaction is interrupted when it is reported that the guard Selina jumped was found without his gear. Selina quickly finds the hold and discovers her gear. She pushes into an airlock and sets up a distraction with the gear she stole. Selina changes into her torn Catwoman costume, attacks the guards full on, and slips down a grate.
She discovers a treasure trove of ancient powerful artifacts. She starts collecting some of the items when she is attacked by a zombie guard. Realizing she cannot flirt her way out of this she starts to fight. This is difficult as the guard does not feel any pain. She succeeds at setting it on fire. It leaves, and Selina follows it out of the cave.
Later in Brazil, Selina meets up with Scandal. After a brief skirmish, she shows the woman her loot and enlists her help to take down Viceroy. First, they need some other recruits.
Catwoman #65 by Tini Howard, Ivan Shavrin & David Nakayama. (Credit: DC Comics)
I did not appreciate the art in this issue at all. The body proportions of the characters are way off. In one panel in particular Selina’s head looks so huge. This is a cartoony style that is not my preferred style. It also appears that the writing is shifting more to laughs and comedy, and that is not the theme of this story.
This whole story seems to explore an interesting concept of dying and the afterlife and just makes it into overall gore and comedy fest. Let’s see how we can kill Selina and make it entertaining. There is a seriousness in this topic that could and should be explored. I like the use of the cat god, it gives Hinduism vibes and even using the concept of reincarnation is worthy of exploration.
This issue in particular only deals with the death concept in the very beginning. Selina actually doesn’t die in this issue at all, which is good since, presumably, this is her last life. This issue deals with Selina’s escape and her effort to amass a team to combat Viceroy who is experimenting with death and rebirth herself.
Viceroy is doing something to her soldiers. In a number of panels, the soldiers are shown with thick blue veins in the necks and cheeks. Selina, in her final battle this issue, is with a zombie. Again, not my favorite concept in a comic. I feel that zombies are overused and sometimes they are used as a shock factor to see our favorite characters as zombies. It’s tired. I am looking at you DCeased and Marvel Zombies.
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In The Bat-Man: First Knight #3, the titular hero confronts The Voice’s dastardly plans for Gotham in an explosion that rocks the city – and the world!The Bat-Man: First Knight #3 main cover
Writer: Dan Jurgens
Artist: Mike Perkins
Colors: Mike Spicer
Main Cover: Mike Perkins
Variant Covers: Tyler Crook, pulp cover by Marc Aspinall
Release Date: May 21, 2024
This comic book review contains spoilers.
The Voice’s henchmen relay the panicked news that the Bat-Man and Jim Gordon captured his chief enforcer Johnny the Whip. At Wayne Manor, Bruce in his Bat-Man suit contemplates his father’s gun when Julie Madison walks in. Shocked at discovering Bruce’s secret life, she pleads with him not to use lethal force with the gun. Bruce opens up to her, and they make love. She wakes the next morning alone in bed. She finds Bruce has burned his father’s guns and is dissecting one of the zombie corpses. He tells Julie he’s going to fight the monsters from Blackgate with a new chemical weapon.
At the hospital where Johnny the Whip is being held, Bruce meets Gordon and the sinister Blackgate Warden Shelby, and they discuss the situation.
On the movie set, Julie and her gay costar (who she is dating as a shield for his sexuality) talk about her relationship with Bruce.
Bat-Man gives Gordon his new gas weapon against the zombies in Gordon’s office.
At the hospital, a zombie abducts Johnny, while Bat-Man follows The Voice’s men on top of their car.
Rabbi Cohen is protected from antisemitic gangs by the brothel owner’s muscle.
Suddenly, explosions rock Gotham! Warden Shelby tells his dreams of ruling Gotham to his subordinate DeBesso, but Bat-Man interrupts, accusing Shelby of being The Voice. Shelby denies it, and Bat-man realizes that it’s actually DeBesso. He follows the villain to his underground lair, where DeBesso injects Johnny with the zombie formula. Bat-Man fights the zombies and DeBesso, discovering that the prison guard’s dream is to take over Gotham City and to push America further into isolationism, to avoid the carnage of another World War.
Gordon uses the gas to destroy the zombies attacking in the wake of the explosions, while Rabbi Cohen fights the fires at his synagogue, and Bat-man drops anti-zombie gas from a biplane. The Bat-Man leaps from the plane as it crashes into a tower, then fights DeBusso in a graveyard. DeBusso tries to inject Bat-man with his zombie serum, but Bat-Man forces him to inject himself, which combined with the anti-zombie gas, destroys him.
Bat-Man meets with Rabbi Cohen as he cleans up his synagogue after the conflagration, and the Rabbi hopes that his protector can find peace. Bat-Man replies that he cannot have peace but will fight for the peace of everyone else in Gotham.
The Bat-Man: First Knight #3 by Dan Jurgens, Mike Perkins & Mike Spicer. (Image credit: DC Comics)
Dan Jurgens and Mike Perkins bring their 1940s tale of the Bat-Man to an explosive ending, tying most of the threads they started in The Bat-Man: First Knight #1 up neatly and leaving room for more stories with these versions of the classic characters if the series sells well. All in all, it’s an okay effort. Jurgens continues to provide his textured 1940s dialogue, punctuated by pungent slang, marred slightly by cursing seemingly only present for ratings. The scenes are almost luxuriously self-contained, rarely rushing into each other in typical comic book compression, as Jurgens uses his hefty page count to its full advantage. However, this leads to a bit of a feeling of halting pacing, as there’s a lot of stuff that shows off character and period detail – you can almost hear the tinny trumpets and flowing fiddles of a 1940s movie score under the scenes – but doesn’t really move along efficiently, accomplishing multiple tasks at once. You could argue that such inefficiency, such showing off of the craft of writing and art are the point of a Black Label book – but the characters themselves don’t quite have the depth to hang such weight. The closest we come in Jurgens’ original character of Rabbi Cohen, whose compassion towards all he meets in Gotham is quite moving – but he still doesn’t quite transcend his noble two-dimensionality into the complexity of a Leslie Thompkins or similar figure.
There’s also a sense of well-executed-but-perhaps-over-trodden ground in First Knight. The characters run through their paces well, but nothing really new appears thematically or character wise. After complaining about overly radical takes like Brian Azzarello’s Batman: Damned or John Ridley’s I Am Batman, it might seem a bit hypocritical to also complain when Jurgens is completely faithful to the core of Batman’s character and the characters of his supporting cast. But despite the careful quality of Jurgens’ dialogue, there just isn’t a real freshness to each scene. You can see how each plot point comes from a classic source or sources – from the romance mirroring Batman 1989, to the Bat-Plane mimicking Batman: Year One, to the multiple “Batman disappears while Gordon is talking to him” scenes. None of it is bad, but it doesn’t really scratch any itches for this Bat-reader. Thankfully, Jurgens shows a lot of restraint and avoids making his first Black Label story also a Joker story. That being said, its faithfulness to the core of the characters and ideas does mean it serves as a perfectly serviceable Elseworld, sitting on the shelves for fans who want to know what a modern take on the original period of Bat-Man might look like.
Mike Perkins’ art continues to provide dark, shadowy noir for fans of 1940s detective and crime films. The colors by Mike Spicer wash Gotham in dark greys and blues, punctuated by the glowing explosions and gory reds of the zombies. Though characters’ faces sometimes struggle to maintain consistency from panel to panel, and anatomy is sometimes a bit overly contorted or stiff, Perkins continues to make the book stand out from the typical Batman art, while also avoiding the overly plastic feel of some painted artists like Lee Bermejo and Alex Ross. The action and violence is quite nice, and the few romantic scenes have a solid emotion to them, even if they feel a bit tacked onto the story. All in all, the collected issues of The Bat-Man: First Knight continue to offer something extra in the way of art. Though not spectacular, it’s consistently good and often impressive.
Mike Perkins’ main cover presents our cast of characters in a film-montage format, framed by the silhouette of the Bat-Man – very movie-poster! Tyler Crook’s zombie poster has a Two-Face quality, lit half in blue, half in red, but is kind of an overemphasized minor element of the story. Marc Aspinall’s pulp novel variant shows a classical painting style Bat-Man standing on a burning tower, with stately print title and trade dress promising “Red-Hot Adventure” – quite appropriate!
Editor’s Note: DC Comics provided TBU with an advance copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Amazon or a physical copy of the title through Things From Another World.
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In Nightwing #114, The Fallen Grayson arc begins with Heartless finally making his attack on Dick Grayson and Blüdhaven!Nightwing #114 main cover by Bruno Redondo
Title: Nightwing #114, The Fallen Grayson (Part 1 of 5)
Writer: Tom Taylor
Artist: Bruno Redondo
Colors: Adriano Lucas
Letters: Wes Abbott
Main Cover: Bruno Redondo
Variant Covers: Aaron Campbell, Dan Mora, Daniel Sampere & Alejandro Sanchez
Release Date: May 21, 2024
This comic book review contains spoilers.
Two weeks from now, Dick Grayson a.k.a. Nightwing will take his dog Haley across a snowy trek towards a Mount Everest-esque vista. Dick will reminisce about the first time he tried to climb the trapeze tower to be like his parents when he was seven years old, and how that first attempt was his first fall.
Two weeks earlier, Shelton Lyle a.k.a. Heartless is ready to enact his plan to take down Grayson. Heartless is holding a meeting between various former henchmen of Blockbuster and Boss Maroni in Blüdhaven. Revealing that he’s captured their children, Heartless makes an example of an infuriated mobster by murdering him in front of the man’s daughter, promising the same fate to anyone else who dares cross him. Loyalty will be rewarded with unimaginable amounts of money, and the men are subsequently branded with Heartless’ insignia.
Hours before a gala event promoting the Alfred Pennyworth Foundation in Gotham City, Nightwing does a quick patrol, running into a man stealing a rotisserie chicken. He keeps this encounter in mind as he and Barbara Gordon meet Bruce and Damian Wayne at the function, before being chatted up by Shelton Lyle. As Bruce introduces Dick during a speech, a reporter accuses the Alfred Pennyworth Foundation of being funded off of Blockbuster’s remaining stolen accounts after that gangster’s death. Suddenly, fire alarms blare and the sprinkler system goes off, as Shelton tells his man Gerald that they’re about to carve out a heart.
Nightwing #114 by Tom Taylor, Bruno Redondo, and Adriano Lucas. (Credit: DC Comics)
Foregoing the back-up preview of the upcoming Titans #11 about a young girl inspired by Donna Troy and Starfire (as that’s truly not integral to this issue in any way), I’m happy to write that with this first chapter of Fallen Grayson, the Nightwing book is right back on track to its former glory. This is in no small part owed to the return of the much-missed Bruno Redondo, who has been off the title for eleven months (his last issue – Nightwing #105 – has just been nominated for an Eisner). Make no mistake about this, Redondo is a top-tier comic book artist. Immediately with the flashback at Haley’s circus, we’re greeted with a wonderful layout of young Dick standing at the bottom of the circus stage, multiple panels detailing his ascent, which breaks up as he begins to lose himself, ending with a mirror image of him falling. Cut to the next page and we see and adult, bearded Dick laying down flat in the middle of the snow. It is truly terrific stuff, and helps make this run truly worthy of the praise it’s garnered over the past three years. This isn’t to suggest that the title has been beset with bad artists in the intervening issues, but I think Dick’s agoraphobia would be more of a sympathetic subplot if it were rendered in Redondo’s mastery of landscape design and spatial proximity. I’m thinking of the scene in Nightwing #109 when Dick was forced to confront his fear of heights to leap after Bea into the water. Stephen Byrne’s artwork was probably my least favorite of the last few months anyway, but that specific scene could’ve welcomed some visual enhancement by a maestro such as Redondo.
This is all to say, I’ve missed the man. Tom Taylor’s writing hasn’t changed much without his art partner, but with this issue one could argue that it drastically improves. The themes of the arc feel more alive, between Dick wanting to move his operations to Gotham and how it differs from Blüdhaven. There’s a scene transition that’s a bit awkward (Shelton Lyle approaches Dick and Babs, and the next page Bruce is giving a speech), but overall I’ve nothing but praise for this first part. Heartless is back and effectively returns as a real threat. The killing of the gangster in front of his daughter is exactly the kind of nastiness this book needs to sell the danger against Nightwing. I’ve read other Tom Taylor books, and he is not afraid to go dark in different circumstances (His Superman run had a fairly nasty What-If possible scenario where the DC heroes all died), so it’s good to know he doesn’t shut that door on this book. The niceties and kid-gloves that I’ve disliked in the past few arcs may prove to be worth stomaching if Fallen Grayson truly sticks the landing.
The biggest regret of this issue is that it ends too soon! Maybe the cliffhanger (such that it was) was intended to be sudden and quick, or maybe it was necessary for the Titans preview, but just as things were ramping up we get cut off. I loudly yelped in anguish, but that’s definitely a sign of successful writing when you was to see what happens next.
I don’t have much else to say that isn’t just more praise of Bruno Redondo. Cannot wait for issue Nightwing #115.
Editor’s Note: DC Comics provided TBU with an advance copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Amazon or a physical copy of the title through Things From Another World.
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In Batman/Superman: World’s Finest #27, Bat-Mite and Mxyzptlk must work together to save Batman, Robin, and Superman while averting an imp invasion!Batman/Superman: World’s Finest #27 main cover by Dan Mora. (Image Credit: DC Comics)
Title: Batman/Superman: World’s Finest #27 – Impossible: Part Two
Writer: Mark Waid
Artist: Dan Mora & Travis Mercer
Colors: Tamra Bonvillain
Letters: Steve Wands
Main Cover: Dan Mora
Variant Covers: Jeff Dekal, Ramon Perez & Heron Grant
Release Date: May 21, 2024
Please Note: This comic book review may contain spoilers
Batman/Superman: World’s Finest #27 opens on a dream sequence, one wherein Bat-Mite envisions himself in the title credits of Batman: The Animated Series. It’s a fourth-wall-breaking goof that delightfully segues to Mr. Mxyzptlk trying to wake up Bat-Mite. Mxyzptlk fills Mite, and readers, in on what happened at the end of Batman/Superman: World’s Finest #26. The two took a beating from Parasite and his imp, Paras-Mite.
It’s a vivid opener, and the art and coloring are expressive and vibrant. Parasite and Paras-Mite, especially, are a gruesome twosome that’s both mortifying and beautiful to gaze at.
Wonder Woman enters the fray, battling against Cheetah and her imp. Bat-Mite and Mxyzptlk take this diversion to find Batman, Robin, and Superman, all of whom have been flattened and stuck on a brick wall.
Wonder Woman gets taken out after being told by Cheetah’s imp that this whole battle is a test to find the mightiest champion, who will then do battle against the imps’ master. The Metal Men intervene, dispatching Cheetah only to be confronted by an imp-powered Chemo.
The issue then turns into a who’s who of heroes battling their arch-enemies. Familiar faces adorn the panels, posed and colored fantastically. The action is fast, frenetic, and begging to be made into a series of posters for the wall.
Meanwhile, Bat-Mite manages to free Robin (Dick Grayson), only to be trapped himself on the wall with Batman and Superman. Elsewhere, Supergirl is calling out for Mxyzptlk, though she butchers his name. He corrects her, and it’s now three times Mr. Mxyzptlk has said his own name without zapping back to his home dimension. Does that rule not apply anymore?
On the wall, Bat-Mite manages to communicate with Batman and Superman. The three of them are trapped in the “second dimension,” which looks like the cartoon stylings of Superfriends. It’s a fun nod, allowing the art team to once again dabble in cute Saturday morning references. Somehow, Bat-Mite manages to figure out how to get the heroes and himself free, and they’re blasted into the 6th dimension. It is here, beyond infinite possibility, where the heroes and Bat-Mite find themselves. In a swirl of colors and images, the sixth dimension is where all of time is existing all at once, and, As Bat-Mite points out, it’s where the big bad lives.
Back on prime Earth, the coolest thing is about to happen. Robin, who has been asking to be given powers to fight the imps once more, is overlooked by Mxyzptlk. Instead, Superman’s least-favorite imp singles out Jimmy Olsen, who has been the subject of many transformations in the Golden and Silver Age. What results is an army of Olsens, ranging from elastic powers to werewolf abilities. These Olsens take down imps and villains alike, saving the day rather handily.
While the heroes rejoice, it all culminates into something very bad. The contest ends, and Jimmy Olsen is deemed Earth’s mightiest champion. The arch-villain, known simply as the “imp killer,” threatens to kill Olsen.
For fans of Silver Age World’s Finest comics, this arc is a buffet of colors, zaniness, and fun. It’s a nod to the wild adventures and out-of-nowhere twists that once dominated the superhero genre, and in a way, it’s refreshing in an era where many hero books are obsessed with doom-and-gloom.
That said, there’s a cloyingly sweet taste that’s not unlike eating a whole baby of candy. It’s sweet, tasty, and quite the sugar rush, but once the rush is gone, what’s left? In past issues, Mark Waid, Dan Mora, Tamra Bonvillain, and team have delivered a title that deftly balances both fun and heart. World’s Finest has been a consistently inspiring title, showcasing all of our favorite DC heroes at their best and wrapping stories and arcs with old-fashioned morals and ethics that feel somehow timely again.
While this arc is fun, I’m not feeling those same tugs on the brain that inspire, motivate, and encourage readers to be better humans. And to be honest, I’m missing it this week. Then again, maybe I’m wrong. Maybe it’s best that we, as comic book readers, don’t have the same motif every arc. Those complicated feelings aside, Batman/Superman: World’s Finest is still a roaring, fun time. It’s an artistic masterpiece, full of explosive, page-turning action that is easy to follow, offering delightful bursts of color on each page.
Editor’s Note: DC Comics provided TBU with an advance copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Amazon or a physical copy of the title through Things From Another World.
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In Red Hood: The Hill #4*, Batman arrives and rescues most of the members of the Watch. Dana, feeling overwhelmed over recent events, finds an unexpected visitor.Title: Red Hood: The Hill #4: Escalation
Writer: Shawn Martinbrough
Artist: Sanford Greene
Colorist: Matt Herms
Main Cover: Steve Beach
Variant Cover: Dave Wielgrosz & Ben Mears
Release Date:* May 14, 2024
This comic book review contains spoilers.
Dana Harlowe, in thought, recounts her previous attempt to make the US Olympic Team. She remembers failing because she had the “twisties,” the unshakable feeling that something is wrong. Something is definitely wrong today.
Batman, Dana, and Jason Todd discuss the Kreckk attack and discover that the creature and its blood have disappeared from the apartment. Batman tells the two that he rescued the other members of the Watch and that the creature tracked them by using photos. He tells them about his rescue, and Dana says there is one more at Vinyl Moment. Batman and Jason head out, and Jason tells Dana to stay put.
Batman arrives to stop the creature. It runs off with Batman in pursuit. Jason tracks the two on his bike. The creature is headed to Leonard Kreckk’s apartment where it disappears. Red Hood wants to go in, but he is stopped by Batman who explains that he relocated Leonard to the Hill. Dana, in costume as Strike, also arrives.
The scene shifts to Junior and his father. They are playing chess and discussing the God Mode stores. The father urges Jr to stay under Batman’s radar, and he and Lenora leave. Before Lenora leaves, she is told to watch over his son like her father watched over him.
At Priest Memorial Hospital, Dana visits the members of the Watch. They are all beat up, and Dana is beginning to feel guilt for allowing this situation to go on. Elsewhere, Batman and Red Hood compare notes. Jason tells Bruce about Demetrius Korlee Jr. Batman is skeptical, he runs a legitimate business that is backed by the Wayne Foundation. Red Hood insists that there are factions in the Hill that is wiping out organized crime. Batman tells him that Oracle is tracking the situation. Red Hood connects Korlee to Killer Croc; he is the middle man to Leonard. Batman decides to attend the God Mode opening in Gotham and tells Red Hood to focus on Dana.
On Kitz Row at a tattoo shop, Denise walks in. She is following up on a lead. She is directed to room nine where Omar is. She talks to Omar about the night his daughter died during the Joker War. He admits to killing the killers and then gives Denise a message. Denise runs out, and Omar’s men chase her. They are stopped by Red Hood, who grabs Denise and races off. Omar will strike balance.
Dana has that feeling again, and she enters her apartment to find Demetrius Korlee Jr. waiting for her.
Red Hood: The Hill #4 by Shawn Martinbrough, Sanford Greene, Matt Herms & Steve Beach. (Images courtesy of DC Comics)
Batman arrives to move the story further. A cheap way to move things along, Batman swoops in to save the day and provide the information that connects the dots. I do not appreciate this story element. It is true that Jason is not the detective Bruce is, but he is not alone. This moves the Watch characters, including Dana Harlowe, to the background.
Batman comes in and takes over the investigation. He is skeptical of Korlee’s involvement, so he decides to investigate himself, relegating Jason to a babysitter role. “Focus on your friend, she needs it.” Ironically while this is going on Korlee himself may give Dana the information that is needed to wrap this up. This issue seems to set up Korlee as being a sympathetic character and Omar being the instigator of all the violence in the Hill in his goal to rid the neighborhood of chaos.
At least Red Hood had his moment to shine in his own book. He swoops in at the last minute to rescue Denise, and the two of them are presumably headed to Dana’s apartment.
There is no change in the art. It has been used to further the theme of the story, and it continues to do that in this issue. The tone is dark and mysterious, and there are a couple times that an all-black panel is used with only text. Both times it centers on Dana’s gymnastic memory of getting injured during her trials. This adds to the darkness that is definitely in Dana’s soul over this trauma and the rest of her life.
Editor’s Note: DC Comics provided TBU with an advance copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Amazon or a physical copy of the title through Things From Another World.
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In Batman & Robin #9, Shush is revealed, and Robin must save Batman from the clutches of Man-Bat. Title: Batman & Robin #9 – “Cool Kids Table”
Writer: Joshua Williamson
Artist: Nikola Čižmešija; Simone Di Meo
Color Artist: Rex Lokus; Giovanna Nero
Cover Artist: Simone Di Meo
Variant Cover Artists: Gleb Melnikov & Howard Porter, Erica Henderson, Ivan Tao
Release Date: May 14, 2024
This comic book review contains spoilers
Man-Bat is taunting a trussed-up Batman in the Man-Batcave. They argue about Man-Bat’s past and his current experiments.
At Gotham City High School, Damian and Nika bond over mutual skepticism of the cafeteria food. They plan to get close to Principal Stone via detention and brush off Ms. Hall’s attempts to speak with Damian. They earn detention by starting a food fight. There, Damian goads Principal Stone, who eventually can take no more and reveals herself as Mistress Harsh. She directs the soccer team to assault Damian and Nika, who summarily dispose of the bullies.
She then points a firearm at one of the defeated students, only to be stunned into unconsciousness from behind by Ms. Hall. Ms. Hall taunts then threatens the remaining students, who rush out. Damian attacks the person he now knows is Shush. She defends, and they break apart to talk.
Hall explains that her true identity is in fact a high school teacher. She became Shush after training as a physician under Thomas Elliott (Hush). Batman’s apprehension of Hush ruined Hall’s career, resulting in her termination and the revocation of her medical license. She became a teacher but remained unhappy and was seduced by Man-Bat’s rhetoric. Hall explains the rest quickly, including Batman’s current state. Damian is enraged and is ready to fight, but Hall collapses. Man-Bat injured her during her escape from the Man-Batcave.
Hall hands Damian a guide to track Batman but warns him that he’ll have to decipher the map that Batman couldn’t read. Nika tells him that she will handle Hall and Principal Stone and that he should go. Damian does and finds the map. He interprets it quickly and takes off.
Across the rooftops, he reveals the pattern: bat flight movements in Gotham, suggesting that Man-Bat plans to use bats to distribute something across the city. He arrives at the origin point and engages Man-Bat, who has some kind of chemical he plans to disperse across Gotham. Man-Bat releases his bats, and they fly out of the Man-Batcave as Robin and Batman look on.
Batman & Robin #9 by Joshua Williamson, Nikola Čižmešija, Simone Di Meo, Rex Lokus, and Giovanna Nero. (Images courtesy of DC Comics)
Batman & Robin #9 continues writer Joshua Williamson’s energetic, enjoyable arc. The strengths of this book are consistent. For example, both major and minor characters are written well. Although we do not get much of Batman in this issue, Damian is represented here as a complex, layered individual for whom you cheer. He is not above his adolescent struggles (who among us is?), but he is nevertheless mature, focused, and fearless. What more would you expect from Batman and Talia al Ghul’s son? In this issue, Williamson wisely casts Nika in the background, not because she is unworthy of the limelight, but because the energy here is intentionally Robin-centric in showing off his detective abilities.
Furthermore, Williamson’s story-telling is refreshingly simple and straightforward. As I’ve said repeatedly in reviewing this book, here we are focused on Batman and Robin. Convoluted plot lines, wild flashbacks, multiversal mayhem, and labyrinthine chronologies do nothing so much as dilute the focus away from the titular characters. This book needs to be character-driven and to accomplish that the writer must essentially stay out of the way and resist the temptation to do too much. Williamson is the rare current TBU writer who seems able to do this and the payoff is considerable.
Unfortunately, DC is continuing their practice of having multiple artists work on the same book. The results are not spectacular, as artists Simone Di Meo and Nikola Čižmešija have distinct styles that do not mesh easily; it is quite obvious which artist is drawing which page, and even gimmicks such as flashbacks and dream sequences can only be used on occasion to account for the discordance. I am personally loving Di Meo’s work on the book and hope that in the near future he will be designated the primary artist.
Editor’s Note: DC Comics provided TBU with an advance copy of this comic for review purposes. You can find this comic and help support TBU in the process by pre-ordering this issue digitally on Amazon or a physical copy of the title through Things From Another World.
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In Poison Ivy #22, the creative team delivers a book that is light on story and heavy on action, culminating in one big battle royale between Ivy and Jason Woodrue. Poison Ivy #22 by G. Willow Wilson, Haining & Arif Prianto. Cover by Jessica Fong.
Title: Poison Ivy #22 Writer: G. Willow Wilson
Artist: Haining
Colors: Arif Prianto
Letters: Hassan Otsamne-Elhaou
Main Cover: Jessica Fong
Variant Cover Artists: Frank Cho, Sabine Rich, R. Kikuo Johnson, Elizabeth Taroque
Release Date: May 7, 2024
This comic book review contains spoilers
The StoryIn this issue, Poison Ivy, Killer Croc, Solomon Grundy, and Janet from HR face off against a mutated Jason Woodrue. In the midst of the conflict, Woodrue summons all the labia-infected human zombies to attack the others. Ivy uses her powers to mutate into an “OP” plant creature herself as Janet, Grundy, and Croc take shelter in their hunting shack. Ultimately, Ivy attempts some form of self-sacrifice, hoping that she’ll talk down Woodrue along with herself. My guess is, we’ll be seeing them both again soon.
AnalysisSome people like comics that are just 22 pages of one extended action scene, and that’s what we get here. For me, this is even more uninteresting than Ivy’s disappointing origin story arc we just resolved in Poison Ivy #21. This entire conflict still hinges on the fact that Ivy and Woodrue previously had a relationship together despite Woodrue being given no depth in this entire run. He’s a pure-evil mustache-twirling villain, and the fact that he’s still referring to his plan as a science “experiment” is absurd. What is the experiment now? What will happen if Ivy wipes out all human life?
At times, G. Willow Wilson seems to show a self awareness of the ludicrous nature of this dynamic such as in Ivy’s line: “it’s difficult after having spent your young adult life idolizing someone, to realize that beneath the genetically altered plant-hybrid zombie lord is a complete loser.” It’s a funny line, sure, but it also undermines Ivy’s intelligence in the entire last arc of this run. At this point, it feels like nobody in this series is acting rationally or comprehensively; it’s just a plant-fueled kaiju fight. And a subpar one at that.
The few moments we get with Killer Croc, Janet from HR, and Solomon Grundy are just padding to meet the page requirement. That storyline has had no interesting developments in months, and this issue is no exception. If this series is to keep going, it is in need of a major reset. The cliffhanger at the end indicates, we’re still going to be milking this Woodrue labia storyline for at least another few issues. But after the sporadically interesting origin story detour, the main story feels more than ever like it’s run out of steam. To say this issue could’ve been an email is an understatement, it could have been a subject line: Ivy vs. Woodrue. And we won’t even know the outcome for a whole other month.
Poison Ivy #22 by G. Willow Wilson, Haining & Arif Prianto. Cover by Jessica Fong. (Image courtesy of DC Comics.)
The ArtMarcio Takara’s absence is noticeable here. Haining does a decent enough job approximating Takara’s style, to where the change is not immediately noticeable from the opening pages. As the issue goes on, however, one may start to notice a dip from Takara’s innovative page layouts and character subtitles that have served to elevate weaker issues in the past. There are times, such as when Ivy spreads herself out along the “mycelium network,” that it’s hard to tell what is even happening without Takara’s psychedelic artwork to distract us. This is true of the issue’s climax as well.
To be fair, Arif Prianto and even Hassan Otsamne-Elhaou do what they can to bridge that gap with their usual vibrant colors and unique speech bubbles. At the end of the day, this is still a decent-looking issue despite the decline in quality from recent months.
Editor’s Note: DC Comics provided TBU with an advance copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Amazon or a physical copy of the title through Things From Another World.
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In this review of Batman #147, Bruce escapes prison and plans for his assault on Zur En Arrh. But he can’t do it alone.Batman #147 main cover by Jorge Jiménez (Credit: DC Comics)
Batman #147Writer: Chip Zdarsky
Artist: Jorge Jiménez
Color Artist: Tomeu Morey
Cover Artist: Jorge Jiménez
Variant Covers: Yasmine Putri, Jorge Jiménez, Kendrik “Kukka” Lim, Stevan Subic, John Giang
Release Date: May 7, 2024
This review contains spoilers
Zur-En-Arrh is in the Failsafe Batsuit and is chatting with Robin. Zur is listening in on any/every electronic device in Gotham. Elsewhere, the newly installed Commissioner of the Gotham City Police Department, Vandal Savage, is addressing a crowd of reports and onlookers. An assailant raises a pistol and fires a shot but Zur swoops down and blocks the shot. He then apprehends the perpetrator, noting that the latter most recently worked for Catwoman. Zur then taunts Savage with a return to prison, who returns the challenge.
In Gamorra, Amanda Waller is monitoring the situation.
In Rhode Island, Bruce is driving to a family cabin, hoping that Zur won’t think of the cabin nor realize Bruce’s plans. Bruce makes a stop at a former headquarters of Justice League. He reminisces about an encounter with Flash in which Barry reminded him of the need to let others help.
Back at Blackgate, Zur meets with Daniel Captio, who points out that Batman has escaped and charges Zur with underestimating him. Zur is unconcerned.
Amanda Waller’s agents infiltrate the location where they expect Batman to be. Robin is waiting for them and takes them out. Zur crashes the location at which Ms. Waller is directing the operation, along with Clock King. Waller and Zur banter. Zur leaves Waller with a warning.
At the Wayne cabin, Bruce unpacks his haul from the Justice League headquarters and flashes back to a time when he tried to teach Tim archery. He reflects on the fact that Dick’s acrobatics background made the transition to Robin far easier than for Tim, who had to work for everything.
In the Batcave, Zur explains his plans to Robin, which involve Amazo bots impregnated with the consciousnesses of different Zur-en-Arhhs from across the multiverse. Robin suddenly realizes what Zur has done, grows enraged and attacks Zur, demanding to know what Zur has done with his father.
Zur easily evades and immobilizes Robin, remarking that he can only trust a Robin he has made himself. He then reveals his own Robin – either a bot Robin, a Zur-En-Arrh Robin, or both (?).
At the Wayne cabin, Bruce hears a noise and goes out to investigate. It’s Tim! Bruce is happy to see him and they talk over dinner and washing up. Bruce acknowledges that his fears for the Bat-Family and what Zur might do to them caused him to isolate himself.
Tim reminds Bruce that each and every member of the Bat-Family chose that life and that Bruce can neither stop nor hold himself accountable for loss and death of his friends and loved ones. He tells Bruce the key is to live by helping each other. Bruce dons the Batsuit and closes by fiercely remarking that the Bat-Family is his strength.
Analysis:
Well! After the setup issue in #146, it is great to see the narrative really accelerate in #147. Zur is moving forward rapidly with his own plans, Robin finally realizes the imposture, and Bruce snaps out of his mournful and lonely reverie, with help from Tim. There’s a lot to talk about here, so let’s get to it!
First, I should say I’m not a huge fan of the Zur-en-Arrh arc in particular. I’m not quite sure I understand Zur and his motivations, although it’s not that clear any of the titular characters do, either. Enter Amanda Waller, operating here almost as the chorus in a Greek tragedy, working to explain Zur to herself and to the audience as swell. Although I remain confused, the good news is that the plot accelerates to the point where such understanding is not fully necessary to apprehend the set pieces and their movements.
Second, the theme that arguably underpins this book is “Robins.” Zdarsky creates an ironic reversal: One “Batman” (Zur) reveals himself to a Robin that results in entrapment while a different Robin reveals himself to a second Batman that results in freedom. This reversal works especially because what unites both Robins is their fierce love and loyalty to Batman himself, creating a deeper dramatic irony through which Damian is freed via his own capture.
Third, like many Batman fans, I was vexed with writer Chip Zdarsky reaching for the “conflict with the Bat-Family” rhetorical device. It’s personally not a favorite of mine and especially because I struggled to understand Zur-en-Arrh anyway, had little real sense of precisely why and how Batman (yet again) felt compelled to separate himself from the Bat-Family. Neither the audience nor Batman himself could credibly be charged with a reasonable belief that he is better off alone, so without adequate depth and explanation, this reader did not find the latest incarnation of the motif plausible.
Precisely because I have not been enjoying the prolongation of the conflict, it is lovely to see Bruce finally “get it,” even if I’m unsure of why he had forgotten it to begin with. The final panels that feature the conversation with Tim feature great emotional resonance, especially when juxtaposed with the heartbreaking rendering of Bruce alone in the former Justice League headquarters, slumped over a desk as he remembers that fundamental insight: Even Batman is better with his family.
In that Justice League image, artist Jorge Jiménez’s powerful representation of Bruce’s exhaustion and grief is saturated in colorist Tomeu Morey’s red overtones that made this reader think of kryptonite, made more plausible by the presence of Superman in Batman #146. Batman’s chosen alienation from his friends and allies is nothing if not his own personal kryptonite. The conversation with bright, warm, Tim (my favorite Robin!) in the bright, warm cabin features Zdarsky at his best. The dialogue is simple, straightforward, and genuine. The message is clear and important and it is difficult not to feel one’s heart lift when Batman finally realizes his most grievous mistake, dons cape and cowl, and prepares to right his wrongs, for himself, the Bat-Family, and all of Gotham.
There remains opaque threads: Why is Vandal Savage the Commissioner? What is Daniel Captio’s ultimate role? What exactly did Robin realize that made him finally turn on Zur? (I still don’t get it).
Still, Dark Prisons: Part Three finally propels the narrative forward and gives us the beginning of a reconnection with the Bat-Family for which so many readers have been waiting.
Backup: Show the World
Writer: Chip Zdarsky
Artist: Miguel Mendonça
Color Artist: Eren Angiolini
Synopsis
Riddler and Two-Face are bantering from their adjacent prison cells. A bot informs Riddler that Warden Captio wants to speak with him and Riddler heads to the yard. Captio is taping his hands and begins battering several other inmates including Zsasz (armed with knives, no less). Captio baits him, asking Riddler why, given his intelligence, he isn’t already a billionaire. Riddler grows angry and starts ranting about Batman.
In the process, he insults one of the combatants, who turns on Riddler and begins to pummel him. Captio instructs Riddler, suggesting that Riddler holds himself back so that he can continue to show the extent of his skills against Batman. As Captio is speaking, Riddler gains the upper hand against his assailant and proceeds to strangle him. Riddler then tells Captio he is just as obsessed with Batman as any Rogue. Captio disagrees and as they leave the yard indicates that he wants to help the inmates as well as Batman by unconventional means, halting in front of a giant contraption inside the prison. Riddler looks stunned.
Analysis
Unlike many of the backups, this one seems to converge with the storyline in the main book. Zdarsky gives the audience some hints as to Captio’s true motivations while integrating Riddler into the possible plot. The story here raises more questions than it answers, but at least it represents a commitment to explaining (eventually) Captio’s function in the broader arc.
Final Thoughts:
Although I have not really enjoyed the Zur En Arrh narrative, Batman #147 does better than many of its more recent predecessors, marking some key emotional moments and advancing the narrative. Plus, Tim!
Editor’s Note: DC Comics provided TBU with an advance copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Amazon or a physical copy of the title through Things From Another World.
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It’s hard to imagine a DC Universe story more influential than Crisis on Infinite Earths. The 1985 event reshaped DC continuity, ushering the company into a new era of storytelling. The crossover was adapted as a live-action television event in 2019-2010, and it’s currently being adapted as a trilogy of animated films (Part One and Part Two are already released). When people talk about DC history, the terms Pre-Crisis and Post-Crisis are regularly used.
As you can see, Crisis on Infinite Earths is a pretty big deal.
During a spotlight panel at WonderCon 2024, Crisis on Infinite Earths writer Marv Wolfman revealed the genesis of the story. The crossover that changed the DC Universe forever was the result of a single letter a fan wrote to Green Lantern in 1981. “I was writing the letter column for Green Lantern, which was one of the many books I was writing at the time. A fan wrote in saying he didn’t understand DC continuity,” Wolfman said. This line drew chuckles from the crowd. If that 1981 letter writer thought things were complicated then, I can only imagine what they would think about 2024.
Crisis on Infinite Earths #1 (Image Credit: DC Comics)
“DC sales at that particular time were not very good” Wolfman continued. “Marvel was outselling them at something like four to one. We needed to do something because DC has many great characters, but they just weren’t getting out there. They weren’t being done correctly. We were heading to a convention in Pennsylvania, and I’m very deadline conscious. I got to Penn Station to take the train down an hour before we had to leave, and the other people were a little late. I’m sitting there waiting for everyone else to show up so we can take the train to Pennsylvania, and I started thinking about that letter, and how do we fix the continuity. I had an hour before anything else showed up, and I worked out pretty much the entire concept of what Crisis would be, and the storyline, and how it would work.”
“I talked to Jenette Kahn the following Monday, who was the president and publisher. She loved the idea because we needed something big. We needed to make a real statement that DC was changing and we’re doing different types of material. It’s no longer the Superman of the 1950s, it’s now 1985,” Wolfman said.
The next step was finding an artist. Wolfman’s first choice was George Perez, his collaborator on the best-selling series New Teen Titans. Unfortunately, George was busy. “I pitched it to George, and George was so busy doing other stuff, because he wanted to do Wonder Woman and things like that. But every time we got together on a Titans story, he would say, how’s your project coming? I would tell him, and then finally, he went, ‘Okay, I can’t stand this. Do you have an artist?’ So, I said, ‘No.’ He said, ‘Can I do it?’ I said, ‘Are you joking? Yes, yes, a million times, yes, you’re the only person who could do this! I’ve been waiting.’ That’s how it started.”
Looking at the legacy of Crisis on Infinite Earths, it’s amazing to think about how it all happened. How different would the DC Universe be if that fan had never written into Green Lantern? Would Crisis have happened if Marv Wolfman hadn’t shown up to Penn Station an hour early? Would Crisis even be Crisis without George Perez’s stunning artwork?
When Warner Bros. Animation releases Justice League: Crisis on Infinite Earths – Part Three, remember that all of this happened, because a fan wrote a letter.
The post Marv Wolfman Reveals How One 1981 Fan Letter Changed the DC Universe Forever appeared first on The Batman Universe.
In this review of the Nightwing 2024 Annual*, the origin story of Bea Bennett – who she really is and how she came to be – is finally revealed!Nightwing 2024 Annual
Written by: Travis Moore
Art by: Travis Moore
Cover by: Travis Moore
Variant cover by*: Francesco Mattina
This review contains spoilers
Synopsis:
Many years ago, nine-year-old Destiny Alston was out at sea with her mother Nicole, on their way to Nicole’s promotion for a corporation called Ascendek, when the boat suddenly explodes. Destiny is blown out of the boat, and her mother is presumed dead. Drifting for three days before being rescued, she escaped the hospital and wound up at a homeless encampment for the next four years. After the encampment is shut down to make way for an Ascendek warehouse, Destiny hijacks one of their company yachts and sails to to the site where her mother died, before the ship is boarded by the Crew of the Crossed Keys.
For the next five years, Destiny would be trained under the wardship of the Captain, who plans to make her his heir over his son. Destiny tells him that she hacked the Ascendek laptop she found in the yacht, revealing that her mother was assassinated by someone called “Revenant”. Determined to return to Blüdhaven and solve who was behind her mother’s murder, she goes to a local club and fights her way through a group of mafia men who may be in contact with Revenant. When a woman called Carmen Navarro appears and defeats her in combat, she leaves behind a calling card for St. Hadrians – the finishing school which is a front for the Spy outfit known as Spyral.
In the years that follow, Destiny becomes one of Spyral’s top agents, earning the codename Siren. She’s partnered with Lian Shan and carries out a number of high-level missions – one of which takes her to procure a counterfeit ancient artifact in Moscow. This artifact was engineered to receive transmission for LA Agente Funebre – the hitman organization Nightwing, Oracle and The Flash dismantled back in Nightwing #91. There, Siren battles her rival Ice Suwannarat – an agent of Checkmate. During the fight Ice blurts out that her Destiny’s mother was actually a member of Checkmate, explaining in part why she was assassinated. Afterwards, Carmen assigns her to keep tracks on the recently amnesiac Dick Grayson. a.k.a. Agent 37 a.k.a. Nightwing – now known as Ric Grayson. Over the next several months, Siren takes on the alias of Bea Bennett, gets close with Ric and begins to fall for him. During that time she checks in less and less with Spyral, eventually falling in love with Ric and forming a relationship with him. One morning she wakes up with Ric to find out that several of the world’s intelligence agencies had been wiped out, with Spyral presumed destroyed. Destiny took this opportunity to leave her spying days behind and commit herself to Ric. Unfortunately this was shortly before the Joker War in which Ric’s memories were further messed with by Talon, before being fully restored back to his Dick Grayson/Nightwing persona. After the KGBeast attacked and Nightwing defeated him, Destiny confronts him at Blüdhaven’s local prison for killing her mother. The Beast reveals that he indeed carried out the hit but that he’s not Revenant, and that Nicole was actually a member of Spyral, not Checkmate. Influenced by Dick’s commitment to justice over vengeance, Destiny reneges on killing the Beast.
Later, when Dick began his humanitarian efforts to restore Blüdhaven, Destiny is approached by Ice who warns her that the hit on Dick is actually a front to assassinate her. She’s then shot by an assailant, who is revealed to be Carmen Navarro. Carmen claims that Nicole was her partner at Spyral and undercover at Checkmate. Navarro originally came from La Agente Funebre, which Nicole found out – prompting Carmen to assassinate her. After learning that Destiny survived the explosion, Carmen put her on the path that led her to Spyral. With Ice’s help, Destiny defeats Carmen in combat, resolving to leave her with the Crew of the Crossed Keys.
Soon after Destiny – now fully Bea Bennett – sees that Dick is in a relationship with Barbara Gordon, and resolves to move on her own. She returns to the Crew of the Crossed Keys as inheritance from the Quartermaster, but unbeknownst to her is being watched…by none other than her mother Nicole who is still alive!
Analysis:
This was a provocative read that challenged some presumptions going in, and ultimately had me falling down on the opinion that this was good but could’ve been much better.
We’ve got Travis Moore on scripting duties, although I’ve no doubt Tom Taylor would’ve had some story outline contributions. The whole issue feels like his idea, from bigging up Bea in giving her this fairly superheroic backstory to the humanitarian aspect of her not killing anyone or KGBeast especially. I find it hard to believe with her upbringing or lacktherof she didn’t kill anybody during her time at Spyral, so ensuring the reader that she didn’t feels a bit like Taylor’s making the characters too precious to be unsavory in any way.
But let’s talk about Bea. Right away her being revealed as this pirate captain was fairly polarizing for the readers back when it was first presented over a year ago. That she has this super-badass orphan/spy background is giving her quite a bit in the way of substance after the fact.
Now it’s important not to let racial or gender bias cloud the story here. Plenty of DC characters are shown to be uber-mega-badasses at the drop of a hat, and historically people have always had trouble when people of color or women are presented as adept and infallible as men or white men. So no matter how believable or unbelievable her history may seem on first rip, Bea can totally be a little girl who survived a boat explosion, escaped a hospital at age nine, hijacked a yacht at age thirteen, and become at a super-elite spy in her early twenties. That how genre fiction operates, people are simply as good as the story needs them to be. Speaking as a black reader, it’s always appreciable to see black characters written to be strong and smart on their own. At the same time, there is a lot of telling and not showing when backfilling Bea’s history. The fact that we were introduced to her as a normal person operated on two fronts: it made the world of Blüdhaven and Gotham and DC at large feel like normal people actually existed and it helped diversify a mostly white universe. That she’s since been revealed to have this crazy history isn’t unlikely, but on pure writing terms reads as somewhat problematic to my mind, because much of it is so expository that it moves too fast for us to sit with and reconcile. I’ve written before how Taylor writes Bea as completely different after the big pirate reveal than before, which I suppose works in her favor now since “Bea Bennett” was never real. However, I think I can speak to much of the readership in saying that the kind of character she was in the Ric era was fairly refreshing since these heroes hardly have any personal life to speak of these days. There’s a real “Oh…she’s a pirate now.” reaction to the Bea of today that just hasn’t been terrifically accommodated to, and this annual only further complicates things. We’re now asked to essentially erase our understanding that that character ever existed in favor of a much more traditional – and in my opinion, blander – character archetype.
But let’s be clear about this: Bea can totally be a super secret pirate spy all along. That in of itself is not verboten in the world of superhero fiction. I think the true problem is in the writing. There is so much exposition and reveals in this story, that every revelation feels tacked on and shallow. She’s not only an orphan, her mom exploded in a boat hit! And then she escaped from the hospital! Then she lived at a homeless encampment, where she tells us in a single caption that the people there were like her family. We don’t see a single panel of this (so we don’t care), but she says as much (so we’re meant to care). Then she – a thirteen year old girl – hijacks and commandeers a yacht belonging to the CEO of a corporation tied with the mafia. She’s found by pirates, and instead of being ransomed or killed, she’s adopted and made the heir of their leader. Then she’s invited to join a spy circuit where she quickly becomes one of their top agents. All this is because her mother was an gents for Spyral – NO! Her mom was working for Checkmate, no wait, was it Spyral and she was only undercover for Checkmate? Oh wait! Her mom is still alive!
Even for an annual, there is way too much page space for me to take all of this for granted and be invested in it. Telling and not showing is the best way to have someone not care when major events happen in a story. Because this is all her backstory, and not effectively written to be emotionally understood, it reads as hollow, powered by a “Wouldn’t it be cool if..?” approach instead of telling an emotional story. And the investment into her mother -whom we only see for a couple of panels before she’s presumed dead until the end – is put upon the reader to have instead of earned.
So ultimately this story reads more like a point of interest for the writers rather than an effort to engage the readers. I don’t really care about Bea, definitely less than I had before, because what is her purpose exactly? She seemingly avenged her mother’s death, but her Mom’s alive, so…who cares? And the cliffhanger of her Mom being alive is about her, and not Nightwing, so I can’t picture how this would be exciting for anyone unless the were charmed by this entire story.
To reiterate, the events in themselves aren’t bad for this kind of book. It’s just not convincingly rendered to be engaging. I wish I could care about Bea more than I can, but that’s not earned in the space of this annual.
Editor’s Note: DC Comics provided TBU with an advance copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Amazon or a physical copy of the title through Things From Another World.
The post Nightwing Annual 2024 appeared first on The Batman Universe.
In the trade paperback review of Batman: The Winning Card we relive the events from the pages of Batman: The Brave and the Bold #s 1-2, 5 & 9.###### This Review Contains Spoilers
Batman: The Winning Card (Batman: The Brave and the Bold, Vol. 1)
Writer: Tom King
Artist: Mitch Gerads
Colors: Mitch Gerads
Letterer: Clayton Cowles
Main Cover: Mitch Gerads
Synopsis: A Year One story exploring the Batman and Joker relationship that honors the legacy of comics and TV that have come before.
Review: Batman the Winning Card is the latest entry from superstar comic duo Tom King and Mitch Gerads. Many fans, including myself, are probably familiar with their previous work on Sheriff of Babylon and Mister Miracle. The latest project from the duo features a kind of retelling of the first meeting of Batman and Joker in Year One. Joker’s schemes in the plot of this story draws from the earliest appearances of the character in comics and in TV. He has threatened to murder a rich man and steal a diamond. As the police mobilize the bulk of their resources to help the rich man, an average Joe cannot obtain police help to locate his lost daughter. The child has the misfortune of running into the Joker himself.
The visual technique Gerads, Clayton Cowles and King use to introduce the Joker in this story is one that is unique and also befitting of the character. They elect to use panels that look like black cards with the dialogue written on them; similar to the ones used in very old, silent films. Not seeing the Joker but knowing he’s speaking heightens a sense of foreboding in the reader. The transition from the regular panels to the pure darkness of the dialogue card plays on the Joker being a force of evil or a void of light. The writing looking like writing on a chalkboard conjures that dry, rasping noise his voice likely sounds like. This technique is utilized consistently across the four chapters of this story. Furthermore, the dialogue of the Joker on these cards is often reminiscent of the Joker’s “multiple choice” stories in the film The Dark Knight. He tells these stories or jokes that may or may not be true. This keeps the reader off balance and guessing, which also increases the level of fear. I also want to praise Gerads’ design for the character himself. When we first see the character with the old-fashioned tuxedo with the pants that are perhaps (intentionally) a bit too short, holding a balloon and sitting on a park bench in the rain, you can understand what would draw an innocent child to approach such a figure. The next panels we see his face, we see the face of someone who is truly demonic. The trademark perpetual, unnatural grin and eyes that are drawn as the inverse of the normal human eyes with tiny white points in a sea of darkness. This is a look I personally think works best for the character and it’s worth noting that it was done once before in the animated series in the late 90’s. It also plays off being the opposite of Batman’s eyes usually being depicted as a field of white due to the lenses in the cowl.
While the police fail to save the rich man and the Joker presumably kills the child and her father, Bruce has disappeared from a high class party to chase down a domestic abuser as Batman. This is the first time we see Batman in the story and he’s appropriately intimidating. Gerads’s design draws heavily from the Year One storyline. Batman moves on the fleeing, terrified criminal like an unstoppable shadow while the criminal screams obscenities and false justifications for his actions. Batman seems angry but also disappointed as he eventually casually knocks out the criminal. This interaction is worth keeping in mind and contrasting with the final confrontation with the Joker later in the story. Bruce returns to the party by joining a table with Brute Nelson. Gerads’ character design for Bruce is so obviously based on Jon Hamm as Don Draper in Mad Men that I’m surprised they don’t have to pay to use the likeness. Because this is the internet, I must clarify that last part is a joke and I do not wish for there to be any litigation against DC or the creative team. Gerads uses a cool technique in the party scene to show Bruce letting his alter ego slip through the party boy façade for a split second by using shadow to draw his eyes like Batman in one panel.
The second chapter starts the same way the first one does. Joker follows through on a threat to kill a person and the police are helpless. Only this time, Joker brutally kills and mutilates police officers as well. He leaves Gordon alive and Gordon recounts the incident to Batman. Batman decides to use his playboy Bruce persona to bait Brute Nelson into challenging the Joker. As Joker shows up to murder Brute, Batman is waiting. In this first encounter, Batman assumes the Joker is like other criminals. Joker quickly challenges this perception by jumping out a third story window despite being shot and injured. Batman is injured in the pursuit and Joker beats up an incapacitated Batman before dumping him off the side of a bridge into the water below.
The third chapter continues with Joker committing even more horrifying murders as Batman reluctantly recovers from his wounds. Alfred shines as a voice of reason in this chapter. However, his role also goes beyond that as he uses his secret service training to help Bruce learn to withstand more physical punishment without collapsing. We get a brief look into Alfred’s conflicted feelings on aiding Bruce’s crusade on crimes. As Joker makes a move to assassinate a judge by killing and impersonating the police commissioner, Gordon and Batman work together to parse the Joker’s latest threat. Batman solves it by “getting” the joke. As Joker flees the scene in a cop car, Batman is in pursuit in the Batmobile.
The final chapter of Batman: The Winning Card opens with Batman causing Joker to crash and pursuing on foot into a forest. As they fight, Batman recites all the names of Joker’s victims. Batman beats Joker up badly, but Joker stabs Batman in the stomach. Batman blacks out and awakens hours later. He finds the Joker also there slumped against the base of a tree. The splash page of them together and barely conscious brings to mind the scene of their final confrontation in Dark Knight Returns as well as more recently in Scott Snyder’s Batman run. Batman cuts comms with Alfred and proceeds to continue beating up the Joker. As the Joker laughs maniacally, Batman decides to tell a joke of his own. As Batman laughs maniacally at his own joke, Joker’s smile fades and he tells Batman that he is insane. Comparisons of this page and interaction with the end of Killing Joke will be inevitable. I also think it’s worth comparing this interaction with Batman’s interaction with the criminal in the first chapter. With the random criminal, Batman appears more distant and doesn’t really say anything. The criminal is the one who does all the talking and also expresses that he doesn’t understand Batman and Batman’s actions. With the Joker, Batman is talking more than the Joker is and telling jokes! In light of this, I don’t interpret Joker’s statement “you’re insane” to be a pejorative statement. Rather, I think Joker is recognizing that this is someone like him but also not like him. Alfred also alludes to this in a conversation with Bruce that takes place after the fight was over. As Batman visits Joker’s cell in Arkham, the two acknowledge the connection as well. The unwritten implication is that Batman’s code is the only thing separating him from Joker in terms of actions. This scene also brings to mind some of the dialogue of their interactions from The Dark Knight film.
Batman: The Winning Card is a very well executed story from a technical standpoint, especially with regard to the art. The only critique I really have is that it’s not a particularly original commentary on the Batman-Joker relationship. As I mentioned earlier, a lot of this has been done in the Killing Joke and other places. Your perception of this story might also be dependent on your perception of how that story went. If you are someone who thinks Batman is just as insane as the Joker but the insanity manifests outwardly in a different way, then I think you’ll love this story. For someone who sees the difference as being much greater or that Batman actually isn’t insane at all, you may have some issues with it but hopefully can still appreciate the technical execution. If you are a fan of Tom King or Tom King’s run on the Batman series (like me!), you will no doubt be comparing this story with that. I’m not sure he nailed the Batman voice 100% in this one. Even factoring in that this is a Year One story, some of the lines feel a bit clunky. This is a minor critique and I would still classify this book as well written overall. If you are a fan of great art and a story that goes into the Batman-Joker relationship in a way that honors comics and TV shows of the past, then this book is for you.
Final Thoughts
Batman: The Winning Card offers yet another take on the beginning of the Batman-Joker relationship. While it may not venture into new territory in terms of narrative, it does utilize some new visual techniques that all fans of the medium can appreciate. The various homages to stories of the past keep it firmly grounded in the tradition of Batman stories that have come before. This book stands alone on its own merit even if it doesn’t quite match the heights of King’s other work on the character.
Editor’s Note: DC Comics provided TBU with copies of the original issues of this series as they were released but not of this new edition. You can find this collected edition and help support TBU in the process by purchasing this edition digitally either for Comixology through* Amazon or as a physical copy in a hardcover form at Amazon or from Things from Another World.***
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In this review of the Harley Quinn 2024 Annul #1*, a surprise vacation on a cruise ship leads to a murder mystery. The victim is Vandal Savage. The suspect is the sorceress Zatanna. Never fear, Harley Quinn is on the case.Harley Quinn 2024 Annual #1Cartoonist:* Erika Henderson
Covers: Erika Henderson
Release Date:** April 30, 2024
This review contains spoilers
The Story
The Harley Quinn 2024 Annual #1 begins as a normal heist leads to an abnormal take. Harley is rich but what to do with the loot? She decides to take a luxury cruise, unfortunately for her, Pam does not want to go with her. After several warnings about the dangers of cruises and a smooch. Harley boards the ship.
At first things are growing great but as the days tick by, Harley gets increasingly bored. When. Harley gets bored, she starts to sneak around. She eventually finds herself backstage of the cruise show and she rubles across the dressing room of Zatanna. Harley greets the magician who seems to ignore her then suddenly Zatanna jumps to life even offering to perform a card trick for her. This freaks Harley out and she leaves.
Back on deck, she stumbles across Zatanna lounging by the pool. Harley then realizes that Zatanna created a duplicate to perform the show so she could have a vacation. Unfortunately she has given her powers to the duplicate so she is in essence powerless.
Harley grabs Zatanna’s hand and takes her to the balcony of the show. The performer, “Zatanna” is throwing knives at a model. The lights go out and everyone hears the knives land. Zatanna is terrified that the model is killed but when the lights go back on the model is fine but a man is lying face down in front of the stage dead with a knife in his back. “Zatanna” was holding three knives. To land on the target, the third is lodged in this man’s back. “Zatanna” is taken into custody.
Zatanna and Harley sneak into the galley. They find the body while in a cold room. The man gets up, it is none other than Vandal Savage. The three divide to unite to find out who was trying to kill Vandal and clear Zatanna’s name.
Harley departs for a nice time on a cruise. (Image Credit: DC Comics)
On the investigation, the crew discover that the body is missing and the three are not where closer to solving the mystery. The three lounge by the pool and Harley complains that there are no tell-tale signs of who the killer is. Harley stands up and a knife plunges into the chair Harley was sitting in. Soon it is revealed that the knife thrower is Bronze Tiger. His target is Harley Quinn, herself. Savage attacks Tiger and knocks him out. This ends the deal and Zatanna attacks Savage with a stage trick. Suddenly Savage starts vomiting on deck. Harley covers Zatanna’s eyes. The real villain is Guy Mandrake and he can make his enemies violently vomit. Thanks to Poison Ivy, Harley is immune to him.
The two women run from Mandrake and his men. Unfortunately, Harley slips on some vomit and the two discover that everyone on the ship is sick. Harley however has a plan and she takes Zatanna to the brig. Harley stabs the fake Zatanna in the cell causing her to vanish and restoring Zatanna’s powers. She confronts the villains and causes them to vomit and have diarrhea.
Later the two women are in a cell themselves. They are released because there are now other suspects and no murder victims. As an apology the company would like to offer both of them a free cruise. Not what the two wanted to hear.
Analysis
This is a zany stank alone story. It really has no connection to the current Harley storyline and that is fine for this read. It is totally goofy, just the kind of story a Harley Quinn story should be.
There are a lot of plot twists throughout this story. The two Zatanna’s, the murder victim being the immortal Vandal Savage, the attack by Bronze Tiger and the final appearance of Guy Mandrake. I really did not know where the story was going to go and with the action all contained on the ship, a 40 page story was perfect.
The art is a little on the goofy side. It does have a slight anime or manga feel to it with the character’s large eyes and exaggerated expressions. I unfortunately have a hard time telling that the characters are Zatanna and Harley. Harley’s hair is up in two mouse ear knots on her head but you can tell that the tips are colored red and blue. Of course Zatanna is out of costume in this story but her face really does not look like Zatanna’s to me.
Final Thoughts
Despite the art choices being a little off putting in character design, I still appreciated it along with this fun and wacky story.
Editor’s Note: DC Comics provided TBU with an advanced copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Amazon or a physical copy of the title through Things From Another World.
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In this review of Harley Quinn #39, Harley’s project to help the criminally insane in crime as well as provide some mental therapy finds Maxie Zeus. Unfortunately this new project draws the attention of Gotham PD and Robin.###### This review contains spoilers
Harley Quinn main cover by Sweeney Boo (Images courtesy of DC Comics)
Harley Quinn #39Writer: Tini Howard
Artist: Natasha Bustos
Color Artist: Nick Filardi
Main Cover: Sweeney Boo
Variant Cover: Jenny Friton, Logan Faeber, Maria Wolf, Adam Warren, Mindy Lee
Release Date: April 23, 2024
God Complex
We pick up where the last issue left off Harley face to face with Mr Freeze. The negotiations do not pan out and the two take their separate paths.
Later that night, Harley and Ivy talk over breakfast. This gives Harley the energy to go out later that night in search of a new patient. She runs into the perfect client. Maxie Zeus is being approached by GCPD Officers with tasers in hand. The cops subdue him with pepper spray and tasers. This is when Harley intervenes. She attacks the cops and draws a gun on the lead detective. Fortunately it is a trick gun but this gives Harley the chance to get Zeus out of the area with the cops in pursuit. The two hide in a dumpster. Infuriated Zeus storms off with Harley hopping onto his shoulders. She convinces him to go get something to eat.
Zeus tells Harley his origin story. Harley then convinced Zeus to allow her to get to know what makes him tick and tell him about it. She will also get a cut of the spoils. Zeus agrees.
Later Harley is teaching her class. She is interrupted at the end of class by the detective from the previous scenes. She tells Harley that she knows it was her that night and Harley tries to joke it off. The detective leaves but this encounter visibly shakes the professor.
That night, Harley and Zeus meet up at the theater. Zeus is skeptical about the plan but Harley convinces him. Zeus interrupts the play and attacks the lead actor. Robin, Tim Drake shows up and engages Zeus. Harley takes to the rafters. Harley arrives to distract Robin while he gets the actor out of the area. Zeus takes this opportunity to attack Robin. Zeus uses his lighting bolt to take out a column and he runs off with Harley on his back.
Later on the rooftops Harley checks her notes. She tells Zeus that they did great but there is still work to do. The two decide to meet up next week. On leaving, Zeus tells Harley about his wife who he has not spoken of for a long time. Harley is interested to learn more about her.
The next night is date night. Harley and Ivy decide to go “shopping” at the local mall after hours. Their reverie is interrupted by a building imploding. Harley sees that it is the only gothcorp building, the old school Victor Freeze used to teach at. She realizes that Freeze is training new sidekicks. Harley decides to infiltrate to train them herself. Next issue is the comedy of Harley Quinn, the tragedy of Maxie Zeus.
Analysis
The art as usual in a Harley Quinn book is fun, dark and colorful. It is dark because as with most Batman Universe books, the action occurs in the night but with Harley, her costumes, her actions and the world around her are colorful. That creates the fun. In reading this book. The art is considerably different and the cartoony style matches the mania of Harley.
The story is as manic as the art. Harley is taking up a position similar to Catwoman when she and Batman fought in the Gotham War. She wants to train people to be criminals but in the process she wants to provide mental health services in hopes of keeping these people out of Arkham. Strangely this is very altruistic and matches the psychological background of Harley. She wants to help people but in her own mania she goes about it in a completely insane way. Searching out the craziest crooks and helping them in their crazy schemes while psychoanalyzing them and hopefully giving them perspective to find sanity so they will not have to go to an asylum.
This story also introduces the true foil to Harley, the Detective Pulaski. Pulaski is not the typical idiot cop we find in Gotham. She is smart and maybe a little crazy herself. She seems to be treating this rivalry as more of a cat and mouse game. She has a strange smile on her face when she confronts Harley in her classroom. Despite Harley’s best attempts to hide it, she is clearly disturbed by this encounter. The art is very clear at the conclusion of their encounter the detective leaves waving buy and Harley is turned and in the shadows with a worried look on her face. She may be a very dangerous adversary.
The part of this story I would find a little lacking is the attack on the theater. I do not understand what the purpose of this was. There is no real criminal target but Zeus showing up interrupting a play set in Ancient Greece.This draws out Robin to lead to a pointless confrontation. A confrontation that Zeus actually gets out of. My question about the point of this scene persists even after several re readings. It might have made more sense if Pulaski showed up as she was the cop who first tried to apprehend Zeus, instead it seems that including Robin is an unnecessary addition of the Bat Family to this story.
Final Thoughts
The art and colors are fantastic and fits in with the story. Trini Howard is becoming one of my more favorite contemporary writers. Her range is notable when comparing her work on Catwoman and Harley Quinn. Two very distinctive types of stories with two very distinct artists.
Unfortunately there is no perfection here as some scenes just do not seem to fit in as perfectly as I would have liked as well as character placement could have been wiser.
Overall a very enjoyable read.
Editor’s Note: DC Comics provided TBU with an advanced of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Amazon or a physical copy of the title through Things From Another World.
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In this review of Batman: The Brave and the Bold #12, the anthology series continues its stories spearheaded by Batman’s adventures with Maps at Gotham Academy.Batman: The Brave and the Bold main cover by Simone Di Meo (Credit: DC Comics)
Batman: The Brave and the Bold #12Writer: Karl Kerschl, Rob Levin, Delilah S. Dawson, Zipporah Smith, Herik Hanna
Artists: Karl Kerschl, Mike Norton, Serg Acuña, Karl Mostert, Charlie Adlard
Colors: Msassyk, John Kalisz, Matt Herms, Mike Spicer
Letters: Steve Wands, Troy Peteri, Dave Sharpe, Tom Napolitano
Cover Artist: Simone Di Meo
Variant Cover Artists: Charlie Adlard, Francesco Mattina
Release Date: April 23, 2024
This comic book review contains spoilers
“Batman: Mother’s Day Part 3” Writer and Artist: Karl Kerschl
Colors: Msassyk
Letters: Steve Wands
Batman: The Brave and the Bold #12 begins as Karl Kerschl’s Gotham Academy throwback comes to a close this week in its third and final installment. A Man-Bat infected Bruce Wayne returns to Isla MacPerson’s house to spread the infection but Maps Mizoguchi arrives just in time to administer an antiserum. Back at the cave, Bruce and Maps determine that “Mother,” the latin speaking serpentine woman that Bruce encountered at the Mackenzie club is behind everything. Maps believes this is a “varcolac” who are undead creatures from Slavic countries with a taste for human livers. The duo tracks the creature down at its club hideout and after a brief fight, Batman hooks it to the Batplane and flings it into the Harbor. The story ends with Bruce taking a Yacht cruise with a famous actress, hoping that Isla MacPerson will see it on the news and get the message that their relationship is over. So at their last meeting he drop-kicked her dog and tried to kill her, and then instead of apologizing he goes on a Yacht trip with another woman as a means of dumping her. Classy, Bruce.
This arc was fun enough, especially if you’re a fan of Gotham Academy. Kerschl’s artistic style doesn’t miss a beat perfectly capturing the light natured feel of that original run. Msassyk’s smart use of color gives an added dynamism specifically in the final battle when bursts of fire cast characters in stark lighting against the chaotic backdrop.
The story remains consistently inconsistent. The character of “Mother” is perfectly indicative of a villain created by a comic book artist. It’s the definition of style without substance. It’s like she was ripped out of the pages of City of Madness, but with less rationale. (It’s just a cool design) Personally, I would’ve preferred it if the kids had just been independently experimenting with Mat-Bat serum ala that old “Splicers” episode of Batman Beyond. Maps is a fun character though. She’s got some Carrie Karrie energy, especially when she’s caring for an injured Bruce.
Bruce stalks a victim in Batman: The Brave and the Bold #12…
“Left Unsaid” Writer: Rob Levin
Artist: Mike Norton
Colors: John Kalisz
Letters: Troy Peteri
One of the best aspects of The Brave and the Bold’s anthology conceit is that it gives DC the opportunity to highlight underutilized characters like False Face and Gentlemen Ghost. These characters are seldom used in other comics, let alone given titles of their own, so it’s great to see them here especially when the stories are as strong as this one.
A remorseful and grief-stricken old woman hires False Face to impersonate her deceased son and apologize to the daughter he had abused and then abandoned. He accepts and apologizes to the daughter (Margot Kirk) under these false pretenses. They tearfully embrace and all is forgiven. Or is it? That night, False Face is attacked in his own bed by Gentleman Ghost! Ghost reveals that he was once loosely related to the Kirks and insists that the man Face impersonated showed no remorse for his actions before he was killed by Ghost himself.
In order to set the record straight, Ghost hires False Face to impersonate the woman who originally hired him and tell Margot that the original apology was a phony. Finally, False Face confronts the old woman still in costume so that she appears to come face to face with herself. He tells the woman that her son never asked for clemency nor did he deserve it, before walking off stoically into the night.
This is just a great story with a very interesting central idea. While Kirk’s mother and False Face initially seek healing through dishonesty, Ghost insists that the truth is more important, and that even a painful truth is preferable to a pleasant lie. It’s an interesting conflict that exists in life, whether to alter or withhold information to shield someone from pain. False Face and Gentleman Ghost explore this moral quandary through dialogue when Face states “when I apologized to her, she seemed happy. You think maybe it’s better this way, that she thinks he’s not all bad?” Ghost concludes: “Not if it’s a lie!”
The story looks great with Mike Norton and John Kalisz providing the art and colors respectively. I liked seeing the old school False Face look although at a glance he looks like the modern Black Mask without the teeth in some panels.
“Artemis: The Poison Within Part 3” Writer: Delilah S. Dawson
Artist: Serg Acuña
Colors: Matt Herms
Letters: Dave Sharpe
We get the third part of what is going to be at least a tetralogy for Artemis, and things are finally starting to get rolling. A faction of powerdrunk American soldiers capture Artemis in the desert and use the Amazon Extradition Entity (A.X.E. recently introduced in Wonder Woman #1) as a pretext to demand information about Wonder Woman’s whereabouts. When Artemis insists that she’s not on American soil and therefore not subject to the Entity, a xenophobic general throws dirt into her face stating it’s from a land where certain decisions have been made about “[her] kind.”
This ongoing Artemis narrative has been my least favorite story three months running now, but to this issues’ credit, while the last two were about Artemis’ experiencing a kind of embryonic internal reflection, this one at least gives us some action. I like the final confrontation between Artemis and the presumed general. And while I am not fully caught up with Wonder Woman, the weaponization of A.X.E. as xenophobic vindication is both smart and very topical. Serg Acuña and Matt Herms continue their great work with the identic A.X.E. military looming like black stormtroopers. I’m now curious to see where this goes.
“A Parting Gift” Writer: Zipporah Smith
Artist: Karl Mostert
Colors: Mike Spicer
Letters: Dave Sharpe
As if this wasn’t a great issue already, we get a surprise Swamp Thing story with: “A Parting Gift.” This is such a simple tale that it’s more like a fable. After Freddie, a low level employee at an energy company discovers that the local swamp is being used as a chemical disposal, he is killed and his body is deposited in that very same swamp. He is discovered by Swamp Thing who uses the Green to help him briefly regain consciousness, re-experience his memories of life, and teach him to view death as a mere transformation rather than an ending.
This is just great. The story is poetic if a bit slight, but the art is remarkable. From the opening page where Karl Mostert uses a POV perspective as Freddie sinks, to the use of negative space to build tension before his body is retrieved by the vines, it’s expert stuff. Add to that the faded beauty Mike Spicer contributes to each page with his wonderful color choice and you’ve just got a great story elevated momentously by its art.
“Henchman” Writer: Herik Hanna
Artist: Charlie Adlard
Letters: Tom Napolitano
Last but not least, we get one of the better black & white Batman tales that have come out of this series with beautiful rain splattered art from Charlie Adlard.
On a rainy night, Batman reminisces with a former criminal. It’s revealed that this criminal had assisted Batman with taking down Two-Face in the past as an inside agent. Batman provides him with the opportunity to do it again during The Penguin’s planned dock heist tomorrow night. The final panel shows the ex-con donning the Penguin henchman regalia, leaving the ending ambiguous if he’s going to help Batman or relapse into a life of crime.
There’s a thematic throughline of regret and redemption running through these stories. “Left Unsaid,” “A Parting Gift,” and “Henchman,” all deal with it to varying degrees with this last story providing the most hopeful thesis that perhaps people can change at their core. Sometimes we don’t even need a headless ghost or a green vine-covered swamp monster to help us do it.
Final ThoughtsBatman: The Brave and the Bold #12 is one of the strongest collections of stories yet. This issue shows exactly what the series can do at its best: provide a core thematic framework (such as dealing with regret and redemption) using a variety of eclectic DC comics characters. Or to put it another way: all killer, no filler.
Editor’s Note: DC Comics provided TBU with an advanced copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Amazon or a physical copy of the title through Things From Another World.
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In this review of Detective Comics #1084, Bruce’s journey back to Gotham begins his long awaited confrontation with the Orgham family for control of Gotham.###### This review contains spoilers
Detective Comics #1084
Gotham Nocturne: Act III – Crescendo, Part 1
Writer: Ram V
Artist: Javier Fernandez
Colors: Dave McCaig
Main Cover: Evan Cagle
Variant Covers: Javier Fernandez, Guillem March, Jim Lee, Maria Wolf, Sebastian Fiumara
Release Date: April 23, 2024
Jim Gordon and Renee Montoaya (The Question) watch in awe as Batman returns, fighting off their attackers, and using miniature speakers to transform an azmer demon possessed man back into himself. Batman gives Renee a flash drive with evidence linking the Orghams to the murder of Detective Fielding, which won’t convict in a court, but might turn opinion against them. Jim and Batman watch the sun rise on Gotham.
We see flashes of Batman’s journey from the desert back to Gotham, training blindfolded, sleeping with Talia, finding Arzen Orgham’s poisoned body shipped to the desert by Talia’s agents (including Lady Shiva) in Gotham. Talia plans to bring Arzen back in a Lazrus pit, and Bruce decides to return to challenge the Orghams.
On the rooftop with Jim, Batman wonders if he has a place in the bright and shiny Orgham Gotham. Jim says the forgotten need him to stand against their erasure.
In her skyscraper, the Orgham Queen plots, and Bruce blows a massive exploding Bat in her building. He thanks Catwoman, and tells her he’s changed. She makes a visit to a strange smiling man…
Analysis:
And so the final act of Gotham Nocturne begins! With just 6 issues to #1089, the last issue of the run, we have our setup of the confrontation between the Orgham Queen and Batman. Contrary to past scheduling, artist Javier Fernandez is solicited as the main artist for the next four issues, so hopefully we’ll have a consistent artistic visual for the finale of this operatic story. But what are the details of the story?
We see flashes of how Bruce returned to Gotham, thankfully answering some of the questions posed by Batman showing up just in time to save Jim and Renee in the last issue. No real answers to “what is the nature of Barbatos and the azmer demon and Dr. Hurt” are given, but Bruce’s healing, retraining with Talia’s men and Talia herself, and his resolve to face the Orghams again after being defeated so thoroughly have a reasonably pleasing shape to them. Though Bruce sleeping with Talia again after Selina risked so much to save him in her heist (“Batman: Outlaw”) feels very frustrating, it at least has some semblance of a story and relationship shape. Additionally, Talia spending enormous effort to resurrect Arzen Orgham to perhaps pay the debt her father Ra’s owes to Arzen’s father also has a somewhat pleasing story shape, even if the dots on the way from A to B are quite obscured.
Batman tells both Jim and Selina that he’s a new man, has new answers, but since the questions he has supposedly answered were incredibly vague, it’s hard to see the difference between this Batman and the past. Batman is a force of resistance, the champion of the oppressed and forgotten man. Yes, we can affirm that easily – but that’s not really something new. Unless you buy Cecil Castellucci’s absolutely risible assertion in Batgirl #50, that Bruce only donates to “establishment” charities, Bruce has always funded charities for those most left behind by society. If you take the last arc’s rejection of “Batman always wins” as something new, it’d be quite surprising to Denny O’Neil, Chuck Dixon, Steve Englehart, Greg Rucka, and so many other classic Batman writers. Especially in an arc where we KNOW Batman has to win against the Orghams because the status quo of an evil supernatural family controlling Gotham with a “reality engine” technology and demons that mutate people into hulking abominations walking the streets just cannot last. An assertion that Batman can lose as long as he keeps resisting is quite hollow when, in fact, he is going to win. (I will say that if Batman loses and the Orghams are still in charge at the end of this run, I will eat my hat.)
In addition to these meta explorations, Ram V also pulls a bunch of tools and plot threads out of nowhere to start his confrontation between Batman and the Orghams. The tiny speakers that can knock out azmer demons feel like an abandoned plot thread from Simon Spurrier’s backup about Mr. Freeze and the frozen psychiatrist, but since that was, indeed, completely ignored for the past year, having Batman suddenly know how to use these speakers to defeat an azmer has no weight. Batman also magically having the evidence Renee was seeking for the past several months proves incredibly convenient. Given his statement that they can’t prove Shavod’s guilt in court, I fully expect some kind of Dark Knight Rises uprising (especially given the flaming bat on the side of a skyscraper, also exactly like the Dark Knight Rises). In general, there’s a lot of the narration and characters telling us “something has changed about Batman” when instead it’s literally all things we’ve seen before. However, at least the pieces are being put in place, instead of just slammed on the page as with the last, intensely frustrating issue.
Detective Comics #1084 page drawn by Javier Fernandez (Image Credit: DC Comics)
Backup Story:
Writer: Alex Paknadel
Artist: Robbi Rodriguez
Colors: Patricio Delpeche
Cassandra Cain Batgirl patrols the waterfront in Gotham, still a haven for crime the Orghams haven’t eradicated yet. She sees Lady Shiva, her mother, managing the transportation of a coffin (which we see in the main story belongs to Arzen Orgham). Cass attacks, but Shiva knocks her down and mocks her. Azmer demons attack, and Shiva persuades Cass to help her fight them off. Though she takes many injuries, she manages to knock out the azmer demons without killing them. She tells Shiva a safe route from Gotham’s waterways, and Shiva tells her not to be Batman, but to be what he wanted her to be.
Backup Analysis
Alex Paknadel takes over for fellow Brits Simon Spurrier and Dan Watters for the backups in Detective, and like those two, he ties his story tightly to the main story. Showing how Shiva got Prince Arzen’s body to Talia with Cassandra Cain’s help makes a lot of sense, and the appearance of David Cain’s training for Cass in flashback probably makes many die hard Cass fans quite happy. Though the writing for Cass as struggling feels odd, since nothing like that was hinted at in the main story for the past three issues, her voice and dedication in the face of intense pain is very Cass. It’s also very nice to see Shiva back to her vicious, brilliantly terrifying self as opposed to the Bryan Edward Hill “sad mom”. Artist Robbi Rodriguez returns to drawing Cass, with darker, more somber colors by Patricio Delpeche instead of the neon washed hues of his art in Batgirls. The fight scenes are quite nicely depicted, an essential for a Cass and Shiva story, and despite some frustratingly out of nowhere elements and the non-sequitur of Shiva’s advice to Cass (because of the severe neglect of the Bruce/Cassandra relationship in the past 18 years), this backup still seems like a pretty solid addition to the overall story of Gotham Nocturne.
Evan Cagle’s main cover shows a bloody Bruce Wayne peeking out from a pile of grey bats – a nicely dramatic image that has some thematic resonance with Batman reclaiming his identity and city after an interminable arc of azmer demon control. Interior artist Javier Fernandez’s variant shows Batman gliding on his cape into the heart of the city, rendered solely in black and gold – a striking and dramatic image, though a trifle generic. Classic Batman artist Guillem March paints a Batman landing in almost Frank Miller-esque crouched fashion, with huge arms and legs and snarl included as shattered glass sparkles around him – again, striking, though also again rather generic, nothing specific about this story that demands this image. Jim Lee’s covid auction sketch of Azrael graces the “artist spotlight” series this month, and is beautiful and dramatic as all Jim Lee covers tend to be – though sadly, no Azrael in this issue despite his appearance during the Outlaw arc. Maria Wolf provides the monkey themed “Ape-ril” cover of Detective Chimp – quite humorous. Lastly, Sebastian Fiumara’s 1 in 25 incentive variant shows Batman looming over a bloody Gotham with a bloody, bat-obscured moon at his heart – an ominous image indeed.
Final Thoughts:
The beginning of the final arc of Gotham Nocturne is off to a much better start than the end of the last one, as new artist Javier Fernandez renders Ram V’s setting the stage for his final Batman vs. Orgham conflict.
Editor’s Note: DC Comics provided TBU with an advanced copy of Detective Comics #1084 for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Amazon or a physical copy of the title through Things From Another World.
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In this review of Catwoman #64*, Veronica Viceroy puts together her team to combat Catwoman. Selina, knowing this, embarks on a daring mission into space to sabotage a communications satellite giving her freedom to act for the time being.Catwoman #64
Writer: Tini Howard
Artist: Carmineidi Giandomenico
Color Artist: Veronica Gandini
Cover: David Nakayama
Variant Cover: Inhyuk Lee and Derrick Chew
Release Date:* April 16, 2024
This review contains spoilers
Catwoman #64 begins in Las Vegas, where Viceroy calls a meeting with Santa Espada and Flamingo. She has a plan to capture the Cat and use her services like Amanda Waller did. She has a means to track Catwoman.
Catwoman is also in Vegas. She has her own mission. Her plan is to steal a ship so she can eliminate the Viceroy’s eye in the sky. She sneaks into an experimental base where Carol Ferris’s newest spacecraft is being tested. She takes out the pilot and assumes his identity. She boards the plane and takes off. Then the pilot emerges, The general ten launches the Demolition Team to intercept the plane.
Catwoman changes into a space suit, her mission is to sabotage a communications satellite. She does get an alert that the weight limit of the craft has been exceeded. She chooses to ignore the alarm and goes on her space walk. She damages the satellite then she loses her tether from her ship and starts to drift into space. She then realizes that she is not alone and she is grabbed by one of the Demolition Team. They bring her on board their ship and Selina starts a fight in the ship.
The fight leads to damage to the ship forcing it to crash into the atmosphere and burn up on reentry seemingly killing Catwoman but she is not dead yet.
Image Credit: DC Comics
Analysis
This whole arc has been showing Selina in very inhospitable environments. Catwoman #64 continues this as this time, Selina is space, not a place I expect to find her, and that is actually a problem here. Characters are designed for specific types of stories and Selina Kyle is designed to be an earth-based character. She is not created to be under the water, in a nuclear power plant and yes that includes space as well. How does she even know how to fly a plane that could only be flown by an experimental pilot like Hal Jordan? Of course Hal would not have been involved because the pilot had to be cannon fodder for Catwoman in stealing this plane.
This story is going off the rails quickly. I like the mystical concept of the nine lives which does fit into the cat motif of the character, but cats are not in the ocean or space.
The art in Catwoman #64, however is great and action packed. Most of this issue is a space battle in the ship with Catwoman against the Demolition Team and any other set of characters would have made this more enjoyable that it is. The visual of the ship crashing into the earth in flames is dynamic and again we get a shot of Selina’s face melting off. The detail of that panel is interesting in that her eyes are distinctly feline.
Final Thoughts
Catwoman #64 finds Selina in an out of this world adventure that again leads to her death. This is getting old fast, but again the art is fantastic.
Editor’s Note: DC Comics provided TBU with an advanced copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Amazon or a physical copy of the title through Things From Another World.
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In Nightwing #113, a big day is brewing for Dick Grayson from the people of Blüdhaven, but Nightwing’s nighttime hours may cause him to cancel his alter ego’s plans!Nightwing #113 by Marv Wolfman, Tom Taylor, Michael W. Conrad, Daniele di Nicuolo, Howard Porter, Bruno Redondo, Adriano Lucas, HI-FI & Wes Abbott (courtesy of DC Comics)
Title: Nightwing #113 (Legacy #300) Writer: Tom Taylor, Marv Wolfman & Michael W. ConradArtist: Daniele Di Nicuolo, Bruno Redondo & Howard Porter Colors: Adriano Lucas & HI-FI Letters: Wes Abbott Main Cover: Bruno Redondo Variant Covers: Bruno Redondo, Dan Mora, Jamal Campbell, Serg Acuna & Jim Lee with Brad Anderson Release Date: April 16, 2024
Please note: This comic book review contains spoilers.
Nightwing, Robin (Tim Drake), and Robin (Damian Wayne) have intercepted and foiled a weapons shipment on the Gotham City docks. Interrogating one of the receivers, the Costumed Crusaders (caped or otherwise) learn that the shipment was originally intended for Blüdhaven but couldn’t make it through that city’s shores. Nightwing has his hunches, but he is reminded by the Robins that he has a big day scheduled for tomorrow and that his crime fighting duties shouldn’t make him miss it.
Following a scene between Dick and Babs where we learn that the day in question is Dick’s birthday (in which he gifts unto many people without protest), Nightwing follows up on his suspicions from the previous night and goes to visit the Crew of the Crossed Keys. Captain Blud a.k.a. Bea discuss how the arms shipment was indeed intercepted by her crew, but they later found a body underwater branded with what appeared to be Heartless’ insignia. Nightwing then pursues the address of the intended drop shipment, finding once more a Heartless’ symbol. The investigation stalled, Dick is free to attend what turns out to be a public ceremony in Blüdhaven where both he and Barbara are given keys to the city for their efforts in social and urban development that has had a profound effect on Blüdhaven’s populace. While the former Boy Wonder takes everyone out to eat at Marv and George’s 24hr Pizza, Heartless has declared to Tony Zucco and his manservant that it’s time for Dick Grayson to finally fall.
Nightwing #113 by Marv Wolfman, Tom Taylor, Michael W. Conrad, Daniele di Nicuolo, Howard Porter, Bruno Redondo, Adriano Lucas, HI-FI & Wes Abbott (courtesy of DC Comics)
This is an anniversary issue, celebrating Nightwing’s 300th comic book title appearance if we’re counting the original 1996-2009 series and the new 52 series in 2011. Anniversary issues, more often than not, tend to be celebratory and often reflect their intent with generally low stakes wedded with the character’s in-universe birthday. While this served as the smallest tincture of plot development gearing up for the climax of the Heartless saga, it’s perfectly serviceable in achieving what it’s intended to accomplish. Speaking briefly about the wordless backup story (with artwork by Howard Porter that I did not love and wish had been done by someone else), that actually lets the occasion down by being a run-of-the-mill chase scene. Do stories like this require flashbacks to Dick’s time as Robin, recounting “THE FIRST TIME” something happened in his crime fighting career? Not exactly, that’s definitely been done before. But it would’ve been more momentous to have a more interesting story than a backup that could’ve been featured in any issue with bad artwork.
What helps this issue is it’s mid-grade stakes and brisk pacing. In Nightwing #112, I spent much of the review describing how I superficially enjoyed the story but couldn’t get past my hang-ups of Tom Taylor’s writing style. He’s too optimistic, Dick’s rendered to optimally heroic, everyone loves him and nobody hates him. This month, those qualities actually augment the story’s intent because it’s clearly setting up a major fall. That gave this story space to be light and breezy without robbing it of substance. Additionally, I think Tom Taylor writes Dick in character 99% of the time, so details like him wanting to do things for his friends or sharing credit with Babs when receiving the key to the city are nice character touches. I also enjoyed the brief appearances by Bruce and Jim Gordon, and the flashes of the various friends and hero characters in their lives. The Red Hood panel was pretty amusing.
This is also the first appearance of Marv and George’s 24hrs Pizza depicted after George Perez’s passing, and I enjoyed how sentimental Taylor rendered it. Having Bruno Redondo back for the scene gave it the right touch, but more than that – I think it’s nice that Taylor gives so much deference to creators that aren’t strictly the people who invented the character. Yes, Wolfman and Perez have been publicly credited as Nightwing’s creators in various media such as Batman: Brave and the Bold and Young Justice. But I feel that’s still a fairly recent thing. Even if it’s not, the sentiment was nice to see. We never know how much time these creators have left on Earth (this issue ended with a dedication to the late, great Ramona Fradon – a pioneer in women comic book artists as well as Metamorpho’s co-creator), so we must prioritize showing our appreciation while we can.
The last thing to mention is the return of Daniele Di Nicuolo on art, notably last seen during the Nite-Mite two-parter. I enjoy his style, but at the same time feel it’s a touch too stylized for this kind of book to fall back on regularly. I definitely preferred him to Porter in the backup, but I think that his work was better presented during the Nite-Mite arc because that story was zany and cartoony. This one issue isn’t really, and while the style didn’t repel me, it did distract at times. Damian in the opening scene looked particularly odd with his low-rendered mouth.
Editor’s Note: DC Comics provided TBU with an advanced of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Amazon or a physical copy of the title through Things From Another World.
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In Batman/Superman: World’s Finest #26, the world’s greatest heroes must join Mr. Mxyptlk and Bat-Mite to halt a Fifth Dimension invasion of imps!Batman / Superman: World’s Finest #26 by Mark Waid, Dan Mora, Tamra Bonvillain & Steve Wands (courtesy of DC Comics)
Title: Batman/Superman: World’s Finest #26
Writer: Mark Waid
Artist: Dan Mora
Colorist: Tamra Bonvillain
Letters: Steve Wands
Main Cover: Dan Mora
Variant Covers: Salvador Larroca & Christopher Sotomayor, Carlo Pagulayan, Jason Paz & Elmer Santos, Scott Godlewski & Alex Guimaraes, Jim Lee & Peter Steigerwald, Maria Wolf & Mike Spicer
Release Date: April 16, 2024
Please note: This comic book review contains spoilers.
This issue picks up on a story thread from the Batman / Superman: World’s Final 2024 Annual, wherein Bat-Mite and Mr. Mxyzptlk were attacked by incoming invaders. While Bat-Mite and Mxyzptlk got away, escaping into the prime dimension, many of their fellow imps were taken down by these invaders (who were dressed as supervillains).
At the Batcave, Bat-Mite and Mr. Mxyzptlk explain the situation to Batman, Superman, and Robin (Dick Grayson). While they’re explaining this invasion, the Justice League calls in, reporting attacks by imps dressed as their arch-enemies. The heroes decide to split up, with Bat-Mite joining Superman while Mxyzptlk goes with Batman. This opening is a nice refresher for anyone who may have forgotten the setup a couple of months back, but more than that, the art team gives it an endearing and colorful vibe, so as not to feel as if readers are retreading plot points they already read.
Dan Mora has fun working Batman’s cold glare into his panels that hits the right note without need of dialogue. Tamra Bonvillain casts a glow over the whole scene that feels in sync with World’s Finest but also sets the tone for a lighter romp more reminiscent of an episode of the Superfriends or Justice League.
The tone quickly changes as Green Lantern (Hal Jordan) plummets in a fiery blaze in Coast City. A classic blue-and-black-costumed Sinestro and his higher-dimensional imp laugh maniacally together amidst the ruinous hellscape. Batman leaps in to catch a falling Lantern and rushes him to safety. When “Sin-Imp,” Sinestro’s sidekick, wants to leap in to fight Batman and Robin, Sinestro waves the imp off. This is about more than just Green Lantern, it’s about conquering galaxies.
Not wanting to sit this one out, Mxyzptlk grants Robin superpowers, which enables him to battle it out with Sinestro. The fiery scene here is an interesting choice. While colorful, it echoes of Coast City’s destruction at the hands of Cyborg Superman and Mongul, and I can’t decide whether that was intentional or not. If it was intentional, I’m not sure if it’s more than just a passing reference or if it’s to set the stage for something grander and more dramatic.
Either way, the art team has fun demonstrating Robin’s new powers, along with a fantastic new suit, in a couple of full-page spreads.
Meanwhile in Central City, Superman leaps in to save The Flash from Kadabra, who has used his futuristic magic to force the citizens of the city to applaud for him. While Bat-Mite interests Kadabra’s imp, Mxyptlk brings Sin-Imp to Batman, who coaxes the same information of out him.
Whoever is behind this is testing the heroes, looking for the strongest one to face. According to both imps, this as yet unnamed villain is not impressed.
For readers who aren’t sick of cutesy villain imp design, there’s a neat, nearly-full-page spread of villains as imps like Joker, Lex Luthor, and more that’s wickedly delightful.
In Central City, Bat-Mite saves Superman from Kadabra’s magic. It sparks a question in Superman, who then asks Bat-Mite if he can whip up an armor that could protect him from magic. Bat-Mite obliges, creating a new suit that has Batman detailing on it. There’s a moment of levity as Superman ponders the suit design, then he’s off to battle back Kadabra once and for all.
In Coast City, Robin knocks out Sinestro, then uses his telescopic vision to see who else might be in danger. It overwhelms him, as he hasn’t been able to train with or use powers before. Robin asks for Mxyzptlk to take the powers back.
Meanwhile, Superman takes down Kadabra, then levels with Bat-Mite. He tells Bat-Mite that Batman isn’t one to appreciate fanboys. He’s one to respect and admire assets, which is Superman’s way of trying to make Bat-Mite that much more useful to their efforts. Superman then asks Bat-Mite to scoop up Batman and Robin and meet him in Metropolis.
In the Fifth Dimension, a mysterious villain carves new imps, obsessing over how much fun he’s having.
In Metropolis, Parasite has been upgraded by his imp, Paras-Mite. This Superman foe now has the ability to absorb mass and volume, and he uses his newfound powers to turn Superman, Batman, and Robin into wall art. The issue ends on this cliffhanger.
Batman / Superman: World’s Finest #26 by Mark Waid, Dan Mora, Tamra Bonvillain & Steve Wands (courtesy of DC Comics)
Typically, Batman / Superman: World’s Finest has been a lighter, more comforting book that celebrates the Silver Age of comics. That’s not surprising, and over the last 25 issues, it’s been consistent in its embrace of that tone and style. Certainly, there have been issues that really leaned into heavy themes and ideas, creating emotional moments that really resonate with readers as well as callback to more traditional superhero characterizations. In many ways, Batman / Superman: World’s Finest #26 is no different. It’s another entry into a consistent book that has stayed true to its idea and form.
Mark Waid is consistently at the top of his writing game with these stories, and superstar artist Dan Mora and brilliant colorist Tamra Bonvillain create some of the most beautiful panels, pages, and spreads together. Steve Wands lettering brings the tension and heightens the action to create a gripping, adrenaline rush of a read. Together, this team is arguably putting out one of the more fun books on the shelves each month.
It sounds like I’m leading up to a point, doesn’t it?
My point is, when readers look around at what’s on the shelves, especially from the Big Two, it can feel like there isn’t much “fun” to be had. Many of the big books are chasing event after event, titles associated with Gotham City are out-of-sync with one another, telling stories completely disconnected and isolated from each other. Furthermore, these stories are obsessed with analyzing and re-analyzing Batman’s psyche over and over again. Sometimes these exercises can be fruitful, offering new ideas readers can then turn on themselves for self-reflection. Most of the time, however, it’s a retread of beloved stories but distilled down in a format more obsessed with chasing sales and events than giving the readers something to enjoy. Take the main Batman book, for example. Characters like Zur-En-Arrh and Joker are recontextualized as servants to some mentor named Daniel Captio, and this long-form story being told weaves in and out of Batman’s psyche, exploring this duality of his “unfiltered self” versus his Bruce Wayne persona. It doesn’t say anything new. All it does is deconstruct Batman, yet again, on a topic we’ve already read over and over again. To add fuel to that fire, gimmicky sales tricks like the use of “Joker: Year One” are employed to pump up purchases.
It’s not a great time to be a Batman fan, but books like Batman / Superman: World’s Finest, ones that embrace a formula or vehicle that lets characters like Batman and Superman simply BE Batman and Superman feel essential right now. While we may not remember these Fifth Dimensional hijinks several months from now, we might reflect back on the comforting salve Waid, Mora, Bonvillain, and Wands are publishing each month that keeps longtime comic fans like me from having no Bat-books to look forward to.
For such a happy book, I didn’t intend to write a sad review. After the elation of reading this issue, I can’t help but wonder why we can’t just have Batman solving crimes in his main books?
Editor’s Note: DC Comics provided TBU with an advanced copy of this comic for review purposes. You can find this comic and help support TBU in the process by pre-ordering this issue digitally on Amazon or a physical copy of the title through Things From Another World.
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In The Bat-Man: First Knight #2, Bat-Man and Commissioner Gordon face more zombies as the mysterious plot to take over 1939 Gotham darkens.The Bat-Man: First Knight #2 cover by Mike Spicer (Image courtesy of DC Comics)
Title: The Bat-Man: First Knight #2
Writer: Dan Jurgens
Artist: Mike Perkins
Colors: Mike Spicer
Main Cover: Mike Perkins
Variant Covers: Sebastian Fiumara, Marc Aspinall
Release Date: April 9, 2024
This comic book review contains spoilers.
Commissioner Gordon turns off the electric chair and saves Bat-Man’s life, and he painfully fights his way out of Blackgate. Warden Shelby is gunning for Gordon’s job and is eager to murder people for convenience when they get in his way, like Bat-Man. Gordon leaves after a heated argument, but Bat-Man has stolen his car, taking it home to Wayne Manor to recuperate.
A mysterious voice calls Johnny the Whip and orders him to kill Bat-Man and Gordon.
Julia Madison, the actress, drops by Wayne Manor to thank Bruce for getting her movie back in production and finds him burned. She ministers to him with skills learned from her nurse mother, and Bruce asks her out.
Once recovered, Bruce goes out again as the Bat-Man, first returning Gordon’s car, then finds Mayor Vincent being attacked by plane and armored vehicle on a massive truss bridge by Johnny the Whip and several zombies. Once he gets the Mayor away, Bat-Man dives off the bridge and swims to shore. He meets some people in a shanty town on the banks, as well as Rabbi Cohen (from Bat-Man: First Knight #1) ministering to them. Saving the Rabbi from two thugs trying to rob him, the Rabbi saves the thugs from Bat-Man’s rage once he’s beaten them. Bruce reveals his identity to the Rabbi, and they ruminate about the hell on earth around the world.
Bat-Man then visits the prostitute Tillie. She tells him Gordon is the next target, from hearing Johnny the Whip as he visited the brothel. He also orders the brothel manager to protect Rabbi Cohen’s synagogue.
Johnny the Whip sics zombies on Gordon, and when Bat-Man intervenes, sics even more on them both. He also slaughters a patrol officer who helps the pair of heroes, but Gordon shoots Johnny before he can headshot Bat-Man. Gordon tells Batman he must carry a firearm if he’s going to fight such dangers, and though he resists, Bat-Man goes back to Wayne Manor and picks out one of his family pistols.
The Bat-Man: First Knight #2 by Dan Jurgens & Mike Perkins (Image courtesy of DC Comics)
Dan Jurgens and Mike Perkins’ gritty, hardboiled rendering of Batman’s origin continues with intensely brutal fight scenes and a wealth of historical details in dialogue and art. That violence and texture definitely make up the strength of the presentation, as we see Bat-Man and Gordon outmatched by zombies controlled by gangsters – perhaps a bit reminiscent of the Court of Owls. The mysterious “Voice” who is directing Johnny the Whip seems like a bit of an odd choice to continue to hide two-thirds of the way through the story. One hopes that it doesn’t turn out to be the saintly Rabbi Cohen, or Gordon, or even the hapless Mayor, but there aren’t that many characters involved in the plot currently who could turn out to be the Big Bad. And the turning of one of those knights of light into a demon of darkness would definitely fit the hardboiled genre.
The character work remains a bit surface level. The light romance element added by Julie and Bruce’s scene together doesn’t really go very far towards adding much levity to the pitch black tone, especially as it doesn’t seem that connected to any ongoing plot elements. Rabbi Cohen’s connection to Bruce is perhaps the most interesting and emotionally fraught of the relationships depicted, which perhaps will mean even more heartbreak if the Rabbi is the evil Voice. The rest of the characters, even the hapless Gordon who loses his car to an escaping Bat-Man early on, don’t really have much flavor outside of Jurgens’ pungent 1930s dialect and Perkins’ beautifully detailed linework, washed by Mike Spicer’s grimy and classic colors.
The length of each issue still feels a bit too long on this middle issue. One wonders if Jurgens could have gone a bit more structurally wild, perhaps told miniature tales with beginning, middle, and end, similar to the original Detective Comics format, with linking elements like the Voice and the zombies, instead of the somewhat plodding and meandering single thread we follow in the two issues so far.
Main artist Mike Perkins’ cover shows a collage of images – a zombie, Julie, a gangster with tommy gun, powerful car, and Gordon smoking, all silhouetted in Bat-Man’s shape. Sebastian Fiumara’s variant shows Bat-Man gliding over Gotham against a red night sky, and Marc Aspinall’s pulp novel variant shows Bruce in a dress shirt opening a vault to reveal his Bat-suit.
Editor’s Note: DC Comics provided TBU with an advanced copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Amazon or a physical copy of the title through Things From Another World.
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In Red Hood: The Hill #3, Demetrius calls the big guns to take care of the Watch. This gets the attention of Batman.Red Hood: The Hill #3 main cover by Sanford Greene
Title: Red Hood: The Hill – Part Three: The Turn
Writer: Shawn Martinbrough
Artist: Tony Akins
Color Artist: Matt Herms
Main Cover: Sanford Greene
Variant Cover: Dan Mora
Release Date: April 9, 2024
This comic book review contains spoilers.
Killer Croc tells Demetrius that he is going to bring in another player. He refers to him as the Kreckk, AKA Projector. He was in Gotham City, and by appearances, he is just a comic book nerd. However, when Projector has a target and an electronic cash payment, problems get eliminated permanently.
Demetrius is being watched by Red Hood. At Lorett’s Lounge, the Watch finally all gather in civilian attire, including Dana Harlowe. She gives them an update on Battle’s condition, which is not good. Overall, they are talking about the past and the future. The Watch feels it is time to hang up their gear and restart their various lives, leaving the vigilante life to Red Hood. Dana tells them that he is not staying, so the group starts to fantasize about the Outlaws.
Back at Annie B’s diner, Denise enters. She discusses the former cook at the diner, Onmar Diseko with Carmen. Meanwhile, the Watch separates from the lounge, and Jason approaches Dana. Back at the diner, Carmen tells Denise about Omar and the training they, including Korlee Jr, attended with Ms. Asha. This peaks her interest, and she goes on to follow this lead.
Outside Gotham, Korlee meets with his father. His father is very much alive and in a retirement community. They start a conversation.
At dusk, Kreckk doses off, and some creatures awaken. These creatures view photos of Red Hood and the Watch.
On the roof of Jason’s apartment, he and Dana have a drink. They discuss Jason’s future in the Hill, and he decides to order in. They are interrupted by the doorbell, and a creature breaks into the room. Jason pulls his sidearm and empties into the creature. Elsewhere throughout the Hill, the other members of the Watch are attacked by similar creatures.
The gunshots have no effect, and Dana attempts to hit the creature with a dumbbell. That, too, does not work, but Jason gets up with a couple of crowbars. He beats the creature to death, and Batman arrives to discuss the others.
Red Hood: The Hill #3 variant cover by Dan Mora (Images courtesy of DC Comics)
The stakes heat up in this issue. The hit on the Watch is signed, and the attack begins. This issue is heading for major violence. Each of the members of the Watch are individually attacked, and based on what it took to kill the creatures, it will take a lot to put them all down. The victims may not be able to protect themselves from this threat.
As far as who this Kreckk is, I do not completely understand. On appearance, he does not look like a killer, but it is possible that his imaginations have the power to become alive and may be a little outside of his control. Nevertheless, he does have a history in Arkham Asylum, and this is why Batman has arrived in the Hill.
The art is getting a little bit of an improvement here, but the design of Jason does not look right. His facial features are elongated and mashed into his face. The design is better when it is Red Hood, which in this issue is not long at all.
Demetrius looks like he is creating an alibi for himself, distancing himself from this attack on the Watch.
Editor’s Note: DC Comics provided TBU with an advanced copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Amazon or a physical copy of the title through Things From Another World.
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In Batman & Robin #8, Batman battles Man-Bat, and Robin confronts Mila.Batman & Robin #8 main cover by Simone di Meo (image courtesy of DC Comics)
Title: Batman & Robin #8, “Cult of Man-Bat Part Two”
Writer: Joshua Williamson
Artist: Nikola Čižmešija
Colors: Rex Lokus
Letterer: Steve Wands
Main Cover Artist: Simone Di Meo
Variant Cover Artists: Ejikure, Nikola Čižmešija, Kael Ngu, Jim Lee
This comic book review contains spoilers
Mila explains her choice to become involved in organized crime. She and her gang sweep up and sell the wonderful toys the Rogues leave behind after they are apprehended. Robin prepares to do the same to her, but he is blindsided by Flatline and then frozen by a blast from Mr. Freeze’s weapon of choice. Mila and Flatline take off, but Robin soon catches up in the Robinmobile (ugh, this name could not be more clumsy. Why can’t we get a better name for Boy Wonder’s vehicle?). A battle ensues during the high-speed pursuit, but Flatline double-crosses her sister and aids Robin.
Meanwhile, Batman grudgingly agrees to follow Shush, who promises to show Batman what Man-Bat and his Cult are planning. They enter the Cult’s hideout, but no one is present. There is a map of Gotham with a pattern identified, but Batman is unable to decipher its meaning. Suddenly, the Cult of Man-Bat attacks. Shush averts surprise but quickly abandons Batman to save her own skin. She is accosted and slashed by Man-Bat on the way out.
Man-Bat then turns his attention to Batman. They fight, and Man-Bat lassoes Batman with a chain. He leaps into the sky and pulls a trussed Batman with him. They vanish into the night.
The following day, Damian re-enters Gotham High to try and track down the now-missing Batman. He is accompanied by Nika (Flatline), who assures Damian that she can be inconspicuous. Damian (and the audience) are appropriately dubious.
image courtesy of DC Comics
It would be difficult for Batman & Robin #8 to meet the incredible heights that Batman & Robin #7 achieved, but fortunately this is merely a stepdown rather than a letdown. Artist Nikola Čižmešija’s style remains a bit immature for the relative sobriety of writer Joshua Williamson’s depiction of the Dynamic Duo, but there is a warmth in the soft lines and earth tones of colorist Rex Lokus. Almost every creative that has worked on this book gives a sense of earnestness and care; the writers and illustrators are fully aware this is a story about Batman and Robin themselves, and there is palpable respect for the task. This honor helps the work feel almost like a legitimate candidate for a third book.
While some readers may find Williamson’s story simplistic, I continue to appreciate how easy it is to follow and the obvious restraint the writer is showing. This is a book that centers BATMAN and ROBIN. The needlessly complex plots, confusing chronologies, and telescoped character payoffs so common in comic books right now have no place in this book especially, and Williamson is well aware.
Editor’s Note: DC Comics provided TBU with an advanced copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Amazon or a physical copy of the title through Things From Another World.
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In Poison Ivy #21, G. Willow Wilson and Marcio Takara return to close out their Poison Ivy origin story.Poison Ivy #21 main cover by Jessica Fong
Title: Poison Ivy #21 Writer: G. Willow Wilson
Artist: Marcio Takara
Colors: Arif Prianto
Letters: Hassan Otsamne-Elhaou
Main Cover: Jessica Fong
Variant Cover Artists: David Nakayama, Babs Tarr, Bilquis Evely with Matheus Lopes
Release Date: April 2, 2024
This comic book review contains spoilers
The StoryJason Woodrue injects Pamela Isley with the “green,” but then flees when he’s afraid that it killed her. While flatlining, Isley is taken to the hospital by her girlfriend Bella Garten and has an intense psychedelic trip. She sees herself as a tree and hears a shrill scream coming from within the Earth itself. Determined to locate the source of this screaming, she flees the hospital and Bella for Gotham City. In Gotham, she discovers that she not only has the ability to manipulate plants, but also to release infatuating pheromones, which she can use to control people. This behavior lands her in Arkham Asylum for a short time before she is released and attempts to form an alliance with Batman to help the city’s ecosystem. While initially open-minded, he quickly assumes he’s being affected by her pheromones and rejects the offer, thus setting up a legendary rivalry between the two.
Whatever happened to Jason Woodrue and Bella Garten? Well here we are, finally at the end of G. Willow Wilson’s three-part Poison Ivy origin story, and if you were hoping for a unique or subversive take on the story, then this isn’t it. After introducing Jason Woodrue and Bella Garten in the previous two issues, I had hoped that Wilson had a reason to bring them back and would provide some kind of arc or insight into their early lives. After all, an intriguing setup seemed to open a lot of interesting avenues for this new origin to take. Maybe Woodrue had picked Isley to experiment on because he wanted some kind of twisted chlorophyllous wife? Maybe he has some larger plot with the university? here’s definitely something going on with the university, right? Why is Alec Holland there? We’ve never really seen Isley and Bella’s relationship at this stage, how will they reconcile? Will Isley have to confront the fact that she’s just not ready for a relationship?
Nope.
None of this is addressed.
Both characters are quickly dispatched and unmentioned after the first few pages.
Jason Woodrue and Bella Garten were simply obligatory inclusions because of their significance in Ivy’s history (either as a nod to past iterations or a DC mandate), but there is no interest shown in their characters beyond that. Woodrue is pure evil and Garten has almost no personality to speak of. Instead of building upon anything from the last two parts, this issue turns into a speed-run of Ivy’s first time using her powers, going to Arkham, and meeting Batman.
Checking Boxes While Poison Ivy #19 did introduce a troublesome sexual-power dynamic between Woodrue and Isley, nothing else in the subsequent two issues provided any interesting insight into Isley’s early relationships or early life. After one issue of setup, we have two issues of checking boxes to hit all the beats we know must happen in a Ivy origin story because we’ve seen it in so many times in World’s Finest #251, Secret Origins #36, Batman #109, and a two-panel version of it in Shadow of the Bat Annual #3, among others. Since Wilson or DC or both feel the need to hit so many beats from these pre-existing stories, the events themselves don’t even occur organically. They play out more like a series of bullet points we have to hit to the extent that the final part becomes entirely consumed by playing recap. You already know this story, in fact you may have already read it.
So since the decision was made to retell pre-established canon rather than take any major detours, let’s take a look at the major beats adapted and what (if anything) has been added or changed in this retelling:
- Isley studied botany in Seattle, Washington: Check. (World’s Finest #251)
- Isley develops a relationship with Bella Garten: Check. (Batman #109)
- Isley began experimenting with Jason Woodrue: Check. (Secret Origins #36)
- And finally, Isley goes to Gotham City to encounter Batman: Check. (Shadow of the Bat Annual #3)
There are others, but these are the main beats. Out of all of these plot points, the only one that’s been given a significant new spin is her relationship with Jason Woodrue as it’s now presented as explicitly sexual. But even that goes nowhere since after she distances herself from him in Poison Ivy #20, she rejoins him by the end. He just dips out while she’s under at the start of this issue. What happened to all that talk about his being a “great man” or Bella’s rejection of the idolatry? What are we supposed to take away from all of that? In the end, Woodrue got what he wanted, Isley got what she wanted, Bella got forgotten, and the reader got the shaft.
Granted, I know these characters come back later on in Ivy’s story, but a good origin story stands on its own. In Mad Love, Harley Quinn falls for Joker’s manipulations, but by the end Batman helps her realize that she was tricked. She has growth. In Batman: Year One, Batman goes out unprepared and has to learn from his mistakes. He has growth. In this story things happen to Poison Ivy. She follows external stimuli: first Woodrue, then Garten, Woodrue again, and finally this macguffin “screaming” she hears in Gotham. At no point does she change or learn from her experience. Nothing that is set up in the previous two issues pays off in anything meaningful way. By the end, we’re left with no grand takeaway despite Wilson constantly peppering Ivy’s inner monologue with ruminations on life lessons. Inner-monologuing doesn’t count as themes when there’s nothing to back it up in the substance of the story.
Ivy’s MotivationIvy’s motivations throughout this arc have become increasingly unclear to me. Initially, she wants to become a successful botanist to help change the world but then she seems to shift towards seeking love or validation from Woodrue and Garten. This is fine if it has a purpose. People’s motivations change all the time when they meet someone and fall in love. But once she’s infected with the green, the Ivy we’ve spent so much time with over the past two issues seems to disappear. She doesn’t care about Woodrue or Garten anymore, she’s consumed by this magnetic pull towards Gotham.
The motivations and logic become even murkier after Ivy arrives in Gotham. Her goal is to stop the screaming, which seems to be a clairvoyant signal of the environmental degradation of the city. But the only indication of what she’s actually doing is in a sequestered newspaper clipping stating that she’ll release a biotoxin if her environmental demands aren’t met. So the struggling young woman we saw looking for love in the last two issues has been replaced by Poison Ivy: eco-terrorist. It’s not clear how much the “green” has taken over Ivy’s personality but considering the fact she doesn’t show any interest for Garten, her mother, or any of the characters previously introduced, it seems to take a Uma Thurman-level hold on her mind (at least initially). I suppose the implication is that over time, Isley’s original self starts to fight back against this malevolent “green” and the modern day iteration is more of a mix.
On a side note, I know analyzing the judicial politics of Gotham City is a fool’s errand, but Ivy is sent straight to Arkham pre-trial after infecting a couple cops with pheromones. Maybe dressing up in a green leotard and blowing pheromones at people is enough for an insanity diagnosis but that felt a little off. I don’t know, maybe she just has a good attorney. Has Harvey Dent been acid-faced yet?
The Art Marcio Takara and Arif Prianto carry the issue with the same incredible work we’ve come to expect in this run. An undeniable highlight is seeing Poison Ivy’s old-school costume, although Takara chooses her simplified Batman: The Animated Series getup over her mosaical leaf pattern fit from the Silver Age. Plus any time a character experiences a psychedelic experience (which seems to happen with increasing regularity in this run) Takara and Prianto use it as an excuse to go all-out. Ivy’s vision of becoming the tree is a great example of this and looks beautiful. Although not very much like a tree.
Editor’s Note: DC Comics provided TBU with an advanced copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Amazon or a physical copy of the title through Things From Another World.
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In this review of Batman and Robin #1, a mysterious character sets its sights on the newly…
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Overview: In Batman: The Knight Volume 1, Bruce Wayne travels the globe, learning tricks of the trade…
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Overview: In The Joker: The Man Who Stopped Laughing #10, Mr. J will stop at nothing to…
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Overview: In Poison Ivy #14, Poison Ivy resumes her quest to rid Gotham City, and the world, of earth-harming corporations.
Written by: G. Willow WilsonArt by: Marcio Tanaka Color by: Arif Prianto Letters by: Hassan Otsmane-Elhaou
Synopsis (spoilers ahead): Our story begins right where we left off in Poison Ivy #13, with Poison Ivy (Pamela Isley) standing over a dead body with a pink lily growing out of his face, an obvious warning from a new foe. As she searches the construction project, things get weird; she finds a room that seems to go on forever, random spots of blood all over the floor, and the path that left to get out has disappeared.
While Ivy is inside searching, she has Janet from HR attempting to get a job at the company that owns the project, Undine Holdings. Leaving the interview, Janet is cornered on street by Batman (Bruce Wayne) who warns her that helping Ivy will lead to jail or death. She responds by swinging her purse at him and running away.
Curious about Janet, Harley Quinn had been following her. Harley watches everything that takes place with Batman. She assures Janet that she doesn’t have to listen to Batman, and then they kiss.
We cut back to the Ivy running down the hall of the construction project. She is stopped by a wall of blue spores floating from the floor towards the ceiling. A gentlemen in a blue suit and a giant blue lily for a face steps out behind her, telling her “transformation is always alarming.”
Analysis: After the first two issues of this current arc, I’m enjoying the story that G. Willow Wilson is setting up. Ivy has just finished with a cross-country trip trying to clean up her own mess, but by doing that, she may have allowed her other mess at home to grow beyond her control.
I think it is super funny that Janet from HR is staying with Harley while this is all going on. I think its even funnier that Harley is stalking Janet all because she knows Janet is important to Ivy, so Harley has to make sure she is safe. What I don’t get is why they ruin it all by having Janet and Harley kiss. Ivy also acknowledges the kiss in the next panel, so they aren’t going to run with the jealousy angle. Maybe Janet is just there for Harley and Ivy to share? Who knows?
I am a really big fan of Marcio Tanaka, and I really enjoyed the art throughout. I think his style lends very well to the Poison Ivy aesthetic and the trippy style. The flowers on both faces are gorgeous as well. Jessica Fong may have him beat this time around though, her cover is one of the best that I have seen recently, and that includes all the amazing Knight Terror art we have been getting. There are also a slew of variant covers as well, all top notch!
Editor’s Note: DC Comics provided TBU with an advanced copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Comixology through Amazon or a physical copy of the title through Things From Another World.
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Overview: In Birds of Prey #1, Black Canary (Dinah Lance) reforms the team in order to take down a new threat.
Written by: Kelly Thompson
Art by: Leonardo Romero
Colors by: Jordie Bellaire
Letters by: Clayton Cowles
Synopsis (Spoilers Ahead): “Megadeath” opens with Black Canary (Dinah Lance) and Green Arrow (Oliver Queen) discussing the gathering of the team. The only clear instructions for Dinah is that Barbara Gordon cannot be involved. Dinah is making a list and checking it over with Ollie. Ollie is impressed, but he wants someone on the team that can watch Dinah’s back. This is a cryptic statement, making the reader think that the people Dinah is gathering cannot be trusted. Dinah does have an ace in the hole to Ollie’s request.
The scene shifts to a battle. Batgirl (Cassandra Cain) is fighting a group of ninjas. She is handling her own, but it looks like she may be overwhelmed by the sheer numbers of the adversaries. That is until Dinah Lance arrives and the two beat back the ninjas. Dinah then asks Cass if she will join her team. Cass immediately agrees; there is nothing more important than helping a sister. The two separate to gather more members of the team.
Cass’s destination is Los Angeles. She finds a fight in a bar. Big Barda is fighting a cadre of vampires. Barda actually unintentionally punches Cass before she realizes who she is and apologizes to Batgirl. Barda helps Cassandra up from the floor and explains that the vampires are disciples of a former teammate of hers, Bloody Mary. These guys are just insects, but she does ask the Small Bat if she will assist. True to character, Cass immediately agrees, and the two face off with the vampires. As with Dinah and the ninjas, these two handle this obstacle with ease. Now Cass explains why she is in LA. She wants to ask Barda to join the team. Barda at first declines but when Cass mentions Sin, Barda agrees.
Elsewhere in Star City a sleeping woman hears a call. She responds despite a dry throat and starts to get dressed. This awakens her male companion. It is revealed that the woman is Zealot, and the call came from the Black Canary. She greets Grifter and talks on the balcony. Dinah is calling in a favor, and Zealot agrees to join the team.
The four warriors are now gathered together. Dinah, however, says that they need a fifth member. Dinah thinks they are missing an X factor and Cass has an idea. She suggests Harley Quinn. Dinah shoots it down, but Cass relates a story where she fights Quinn. The story is very short, and according to the other characters, she used very few words. The point of the story was that Harley almost beat her, and Harley Quinn is the unexpected.
In Gotham City, Harley is fighting a group of clowns. Black Canary swoops in and uses her Canary Cry to knock out the combatants. Harley then sees all four warriors and immediately calls them a kill squad. Dinah tells her they are not a kill squad, but they want her on the team. Harley is in awe with the four warriors, and Dinah tells the clown to forget it. Harley snaps back, and Dinah turns to go. Cass grabs Dinah’s arm and tells her it is for Sin. This peaks Dinah’s attention, and Dinah clarifies that Cass is referring to Cynthia Lance. Harley knows the girl and immediately says she wants in. Harley tells them the reason is that she does not like it when people mess with cool-ass little girls, and she wants to make sure that they grow up into cool-ass women.
Now the five team members gather in the current Birds of Prey base of operations in Gotham. Dinah introduces the team to Meridian. She is from the future, in this time she is known as Maps or Mia Mizoguchi. She is in this time to help the team break into Themyscira and rescue Sin from the Amazons before the end of the world is ushered in.
Analysis: For a setup issue, Birds of Prey #1 is kind of weak both in writing and art.
For the art and coloration there really is nothing noteworthy. The detailing of the characters is weak. I prefer when Dinah Lance is drawn more muscular and stronger, and we do not get a lot of scenes with her arms. Her legs look okay but not overly muscular. Harley appears to be drawn without her white makeup, and the colors overall are kind of dull. For some reading the stitching over the piece covering Cass’ mouth on her cowl is over-exemplified.
The writing is a little better but again nothing to amaze. The fight scenes are effective, and we do not get to see Zealot in action. Of all the characters in this team, she is the one that is the least known to me. I remember her from the 1990’s Wildcats, but that is about it. It is interesting that they are depicting her as having a relationship with her teammate Grifter. I would like to have seen her in a little action to showcase her abilities and strengthen.
The character that does shine is Cass. She is actually the main character in this story. She is actively involved in two of the fight sequences, and her character of always wanting to help is spotlighted. Zealot has some debt to her, and both Barda and Harley question her joining the team even though the team is questioning her joining the team. Cass immediately says yes and is willing to drop everything to get involved. She is even active in getting Harley and Barda to agree to join the team.
The story really did not get interesting until we learn that the women will be invading Themyscira, making it obvious that Ollie cannot help in this mission, and that the only people who can hope to get on the island are a group of women. If you are going to face off with the Amazons, you are going to need a strong team of fighters. Harley is right, this is a kill squad.
Editor’s Note: DC Comics provided TBU with an advanced copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Comixology through Amazon or a physical copy of the title through Things From Another World.
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In this review of Batman #137, we see part two of the Gotham War event. Batman and Catwoman battle for the soul of Gotham City with the Bat Family caught in the middle on who to side with. However, there’s another player about to enter the battle that no one expects.Title: Batman #137
Writer: Chip Zdarsky
Artist: Jorge Jiménez
Colors: Tomeu Morey
Main Cover: Jorge Jiménez
Variant Covers: Joe Quesada, Gabriele Dell’Otto, Rose Besch, Pablo Villalobos, Salvador Larroca
Release Date: September 5, 2023
Note: This review might contain spoilers
1:25 incentive variant cover by Salvador Larroca
Batman #137 begins not much longer after the ending of The Gotham War – Battle Lines #1. Two of Catwoman’s students are on a mission to rob some Gotham penthouses. However, as they make their way through the first penthouse, they find Batman there, waiting on them. After the death of a would-be thief in Battle Lines, he’s on a personal mission to end Selina’s newfound guild of thieves before another life is lost. Marquise relays just how relentless he’s become to Selina. Catwoman feels her best weapon against her former fiancé is his worse mistake. She tells Marquise to contact Jason.
Right out of the gates, Zdarsky hits us with action and suspense. He shows us a Batman who truly has a take-no-prisoner mentality after the death of Roland Garner in the Battle Lines issue. And he seems intent on letting nothing or no one get in his way. the intentions become no clearer than with his interaction on the docks with Tim. After a great interaction between the two beginning with Zdarsky’s run and through the Failsafe arc, Bruce doesn’t hesitate in threatening his young protégé should he cross the line. Considering how Batman took down Jason in the pages of Red Hood and the Outlaws back during Rebirth, one would think arresting Tim would be nothing for Batman.
A Family Feud Again?
This interaction, however, much like the interaction between Bruce and the family in Battle Lines laid the groundwork for what occurs by the time we get close to the end of the issue. batman and his family would come to blows. Like many readers, I am not a fan of this drastic a dynamic between Bruce and those he trained. We as reader have seen it before. In previous family battles, the reaction from fans have been the same. We do not like it. As with any group of loved ones, we know that there will be disagreement. But do we have to see them fight again? How different will Zdarsky’s take be any different?
An added caveat to this comes from the other title in this event – Catwoman. What can we expect from Tini Howard in the pages of her series? It was not hard to tell who wrote what pages in Battle Lines. The different voices didn’t gel that well. Zdarsky moves things along at a great pace leading us to the end of the issue. Can we trust his event co-writer to do the same?
If You Like Action, This Comic Is For You
It doesn’t take long for the action to kick it to the next level. The Family decides they’re going to do what they can to keep the peace, even if it means taking on their leader (Jason actually made his choice previously). They truly thought they had the upper hand on their teacher considering the tracker Babs placed on Bruce. However, once again, Batman one-ups his grasshoppers in order to take out much of Catwoman’s soldiers before they arrive for the save.
Much like previous family battles, Batman easily handles his family members until he lets his guard down, allowing Jason and Dick to take the upper hand in the fight. Just when you think they have him where they want him is when you realize a member of the Bat Family is unaccounted for. That’s when Damian arrives for the save, allowing he and Batman to escape. He’s truly his father’s son.
Ironically, Zdarsky uses this fight as a means of creating a distraction. While the fighting is going on, she’s breaking her team out of jail. She doesn’t leave anyone behind. But even she was unaware the extent Batman would go to stop her, including the attack of her base in Alleytown. It infuriates her to no end. One has to wonder what’s next up her sleeve.
The True Big Bad
As expected with these Batman Family battles (see the recent Batman vs. Robin arc for example), neither side of the dueling factions are the true bad guy (insert shocked, but not shocked face here). As Zdarsky has done throughout most of his run on Batman, he continues to take Bruce lower, even when you think it can’t be done. This time, Zdarsky accomplishes this by taking Wayne Manor away from Bruce. As the story began in the pages of Detective Comics, Bruce moved out of Wayne Manor in an effort to be closer to the depths of the city. However, as the issue ends, Bruce finds out that not only has the bank foreclosed on Wayne Manor (which was used as collateral to buy the brownstone), someone already seized possession of it. That person… Vandal Savage. Savage has popped up here and there across the DC Universe of late and now find himself in Gotham City. It will be interesting to see what Zdarsky has planned for the immortal villain as the event progresses.
Clone Jorge Jiménez and Tomeu Morey
I am so happy to see Jorge Jiménez back on the art of Batman. As always, his pencils are a joy to watch. He and Tomeu Morey are a dynamic artistic team together. If it was possible to clone these two so that they can remain on this title while also completing their other projects, I would do it. I read some who feel that the quality in the art has declined a little. I simply do not see it. It remains exquisite. The panel with Damian laying out Jason deserves a chef’s kiss for how good it looks.
Questions for Next Time
As we await part 3 of The Gotham War, coming in Catwoman #57, I’m looking for the answers to the following questions:
- Can Tini Howard keep up the pace and the voice? What readers experienced in The Gotham War – Battle Lines did not work at all. Zdarsky set the tone. She needs to keep it up and going.
- Is Jason being played?
- What is Vandal Savage doing in Gotham City? It’s not just to buy a new house. Are he and Selina in cahoots with one another?
- Who’s the person Duke found tied up after their skirmish with Bruce? Unless I missed it, they never mentioned it.
- What’s the endgame? I would be really disappointed if the end. result of Gotham War is something we’ve seen before.
I’ve always enjoyed Zdarsky’ voice for Batman. He brings it a notch more in Batman #137 as Batman has to face off against his family (again). Let’s hope Tini Howard can keep the momentum going in part 3 of the Gotham War.
Editor’s Note: DC Comics provided TBU with an advanced copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Comixology through Amazon or a physical copy of the title through Things From Another World.
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In the final review of the Knight Terrors event, Insomnia has the Nightmare Stone in hand. With it, he sets his final plans in motion.Knight Terrors: Night’s End #1
Written by: Joshua Williamson
Art by: Howard Porter, Trevor Hairsine, and Giuseppe CamuncoliMain Cover by: Howard Porter
Variant Covers: Simone Di Meo, Dan Mora, Kendrick Lim, and Mico Suayan
Page Count: 48 Pages
Release Date: August 29, 2023
Synopsis (spoilers ahead):
Insomnia, wronged by the Justice League long ago, has released nightmares where they are monsters on the world using the Nightmare Stone. In addition to that, he has locked Boston Brand away in a dream where he gets to live with his family again.
The rest of our team, Wonder Woman, Superman, Batman, Robin, Detective Chimp, Cliff Steele, Zatanna, and Sandman do their best to battle Insomnia himself inside the Hall of Justice. Insomnia berates our heroes for failing as all of their nightmares attack.
Sandman calls for Deadman who is lost in his dreams. Luckily he hears and snaps out it and lunges at Insomnia, getting a few good punches in. While Deadman distracts, the rest of the team heads for John Dee’s body, the last known place of the Dream Stone. Zatanna and Cliff Steele hang back and take care of the Sleepless Knights. Deadman pleads with Insomnia to help him destroy the stone before it corrupts him too far and there is no coming back. Insomnia tears Deadman apart.
Sandman, knowing that he can control the Dreamstone, takes it from Batman and attacks. Before Sandman gets there, Deadman attacks from the back, faking his death only a moment earlier. He grabs the Nightmare Stone and uses it to send Insomnia back to Nightmare Realm; needing a sacrifice, Deadman is taken to another world as well.
We end with Batman collapsing; Deadman may have caused to much damage while spending extended time inside him. Unfortunately, Insomnia’s plan also worked as the world saw the Justice League as monsters long enough to lose trust and have a lot more fear towards them. In all the mess, Amanda Waller has made a move as well, grabbing the Nightmare Stone and the Helmet of Hate. We end with a mystery person putting on both, becoming Dr. Hate.
Analysis
I enjoyed a lot of the story but if I’m going to be honest, the story confused me at times. Everything with John Dee making a dream construct that allowed the Dreamstone to be hidden at the Justice League… I have read it a few times now and I am still a little lost. I very much like the overall idea however. Insomnia’s goal is to get the world to be afraid of superheroes. His motivation behind this is great, along with his execution. Even though they stopped Insomnia, he still executed his plan. I love the end where Williamson revealed that Amanda Waller is going to use this to her advantage in some way.
The art did not hit for me at all in this issue. It seemed to be overly chaotic to the point where I would almost call it sloppy, specifically if I’m comparing it to the previous issues in the run. This could just be a style that doesn’t vibe with me. However, I feel this stands below the issues coming before it.
I will again point out the covers. This is another issue where I would be happy to get the original or any of the variants.
Final Thoughts
A solid but somewhat disappointing end to the Knight Terrors. It just doesn’t stand up to the issues that have come before it. I am, however, looking forward to what Amanda Waller has coming next.
Editor’s Note: DC Comics provided TBU with an advanced copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Comixology through Amazon or a physical copy of the title through Things From Another World.
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In this review of Knight Terrors: Angel Breaker #2, Angel Breaker and Raptor face a nightmare made flesh in a terrifying Kobra base.###### Synopsis (Spoilers ahead):
Knight Terrors: Angel Breaker #2 begins at the Kobra Kult Seminary in Ohio, where Angel Breaker, Raptor, and their remaining three Kobra trainee kids face Angel Breaker’s nightmare made real by Insomnia’s power, Nanny Gillo. The Asclepius Drive, derived from Dr. Destiny’s Dreamstone, keeps them awake. After convincing the kids to team up, they go to the Blood Gate, where they can get the secret training program that Angel Breaker desires. However, Nanny Gillo, taking different forms, starts murdering the kids one by one as Raptor and Angel Breaker fight off the flashy base defenses. The two adults split up, taking a kid each. After arguing about heretical theology, Raptor’s kid is devoured by a humongous snake (appropriate for a Kobra base). Raptor discovers the snake is actually Nanny Gillo, and flees.
Angel Breaker and the final kid find the Blood Gate. They reach the Asclepius Drive, but Nanny Gillo hypnotized Angel Breaker. Raptor snaps her out of it, but the last kid stole the drive and nearly gives it to Nanny. Raptor saves him, but Nanny takes Angel Breaker’s form and backstabs him. Angle Breaker fights Nanny, finally cutting her in half with her flaming sword, perhaps fulfilling her prophecy of defeating a great evil.
Angel Breaker sends the final kid to the super heroes with the Asclepius Drive to help, as she and Raptor succumb to the Nightmare Wave of Insomnia without its proximity.
Analysis:
Tim Seeley and Acky Bright wrap up their Angel Breaker tale with flair. Though the two-issue format is incredibly frustrating to work with, even when the characters are as extensively developed as Batman, Superman, or the Robin, it’s a whole other level of difficulty when your main character is basically a shirtless placeholder of a figure in their only appearances so far. Angel Breaker’s creation in the Shadow War event was disappointing, to say the least. Her voice and backstory are barely sketched, and she seemed mostly to exist to sell very provocative (though clearly effective) variant covers for Shadow War Zone.
Seeley manages to give Angel Breaker a lot more depth in these two issues. Her desire to be the best female fighter by downloading the skills of all the female heroes of DC, while perhaps a bit too much like Prometheus, is a fun one. And the texture of her nightmare of Nanny Gillo is a nice bit of setup and resolution with the potential of prophecy. All in all, I’d say Angel Breaker has a lot more use left in her after Seeley has wound her up and given her a bit more spring to her step. As a fan of Seeley’s Nightwing run (and its unofficial sequel Suicide Squad: King Shark), it’s nice to see the character of Raptor get used a bit more here as well.
Acky Bright’s art continues to be clear, appealing, and appropriately horrifying for a Knight Terrors tie-in. Angel Breaker is a fun assassin character, and seeing Bright put her through her burning-sword paces gives you the idea of a lithe and deadly ballerina. Raptor’s gear has a very nice texture as well, showing all the pieces Seeley put into it at work. And the work of Nanny Gillo in tricking the kids with their desires, then destroying them, is very appropriately scary and disgusting. All in all, a very nice piece of writing and art put together, as expected from Seeley, and Bright more than holds up his end of the creative bargain.
Matteo Lolli’s main cover captures the conflict between Angel Breaker and Nanny Gillo well, though it doesn’t really stand out as much as it might (the black and white art of this cover features as the 1 in 50 incentive variant). Ivan Tao’s painted cover B, featuring a skeleton Angel Breaker is much more eye-catching, though has nothing to do with the actual story. Stephen Segovia’s cover C, featuring Angel Breaker crouching while humongous nightmare spiders spin their webs around her, symbolically fits the heist/slasher movie feel, but no actual giant spiders appear in the book – perhaps Segovia should have stolen some of the snakes from the Catwoman covers last month, as one does appear! Chuma Hill’s 1 in 25 incentive variant features Angel Breaker lounging seductively (fitting for her shirtless costume) on a red cloth full of bones – a nice contrast of sex and death.
Let me know what you think on twitter @ibmmiller, or join the conversation in our Discord!
*Editor’s Note: DC Comics provided TBU with an advanced copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Comixology through Amazon or a physical copy of the title through Things From Another World.*
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In this review of Knight Terrors: Harley Quinn #2, Harley wonders what it means to be heroic.…
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In this review of Batman/Catwoman: The Gotham War: Battle Lines #1, Batman reawakens to find that Gotham…
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Overview: In Batman: The Brave and the Bold #4, readers are offered four more stories that depart…
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It’s been another exciting three weeks of Batman: Wayne Family Adventures, which means it’s time for another…
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Overview: In Penguin #1, a clipped member of the Batman’s Rogues Gallery finds himself being pulled back into…
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In this review of Knight Terrors: Detective Comics #2, Jim Gordon faces down the horrors the Pentapriests…
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Overview: Batman: Gotham Knights – Gilded City is a prequel tie-in comic book for the hit videogame…
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In Knight Terrors: Nightwing #2, as Nightwing and Scarecrow search for ways to escape Arkham Asylum, the…
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Overview: In Knight Terrors: Punchline #2, the titular character continues to fight for her life in the…
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Overview: In Penguin #0, Catwoman is roped into helping Executor, the keeper of the last will of…
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Overview: In Batman/Superman: World’s Finest #18, the secret origin of Batman and Superman’s first team-up is revealed. …
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Overview: In Knight Terrors: Catwoman #2, Catwoman’s nightmare ends in poison and love as the Joker attacks…
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Overview: In Spirit World #4, Xanthe Zhou, John Constantine, and Cassandra Cain’s trek continues. They find that…
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In this review of Knight Terrors: Robin #2, we see the conclusion to the Robin story as…
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In this review of Knight Terrors #3, a now awake Damian Wayne teams up with Deadman and…
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Overview: In Knight Terrors: Ravager #2, Ravager (Rose Wilson) fights her Doppelganger in an attempt to stop the…
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Overview: The newest DC animated movie, Justice League: Warworld (2023), sees Batman, Superman, and Wonder Woman fight…
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Overview: In Knight Terrors: The Joker #2, the Joker finds himself waking from one nightmare after the…
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Phew! This summer has been hot! Thankfully, Ian and Steph have something fun to do in the…
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Overview: Poison Ivy’s perfect life in her self-made dreamhouse starts to fall apart in Knight Terrors: Poison…
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Overview: In Knight Terrors: Batman #2, Batman voyages deeper into his own nightmare, resolving inner turmoil even…
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Overview: In this month’s Brave and the Bold we skip Tom King for a standalone Batman story…
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Overview: Seeking the power of the Dreamstone, Angel Breaker recruits Raptor to steal from the deadly Kobra…
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Overview: The search for the Nightmare Stone continues in Knight Terrors #2, as Deadman and the original…
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Overview: In our review of Knight Terrors: Detective Comics #1, Jim Gordon faces two of his worst…
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Editor’s Note: The views expressed in this editorial is that of its author. San Diego Comic Con…
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Overview: In Knight Terrors: Punchline #1, Punchline’s dream quickly becomes her nightmare as she is attacked by…
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Overview: As Knight Terrors plunges the world into nightmares, Catwoman faces a demonic Joker, her terrifying superheroic…
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Overview: In Knight Terrors: Nightwing #1, Nightwing (Dick Grayson) finds himself in a nightmare Arkham Asylum, struggling…
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Overview: In Batman/Superman: World’s Finest #17, Batman, Superman, Robin, and a whole roster of heroes stop Newmazo…
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Overview: In Spirit World #3, Xanthe and John Constantine arrive in the spirit world and find Cassandra.…
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Overview: In Knight Terrors: Robin #1, Robin (Tim Drake) and Red Hood (Jason Todd) find themselves reliving…
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Overview: After challenging the team to break Batman’s cardinal sin to never take a life in order…
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Another three weeks, another three episodes of Batman: Wayne Family Adventures, that means another Webtoon review from…
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Overview: Knight Terrors #1 picks up the story following Knight Terror: First Blood #1. We see the…
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Overview: In Knight Terrors: The Joker #1, Joker is forced to face his worst nightmare, a Gotham…
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Overview: In Knight Terrors: Poison Ivy #1, new villain named Insomnia has forced the entire world into…
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Overview: In Knight Terrors: Batman #1, Bruce Wayne finds himself trapped within his own nightmare at the…
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Overview: In Harley Quinn #31, Harley Quinn reunites with Poison Ivy and dares to consume a cosmic…
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Overview: In Tim Drake: Robin #10, the titular Robin (Tim Drake) is finally able to end the…
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Overview: In Batman: The Brave and the Bold #2, readers sees the continuation of Batman: The Winning…
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Overview: Having attempted to sacrifice himself for Gotham in Detective Comics #1073, Batman faces something almost worse…
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Ian and Steph have been busy this summer with Knight Terrors coming up, but they were able…
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Overview: In Batman / Superman: World’s Finest #16, Batman and Superman free themselves from Newmazo as the…
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Overview: As Selina Kyle’s confrontation with Batman looms, she and her allies make a major move against…
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Overview: In Batgirls #19, Stephanie Brown, Cassandra Cain, and Barbara Gordon face not one, but two deadly…
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Overview: In Nightwing #105, Nightwing and Batgirl are on the hunt for Double Dare after word gets…
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Overview: Batman Incorporated #9 continues Ed Brisson’s “Joker, Incorporated” story arc. It’s The Joker, so expect some…
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Overview: In Poison Ivy #13, the titular character returns to Gotham City. Synopsis (Summary): Poison Ivy…
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Overview: In Batman #136, the Bat-Family checks in on Bruce Wayne, who worries about the doubt and anxiety that has comprised his life as a vigilante.
Editor’s Note: Due to the anthology nature of this collection, we will feature a synopsis and analysis for each story, rather than breaking up the synopsis and analysis. Spoilers are sure to be revealed.
Story #1: “Dusk to Dawn” by writer Chip Zdarsky and artist Belen Ortega
Synopsis (spoilers ahead): In the Batacombs, Mr. Terrific runs a recently returned Batman (see Batman #135) through some tests. Everything seems fine, albeit Batman still has some residual multiversal energy from his bouncing between dimensions in pursuit of Red Mask (Darwin Halliday). Mr. Terrific asks Batman how he’s feeling, and Batman says that he is fine, noting that everyone is worried about him.
After the tests, Batman suits up, putting a glove over his black hand that was reforged in the multiverse. Robin (Tim Drake) calls to check in, and Batman asks for what’s been going on. Robin fills Batman in on Penguin’s two children running the Iceberg Lounge.
In Bruce Wayne’s brownstone, Bruce meditates. He confronts Zur En Arrh, reflecting on the mistakes of his youth. Zur and Bruce argue, with Zur noting that Bruce hasn’t destroyed him, possibly because Bruce needs Zur for what’s coming. Another call comes in.
Batman visits the Orgham Hotel (which is the name of the family that’s up to so much trouble in Detective Comics right now). Addison and Aiden Cobblepot have set up smaller “growlers” for high rollers to gamble. Batman drops down and busts up the game.
Though he initially underestimates Aiden, Batman gains the upper hand and shows the twins what he’s capable of. Later, he fills in Oracle (Barbara Gordon), who tells Batman that Catwoman (Selina Kyle) recently escaped from prison.
Batman tracks down Selina, who is using another identity to get by. He asks her why she refused his help to get out of her prison sentence. Selina has her own methods, noting that by breaking out, she can live as a ghost for a while, just like Oswald Cobblepot. This begins Selina’s reveal of Oswald’s new life to Batman (as seen in the backup in Batman #127). Batman feels betrayed at Selina’s secret, and when she calls him out by saying he was out in space, he tells her that he met another Selina in another universe, revealing Selina always has a hold on him, this one included.
Before they can finish their conversation, Batman gets an alert to a break-in at Wayne Manor. Though he lives in the brownstone, Wayne Manor is home. Once in the Batcave, he notes that the commotion is coming from upstairs. When he heads up, he sees Nightwing (Dick Grayson), Batgirl (Stephanie Brown), Red Hood (Jason Todd), Robin (Damian Wayne), Batgirl (Cassandra Cain), The Signal (Duke Thomas), Barbara, and Tim all making a feast.
The whole Bat-Family sits down to a feast, and though Bruce finds it nice, he can’t help but feel the doubt and anxiety within him. By releasing Zur En Arrh, he started what feels like the end to everything, and he won’t be able to save the Bat-Family.
Analysis: For all intents and purposes, Batman #136 is a bridge issue that serves as both an epilogue to the “Bat-Man of Gotham” arc that just wrapped last issue. It’s also a showcase as to what comes next, which appears to be a showdown with Batman of Zur En Arrh, as well as the upcoming, highly publicized Batman vs. Catwoman. Writer Chip Zdarsky layers some emotional resonance and anchoring to this story, as Batman mulls over his fear for the future, self-doubt, and his ultimate love for his extended Bat-Family. It’s a heavy mix of emotions, with no emotion occupying front and center too long before another is brought forth. As some of the background players note within the pages of this issue, Batman feels somewhat broken, a jumbled mess of a man trying to clear his head.
It’s not a bad idea, but after the recent Batman runs of Tom King, James Tynion IV, and even Joshua Williamson’s brief stint to set up the return of Batman Incorporated, it feels as if the overarching theme is, consistently, Batman battling with himself and his failures. The villains, when they do appear, serve less as antagonists and more as chess pieces pushing Batman to the realization that he biffed it, that he bungled everything. Zdarsky’s riff adds in the mix of youthful ignorance versus age and wisdom, which feels more adult, but another story where Batman grapples with himself sounds…exhausting (especially on the heels of Failsafe and Bruce’s adventures in a multiverse where he died). That said, it’s nice to see the Cobblepot twins again, and see reflections of the recent changes in Gotham, including a reference to what Ram V is doing in Detective Comics.
Belen Ortega’s artwork is beautiful, but it strikes a weird chord with this issue. Ortega’s depictions of the Bat-Family are youthful and energetic, bordering on manga-inspired. They’re cute, but in an issue shouldering the weight of Batman’s recent misadventures in his own gallery of failures, the levity and artistic vibe feels mismatched.
Story #2: “The Plans Below” by writer Chip Zdarsky and artist Jorge Corona
Synopsis (spoilers ahead): Years ago, Alfred Pennyworth greets Bruce Wayne, who is brooding over a case involving The Riddler. When Alfred leaves, Batman of Zur En Arrh takes over, heading down to the lab to test out his prototype Failsafe. Zur runs through Failsafe’s directives, and the two spar, with the fight ending with Zur winning.
Once the sparring is over, Zur heads to the Batcomputer, chiding Bruce for taking a two-by-four to the chest the previous night. As Bruce comes back, he makes the connection between Riddler and Calendar Man. The mystery shall continue.
Analysis: In this backup, we get a glimpse at the creation of Failsafe and how the Batman of Zur En Arrh seemingly has the ability to assume control of Bruce on a whim. While there’s not real “story,” to this backup just yet, the threat is there, planting the seeds of just how powerful and overwhelming a potential battle with Zur could become.
Jorge Corona’s pencils take what would otherwise be a boring backup and give it a wild, stylistic edge. Corona’s style is equally cartoonish and seemingly inspired by German expressionism, which results in zany, eye-catching pops that draw readers in.
The post Review: Batman #136 appeared first on The Batman Universe.
Ian and Steph have been busy with life, Batman, and their Podcast, The Batman Universe Comic Podcast, but they found a few minutes to sit down and chat about one of their favorite comics, Batman: Wayne Family Adventures! I think Steph is really excited about this batch. Let’s find out why.
Steph: Man, Ian, are we in for some special episodes today. Starting with a two-parter, episodes #85 and #86, “Hold the Line”. We get a sneak peek at Rena and Kate’s relationship and Kate’s past. What did you think?
Ian: I thought it was a really fascinating way to approach Kate’s backstory and character. She’s been around for a while, but hasn’t gotten her two-part episode until now (which gives me hope that Huntress will get one sometime, though she hasn’t shown up nearly as much as Kate has). In my interview with Suzi Blake, one of the two background artists on this series, Blake mentioned she did the backgrounds of this two-parter before the main inks were finished, leading to some nice ability to integrate coloring and structuring. I could really tell, because of the way the background/paneling really called back to J. H. Williams III’s brilliant page structuring of the original Batwoman comics he drew, way back in 2008-2013.
Steph: That’s such cool insight! They really put thought and craft into a lot of these episodes.
Ian: For sure! The original Batwoman origin by Greg Rucka and Williams is REALLY dark. So I’m impressed they were able to get that in without being too jarring with the tone of Wayne Family Adventures. I really love that they kept Batman reaching out to Kate in her backstory. That’s one of my favorite sequences of all time in comics, and they captured it powerfully, even doing a great callback!
Steph: I really liked that, even though we get a taste of Rena and Kate’s relationship, the story is really about how Kate got where she is now. It wasn’t a “romance fixed my life”, it was “family accepted me and let me rebuild my life”.
I did wonder why Kate was fighting alone, and how many Bat-people it took to make an antidote, but I guess they could have been fighting other places. It was a Gotham-wide Man-batemic.
Ian: Yup, and they had to protect the serum fabricatoris my headcanon.
Steph: Anything else you wanted to note about this story?
Ian: It’s nice seeing Jim and Renee again! I still remember their awesome relationship in the GCPD episode!
Steph: Yeah! They need more screen time! And now for something completely different! The first episode of Superman: Kent Family Adventures, or episode #87 “Objects in Mirror” obviously referring to the note on car mirrors “objects in mirror may be closer than they appear”. Of course, the reason this is the most monumental episode of the entire series is that it’s Jon Kent’s debut in WFA!
Ian: I thought you would get a huge kick out of that!
Steph: I maaaaaay have squealed…
Ian: It’s so funny that in this universe, Jon is still about Damian Wayne’s age.
Steph: I loved it. Connor didn’t get an intro-card. Has he shown up before?
Ian: I thought he did when the Teen Titans visited Tim for movie night. I just checked. Back in Episode 29.
Steph: I’m glad he’s back again! Someone pointed out in the comments that there was a picture of him and Miss Martian in the beginning. I wonder if she’ll show up sometime. I love her.
Ian: That would be quite fun! The whole DC universe is rich with characters who have great relationships with the Bat-Family! Do you think DC should make a Kent Family Adventures series, or would that not be a good idea in your eyes?
Steph: I don’t know or love the universe as much, and even though I was excited to see Jon, and didn’t get a good enough look at his character to know if I would be excited to him periodically show up. But I guess there’s no saying who the author of a new series like that would be. This was a fun episode though. My husband read it and thought it was hilarious.
Ian: It was really good! I personally think it would be a great idea. And there should be a Wonder Woman: Themiscyra Family Adventures too!
Steph: That would be fun. Are you reading Vixen, Red Hood, or Zatanna? I’m reading Red Hood and Zatanna, but I have a lot to catch up on for both.
Ian: I read Red Hood most frequently, but none as much as WFA. What can I say? I’m a Batman Universe guy, especially when it features Steph so much!
Steph: Steph needs to show up in all the series!
Ian: This is correct!
Any last thoughts on Kent Family Adventures?
Steph: lol. I was about to ask the same. I REALLY hope this opens the door to more Jon (obviously) and maybe more little in-series spin-offs (spin-ins?) that let us have other universes cross overs.
Ian: Indeed! I think there’s a whole rich world of DC that could be explored in so many more ways in the webtoon platform and format. I appreciate that WFA does a slice of life, gag-a-week comic strip approach, and that Zatanna, Vixen, and Red Hood all approach it with a different style. Let’s see even more soon!
Steph: I can’t wait to talk to you about the next batch of episodes! See you then!
Ian: Indeed!
The post Webtoon Review: Batman: Wayne Family Adventures #85-87 appeared first on The Batman Universe.
Overview: In the next six issues of Poison Ivy, making up volume 2, Ivy continues the journey to find herself after defeating her ultimate villain.
Editor’s Note: This collected edition includes the second six issues of Poison Ivy, first released as a miniseries with a planned six issues before being extended to a maxiseries and eventually an ongoing series. That makes this review unique as because the series has become an ongoing, TBU will begin reviewing the issues weekly starting in June. So while Poison Ivy Volume 2 will not be collected and released until later this year, we wanted to get caught up with everything that has happened prior to jumping into monthly reviews. Poison Ivy Volume 2 includes issues #7-12, with the its seventh issue released in February 2023 and the twelfth issue released in May 2023. This review focuses on the story as a whole rather than the individual issues that made up the collection. Spoilers are sure to be revealed.
Synopsis: Poison Ivy Volume 2 begins with Ivy doing exactly what she promised at the end of the last volume: go after the companies killing the earth. She is at a fracking company based out of Montana called FutureGas. Searching the grounds, she feels something familiar: lamia spores. As she follows it closer, she finds a giant silo terraforming some pink goop.
Ivy is then attacked by one of the Green Man’s monsters which should be dead along with him. Ivy reaches for the green and easily kills the monster. Locals attending the grounds hear the commotion and come to her aid. They tell Ivy of other monsters roaming the city, which all started as soon as FutureGas put in this new equipment. A small price to pay for living wages and insurance. The people plead with Ivy to keep quiet. She responds by applying for a job.
Ivy sneaks into headquarters and all the way to Ms. Crawley’s office. As she finds newly minted mushroom spores, she is caught. Ms. Crawley sprays Ivy with something that neutralizes her powers. We learn who Ms. Crawley is, another protégé of Woodrue, AKA the Green Man. Neutralized, Ivy cannot use her healing power against Lamia, and Ivy needs a miracle.
Janet from HR has no idea what she is looking at, but she knows she is scared. Ivy, dying, reminds Janet that she knows her. Ivy blew up Janet from HR’s former employer, the chemical plant in Gotham. Lucky for Ivy, she is a good person. Despite losing one job because of Ivy, she decides to help her.
Ivy leads Janet through the office, talking through the vines and plants towards an antidote that Ivy is able to feel. We learn Janet has cancer that has ruined her life, so she greatly needs the medical insurance from her job to save her life.
They come to a secret lab. It is clear to Janet now that her boss is an evil genius. Janet bumps into a table, tripping an alarm. Just as she finds what she needs to save Ivy, Ms. Crawley attacks with a bat. Janet escapes and gets back to Ivy in time. Ms. Crawley, knowing she can’t stop Ivy twice, tries to flee to no avail.
Ms. Crawley justifies her actions and justifies poisoning the fields and the people all for energy and power. Ivy kills her slowly.
Janet’s life is now ruined even more. Lucky for her, she had made a friend – a friend that has earned favors in the medical field. Ivy takes Janet to Seattle for medical attention and begins to repay Janet for saving her life.
In Seattle, it seems Ivy has settled down for a bit after taking down FutureGas. Comfortable. Ivy calls Janet but hears a different voice answer. Harley Quinn is standing in the doorway. Now knowing Harley got her letters, they embrace.
They spend the next day in bed. Despite Ivy’s protest, Harley wants to know what the lamia spores are like, so Ivy shares the green with Harley for the first time. She takes Harley to her favorite parts of the city, and they listen to the trees together, both able to see what normal people cannot.
As they come down, the truth starts to come out. Ivy has been using the lamia to boost her powers, but she misses her old powers. She misses being able to grow. Harley can give her the greatest gift: she pulls out her phone and shows her what she has done. Ivy hasn’t been able to stay in one place for long, and everything she has planted has blossomed past anything that could happen without her connection to the green. The powers she thought she lost have been there all along; the lamia has kept her blind.
As fast as she comes, Harley needs to return to Gotham. Both ask the other to stay, yet both have their own journey to finish. Invigorated, she tells Janet to pack: “We’ve got work to do.”
Suddenly, something in Ivy has changed. She no longer wishes to continue her vendetta; it’s all about being with Harley. Janet decides that she will tag along as well. Using Ivy’s hatred for conscious capitalism, she talks Ivy into detouring for a two-day women-only wellness retreat hosted by Gwendolyn Caltrope.
They arrive the next day. Yoga, Patchouli oil, and Glop. Ivy is annoyed but doesn’t see a reason to burn it all down yet. Janet takes off towards charcoal lemonade as Ivy sees something skid across the grass, then a green hand closes the barn door behind it. Ivy pushes through the crowd and bursts into the barn, but no Green Monster, just staff preparing for the next meal. She enters the party and takes a flute filled with a green liquid composed of wild mushrooms.
Ivy starts to see the green. This cocktail shouldn’t be able to do this. As they search for someone in charge to stop this before everyone is dosed, Janet finally pins Ivy, taking her chance before they reach Gotham and Harley. The mushrooms make it easy, and they kiss. Returning to the party, they realize it is not just them. Ivy fights through the guilt as the entire women’s retreat engages in a hallucinogenic orgy.
Gwendolyn Caltrope comes in to check on everyone, and it is then clear to Ivy this was no mistake. They were drugged on purpose. Gwendolyn shrugs it off as the other women protest. As they argue, they notice purple mushrooms growing out of their skin.
Ivy runs off with Janet at her heels. Ivy tells Janet that sleeping together was a mistake and that the lamia that has been mutating inside her has gotten out, and it is growing wild.
The second high has hit at the party, and everyone is at it again. Janet and Ivy revel in love but only for a moment. Janet drops. Then just as fast, pops right back up. Janet and the rest of the women at the party are staring at Ivy, their mother. The mushrooms are communicating through the mycelial network with Ivy at the center.
Ivy takes the women of the retreat out for a walk. Outside a remote oil refinery, the first truck hauling fuel tries to escape their blockade. The truck driver calls them climate freaks and gets back behind the truck’s wheel and hits the gas.
She holds Janet with regret as the truck speeds towards them. The mushrooms always have a way. The women vanish just before being struck. Not only can they communicate through the mycelial network, but they can travel through it as well.
Ivy breaks Janet and the rest of the women from the lamia spell. Janet is angry, but the anger quickly turns into love and care. Finally, Gwendolyn pops back up and gets into Ivy’s face, blaming her for everything. They fight about right and wrong, both realizing they want to make the world a better place.
The purple continues to build on Gwendolyn. Ivy tries to stop it, but it’s no longer listening. The lamia is taking her over; it has mutated beyond Ivy’s control. Gwendolyn erupts into a purple mushroom monster.
The Lamia Monster attacks. Ivy springs into action, stepping between the monster and the rest of the women. They battle; the monster gets the upper hand and takes a huge bite out of Ivy, then explodes. Now infected with the new strain of lamia, Ivy drifts, hoping her blood cultures the mushroom and survives.
Ivy walks through the plane between life and death, her fever dream ending with her throwing up Dr. Woodrue, The Green Man.
She wakes with Janet by her side. They are outside of San Fransisco, in the house of one of the women from the retreat. She has been out a week but gets to work. Her body is in the perfect state to make an antidote for the new strain of lamia.
She works until she can’t anymore. Succeeding, she gives the antidote to all but one of the women. She rejects it because she doesn’t trust Ivy, and no one forces her to take the cure.
Janet and Ivy get in the car and head to Gotham. Just outside the city, they see a lamia zombie walking around. Ivy realizes that there must be hundreds of these zombies between Gotham and Seattle spreading lamia spores. She doesn’t beat herself up about it.
Poison Ivy Volume 2 ends with Ivy finally meeting with Harley right outside of Gotham, choosing to lie to her about sleeping with Janet.
Analysis: I’m not really sure what happened here. I absolutely loved the first six issues of this run. Ivy told us a wonderful story about traveling across the country with the intention of killing everyone but instead finds that some people are worthy of sharing the earth. I have no idea what point Wilson was trying to make in the next six, if there was one to be had at all. Everything felt scattered and rushed. If asked, I don’t think I could give a concise answer on what the story was actually about. Maybe Ivy further finding herself?
I found this most frustrating in the middle of this collection, with the part that ends with Harley and Ivy knowing that they are in separate places and they are okay with that. They both know they can continue their adventures and still end up happy in Gotham. It immediately cuts to making that beautiful goodbye mean nothing as Ivy NEEDS to get to Gotham immediately to be with Harley. Ivy then spends the next week cheating on Harley with Janet. I wouldn’t call this a villain or hero story. I would call it someone just trying to do their best. Not really what I tune in for when I am reading DC.
The main reason I feel that these were rushed was the artwork. We did not see Takara for the first two issues, and even when he did show up, the quality was not close to that of the first six. There were many pages where I had no idea what was going on. The panels where she fights the purple monster are almost unreadable.
The only thing going for this run right now is Ivy is back with Harley. What has me scared about the continuation is that they don’t actually end in Gotham. I understand that I am not the main demographic for this comic, but the story and artwork of the beginning of the run won me over, whereas this volume failed to do so on all fronts.
Editor’s Note: DC Comics provided TBU with copies of the original issues of this series as they were released but not of this new edition. You can find this collected edition and help support TBU in the process by purchasing this edition digitally either for Comixology through* Amazon or as a physical copy in a hardcover form at Amazon or from Things from Another World.***
The post TBU Collected Review: Poison Ivy Volume 2 appeared first on The Batman Universe.
Overview: In Detective Comics #1072, the clash between Batman and Prince Arzen turns bloody as the Reality Engine warms up!
Editor’s Note: Due to the anthology nature of this collection, we will feature a synopsis and analysis for each story rather than breaking up the synopsis and analysis. Spoilers are sure to be revealed.
Story #1: “Gotham Nocturne: Act II: The Fall” by writer Ram V and artists Ivan Reis and Stefano Raffaele
Synopsis: Detective Comics #1072 begins in the present, as Prince Arzen, wearing a golden mask, beats Batman brutally and tells him that Batman is about to fall.
Earlier, the Orgham Place grand opening celebration lit the sky with fireworks. Nightwing and Cassandra Cain Batgirl patrol above and below, Oracle connecting them all, and Batman makes his way to the heart of the Reality Engine machine. Nightwing faces a man who transforms into an Azmer demon and flees. Cass takes out several guards but finds the cages she scouted earlier empty, all of the prisoners already attached to the Azmer demons.
Jim Gordon tries to persuade Commissioner Montoya that something is wrong with the Orghams, but she rejects him and denigrates his partnership with Batman. Jim leaves sadly, reminding Renee to ask the right questions.
Batman beats down the Werewolf and Fleshcrafter guards with silver and blood thinners, then passes by the creepy eye lady who warns him of his sacrifice to come. As Nightwing battles the Azmers, Prince Arzen attacks Batman and says he must choose to let the explosives kill the celebrating people or let the Reality Engine bend history to the Orgham’s will.
On the ground, Montoya’s police see the top of Orgham Tower explode.
Analysis: Ram V, joined in Detective Comics #1072 by Ivan Reis and Stefano Raffaele, continues the story of Batman’s extremely long and painful night. Starting at the end of Act 1, Ram segued directly into Act 2 without any real defining events marking the shift in narrative, breaking Talia’s flashback narrative to Batman in half between acts. This issue starts with a flash-forward cold open, with Arzen beating Batman brutally, then skips back. Unfortunately, though Ram V is making use of the Bat-Family – Oracle, Cass, and Nightwing – none of them actually accomplish anything in this issue. While Batman does confront Arzen, he mostly just gets beaten up. Then something ambiguous happens that hopefully will be clarified in the next issue. Overall, plotwise an extremely frustrating installment of the Gotham Nocturne, though Ram V and his art team continue to provide a strong emotional experience.
Ivan Reis provides most of the art, and though Raffaele does a good job of fitting in with Reis’s art, helped as always by the excellent coloring, it remains an intense frustration that DC’s highest-numbered book cannot keep a single artist per issue. The artists, as always, do really high-quality work, but the choice to mish-mash artists in every single issue is beyond infuriating.
Story #2: “Things that Must Die” Part 1 by writer Simon Spurrier and artist Caspar Wijngaard
Synopsis: Looking at the finger and eyeball of her husband, Queen Orgham smiles diabolically, then tells her son his father was murdered – but not that she ordered it as the backup in Detective Comics #1072 begins. Prince Arzen mourns and tries to train with his teacher, Asim, and save the dying gaea fruit tree. The boy does everything he can to save the tree, but as Asim tries to persuade him to let the tree (and his father) go, assassins from Ra’s al Ghul attack and slaughter Asim, turning to the boy next.
Analysis: Dan Watters takes over the backups from Si Spurrier, joined by Stefano Raffaele on art, and provides a really affecting story of Arzen as a boy, picking up where Ram V’s Talia flashbacks left off. Like Spurrier’s work, it’s clear that Ram V is working incredibly closely with his backup writers, and it’s a delight to see the story with different but complementary voices fleshing out the same storyline across the history and geography of this epic opera. Raffaele, since he’s been doing a lot of art for the main stories, fits perfectly into this dark but sometimes sunny world of assassins and demons.
Evan Cagle’s main cover is once again beautiful – an image of Solomon Grundy and Shoes escaping the Orghams – but since neither character even appears in this issue, it’s more than a bit frustrating at the editorial failure. Kelley Jones’s variant (and 1 in 50 foil incentive variant) shows his big-ear Batman perching atop a huge bell, with the Joker hiding underneath – nothing to do with the book, but a fun concept. Mike Perkins’ variant shows Batman weeping pink tears in the rain over skulls and his parents lying dead – again, a bit generic, but a nicely executed concept. Lastly, Sebastien Fiumara’s dark 1 in 25 incentive variant actually plays with Ram V’s theme of Batman vs. Barbatos, with Barbatos taking off the Batman mask (or full head) in a very disturbing, beautifully rendered image.
Editor’s Note: DC Comics provided TBU with a copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Comixology through Amazon or a physical copy of the title through Things From Another World.
The post Review: Detective Comics #1072 appeared first on The Batman Universe.
Overview: In the first six issues of G. Willow Wilson’s run on Poison Ivy, making up volume 1, we follow Ivy on a cross-country trip to end the human race.
Editor’s Note: This collected edition includes the first six issues of Poison Ivy, first released as a miniseries with a planned six issues before being extended to a maxiseries and eventually an ongoing series. Poison Ivy Volume 1 includes issues #1-6, which had its first issue released in June 2022 and the sixth issue released in November 2022. This review focuses on the story as a whole rather than the individual issues that made up the collection.
Synopsis (spoilers ahead): Poison Ivy Volume 1 starts with Ivy beginning her narration on her justification for her new plan to give the earth back to the plants. Ivy seems broken. She meets two farmers checking on their cows. She explains to the men that the cows are eating a parasitic mushroom. A mushroom that Ivy herself is spreading. She spreads this to both men, killing them almost immediately.
Back on the road, she continues her narration, letting us know she must stay ahead of the Bat-Family and the Green Man, both of who are bound to show up at some point to foil her plan. She must spread as much of the lamia mushroom as quickly as possible because only her healing powers are keeping lamia from killing her as well. Eventually, she will be unable to keep up.
We cut to who she is narrating to: Harley Quinn is sitting on a bed crying. They argue about Harley helping to take Ivy’s supercharged powers away to save her life. Ivy regrets not being able to understand at the time.
Back in the present time, two landscapers do not know how to take a hint as Ivy exits a roadside bar. She not only murders the deserving men, but she tortures them first.
Ivy continues her narration to Harley, justifying why all humans must die. She isn’t wrong; we are an invasive species.
As Poison Ivy Volume 1 continues, Ivy is eating at a diner. She is complaining about agave farming and vegans. She shows us a brutal murder she committed at an agave farm – she is not a vegetarian.
As she eats, she spreads the mushroom spores telling them to wait to activate. Let these travelers at the roadside diner spread them to their next destination, then release them. While she infects all these people, she has a wonderful conversation with a poet who is weirdly looking to get a symbol of the Green Man tattooed on her.
Interesting turns to bad as the police show up looking for this poet and find Ivy. More torture, more death. She has spread more spores, but the Green Man has gotten closer.
Ivy made a lot of noise at the diner. She finds a small motel in the middle of nowhere. A good place to hang low and make a little money for the rest of the journey.
Ivy finds herself in a perfect little situation. She found a garden in need and a friend. Things look up for a moment or two. After a long day of work, Ivy is attacked in her hotel room. She fights back, at first believing that it is Jason, the Green Man. She continues to fight, then goes. Just yard waste from the day’s work. Not sure if it was real or if the lamia spores are slowly killing her as well, but Ivy doesn’t wait to find out.
On to Idaho, the office of George Halloran. Ivy is being introduced to her new position as a package handler. She packages boxes going all over the world, spreading spores with every box. It also doesn’t take long for Ivy to realize her boss, Halloran, is abusive. She murders him and takes over the factory continuing to use it to spread spores.
She is relaxing, thinking of Harley, then she is attacked. This time the attacker lets it be known he was sent by the Green Man. She is able to fight him off but knows she has overstayed her welcome again.
We jump to more back story. We see the Green Man experimenting on Ivy, connecting her to the Green. Then quickly back to real-time with her driving, hallucinating Batman in the passenger seat. She starts to hallucinate between real-time and the past as she works up the energy to confront the scientist. Batman, knowing that this scientist is indeed the Green Man, tries to keep Ivy from entering.
It’s a very short time before she is confronted by the Green Man himself, Jason Woodrue. He has been waiting for her. The lamia spores are making things difficult by continuing to cause the hallucinations, but she strikes. As Batman taunts her, she jumps between times. Seemingly caught, she uses what’s killing her. She overloads the Green Man with the spores and activates them, killing him but also killing herself faster.
Suddenly she can’t feel her limbs. The Green Man created the spores; he can still control them. Ivy has a knife to her own throat.
Ivy and her hallucination of Batman begin to work together. The Green Man, in turn, threatens the life of Harley, giving her even more strength to draw from. She pulls down the roof and crushes them both. She finally hears what Batman has been telling her. She gets up and starts to consume the Green Man, the only way to kill him truly.
Ivy tries to walk it off, knowing the toxins will kill her. As a little girl asks if she is ok, she feels herself start to heal. The Green had given her another chance. Poison Ivy Volume 1 ends as Harley finishes the final letter on her way to find Ivy. Ivy gives us what her new mission will be, taking down all the companies killing the earth, claiming the time for heroes is over.
Analysis: To be honest, I took this series because I am a newer reviewer for the site and wanted to get a decent amount of content to write about. I did not think I was going to get to a comic run as enjoyable as this was. The story, at its core, is very simple, but in doing this, G. Willow Wilson allows the art to tell just as much of a story as her words do. And the art; from now on, if Marcio Takara is doing it, I am picking it up.
It isn’t really fair to say that the story is simple. I mean it in a sense that the core idea and themes of the story are right there and easy to grasp, leaving the reader able to dive right into it. Ivy has a disease that she can spread, and she wants to spread it before it kills her because humans are destroying the earth. I didn’t have to take any time believing that this is a journey Ivy would take. Immediately I was in it. I thought it was a great idea to use letters to Harley as an avenue to tell us the story, not just a narration to the reader. G. Willow Wilson was also able to throw in her opinions on the state of humans destroying the earth without being preachy or overbearing. I noticed it, but it didn’t consume the comic I was supposed to be reading for enjoyment. I think this was done splendidly.
Ivy is a Rogues Gallery character. She comes from the world of Batman. Sometimes these standalone villain runs seem to forget that. Right from the first issue, one of Ivy’s fears is the Bat-Family stopping her mission. Batman himself, though just a hallucination, shows up. Not only does he show up, but he is part of Ivy’s mind that figures out how to completely end the Green Man. She uses the manifestation of Batman to overcome her own fears and defeat her ultimate villain. By the end of this run, her view of the world and people also changes. Her mission evolves just as she does. She no longer believes that all humans should die, just the ones destroying the planet. The only thing I think that would have made the story better is an actual ending, but I am looking forward to the next volume.
The art is spectacular. Every cover showcased in the first six issues is stunning. Ivy is slowly dying from mushrooms as the story moves. The art, as each issue moves forward, shows that. When we finally get to the showdown at the end, Ivy is hallucinating, and the panels of the comic are psychedelically swirling and moving. The first six pages of the fifth issue are beautiful. The colors and contrast on each page make all the important images pop.
I was not expecting to enjoy these as much as I did. The storytelling from the beginning to the end is exciting, and the art is so much fun to follow. Bring on the next volume.
Editor’s Note: DC Comics provided TBU with copies of the original issues of this series as they were released but not of this new edition. You can find this collected edition and help support TBU in the process by purchasing this edition digitally either for Comixology through* Amazon or as a physical copy in a hardcover form at Amazon or from Things from Another World.***
The post TBU Collected Review: Poison Ivy Volume 1 appeared first on The Batman Universe.
Overview: In Harley Quinn #30, Harley travels to Earth-26 and returns the vorpal fish, while the backup features Harley in a dream sequence.
Editor’s Note: Due to the anthology nature of this collection, we will feature a synopsis and analysis for each short story rather than breaking up the synopsis and analysis. Spoilers are sure to be revealed.
Story #1: “Girl in a Crisis” Part 3 by writer Tini Howard and artist Sweeney Boo
Synopsis: Harley Quinn #30 begins on Earth-26; Captain Carrot is invested with the vorpal fish. He goes off to fight the “Female Furries” who seek the “Panty Lane Equation.” They are led by Backseid. But just as he leaps in to attack, the vorpal fish is missing. The scene switches to Harley’s apartment, where she is being tutored by Bud and Lou. They argue about her responsibility. Eventually, Harley wonders how she can travel to Earth-26.
During office hours, Professor Quinzel keeps a student waiting while she seeks Zatanna’s help. Doctor Fate gives her an idea, and she orders a “Cosmic Treadmill” from the Flash Museum in Central City. Bud and Lou help Harley get to the necessary speed on the treadmill, and off they go. She returns the vorpal fish to Captain Carrot, but Carrot is irate when he finds out Harley had no good reason for procuring the fish to begin with. Carrot kicks her across the room, and Harley pleads to him to let her go.
Back home, Ivy returns and is angry when she sees the broken plant.
Analysis: Here is a sentence: Captain Carrot is angry because Harley stole his vorpal fish, which results in his friends being killed by Backseid’s Female Furries who pursue the Panty Line Equation.
I had fears for what the Harley Quinn book would become under writer Tini Howard, but I underestimated both the rate and the extent of the decline. In Howard’s hands, Harley is an absolute child. It is not just that she behaves childishly from time to time. Rather, the character behaves like a ten-year-old. Gone are all traces of the thoughtful, introspective, moody Harley we saw under the previous writer Stephanie Phillips. This book cannot possibly be intended for adults.
The multiversal storyline makes little sense, and to the extent it does, it feels like forced hilarity that never gets off of the ground. There’s nothing humorous about Captain Carrot. The fact that his prized weapon is a vorpal fish is also not funny. And, yet again, the disrespect shown to teachers and professors in this arc continues, as Harley is depicted as a teacher who cannot be bothered to engage a waiting student who wants only to praise her. The writer here understands almost nothing about higher education, which is no sin in itself, but to use it as a prop and flavor it with strong tones of disdain and carelessness is risible.
Story #2: “Everybody Hates Side Quests” by writer Nicole Maines and artist Mindy Lee
Synopsis: In the backup of Harley Quinn #30, Harley is a literal knight in shining armor. This is a video game, and she is tasked with ridding the pumpkin patch of goblin-bats. Then she is tasked with finding out what is poisoning the well. Then she is tasked with saving the town. She seeks the “Fornicating Tower” where she wakes a sleeping Ivy up with a kiss. Then she awakes in her own bed and is angry at being brought out of her dream.
Analysis: These backups are literally a waste of pages. The Harley Quinn book neither needs nor benefits from a backup, and none of them have been worth reading, including this one. It adds absolutely nothing to the main story which is a shame because the main story could really use the help.
Editor’s Note: DC Comics provided TBU with a copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Comixology through Amazon or a physical copy of the title through Things From Another World.
The post Review: Harley Quinn #30 appeared first on The Batman Universe.
Overview: In Nightwing #104, Dick Grayson is now Superwing! With this newfound power gifted to him from Neron, will Dick be tempted to relinquish Olivia over to the Lord of the Underworld?
Synopsis (spoilers ahead): As Nightwing #104 begins, Neron has granted Nightwing superpowers for two hours as a sample of a temptation to give over Olivia Desmond to him. Alerted that the Titans are under attack by Gorilla Grodd and Dr. Polaris, Dick flies across the planet in record time to even the odds. With the situation under control, Superwing and the Flash race across the planet to do as much good as Dick is able to with his new abilities. Meanwhile, Trigon warns Neron that his recent failures in reclaiming Olivia have made him look weak in the eyes of the Underworld and warns that he will soon be overthrown. Neron, in response, commands his forces to kill Olivia.
In the final twenty minutes of his power, Superwing flies to Metropolis to thank Superman. Superman, in return, flies above the Earth’s surface with Dick, and the two discuss the tremendous weight of protecting the planet. Back on Themyscira, the Titans are once again attacked by Neron’s forces. Superwing arrives to fly Olivia away, but just as Neron approaches him, his power runs out. Asking Nightwing to deliver the girl in order to regain his powers, Dick is steadfast in his refusal and blasts Neron with his magic sticks given to him by Nite-Mite. Neron’s true form as a bubbly green tentacle monster is revealed, and he’s forced to return to the Underworld.
Olivia is made an honorary Titan, and Donna Troy takes her to Paradise Island to be raised by the Amazons. One hour later, in Hell, Raven visits Neron to take his dominion of the Underworld from him, delivering it to Blaze. Before Raven departs, Blaze informs her that something of her is missing.
In the backup story, Superman (Jon Kent) and Nightwing continue to track down the circus tent attacker. They speak with the Ringmaster and are informed of a recently fired employee named Brian, who hated the circus and vowed revenge. Searching his trailer, the heroes find dynamite. Quickly finding him at a nearby fair, Brian is apprehended, and the bombs are detonated safely in Superman’s hands. Before the two depart, they take some time to see the sights at the fair, and play a rigged game of ring-toss.
Analysis: This is a quintessential Tom Taylor Nightwing issue in that it’s good, but it could’ve been a lot better.
The bones of Nightwing #104 are sound. We’ve never seen Dick Grayson with superpowers, and it’s an inviting proposition to spend an issue with him flying around saving people in ways he hasn’t been capable of before. But this should’ve been an issue depicting extreme temptation. Dick’s perspective of his newfound power is summarized in about two panels in a montage. We should’ve had closeups of a sense of awe and wonder, the ideas forming on his face about the possibilities, and maybe even some fun strength comparisons with the other Titans. Of course, Dick would always resolve to relinquish the powers if it meant saving a person’s life, but it’s such a foregone conclusion that there’s no tension or suspense in his decision. So whether or not Dick’s fascination would play any part in the final offer to give up Olivia, Taylor plays Dick as so noble, good, and wonderful that he becomes less human.
Perhaps this comes down to personal philosophy on heroes or even the characters specifically. In the infamous and controversial Nightwing #93 during the Devin Grayson run, the intended event meant to carry far-reaching implications was that Nightwing was so worn down that he allowed Tarantula to murder Blockbuster. That was him being at the end of his rope, and he felt sick over it for a long time. As much as there is to say against Nightwing #93, that’s at least caring about the character in pushing them to their limits and beyond. There’s an investment in working his morals out. In this issue, it’s fun to see Dick fly around for a minute (and Superwing’s costume is pretty cool), but there’s so little meat on the bone of what they show us that all that’s left is the temptation, which would only serve to frustrate Dick and not the readers, as we weren’t suitably tempted by what was rendered on panel. I don’t know if it’s a failure of storytelling because Taylor never once even hints that Dick is tempted to begin with. But if that was never the point of the story, to begin with, why do it at all? We’re not learning anything new about Dick; we’re not surprised by his heroic choice.
Also, Neron is defeated way too easily all over Nightwing #104. It’s a combination of the Titans and Batgirl (Barbara Gordon) fighting monsters practically off-panel, but there’s little reaction to the taste of victory against what should be overwhelming forces. That could’ve been used to show Dick how hard protecting the world is and for him to think about battling those forces without superpowers. But Dick blasts Neron back to the Underworld and weakens him with vague, unspecific magic, and Raven snatches his proverbial chain with barely a reaction from either party.
At this point, I’m wondering what the point of any of this is because, having read Titans #1, it doesn’t set up anything in that series thus far. Maybe Raven’s plot will be followed up on, but this four-issue story is essentially just a preview for Taylor writing the Titans. At the same time, with it being Nightwing’s book, we don’t get a lot of the Titans being shown off throughout. They’re just window-dressing as Dick’s friends.
On top of all that, Travis Moore was the wrong artist for this arc. I perfectly understand Bruno Redondo being given a break. The man is a wonderful artist, and whatever keeps his work output healthy, let’s do it. But while Moore draws pretty people well, he cannot do action as well. The panel which clinched it for me was actually the brief scene of Flash and Superwing racing across the train station. There was no sense of motion, no speed lines. They were just static figures presented on a page. This is the Fastest Man Alive and a Superpowered Nightwing; where’s the feeling of power?
What did I enjoy was the scene with Superman. Dick and Clark’s relationship has been very well re-established in the last couple of years, and the scene with Superman and Superwing looking and talking about the planet was great. I especially liked Dick’s overconfidence in himself as Clark warned him that he couldn’t be friends with everybody. That was the characterization and content on a level the issue needed way more of, but it was only for a short amount of time.
The backup story was fine if overlong from what it was trying to do. Once Brian was arrested, there was no more point to the story, so I wasn’t seeing the need to point out that ring-toss games are fixed.
This issue isn’t bad, but it’s not nearly as strong as the promise of its premise. I don’t know whether Taylor is being stretched thin on writing duties now with Titans or what, but so much of this read like a platonic draft of a story and less of an issue to read. As much as I’ve been playing an armchair writer in this review, it’s hard not to do when so many other books published by DC right now have more attention to the character than this one does, and it’s an Eisner-nominated series! Mark Waid’s World’s Finest and even the soon-to-finish Batgirls book focus on characterization more than here in Nightwing #104.
Editor’s Note: DC Comics provided TBU with a copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Comixology through Amazon or a physical copy of the title through Things From Another World.
The post Review: Nightwing #104 appeared first on The Batman Universe.
Overview: In Batman/Superman: World’s Finest #15, it is revealed who is responsible for the death of the fake Simon Stagg, and the threat is bigger as it involves the robot apocalypse.
Synopsis (spoilers ahead): As Batman/Superman: World’s Finest #15 begins, Red Tornado is in Eastern Kentucky. He is dealing with massive flooding and has rescued a couple of kids. Suddenly something seems to happen to Tornado. He says protocol omega and starts to spin out of control. This is Chapter Three of Elementary, Ultramorpho.
That is exactly who is attacking Superman and Robin now. He has become pure kryptonite, severely weakening the man of steel. Robin is able to put a barrier between Ultramorpho and Superman, allowing him to drag the weakened Kryptonian out of harm’s way. While Robin gets Superman out of the area, Professor Ivo appears to be gloating over a com signal. Robin is able to get Ivo to admit to the death of the fake Simon Stagg. Ultramorpho, unfortunately, has caught up to the fleeing heroes. Help is on the way, Metamorpho himself has arrived, but he is not alone. Batman augmented with the Metal Men as armor also has arrived. There are, however, more problems.
In Washington DC, Mekanique brainwashed normal citizens to help the robot revolution. All that is standing in her way are the members of the Doom Patrol, including Robotman. Unfortunately, in the mele, Steele’s program is corrupted, leaving Rita and Larry alone against their own teammate.
Batman, with the augmentation of the Metal Men, engages with Ultramorpho. Batman unleashes the Metal Men to attack. Lead does not directly attack, he instead gives Superman the armor he needs to face the kryptonite in Ultramorpho. To counter this, Ultramorpho becomes acid, burning Robin’s leg and overcoming Batman and Superman in the fumes. Metamorpho is also injured in the counter-attack, and Gold calls for a retreat as Ultramorpho flies off with the unconscious Batman and Superman. The Metal Men grab the injured Robin and Metamorpho and fall back. We next get a scene in Colorado where the Challengers of the Unknown are facing off with Ultivac.
We catch up with Robin, Metamorpho, and the Metal Men. Metamorpho has recovered, and Gold tends to Robin’s leg. Mason is shouting about having to retreat, and Robin stands up to him, showing him that he has a monitor for Batman’s vital signs and he is still alive. With Batman alive, there is a good chance that Superman is also alive. Robin wants to formulate a plan, or else they will fail in their attack again, but first, they need some backup. He attempts to contact the Teen Titans; however, Kid Flash reports that they are occupied with a robot uprising off the coast of Maine. Robin orders the Metal Men and Metamorpho to split up and bring back whatever help they can find.
Superman regains consciousness, Batman helps him to his feet. They find themselves in some kind of plant. They find themselves amongst the other captives, including Magnus, Dr. Cyber, Toyman, the Bug-Eyed Bandit, and Ivo. Ivo, however, is also a prisoner. When Superman attempts to talk to him, he collapses unconscious. Before he collapsed, he mentioned his own creation. Superman finds Amazo, but he, too, appears to be a captive as well. Batman finds Magnus and attempts to talk to him. Magnus tries to get Batman to be quiet, saying that their jailer does not like it when they talk, he will hurt them.
Their jailer does cause the three severe pain forcing them all to their knees. The final reveal is that their captor is the child of both Ivo and Magnus. He is Amazo 2.0, known as NewMazo, and he is the end of the human race.
In Gotham, Robin tries to contact Supergirl. She, too, is occupied with Chemo. She will join Robin as soon as she can. Robin, however, has more pressing problems of his own. The Batmobile fails to respond to Robin’s control and is headed straight into a brick wall. Next issue, Rise of the Robot Overlords.
Analysis: Batman/Superman: World’s Finest #15 is packed with easter eggs. Not only do we continue to see the Doom Patrol in this story, but we get others as well. We see the Metal Men in action along with Red Tornado and the Challengers of the Unknown.
The story answers the big question, but in the process, another question is revealed. We see what is responsible, but it does not appear to be from a robotics genius but the robot itself that has enslaved its creator and strikes out on its own. NewMazo appears to be operating on its own, but it has the power to overwrite the programming of other robots, including Red Tornado and Robotman, who is actually a human brain in a robot body. With the heroes all preoccupied, who can step in to help Robin rescue his friends?
This begs the question about Robotman. How is he being controlled? He is not a standard robot like Red Tornado and Amazo, he actually has a human brain. The robotics in him is confined to his body, not his mind, so how is Newmazo controlling him?
The art is basically the standard fare for superhero comics. This is not to say that it is bad, it is actually very good, but it is expected for this type of story. What is interesting to note is the costume designs of the characters. Batman has a yellow oval on his chest, and Robin, whose identity is not revealed, appears to be Dick Grayson. His costume includes pixie boots even though he is wearing green pants. Also, the Teen Titans roster includes Wonder Girl, Aqualad, Speedy, and Kid Flash. This is the roster before the New Teen Titans, the era that includes Dick Grayson as Robin. My guess, based on the art, is that this story does not take place in the main continuity of the DC Universe.
Editor’s Note: DC Comics provided TBU with a copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Comixology through Amazon or a physical copy of the title through Things From Another World.
The post DCU Spotlight: Review: Batman/Superman: World’s Finest #15 appeared first on The Batman Universe.
Overview: Freshly escaped from prison, Catwoman reconnects with Eiko and Dario to recruit and train them for her new plan to take over Gotham’s crime in Catwoman #55.
Synopsis (spoilers ahead): As Catwoman #55 begins, Catwoman attacks the meeting of the Five Families at the Kitty Kat Club, and Black Mask orders his men to open fire. Catwoman helps Eiko escape, and they are both helped by a group of strippers.
Dario meets with his ex-lover Noah, and after a brief fight, Noah challenges him to an alley duel later, which Dario accepts.
At the Trixie Hotel, Selina briefly mourns her lover Valmont, who she killed, then comforts Dario, who is distraught about the upcoming duel and tells Selina that Eiko needs backup.
At Gotham Harbor, Eiko’s Yakuza fight the Ibanescu sex traffickers, and Eiko supports them as Catwoman. Later, Catwoman asks Eiko to stop being Catwoman since she’s back and needs Eiko as a mob boss.
Selina trains Dario to fight and to be a leader, and then the two of them assault Dario’s father’s house, offering to make him a partner in Selina’s crime organization, but he warns Black Mask instead.
Analysis: Tini Howard’s Catwoman is back on track with the Selina vs. Black Mask and organized crime storyline that she started in issue #44. After the incredibly messy Punchline/prison crossover and the two inexplicable road trip arcs, it is a good sign that the starting plotline is back in the spotlight. Unfortunately, that spotlight doesn’t bring new focus or competence. Characters continue to make completely incoherent decisions. Selina fears the wrath of Black Mask on the strippers of the Kitty Kat Club, but when they blatantly lie to his face about letting her escape, he just turns away and ignores them instead of even the expected brutal slap, let alone gunning them down as he just a minute earlier tried to do to Catwoman and Eiko. Selina suddenly starts trying to train Dario as a leader – despite him clearly being a natural follower and supporter and very good at it. Hopefully, Selina letting Don Tomasso call Black Mask at the end of the book was on purpose. Otherwise, it’s yet another miscalculation of a supposedly powerful and intelligent main character that ends up making her look incredibly incompetent and dumb.
Nico Leon continues as the main artist for the run, and sadly, after the improvement of the last issue, his work here in Catwoman #55 has a lot of serious disconnects during the action scenes. When Noah pulls a knife on Dario, and Dario shoves him away, the distance between the two is extremely poorly depicted, leading to a strong sense of a panel missing. Similarly, Eiko goes from a spotter position above the dock fight to smack in the middle of the mafia gunmen with zero transition or sense of geographical transition. All in all, Leon’s sense of closure needs a lot more work to build a solid action sequence from panel to panel. However, Leon’s placement of panels and page construction is quite good in the book – several sequences have a very pleasing rhythm to them. Veronica Gandini continues to do strong work on coloring.
David Nakayama’s main cover highlights Eiko and Selina’s conflict – which makes sense since his covers have spotlighted Eiko for the last several issues in his trademark shiny style. Sweeney Boo produces a similarly shiny solo Selina vaulting through security lasers for her first cardstock variant. Dan Panosian’s vivid black-on-yellow cardstock cover highlights Selina jumping from a rooftop, surrounded by loudly (and cutely) meowing cats – and the same image is used for the 1 in 50 foil variant. Frank Cho provides an AAPI variant with Sabine Rich featuring Eiko as Catwoman, though less stylized than Nakayama usually draws her outfit. Lastly, Rian Gonzales paints the 1 in 25 incentive variant, featuring a Selina dressed half as Catwoman, and half in a slinky ballgown with a cat on her shoulder, highlighting her dual nature in Gonzales’ trademark cute watercolor style.
Editor’s Note: DC Comics provided TBU with a copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Comixology through Amazon or a physical copy of the title through Things From Another World.
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Overview: In Batgirls #18, Steph, Cass, and Babs face the rising threat of the sniper in the Hill, but help comes from many surprising places for our heroines!
Synopsis (spoilers ahead): As Batgirls #18 begins, the three Batgirls meet with Office Brooks in the church the Saints used as a base, hunting for clues to Assisi’s whereabouts as a suspected sniper. Brooks tells them the sniper is trying to get the police to arrest the Batgirls, and Brooks says Montoya may have to try to take them in. Babs says she’ll have to have a good plan, and the three exit through the roof. Outside, Montoya punishes Brooks for going behind her back with more overtime and a warning about working with the Batgirls.
At the Clock Tower, the Batgirls discuss the case and plan to deal with the sniper, then Babs sends Steph and Cass to the dam, where they meet Batman. He encourages Steph and Cass and directs them to stay hidden to mess with the sniper’s plan.
Office Brooks receives a visit from a mysterious woman in a wheelchair who points out that a second sniper was present at the cemetery shooting, while Steph and Cass foil a bank robbery using total stealth tactics. Later, as they debrief at the Loft, Babs calls them through F1D0 with congratulations and tells them she and Alysia have used deep fake technology to make it look like the Batgirls have turned themselves into the police, and she has a plan…
At the hospital, Grace O’Halloran sits by the bedside of her gravely wounded cameraman Roky, and explains her plan to stand up against the sniper.
Steph and Cass wake up in their Loft on the Hill to find Grace leading a crowd of protesters against the police “arrest” of the Batgirls.
Analysis: Michael W. Conrad and Becky Cloonan’s run on Batgirls is almost over (even if we will be able to count their two Knight Terrors: Nightwing books), and in this penultimate issue, they ramp up the structural and emotional power they’ve sometimes struggled to bring to bear on these three characters.
The build-up from Grace’s hospital visit to the protest outside the Batgirls’ window is really effective, with the misdirect of Grace loading the illegal shotgun she bought at the graveyard last night, Cass visiting her favorite bookstore and Mr. D, while Steph plays the piano with Kyle Mizoguchi, and then the Batgirls waking up and feeling the panic of all the people they put their lives on the line to protect lining up themselves to try to help the Batgirls.
Cloonan and Conrad have struggled to land the emotional finish of build-up and payoff with a lot of their arcs, sometimes making the payoff feel more like an emotional standing jump rather than a build-up. But here, I think they’ve succeeded magnificently, and I cannot wait to see what the Batgirls do to save the neighborhood they’ve come to love, and which has, movingly, come to love them as much as the readers love these girls. The moment where Batman helps the Batgirls out, and hammers home the importance of working together rather than forcing yourself to work alone without support, was very moving. It’s nice seeing Batman affirming Steph and Cass, especially considering his history with Steph in particular.
Artist Robbi Rodriguez provides solid, appealing, and effective pages for this arc. After the wonky and often rubbery feeling issues #7-8 of this series, I was looking with trepidation at this final arc, but Rodriguez is doing very good work. Colorist Rico Renzi keeps the neon pinks and yellows dominant in Batgirls #18, making the look of the book consistent. All in all, a very solid team going into the finale.
Jorge Corona once again provides the main cover, showing Gunbunny and Gunhawk with the Batgirls swinging towards them from the distance – a beautifully colored riot of reflections on the skyscraper behind them. David Marquez’s third of four covers shows a strong and beautiful Barbara Batgirl against a pale blue background – a really appealing piece of art! Crystal Kung’s AAPI month cover shows Cass crouching, maskless, in Chinatowns rooftops and signs – a bit melancholy of an image, though Cloonan and Conrad’s writing does have a distinct melancholy taste to it, so fitting. Lastly, interior artist Rodriguez provides the 1 in 25 incentive of Cass and Steph with a hand-lettered Batgirls graffiti behind them, spraypaint cans in their hands, the rebellious Batgirls they are!
Editor’s Note: DC Comics provided TBU with a copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Comixology through Amazon or a physical copy of the title through Things From Another World.
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Overview: In Batman Brave and the Bold #1, we see stories from year one of Batman, Stormwatch, and Superman, then to the future for more Batman.
Editor’s Note: Due to the anthology nature of this collection, we will feature a synopsis and analysis for each short story rather than breaking up the synopsis and analysis. Spoilers are sure to be revealed.
Story #1: Batman in “The Winning Card” Part 1 by writer Tom King and artist Mitch Gerads
Synopsis: The first story in Batman: The Brave and the Bold #1 begins in year one Gotham. Captain Gordan is entering a mansion on the Claridge Estate – a little girl is missing. At the same time, at the railroads in northeast Gotham, Batman pursues an abuser on the run. Batman catches and just stands over the man as he justifies his actions with a slew of profanities. His justifications turn into pleas for safety.
We move to Northwest Gotham, the Robinson Apartments. A father on the phone pleads with the police to help him find his missing daughter. In Adams Park, we see that his little girl isn’t alone. She sits on a bench in the rain, talking to the Joker. He tells her that he has a knife, “but you can’t have it yet.”
Back at the Claridge Estate, we learn Captain Gordon is there to protect an anxious Mr. Claridge. A threat called into the radio threatens to “poison all of Gotham’s water at dawn. I’m going to kill Henry Claridge and steal his precious diamond tonight at midnight.” It’s currently 11 PM, and Captain Gordon believes it’s all a joke.
At Wayne Manor, a Brute Nelson is looking for Bruce Wayne, who is missing from his own party. He passes Alfred a note, hoping to do business with Bruce in the future.
The abuser is still whirling profanities, pleas, and justifications at the rail yard. Batman finally gives him the justice he screams for by smashing his face with his boot.
The Joker has taken the little girl to an unknown location. They play hide and seek, and he shares with her how he became all white. He asks her if she thinks it’s midnight.
It’s midnight at the Claridge Estate. The diamond is found to be fake, and Mr. Claridge dies with a big smile on his face. Back at the Robinson apartments, the little girl’s father opens the door to his little girl but also to the Joker. He gets to see the knife.
Analysis: This was not the story I was expecting to kick off Brave and the Bold. I found the story to be very interesting, and I am excited to see where it goes next; however, there are a lot of wasted pages. There are almost four pages of a woman beater just talking nonsense where half the bubbles are @$%^&. The Joker is absolutely terrifying, and all of his pages are gold. The art style is very much like an oil painting which is not my favorite for comics, but again the panels with the Joker stand out. They deserve to be in ornate frames hanging in someone’s home. All in all, I was really hoping to have more fun while reading this.
Story #2: Stormwatch in “Down with the Kings” Part 1 by writer Ed Brisson and artist Jeff Spokes
Synopsis: The second story in Batman: The Brave and the Bold #1 begins with Dr. Bones welcoming Phantom-One to Stormwatch. As they tour the spacecraft, we learn this is Phantom-One’s first adventure after being a sidekick; the Justice League is gone, and that Stormwatch is there to pick up the slack.
On the tour, we meet the other members of the team: Ravager, Shado, and Peacekeeper-01, none too happy with the new recruit. Further down the tour, we meet Winter, Dr. Xanto Zema, and finally, Core, a walking reactor.
Core is unplugged from their spacecraft Skywatch, as Winter and Dr. Zema explain to Phantom how Dr. Bones no longer “works” for the DEO but that he still relays all the missions. Plausible deniability.
Winter leads the mission brief. A faction of the Black Hole known as the Singularity will try to break out one of their leaders, William Husk, from Iron Heights Penitentiary. They have also been able to harness the power of the Speed Force and the Negative Speed Force, thus creating a lot of interesting weaponry. The mission is to take Husk alive before his team beats them to it.
The Singularity gets to the penitentiary first. As soon as they get Husk out of his cell, Stormwatch arrives, and the battle ensues. A canister is dropped from a Singularity plane in the pen. A giant sphere starts to form and expand. Everything inside begins to age at a super increased rate.
While the others attempt to reach the canister inside the sphere to destroy it, Ravager, Flint, and Phantom-One are in pursuit of Husk, who is trying to use the distraction to escape. Ravager and Phantom-One peel off to aid other prisoners in evacuation, despite being ordered to continue their pursuit by Bones.
Flint uses his super speed to catch up to Husk easily. He begins to threaten him to turn off the sphere. Before the threats are needed, Core powers up and enters the sphere and is able to neutralize it. Flint is barely able to hold himself back from killing Husk.
Part one ends with Bones on the phone with an unknown person, presumably at the DEO. The voice, though happy with the result, is disappointed in the execution.
Analysis: This was an enjoyable read. It’s a solid team-up story but nothing special. What really makes this one interesting is the group of characters the creators have chosen to put together. I really enjoy seeing Ravager and Phantom-One featured in a story. There is Shado, and I only know of her from the first season or two of the CW show Arrow. I read that Peacekeeper-01 was made to replace Batman and then taken over by Scarecrow. The art is solid. It’s more like what I expected to see to kick off the comic. I am by no means itching to read the next part, but I am interested in seeing how they continue to utilize this group of characters.
Story #3: Superman in “Order of the Black Lamp” by writer Christopher Cantwell and artist Javier Rodriguez
Synopsis: As the next story in Batman: The Brave and the Bold #1 begins, the first panel shows a ship freighter caught in the middle of the ocean in a storm. As the panels play through the disaster, the narrator tells the story of a young boy meeting a girl at camp. Superman then bursts through the storm, lifting the ship above the clouds as the narrator’s story begins to fizzle as he can’t remember the name of the girl.
An acting chief Lois Lane interrupts Clark trying to remember the name. They banter, and we learn that not long ago, everyone “out there” knew that Clark Kent was Superman. Now, his secret back intact, he feels like just another bum on the metro beat that can’t even write a good story about himself. Lois assures him that he is a wonderful reporter and that the people that matter to him the most, her, Jon, and Bruce, know his secret and accept him for it. Then Lois quickly reveals that the Daily Planet is also about to go down, and she needs super strong bylines – putting the pressure she just relieved right back on Clark.
The next panels show Clark continuing to write. He tells of a bank heist at the world’s most difficult vault. A major feat easily thwarted by the Man of Steel. He is again interrupted by Lois Lane as they are sitting on the couch at home. This time she agrees with him, calling his writing bland.
A mysterious package left for Clark at the Daily Planet interrupts them. It’s a decoder ring. This brings Clark back to his childhood. He uses the ring on the note inside, and it reveals “SAVE ME” followed by coordinates. Clark feels this could be his story, but Lois is apprehensive.
Part 1 ends with Superman’s decoder ring acting strangely as he heads towards a structure built right into a mountainside.
Analysis: This was easily my favorite story of the four. While the first two seemed to be trying too hard, this story flowed. We got the cute Clark and Lois banter, the insecure, inferior alien feeling from Clark Kent as he tries to fit in, and a wonderful mystery that ties childhood television with a decoder ring. It is difficult to have cliffhangers that really make me want to come back. This one hit. The art is very simple, bright, and just Superman. After having Tom King be scary serious, followed by being introduced to a big new team, this was the perfect story to slide into the third slot.
Story #4: Batman in “Heroes of Tomorrow” by writer and artist Dan Mora
Synopsis: “Another Gotham. Another life.” This final story in Batman: The Brave and the Bold #1 is a black-and-white story that takes place in Future State Gotham. Batman is our narrator. We watch as a machine-like figure chases and corners two small children. Batman jumps into action. He signals his robot bat companion, V2, to protect the children as he attacks the machine, a Royal Flush Guardsman. V2 responds with sentience, letting Batman know he is powered up to ninety percent energy for bonding.
He defeats the guardsman, and the kids get to safety. As they move away, the guardsman begins to rise. This was a trap, it’s not a guardsman but a Joker bot. Bonding is now at ninety-six percent as the Joker grabs both children. Batman tells V2 to initiate bonding, it’s successful! With the Caped Crusader Form now activated, he commences Dark Knight kick. With a flash, he takes down the Joker bot, saving both kids.
Richard introduces himself and his brother Jason to Batman. They explain how they were out looking for their younger brother. Batman looks into his eyes and knows they are orphans. This issue ends with Batman telling V2 they have another mission. Finding the boys’ youngest brother.
Analysis: This is the only story that does not say part one or has a “to be continued” at the end. Which, if true, is unfortunate because I really enjoyed this manga-style version of a Future State Batman story. It was fast-paced and super exciting to read. The choice to keep it black and white paid off. It said: please don’t take me too seriously and just go with it. We will have the Joker playing video game robots, and let’s give Batman his own flying robot bat sidekick. It was the right comic digest, fun, quick, and a touch off the beaten path to wrap it all up. With our first story being so dark and serious, I really liked how they ended with a story that isn’t supposed to be taken so seriously. The only setback I see is they should not have left the end open-ended if they do not plan on continuing.
Editor’s Note: DC Comics provided TBU with a copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Comixology through Amazon or a physical copy of the title through Things From Another World.
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It’s Thursday again, so that must mean that Ian and Steph met up recently to talk about the latest three episodes of Batman: Wayne Family Adventures! Were they good? Were they disappointing? Let’s find out with Batman: Wayne Family Adventures #82-84!
Steph: Holy Moly! Ian, I am so excited. Can you guess why?
Ian: I can guess, indeed! Is it TIME FOR MORE WFA?
Steph: Three GREAT episodes of WFA. Let’s start right off with #82, “Sneak Attack,” where we see Batman task Cass with testing the Bat-Family’s awareness. What did you think? Of the episode and of Cass’s willingness to do, and enjoyment of, the task.
Ian: This is the type of thing that really takes advantage of the WFA format while still being connected to the wider crimefighting good versus evil stuff that the mainstream comics do. Cass doing checkups/training of the Bat-Family on stealth is both hilarious and actually useful. And the way each family member reacts is very funny. Though I hope Cass gets Steph and Harper new sandwiches! So rude!
Steph: I know. My next question was going to be – whose reaction was your favorite? – but as I tried to decide, I COULDN’T! But if you forced me to, it would be a tie between Jason bribing the kid not to tell he failed and Steph using her burger as a useless range weapon.
Ian: I don’t know if I can pick either! Steph, of course, always stands out to me, but I think Bruce failing himself was pretty hilarious.
Steph: Yes. That was wonderful. I was wondering what Tim was doing. Do you think he’s taking extra school time instead of vigilante-ing?
Ian: Well, WFA has been really vague about most of the character ages, so I’m not 100% sure. Duke is in high school, and it SEEMS like Steph, Cass, and Tim are around the same age, but we never see any of them in school. Though I think it’s implied in a much earlier episode that Steph is in college…so…no clue, really! I could definitely see Tim being in college, though.
Steph: It is interesting that, because they are working as a team, some of the Bat-Family can take a night off, and it’s okay. I liked that. Doesn’t excuse you from field testing, though, apparently.
Ian: Tim needs to sleep more anyway, of course! (but that is probably true of the whole Bat-Family!)
Steph: I feel like that is his shtick in this series, for sure. Next, we have what I think is Hal Jordan’s introduction into the series (I could be wrong), #83, “Utility Belt.” This was a cute one.
Ian: He might have shown up in a background scene, like the Justice League clothing episode. But this was definitely the first time he had major lines and interactions, and it was HILARIOUS. As a longtime Batman fan, I, of course, knew where this was all going, but it built up to the punchline very well. And Hal and Bruce generally have a great relationship of rivalry and ribbing each other, so that was brilliant.
Steph: I thought it was a bit ridiculous, even for WFA, but I still really enjoyed all the perfectly timed gadgets Batman had in his belt. And yes, that punchline was great if you know the old Batman ’66 movie. I didn’t know the ribbing history! That’s perfect. I will say it’s a little gross Batman keeps dead fish in his belt.
Ian: (Well, I speak here as a casual fan of the wider DC universe – I don’t know if it’s always that way, but it felt like some other stories I’ve read). I mean, the dead fish are probably more like dried fish. You know, like having a doggy biscuit in your pocket or something?
Steph: Isn’t the Bat-sword in canon? I feel like I’ve made fun of an extendable sword in comics before.
Ian: I don’t recall one, but I did see a fan video of Tim Drake having a collapsible baton in his pocket! Extendable swords are extremely silly in any kind of realistic weapon construction.
Steph: So, a bit of psychology here. Do you think Hal is jealous, or what is his reasoning for thinking Batman “is the worst” for having all the perfect gadgets?
Ian: I think it’s a combination of jealousy and grudging respect. And also just the ridiculousness of someone always being prepared for situations that you shouldn’t be prepared for.
Steph: Yes! That all makes sense. Like…Hal can literally make a construct of anything, but Batman doesn’t need his help because he already has the perfect knick-knack in his Bat-pack. He probably feels a little shown up.
Ian: For sure! And I think a lot of League members who aren’t Superman or Wonder Woman likely feel the same.
Steph: And lastly, episode #84, “Field Test,” where we see Wally and Dick trying to come up with alternate carry options for speeders and heroes. I love the premise and execution of the episode, but I feel like the Bat-Family might have come up with some better ideas.
Ian: This was a completely different relationship between a Bat-Family member and a Justice League member, and I thought it was a great contrast to Bruce and Hal.
Steph: Oh yeah! There’s lots of love and respect here.
Ian: As a huge fan of the current Flash run by Jeremy Adams (everyone should go read it!), Wally’s humor and practicality were on point. What other ideas are you thinking of?
Steph: Not sure, but the Bat-Bjorn was a little silly (rightfully pointed out by Wally), and Toe-To-Toe was never going to work…other than in those kinds of fan-fictions.
Ian: haha. I think the ballet pose was actually best, but Wally’s arms would probably fall off holding Dick like that!
Steph: That’s what I was thinking. And apparently, so was Wally. Overall though, I had lots of fun and joy reading these. As much as I love the deeper and more emotional stories, these light-hearted but still relationship-centric stories in Batman: Wayne Family Adventures #82-84 make me happy. Which was your favorite? Or, did you have a favorite moment?
Ian: I can’t choose between Utility Belt and Field Test. The external relationships both add so much to the series, and the humor for both was very well executed!
Steph: I think I loved “Sneak Attack” most. I’m finding anything with Jason in it is my favorite.
Ian: This doesn’t have anything to do with you catching up on Red Hood: Outlaw?
Steph: No! Though I’m behind again. But I do enjoy that so much because of Jason. He’s just my favorite delinquent son.
Ian: We all have our favorites! I think my own preference for purple lady vigilantes has been well-known for a while!
Steph: yeah…see you next time?
Ian: Indeed!
Editor’s Note: You can find Batman: Wayne Family Adventures #82-84 and all other past chapters exclusively on the Webtoon platform. You can find all other reviews from the series here at The Batman Universe.
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Overview: In Batman Incorporated #8, the Joker decides he needs his own international group of villains themed around himself.
Synopsis (spoilers ahead): Batman Incorporated #8 begins in Shanghai, China, as a bloody rug stands in the middle of Ghost-Maker, Bat-Man of China, and El Gaucho. Ghost-Maker asks why he couldn’t keep Skyspider safe and Dr. Wu alive, but Bat-Man of China says he was overwhelmed by the sheer amount of people that attacked him. After he apologizes, he’s met with sarcasm from Ghost-Maker, saying it’s ok as El Gaucho asks who was leading them. El Gaucho says it was his sister Alpaca, and he says he will meet and make it right. Ghost-Maker refuses to let him go and says he must stay put.
In London, the Knight and Gray Wolf, without their costumes, are sitting down for a meal, eating when Gray Wolf tells Knight that he will be leaving the international team and will focus on protecting his people. Before Knight can react, she gets a notification that Batman Inc. needs her.
In a different area of the country, a max security prison holding the top criminals of England called Basement 101, we see that Beefeater’s nephew was dosed with Joker gas. After they follow why Joker would have been there in the first place, they find out that he broke a villain named Dai Laffyn out.
In a hospital, Clownhunter and Batman of Japan say to Red Raven that his father was a great man. Red Raven blames Ghost-Maker for cutting him from the team and himself for not going to South Dakota. He tells them that they need to find Dusty Bronco so he can choke the life out of him.
In Paris, Nightrunner is attending an event will tons of clowns taking the people of Paris hostage. Then when they refuse to let the people go, the clowns ascend and attack. As he is fighting, he is sending out transmissions saying that he needs backup. The only people who can help are currently suspended from the team. Dark Ranger and Wingman suit up, ready to help when right as they leave, a news report says an armed man is taking tourists hostage.
Ghost-Maker and El Gaucho arrive at the Japan stock exchange in Tokyo. They are greeted by the Joker with hostages in tubes. Joker gets to the point and says that he is releasing his new blend of gas in the pipes, and before the two superheroes can say anything, Joker says if they take a step closer, they will release the gas in the big room.
Joker continues by saying that he has prepared a presentation and reveals Joker Inc., a team that Joker assembled to fight Batman Inc. He spins a wheel to who’s first, and Ghost-Maker threatens to kill Joker, and he replies by saying Batman neutered Ghost-Maker, not allowing him to kill. Ghost-Maker responds to him with a sword stopping the wheel and landing on Argentina’s man Tap Dance Man. Each team member has an enemy, and Tap Dance Man is El Gaucho’s. So, Joker takes a telephone and calls a number, and Tap Dance Man is on the other side, and when he hangs up, he points an assault rifle at a group of people and asks who’s ready to party.
Analysis: Batman Incorporated #8 was a roller coaster. Between the last story being wrapped up so quickly and now we are jumping right back into the team dealing with another team to face off against, there is a lot happening.
The majority of the characters that are part of Joker’s new team are new to the DC Universe as well. It does not go without saying that, oddly, all the members of a Batman team have a villain with similar theming to Joker. But I will not hold it against them, as the introduction of new characters is always welcome.
One thing that is great about a team book is that you don’t have to spend too much time on characters that aren’t as interesting because there are plenty of other characters to give focus to. That said, it can also be its downfall as well as when you have not only the titular team needing character development but then a new full team of villains to set up; it is a juggling act.
That said, this new team seems promising for fans of the Joker and the international flare that will come with the new team. I can’t wait for the next issue.
Editor’s Note: DC Comics provided TBU with a copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Comixology through Amazon or a physical copy of the title through Things From Another World.
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We all know Batman is perhaps DC’s most popular character for many, many decades. Ever since Batman premiered in 1989, Batman has been a box office juggernaut and has been DC’s cash cow on the comic book publishing side of things. And a big reason for the success of Batman has been Michael Keaton. Keaton wore the cape and cowl for two massively popular movies that many people point to as being their entry point for becoming a Batman fan. And this summer Michael Keaton is back in The Flash. And that only means one thing- TBU Five Things. You want Five Things! C’mon let’s do Five Things.
“I’m Batman”
This is probably the most memorable Michael Keaton Batman scene. Batman drops down on the muggers on the roof, kicks a guy through a wall, whips out a Batarang, and drops the famous line that has been quoted and paid homage to countless times. We heard him say it in that first trailer for The Flash.
A few years ago, Keaton gave the commencement speech at his alma mater Kent State University. Upon receiving a plaque, Keaton left the crowd with two final words- “I’m Batman.” Just pure awesomeness.
The Batmobile Chase and the Alley Fight
A lot of this is the totality of Burton, the Batmobile, and the Elfman score, but it is a great Keaton action sequence. Keaton’s Batman is a man of few words, but it adds to his mystique. It has always been one of my favorite parts of the film when Batman just says “shields” and puts those shields on the car. And the way he stands there as the Batmobile is on autopilot and stops it an inch in front of him and doesn’t flinch. Keaton’s Batman was in total control.
His Bruce Wayne
Michael Keaton played Bruce Wayne unlike any actor before or since. You can tell that the death of his parents consumes him, and he doesn’t care about much else other than being Batman. We see him at the start of the party in Batman when he doesn’t know how to talk to people. He is just killing time until he can get back down into the cave and put on the cowl. In Batman Returns, we see a little more of his Bruce Wayne with Selina and Schreck. In The Flash trailers, we see Bruce talking to Barry about the death of his parents, and I think we’re going to see Keaton go a little bit more in-depth on it.
Brooding Bruce
This is one of my favorite Batman/Bruce Wayne moments. We first see Keaton in Batman Returns brooding in Wayne Manor. The Bat-signal hits and shines into the library, and Keaton just stands up into the light as that Elfman score swells up. Batman then hops into the Batmobile and takes out the Red Triangle Circus Gang without breaking a sweat.
Bruce and Selina
At its core, Batman Returns is a pretty good Bat/Cat story. Take out the goofy parts of the film but focus on Batman and Catwoman, and you can get a lot out of it. It is a story about two tortured souls with dark backstories that only feel free and their true selves when they have their masks on. That is evident in the costume ball, as everyone has their masks on except for Bruce and Selina. Keaton delivers at the end of the film when he is trying to stop Selina from killing Max. Bruce rips that fruit roll-up of a mask off and tries to tell Selina that they can just arrest Max and head home to enjoy Christmas. Unfortunately for Bruce, Selina was too focused on revenge and not justice.
I am very excited about the return of Batman, played by Michael Keaton. I think this movie is going to deliver and deliver big. Keaton will be a huge part of it. From what we have seen in the trailer, Keaton has been a standout. To see him in the new all-black Bat-suit, saying “I’m Batman,” and flying the Batwing. Never in our wildest dreams did we ever think we would see this. Let’s get nuts.
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Overview: The Joker attempts to make his way to Gotham, accompanied by yet another criminal, united by their common goal to kill the Red Hood in The Joker: The Man Who Stopped Laughing #8.
Editor’s Note: Due to the anthology nature of this collection, we will feature a synopsis and analysis for each story rather than breaking up the synopsis and analysis. Spoilers are sure to be revealed.
Story #1: “The Joker: The Man Who Stopped Laughing ” Part 8 by writer Matthew Rosenberg and artist Carmine Di Giandomenico
Synopsis: The Joker: The Man Who Stopped Laughing #8 begins below the streets of Gotham, where the last issue left off, as the Joker manages to drag an unconscious Solomon Grundy from the murky sewage water. The un-dead monster slowly comes to and reveals to the Joker that his attacker, an alligator, is trying to hunt down the supposed Prince of Crime and got mad at Grundy when he withheld the Joker’s location.
Meanwhile, in the Los Angeles River, the Joker struggles to claw his way toward the air, prevented from doing so by Manhunter. According to her, this is something Batman should have done years ago.
The arrival of some civilians momentarily distracts her, however, which provides the Joker with just enough opportunity to stab her in the neck with a broken beer bottle. He takes off down the streets of L.A., trying to hail down someone to give him a ride to the airport so he can finally leave this awful city. Manhunter, however, isn’t done with him, and the pursuit leads to the Joker getting his head bashed into a car windshield multiple times until it breaks (the windshield, not his head). Manhunter’s plans to repeat the motion a few more times are brought to a halt when she’s knocked aside by someone flying down from the sky. Killer Moth has arrived to join the party.
Back in Gotham, Killer Croc hunts through the sewers, stalking down his prey. His keen sense of smell leads him to discover a man–an inspector for Gotham Light and Power– tied to a pole. He came down to work on the gas lines and was taken captive and forced to wear the Joker’s rags as a way to lure Killer Croc in. Too little too late does Killer Croc put the pieces together, and before either one of them can move, a lighter is tossed into the air.
The entire place goes up in a massive explosion, and seconds after, Killer Croc is restrained in barbed wire. Even this, however, doesn’t manage to fully prevent Killer Croc from biting the man’s arm, and the Joker takes off running, yet his escape patters off to an end as he collapses into the cloudy sewage.
In LA, the streets are once again full of chaos as Killer Moth and Manhunter go at it while the Joker goads them both on. The fight finally ends with Manhunter falling off a bridge and Killer Moth and the Joker striking yet another deal. It was Killer Moth who was hired by the Joker to tell the Red Hood where to find the other Joker, but that led to Killer Moth getting shot, which, as one would predict, he was not happy with. Now, however, the Joker and Killer Moth are working together once again for a new goal; head back to Gotham first to kill the Red Hood and then go and kill the Joker’s imposter. The two of them, and the corps of Joker’s favorite henchman, Mr. Waffles, steal a car and head out, making their way toward Gotham.
In Gotham, the transport of Jason Todd from Gotham to Blackgate is in progress. As they begin moving Jason into an armored truck, a blond woman approaches the officers asking for directions to the Blowout Lounge, where she’s supposed to meet a friend in ten minutes. After getting scolded by the officers for being where she shouldn’t be, the lady walks away and, once out of sight, removes the blond wig from her head. Barbara Gordon relays to someone on her cellphone the details about the prison transportation; be ready to go in eight minutes. The voice on the other end thanks her and ends the call with a final comment about getting their boy back.
Analysis: It’s safe to say that pretty much no one stays dead these days. Manhunter’s attempts to stop the Joker from razing the streets of LA end somewhat explosively and with the clown in question getting away with the help of Killer Moth. The two criminals manage to begin the trek to Gotham, united by their common goal of…killing more people.
Meanwhile, Solomon Grundy and the ‘other’ Joker manage to successfully deal with a rather put-out Killer Croc, who’s definitely not having the best day. It’s contagious because shortly after, the Joker collapses before he can fully escape, most likely due to the fact that he was nursed back to health with sewage water and is probably still not back to full health. Up above the nasty Gotham sewers, Jason Todd’s impending captivity and predicted death (shanked in jail, never gets old) might just be avoided by the aid of his family members. The appearance of Batgirl in this issue and the concern for their estranged sibling was a nice element to see in this issue and probably the most interesting moment in The Joker: The Man Who Stopped Laughing #8 to me.
Overall, it doesn’t feel like there’s a ton to comment on in this issue; the Joker once again is able to walk away from what should have been several life-ending injuries–a rabid car chase, near death by drowning, breaking a windshield with his face, getting impaled in the shoulder, just to name a few. The Red Hood is once again being hunted by the man he’s hunting (some people just really can’t let go of a grudge), and beyond this, the story’s plot hasn’t progressed much. We’re giving Manhunter’s endeavors at stopping the Joker and possibly killing him, although (seemingly) ineffective, an ‘A’ for effort.
Story #2: “No More Mr. Nice Guys!” by writer Matthew Rosenberg and artist Francesco Francavilla
Synopsis: The backup in The Joker: The Man Who Stopped Laughing #8 sees the Joker’s attempt at entrepreneurship and his business, ‘arson-on–demand’ doesn’t go over too well with Hawkgirl, who calls him a pathetic loser. Several sleepless nights later, the Joker knows something needs to change and that he can’t sustain a constant war between good and evil, right and wrong. It does nothing but hurt people. And so that night, he completes his work on his latest invention; a machine that can read brain wave patterns and detect whether someone is a good or bad person. The perfect invention to change the whole world as the Joker will use it to kill all the good people.
The next day, at a nuclear weapons site, the Joker is stopped by Hal Jordan, a Green Lanterns officer, but the interaction is short-lived when his head explodes. The Joker’s device really does work. Over the course of the next few weeks, Justice League members everywhere are killed and left headless after the Joker’s invention does its work. Weeks later, the Joker’s invention completes its work and leaves the world full of bad people, who begin turning on and killing each other. Now, no one can rob any banks because everyone is robbing banks. Realizing the drawbacks of his invention, the Joker decides to try and do something different and make all the people–his people–happy. Even deranged creeps need to be entertained, right?
The next day at Haly’s circus, the Joker realizes how wrong he was as the crowd continues to jeer at him, calling him, once again, a pathetic loser.
Analysis: Yet another of the Jokre’s nefarious plans is sabotaged by…the Joker himself, this time when his plan of ridding the world of all the good people only leaves all the bad people. As one can imagine, this plan doesn’t work out too well when chaos reigns free and survival of the fittest rules the world. Hawkgirl calling him a sorry loser clearly struck a chord, and yet the story comes full circle as the Joker ends up right where he started; a sorry excuse of a comedian and getting booed off the stage by his unimpressed audience.
This might be the first issue that doesn’t leave me grimacing in distaste at the weirdness of the story, however, so that’s a nice departure from the norm. Let’s hope for extra side stories like this one going forward!
Editor’s Note: DC Comics provided TBU with a copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Comixology through Amazon or a physical copy of the title through Things From Another World.
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Overview: In Batman #135, Batman chases proto-Joker Darwin Halliday throughout the multiverse while running into some unexpected surprises.
Synopsis (spoilers ahead): Batman #135 begins in the subterranean world of Arkham beneath this Elseworlds Gotham City, as Batman climbs up from the ground and wraps the bloody stump where his right hand once was. He stumbles out, searching for Red Mask, also known as Darwin Halliday and this universe’s Joker.
On the streets of Gotham, Halliday’s plan B (Batman stopped plan A in Batman #134) is in full motion. “Leatherwings” carrying gas fly around the city, infecting citizens with multiversal poison. Jewel and Selina Kyle, both wearing gas masks, fight the Man-Bat-sized Leatherwings.
Below, Batman cauterizes his wound. Meanwhile, Darwin and this world’s Punchline use the multiversal energy created by the poisoned citizens to power up a machine that will transform Darwin into a true Joker like his multiversal counterparts.
At Athena Tower, a building owned by Halliday, this world’s Alfred Pennyworth tries to contact his wife, Dr. Leslie Thompkins, to no avail. While the wealthy socialize safely indoors, Alfred attacks the guards keeping them in, steals a gun, and plans to head outside, so he can save as many Gotham citizens as possible, including his wife.
Darwin prepares to use his machine, which now has enough power to send him directly to the moment when Joker was created instead of just inside of the mind of one of his multiversal counterparts. Darwin uses the machine, transporting to the moment when Joker first took off his Red Hood mask in The Killing Joke. Instead of a cackling Joker, Darwin sees himself reflected back. Suddenly, Darwin is propelled back to his own Gotham unchanged.
Batman fights his way through Darwin’s Arkham guards while Catwoman and Jewel continue to battle Leatherwings up above. Firefly joins the battle, called to aid by Selina. While they barely hold on, Alfred opens the doors to Athena Tower, letting the citizens below rush to safety.
Back at Halliday’s headquarters, Darwin gets word that the machine is ready to use again. He prepares himself, letting it be known that while he’s admired and loved in this world, he wants to tap into his full potential as a Joker beyond love and hate, someone who is the epitome of obsession.
Darwin gets back in the machine, transporting once more to that puddle in the rain. He tells Joker that he wants to break the way Joker breaks, and Joker fires back that maybe it was Darwin who broke the Joker with his “needs.” Just then, three Jokers walk away from the puddle in the rainstorm (which is a nice reference to Three Jokers by Geoff Johns and Jason Fabok).
Darwin unhooks himself from the machine, shocked and appalled at what just happened. He tells Punchline that he can’t become the Joker. He merely creates them. Just then, Batman enters, knocking out Punchline. Batman realizes he could help the would-be henchgirl to Joker, but he’s just as obsessed as Darwin is. The two battle, but Darwin is now empowered with multiversal energy, making him lightning-quick.
When Batman tells Darwin that he’s crossed worlds to stop him, Halliday responds that his job is to make Jokers with Batman, that if it weren’t for Batman, there would be no Joker. When Halliday tries to dig that verbal knife in, Batman tells him that he’s learned from this world that one without Batman is still full of monsters.
Alfred, Jewel, and Selina enter the room, tying up Punchline. Darwin runs through his machine and enters the multiverse. Batman coaxes information from Punchline by treating her with kindness and uses that information to learn how to track Darwin.
Batman has a moment with this world’s Alfred. Alfred tells Batman that he can’t do it alone, to which Bruce asks his Elseworld’s father figure to join him, saying that he needs guidance away from the dark. Alfred can’t leave this world. Here, he has a purpose and a city to save, and he can team up with Jewel to save it.
Selina then approaches Batman, asking him why he didn’t ask her to join him. Batman tells her that he has a Selina but that he can’t end his crusade until injustice and crime end. Before Batman can prepare to enter the multiverse safely, Selina kicks him, disappointed with his answer. Batman flies through the multiversal without his safety belt, using only a tracker to find Darwin as Batman #135 continues.
First, Batman lands in the world of Batman ‘89. Joker has been revived, and Batman meets with his Michael Keaton counterpart. Before the two can talk much, Batman is then thrust into another dimension, this one of the famous Batman: Red Rain storyline where Batman and Joker become vampires. A revived vampire Joker and Batman tangle, but then once more, Batman is thrust through a series of dimensions, touching upon the Arkhamverse games, Batman: The Animated Series, Silver Age Batman, and Batman Beyond. In the Beyond universe, Batman meets with an elder Bruce Wayne who gives him a holt disc that will send him back to his universe when the time is right. It’s also in this universe where Batman has fully realized that Darwin is resurrecting Jokers throughout universes where Batman has been freed of his arch-enemy, locking them once more in an eternal battle. Before the two can confer much longer, a revived Joker Beyond breaks into the Batcave, and Batman is once more thrust into the multiverse.
Batman hops through the New Adventures of Batman and Robin, Kingdom Come, Injustice, and the world of the 60s TV show. Connected to each Bruce Wayne, Batman meets with all of them briefly, realizing that the resurrected Jokers are worse and more sadistic than ever. In the 60s universe, an Adam West Batman hands him a utility belt.
Batman leaps once more, landing in the world of Frank Miller’s The Dark Knight Returns. Batman tussles with an older version of himself before he can tell his otherworld self that he’s here to help. This older Batman gives Bruce a new hand and a new uniform.
Batman leaps once more, finding Darwin in some destroyed Gotham City where a Joker shark swims around at the end of the multiverse. The shark eats these remnants of Gotham, symbolizing Darwin being consumed by his thoughts of the Joker. Darwin sends Joker “fish” at Batman. Bruce battles against them, digging into his utility belt given to him by his 60s counterpart only to find shark repellant, which saves the day.
After defeating the shark, Batman then confronts Darwin. He tells Darwin his realization. Without Batman, Joker would always be evil. There would always be a sad, pathetic man committed to the act of destruction and obsession, just without the gimmicky outfit. Batman knocks Darwin out and then uses that holt disc to send Halliday back to his own universe.
Alone at last, Batman is at the end of the multiverse. He realizes that these last few years, he has been slipping. A light illuminates the darkness, and Robin (Tim Drake) arrives. Batman and Robin hug, and Bruce thanks Tim for rescuing him once more.
Analysis: Batman #135 is both an effective and beautiful conclusion to the “Bat-Man of Gotham” arc, as well as a fantastic celebration of all things Batman for his 900th issue. It’s also a zany multiversal trip that takes a few reads to grasp fully, but at its core, the message is simple. Batman is a symbol of hope, justice, and a never-ending battle against crime. While Joker is the antithesis, a polar opposite figure of obsession, he doesn’t exist because Batman exists. Without the Caped Crusader, Joker would always exist in some other form, and the world of Gotham City would still be full of monsters.
Writer Chip Zdarsky and the artists of Batman #135, Mike Hawthorne, Jorge Jimenez, and Mikel Janin, deliver a thesis statement that shows Batman as a self-sacrificing hero who can never settle down and be happy because of his obsessive war on crime. However, he has the potential to change the world, and in this issue, literally set Darwin Halliday’s universe right by inspiring a new generation of heroes. With his training and inspiration from the Robins, Batman, in turn, can be saved and rescued from the darkness by those motivated by his good deeds. It’s no coincidence that the Robin chosen to save Batman at the end of this issue was Tim Drake. Tim was the one who helped bring Batman back to the light after Jason Todd’s death, and in this issue, his saving of Batman is more than just multiversal displacement. It’s thinly veiled symbolism for Tim once more saving Batman from the brink.
In recent issues, we’ve seen Batman grapple with his more violent other self, the Batman of Zur-En-Arrh. This also comes on the heels, still, of Batman dealing with the loss of Alfred and the wedding that never was with Catwoman. It would seem that finally, these years later, from those landmark moments, the creative team of Batman is ending that chapter and ushering back a hero who sacrifices to inspire and heal others.
Apart from the overt metaphor, Batman #135 is an issue rife with references. The creative team found a way to weave in so many beloved generations of “Batmen” without it feeling ham-fisted or shoe-horned. There’s a reference for just about any Batman fan here, one that serves as a reminder of how and why they fell in love with the character. It’s truly a refreshing celebration for the 900th issue, and it’s one that inspires hope and a bright future instead of more grim-dark musings about vengeance.
If there is one thing to knock Batman #135 for, it’s the art. Three artists pencil this issue, and it shows, especially Janin’s. Each one has an exemplary style and tone unique from the others, but when transitions happen, it’s super noticeable. The transitions aren’t handled in a way that fits into the story narratively speaking, either. That said, it’s a minor gripe in an otherwise spectacular issue.
Editor’s Note: DC Comics provided TBU with a copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Comixology through Amazon or a physical copy of the title through Things From Another World.
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Overview: In Harley Quinn #29, Harley searches for answers to her multiversal problems leading her to Zatanna, while the backup features Bud and Lou.
Editor’s Note: Due to the anthology nature of this collection, we will feature a synopsis and analysis for each short story rather than breaking up the synopsis and analysis. Spoilers are sure to be revealed.
Story #1: “Girl in a Crisis” Part 2 by writer Tini Howard and artist Sweeney Boo
Synopsis: As Harley Quinn #29 begins, Tashana, the Lady Quark, returns home to Earth-38. She enjoys time with her family and discusses her plans for Earth-0. Back on that earth, Bud and Lou wake Harley at 05:00. She feeds them and waters with pride the one plant Ivy left in the apartment.
She realizes through a web search that Zatanna can assist her with her multiversal problems. She heads over with a latte, and the girls gab. Harley explains to Zatanna that she’s been experiencing a lot of coincidences that she is now wondering about – might they be connected to her multiversal issues? Zatanna offers to cast a spell of interdimensional protection but warns her that to complete the ward, Harley must sacrifice something alive.
Harley considers the problem of what or whom to sacrifice over the next few days. She alights upon “Two-Face” as the possible answer and goes after him but abandons her intentions mid-effort. She lights the Bat-Signal and sits down for coffee and a donut with the Dark Knight himself. Batman gives Harley insight, and she realizes what she must sacrifice. She smashes her beloved plant. After a few moments, Bud and Lou begin speaking to her in plain English. Harley startles and runs away, but they assure her they mean only to protect her.
Analysis: Although the arc remains weak, it is a relief to note that there are some better moments in part II of the narrative than seen in the last issue. The Bat-Family makes an appearance with the Caped Crusader himself, and the conversation between him and Harley is actually both sweet and authentic. Batman is as gruff and aloof as ever, which makes him believable. Yet he still manages to offer someone as brilliant as Harley real insight, and the moment feels authentic and poignant. Some of Harley’s dialogue is also genuinely funny, which matters because Harley is genuinely funny, so it is important to get this right.
Part II of the story slows down and also tries to fill in some of the blanks. While this helps with explanation, it does not strengthen some of the preposterousness of the story itself, which remains something to be merely tolerated. Sweeney Boo’s art remains the strong suit of the run so far; it’s hard to imagine a style more perfectly suited for our hero.
Story #2: “Hyena Anxiety” by writer and artist Adam Warren
Synopsis: The backup in Harley Quinn #29 sees Bud and Lou start talking to Harley as they reveal they’ve trashed her on social media with a tell-all memoir. Apparently, they are agents of Lord Chaos and then transform into “sexeh, sexeh furries.” The sequence gets even more bizarre until Harley wakes up and confirms that Bud and Lou are incapable of speech. She leaves the room, at which point Bud and Lou do, in fact, converse with each other in plain English.
Analysis: This could be one of the most asinine stories I have ever read in a TBU comic. There is no justification for the Harley Quinn book containing a backup.
Editor’s Note: DC Comics provided TBU with a copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Comixology through Amazon or a physical copy of the title through Things From Another World.
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Steph has been overseas, but she and Ian found a few minutes to discuss the latest three episodes of Batman: Wayne Family Adventures! Let’s find out all about the latest batch with our review of Batman: Wayne Family Adventures #79-81.
Steph: IAAAAAAAAAAAAN!! Are you ready to rrrrrrrrrrrrrrrrrrrrrrrr….review some Wayne Family Adventures?
Ian: Always rrrrrrrrrrrready! Let’s get into it!
Steph: Well, first we’ve got Ep. 79 – “Just Desserts” with my favorite NEW villain…Margie. She’s not Batman’s enemy, she’s got it out for Bruce Wayne, and it is gloves off, hitting below the waist at the PTA.
Ian: Ahahah, I think Margie needs to cross paths with Deb Donovan from Mariko Tamaki’s Detective Comics run!
Steph: No, I think she’s taking on the Billionaire Dad himself. She fights dirty.
Ian: Do you think there might be a SECRET ROMANCE MOTIVE? She can’t resist the Bruce charm, so she is mean to him instead? Like pulling the hair of the kid you like?
Steph: No, she’s mean. I don’t think this is seeking his attention. This is jealously at its nastiest.
Ian: Probably so. I’m just amused by how transparently silly she is and how much Bruce takes it personally.
Steph: And how petty he is in retaliation. There is something satisfying about not letting people like that win, though.
I love seeing Bruce’s un-batty side. It makes me happy.
Ian: It’s hard to know when to turn the other cheek and when you’re letting someone gain too much power over others! Bruce in civvies is a huge plus in this series! It really is Wayne Family Adventures, not Batman Family Adventures.
Steph: Yeah. We also got a two-parter (that we get to review at the same time!) Ep. 80 and 81 – “Holding Hope.” What did you think of this story?
Ian: It’s been a good long while since we got to put two pieces of a story together in these reviews! I thought it was quite a sweet story, though I’m not 100% convinced it needed to be a two-parter. It’s very nice for Dick Grayson to get a spotlight mostly by himself again – and I know you mentioned a few reviews ago that the Duke piece felt a lot like Stephanie Brown’s two-parter – but this one felt a lot more like Steph’s. That’s partly because of the close connection both have to Batman and his relationship to his Robins, but also it’s because the way they frame/storyboard the flashbacks feel a lot more like the way they storyboarded the flashbacks in Steph’s story. What did you think?
Steph: I wasn’t really sure whose story it was. I mean, yes, it’s Dick’s story, but it was so tightly knit with Bruce’s story and his telling of both Dick’s and his own, and at the same time, it’s Dick getting ready to talk to this girl. Overall, a good exploration, but the two episodes did seem a bit long. I appreciated that it was a Nightwing/Batman bonding story or a renewing of bonds.
Ian: The focus on the little girl plus Margie this week makes me think – in general, WFA hasn’t really done a ton of original characters (or OCs) since 80-plus-years of Bat history make for a truly staggering supporting cast to draw from, but I’m very curious if you think that WFA should explore a bit more in making OCs of its own? Particularly if you think they should create their own OC costumed hero or villain?
Steph: Hmmm. Honestly, I think they could get away with just picking through the history and grabbing villains and characters from years past that fit the bill for what they need (there was that friend of Damian’s a while back that I SWEAR is Collin) to satisfy fans and not worry about creating characters. But if Margie is anything to go by, then the author is more than welcome to create new characters.
Ian: I miss Collin so much too!
Steph: I feel like, though there have been some slight letdowns lately (gag that missed the mark, two-parters that didn’t need to be) overall, I’m still really enjoying this series. What about you?
Ian: I still get my new episodes every Wednesday night and enjoy them greatly, even with the ups and downs to be expected of a weekly series! I am really glad to see Starbite doing such a long stretch of art for this season, though Toby Fan’s second part of “Holding Hope” was pretty consistent with Starbite’s first part! It seems that the artists are finding a groove in meshing styles more now!
Steph: That makes me glad. They’re both so talented and bring such life and fun to the characters.
Ian: Indeed!
Editor’s Note: You can find Batman: Wayne Family Adventures #79-81 and all other past chapters exclusively on the Webtoon platform. You can find all other reviews from the series here at The Batman Universe.
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Overview: In Batman/Superman: World’s Finest #14, Superman, Robin, and Batman uncover a plot that goes much deeper than the “murder” of Simon Stagg.
Synopsis (spoilers ahead): In Los Angeles, what appears to be Metamorpho threatens to murder a villain named Doc Dread.
Meanwhile, Superman communicates with Batman from the Fortress of Solitude. Batman, sitting in the Batcave, is upset that Jimmy Olsen and Clark Kent wrote that article accusing him of murdering Simon Stagg (see Batman/Superman: World’s Finest #13), but Superman notes that not even he could have convinced Perry White or Jimmy of Bruce Wayne’s innocence.
Though Bruce is clearly upset, his conversation with Superman is sympathetic. Both make their case, though Bruce, at first, confesses that he believes Clark’s blunder has hobbled Batman. However, the real killer feeling at ease may have given both of the heroes an advantage. When Batman tells Superman that it would be nice for Big Blue to have a detective, Superman notes that he already has a detective at his disposal — Robin (Dick Grayson).
Just then, Oliver Queen calls for Bruce Wayne, asking about artificial intelligence from Waynetech’s R&D department. Bruce, taken aback that Queen, who has rejected their industries previously working together, digs for information, then ends the call.
On their way to investigate, Robin rides on Superman’s back, looking at updates on Metamorpho’s villains. Doc Dread, from the opening of the issue, was found beaten up in Southern California, and some other villain named Stingaree was arrested in Nicaragua. Robin deduces that Metamorpho (Rex Mason) must be heading south, projecting Venezuela as their next destination, which is the home of El Matanzas and his “robot army.”
In Venezuela, Metamorpho is busting up El Matanzas’ automatons. Superman joins the fight against the machines while Robin ropes up the villain. El Matanzas confesses that the robots are malfunctioning and going rogue, but Robin doesn’t believe it. Meanwhile, Superman and Metamorpho are putting out fires caused by the machines and saving civilians. Before Metamorpho can turn his abilities toward the villain, Superman intervenes.
Rex Mason tells Superman that he’s been looking for which goon Wayne paid to frame Metamorpho. Superman tells him that Wayne did no such thing.
Meanwhile, Bruce gets in contact with other industrialists about a business venture. Clark Kent and Rex Mason both head back to the United States to attend Simon Stagg’s funeral, which Clark covers in The Daily Planet.
Bruce calls Clark, revealing that he’s been calling dozens of business magnates. Each one doesn’t sound like themselves, especially Oliver Queen, who would never have an interest in artificial intelligence. Clark then uses his x-ray vision to look at Stagg’s body, noting that it isn’t a human cadaver in the coffin.
Batman, Superman, Robin, and Metamorpho convene together, and Batman lays out that all of the replaced billionaires’ bank accounts have been funneled into an offshore account. He believes that they’re dealing with Profess Anthony Ivo, creator of Amazo.
In the Allegheny Mountains, Superman and Robin bust into an android lab, where they find a partially completed duplicate of Bruce Wayne. Suddenly, a bunch of Ivo’s machines turn on, threatening to kill Robin.
Meanwhile, Batman and Metamorpho travel to upstate New York in search of Dr. Will Magnus, a genius who invented the Metal Men and created the ability to give robots personalities. At the lab, Batman sees signs of a struggle and one missing Magnus. Something in a vat of burning chemicals cries out for help, and it must be the Metal Men.
Back in the mountains, Superman and Robin bear witness to Ivo’s greatest creation — a doppelganger that can mimic the powers of Metamorpho and so much more!
Analysis: Batman/Superman: World’s Finest #14 rushes the murder mystery set up in the previous issue to its penultimate conclusion. The art from Dan Mora and Tamra Bonvillain, as always, make this series shine. Each panel is gorgeous and eye-catching, and the two can make even the smallest moments sparkle. A back-and-forth between Batman in the Batcave and Superman in the Fortress of Solitude can feel poetic and like a wonderful visual treat. A funeral with Clark Kent’s newspaper article overlaid can strike a somber yet reminiscent lightness of the Silver Age with ease.
The art is simply wonderful, but this second part of what is presumably now a three-part story felt like an exposition dump. In the final few pages of the last issue, Bruce Wayne was just accused of murder. In this issue, Bruce is “sidelined,” but it doesn’t come across that way to the reader. Rather, he hangs around the Batcave and Wayne Manor for a bit, then suits up when the team of heroes quickly realizes that billionaires are being replaced by android duplicates. This wouldn’t be a dealbreaker if the story hinged on something other than the plot. However, unlike the last issue, which balanced itself on the intriguing plot and the difference between Superman and Batman’s approaches to those accused of a crime, this follow-up is solely plot-driven.
As a result, the rushed, low-stakes discovery of the true culprit is a little lackluster. If it weren’t for the awe-inspiring art from Mora and Bonvillain, this issue would thud under the weight of its rushed investigation. There are no real trials. No queries or problems that take longer than two seconds to solve. Bruce, despite being accused of murder, is just hanging around until Superman lets him don the cape and cowl again. At one point, Superman and Batman even make a joke about how quickly Wayne was out on bail. It really kills the excitement of what should be an engaging team, and compared to the rest of this incredible series from writer Mark Waid and team, Batman/Superman: World’s Finest #14 comes up short.
Editor’s Note: DC Comics provided TBU with a copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Comixology through Amazon or a physical copy of the title through Things From Another World.
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Overview: In Catwoman #54, Selina and her gang work on their escape plan, hoping to navigate the dangers of the Queen of Hearts and Punchline on her way to confront the mob again.
Synopsis (spoilers ahead): Catwoman #54 begins in Gotham County Jail, as Selina confronts the Queen of Hearts, Regina, who was put in jail because of Eiko as Catwoman. Regina demands Catwoman’s identity, and Selina refuses after a fight. She plans with one of her girls, Marquise, to escape while the fight the Royal Flush Gang girls plan rages.
Tomcat (Dario Tomasso) and Catwoman (Eiko) fight the leftovers of the Royal Flush Gang, cleaning up Alleytown in preparation for Selina’s return.
Marquise fakes suicide using her powers as part of her own plan to use the morgue to escape, but accidentally lets in Punchline instead, hunting for Catwoman as well as Regina. Marquise runs to warn Selina, who reveals her identity as Catwoman, as they climb into the ceiling. In the yard, Marquise leads the girls to fight the Flushes, while on the rooftops, Catwoman attacks Punchline. Though Punchline taunts her, Catwoman beats her easily and invites her to join her new Society of Thieves. Marquise convinces Regina to join their breakout, and they all fight past the guards.
Elsewhere, the Four Families meet with Black Mask, and Catwoman arrives.
Analysis: As solicitations and advertising ramps up for the Batman vs Catwoman crossover event building in the aftermath of Knight Terrors this fall, Tini Howard wraps up the many threads she’s put in place through the Catwoman series and the Punchline miniseries she co-wrote with her husband Blake.
If you’ve been reading both titles, it might be nice to see all the pieces fall into place, except for the fact that none of the pieces fit together or make sense. The conclusion of the Punchline series (more of an abrupt stop, as it’s clear that the series was nothing more than six extra issues of Catwoman anyway) didn’t leave the Queen of Hearts or Punchline in a place where either their “plan” to attack Catwoman or their agreement to work with Catwoman make any sense whatsoever. Punchline, in particular, poses no threat whatsoever, being easily fooled by Marquise and then beaten with no sweat by Catwoman.
Now, this is Catwoman’s book, but there’s absolutely no challenge that she faces in this book at all, leading to a sense that there’s nothing at stake at all. The concluding scene, supposedly threatening to kill Eiko because of her promise when she blew up her yacht to disguise her alliance with Catwoman, again has no stakes, as these mobsters have lost every single time they’ve gone up against Eiko and Selina. While Tomcat continues to be incredibly cringe and has a ridiculously lazy way of pushing implausible exposition, the character of Marquise does leave an interesting impression with her powers and relationship with Selina. All in all, more incoherent plotting and pointless action in Howard’s writing, with just enough potential to tease what she could do with a better editor or a better co-writer.
Series artist Nico Leon continues to provide serviceable artwork, with the gained confidence in linework to give us some bold, clean lines, especially when Selina reveals herself as Catwoman in the middle of the book. All in all, though, the book continues to be competent on the art side rather than exciting.
David Nakayama continues his series of main covers featuring Eiko with Catwoman #54, with the (dreadfully drab) Tomcat backing her up as she awkwardly wields a wakizashi with a bonsai tree next to her (which feels a tad bit stereotypical). Joshua Sway provides the first variant, a Catwoman lying on a canted red field, with dollar bills floating around her (and a foil variant of this same image rounding out the 1 in 50 incentive cover). Sweeney Boo, Howard’s collaborator on the Harley Quinn title, provides a fun Eiko stomping on the audience’s face variant, and Rian Gonzales pops over after finishing her lovely Batgirls watercolor incentive variants with a lovely Catwoman incentive variant, featuring her trademark rainbows against a Batsignal night sky. All of the covers except the foil variant feature the nicely designed Dawn of DC trade dress, a nice bit of unity with the line.
Editor’s Note: DC Comics provided TBU with a copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Comixology through Amazon or a physical copy of the title through Things From Another World.
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Overview: The final arc of Batgirls opens in Batgirls #17 with Steph and Cass relaxing and having fun, but they are violently interrupted by a terrifying sniper attack.
Synopsis (spoilers ahead): As Batgirls #17 begins, Grace O’Halloran, sporting her eyepatch, interviews Gotham district the Hill residents for the Aparo Park Jubilee but is frustrated that none of them are locals, muttering about gentrification and how no one gives the Batgirls credit for making the Hill safer. Steph, Cass, and Kyle Mizoguchi are out for the Jubilee, and Cass drags Steph off to dance. Their jubilant Jubileeing is tragically interrupted by a gunshot, and Steph herds the civilians into Mr. Dhaliwal’s bookshop for safety, then the Batgirls change and seek out the sniper. They find Grace’s cameraman shot by the sniper, and while Steph gives him CPR, Cass seeks out the gunman.
Later, Commissioner Montoya is briefed by Office Brooks, then talks to the Batgirls. Cass and Steph train intensely to catch the sniper. Steph reveals that after being shot (and briefly killed, see Batgirls #15) by her dad, her anxiety about catching the shooter is much stronger.
That night, as Grace has an alcoholic relapse in grief at her friend and cameraman’s critical condition, the Batgirls stakeout the rooftops, then decide to break up an illegal gun sale by the Hill’s Angels (to an undercover, drunk, and frightened Grace). Steph tries to get them to go home in a combined show of force (batarang disarms) and reason (appealing to their better nature), but the frightened gang isn’t backing down. Things look ugly, but suddenly, the sniper attacks again. Cass saves a gang member, but they fire back wildly. The Batgirls kick the gang into an empty grave and tie them up, as Oracle cuts the lights and helps them out as mission control. Steph runs as a distraction for the sniper as Cass runs towards the shooter. She makes it to the sniper’s nest but only finds three bullets and a note ominously saying, “One for each Batgirl.”
Analysis: In the first issue released after the news that the Batgirls series is ending at issue #19 (though the recent solicitation for the Knight Terrors: Nightwing two issue miniseries in July and August revealed that Cloonan and Conrad are writing that book and including the Batgirls, so potentially that could be counted as issues #20-21 of Batgirls. Hey, I’ll take what I can get!), we get a nicely constructed first of three issues pitting the Batgirls against a terrifying sniper threat. The tone seen in Batgirls #17 has finally settled on the kind of sweet melancholy that Cloonan and Conrad are most comfortable with and most skilled at evoking, in contrast with the slightly manic attempt at mimicking DC Super Hero Girls that slightly marred the first couple of arcs. The narration boxes have found a much better rhythm and amount – helping out for wordless scenes like the intensely passionate dance scene opening the story but not interfering in serious moments like the final scene of the Hill’s Angels and the sniper in the graveyard. Steph and Cass are clearly professionals by this point – managing crowds, facing terrifying threats, communicating well, and performing intense feats of derring-do, like Steph distracting a sniper while Cass races to attack the sniper’s nest.
Cloonan and Conrad mentioned in various locations that they wanted to show the impact of new people moving to a neighborhood, both positive and negative, and in their work with recurring figures like Grace O’Halloran and the Hill’s Angels gang, they’ve really gotten some interesting thoughts down. The Batgirls have made things safer and attracted new residents, but that makes locals like Grace and the Angels both happy and irritated. We don’t know for sure what the sniper’s motivations are (solicitations and covers indicate that classic Chuck Dixon villains Gunhawk and Gunbunny, as well as one of the Saints from the first arc – potentially indicating rewrites once the cancellation of the title came down), but there’s a chance given the ominous note that the Batgirls brought them down on The Hill, similar to Christopher Nolan’s idea of escalation from Batman Begins and The Dark Knight. All in all, Cloonan and Conrad are paying off a lot of threads they’ve set up throughout the series, and hopefully, it will wrap up nicely for our wonderful heroines.
Robbi Rodriguez, the occasional artist throughout the series, turns in one of his better books here. His art, enhanced nicely by Rico Renzi’s neon green and pink-dominated coloring, has a nice balance of loose energy and clean and appealing linework, unlike issues #7-8, where the looseness overwhelmed the appeal of the lines. Rodriguez enhances the emotions of each scene – the wistful passion of the opening party, Grace’s terror and grief, and the sheer overwhelming danger of the sniper scenes. Though not anywhere close to my favorite artist of the run, Rodriguez definitely has done excellent work on this issue and hopefully will keep it up for the next two.
Jorge Corona, though he only drew the first six issues of the series (plus the three ten-page short backups in Batman during Fear State), has drawn all nineteen main covers of this run – quite the achievement. And most of them are really good – including Batgirls #17, featuring Steph, Cass, and Babs stacked up in front of the Clocktower face, each with a unique expression nicely highlighting their characters. David Marquez, in the second of his four cover series for this run, digitally paints and colors a gorgeous Stephanie Brown against a bright gold background, walking towards the camera in a mid-length shot with body language exuding confidence. Interior artist Robbi Rodriguez provides the 1 in 25 incentive variant, with a visor-clad Steph crouching in front of a standing Cass wearing bat-ear headphones, a nice nod to the dance scene inside.
Editor’s Note: DC Comics provided TBU with a copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Comixology through Amazon or a physical copy of the title through Things From Another World.
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Overview: In Batman Incorporated #7, Professor Pyg is defeated by the team, but another villain lies beneath the surface.
Synopsis (spoilers ahead): Batman Incorporated #7 begins in Gotham, as Ghost-Maker and El Gaucho fight through Dollotrons and reach the freezer room where the villains are chained up (seen in the last issue). Ghost-Maker goes to the Riddler and asks how many lives the villains in the room have taken that were innocent—getting to the point of saying thousands. Mad Hatter yells “You can’t do this!” and is met with Ghost-Maker putting his sword to his belly but not stabbing him. He asks, if none of them walked out of there, how many lives would be saved in the future?
When El Gaucho tries to calm Ghost-Maker down he is told that he knows that he made that promise to Batman to not kill and now Batman isn’t there to stop him. El Gaucho then says that what he did was not easy, but he proved himself a good leader. El Gaucho even calls Ghost-Maker his friend. Nightwing, Batwoman, Robin, Batgirl, Signal, and Stephnie Brown all walk into the room, asking where the villains are.
Outside Ghost-Maker tells Nightwing that he could have ended the cat-and-mouse game that the Bat-Family plays, but he didn’t. That means any damage to the city in the future falls on the lap of the Bat-Family.
Meanwhile, Professor Pyg tries to kill the kids who stole “Mother,” and before he does, Red Raven kicks Pyg. Clownhunter grabs the kids and takes them outside while Jiro and Red Raven fight the Dollotrons. Then, Knight and Gray Wolf show up to help, and they run inside, fighting with Red Raven and Jiro.
Clownhunter then tells the boys to go back to Bludhaven, where people who care about them are. Clownhunter then goes inside to take down all of the Dollotrons. Professor Pyg gets the upper hand and grabs Clownhunter holding a knife to his throat. Then he orders the Dollotrons to get “Mother.” Red Raven grabs a chainsaw from the floor and threatens to cut “Mother,” and then Pyg surrenders and lets Clownhunter go.
Clownhunter, without his suit and mask, goes to the park in Bludhaven and meets Ava again, but she doesn’t recognize him. But he also sees the two boys are there and are staying out of trouble.
Later on Ghost-Makers ship, Ghost-Maker says that Clownhunter’s work helped lead the team to Professor Pyg and that it couldn’t have happened without him. When Clownhunter leaves, he closes the door, and we see news reports of crimes of the villains that the Bat-Family “put away for good.” Then Ghost-Maker takes off his mask, and we see the anger on his face as the reports are read.
Red Raven and his father talk about whether the mission was smooth. Red Raven said he won’t visit him for a while as he is traveling to Shanghai. His father says that he understands. When he hangs up, someone asks if his son (Red Raven) is coming, and before Man-of Bats responds, he gets shot up by Dusty Bronco.
Analysis: Batman Incorporated #7 this month felt shorter due to the number of pages that focused on Clownhunter. While it seems that this short two-issue arc was just a quick story moving forward a potential conflict between the Batman Inc team and the Bat-Family, there wasn’t much else that happened. It was good to see Ghost-Maker’s face and see the anger that he has for the Bat-Family, but I’m left wondering how long until the story threads get picked up.
Dusty Bronco is introduced, and I’m interested to see what they do with the character. It’s an odd way to start this conflict as the Red Raven stuff with his father has been focused on very little. But with the issue’s cliffhanger, it seems that it could be focused on more. Though the fact that Red Raven is supposed to be heading to Shangai puts a wrench into moving that story forward right away.
Finally, I am hoping to see more Ghost-Maker, and the issues he is having with the Bat-Family explored more. This was previously hinted at when he worked alongside Batman, but it seemed to be resolved with the no-killing rule. The fact that he is backsliding into believing that killing is a better option, means not only a conflict with the Bat-Family could be in the future, but whether or not some of his teammates will agree with his choices leads to more possible conflicts.
Editor’s Note: DC Comics provided TBU with a copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Comixology through Amazon or a physical copy of the title through Things From Another World.
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Overview: Joker and his crew continue to wreak havoc throughout the city of L.A. while Manhunter chases after them, intent to stop things by any means necessary in The Joker: The Man Who Stopped Laughing #7.
Editor’s Note: Due to the anthology nature of this collection, we will feature a synopsis and analysis for each story rather than breaking up the synopsis and analysis. Spoilers are sure to be revealed.
Story #1: “The Joker: The Man Who Stopped Laughing ” Part 7 by writer Matthew Rosenberg and artist Carmine Di Giandomenico
Synopsis: As The Joker: The Man Who Stopped Laughing #7 begins in Sherman Oaks, LA, an AA meeting has several people in attendance, one of whom is Kate Spencer, otherwise known as Manhunter. Things have been hard for her recently due to being a late-night superhero (although this she doesn’t mention out loud), and alcohol is being used to deal with it, and sadly her son is paying the price. Trying to balance being a good mother for her child while also balancing the urge to be a superhero is hard and—
Her thoughts are interrupted by a groundbreaking boom, and an explosion can be seen in the distance. Grabbing her coat, Kate disappears.
A short time later, the Joker and Manhunter trade blows in front of a crowd of onlookers and tourists who believe the fight is staged. A spray of Joker gas to the face and Manhunter is down for the count while the Joker brings forth a civilian as a volunteer in his next act, which ends quickly with a bullet into the man’s face. The Joker wants some respect, and apparently, shooting people until their well and truly afraid of him is his best recourse to get some.
Shortly after, the Joker’s henchman, Waffles, arrives in a police car he’s obtained, and they depart, screeching down the streets of LA and taking out anything (helicopters included) that get in their way. The only thing that derails them is the temptation of In-N-Out before the flight, so they veer off to make a quick pit stop.
Manhunter suddenly comes awake and wastes no time stealing (borrowing) someone’s motorcycle to chase after the Joker.
In Gotham Central, an imprisoned Jason Todd is pulled to his feet; it’s time to move him to Blackgate so he can no longer be called a flight risk.
22,000 feet over LA, a passenger aboard the plane decides that it’s absolutely ridiculous that the plane can’t land in LA due to a curfew instated by law enforcement after the Joker’s bomb detonated. And so he parachutes off the plane, heading down towards the city of angels and his target: the Joker.
On the road, the Joker and his henchmen are not at all impressed with the quality of food (the fries are no good) or the heavy LA traffic that isn’t thinning out. However, it looks like some people are able to get through with more ease than others…Manhunter expertly weaves her way through the stopped cars, gunning for the Joker. Strongarming their way onto the shoulder, the Joker peels down the freeway heedless of the cars he hits in the process. The chase continues, neither giving up ground until Manhunter manages to stop the car (or rather cause it to flip several times over before essentially exploding) by the LA River. She doesn’t intend to save the Joker; she intends to drown him.
Meanwhile, under Gotham, the ‘other’ Joker slowly regains consciousness, nursed back to health by Solomon Grundy. The Joker asks Grundy why he chose to save him, to which he responds that they’re both the same, Grundy and the Joker; they’re both dead.
Analysis: It’s essentially a high-speed car chase in The Joker: The Man Who Stopped Laughing #7, worthy of a series of montages that could fit into a Fast & Furious film, just without the family-focused vibe. Kate Spencer’s life hasn’t been easy lately; acting as a vigilante has taken a toll on not only herself but her family as well. Drinking has become a recourse to deal with it all; however, the effect it’s causing on her own self-esteem and on her son’s life has only been negative and detrimental, so she’s sought out help to manage it.
Group therapy in comic books has been recently portrayed within the world of superheroes and stands as a reasonable and healthy method of addressing mental health issues. The scene helped add to the realism of the world; clearly, life is hard enough as a regular civilian, and the added issues and witnessed depravity the vigilantes encounter would only add an increased layer of trauma to deal with.
Mid-way through The Joker: The Man Who Stopped Laughing #7, in an airplane high above the crazed city of LA, a man parachutes out the emergency exit; he has no intentions to wait and obey the enforced curfew and isn’t about to sit by while the plane is redirected to land in San Diego. While the man’s identity isn’t stated, the mask of Killer Moth can be seen whipping past in the wind post the man’s exit. Why this is the case and Killer Month’s intentions in LA both very likely point straight back to the Joker. Is this for the good of the world? That is yet to be seen.
From here, it’s the classic story of the Joker as one man (and with two henchmen) manages to evade all law enforcement, blow up a helicopter, escape through traffic, drive their car off a bridge, and still come out (somewhat) unscathed, despite the car flipping hood over bumper multiple times. The Joker’s luck and immunity to automobile accidents might have just run out, however, and Kate Spencer doesn’t call herself ‘Manhunter’ for nothing.
Over in Gotham City, things are afoot with Jason Todd and the other Joker, who has now regained consciousness and full functionality, it seems. The liquid administered to the Joker by Solomon Grundy is a suspicious shade of green, so it doesn’t seem too unlikely for the man to make a full recovery. Lazarus pits and resin, and all other forms are apparently quite accessible throughout Gotham, it appears.
Story #2: “Joker for President” by writer Ryan Cady and Matthew Rosenberg and artist Will Robson
Synopsis: It’s apparently time for a career change for the Clown Prince of Crime. Running for candidacy as the president of the United States of America seems to be a reasonable step in the right direction. His latest whimsical antics only seem to bore people, and so he believes it’s time to do some serious good.
The Planet News, covering the story, announces this presidential campaign with the reasonable question of whether a mass-murdering criminal psychopath in circus makeup can really be elected as President of the United States. It sounds crazy, but people do love a redemption story.
Sitting in a darkly lit room, apparently with a rifle across his lap, Deathstroke takes in the news and slowly begins to clean his weapon.
Later, at a public hearing, the ‘Joker’ is shot, a bullet straight through the heart. Thankfully, however, thanks to Secret Service body doubles, the real Joker was kept safe and decides to kick his campaign into high gear; throwing out handfuls of cash to the people ought to do the trick.
As the presidential campaign continues, so do the assassination attempts thanks to Deathstroke, so much so that America has run out of clowns to act as body doubles! And so, a forced surrendering and suspending of his presidential campaign is required.
Well, it isn’t like the Joker was a fan of democracy anyways! It’s time to go somewhere that appreciates a royal candidate like the Joker. Seating himself on a throne as the ruler of Great Britain, the Joker cackles. God save the King!
Analysis: Some would say there isn’t much of a difference between a criminal and a politician, and so the Joker decides that that is an appropriate career change. The general populace doesn’t seem to think so, however, but it’s the rest of the criminal underworld who feel even more strongly about this decision than the regular law-abiding citizens.
Yet again, this secondary story in The Joker: The Man Who Stopped Laughing #7 is wacky and weird, but perhaps the best part of it all is Deathstroke’s severe desire to prevent the Joker from obtaining the presidency at all costs. His attempts to murder the Joker are thwarted only by the rather impressive security of the secret service, whose go-to method for keeping the Joker safe is to have a body double present at all and any campaign, inevitably ending in their miserable demise.
At first, it appears as though Deathstroke still comes out as the winner–after all, he successfully emptied all of Gotham of any clown look-alike to the point where the secret service no longer had any body double options– but all this truly served was to put the Joker in a different position of power with a political system that suited his fancy much more. Monarchy is where it’s at, according to the Crown Prince of Crime.
Editor’s Note: DC Comics provided TBU with a copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Comixology through Amazon or a physical copy of the title through Things From Another World.
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Overview: In Tim Drake: Robin #7, what is supposed to be a fun date for Bernard Dowd and his boyfriend Tim Drake becomes both a family and a criminal affair.
Synopsis (spoilers ahead): As Tim Drake: Robin #7 begins, Tim Drake is rushing to get ready. Bernard Dowd, his boyfriend, is waiting. The two have dinner reservations, but it’s perilous, as Firefly has been attacking restaurants. Bernard is not worried; after all, he has Tim with him. Bruce Wayne was able to get the reservations for Tim, Bernard, and Bernard’s parents on short notice. It’s revealed that Bernard’s parents could have gotten the reservations as well, but they are not as encouraging. Bernard is studying to be a chef, which is not what his parents want for him.
At the restaurant, Bernard is not happy. His parents have also arrived. Bernard’s mom is not approving of Tim, which is evident when she says that he brought his “little friend.” Tim excuses himself to the bathroom. After tense words between the two, Bernard’s mother tells her son that she wants him to come back; Bernard admits that he wants to also but is interrupted by an explosion. Firefly is attacking, and Robin quickly swings in to engage.
Bernard tries to get his parents out but is cut off by the fire. He grabs a tablecloth to cover them. Robin tries to find out who Firefly is working with. While this is going on, the Dowds start to argue. Mr. Dowd says that everything has to be about Bernard. Then he says the worst thing possible to the shock of Mrs. Dowd. Mr. Dowd lashes out that it would have been better if Bernard had never been born. Bernard exits the restaurant by himself, but he does not want to be alone.
Soon, Tim steps out and embraces his boyfriend. Bernard shares the interaction with his parents. Bernard mentions it is like his worst fears coming to life. This sparks a memory in Tim, and he races back to the restaurant, saying he forgot his sweater. Bernard follows, but his parents are still in the restaurant. Through a window, Bernard sees Robin trapped in a fire cage. But there is someone else, Phobia. She is the brains of this operation, feeding off of the chaos of the trapped patrons.
Bernard sneaks in and discovers his parents’ worst nightmare, and it is not him. They are arguing in the middle of the inferno about getting a divorce. Just then, Firefly and Phobia find Bernard and grab him in front of Robin. Robin escapes and takes out both Firefly and Phobia. After putting out the fire, Robin leaves them for the police.
Afterward, Tim and Bernard walk home. Tim asks if Bernard is safe, and Bernard tells him that he is always safe with him. The two share a touching moment, and then Bernard asks him if he got his sweater. Tim says that he forgot that he did not have one with him, and Bernard reveals to the reader that he knows that Tim Drake is Robin. He, however, will not let Tim know that he knows until Tim is ready to reveal that information. Bernard gives Tim a necklace with his initial. That way, both Robin and Tim can keep him close.
Analysis: The art of this story by Serg Acuna is fantastic. The character designs are great. Bernard is drawn as a masculine young man along with Tim Drake. There are no feminine features highlighted, and the clothing style of the two characters are also masculine. Tim could be drawn as a little too young but not overly youthful as he has been depicted in the past. I look forward to this artist staying on the book.
Story-wise, the focus is not on Tim but on Bernard. Bernard actually appears more than Tim or Robin in this story. We get insight into the Dowd family and their fears. They really are not concerned about Bernard but themselves. It is a little ironic since Mr. Dowd calls Bernard selfish when the two of them are the selfish ones, as shown in their argument in the restaurant. On a hopeful note, the story concludes with Mrs. Dowd texting Bernard asking him to come home. It’s a sweet finish to the story that tries to dig deep into the complexities of what’s deeper beneath the surface when it comes to fear.
Editor’s Note: DC Comics provided TBU with a copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Comixology through Amazon or a physical copy of the title through Things From Another World.
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Overview: In Batman #134, Batman finally meets Red Mask face-to-face, and now he must stop a plot that threatens to destroy the multiverse.
Editor’s Note: Due to the anthology nature of this collection, we will feature a synopsis and analysis for each story, rather than breaking up the synopsis and analysis. Spoilers are sure to be revealed.
Story #1: “The Bat-Man of Gotham” Part 4 by writer Chip Zdarsky and artist Mike Hawthorne
Synopsis: Batman #134 begins in the cavernous abyss beneath Gotham City, as Selina Kyle leads Batman near where Red Mask runs his operation. After telling Batman that Red Mask is five miles down into the subterranean city, Batman assumes Selina isn’t coming with him. When she asks how he knows this, he reminds her that he knows her from another world and knows that she can do good for Gotham. He tells her to help people, then descends into the madness below.
The Arkham Asylum beneath Gotham is huge. Batman passes Lex Luthor in a cell, as well as The Flash, who is undergoing some sort of break from reality. Batman concludes that Red Mask must be experimenting with the multiverse. Before he can finish his thought, Red Mask greets the Caped Crusader, unmasking and revealing himself to be Darwin Halliday, this world’s Joker.
When Batman asks if this is about the multiverse, Darwin admits that it is. He tells a story of how he spent his youth building up a pharmaceutical company, always tinkering and growing and expanding. When a chemical accident infected him, he saw himself as he should be out in the multiverse. “There are threads through the multiverse that connect us all to different versions of ourselves, and I saw who I was meant to be. Elemental. Uninhibited,” Darwin says.
Darwin locks Batman behind a force field. He tells Batman that he’s been bringing as many people from the multiversal as possible to his Arkham Caves, so he can get all the multiversal energy he can. As Darwin runs off, Batman uses an explosive device to free himself, then prioritizes shutting off the Crane Brain, which has been replaced with multiversal poison.
Batman calls Jewel and Selina, telling Jewel to get as many people to Athena Tower as possible. It’ll be safe from the gas. He also tells Selina that he believes in her and that she’s the best.
Just then, Ghost-Maker arrives, and like all of the other associates of Halliday in this world, “Ghost-Breaker” is also juiced up on venom. Knowing that he can’t take Ghost-Maker in a fight, Batman leaps past his frenemy only to get stabbed in the back by a katana. Batman removes the sword and prepares to duel “Ghost-Breaker,” using his knowledge of past fights to guide him.
The two plummet further below, where “Ghost-Breaker” releases some convicts to fight Batman. One of them is a brainwashed Superman. As Superman prepares to blast Batman with heat vision, Batman uses a thunderous voice to scare Superman away.
Outside, Jewel and Selina lead people to Athena Tower. Inside the tower, Alfred calls Leslie Thompkins, who is at her clinic trying to save people infected with multiversal poison.
Beneath Gotham, Batman makes it to the poison supply only to find Ghost-Maker waiting. The two spar and Batman uses his advantage of knowing Ghost-Maker’s ego to trip the venom-powered rogue up. Batman succeeds in stopping the release of the gas, but above Gotham, Red Mask has a backup plan. He orders the release of Leatherwings, an army of gas-toting Man-Bat creatures who descend upon Gotham to finish the job.
Analysis: In Batman #134, Batman’s suspicion in the last issue is confirmed. Darwin Halliday, this Elseworlds Gotham’s Joker, is also Red Mask and the mastermind behind everything wrong in this city. Somehow, Halliday has been locking up heroes and villains who stand in his way, as well as experimenting with the multiverse on victims drawn to this world. For reasons not very well explained, Halliday is gassing Gotham with multiversal poison, and only Batman can leap into action and stop the rogue.
Batman #134 is an action-heavy issue that primarily features a battle between Batman and this world’s Ghost-Maker (who goes by “Ghost-Breaker”). The battle scenes are fun, and Mike Hawthorne’s pencils, paired with Tomeu Morey’s colors, are exciting. What works well in this issue is the combat paired with Batman’s inner monologue. Chip Zdarsky and the art team at fleshing out a fully realized Batman that balances the analytical detective and the expert martial artist well.
The overarching narrative suffers, but there are some hints that things could get exciting in the next issue or two. One idea is this concept of “threads” that Darwin Halliday yammers about. After suffering a chemical accident, Halliday sees who he is meant to be across the multiverse, and he’s been working to recreate himself in that image. The how’s and why’s of his plan involve multiversal energy in a very “comic book” explanation that also serves as a means of bringing Batman back to his own world. However, if this idea of “threads” is congruent across all characters, it brings up some interesting ideas.
For starters, does this mean that there’s never a universe where Joker can be a good person? Secondly, will these “threads” serve as a means to bring Alfred Pennyworth back, since he’s been hanging out in the background of this Elseworlds tale the entire time? Third, will the climax of this storyline somehow reshape the Batman universe and have some sort of greater effect on the Dawn of DC alignment currently happening with comic titles?
Another idea that’s been playing out in the background of this storyline has been Bruce Wayne’s relationship with this universe’s Selina Kyle. In each issue, he’s constantly reminded himself that it’s not his Selina, and in Batman #134, he tells her that he believes in her and knows she can help people. Batman is clearly trying to get Selina to be her best self, but the repetition might be teasing at a possible reunion between Batman and Catwoman once he returns to his world. The fact that he can’t get her out of his head is telling, and it would be a pity to leave this obsession on the cutting room floor for Batman comics going forward.
Going back to Alfred, readers have seen little of him in this storyline. However, what has been shown of Alfred is a man finding himself in the middle of an emotional tug-of-war. Seeing Bruce rekindled Alfred’s fatherly love for the man he raised. At the same time, Dr. Leslie Thompkins’ dedication to Alfred has been toying with his heart. He loves her, but he clearly is a man who is missing her, sidelined for the greater good. Not only could this push him away, but it goes back to this notion of threads that Halliday was highlighting. Much like his relationship with Bruce in other universes, in this one, Alfred is sidelined for the greater good. Instead of Batman running out in the middle of the night, leaving Alfred at Wayne Manor, it’s Dr. Thompkins.
All in all, Batman #134 is an interesting issue that, while it’s not the most exciting read, certainly has ideas. Hopefully, readers will get some more answers soon, and hopefully, the creative team will run with these interesting concepts and story “threads.”
Story #2: “The Toy Box” Part 4 by writer Chip Zdarsky and artist Miguel Mendonca
Synopsis: Back in the main Gotham City, Superman, dressed as Batman, keeps up appearances in Gotham. He stops Killer Moth, then heads back to the rooftops to meet with Robin (Tim Drake). When asked if he can help, Robin tells Superman that this world needs him here and that there are spare Robins, so Tim is free to descend into the multiverse.
Back at the hideout of Mr. Terrific and Toyman, Robin checks in on their progress. Toyman was able to follow a multiversal signature and locate where Batman might be, and Mr. Terrific upgraded Robin’s special suit. Robin leaps back into the bleed, traveling through the multiverse.
His mind focuses on his mother, and Robin is transported to her in another world. He spends a moment with her, telling her about his life and his mother and father in his world. The two bond, and then Robin heads back into the bleed to find Batman.
Analysis: The tender moment between Tim Drake and his mom is nice, but this backup issue feels like a filler issue. Instead of finally finding Batman, Tim is off to yet another universe. The moment of the heart is weakened by a clear decision to delay Robin’s reunion with Batman.
Editor’s Note: DC Comics provided TBU with a copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Comixology through Amazon or a physical copy of the title through Things From Another World.
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Overview: Set in the 1920s, Batman: The Doom That Came to Gotham is an Elseworlds tale based on the comic of the same name, which sees Batman face down an ancient evil while confronting that his world is not all science and logic but a world dominated by magic and ancient cults.
Synopsis (spoilers ahead): The film opens with Bruce Wayne, along with Alfred, Dick Grayson, Sanjay Tawde (Jason Todd), and Kai Lin Cain (Cassandra Cain), on a journey looking for Professor Cobblepot’s lost ship. Bruce comes across Grendon (Mr. Freeze), who warns him of an ancient evil. Bruce captures Grendon and decides to return to Gotham after a 20-year absence.
Sanjay has to stay and watch Grendon on the ship while Bruce, Dick, and Kai Lin are invited to visit Oliver Queen. Before going to see Oliver, Bruce is visited by Jason Blood, aka Etrigan the Demon, who warns him of what he must do to overcome the doom that will soon visit Gotham and that Bruce Wayne must die and become himself. Bruce does not buy it because he is a man of science and does not believe in these myths.
While at Oliver’s, Bruce, Dick, and Kai Lin meet Harvey Dent, who is preparing to be sworn in as mayor very soon. Bruce leaves to go investigate the recently deceased Kirk Langstrom’s lab as Batman and discovers his secret journals. Batman reads them and discovers that Langstrom was attempting to become a Man-Bat before he died, and he and Cobblepot are in possession of a secret journal. Talia al Ghul is following Batman as he is tracking this journal.
Batman tries to stop Talia from getting the book, but she unleashes a fire monster on Batman. They battle it out, but Batman is overpowered. Etrigan returns and sacrifices himself because Batman is the only one that can stop what is coming. Batman tries to stop Talia one last time, but she has the aid of a lizard monster (who I assume is this Elseworlds version of Killer Croc). Batman is able to escape the lizard monster, and Talia plans to use the book to resurrect her father, Ra’s al Ghul.
While this is happening, Grendon kills Sanjay, and Dick, Oliver, and Kai Lin go to investigate. Dick sees Sanjay and the whole ship frozen, and the lizard monster kills Dick and kidnaps Grendon because Talia needs him because he is the “key” to her plan.
Talia resurrects her father. Batman is able to track them to a sewer underneath the city but is unable to stop them from bringing about an invasion of lizards and snakes to invade Gotham. Batman escapes but starts to see visions of the night his parents were killed, and his mind is slowly starting to realize that the world is not all black and white. Alfred wonders if he should call Arkham because Bruce has gone mad.
Ra’s and Talia kill Grendon, and from him comes a seed that becomes Poison Ivy (for real) and plans to use her to infect Harvey Dent because he is the key. She scratches Harvey, and he becomes infected with a magical rash on one side of his body. Kai Lin learns from Oliver that his father was over 300 years old and was the killer of Bruce’s parents. Oliver knows of the Doom that is coming. Poison Ivy attacks him, and he is able to kill her. As he dies, Oliver gives Batman the tools he needs to overcome the ancient evil.
Batman then visits Barbara Gordon, who is housed in Arkham, because he claims she can talk to ghosts. She is able to grant Batman the ability to visit his father in the afterlife. There Bruce learns that Thomas Wayne is hundreds of years old and was one of the first settlers in Gotham. Thomas, Oliver’s dad, Cobblepot, and Kirk Langstrom’s dad conduct a ritual to save Gotham and unleash this great evil that haunts Gotham. Knowing they had unleashed this curse had caused Langstrom to commit suicide, Oswald to leave, and Queen to kill Thomas. Thomas lets Bruce know that in order to stop this, he must become what he truly is.
Batman conducts the ritual that brings him face-to-face with Ra’s and Talia. Batman defeats Talia but is unable to stop Ra’s and he turns into a monster and overpowers Batman as the Doom is prepared to enter a doorway to Gotham. Batman then turns into an actual giant bat. Batman then defeats Ra’s and brings Etrigan back to stop the Doom from invading Gotham. The Doom is essentially a giant squid monster. In order to fully stop it, however, Gotham must burn.
Months later, after Gotham burns and is rebuilt by the Bruce Wayne Foundation, Kai Lin gives a speech that Gotham is home thanks to Bruce and wants to make Gotham the city it was always meant to be. The movie ends with Batman resting in the Gotham Clock Tower until the city needs him again.
Analysis: So I never read the comic that this movie is based on, so I cannot speak to how accurate the movie is to the source material. But this movie is just not my sensibility when it comes to Batman and the stories that I like. Magic and cults and strange monsters and all that was happening here is just not my cup of tea when it comes to Batman.
This movie did have some cool parts. I really like the first reveal of Batman, and I would totally watch a movie or a series of 1920s Batman with the old gadgets. But once it started to go deep into the ancient cults and magic, is where it kind of lost me.
David Giuntoli returns as Batman, who previously voiced the character in Batman: Soul of the Dragon, and does a great job again. I would like to see him play Batman in a more traditional Batman story. I also thought the animation was great and I like how DC is starting to tell Elseworld’s tales. If DC Animated Films became all Elseworlds tales, I wouldn’t really complain.
Editor’s Note: Batman: The Doom That Came to Gotham is now available on Digital HD, Blu-ray, and 4K Ultra HD. You can order your copy and help support TBU in the process by heading over to Amazon.
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Spring has sprung, and with time passing since our last review, that means Ian and Steph are back to review the latest chapters of Batman: Wayne Family Adventures! Let’s find out all about the latest batch with our review of Batman: Wayne Family Adventures #76-78.
Steph: Hi Ian! Man, it feels like it’s been forever since we’ve talked about Batman: Wayne Family Adventures, and now we have #76-78 released!
Ian: The time does sometimes drag! We should invest in some Speed Force!
Steph: Well, let’s get right into it. We left off on an emotional cliffhanger of sorts, exploring Duke’s insecurities as the only Bat-Family member with powers. What did you think of Ep. 76 – Worth (Part 2)? It kind of established his status quo in this universe. I found it helpful if nothing else.
Ian: I thought it was a very nice, sincere conversation that highlighted some really nice aspects of Duke and Luke’s characters – but I felt it fell a bit flat, as we didn’t see any really plot-related overcoming aspects as we have in similar stories in WFA. I don’t think it’s bad, but it does feel like one of the weaker two-part character studies.
Steph: From an art standpoint, I was a little disappointed that we got our beloved Starbite but only drew two characters, mostly sitting, though there were flashbacks to action sequences. I agree this one was a little weaker, but honestly, I felt it was still relatable to people. Our worth doesn’t come from what others think of us, even Batman.
Ian: Definitely true! I think the message is fine, but it doesn’t quite connect as strongly to Duke specifically, instead of any other Bat-Family member. I did very much appreciate the bits of Duke’s comic history that were put in there, and the pictures of him looking over the city were magnificent (shoutout to Suzi Blake for backgrounds, for sure!)
Steph: Now for something fun, Ep. 77 – Suit Up! I knew the moment Jason piped up what Bat-suit Bruce would end up with.
Ian: Really? I was expecting Zur-en-Arr or something really bizarre, but Rainbow Batman is pretty incredible.
Steph: I think one of the first books I read, when I started comics was Trinity Vol 1 Better Together, where they show Rainbow Batman, so I immediately had to find out more, so it has a cherished place in my heart. We did get to see Zur-en-Arr. Did you recognize any of the other options? I want to know more about the green, yellow, striped, and pink ones.
Ian: I saw a big Kelly Jones Ears Batman suit! But honestly, I didn’t recognize most of them! Did you? Azrael, I think was there.
Steph: I didn’t recognize many of them. I mean, I’ve probably seen some of them in passing, like thumbnails for videos or articles about “Crazy stuff Batman has done in the past 80 years” or whatever.
Ian: I am so curious if the writing and art team pulled up those lists and decided which ones to feature using that! Sounds like a whole lot of fun!
Steph: It does.
Ian: What did you think of the choice of Dick, Jason, and Kate as the conspirators?
Steph: Jason made sense, Dick made sense if he knew Bruce was okay and doing this wouldn’t harm him, and Kate is just a surprise…but as the “good girl,” I know it can be fun to take people by surprise by doing something unexpected every once in a while. What did you think? I feel like Steph might have been a better choice than Dick.
Ian: My bigger surprise was Kate because she hasn’t really had that many connections in WFA (or even in the comics). She’s always kind of a standoffish character, both structurally and personality-wise (not a negative at all – I’m a bit Kate Kane fan!) I think it’s really fun seeing her tease her cousin, and it definitely fits with what we see in James Tynion’s Detective Comics run!
Steph: This one was fun. Do you know the story of the rainbow suit? Oh, I forgot that he wore brightly colored suits for a while, in addition to the rainbow one.
Ian: I feel like I knew the story at one point but don’t remember it anymore. I think Grant Morrison talked about it as part of the Black Casebook that Batman RIP drew upon. Kate and Jason both had the Pink and Green versions of those batsuits that inspired Dick to seek out the rainbow one! What’d you think of Jim taking a “bad outfit” work shot? I thought it was pretty funny, especially after all the Robins put the Commissioner through!
Steph: For sure. Not every day Gordon gets a chance like that. But, anyway, Batman was protecting Robin’s identity because he had hurt his arm, so Dick and Robin were wearing casts, and so to distract people from noticing that Robin was hurt, he wore crazy colors. Course…Robin probably should have stayed home, but whatevs.
Ian: Gotta love the logic of the Ancient Comics! We must be WACKY!
Steph: Now, I am criminally behind on Red Hood and the Outlaws Webtoon, but I loved this cross-over: Ep. 78 – Outlaws. Very much more light-hearted than the actual serious.
Ian: That is true! I also loved the crossover and seeing the normally much grittier Outlaws in Starbites polished style! Though I do remember back in the early episodes of Outlaws, there were lighthearted references to the rest of the Bat-Family! There has been a bit of fan grumbling about it because they don’t think the tones of the two comics mesh – what are your thoughts on that?
Steph: I think there needs to be something for everyone. I love that if WFA isn’t your jam, Outlaws is there for you. If you’re sick of the Bat-Family, there’s Vixen and Zatanna (Zatanna x John 4 Evah, btw). I’m glad they’re different.
Ian: I am glad they’re different, too – I also don’t mind the crossover, but some fans feel they should be separate universes
I say, “it’s comics.” But do you think it might be confusing to a fan who isn’t used to these kinds of crossovers?
Steph:…but then how will Alfred serve tea and cookies to Biz and Artemis?
Ian: That’s what I say! How can you not cherish these moments?
Steph: It’s not like it was necessary for fans to read this episode to understand anything. From what I could tell, it was a throwaway episode in the Outlaws universe and a delightful nugget of driving Jason nuts in the WFA universe. It’s fine. People need to chill.
Ian: Chill is sadly rarer than the rarest comics variant in comics fandom! Ah well. I loved this crossover – the personalities and character designs were so appealing and fun.
Steph: Man…I think this is our first review not ending on a cliffhanger in a while! What do you want to see if future episodes?
Ian: I think I’d like to see some more unconventional groupings, like adding Batwoman to things. Maybe throwing Harper into a couple more episodes, and course, more Catwoman. But always STEPH!
Steph: I think I’d like to see a girl or guys night out. Or maybe both! Like they keep running into each other and stealing people from each other’s groups. That would be cute.
Ian: Those are great ideas!
Steph: Well, I’ll talk to you next time!
Ian:
Editor’s Note: You can find Batman: Wayne Family Adventures #76-78 and all other past chapters exclusively on the Webtoon platform. You can find all other reviews from the series here at The Batman Universe.
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Overview: As Oracle meets the Vigil, Batman and Batgirl start their more strategic campaign against the Orgham invasion of Gotham in Detective Comics #1070.
Editor’s Note: Due to the anthology nature of this collection, we will feature a synopsis and analysis for each story rather than breaking up the synopsis and analysis. Spoilers are sure to be revealed.
Story #1: “Gotham Nocturne Act 1” Part 5 by writer Ram V and artist Stefano Raffaele
Synopsis: As Detective Comics #1070 begins, the Orgham troops unload fully automatic rifle fire on Solomon Grundy as he attacks them in the sewers. They attach an azmer demon to him, but he literally punches it out of himself, and in desperation, the troops hurl grenades. As the smoke clears, Cheshire Cat (Lian Harper) teams up with Grundy to get out of the sewers, away from the Orgham azmer army program.
Bruce walks through the Wayne cemetery, pondering his next moves against the mysterious threats he faces, remembering his lost future with Selina (in Batman #50), and wondering if he’s made a mistake. Prince Arzen of the Orghams approaches him and says that the Orghams are looking at the Wayne land (since the Wayne family is no longer as financially dominant because of Joker War). Bruce says the land will never be for sale, and Arzen speaks of the death of his father, who went on a quest to save a city but failed and died, and speaks of history repeating itself. As Arzen leaves, Bruce calls Oracle (Barbara Gordon) and works with her and Batgirl (Cassandra Cain) to start developing a planned campaign against the threat to Gotham, which he suspects has to do with the Orghams.
In the Water District, Batman fights his way to Talia al Ghul’s door, and his former lover tells him more of Prince Arzen’s family – and how her father, Ra’s al Ghul, killed Arzen’s father.
Meanwhile, in the Clock Tower, Barbara is approached by a mysterious vigilante calling himself Arclight, part of a four-person team (including Castle, Oracle’s counterpart, Dodge, and one more) called the Vigil, who are in Gotham watching the Orgham and the Bat-Family.
Analysis: Act 1 of Ram V’s opera completes part five with Detective Comics #1070, and a lot of information is dropped – perhaps information that should have been dropped a lot earlier. One can see the purpose of Ram V’s structure – to focus on Bruce Wayne/Batman’s experience of the invasion of his city, slowly learning more about it – but as I’ve mentioned in my discussions with Steph and Theo on the TBU Comic Podcast recently, I don’t feel the benefits of that structure are worth the tradeoffs of confusion and the sense that Batman is flailing and failing constantly. Though there have certainly been many times when Batman has felt similarly outmatched – the early 2000s, after No Man’s Land comes to mind, when Batman spends years being outmaneuvered by villain after villain in Bruce Wayne: Murderer/Fugitive, Hush, and War Games – outside of Hush (primarily for Jim Lee’s art and the chance to see many classic villains instead of the original characters and gangsters the early 2000s tended to focus on outside of that year), that period is not well remembered for a reason. I think that a Lord of the Rings movies style prologue, or even something similar to what happens here, with Talia giving Bruce additional lore (but not nearly enough, though the next issue may give us more), would have been a much stronger opening than the seemingly random fights and Barbatos visions we’ve had up till now.
The revelation that Ra’s al Ghul murdered Prince Arzen’s father (though the family relationships of the Orghams, stretched over the same millennia that the al Ghul family’s relationships are stretched over, are still quite murky and confusing), gives some hints as to the direction this story will go. I can easily see the Orgham prince becoming consumed by vengeance in trying to destroy Talia, and Batman, driven both by justice and love, rescuing her and defeating the Orgham threat. Perhaps a bit predictable, and Ram V is a better craftsman to take quite such an easy path (at least, in my experience so far, though the Annual had a few frustratingly predictable pieces to its recreation of Gotham in the 1770s), but I can’t help but think that this family drama intertwined will prove crucial to the upcoming rising and falling battles.
Ram V works very well with artist Stefano Raffaele and colorist Adriano Lucas – one of the three artists who worked on the last issue. Raffaele has quite the task in front of him – the powerful Gruny battle opening the issue, the lyrical, lovely graveyard memories that trace Bruce’s personal journey from Tom King’s run to today, and the more exotic flashbacks to the Orgham tales of Arzen and Talia. Though much more clearly distinct from Ivan Reis and Rafael Albuquerque’s powerful pencils that set up this run, Raffaele’s style still fits quite well within the romanticized version of DC’s house style that Ram V has worked with his masterful artists to create. It does continue to be a bit unsettling that DC isn’t trying harder to secure a consistent art team for their highest-numbered book, though. The art is consistently really top-notch, but why can’t it be by the same artist?
Story #2: “Absolute” Part 2 by writer Simon Spurrier and artist Caspar Wijngaard
Synopsis: As Mr. Freeze cryo-freezes Dr. Mead (Two-Face’s therapist), and she hears the terrifying spiritual entity Earworm, his experiment fails, and he throws a tantrum. Believing Dr. Mead is dead, Freeze leaves as Earworm tells her that something is coming that she should fear. It’s the boy discovered by Gordon, calling himself Sorrow, who says he’s here to save her as she thaws.
Analysis: Si Spurrier and Caspar Wijngaard’s icy tale of Two-Face’s shrink continues in the middle part of three in Detective Comics #170. Oddly, after the cliffhanger reveals Earworm’s terrifying form to the literally freezing Dr. Mead, the new monster takes a back seat to Mr. Freeze and the boy Sorrow. The emotional pieces of the narrative are nicely handled by Spurrier and Wijngaard together, with a clean, appealing, dreaming style that is reminiscent of Marguerite Sauvage’s work, though a bit darker than Sauvage usually goes. This very much feels like a transitional piece of the story, with no major events happening, and it feels odd that a three-part story would need so much transition from part one to part three. The title of this backup story, “Absolute,” has a resonance with Mr. Freeze talking about Absolute Zero, which is ridiculous, as there’s no way that can be truly achieved in any real sense outside of laser-frozen atoms, certainly not in any kind of experiment in a sewer laboratory, but hey, this is comic book science – but does it have to be so blatantly silly?
Evan Cagle continues to provide the main cover to Detective Comics #1070, this time featuring Oracle inside Batman, a very nice reference to Batman finally forming a plan with his family to fight his foes, though it would be nice if Oracle’s part in the story were less of a prop to advertise a different comic book. Ivan Reis’s cardstock variant of Batman and Talia in a skull-decorated crypt with Grundy behind them plays well with the ideas in that part of the comic where Talia reveals the truth of the dead to Batman, as does Kelley Jones’s variant, featuring Batman walking on a skeleton and not so skeleton bodies with a lantern – also available as a 1 in 50 foil incentive variant. Seb McKinnon’s 1 in 25 incentive variant deploys a painted style with a huge Bat, Batman emerging from its demonic mouth over a ghostly ballet/wedding tableau. Lastly, Travis Moore pops in with a Shazam 2 movie promotion variant – quite nice, but as with most movie promotion variants, absolutely nothing to do with the comic itself (though it’s quite a good movie and recommended!)
Editor’s Note: DC Comics provided TBU with a copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Comixology through Amazon or a physical copy of the title through Things From Another World.
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Overview: In Batman: The Doom That Came to Gotham, Bruce Wayne battles Lovecraft-inspired monsters in a 1920s setting.
Editor’s Note: In anticipation of the release of the animated film of the same name, this review covers the inspiration for the film. This collected edition includes all three issues of the miniseries Batman: The Doom That Came To Gotham, which had its first issue released in November 2000 and the final issue released in January 2001. This review focuses on the story as a whole rather than the individual issues that made up the limited series.
Synopsis (spoilers ahead): Batman: The Doom That Came to Gotham is an Elseworlds story that takes us to a Lovecraftian 1920s-style universe. Our story begins in 1928 Antarctica, with Bruce Wayne twenty years into his expedition. He and his crew have just located the lost ship of Oswald Cobblepot, leader of another expedition crew doing research in the artic. The ship, including everyone on board, is completely frozen. Bruce heads out on his own. He sees someone in the distance, and thinking it’s Cobblepot, Bruce races to catch the man. Following him inside a cave, he discovers something gigantic behind a wall of ice. The man, not Cobblepot, looking as though he is frozen to the core, is attempting to break the ice around this mysterious thing. After a struggle, Bruce knocks out and pulls Mr. Grendon out of the cave. Bruce calls to his ship for some explosives; assuming Cobblepot was lost to the monster in the cave, they blow it up.
Cobblepot, naked with the penguins, watches as the cave blows.
Mr. Grendon truly is frozen. Dick and Jason attempt to thaw him out but quickly realize he has become rotten. He remains in the ship’s freezer while the boys build him a refrigerator suit, but he is not making the voyage alone.
Once they reach the harbor, Alfred immediately reminds Bruce of the reason he really left Gotham: the death of his parents. We jump to the past, where we see the death of the Waynes by knife. Young Bruce follows a phantom voice, one mirroring the same voice Mr. Grendon is hearing. The voice takes Bruce to an abandoned clock tower filled with bats. As Bruce releases them, the voice tells him to prepare for what is coming.
Jason mans the ship in the harbor, continuing his work on Mr. Grendon. Tim and Dick accompany Bruce back to Wayne Manor, where they are greeted by a chemical-filled body tied to a chair. Bruce also notices something reptilian about it as he whispers his name, Langstrom. Adding to the weirdness, a man calling himself Blood shows himself to explain to Bruce the only four things he is allowed to know. 1. Your homecoming has set something in motion. 2. To prevail in this, Bruce Wayne must die. 3. Beware, dust comes alive again. 4. To save Gotham City, you must tear out its heart. Blood then turns into Etrigan and jumps out of the window.
Tim and Bruce visit an old friend and big game hunter Oliver Queen to get the lay of the city. It’s revealed that Langstrom is the leading scientist in bat studies, and their other old friend, Harvey Dent, is running for mayor. This turns out to just be the beginning of the detective process. Bruce receives the location of Langstrom’s lab, and Batman is away.
Langstrom’s last written statement reveals that bats speak to him and tell him of horror coming for Gotham, and a book called the Testament of al Ghul is what opens the door for the horror to walk through to our world. The book is hidden in the library of Professor Crosby Manfurd. There is also a woman searching for the book as well. Batman knows he must get there first.
Batman calls Dick to check on Jason in the harbor as Manfurd is attacked. Talia al Guhl has won the race to the book and releases her own demon, Daitya, to cover her escape. Jason Blood only has one opportunity to intervene and help Batman and chooses this one. He turns into Etrigran, allowing Batman to pursue Talia and the book. Batman corners her and a lizard person henchman at gunpoint. He fires, but the monster is unphased and too fast. The first issue ends with Talia sparing Batman’s life despite the lizard man’s wishes. We cut to the ship in the harbor. Grendon whispers, “The thing is coming.”
Part two of Batman: The Doom That Came to Gotham begins back in the harbor. Whatever was causing Grendon to freeze has spread to the entire ship. Dick and Tim have arrived to check on Jason. Dick enters the ship alone and finds Jason frozen to death, but it’s also a trap. Grendon, now in full Mr. Freeze mode, and the lizard man are waiting for Dick.
Batman is chained deep below the city as he wakes to Talia in the starting stages of a ritual with the book. She is to bring her father, Ra’s al Ghul, back from the dead. He has whispered to her from beyond the grave to set everything that is coming to Gotham in motion. She starts by calling Daitya. He has defeated Etrigan and trapped him in a bottle. She then moves on to bring her father back. As he rises, Batman uses this opportunity to escape his chains, but he is too late. The Demon’s Head has risen and immediately sets a plague of reptiles on the city.
His next move involves Grendon. Ra’s gives a backstory on the Doom that is coming, known as the Lurker, and then uses Grendon as the key to release it. He sets the monster’s first target as the new mayor, Harvey Dent.
Batman, finally free of the attacking reptiles, is back top side as we cut to him as a child in the tower again. He follows a voice up the steps until he reaches its origin. He stands underneath a body hanging by its neck from the rafters. “Bruce, the thing is coming.” He is then picked up by a swarm of bats and flown through the air. They show the boy what is coming and make sure he knows that he is the only one who can stop it. It then cuts back to Batman standing in front of the same abandoned tower, “The end is near,” graffitied in huge letters.
The morning comes, and Tim finds Oliver Queen praying in a special room in the penthouse apartment. Dressed as a knight templar, Oliver tells Tim he is meant to kill this monster that is coming. He reveals ancient arrows with holy blood meant to kill the supernatural. As he speaks, vines start to creep in the window. Before Oliver can do anything, “you are not the one,” says a mysterious voice, and Oliver is gone. Batman bursts through the door just as Tim is about to be swallowed. Using a log from the fire, Batman jabs it into the monster, burning it and saving Tim just in time.
Batman confides in Tim. He tells him that he has known about this since childhood. Putting out his hand, he shows Tim that he is slowly turning into something better suited for battle. Tim recounts what Oliver had told him before the attack, giving the arrows to Batman.
This second chapter ends with the new mayor, Harvey Dent, at the doctor’s office dealing with a rash that has consumed one side of his body, a gift from Talia. Ra’s is in the depths of the sewers preparing for the final assault on Gotham.
The final part of Batman: The Doom That Came to Gotham opens in Mayor Dent’s apartment. The rash has fully spread and completely covers one-half of his body. Talia is there as well, assuring him that all his suffering will be worth it in the end. “Inside of you is the future history of man,” she tells him.
Bruce, Tim, and Alfred are attending the funerals of Jason and Dick. Bruce is deep in disguise as he is still turning into some sort of monster himself. They are flagged down by police chief Gordon who takes them to his daughter, Barbara. After an “injury,” she now sits in a wheelchair with the ability to speak to the dead. They have a message for Bruce. She tells him he has two beings standing with him; the man wrapped in bats thanks him for taking on this burden, and the fire man sets another meeting for later this evening.
Bruce meets Barbara at the Gotham courthouse later that night. In a rage of fire, Crosby Manfurd flies out of Barbara and starts reciting the origin story of the monster to Bruce. We learn that to make sure their settlement in the new world was a sure success, a Wayne, a Queen, and a Langstrom, along with Manfurd, enlisted the devil to help them. That devil was Ludwig Prinn. Prinn led the men to the city below Gotham, created by the Reptile men that once “dominated” the earth. The five used the book of Guhl to perform ceremonies, and in the end, out of shame, the four men beat Prinn to death and buried the city, leaving Gotham to prosper on lies. Prinn, over time slowly turned into a Reptile man himself. He is the one who killed Jason on the boat and left Langstrom in Wayne manor. Slowly over time, the rest of the men started to hear the whispers of the Lurker, the monster from Antarctica, and it drove them mad.
Manfurd leaves Batman with clues to where Ra’s is planning his final ceremony to release the Lurker. Armed with the arrows from Oliver Queen, he heads to the city of the Reptile men below Gotham.
His first encounter is with Prinn, who he takes care of easily. Further into the depths, he finds Harvey Dent. The left side of his body is no longer his. It has grown into its own realm, a place where Ra’s can finally pull the Lurker, who we now find out is the god IOG-SOTHA, through to Gotham. Bruce unleashes his final arrow in the direction of Ra’s. He uses the book to block it, and it erupts in fire. The damage has already been done.
The next page cuts to Batman, who is no longer a man. He has fully transformed into the Man-Bat. The creature that will save Gotham. He battles a Ra’s now with the power of IOG-SOTHA running through him, causing him to transform into a monster as well. As they battle, the Lurker himself starts through the portal. It takes Talia as she watches the Man-Bat drive the arrow through the book into her father.
Etrigan emerges from his own capture. He congratulates Bruce. This is the moment that Etrigan had hoped would come. Bruce’s ability to take down Ra’s has put the IOG-SOTHA in a vulnerable state. One that Etrigan is prepared for. He uses his power, and an explosion erupts inside Harvey Dent. Like kindling, the Lurker sparks the city above, and Gotham begins to burn to the ground.
We cut to six months later. Tim Drake is leading a press conference as head of the Wayne Foundation. The city and the foundation have reached an agreement for the foundation to fund the new program to rebuild Gotham after the fire. The last panel of our story is of the Man-Bat Bruce Wayne looking over the event, “God help you if you ever again have need of me.”
Analysis: Let us just get this out of the way: we are told from the cover of Batman: The Doom That Came to Gotham that this is a Batman that uses a gun. The story takes place in the late 1920s with a very Lovecraftian look. Do I think the gun is totally out of place? No, I do not. Do I think the story needed the gun? Not at all. As amazing as the cover art is by Mignola with Mr. Freeze and Gotham in the background, the gun being the foremost image makes it seem like they got the go-ahead from DC to use a gun and wanted to let everyone know. It is a little forced, and the story never calls for a Batman with a gun.
Completely moving on from the gun, the story itself is very good. Mike Mignola and Richard Pace did a fantastic job of giving us a very Lovecraftian-inspired story with monsters, wizards, magic, coming back from the dead, and old family secrets screwing over their ancestors. Each respective chapter was put together almost perfectly. They all started and ended with a great mystery surrounding them. I was lucky to be able to read all three at once; it would have been agonizing to have to wait three months for the full story to be released. The way the authors chose to use the flashbacks worked amazingly here. Sometimes stories like this can get off track because being in so many different time periods and then going in many different directions can create unnecessary confusion. This was not that at all. It is very easy to tell a lot of care was taken when it came to the composition of the story to avoid this pitfall. It has a smooth and constant flow through all three chapters. This is one of the better origin stories of a young Bruce meeting a bat god of some type. The panels where he is being carried away by a group of bats are gorgeous. The fact that it all ends with him turning into the Man-Bat tops it all off. One of my favorite choices that Batman: The Doom That Came to Gotham makes.
I thought the characters they used and how they chose to use them were incredibly smart as well. Having Dick, Jason, and Tim all be crew members Bruce trusts as family was great, and I absolutely loved the use of Oswald Cobblepot in the first chapter. If I had to make any character complaints, I would have liked to see more development from Harvey Dent. Same with Oliver Queen. They both pop up quickly and die quickly. I will also take Jason Blood/Etrigan in all my stories. He popped up when he was needed, but it was never forced. The story always called for him. Batman never wins without him. I think they could have held back on the Lurker more. With it being a Lovecraft-type story, they never needed to give it a name. Just the monster these greedy men brought upon their city. I also need to give a shoutout to the choice of Lizard people and the Lizard city underneath Gotham. It all worked.
I believe the art alone in Batman: The Doom That Came to Gotham makes this a must-read. The three covers done by Mike Mignola may be some of my favorite original comic book art out there. The aesthetic with the black and brown is exactly what I see when I read Lovecraft. I think they nailed exactly what they were trying to do. Gotham is grandiose and elegant, and that continues into Wayne Manor and the apartment of Oliver Queen. The character choices were very smart as well as they fit perfectly into the style. Talia, when she is in her mask, and Etrigan really stand out when they are on the page. As they adapt this into an animated movie, I really hope they stay true to what Mignola did here.
For anyone that enjoys Batman stories, I think Batman: The Doom That Came to Gotham is a must-read. It may be an Elseworlds, but it is done exactly how it should. The main idea of what and who Batman is remains, but the aesthetic and story choices change. The art and story are both done at a very high level – if this was released in a more recent time, I very much think it would have gotten the White Knight treatment. I would love to see more of this world.
Editor’s Note: You can find this collected edition and help support TBU in the process by purchasing this edition digitally either for Comixology through* Amazon or as a physical copy in a paperback form at Amazon or from Things from Another World.***
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Overview: In Batman/Superman: World’s Finest #13, Batman, Superman, and Robin must solve the mystery of who killed Simon Stagg before it’s too late!
Synopsis (spoilers ahead): Batman/Superman: World’s Finest #13 begins atop the Daily Planet building in Metropolis, as Superman and Robin are chided by Supergirl and Batgirl for being fooled by Bat-Mite and Mr. Mxyzptlk, who pretended to be the two superheroines. The only way the heroes managed to discover this ruse was through Jimmy Olsen, who took photos that showed the reality behind the magical illusions.
After the heroes leave, Jimmy walks down the steps back into the Daily Planet offices, relishing in uncovering the plot to dupe Batgirl. Clark Kent grabs Jimmy right away, telling him that Perry White has been calling for the two of them. Apparently, there’s been a murder at the Hotel Metro, and the victim is Simon Stagg.
In the Batmobile, on the way home, Batman gets word from Alfred of Simon Stagg’s demise at the hands of poison. Bruce Wayne was set to meet the industrialist the following day. Batman turns the Batmobile around, driving himself and Robin back toward Metropolis.
As Clark and Jimmy head out to learn more about Stagg’s death, Clark catches Jimmy, and comic readers, up to speed on the origin of Metamorpho. Adventurer Rex Mason, Stagg’s associate, was in love with Sapphire, Simon Stagg’s daughter. Stagg didn’t like this, so he sent Mason on an expedition to uncover an orb from the pyramid of Pharoah Ahk-Ton. Java, Stagg’s other associate, accompanied him. When the opportunity struck, Java betrayed Mason and threw the adventurer deeper into the pyramid, near a radioactive meteorite that the orb had been fashioned from. The radiation turned Mason into a monster.
Finding his way back home, Sapphire taught Mason how to speak again and gave him a reason to live. Eventually, Mason learned that his body was composed of ten substances that he could morph and combine at will. Thus, Mason became Metamorpho, the Element Man, serving as a bodyguard to the man who betrayed him out of love for Sapphire.
At Stagg’s hotel room, Clark and Jimmy are stopped by the police. Clark spots Batman and Robin entering from above and uses the promise of a shared writing byline to get Jimmy to look for suspects elsewhere. Clark runs off, changing into Superman.
Inside the hotel room, Batman tells Superman that Stagg was locked inside and there was no delivery system for the poison. Metamorpho was presumably the last person with Stagg, which means he’s a priority suspect. Superman uses his x-ray vision to scan Metropolis, finding Metamorpho in the Egyptian wing of the history museum.
Meanwhile, Metamorpho busts criminals trying to steal Egyptian artifacts. Batman joins the fight while Superman cleans up the mess. Batman tells Metamorpho that they need to talk.
At Stagg Mansion, Jimmy Olsen gets access to Simon’s calendars and files from Sapphire. She agreed to cooperate with Jimmy because of his connection to Superman. When Java finds Sapphire opening up, he tosses Jimmy out of the mansion, despite Sapphire’s protests.
Batman asks Metamorpho to account for his whereabouts during Stagg’s murder, and he can only admit that he was taking in the sights of Metropolis. Later, Batman updates Superman, filling in information from Robin, who found out that Stagg died of VX nerve gas, which Metamorpho can easily create. Before Batman leaves, he tells Superman that Stagg is evil and manipulative, so there’s no telling where this could go. Stagg costs Wayne Enterprises millions in stifling Bruce’s efforts to help Gotham, mainly because Bruce once beat Stagg in a tennis match.
Back at the Daily Planet, Jimmy has gone through Stagg’s files. He has an airtight case about who killed Stagg, and it’s so well put together that the police are already moving in on the suspect. Clark, however, is in disbelief, but Jimmy presses that facts matter over feelings. When Clark can’t explain why the guilty party is, in fact, innocent, Perry White tells the two of them to put the story to press.
The next day, The Daily Planet runs a headline that reads, “Bruce Wayne Arrested for Stagg Murder.”
Analysis: Batman/Superman: World’s Finest #13 launches into a new murder mystery that sees Bruce Wayne framed for murder. While this isn’t necessarily new (see the series Bruce Wayne – Murderer), it does come at the story in a slightly different way. Throughout this whole investigation, writer Mark Waid and artist Dan Mora have shown the differences between Superman and Batman’s approach to crime-fighting. Whereas Batman suspects everyone, Superman, ever the boy scout, gives the benefit of the doubt, choosing to believe in one’s innocence until proven otherwise. This is very upfront and prevalent in how each approaches Metamorpho, with Batman asking the potential assassin his whereabouts and Superman citing Metamorpho’s assistance in the past.
Oddly enough, Jimmy Olsen, the character who started as a bit of comic relief at the beginning of this new storyline, proves to be the most effective investigator, finding his way all the way to Stagg’s mansion and acquiring much-needed data that fingers Bruce Wayne as the murderer. Of course, this is all part of a greater ruse, but this surprise revelation sets the stage for Jimmy to say to Clark Kent about Bruce what Batman said to Superman about Metamorpho. It’s an interesting layer that’s easy to miss.
What’s also easy to miss is that Stagg’s murder arrives on the eve before his meeting with Bruce Wayne, as well as Batman’s comment about how Stagg has wanted revenge on Wayne due to a lost tennis match. These two throwaway lines will prove crucial in the coming issues.
As always, Dan Mora’s art paired with Tamra Bonvillain’s colors is a match made in heaven. This issue is beautiful, fun, and a wonderful celebration of the Silver Age of comics. The reintroduction of Metamorpho is a welcome one, and it fits perfectly into the bright tone and sense of adventure that Mora, Waid, and the team have consistently delivered throughout this run.
One thing that’s worth pointing out is how dense the story is in this issue. There are a few action scenes, as well as a slow-burn plot, that keeps adding new layers and information to the mystery at hand. This goes without saying; Mora had his work cut out for him in paneling this issue, making sure to appropriately hit all the beats with the right mood and emphasis. This also means that some action pieces, like the battle in the Egyptian wing of the Metropolis Natural History Museum, are condensed to just a couple of pages with careful paneling to draw readers into the action without using up too much precious space. The result is a work of art, particularly on page 22, wherein Batman is leaping into action against a would-be thief, and Superman is flying around, saving priceless museum pieces.
Editor’s Note: DC Comics provided TBU with a copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Comixology through Amazon or a physical copy of the title through Things From Another World.
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Overview: While Eiko and Dario fight mob battles on the outside in Catwoman #53, Selina plots and trains her girls on the inside.
Synopsis (spoilers ahead): Catwoman #53 begins at O’Mara’s bar, as Eiko Hasigawa attacks mob boss Finbar Sullivan for orchestrating and betting on fatal gladiator fights, but Onyx takes over, so Eiko heads off with Dario “Tomcat,” a terrible but improving new driver.
Selina wakes up in solitary again, sees men with power tools closing up her cat-holes, and attacks – but the guards overpower her and warn her she doesn’t have that communication line anymore. In the cafeteria, Marquise greets her, and Selina shows the burner phone she stole from the construction worker (that he uses to cheat on his wife). She calls Tomcat and Eiko, giving them an update, but they refuse to go along with her orders to get out of town. Selina then orders her “girls” to get a charger for the phone, gets Tomcat’s update about Punchline’s plan to kill Eiko and Selina, and decides to break out – with all of her girls she can manage. She convinces her girls to form a thieves’ society (including charity donations) instead of an organized mob with a boss at her fight training.
Tomcat and Eiko Catwoman observe Dario’s father doing shady deeds but are attacked by the Queen of Hearts and her Crazy Eights henchmen. The Queen notices that Eiko isn’t Selina, but Eiko knocks her out and delivers her to the police. Selina sees the new inmates and changes her escape plans.
Analysis: Tini Howard’s confusing sort-of crossover storyline in her Catwoman run with her Punchline co-written miniseries continues, once again joined by original series artist Nico Leon. Once again, every character’s actions are mind-numbingly stupid, but the plot forces them to succeed or fail regardless of motives, plausibility, and above all, competence. Howard’s dialogue, back to her relentlessly self-righteous faux-snark peak, manages to add sloppy and grossly stereotypical to its list of accomplishments in the Queen of Hearts fight. Howard also attempts to persuade the reader of Catwoman #53 that Catwoman can inspire her girls to form a perfect communist society of thieves without any hierarchy – we’ll see if she makes it work once the girls break out with Selina. All in all, the book’s writing has found new depths to plumb in terms of quality and thematic exploration, an impressive feat given how low Howard has set the bar with this run so far.
Nico Leon’s art has improved since he started on this run, and he manages to create a really nice homage to tux-wearing Selina from Genevieve Valentine’s N52 run by Garry Brown, with Eiko’s chopsticks making the look her own early in the story. The fight scenes and Crazy Eights designs are nicely created, though the structuring of the fight is sadly extremely predictable and unsatisfying. It’s nice seeing the storytelling and figure work improving after a year on the book.
David Nakayama’s cover, though the shiny textures on Eiko’s cowl and costume seem out of place for the book, nicely highlights Eiko holding cards picturing the King and Queen on fire. Serg Acuna, jumping over from The Flash and Tim Drake: Robin interiors and covers, provides a dramatic and sexy homage to Alex Ross’s famous painting of Batman’s back covered in scars, with Selina posing in the same way – beautifully done shadows and musculature! Sweeney Boo (over from Harley Quinn with Howard’s writing) paints a sweetly mischievous Catwoman surrounded by roses, draped in pearls – also featured as a foil variant for the 1 in 50 incentive. After her gorgeous series of Batgirls incentive variants, Rian Gonzales provides a very cute Catwoman lying on a pile of gold, with many tiny chibi figures surrounding her winking visage. Lastly, Fables cover artist Qistina Khalidah paints a lovely rendition of Catwoman lounging, admiring jewelry as a hairless cat arches its back behind her.
Editor’s Note: DC Comics provided TBU with a copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Comixology through Amazon or a physical copy of the title through Things From Another World.
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Overview: In Nightwing #102, it’s the Titans versus the Grinning Man for the fate of a little girl!
Synopsis (spoilers ahead): As Nightwing #102 begins, Nightwing awakens in the morgue and radios Oracle to assemble the Titans at Gar Logan’s mansion. There, the Grinning Man is disguised as Nightwing and moves Olivia outside, where Dick rushes in time to stop them. The Grinning Man flies with Olivia into the air, where he’s intercepted by Raven, Starfire, and Cyborg. Quickly defeated, he’s compelled by Donna Troy’s Lasso of Truth to reveal his origin story and his mission from Neron to bring Olivia to him.
Raven’s particularly upset at this, and later when the team goes over the information they’ve gathered, she suggests going down to the Nether World and getting answers straight from the source. Nightwing agrees and asks Donna and Kory to guard Olivia at Paradise Island while the rest goes down into Hell itself.
In the backup story, Superman asks to stick around with Nightwing to learn how to be a detective after the circus attack. Dick goes over the process of elimination, studying methods, means, and opportunity. After reviewing camera footage and talking with the prop safety inspector, Nightwing concludes that the person who cut the trapeze rope was one of the trapeze artists!
Analysis: I really liked this Nightwing #102. It read like a solid mix of old-school Dixon and McDaniel Nightwing with a healthy blend of Wolfman/Perez New Teen Titans. I had some preferential issues upon re-reading it, but for the most part, I think this is one of the creative team’s strongest efforts in a while.
A criticism of Taylor’s run that’s becoming more frequently discussed is his penchant to have Nightwing get out of hairy situations by calling for backup. While I get that Dick has connections all over the DC Universe, that’s a criticism generally. However, this story is clearly a lead-in to Taylor and Nicola Scott’s impending Titans book, and as such, it reads more of a team story than Nightwing and friends. Dick’s voice, in particular, felt very much like the leader of the Titans of old, commanding Oracle to assemble the others and quickly deducing what needs to happen. I liked a lot of the opening scenes. The Grinning Man is surprised that Nightwing is a normal person in a costume, something that often happens with Batman but not enough with his partners. I liked Dick’s focus and using being underestimated to his advantage. We also got a new gag with the Escrima sticks, which was cool and made sense for the fight.
Travis Moore’s artwork gives an added level of creepiness to the story, specifically in scenes with the Grinning Man. This is an artist chiefly used for depicting pretty people being pretty, and he’s made plenty good on illustrating Dick Grayson. But his talent for dark and weird imagery is one most unknown to me until now. Had the fight gone on longer – and I wish it did – we could’ve seen more of what both he and the Grinning Man were capable of. But I love the actual design of TGM, with the hollowed husk of a blackened figure, with just the creepy grin. It’s really cool.
The fight with TGM and the Titans could’ve gone on a little longer and been a bit more dynamic. Once he gets into the air and meets the flying three heroes, they could’ve waylaid on him more. We could’ve seen Wally attack him a bit more than a single punch. Yes, this guy was supremely outmatched, but Moore’s artwork does make some of the action feel a bit stiff and static, with the characters calmly just staring at each other. When TGM flies into the air, Nightwing looks like he’s just calmly watching him get away without much of a reaction to his powers of flight.
I liked bits of Raven taking the whole scheme personally and feeling increasingly angrier the more she learned of Neron’s involvement. This might continue into the Titans book, but it’s a good characterization of her nonetheless, and goes for more than her traditional feelings of guilt she always has with Trigon. Here, she’s both empathetic and angry.
The backup story continues to be moderately strong as well, and I really loved Eduardo Pansica’s artwork. The large panel of the original Batman and Robin team deducing the crime scene was really cool. I hope Pansica continues on at DC on large-profile titles. Also, any time Dick’s shown to be a brilliant detective, that’s always a plus. It’s too unsung of one of his best abilities.
Editor’s Note: DC Comics provided TBU with a copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Comixology through Amazon or a physical copy of the title through Things From Another World.
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Overview: In Batman: One Bad Day: Ra’s al Ghul #1, the Demon’s Head is the closest to victory that he’s ever been, so long as Batman stays out of the picture.
Synopsis (spoilers ahead): Batman: One Bad Day: Ra’s al Ghul #1 begins a long time ago, as Genghis Khan’s army lays siege to a town. A seven-year-old Ra’s al Ghul flees, pursued by a conqueror. Ra’s is felled in the forest, and as the invader steps on him, pressing his face into the earth, wolves arrive. While the wolves tear out the throat of Ra’s attacker, the young boy dives into a nearby river, floating to wherever it will carry him.
An adult Ra’s al Ghul awakens in a Lazarus Pit. He is greeted by Talia, his daughter, and she reminds him of who he is, as well as her relation to him. Ra’s understands more than she realizes, though he doesn’t make it known.
Talia and Ra’s visit a wolf in the medical wing. Her name is Nadja, and he saved her from some captors who had caged her. She reminds him of his childhood, and she has been a faithful friend. Nadja, however, is suffering from cancer, and her hours are numbered. Ra’s agrees to end her suffering, holding her close and weeping for the friend he’s about to lose.
Ninety miles from the coast of Gotham, an old man named Edwards is warned that the communications on his boat have been severed. While he drinks and ignores the warnings, Ra’s al Ghul and his army arrive in helicopters.
The League of Assassins rips through Gerald Edwards’ men. When asked what he wants, Ra’s lets Gerald know that he’s gotten too big for his britches, having valued himself and his corporation over the planet’s future. Ra’s al Ghul kills Gerald’s son in front of him, then drowns the old man. As the ship sinks, the League of Assassins leaves, taking the body of Gerald’s son Harry with them (because they were overzealous and feared leaving evidence behind).
In the Batcave, Batman learns of Edwards’ death. Gerald was a friend of Thomas Wayne’s, and he was also the third high-profile corporate owner to die in a matter of weeks. Batman and Robin (Damian Wayne) take the Batboat to Edwards’ shipwreck.
At the wreck, Batman finds a handgun with two bullets missing. He decides to track down the coroner and ask some questions. The coroner confirms what he already knows, Edwards’s death was no accidental shipwreck. Chlorine in the lungs proves Edwards died in his own yacht’s pool, not the ocean.
Batman next goes undercover as Bruce Wayne, using Bruce as a way to talk to Julia Edwards, Gerald’s daughter. At her home, Bruce learns that Julia has no interest in seizing control of Roxxcorp, the family gas and coal company. She disagrees with the poisoning of the planet that her family’s company is responsible for. Bruce also learns that Julia is friends with Talia al Ghul, whom she trusts as an advisor.
Meanwhile, Talia tips off Ra’s to Bruce’s visit to Julia. Ra’s then hops on a flight to Gotham.
Batman tells Robin that of the high-profile people who have died, each one has had an heir who plans to change the direction of their companies to something more environmentally conscious. Though Robin questions Batman’s intent on protecting the remaining leaders of the biggest polluters on the planet, he can’t argue against his father.
After their call, Robin is visited by Ra’s, who demands that Damian return home. The two battle, but Ra’s ultimately wins, taking Robin “back home” because it will lure Batman out.
Batman arrives as planned, battling the League of Assassins in pursuit of his son. When the two meet, Ra’s threatens to murder Robin, stating that no life is worth more than the future of the planet. Ra’s then goes on to remind Batman that he’s lived for centuries and has seen what destruction humankind has wrought.
To him, what Ra’s has done is restraint. He’s replacing bad corporate leaders with ones more focused on the planet’s future. It’s his peace offering, but since Batman still won’t accept it, Ra’s has no choice but to slice Batman with a cutlass.
Robin runs to his father’s side as Batman bleeds out. With his dying breath, Batman hands over his cowl to Damian. He then asks Damian to promise not to kill anyone, not to let anger get the better of him. Robin accepts; Batman dies.
Robin can’t kill Ra’s, but he won’t stay at his grandfather’s side. He leaves. Meanwhile, Ra’s completes what he set out to do.
Three months later, Bruce reawakens in a Lazarus Pit, and Robin is there, ready to hand back the cowl. Against Robin’s wishes, Batman wishes to challenge Ra’s once more. The two fight, and Batman pushes on because Damian needs to see that those who kill never get away with it.
Ra’s loses, but before Batman can take him in, the Demon’s Head plummets to his death.
As Batman: One Bad Day: Ra’s al Ghul #1 comes to an end, two years later, Ra’s awakens in a Lazarus Pit in China. Talia is there to greet him, and though he usually awakens with rage and grief, it’s different this time. A new world is on the horizon.
Analysis: Batman: One Bad Day: Ra’s al Ghul #1 is an incredibly beautiful issue, and it may very well be one of the most eye-catching One Bad Day titles on the shelves. Artist Ivan Reis and colorist Brad Anderson create a monumental behemoth that gives readers pause. The paneling is exceptional, as is the pacing of the fight scenes. The battle between Batman and Ra’s al Ghul in the final few pages feels like a well-choreographed flurry of blows that is moody, poetic, and tense. If there’s one thing Batman: One Bad Day: Ra’s al Ghul #1 has going for it is that it’s a mastercraft in art, color, and beauty.
The story, however, is fine. It’s one we’ve seen over and over again from Ra’s al Ghul. A man who has lived for seven centuries and has seen humankind wreak havoc on the planet once more wants to take out those who would poison the Earth. This time, the twist is Ra’s Al Ghul succeeds, and that’s about it.
Batman dies and comes back to life after Ra’s has completed his mission. Damian Wayne and Talia al Ghul, while being present throughout the story, are sidelined and come across as pieces that propel the plot forward rather than as characters. Even Batman feels a little out of place, which could make sense, given that this entire issue is from Ra’s al Ghul’s perspective.
The problem is that it feels like one note. The art is incredible, and the narration is dripping with poetry and rhythm. The story, however, feels underbaked. It feels like there should be more, some emotional beat to cling to. What we get is Batman dying at Ra’s hand and coming back to life only a few short pages later. Robin weeps for his father, then does little else but leave and lie in wait for his father’s return. Why?
Editor’s Note: DC Comics provided TBU with a copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Comixology through Amazon or a physical copy of the title through Things From Another World.
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Overview: Billy, Freddy, and the Shazamily are back again as they take on the daughters of Atlas in this sequel, Shazam: Fury of the Gods.
Synopsis (spoilers ahead): Shazam: Fury of the Gods opens as the daughters of Atlas, Hespera (Helen Mirren) and Kalypso (Lucy Lui), break into a museum to steal the broken staff of the Wizard (Djimon Hounsou). They have the Wizard imprisoned and then use their magic to have him repair the staff so they will be able to use its powers.
Back in Philadelphia, Billy Batson struggles to keep his family together and fears they are growing apart. They put that on hold as the Benjamin Franklin Bridge is collapsing. Billy, Freddy, Mary, Darla, Eugene, and Pedro say the word and attempt to avert disaster. They save all the people but are unable to save the bridge from collapsing. The news calls them out for their failure. Later, while dreaming about being on a date with Wonder Woman (headless cameo), the Wizard visits Billy in the dream to warn him about the daughters of Atlas. Billy and the rest of the family do some research on the daughters and discover that they were freed from their prison when Billy broke the staff during the events of the previous movie.
In school, Freddy is still being bullied but gets the attention of a girl named Anne (Rachel Zegler). In an attempt to impress her, Freddy turns into his superhero self. During their research, Billy and Mary discover that Atlas has a third daughter named Athena. Billy does the math and realizes that Anne and Athena are one and the same. Hespera and Kalypso use the staff to steal Freddy’s powers, and the Shazamily is too late to stop the sisters from kidnapping Freddy and putting a dome over the city from which no one can escape. Freddy is imprisoned with the Wizard.
Billy and the gang enter the Rock of Eternity, where Pedro introduces them to an all-knowing magical pen named Steve which they use to send a letter to the sisters to try to get Freddy back. The Shazamily take on Hespera and Kalypso, and Pedro loses his powers in the fight, but they manage to capture Hespera and bring her back to the Rock of Eternity. But it seems that Hespera was channeling her inner Heath Ledger Joker and planned to be caught so she could steal the Golden Apple, the seed of the Tree of Life. Feeling regretful for what happened to Freddy, Athena helps Freddy and the Wizard try to escape but sees that the sisters have the Golden Apple and attempts to take it back. The sisters are arguing over what to do with the apple. Hespera and Athena want to use it to bring their realm back, but Kalypso wants to go to Earth and take it over. Billy and the rest of the team show up to save Freddy and the Wizard and are chased out of the realm by a giant dragon.
The team ends up back home, where they reveal their identities to their foster parents and escape before the dragon destroys their home. In a subsequent fight, all of the Shazamily but Billy lose their powers. Kalypso as she takes out Hespera, plants the apple in the Philadelphia Phillies stadium, and releases magical monsters on the city.
Billy asks the Wizard to take away his powers, but the Wizard says he can’t because he is the true hero, and after an emotional talk with his foster mom, Billy flies off to try to stop Kalypso while the rest of the family attempt to stop the monsters even though they do not have powers. While Billy revives Hespera and asks her for help. Darla, Mary, and the Wizard call on for Unicorns to help stop the monsters. Armed with the unicorns and the power of Skittles (yes, you read that right), they are able to fend off the monsters.
Meanwhile, Billy has Hespera shrink the dome to cover the stadium as Billy overloads the staff with the magical electricity inside the dome and sacrifices himself to stop Kalypso and destroy the Tree of Life. Athena and the family bury Billy in the God’s Realm and mourn his life. Suddenly, Wonder Woman (not a headless cameo. Actually Gal Gadot!) appears and repairs the staff and brings Billy back to life. The family repairs the house, and everyone gets their powers back as Athena and the Wizard decide to live on Earth.
In the mid-credits scene, Harcourt and Economos are sent by Amanda Waller to recruit Shazam to join the Justice Society. In the post-credits scene, Dr. Sivana is approached by the caterpillar, Mr. Mind, who lets him know that he has a plan before leaving.
Analysis: Shazam: Fury of the Gods was awesome. I thought it perfectly blended action, humor, heart, and levity. It had everything you want in a comic book movie. It’s only natural to compare this movie to Black Adam, and this film had all that, and that is what Black Adam lacked. Black Adam was a pure action film, while this film was a much better story.
It’s a sequel that means more of everything from the first film. More Shazamily, more Freddy, more Wizard, more of everything, and I think director David Sandberg delivered. Whatever the future holds for DC Studios, I hope Sandberg is involved.
Zachary Levi continues to have still the boyish attitude that works well for Shazam. He and Jack Dylan Grazer still have good chemistry as grown Billy and kid Freddy. I don’t know what the future holds for the Shazam franchise as a whole, mainly because so much of the cast is kids. Asher Angel plays the depowered Billy, and he was barely in the film. They did continue to make a point that Billy and Freddy were turning eighteen.
I liked both Shazam films, and I really enjoyed this one. I know the box office is not currently delivering for Shazam: Fury of the Gods, but it is not the film’s fault. They might be feeling some effects from Black Adam and being in a weird no man’s land before The Flash resets everything and DC Studios moves into Chapter One of their plan.
Editor’s Note: We hope you enjoyed this review of Shazam! Fury of the Gods (2023). The sequel is in theaters now, and you can buy your tickets now.
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Overview: In Batman Incorporated #6, the group gets assigned to a new mission of stopping Professor Pig and his goons back in Gotham City.
Synopsis (spoilers ahead): As Batman Incorporated #6 begins, Raven Red calls his father after some time has passed from the last mission (seen in Batman Incorporated #5). He says that they are heading to Gotham for a mission and that the team is tense after the Phantom-One situation. Raven Red says he will come to visit after he completes the mission. Suddenly, Jiro appears and tells him that Ghost-Maker is calling for them in the meeting room.
In the meeting room, Ghost-Maker says that Lazlo Valentin, AKA Professor Pyg, has gone on a rampage on Gotham’s criminals, looking for an item stolen from him. He then splits the team into groups; Knight and Gray Wolf, Jiro and Raven Red, and then Ghost-Maker, El Gaucho, and Clownhunter. But Clownhunter, after everything that happened with Phantom-One, insists on teaming up with Jiro and Raven Red.
El Gaucho and Ghost-Maker go through some ruins and talk about how Clownhunter can dress like a person who wakes up in a dumpster. But he is his person, and Ghost-Maker isn’t going to stop him. Ultimately they don’t find anything, and they move on.
At the Narrows, a meat delivery truck is discovered with marks of something heavy. The tires looked like they ran over a spike trap, and there is no sign of anyone being there. Gray Wolf continues to look around and finds an oil spill from a car.
In Blüdhaven, Clownhunter, Raven Red, and Jiro stand on a ledge overlooking a pizza truck where kids gather around. Clownhunter says it is where kids go when they don’t have anywhere else to go. He goes to a basketball court and tells a kid what he is looking for, but the kid doesn’t care to help. A shy girl comes up and says that her friends stole a truck a few days ago and haven’t been seen since.
On Ghost-Maker’s ship, he asks Icon, his assistant, to look at security footage of Riddler’s building three days ago. They see Professor Pyg and the Dollotronss carrying Riddler. Then, Ghost-Maker also asks for the location of Professor Pygs’s hideout and uses all surveillance and satellite images to do so. Icon finds the location, and El Gaucho wonders why they didn’t start by looking for the location with Icon. Ghost-Maker says they will never know how to find someone if they don’t try.
Professor Pig tortures a tied-up Riddler asking where something is. After one final time, Professor Pyg orders the Dollotrons to take Riddler away as his warehouse burns down.
Then, we see all sorts of captured villains inside a warehouse with Professor Pyg. The villains captured are everyone from top-tier villains like Mr. Freeze and Clayface to lower-tier villains like Kite-Man. Professor Pyg states that he will let them go if they tell him where it is. The rest of them, however, will get chopped up by a chainsaw.
Over at a warehouse, we see the two friends the girl mentioned to Clownhunter attempting to break into the truck they stole. They believe that the truck holds some sort of loot. Trying to make their lives better, they finally break into the truck only to find a wood frame with spikes and barbed wire with a mask and red wig at the top. Suddenly Professor Pyg appears and says that he wants mother back.
Analysis: I think Batman Incorporated #6 was good, as it was a breath of fresh air after the Phantom-One arc. The main issue with the story is I can’t see where it is going. It isn’t that there can’t be more issues, but almost everything that is being investigated and built up is essentially concluded by the end of the issue. Sure, the boys need to be saved by Batman Inc., but that doesn’t seem to be enough for this to continue for an arc.
Ghost-Make found where Pyg is keeping the villains, and some of the other information the team discovers doesn’t seem to matter overall. What was the point of them investigating everything only for the AI to determine the information they needed? And the crazy part is El Gaucho points out exactly what we are thinking by the end of this by questioning Ghost-Maker for sending them on the wild goose chase. What was the point?
One last note, while not directly related to this issue, where did Wingman go? The last time he appeared, we last saw him crash the ship of Phantom-One. Raven Red said that Wingman wasn’t going on the mission, but it was left ambiguous. Is the plan for the series to just take certain players off the table for each arc? I don’t mind if they rotate certain characters, but they are still not building the characters in a way for us to care about them outside of an overall unit. Clownhunter had some time to shine, but even that was more about building Phantom-One and less about giving more to Clownhunter. What is the plan to make the individual characters connect better with the readers? If we don’t care about them, what makes us want to continue to read the series?
Editor’s Note: DC Comics provided TBU with a copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Comixology through Amazon or a physical copy of the title through Things From Another World.
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Overview: In Batgirls #16, Steph, Cass, and Babs follow the Mad Hatter’s White Rabbit, and they face new and strange threats – from within!
Synopsis (spoilers ahead): As Batgirls #16 begins, the Batsignal and blimps fill the night sky as Officer Brooks gives Steph and Cass Batgirls the letter delivered to Grace O’Halloran a few weeks ago (last issue), which invites them to Mad Hatter’s tea party. Babs coordinates the Batgirls going to investigate from the Clock Tower, and Steph and Cass arrive at the location specified in the letter to find a super creepy tea party full of puppet Bat-Family members and the Hatter on a radio. They fight off the puppets, and Babs tracks the Hatter’s signal to the floor above them. However, Steph gets a face full of gas, transforming her into a Girl-Bat (some version of the Man-Bat serum). Though Steph-Bat initially becomes enraged, Cass is able to connect with Steph in her transformed state and calm her down. Steph-Bat breaks through the ceiling, revealing the evil Hatter, who revels in the chaos he created. Cass knocks him out and turns him over to Officer Brooks.
Later, as Steph-Bat flies through the Gotham skies with Cass on her back, Babs aims a tranq gun with the antidote at Steph, but Cass persuades her to let Steph fly until she’s tired, then give her the antidote. Babs agrees, and Batgirl and Girl-Bat fly into the night.
Analysis: After two really powerful issues – #14’s brilliant silent Cass adventure and #15’s gripping Steph vs. Cluemaster family almost-tragedy – this odd, wacky, Silver-Age-esque tale in Batgirls #16 feels both a bit disconnected and tonally odd. Though writers Becky Cloonan and Michael W. Conrad and artist Neil Googe (with finishes/inks on the last six pages by Geraldo Borges) put a lot of craft into the piece, the overall impact is uneven and emotionally confusing, especially in the depiction of Steph as Girl-Bat, a very grotesque image.
For all that unevenness in impact, there are a lot of pieces of this story that do work. Cloonan and Conrad include a lot of clever connections to the rest of the run – from Mr. Greene, the Batgirls’ creepy neighbor and murder victim, providing the doll robots for Mad Hatter, to the use of Officer Brooks. They also write a very poetic connection between Steph and Cass that allows Cass to break through the confusion and horror of Steph’s transformation with the power of their friendship, and the epilogue of Steph dreaming of flying is quite nice, even if there are still too many emotional consequences as a result of this issue and the last arc (where Steph died for a few minutes before being resurrected with the Lazarus serum). I’m really bummed that there was no connection between the Lazarus serum and the Man-Bat serum that transforms Steph in this issue – that really feels like a missed opportunity. Neil Googe also puts a lot of great detail and appeal into the pages of this issue – the cityscape of Gotham and the zany energy of the Batgirls in their swooping around the city and fighting the Bat-Family robots.
The news that Cloonan and Conrad are leaving their other major DC title, Wonder Woman, may or may not have any bearing on how long they continue on Batgirls. But after releasing issue #16, this run has officially passed Deathstroke Inc. and Teen Titans Academy. If it reaches its expected minimum of nineteen solicited issues this weekend, it will match or surpass Future State: Gotham, Superman: Son of Kal-El, and I Am Batman. It passed Green Lantern (twelve issues) long ago, with only one more issue to surpass Robin. Though the book has been controversial and hotly debated online since it first appeared in backups in Batman during Fear State, it’s actually managed a run that has significant staying power, and hopefully, whether they end in three or four issues or in closer to ten issues or more, Batgirls will be a title that has some memory in fandom after it’s gone, along many of its predecessors like Cassandra Cain’s 2000 Batgirl, Stephanie Brown’s 2009 Batgirl, and some of Babs’s most well-remembered runs like Burnside.
Jorge Corona’s main cover for Batgirls #16, originally solicited for several issues ago, is finally released in all its creepy Batgirls under the giant Hatter hat glory! David Marquez starts his promised four-cover series of Batgirl-focused cardstock variants with a lovely Cass Batgirl on a bright pink background. Robbi Rodriguez, the upcoming interior artist for the book for the next several issues, provides the 1:25 incentive cover, featuring Cass and Steph leaping across the cover against a pastel psychedelic background. Most appealing to this reviewer, Lynne Yoshii paints a gorgeous International Women’s Day variant with a huge Babs head in profile and Steph and Cass posting up for a fight against a bright yellow background – definitely a recommended cover for your collection!
Editor’s Note: DC Comics provided TBU with a copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Comixology through Amazon or a physical copy of the title through Things From Another World.
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Spring is right around the corner, but Ian and Steph had some time to review the latest chapters of Batman: Wayne Family Adventures! Let’s find out all about the latest batch with our review of Batman: Wayne Family Adventures #73-75.
Steph: Hi Ian! Before we dive into Batman: Wayne Family Adventures #73-75, are you keeping warm?
Ian: Not really! As we write this, the midwest has gotten DUMPED on by a huge pile of snow! Which is pretty appropriate for this first chapter we’re reviewing!
Steph: For sure…Texas is in the 70s, so I can’t relate, but I’m sure someone can. Ep. 73 – Snowfall (Part 2)…the battle has commenced. Do you think the kids were too easily duped?
Ian: I think honestly that the kids don’t tend to coordinate too well together, so I wasn’t too surprised by how Bruce was able to bamboozle them – especially since he had the most secret of all secret weapons, ALFRED!
Steph: Yes! I’d say using Alfred was the smartest move he could have made…cause he’s got automatic armor – the kids would never want to hurt him! A “love shield,” I guess.
Ian: Of course! And I always think Alfred would be a pretty deadly shot, at least with a snowball!
Steph: He did cheat again, though…what is “The Thrasher”?
Ian: Looks like a less ridiculous version of the Hellbat to me! or maybe Rookie from the JimBats era!
Steph: I loved that the only real “casualty” was Dick…quite deep in the snow with Tim frantically trying to save him and Jason losing it. Very true to form.
Ian: Dick always leaps before he looks!
Steph: Lol. True.
Ian: So I’m curious – do you think this works best as a two-parter, or is it more of a stretched-out one-and-a-half strip story?
Steph: I thought it was a stretched-out half strip, though I did like the build-up and anticipation the first story set up by taking longer. What did you think?
Ian: It did have a lot of good character interactions, but I didn’t think the payoff was worth the extra strip. Maybe if there were a few more character payoffs in the second strip, I would think it was more worth the length.
Steph: Yeah, that’s fair. Thankfully the next silly one was only one strip…and it featured little Dick as Robin! Ep. 74 – Lesson Learned. I tell you what, it wasn’t the lesson I thought it was going to be.
Ian: SAME
Steph: How old is Dick, do you think? This has got to be Robin: Year 1.
Ian: I think Dick is clearly supposed to be under 12, perhaps even 10? I’m terrible at guessing the ages of real people and comic characters, but he looks so tiny and cute here.
Steph: They say “16 years ago”, so if he’s in his 20s, he’s got to be under 10. Do you think Dick is in his early 30s in this strip?
Ian: No, I’ve always thought Dick had a late 20s vibe in WFA. So I could see him being ten or even eiht, though eight is pushing it.
Steph: Yeah, my math is terrible; I guess he could be ten, and that would be fine.
Ian: I know this is a world where the villains aren’t nearly as terrifying as the main comics or movies, but I’m still a bit “HMMMMM” at Batman taking an 8-year-old out to fight Poison Ivy.
Steph: So, what lesson did you think was GOING to learn?
Ian: I mean…DID Dick learn his lesson? It didn’t seem so!
Steph: LOL. For sure. I was thinking it was going to be something with pheromones or getting distracted by a pretty lady or something. But this was much more… 10-year-old Richard Grayson issues.
Ian: Impulse control, for sure!
Steph: I loved how patient Ivy was with Batman while he dealt with “the new guy”
Ian: I will say, I was a bit bummed that the gag was basically repeated instead of thinking of another way for Dick to get in trouble while Batman is facing Ivy. That felt a bit of a letdown of creative inspiration.
Steph: I was hoping it had more to do with his puns. But the brother bonding at the end made up for the slightly lackluster gag for me.
Ian: For sure – Dick and Damian are always such a delight – I think partly because they have such perfectly contrasting personalities, and both have such distinct voices that are pretty commonly grasped by writers.
Steph: The last one tonight is Ep. 75 – Worth (Part 1) – another serious one exploring the Signal, Duke Thomas.
Ian: Er…don’t you mean our first serious one tonight?
Steph: That too. I thought it was an interesting dilemma to have, and I loved that he was talking to Luke about it. What did you think? Is this an issue worth exploring?
Ian: I think it’s an interesting one. Duke is such an amorphous character in the various versions of the Bat-Family that he appears in – from Snyder’s puzzle solver to Murphy’s ex-marine, to Bermejo’s stereotypical street kid player, to King’s studious student, to Hill’s cipher, to Thomas’s brilliant combination of serious, swagger, and sweet – while WFA has mostly treated Duke like “the new kid” in the Bat-Family, which doesn’t really connect to any version of Duke (except perhaps the weakest of comic versions of Duke, the Tony Patrick version).
The problem of Duke’s powers is one that I still haven’t come to terms with myself, but I think it’s definitely worth the comic exploring! I wish there were SOME consistency in any aspect of Duke’s character and powers. As a huge fan of Batwing, though, I’m always super happy to see him show up! What did you make of this first two-parter for Duke?
Steph: I think it was so interesting that in a world of metas, the Bat-Family stands out as the few without powers, and that makes Duke self-conscious. It was an interesting exploration of an “odd” or “reverse” problem to have. It also introduced what I hope we’ll see next episode – “who determines your worth?” Do you think this is too much like the Steph episode a while ago?
Ian: I don’t think it felt the same, but perhaps because I have a different history with Steph and Duke in the other comics. Steph’s history is that of being rejected over and over again, and Duke’s generally been pressured to join rather than being rebuffed, and I think there’s an element of that still preserved in WFA. Duke doesn’t have specific negative histories to look at in his conversation with Luke – more anticipation rather than memory if that makes sense. I’ll be very interested to see how they will resolve the issue!
Steph: Me too! I’m glad we get to get these deeper emotional explorations of the characters! They need more love.
Ian: That is, of course, why we love Wayne Family Adventures! Characters focused, low drama, high humor, and emotional beats!
Steph: Yeah yeah yeah.
Editor’s Note: You can find Batman: Wayne Family Adventures #73-75 and all other past chapters exclusively on the Webtoon platform. You can find all other reviews from the series here at The Batman Universe.
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Overview: In The Joker: The Man Who Stopped Laughing #6, the Joker decides that a return to Gotham is in order, but not before teaching the people of L.A. a lesson in respect.
Editor’s Note: Due to the anthology nature of this collection, we will feature a synopsis and analysis for each story rather than breaking up the synopsis and analysis. Spoilers are sure to be revealed.
Story #1: “The Joker: The Man Who Stopped Laughing ” Part 6 by writer Matthew Rosenberg and artist Carmine Di Giandomenico
Synopsis: The Joker: The Man Who Stopped Laughing #6 begins at a comedy club in L.A. as the stand-up comedian is shocked to find one of his guests to be non-other than the Joker. Despite the comedian’s strong hesitation, the Joker demands that he roasts him, which the comedian does successfully up until he mentions Batman.
At that point, the Joker kills the man by burning his face off with acid, and as the horrified guests flee in panic, the Joker’s henchmen arrive, informing their boss that it’s about time for them to get a move on; their flight for Gotham leaves shortly.
At Griffith Park, twenty minutes later, the Joker informs his goon, Mr. Waffles, that they must make a quick pitstop. Their objective is to see a tree, which upon pulling up to their location, the Joker releases a pack of mountain lions from the back of the truck, freeing them into the wild within the city limits of L.A.
At the observatory, twenty minutes later, the Joker watches in glee as explosions rock throughout the city; several police stations have just been blown up, and the whole city will be shut down. The people of L.A. never truly feared him or gave the Joker the respect he feels he deserved. As such, they needed to be taught a harsh lesson.
In Gotham, detained behind bars, Jason Todd asks an officer what’s going on– something is keeping the police very busy. The office informs him that it’s his lucky day; the clown Jason confessed to killing isn’t quite so dead…but he will be when the LAPD finds him.
In Melrose Hill, chaos runs rampant everywhere. The Joker and his henchmen, on their way to LAX, are stopped by the beginning of a riot in the street, which only escalates to catastrophic in moments. The police, with orders to shoot on sight, are gunning for the Joker, and they aren’t playing games.
Under the streets of Gotham, Solomon Grundy cares for the Joker (the non-Clay Face one) in a morbidly caring way, ensuring he doesn’t die.
In Hollywood, yet another twenty minutes later, the Joker desperately tries to wave down a taxi to take him to the airport, with no success as he has no money. Fear and bribery tactics don’t work on the people of L.A. Just when all hope seems lost, a man cosplaying as Batman finds him, and they strike a deal: seventy/thirty, twenty bucks a picture with visitors to L.A. for the both of them. The busking technique works surprisingly well, as the tourists in L.A. find the opportunity to take a picture with Batman and the Joker extremely entertaining.
All good things must come to a swift end, however, when the Joker’s involved. The thought of splitting the proceeds didn’t sit too well with him, and a bullet to the head later, the Joker is set to go with all the cash the cosplaying Batman had accumulated that day.
Just as the man is about to actually hail a taxi, a staff smashes him on the head, knocking him to the ground. The Joker should never have come to L.A., as Manhunter is not at all pleased with his actions.
Analysis: Written by Matthew Rosenberg with art by Carmine Di Giandomenico, The Joker: The Man Who Stopped Laughing #6 sees the Joker wreak havoc throughout the streets of L.A. through his usual methods of chaos, explosions, and carnage. The result earns him a (what looks like) broken nose and a staff smashed firmly on his head by the vigilante Manhunter, who isn’t impressed or appreciative of the Joker’s actions and lunacy.
Beyond a rather comedic, yet somewhat accurate, depiction of the city life in L.A. and the expressed sentiment that LAX is a rather difficult airport to travel from, the issue doesn’t provide much information for moving the plot forward or thickening the storyline. We do see, and now know, that Solomon Grundy is slowly but surely nursing the other Joker back to health below the streets of Gotham. Jason Todd, now imprisoned (in what looks like a regular jail, which, wouldn’t he be sent to some other, much more secure, top-of-the-line, max-security prison?), now knows that the “man” he killed, presumed to be the Joker, is very much still alive and parading around in L.A.
Where Batman (and the rest of the family) is in all this, and why no one is addressing the issue in L.A. (at least that we can see), is an interesting question that I believe might come to almost any reader’s mind. Furthermore, it’s most likely safe to assume that Jason isn’t happy with the recent word on the street and will try again. Perhaps that will be the series of events that draws in the rest of the Gotham heroes.
Story #2: “The Joker” by writer Ryan Cady and Matthew Rosenberg and artist Will Robson
Synopsis: Ralph, a veteran employee of Haley’s Circus, spends his days bringing joy and entertaining children, and being a true family man. After work one day, Ralph is informed that his twin brother, Edward (who last Ralph saw was calling himself the Joker in Gotham City), is now dead. He tried to ride Man-Bat like a horse and ended up being eaten.
Thus, a trip to Gotham is in order, and shortly after the service, Ralph prepares for the reading of the will, where he finds that his dying brother’s wish is for Ralph to conclude his unfished business. This happens to be a list of dozens of planned and yet-to-be-executed sinister schemes, each more ludicrous than the last.
Ralph, determined to fulfill his late brother’s last wish, gets to work and finds that fulfilling each sinister scheme isn’t as terrible as he thought it would be. Potentially, Edwards’s posthumous plan was not to complete his legacy but to ensure it lives on. Ralph decides that he won’t return to his oversimplified suburban life but will stick around in Gotham a while longer, and those that meet him can call him…the Joker.
Analysis: This secondary story provides one line of thinking of how the Joker might have come to be. Twin brothers who live very different lives as very different people, until death takes one and the other must fulfill their dying wish…to become, long story short, a criminal.
This short story isn’t as weird as some of the past ones (um, the Joker being pregnant and that whole severely uncomfortable tale is still in the first place) but most definitely remains quirky enough to fit alongside the others.
The art in this story, by Will Robson, has a somewhat shiny, cartoon-like feel, which only adds to the overall strangeness of the tale. Again, as a full disclaimer, these sorts of stories are most definitely not my cup of tea but do get points for being bizarre–and most definitely–different.
Editor’s Note: DC Comics provided TBU with a copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Comixology through Amazon or a physical copy of the title through Things From Another World.
The post Review: The Joker: The Man Who Stopped Laughing #6 appeared first on The Batman Universe.
Overview: In Batman #133, Bruce Wayne becomes Batman once more to save a different Gotham City in another part of the multiverse.
Editor’s Note: Due to the anthology nature of this collection, we will feature a synopsis and analysis for each story, rather than breaking up the synopsis and analysis. Spoilers are sure to be revealed.
Story #1: “The Bat-Man of Gotham” Part 3 by writer Chip Zdarsky and artist Mike Hawthorne
Synopsis: Batman #133 begins in a warehouse in the Gotham City of another universe, as the Riddler (Edward Nygma) judges the cognitive abilities of children through riddles. If they can’t answer, he sentences them to Arkham. The venomized police officers escorting Riddler notice something moving around up above and investigate. One of their own plummets to the ground in front of them, unconscious.
When another officer is strung up, Riddler takes a boy hostage. Something is thrown through his hand, disarming him of his handgun. Batman then leaps at Riddler, taking down the terrified rogue.
At Arkham, Selina Kyle confronts Red Mask. She tells him that this fighter is very good but lies by claiming that it’s not Bruce Wayne. She presumes that he’s also the same guy who dressed up as Batman and put Riddler in the hospital. After showing a picture of a hospitalized Nygma, she confronts Mask on Riddler’s abduction of children. Selina tells Mask that she wants no part of a plan that involves children, but before she can finish, Mask knocks her to the ground, demanding that she do what he asks and bring in this “Bat-Man.”
At the Gotham City cemetery, Batman exhumes the corpse of this world’s Bruce Wayne. As he digs, he tries to put the pieces together, wondering if Darwin Halliday (this world’s Joker) is the real threat behind everything or if Halliday tried to save Bruce. As Batman opens Bruce’s coffin, Alfred Pennyworth aims a gun at the Caped Crusader.
Batman unmasks himself and tells Alfred that he’s from another world. In his world, the Alfred he knew was “a kind man who stood up to evil.” Batman tells Alfred that he will do just that, but he needs to examine Bruce’s corpse to find out how this world’s hero died. Batman leaves with the body, and Alfred remains behind. Alone. Alfred drops to his knees and weeps.
At the Wayne Mission, Jewel plays lookout while Batman uses medical equipment to examine Bruce’s body. Batman learns that Bruce was poisoned by gas, but there are also traces of multiversal energy.
Outside, Judge Dent arrives with the police in force. Batman tells Jewel to alert the staff of the Wayne Mission and help get residents out. He suspects that Dent will raze the building to the ground.
Batman engages Dent, and the two fight it out in the rain. Batman uses his wits to take Dent down quickly in front of a couple of officers. The officers run, and while Batman questions Dent, Catwoman arrives.
Catwoman offers to lead Batman to Red Mask, and though he doesn’t fully trust her, it’s the one lead he has. Batman follows her, and she leads him not to Arkham Asylum. Rather, Catwoman reveals that there’s a whole city beneath Gotham, and it’s known as Arkham Caves.
Analysis: Readers of Batman #131 and Batman #132 will know that Bruce Wayne has submerged himself in the crime-ridden, dystopian police state of another Gotham City in the multiverse. Though this world’s Bruce Wayne is dead, by the end of the previous issue, Bruce from the main DC universe realizes that he must become the Dark Knight once more to save this Elseworlds Gotham. Batman #133 leaps straight into the action with Bruce sporting a homemade Batsuit.
There are some big villain moments in this issue. In the first few pages, Batman takes down Riddler decked out in red. Though the police officers are clearly Venom-enhanced, the jury is out for Riddler. In some panels, he looks normal size, but in others, Riddler is massive and imposing, taking on the weird, top-heavy body of that unsettling Legends of the Dark Knight Laughing Gas Joker action figure that Kenner released in 1997. It’s a little jarring, but the setup does make for a cool intro to this bare-bones Batman.
The other big villain moment comes near the end of the issue, wherein Batman uses his wits to take down Judge Dent swiftly. Though the visuals by artist Mike Hawthorne and colorist Tomeu Morey are stunning, complete with a rainy, street-level backdrop, this battle is more interested in propelling Batman to his next encounter than it is in drawing any excitement from the readers.
In fact, that’s a problem with this issue as a whole. Writer Chip Zdarsky and the creative team introduce new information on almost every page, either filling in background information about this Gotham or moving the plot forward, but the grit and noir vibe that inhabited the previous two issues has given way to nothing here. There’s no tension. There’s no real excitement. Batman dispatches two villains easily, as well as finds some clues about the death of this world’s Bruce. The only real moment of emotion in this entire issue is when Alfred confronts Bruce at the cemetery, and though the paneling is wonderful in the cemetery scene, the moment passes as quickly as it arrives, as other moments need to be stuffed into this issue. This results in an action-packed, eventful issue where we aren’t given moments to meditate or process what just happened, let alone get excited or learn of any real stakes in each encounter.
To be fair, Batman #133 isn’t bad. Visually, Hawthorne and Morey do a fantastic job of creating a grimy, disgusting, yet fantastical Elseworlds Gotham. There isn’t much tension or reason to care in this chapter. More than anything else, Batman #133 feels like a bridge between two more important moments, rushing us to the next issue’s big moment in Arkham Caves.
Story #2: “The Toy Box” Part 3 by writer Chip Zdarsky and artist Miguel Mendonca
Synopsis: Leaping into action from the last issue’s backup, Robin (Tim Drake) finds himself surrounded by Toyman and his toy soldiers. Robin shuts himself back into a barn where he’s rounded up the Gothamites trapped here and begins distributing the teleportation discs Mr. Terrific gifted him in a previous backup. One of the survivors tells Robin that there’s another person out there, and Robin blows a hole in the barn and uses a tracker to find this last survivor.
Robin winds up in a lab where another Toyman is operating on a living person. This Toyman isn’t fully alive, but Robin reminds himself of the rules Batman and himself play by — no killing. Robin takes down this “Bioman,” just as the first Toyman enters with his army. Grabbing Toyman and the last survivor, Robin activates his suit. This sends himself, Toyman, the last survivor, and all of the other survivors holding discs back to Mr. Terrific. Once back, Robin tells Mr. Terrific that Toyman will help them get Batman back.
Analysis: It’s not evident whether this backup will serve any greater purpose or not. The obvious answer is that Toyman is somehow involved in Bruce Wayne’s teleportation to (and from) this other Gotham. Beyond that, this Robin-centric backup feels more like filler, serving readers with a low-stakes action romp that doesn’t have enough time to do much other than hop through the beats of nabbing Toyman and bringing him back to the main universe.
There’s an attempt to pen some heart into this backup with Robin reminding himself not to kill the toy soldiers or the “fake” Toyman, despite them looking like animatronics, but it’s not enough to really make this backup interesting.
Editor’s Note: DC Comics provided TBU with a copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Comixology through Amazon or a physical copy of the title through Things From Another World.
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Overview: In Harley Quinn #27, it is discovered that Poison Ivy is Harley’s true love in every part of the Multiverse.
Synopsis (spoilers ahead): As Harley Quinn #27 begins, the Harleys are facing the Harley Who Laughs, who is controlling a chained, gagged Poison Ivy. Harley is narrating, and she is essentially breaking the fourth wall – she perceives the audience and is addressing us. She tells the audience her plan before she reveals it to Batwoman: She is going to jump into the Multiverse to find the Ivy Who Laughs. The Harley Who Laughs reveals that her Ivy was taken from her. Batwoman, Kevin, and Older Harley object to her plan, and Present Harley freezes them all in a classic improvisational style. Present Harley explains to the audience that her story will have a backup Multiverse Jumper (replacing the one the heroes destroyed), and off they pop.
In the Harley Who Laughs’s universe, the team is attacked by Joker’s Henchmen Who Laugh, and a battle ensues. They capture a henchman who tells them where Ivy is being held captive. A giant emerges from the tower where Ivy is held and threatens the heroes, but he is immobilized by the Ivy Who Laughs. They embrace, and Present Harley heads back to our universe. She sends the Harleys home with instructions to find their Ivy. With Kevin on the Gotham Piers, she muses that a home is a person. She says, “goodbye and thank you.”
Analysis: And so writer Stephanie Phillips’s run on the Harley Quinn book ends with Harley Quinn #27. The Harley Who Laughs arc never had much going for it and felt thin and rushed from the start, as all of the last few arcs of Phillips’s run did. It is fascinating to see Harley break the fourth wall, and the device effectively builds the emotional resonance fans may be experiencing. When Harley says “goodbye and thank you,” we understand, of course, that this is Phillips speaking, as she arguably has throughout the run, via Harley herself.
All in all, Phillips did a tremendous job with Harley Quinn, and I love the Harley that she has given us. This Harley feels like a real person: Brilliant, vivacious, hilarious, angry, sad, loyal, ferocious, compassionate, guarded, and above all, complex. Harley is on a redemption journey, but it is a fragile thing, and like any redemption narrative, its outcome is far from certain.
Readers of these reviews know that despite the fit with the character, I have never enjoyed Riley Rossmo’s art, and the substitution of Matteo Lolli’s realistic linework and expressive faces has been a dramatic improvement.
I am more than a bit apprehensive to see what new author Tini Howard has in store for our hero but am excited to see the renderings of artist Sweeney Boo.
Editor’s Note: DC Comics provided TBU with a copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Comixology through Amazon or a physical copy of the title through Things From Another World.
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Overview: In Batman vs Robin #5, Robin must use his wits to defeat the Devil Nezha, who is inhabiting the body of Batman.
Synopsis (spoilers ahead): Batman vs Robin #5 begins with Robin (Damian Wayne) summarizing the events of previous Batman vs Robin issues, as well as the Lazarus Planet mini-event. He brings readers up to speed on what happened after the explosion of Lazarus Island in Batman vs Robin #4, catching readers up to speed on the resulting mega-storm that affected the planet and Black Alice’s imprisonment of King Fire Bull, the Devil Nezha’s son.
Robin awakens in the Batcave as a captive of Devil Nezha, who has taken over the body of Batman. Despite Robin sending a team against Nezha, the would-be conqueror still succeeded.
It’s revealed that Nezha left Robin alive because he wants Robin to tell the villain where King Fire Bull is. Robin doesn’t know, but he pretends as he does. Damian tells Devil Nezha that he’ll lead the magical mastermind to King Fire Bull. Instead, he plugs his ears and activates an alarm that momentarily stuns Nezha.
Robin takes the few seconds of freedom afforded by the alarm to hop on his bike and book it. Nezha pursues in the Batmobile.
Talia al Ghul contacts her son over the comm. She tells Damian that Nezha is weakened, but his life force is the only thing keeping Batman alive. If Damian exorcizes Nezha, it may kill his father. Talia pleads for Damian to wait until she gets to his location.
Monkey Prince joins the fray, sending little monkeys to distract Nezha, which results in the Batmobile crashing and burning.
Robin and Monkey Prince make a break for it, and Monkey Prince informs Damian that the longer Nezha inhabits Batman’s body, the more powerful he’ll become. They need to get rid of him while he’s still weak. Robin tells the primate hero to stop talking, but Monkey Prince tells him that, according to Pigsy, Prince’s mentor, Robin must kill Batman to stop Nezha and take over the world.
Robin gives Monkey Prince orders and sends him on his way. Then, Damian reaches out to the Bat-Family. Much like in Batman vs Robin #3, Damian will have to throw the entire Bat-Family at Batman again.
Robin activates the Batsignal, and Batman is lured to the GCPD rooftops, where the Bat-Family engages him in combat. Everyone gangs up on Batman, but he stands his own. Monkey Prince arrives in a few moments, using his magic powers of duplication to create a bunch of Damian Wayne Robins that attack Batman.
Robin and his clone army beat Batman down, stalling for Pigsy to arrive. At the last second, Pigsy shows up with Zatanna and Enchantress, who are carrying Nezha’s body. Despite knowing that what he is willing to do may kill his father, Robin asks Zatanna and Enchantress to grab Nezha’s spirit from Batman’s body and put it back where it belongs.
Batman’s body is fading, and Robin demands that Zatanna and Enchantress transfer his soul into Batman’s body, thus saving his father’s life. But they can’t. Robin’s soul isn’t enough. They can’t take fragments either, not from Robin or the Bat-Family. There simply isn’t enough energy to keep Batman alive.
Robin contacts Oracle and asks her to patch him through to Gotham. Robin’s voice broadcasts all over the city, and he pleads with the citizens of Gotham. He asks that everyone give a small part of themselves, a small piece of their souls or life forces, so that Batman may live. He asks everyone to raise their fists and shout, “We are Batman.”
“We are Batman!” the citizens of Gotham shout.
Batman lives. Father and son hug. Nezha and King Fire Bull are defeated, and the world is saved. According to Damian, a lesson is learned by the world. There is no more formidable team than Batman and Robin.
Analysis: Batman vs. Robin #5 brings the Lazarus Planet mini event to a close, distilling the cataclysmic, global threat down to a story between father and son, between Bruce and Damian Wayne.
The heart is there. The sentiment is strong, and the few pages where citizens of Gotham City all raise their fists and shout, “We are Batman!” is so overwhelming it’s hard not to get caught up in the feels of this easy.
But Batman vs Robin #5 is just okay. Several loose ends linger as writer Mark Waid and artist Mahmud Asrar laser-focus on the dynamic duo. It’s not to say that this is the wrong choice, but after a few moments of meditation after the issue’s last few pages, many questions bubble to the surface. What happened to Nezha after he was imprisoned in his body? Where did King Fire Bull end up? Where did Talia go (she appeared for a blip and then just disappeared)?
There was a whole narrative earlier on in this miniseries where Batman reunited with the spirit of Alfred, and that just ended after it reached its emotional zenith. Was there no way to weave that generational father-son dynamic between Alfred, Batman, and Robin into this finale?
As big and overwhelming, and action-packed as this book became, the ending hits another emotional zenith and then ends. There’s no cooldown. There’s no final moment that eases us away from the world-ending terror of Devil Nezha and Lazarus Planet, especially after this story wove in threads from Damian’s solo series, Robin, and the first arc in Batman/Superman: World’s Finest. There’s just something missing. It’s as if all roads converged and left readers in the shadows.
Jordie Bellaire’s colors are stunning as always, and there are some truly big, fun moments in this issue, particularly the Batmobile chase earlier on. Asrar delivers some jaw-dropping, explosive panels that get the heart racing, and Monkey Prince is an underrated, newer character in the DC Universe. All this is to say that there are a lot of pieces to like in this finale, but it’s not the showstopper some may have anticipated.
Editor’s Note: DC Comics provided TBU with a copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Comixology through Amazon or a physical copy of the title through Things From Another World.
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Overview: In Detective Comics #1069, Batman’s allies, both expected and unexpected, help him recover from his battle against the Orghams, and the Bat-Family begins to come together against this insidious force.
Editor’s Note: Due to the anthology nature of this collection, we will feature a synopsis and analysis for each story rather than breaking up the synopsis and analysis. Spoilers are sure to be revealed.
Story #1: “Gotham Nocturne Act 1” Part 4 by writer Ram V and artist Dexter Soy with Stefano Raffaele and Miguel Mendonca
Synopsis: As Detective Comics #1069 begins, Ten-Eyed Man and Two-Face wait over the badly injured Batman as Ten-Eyed Man’s insanity appears to pierce the veil of the future and the spirit. Batman wakes, and Two-Face drives off his fellow madman to speak to Bruce, saying Harvey and Two-Face both know Bruce’s identity and they will help Bruce but threaten his family if he tries to destroy the Two-Face personality again. The Orghams attack, and in a flash forward, the golden-eyed Orgham Shavhod observes the effects of the battle.
Gordon talks to Babs about the two days since Batman was injured, and Batman shows up at his private detective agency door.
Shavhod and the werewolf Gael report to Prince Arzen about the difficulty of fighting Batman, as if he were a virus or addiction. Arzen orders more and more of the Gotham poor turned into Azmer demon-possessed soldiers, forcing Gotham to break her addiction to Batman and come to the Orghams.
Commissioner Montoya feels something is wrong, even though crime is way down despite dramatic terror attacks, but her police chief says to take the win and embrace the Orghams. Renee resists the temptation to put on her Question mask and investigate but calls Eric Wells (parole officer from GCPD: The Blue Wall who quit) to her office instead.
Gordon patches Bruce up, keeping his mask on, but tells him Bruce can’t keep it up, but Bruce says he’ll give everything he has and then give more. Gordon points Batman to Oracle and her discoveries about the sewers. Babs tells Batman there are patterns beneath the city – Freeze has been building a cooling network. Cassandra Cain Batgirl is investigating, and she finds the cages of the poor waiting to be infected with an Azmer demon. One of Catwoman’s pupils, the Stray who calls herself Shoes or Cheshire Cat (Lian Harper, daughter of Roy the Red Arrow), breaks free of the cages. She gets shot in the leg, but Solomon Grundy comes to her aid in the sewers.
Analysis: In the fourth installment of the first act of Gotham Nocturne, Ram V brings in a major development in his complex opera – the Bat-Family. Not only does Batman have support from Jim Gordon (as before), Barbara Gordon and Cassandra Cain make major appearances that promise more to come, much to the delight of any Bat-Family fans who have been waiting for Ram V to use the tools available against such a huge and insidious threat like the Orgham family and their demonic allies.
The art team of primarily Dexter Soy (perhaps best known for his work on Red Hood and the Outlaws and Batman and the Outsiders in the Rebirth era), Stefano Raffaele and Miguel Mendonca proves an excellent artistic mesh with previous series artists Ivan Reis and Rafael Albuquerque – thick, painterly lines, dramatic and bold renderings of character designs. Adriano Lucas’s colors also help maintain a strong continuity of look with Dave Stewart’s past work on this run, full of dark, bloody reds, angry yellows, and pale blues, reflecting the elegiac tone of the story Ram V is playing.
A few notes are odd or clunky in Detective Comics #1069. Jim calling his daughter “Barb,” though not unheard of, does seem odd instead of the fatherly “Barbara” or the friendly “Babs.” The thematic connection between Batman and the City is perhaps overly hammered home in this issue multiple times – and that may be the point of what Ram V is trying to say about Batman, but it feels overly obvious compared to the allusive, sideways way he’s approached his themes for the past seven months. Perhaps a petty detail, but when Jim mentions all he’s lost to Gotham’s cruelty over his life, he omits his second bride, Sarah Essen Gordon. After James Tynion IV brought her memory back in his brilliant The Joker series, it’s frustrating to those of us who loved her and were heartbroken at her fate in No Man’s Land to see her forgotten once again. Lastly, though Ram V carefully includes some action scenes, they are once again distant feeling, almost an afterthought – never where the emotional weight is. Perhaps appropriate to the story he’s telling, but time will tell if this approach to action pays off.
There are several moments where Ram V and his artistic collaborators hit just the right notes. The warm moment between Jim and Batman is beautifully constructed, using timing and silent panels to really highlight the strength of their connection. Seeing Cassandra Cain investigate the terrifying sewers is brilliant, as is the return of Ram V’s version of Lian Harper, first seen in his excellent Catwoman run. Lastly, the image of Batman flying over the city, cut in half with Oracle’s pattern map, is incredibly striking – Ram V’s been blessed with truly excellent artistic collaborators in this run, but there’s room to hope that even when name-brand artists like Reis and Albuquerque aren’t available, Soy, Raffaele and Mendonca and pick up the tone and style beautifully – though hopefully, they won’t have to use three artists per issue regularly.
Story #2: “Absolute” Part 1 by writer Simon Spurrier and artist Caspar Wijngaard
Synopsis: The backup in Detective Comics #1069 sees Dr. Mead, Two-Face’s psychiatrist, thinking about the necessary illusion of choice as she is imprisoned by Mr. Freeze after Two-Face helped/ordered her to flee Gotham. Freeze is running experiments on rats and the strange patterns under Gotham City. Attacked by the Orgham’s azmer army, he freezes them, crushing Mead’s hopes again. He’s obsessing over how Nora hated him when she was unfrozen (in Tomasi’s Detective Comics) and freezes Mead while playing a tune that supposedly will prevent the brain damage he blames for Nora’s hatred. As she freezes, Mead discovers a spiritual entity calling itself Earworm.
Analysis: Continuing to weave threads from his backup run on this title and the work he’s clearly doing to collaborate with Ram V on the main stories, Si Spurrier starts another three-part backup, this one focusing on Mr. Freeze. I have to admit – I’m not a fan of Spurrier in general, but these backups have been improving for me a lot, and this one particularly beautifully picks up threads from Ram V’s run and Peter Tomasi’s run on Detective Comics a few years ago in a way that makes perfect sense and shows the terrifying nature of Batman’s coldest villain. The helplessness of our viewpoint character, Dr. Mead, makes us desperately hope that she can survive her encounter with yet another of Batman’s rogues, and the newly created (probably) villain Earworm is quite an interesting development! Caspar Wijngaard’s art is much clearer than Spurrier’s last two collaborators and is a very nice complement to the art in the main story.
Evan Cagle continues his main cover run with a piece showcasing Batman holding Two-Face’s mask for Detective Comics #1069, surrounded by spooky Cupids – perhaps overstating the importance of Two-Face to this particular issue, but definitely following the threads of Ram V’s story. J. H. Williams III’s variant (also used as an incentive foil variant) presents Batman surrounded by a bloody liquid claw, a more abstract visualization of the battle between Bruce and the Orghams. Ivan Reis’s variant, a beautifully gold-hued portrait of Batman standing over Talia lying in a boat, surrounded by candles, seems an odd choice, given Talia’s pretty small part in the run so far, but perhaps foreshadows more to come! Lastly, Colleen Doran’s 1:25 incentive variant shows Batman ripping open his shirt, Superman style – but an actual bat bursts out of a fiery chest cavity, in a violent twist on the motif.
Editor’s Note: DC Comics provided TBU with a copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Comixology through Amazon or a physical copy of the title through Things From Another World.
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Overview: In Batman/Superman: World’s Finest #12, Robin and Supergirl go on a super date, and everything goes awry.
Synopsis (spoilers ahead): Batman/Superman: World’s Finest #12 begins months ago, Thursday, in Gotham City, a landlord enters one of his tenant’s apartments without forewarning. The tenant, shocked and appalled, demands to know why the landlord is there. The landlord says it’s because the tenant kept a monkey in the apartment, which is illegal. When the tenant finds out that the landlord had the monkey removed, the tenant runs out into the hallway, screaming for his pet, “Bingo.”
On Friday, in the Batcave, Batman returns from patrol and asks a visibly upset Robin (Dick Grayson) how his date with Supergirl went. “It went,” Robin mutters, busying himself with a doodle. It’s a doodle of his original Nightwing outfit, and he’s thinking of changing his identity because he blew his date with Supergirl. Batman reminds Robin that Supergirl will know it’s him.
At the Fortress of Solitude, Superman asks Supergirl how her date went. She recounts that on the night of the Man-Bat invasion of Boston, Robin, Black Lightning, and herself battled multiple Man-Bats together. When Robin saved himself from near death, Supergirl asked him out.
On Thursday, the day of the date, Supergirl gets all dressed up in a fashionable outfit, only to grow upset when she spies Robin in his superhero costume at the restaurant. She changes into her superhero outfit, grabbing all the eyes as she joins Robin at his table. She’s upset, and Robin, confused, tells her that they were in costume when they set the date, so he just assumed it was in costume.
The two get off to a rocky start. Meanwhile, outside, the tenant is running around searching for Bingo, his pet monkey. In the kitchen of the restaurant, the manager is screaming at his wait staff to make the dishes truly special as Robin and Supergirl are dining in.
Robin and Supergirl go into their backgrounds, each one making awkward mistakes during the course of their conversation. It’s tense, but they both nervously apologize to each other when called out for their comments.
Back at the Batcave, Robin tells Bruce Wayne how Supergirl reacted when he told her about his dead parents. Bruce levels with Dick, letting him know that everyone in Supergirl’s family died.
At the restaurant, while Robin and Supergirl wait forever for their food, Bingo, the pet monkey, is running around outside. Bingo leaps from a light post down onto a truck, causing a crash. The backdoor of the truck opens up, and hundreds of bowling balls fly out. These bowling balls lead to even more car crashes and mass chaos. Robin and Supergirl leap into action.
They both start out by saving people. When Robin spots the monkey, he goes to intercept it. Supergirl saves an older lady who compliments her beautiful hair. Just then, Robin, with a monkey attached to his face, knocks Supergirl into a fountain. After the monkey is returned to the tenant and everyone is safe, the two resume their meal. After they finish eating, Robin realizes he forgot to bring cash. He tells Supergirl to wait while he quickly changes out of costume and hits an ATM, but Supergirl says that she’ll pay, though she’s not happy about it.
Outside of the Fortress of Solitude, Supergirl and Superman fly around while Supergirl recounts her story. When she asks why Superman isn’t defending Robin, he says it’s not his place to tell her who to date. Supergirl says that while she wants to kill Robin, she feels bad for judging him as she watched him “tie himself in knots” for approval.
In the Batmobile, Batman and Robin drive around, and Batman advises Robin to take the loss and move on. When Robin laments that guys like them never have things work out for them, Batman tells Dick that he can’t force chemistry. People either click or don’t.
Analysis: Batman/Superman: World’s Finest #12 is a cute one-shot that plays into a running theme in this series thus far, the flirtation between Robin and Supergirl. There’s no world-ending threat here, just awkward, uncomfortable, ridiculous bad chemistry between the two heroes as they make every wrong move possible. Robin and Supergirl misunderstand and misinterpret each other left and right, and the icing on the cake is, outside of the restaurant on their appointed date, a runaway monkey is causing an incredible pileup of cars and bowling balls.
This issue is cute, light-hearted, and sweet, and in typical Mark Waid fashion, there’s a greater message that comes across as Supergirl recaps her date with Superman while Robin does the same with Batman. Sometimes people don’t click, and while we may enjoy working with others, sometimes we don’t like who we are when romancing colleagues or coworkers. The message is the icing on a colorful, playful delight of a read.
Emanuela Lupacchino provides the pencils for this issue, with Tamra Bonvillain maintaining that bright, beautiful pop of color readers have come to cherish throughout this series. Lupacchino’s pencils excel at delivering the very animated expressions that propel this narrative forward. The awkward tone really lands because Supergirl and Robin are so dramatic in their reactions and fumble with each other.
Simply put, this one-off is just a fun break from the nonstop action we’ve seen in World’s Finest.
Editor’s Note: DC Comics provided TBU with a copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Comixology through Amazon or a physical copy of the title through Things From Another World.
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Overview: In Catwoman #52, Selina continues to claw her way up the food chain in prison as Eiko and Dario make plans for Gotham’s crime families.
Synopsis (spoilers ahead): Catwoman #52 begins with Eiko Hasigawa, leader of the Yakuza in Gotham, and current Catwoman now that Selina’s doing a bit of time for killing her lover Valmont, teaching Dario Tomasso, estranged scion of the Italian crime family in Gotham, how to drive. Badly. They get some drinks to prepare for their meeting with the other Four Families of Crime.
In jail, Selina meets with her lawyer, Ms. Ventura, who tries to convince her that Punchline killed Valmont, but Selina’s guilt refuses to let her take the out. Meanwhile, she makes many friends and influences people with the line of snack food from Eiko and Dario, and runs an “Advanced Thieves” course for a select group of women. She protects one of her girls and gets herself back in solitary (her “office,” as she calls it), and gets a note from Bruce tied to her cat, who crawls around the vents.
At the meeting, Eiko calls for Catwoman’s head to conceal her double life, blustering in an attempt to compete with Black Mask’s hold on the mob. Outside, Dario tases his ex-boyfriend Noah (who tried to kill him recently) and tells him he’s declaring war on him personally. Eiko comes out, and as they change into Catwoman and Tomcat, she tells him firmly he must only act violently as Tomcat, and they set out to disrupt the plans she noticed at the meeting.
Catwoman dreams of her sister Maggie and rereads Bruce’s note. She then sets the next part of her plan in motion, breaking out of solitary and meeting her select few (Linda, a Scarecrow henchwoman, Scorpiana, Vox, Lady Clayface, and Hoops) in the jail chapel, and teaches them “Advanced Combat.”
Analysis: Tini Howard’s “Selina in Prison” arc continues in Catwoman #52, as Eiko takes Selina’s place in trying to play the mob as Catwoman on the outside while Selina recovers emotionally and forms her own gang on the inside. Veteran artist Sami Basri continues on art, providing very appealing, assured, and mostly coherent storytelling and figure work. One odd exception to Basri’s coherency appears in Eiko’s meeting with the mob, where she throws one of her father’s shuriken at Black Mask but is holding it in the next panel – it’s possible that she’s meant to have more than one, but not well communicated. On the whole, however, Basri and colorist Veronica Gandini do a very solid job on the art, not relying too heavily on coloring and CGI finishes to fill out weak and underbaked linework as the first part of this run too often did.
Howard’s writing has some distinct upsides in Catwoman #52 – Selina’s connection to Bruce is underlined three times – a tad redundantly, but it’s nice seeing Howard drawing heavily on the romance between the two, even if she does lean extremely hard on “Bruce won’t tell Selina directly what to do because he respects her, but he still tells her what to do in subtext” in their communication. It’s nice seeing Howard actually develop Selina’s fellow prisoners and Selina’s plan, though why we’re supposed to root for Selina and her select women who prey on the other inmates is unclear, as is how Selina actually does any of the things she’s doing, like breaking out of solitary and gathering all her women together in the chapel. The connections with the Punchline book through Selina’s determined lawyer continue to remind the reader of the gigantic disruption in issue #50 from the semi-crossover between this book and the Punchline miniseries that Howard is co-writing.
While Selina’s plotline is definitely on the upswing from the last several issues, Eiko has picked up the idiot ball that Selina dropped when she went to jail, sadly. Her plan to compete with Black Mask is to bluff and bluster, sneak looks at the plans of the mob, then go directly to disrupt them as Catwoman, giving Roman Sionis even more ammunition against her as Catwoman’s creature – which she is, even if she’s a lot more direct about it than Sionis may think. Dario also picks up his share of the idiot ball in confronting his ex-lover Noah in public and as himself, though it’s nice to see Eiko taking a harder line with him (even if the way she does it is cringe-inducingly badly written in dialogue, both in the driving instructor and Catwoman and Tomcat scenes). All in all, though more positives stand out than in many past issues of Howard’s run, the negatives still continue to render it overall a difficult reading experience.
David Nakayama continues his run as the main cover artist with an extremely shiny (and extremely skin-tight) costumed Eiko Hasigawa (who also gets title credit in the trade dress, interestingly). Original main interiors artist Nico Leon also continues his stint providing 1 in 25 incentive variants featuring his design sketches, this time for Tomcat (a deeply unfortunate name and costume, sadly). Sweeney Boo’s cardstock variant features a lovely if generic Catwoman (Selina) pouring milk for her cats in a perhaps provocatively bent-over posture. Rounding out the main covers, Joshua Swaby paints an oddly not playful Bat/Cat post-kissing pose, Selina’s lipstick on Bruce’s stoic face.
Editor’s Note: DC Comics provided TBU with a copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Comixology through Amazon or a physical copy of the title through Things From Another World.
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Overview: In Nightwing #101, the Titans have moved to Blüdhaven, and not a moment too soon as a mystery puts them and Nightwing in the sights of Neron from the Underworld!
Synopsis (spoilers ahead): Neron, ruler of the Underworld, is less than pleased after his minions report back failure to retrieve the soul of Blockbuster’s daughter. Understanding that the soul is protected by Raven, Neron goes to the Grinning Man to request his assistance.
As Nightwing #101 continues over in Blüdhaven, Olivia Desmond is playing with Raven and Beast Boy when Nightwing arrives and informs them that a body was found at the site of the formerly pristine and now destroyed Titans Academy. When Starfire arrives on the scene, she manages to lift the rubble and recover the body, whom everyone discovers to be the late King of Vlatava – the same person the Grinning Man is currently masquerading as. Later, Amanda Waller shows up to inform the Titans that a forensic investigator from the King’s country wishes to assist in the investigation.
At the local morgue, Nightwing tells the investigator his deductive findings, concluding that the King has been dead for at least two weeks. Bizarrely, the investigator merely grins at the body. When Nightwing next turns away from her, he’s hit on the head by a metal instrument, and the investigator – The Grinning Man revealed – morphs into him.
The second story in Nightwing #101 picks up three months after the events of the Nightwing Annual. During that time, Dick has been training Jon Kent, and the two are on patrol together. In the field, Superman hears the snap of a circus trapeze rope, and they arrive in time to save the acrobats. Nightwing observes the rope and sees that it was cut, then instructs Superman to scan the nearby area. Superman finds a bomb in the stands and warns everyone to evacuate just as the bomb goes off!
Analysis: I have to say, Nightwing #101 was a very good start to a Titans storyline involving mystery, intrigue, genuine danger, and picking up of a thread from a few months back. Now that we know that Tom Taylor is gearing up to write the new Titans series, one understands that this is clearly a lead-in to that book. For what it’s worth, I think it works great.
It reads entirely like a Titans comic. There are a few narration boxes from Dick, but we get more of the Titans members – particularly Kory – than I was figuring we might. I also think the artwork by Travis Moore especially worked in the story’s favor. Nicola Scott will be doing art duties over on that book, but the Titans team always benefits from being rendered naturalistic and sexy. I’ve recently revisited some of the original New Titans series during the Eduardo Barretto days in the late 1980s, and it’s just as solid as the late George Perez’s stuff. I think Titans will always be better as a soap opera-tiered comic rather than a straight superheroic one.
We don’t get much soap opera here, though, and I wonder if Taylor’s interested in that. We’ve got Kory, but Barbara’s neither present nor mentioned in this. Not that I’d want any cat-fighting, but Kory and Barbara’s relationship is honestly non-existent and has been for too many years. Dick and Kory’s past hasn’t been greatly addressed since Rebirth, aside from a hook-up in the early pages of Titans Academy, and some fireworks in the romance department could shake things up. There’s also what’s been going on with Gar in the aftermath of the Dark Crisis event, Wally and his status quo, and whatever the heck Donna is up to. All of this is to say I’m wondering what led Taylor to take on the Titans aside from just being a Dick Grayson fan. This has happened before, previously with Marv Wolfman and before that with Devin Grayson. Being a Nightwing and Titans writer takes on some heavy lifting in regard to development, and I’m looking forward to it, even if I’m unsure what might happen in the near future.
I’m not talking too much about the story, and it’s a solid first part. I’m not at all familiar with the Grinning Man and wonder if this is a first appearance of a new character. Happy to be corrected if otherwise. His appearances as the king and the investigator AND as Nightwing were all really creepy, especially the second to last panel with Nightwing in shadow, but his grin kept in white. This was by the far the creepiest, most suspenseful issue of Taylor’s run, and I’m glad we’re ending with a genuine cliffhanger. Before, he blew it with that weak resolution to the cliffhanger with Blockbuster, Melinda, and Electrocutioner. Here Dick is badly injured, and the Grinning Man is about to get Olivia. I’m eagerly waiting to see how this gets resolved.
The backup story was good, with good art, but it was very straightforward, with little in the way to chew on analytically. From the looks of it, it seems like Heartless is behind the attack, which may continue into this book if the main story leads into the Titans series.
Editor’s Note: DC Comics provided TBU with a copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Comixology through Amazon or a physical copy of the title through Things From Another World.
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Overview: In Batman: One Bad Day: Clayface #1, Clayface assumes a new persona and struggles to make it as an actor in Los Angeles.
Synopsis (spoilers ahead): Batman: One Bad Day: Clayface #1 begins at the apartment of Clayface (Basil Karlo) as he transforms from a mud puddle into a new human form in the mirror.
At the restaurant where Clay (Clayface’s new persona) works, he submerges himself in a crowd of executives and young performers dying to break into Hollywood. He helps where he can, reading the script of a coworker and auditions. On the way to an audition that a friend is also up for, he coaches this friend, telling him that if the friend can’t find the pain deep down, fake it.
All throughout, Clay has been practicing lines for his own audition, replaying them repeatedly. They’re about being a monster, about bringing pain and hurt to Gotham, yet about needing love.
The casting director calls to stop. She tells Clay that she senses the tragedy deep within him. When she asks if he’s from Gotham, he tells her that he is and it was a painful time in his life. The casting director then asks if Clay can pep it up because he’s auditioning for a love story, after all.
Clay pushes back, reminding the director that this character actually killed people and that there’s blood on his hands. When the director tells Clay they’re looking for a more quirky performance, Clay pushes back even harder. This move prompts the casting director to tell him that they’re good. He’s no longer needed.
Later, Clay laments the loss of the part to his friend, who also auditioned for the same role. He tells his friend that they don’t get the inner complexities of acting or the character, accusing the director of wanting something watered down for the masses. Midway through their conversation, Clay’s friend gets a call. It turns out this friend got the part, in large part due to his comedic chops and the advice he used from Clay.
Clay can no longer hold it in. He transforms into Clayface and kills his friend, stuffing the body in the trunk of a car and taking the form of the now-deceased man.
Clay, now going by the name Corey, arrives on set half an hour late. He’s rushed into makeup and then gets to the stage, where he’s acting out the monologue he just auditioned for. It’s for a movie called “The Killing Joke,” and while he delivers his speech, Corey holds the red hood mask that Joker wore in the now-iconic graphic novel.
The director calls cut and tells Corey that he’s not being relatable. When Corey argues that he found the true heartbreak of the character, the director tells him that the character is a killer but also a comedian. When Corey pushes back yet again about how everyone can relate to the sadness of it all, the director cuts the day short and says that he has to make a phone call.
In his trailer, Corey slips into his Clayface form. The casting director arrives, and Clayface resumes his Corey persona. She’s here to berate Corey for fighting with the director, telling him in no uncertain terms that there’s a hierarchy to sets, a pecking order, and Corey apparently doesn’t know his place.
Clayface consumes the casting director, killing her and assuming her form. Then he walks onto the set and goes through the crew, killing each one. When the director shows up, Clayface tells him he’s happy the director was last. Clayface kills the director, a man by the name of Max Taylor, and assumes his form.
Harry, the one funding the movie, calls Max and tells him that there’s bad news. Max (Clayface) meets with Harry only to find out that the movie is being canceled. When Max tells Harry that movies are art and that he has a vision, Harry tells Max that movies are depreciating products. They are a bad investment. Harry goes on a monologue, commodifying movies as common trash filled with the basic denominators most moviegoers love. Because there’s no franchise potential baked into Max’s movie, Harry’s canceling it.
Clayface brutally kills Harry and takes his place. As Harry, Clayface arranges a massive party at the producer’s mansion. He invites two VIPs, both of whom are coworkers from his days as Clay at the restaurant.
When his friends arrive, Clayface assumes the form of Clay. He makes a move on the one who was writing the script, a woman by the name of Kat. She’s taken aback, confused, and bewildered by the world Clay now finds himself in. She reveals he’s being so kind to her, but she feels a call to return home, a pull telling her she won’t make it.
As Batman: One Bad Day: Clayface #1 continues at the party, Clay meets Bruce Wayne, who has arrived to meet with Harry Silverman, the producer. Bruce stands before a giant poster of The Gray Ghost, a movie that’s being rebooted under Harry’s watch. Clay and Bruce chat and Bruce reveals that The Gray Ghost serials were a huge inspiration for him (which is definitely a call-out to the “Beware The Gray Ghost” episode of Batman: The Animated Series). When Bruce jokes about making a Batman movie next, Clayface suddenly has flashbacks and leaves.
Clay runs to the bathroom before fully breaking and transforming into Clayface. He remembers all the things said to him by the actors and people he killed. His Clayface persona reminds him that he’s trash.
Clay pulls himself together and rejoins his friends. They talk about how they are all strays together. When Kat asks where Corey is, Clay tells her he called Corey, but Corey didn’t pick up. He then reveals to them that his real name is Basil Karlo. It takes Kat a second, but she realizes that Clay is Clayface. She then puts together that Corey disappeared after riding to an audition with Clay. Clay keeps making excuses for Corey, but Kat and their other friend aren’t buying it. Clayface breaks, demanding to know why he isn’t good enough for them.
There’s a scream, and Clayface consumes both of his friends. As the other partygoers look over, Clay has taken the form of Harry Silverman and thanks the guests for coming out. Harry asks them to leave.
Just then, his two friends burst out. Kat calls the police, and sirens can be heard approaching the mansion. Clayface hulks out, telling everyone that he deserves this, that it’s his turn.
The rain, which never comes to LA, arrives. Batman sits perched atop the mansion. Clayface spots The Dark Knight and flees. He runs down the hills and through the trees, yelling, “Why did you have to bring the rain?!” When he stops running, Clayface tells Batman that all the people out here smile, but they’re fake. They take from your veins. They’re monsters, just like him. In truth, Clayface belongs here.
Batman tells Basil Karlo that he killed nine people in one day. The two fight, with Batman reciting the names of all of the victims. Batman pulls out some device that sucks Clayface into it like a ghost trap from Ghostbusters. He tells Clayface that the people killed had their stories, but Clayface is just acting.
At Arkham Asylum, Clayface once more acts out the scene from his audition, taking the form of each victim. As the victims look at Clay’s face, he confesses that he’s still working on the audition, asking for notes, any notes at all.
Analysis: Batman: One Bad Day: Clayface #1 is both a solid Clayface thriller and character study, as well as a very meta-commentary about the art of creation and making it out in Hollywood. Using the body-morphing character of Clayface as a literal vehicle for the phoniness of Hollywood, writers Collin Kelly and Jackson Lanzing and artist Xermanico tell a heartbreaking tale of how the creative process is crushed and torn apart within the mechanics of a money-printing studio system. Potshots are taken at the hyper-focus on franchises in the modern era, and there is at least one jab at canceling a movie, which can’t help but make readers wonder if it’s in any way a reference to Warner Bros. Discovery’s cancellation of Batgirl. More importantly, the creative team manages to weave a frighteningly futile tale of Clayface’s attempts to remake himself. Instead of submerging himself into the studio system, Basil Karlo bends others to his will, murdering those who stand in the way of his grand vision.
There’s no clear indication of what the vision actually is. Readers are clued in on the disagreements between Clayface and the directors over the tone of the character in a movie adaptation of “The Killing Joke,” but beyond these disagreements, it’s not like Clayface has a finished product in mind. The story focuses more on Clayface propelling himself up the studio food chain, apparently all within the span of “one bad day,” which is easily the hardest part of the story to digest.
Tonally, however, Batman: One Bad Day: Clayface #1 is magnificent. It’s so full of pathos and pain. Xermanico’s art is equally parts terrifying and absolutely depressing. There’s so much sadness in Clay’s eyes from start to finish, a sadness that glosses over in Clayface’s eyes as well. The way Clay’s friends look at him when he offers them kindness is beautiful and tragic, as readers know right out of the gate that Clay will take so much more from them.
There are many haunting images here in Batman: One Bad Day: Clayface #1, from the opening sequence of Clayface’s apartment to his devouring of the people around him. Yet, the most haunting images of all might very well be the eyes. They’re so sad and full of tragedy.
Letterer Tom Napolitano deserves heaps of praise for this issue. The tone and mood is set by the letters for Clayface’s voice, warping nearly as much as Clayface’s body. The harsher the inner self-talk Clayface delivers to himself, Napolitano echoes in the word bubbles. There’s also a script motif throughout, which really sets the stage for the drama readers are treated to.
Overall, the writing, art, and lettering work in sync to create a gripping read that speaks to a multitude of ideas about Clayface but about the creative process as well.
Editor’s Note: DC Comics provided TBU with a copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Comixology through Amazon or a physical copy of the title through Things From Another World.
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Overview: After the death of Bruce Wayne at the hands of the city of Gotham, Terry must take up the case to avenge his mentor in Batman Beyond: Neo-Year.
Editor’s Note: This collected edition includes all six issues of the miniseries Batman Beyond: Neo-Year, which had its first issue released in April 2022 and the final issue released in September 2022. This review focuses on the story as a whole rather than the individual issues that made up the limited series.
Synopsis (spoilers ahead): Batman Beyond: Neo-Year begins with Batman, Terry McGinnis, speaking to a dead Bruce Wayne, giving him the statistics of the crime rates of Gotham since his death. Despite nonstop attention from Terry, the city is becoming worse and worse by the month. The new head of Wayne Enterprises, Donovan Lumos, known as the Holographic Man, is the front man for all the technical upgrades to the city, making being discrete even more of a problem. It doesn’t take long for Terry to hypothesize who is really behind the increased crime and death of Bruce: The Living Gotham.
Having zero proof the city is alive, he goes to Commissioner Barbara Gordon to give proof of Lumos’s corruption, leaving out the part about Gotham being alive. She still insists on retiring and letting the city eat itself. This conversation may breed a new ally though, a young go-getter cop, Beam Boonma.
The first issue ends with our first encounter with the muscle behind the city. Terry is investigating a possible drug smuggling ring moving through Wayne boat shipments when he is attacked by a long white-haired masked man with a huge rectangular sword. With nothing in the Bat computer on this new foe, Terry quickly realizes he is over his head and tries to flee. His efforts fail, and we end with the only Batman remaining under a pile of rubble.
Terry regroups, knowing he no longer owns the night and creates a disguise from parts from his depleting bat suit resources to try to become truly invisible to the city. His investigation leads him to Gestalt, a three-bodied machine. Gestalt had found a way to hide from the city as well; it was to merge together the resources of three to make one, and where Terry first thought he had come across another villain, he finds his first true ally.
Finally getting somewhere in his quest against the city with the emergence of Gestalt, Terry attends former Commissioner Gordon’s retirement party, being thrown by none other than Mr. Lumos. The city and Lumos begin to take more control. In Lumos’s speech to Barbara, he announces that Wayne Enterprises has taken full financial responsibility for the GCPD. A move that only the mayor, who has unfortunately been missing for thirty-two hours, can enact. Terry uses this opportunity to introduce himself to Beam Boonma, who leads him to where the mayor may be located.
Led to a trap by the city, her sword is waiting for Batman, and the fight for his life ensues. A cut scene reveals more about the city, showing us the death of an older homeless man as the city explains how it is timed with the birth rates at the hospital, a death for every birth.
The battle continues in Batman Beyond: Neo-Year through the city ending with Batman seemingly getting the upper hand on the sword. Gotham is already one step ahead, as we come to find that the Sword of Gotham is only the old homeless man hiding behind a holographic shield. Injured in the battle, Terry heads to Detective Boonma’s for help. The city has other plans, turning the detective into her next sword, and instead of receiving help, Terry must continue to fight. Getting the upper hand again, Terry can break Detective Boonma from the holographic control, and they retreat to the Batcave underneath a burnt-down Wayne Manor to regroup again.
Detective Boonma is not just injured but still under the control of Lumos and the city. Gestalt finds a solution, but not one they are confident will work. They must distract the city long enough for Gestalt to upload a virus. They argue about how to proceed with Detective Boonma released from full control by the city but is still in some coma. Gestalt wants to continue to hide, continue to live under the radar, and allow the city to do what it wants. Terry will not have it and eventually convinces Gestalt, and they get to work.
One hundred days pass with them underground, hiding and preparing. The good news is that the plan to wake Detective Boonma has worked, and she wakes unharmed. The preparations to go after Lumos and the city continue as Gestalt completes Terry’s new upgraded suit as well. The plan is coming together.
The last issue of the Batman Beyond: Neo-Year miniseries starts with Gotham uneasy in her search for Batman. She is fearful that she can no longer see him. She knows he is coming. On New Year’s, the city plans to turn all of the people of Gotham into versions of her sword, releasing us from the choices of free will. Terry uses this to gather his team: Gestalt, Detective Boonma, former Commissioner Gordon, and even the Jokerz are enlisted to help.
The assault starts off perfectly; Terry corners a fleeing Lumos. Terry threatens him to turn the city off, but Lumos has no idea what Terry is saying. He explains, hoping this will turn Lumos into another ally, but Batman is wrong. Lumos, now knowing the full extent of what he has helped create, gladly accepts the city of Gotham and becomes her ultimate sword. Now knowing exactly where the city is, Terry flees.
Gotham, now working through Lumos, takes off after Terry. He leads them toward the Jokerz, where they release all the firepower they have. In the explosions, Gestalt uses this time to force the upload. It is successful; the AI known as the city of Gotham is trapped. Terry grabs a falling Lumos and touches him to the ground. Finally, ending the Neo-Year.
It all wraps up with Barbara and Gestalt clearing out the Batcave. Terry and Boonma are out on the town, ready for the next story to start.
Analysis: Batman Beyond: Neo-Year is a solid comic book miniseries. The story flows well over the six issues; I was never bored or overwhelmed with constant action or lack thereof. There are no major underlying themes the authors are trying to convey; Collin Kelly and Jackson Lanzing quickly get right into who is to blame for Bruce Wayne’s death, making the main structure of the story very easy to follow. It was very easy to pull out an issue and pop right into the story wherever I left off. It is very approachable and a good series for any beginner to jump into the comic world. The art is very loud; a lot of bright neon colors, which makes for good contrast in the fight scenes resulting in the action being very readable. Max Dunbar does solid work: the colors pop, a touch bright, but the art does the story justice.
From the outside, I really enjoyed the story. Once I started to get into it, I did start finding problems. I would have liked Terry to sit in the mystery of who killed Bruce for a little longer. The book begins with a phantom narrator. Not even a page later, Terry takes over the narration and tells us he KNOWS it was Gotham that killed Bruce. It would have been nice to see him do some detective work to figure that out. I thought all the middle issues were great. I blew through issues #2-5 in a single sitting. This is where Terry does his version of detective work, gathering his crew and then hiding and preparing. From his encounter with Gestalt to putting ideas of being a hero back in Barbara’s head, Terry really is Batman in these issues, or what I perceive Batman should be.
The ending of Batman Beyond: Neo-Year was disappointing, rushed, and stood out in a bad way. Lumos, through the story, is portrayed by Terry as the evil mastermind that turned on the Living Gotham. At their final encounter, Terry is the one that reveals the Living Gotham to Lumos, explaining that he has been manipulated into doing the city’s bidding. I did not like the idea of the future tech genius being manipulated by the computer program he accidentally turned on. To add insult to injury, once Lumos finds out he’s been swindled by his own work; he snatches at the chance to be its next minion. Lumos went from an eccentric business tech wizard to an uneducated wimp grasping for power in less than a panel. It did not work.
I found the artwork very enjoyable until I would remember I’m supposed to be in Gotham. I understand that this is the future, I get that the name is Neo, but everything in Gotham looked too clean. Too bright. Not enough doom and gloom. There are some great panels with a brooding Terry with his hood up and head down in the rain or inside a dark club that is totally ruined by a bright neon pink or blue light in the panel giving it brevity, where none is needed or even wanted. That aside, there are some fantastic splash panels throughout the comic. The action scenes have great contrast allowing us to see everything going on in the story clearly. I would have liked to see more darkness in the overall aesthetic of the comic.
Editor’s Note: DC Comics provided TBU with copies of the original issues of this series as they were released but not of this new edition. You can find this collected edition and help support TBU in the process by purchasing this edition digitally either for Comixology through* Amazon or as a physical copy in a paperback form at Amazon or from Things from Another World.***
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Overview: In Batman Incorporated #5, Ghost-Maker tells his version of the story for Phantom-One, and Batman Inc. now has an enemy.
Synopsis (spoilers ahead): Batman Incorporated #5 begins with the team on Lex’s ship, where they are all in a holding cell. Oryx wakes up the Knight and tells her that after they deal with Ghost-Maker, they will let the rest of them go. Then after Oryx walks away, Knight wakes up Gray Wolf. He breaks free from his chains and yells for everyone to wake up.
Then he breaks through the glass, and the others all run to the exit, but in their way stands the Phantom-One’s team. Batman Inc. tried to stop it from escalating, but then Oryx revealed to Batman Inc. what their motives were. This made Batman Inc. question how reliable Lex Luthor is and if they should trust them.
Ghost-Maker, still where he was at the end of the last issue on his knees. When Phantom-One tells Clownhunter to kill Ghost-Maker, they manipulate him even more. Ghost-Maker chimes in, saying that if Phantom-One is so adamant about killing him, he should do it himself. Phantom-One says that Ghost-Maker should die after what he did to him.
Ghost-Maker says that Phantom-One deviated from the plan and tried to chase down Palladium which then caused the building to be blown up. Then Ghost-Maker had to choose between Phantom-One and ten innocent people. So he went with the latter, and by the time he saved those people, no one could have survived. So he started for revenge and tracked down Palladium and killed him.
After hearing that, Clownhunter changes his mind and doesn’t want to kill him. Then Phantom-One takes his sword, ready to kill Ghost-Maker. But Ghost-Maker takes out a tiny blade and stabs Phantom-One as he swings. Then Phantom-One gets stabbed in the torso after going at Ghost-Maker.
On the ship, a fight starts, and Wingman makes his way to the control room, where he presses a button and makes the ship crash right next to where Phantom-One and Ghost-Maker are.
Phantom-One takes the chance while Ghost-Maker is distracted and punches him in the face, and when he is about to kill him, he starts to lift up Ghost-Maker’s face. Ghost-Maker kicks him off and puts the helmet back on after Phantom-One almost reveals it. And stands above him and says that he won’t kill Phantom-One because he made a promise to stop killing people.
Both teams gather around to see Ghost-Maker and Phantom-One, which gets brought onto the ship by his team.
All the way over in Shanghai, Bat-Man of China looks for Dr. Wu and can’t find him. Leading him to come into a room where people dressed as clowns are holding Dr. Wu at gunpoint.
Analysis: The story in Batman Incorporated #5 was interesting this time, with us being able to see the truth behind why Ghost-Maker left behind Phantom-One. We needed that piece of information for the story to move on from the doubt cast on Ghost-Maker in the last few issues. Ghost-Maker never seemed to be the one who would have left someone behind, and now we know why Phantom-One was doomed.
We saw how Clownhunter decided he didn’t want to kill Ghost-Maker. Will this conflict be resolved, or will there be issues with other team members?
Also, when he talks about how he got revenge on Phantom-One by killing Palladium, I felt the pain Ghost-Maker had; losing Phantom-One to save ten other people’s lives. If I were in the Ghost-Makers situation, I would have done the same thing because that is the right thing to do in that line of work. Phantom-One was an unfortunate sacrifice in the war on crime.
We also saw the clowns at the end, maybe referring to the Joker being one of the next villains of Batman Incorporated. A variant cover also showed Batman and Ghost-Maker side by side, meaning they could be in the next issue teaming up or hunting the same enemy.
Editor’s Note: DC Comics provided TBU with a copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Comixology through Amazon or a physical copy of the title through Things From Another World.
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Overview: What started with a wacky body-switching tale comes to its shattering conclusion in Batgirls #15 as Steph faces her supervillain father, Cluemaster, hoping against hope that her clue has led Cass straight to her.
Synopsis (spoilers ahead): As Batgirls #15 begins an hour north of Gotham, Cass speeds on her motorbike towards the cabin Steph’s letter revealed to her last issue. Cluemaster monologues to his tied-up daughter about his death in Batman Eternal, while menacing her with a World War 1 era Mauser pistol. He reveals a twisted game show setup, a mockery of his original job, and electrocutes her when her answers don’t match his supervillainous desires.
Cass arrives, smashing through the window, fighting her way through Cluemaster’s nasty traps, and freeing Steph. Cluemaster pleads with his daughter, but she rejects him sorrowfully, punching him in the face, devastated that she can’t fix him. In response, he blows up the side of the cabin, then takes a shot at Cass, but Steph pushes her best friend aside and takes the bullet square in the chest, dying. Cass stops Cluemaster from killing himself and then doses Steph with the Lazarus serum she found while investigating the League of Assassins in the last issue. Cass is overwhelmed with relief as Steph revives, and Officer Brooks arrives to arrest Cluemaster, now a broken man at having killed his own daughter. Riding back with Cass on the bike, Steph and Cass thank each other for saving each other’s lives.
One week later, the doctors try to get information from Cluemaster about Mad Hatter’s role in his resurrection, but he says he can’t give them a clue anymore. At the Loft, Cass revels in the winter weather, and she and Steph take stock of their last weeks and plan ahead for their confrontation with the Mad Hatter. Later that night, Grace O’Hallaran (former TV news anchor, current eyepatch-wearing podcaster) is woken up by a blood-covered bust with a message taped to it…
Analysis: Becky Cloonan and Michael W. Conrad bring their fourth major arc of Batgirls to a close in the catastrophic yet triumphant “Dead Wrong,” partnered with “Bat-Girl Summer” artist Neil Googe and colorist Rico Renzi in Batgirls #15. Though his storytelling doesn’t quite match the lyrical power of Jonathan Case’s issues, Googe provides well-composed layouts, and beautifully rendered figure work, again in a similar style to Jorge Corona’s original designs for the book, rendered in a more restrained but still energetic and cartoony fashion. Renzi continues to use the trademark colors set up by Sarah Stern, full of neons, dark blue and purple shadows, and brightly colored Batgirl costumes for our heroines.
It’s the writing that really shines this time. After a full issue without captions, Cloonan and Conrad jump back into their narration, but instead of the sometimes forced humor, they match the devastating events of this issue with serious, thoughtful, sorrowful meditation on the nature of family, friendship, and heroism. Batgirls #15 did not have to go this hard, but it did so brilliantly. Killing off Steph, having her resist torture and supervillain brainwashing – this issue proves that Steph isn’t cheerful and perky because she’s never known pain or suffering. She’s looked dark in the face – the face of her father – and refused to give up, give in – and smiles in defiance instead. Cass’s bravery and brilliance are beautifully showcased, but just as the last issue was Cass’s spotlight with strong support from Steph’s letter, this issue is Steph’s spotlight, with Cass’s love and support.
The future is unsure for Batgirls, as Cass is pulled into the Spirit World series (previewed in the cheap cash grab event Lazarus Planet: Dark Ride this week). Several things really need to happen – the consequences of Steph dying and being resurrected with the volatile Lazarus serum (perhaps different from the Resin being blown all over the world by the eruption of Lazarus Island in Batman vs. Robin) – solicitations hint that there will be ongoing consequences, perhaps of a Kirk Langstrom variety (as previously seen in Gotham Academy!), helping to allay the sense that killing and resurrecting Steph in the same issue is a bit too easily handled. Additionally, Babs’ reaction to her Batgirls’ deadly adventures must be seen soon! Whatever the future holds, this title has presented some of its strongest storytelling in this arc, and I hope it continues for many more months.
Though none of the covers quite matches the absolute splendor of last month’s beautiful Artgerm cardstock variant, they are no slouches! The main cover, once again by original series artist Jorge Corona, features a gorgeously rendered ANGRY STEPH ripping a childish crayon drawing of herself, Cass, and her father in half full of little details from the rendering of the crayon drawing, the conspiracy board of crazy behind Steph, and Steph’s gloriously lit golden hair and gloves. Dan Mora’s cardstock variant B is a riot of pink, yellow, and blue as Babs Batgirl takes center stage, jumping down from the rooftops of Gotham grinning, small Nightwing, Cass, and Steph behind her. Kim Jacinto is an interesting choice for the 1:25 incentive variant, showing Jacinto’s typically angular style rendering of Steph and Cass, full of strappy straps and action lines against a pink and pale blue cityscape. Overall, the Corona main cover seems a clear choice, though the Mora variant definitely is great!
Editor’s Note: DC Comics provided TBU with a copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Comixology through Amazon or a physical copy of the title through Things From Another World.
The post Review: Batgirls #15 appeared first on The Batman Universe.
Overview: In I Am Batman #18, a new normal starts in New York as the Next Batman has new allies and a new partner, while Jace Fox calls another woman mother.
Synopsis (spoilers ahead): As I Am Batman #18 begins, things do not look good for the Batman (Jace Fox) of New York. The police are pinned down by heavy gunfire. Jace Fox’s birth mother is about to be executed. Tiff is about to be killed. Batman is powerless to help anyone as he is bound by heavy chains. However, not all is lost.
The mysterious Nobody has arrived. King orders her to be killed, but Nobody can block all the bullets with her cloak and answer their attack. She hurls gas balls at the gang. With this distraction, Tiff can break free from the thug holding her, and she can free Batman. Soon Batman, Tiff, and Nobody stand off against the gang. This prompts King to order the gunman to rain their bullets on the police outside to leave their posts and join the fight inside. Detective Chubb and the other cops take this reprieve and advance inside.
King leaves to kill his hostage, but Batman makes short work of the reinforcements. The hostage is not helpless. She grabs a shard of glass and slashes at King’s face, giving her a chance to flee. She soon finds that a locked door is in her way, and King has recovered enough to unsheathe his knife. He will kill her, inflicting as much pain on her as he can. Batman arrives. His body armor protects him from King’s bullets, and he takes King out, brutally beating the criminal until his mother stops him. Jace removes his mask to show his mother his true face.
Outside, the police, Tiff, and Nobody clean up. Chubb actually thanks the young vigilante. Chubb realizes that Nobody is not the Question. Nobody says that it is a bit complicated. Detective Chubb says that she will talk to the mayor to get her added to the Special Crimes Unit.
Tiff asks the new vigilante if she is a new hero. Nobody says that she is trying to work out her own guilt. Nobody further reveals that she knows who Batman is. He needs her, and if Tiff needs her, she will be around. Nobody vanishes in smoke.
Jace and his mother have a discussion by the harbor. Jace is basically being unfair to her by saying he was a mistake and blaming her for giving him up to the Fox Family. She hopes that, in time, Jace will allow her to be his mother.
Jace packs and leaves the Fox residence in front of Lucius and Tanya. Later, Tiff meets up with Jace. Tiff suggests that he get to know his birth mother. Jace admits that he is not good at getting to know people. He cites Lucius, Tanya, and Hadiyah. Jace asks if the girl has a code name. She is working on it. Jace tells her she has time, it is going to be a long night. He and Tiff race off into the night on their bikes on patrol.
Analysis: The story found in I Am Batman #18 seems to create a new status quo for Jace Fox. Batman has a new partner. Jace Fox officially leaves the Fox residence. In conversation, he refers to them by their first names, a sign that he is not looking at them as his parents now. He does not even mention Tam and Luke either, even though Tam is present when he leaves the Fox apartment. He does not even talk to her, and she, for her part, does not even look at him. He even has to catch himself when mentioning his birth mother. He starts to refer to her by her last name and changes to referring to her as his mom. He even distances himself from Hadiyah by just saying that he really did not know her either.
This leads to the character of Nobody. I still believe that she is Hadiyah. They refer to Batman as Tiff’s brother meaning that she knows who Batman is. This was alluded to in the last issue when she tells Vol she knows everything. This was before her appearance as Nobody in the warehouse. The question is, what guilt does she refer to here? It appears that most of the characters in this book are suffering from some form of guilt and shame. Lucius and Tanya are dealing with Lucius’s infidelity. Jace is haunted by his own decisions and mistakes in life. Hadiyah is not clear on what her guilt really is. I am looking forward to further exploring this character.
It also looks like we have a Batman and Robin situation in New York. Tiff is taking to the streets in her masked identity, and Batman seems to be all in. I do like that they are not immediately referring to her as Robin. I would be in favor of a new name for her. Jace has to become his own character and come out on his own, not as the “Black Batman” but as his own unique character.
The art in I Am Batman #18 is the usual high standard that I have been enjoying. The colors are vibrant but muted, as is appropriate for the atmosphere and the story. This is really not a feel-good story but a muted story shrouded in mystery and heavy themes. The lights in the windows look like light, as do the headlights of the bikes at the end of the story. Nobody’s entrance and exit are shrouded in mystery and smoke. Smoke hangs around her, being the visual representation of her mystery.
Editor’s Note: DC Comics provided TBU with a copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Comixology through Amazon or a physical copy of the title through Things From Another World.
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Overview: In The Joker: The Man Who Stopped Laughing #5, two different Jokers and Red Hood all converge somewhat explosively in Gotham City, while elsewhere in Los Angeles another Joker sets plans in motion.
Editor’s Note: Due to the anthology nature of this collection, we will feature a synopsis and analysis for each story rather than breaking up the synopsis and analysis. Spoilers are sure to be revealed.
Story #1: “The Joker: The Man Who Stopped Laughing ” Part 5 by writer Matthew Rosenberg and artist Carmine Di Giandomenico
Synopsis: The Joker: The Man Who Stopped Laughing #5 begins in the snow-covered streets in Gotham West Side, as several elementary schoolers call out through the neighborhood for their friend Ricardo, searching the nearby houses. Their game of water pistols has led Ricardo to seek shelter in one particular house, which had previously been owned by the Crown Prince of Crime and is not only off-limits but also supposedly haunted.
The children are brought to a halt upon seeing their friend standing motionless inside and are then shocked when the Mad Hatter makes an appearance. Before anything can happen, the window shatters, and the Joker, dressed as a poor version of Batman, comes crashing through, a bat in one hand.
The Joker has come all this way to see Jervis and to find out, through blunt force trauma, who gave him the keys to his house. Jervis, his face beaten and bloody thanks to the bat, insists that the real Joker returned to town and gave him the keys three days ago.
In Chinatown, Drury, otherwise known as Killer Moth, is interrupted from his alone time with his beer by Jason Todd, the Red Hood. Jason tells Drury that he can either confess to what he knows about the Joker and help Jason in his search or become very familiar with the view of his femoral artery.
Drury says everyone knows about Jason’s search and that he’s been hunting an imposter. The real Joker has, in fact, come back to town and is pissed; he’s reached out to a whole bunch of freelancers to set a trap for the fake one; word on the street is that Mad Hatter took the job. Both Jason and the real Joker are after the same person.
In Gotham, South Side, the fake Joker ensures a padlock is firmly secure around the handles of the front door before venturing fully into an abandoned warehouse, armed with only a water pistol. As he makes his way through, dressed as a firefighter, a cage falls down and slams around him, trapping him inside.
In the warehouse, the two Jokers come face to face, both unimpressed with the other and both with their own plans. Although he’s trapped in a cage with no way of getting out, the other Joker is now trapped inside the house with him; the fake Joker ensured the only way in or out was securely locked, with the only key in his pocket. To make things even better, the fake Joker set the whole place on fire before he came in. He doesn’t even mind if he’s trapped alongside the other Joker, just so long as they burn together.
Enraged, the supposed real Joker points a gun at the other’s face and threatens to kill him if he doesn’t hand over his means of escape; he was supposed to find out who the other really was but doesn’t care anymore.
The fake Joker comments that threatening to shoot someone who just made plans to burn himself alive is a fun choice and then points his water pistol at the other and pulls the trigger. Just because they’re called water pistols doesn’t mean other liquids can’t be put inside. Liquids such as acid, for example. Screaming in pain, the real Joker crashes through a window and falls to the ground four stories below. Using the remaining acid in his water gun, the fake Joker free’s himself and makes his way out.
Also, in Gotham South Side, Jason’s pursuit of his quarry is interrupted by the appearance of Batgirl, Stephanie Brown, who warns Jason that Batman know’s he’s in town and hunting down the Joker and isn’t about to sit by and let it happen. Stephanie also tells Jason that the man he’s tracking isn’t the right guy, according to Batman, and says that she’s supposed to be stopping Jason, not encouraging him to leave Gotham before Batman arrives. Their conversation is interrupted by a warehouse building in the distance going up in flames.
The fake Joker casually makes his way out of the burning building as the real firefighters arrive and strolls over to an open emergency entrance below the underground platform for the subway line. Making his way down, he discovers the other Joker injured and slumped against a wall who comments that he never signed up for this.
Chuckling, the fake Joker says that he didn’t force the other to run through a fourth-floor window…but pointing his water pistol at the injured Joker, demands to know what he meant by his earlier comment.
A shot from above at the hand of the Red Hood silences the hurt Joker before he can say more than he was hired, his face exploding with a massive hole surrounded by brown mud. Screaming in agitation and still demanding to know who hired him, the fake Joker starts to run out of harm’s way and crosses the subway tracks as the train barrels by, supposedly hitting him straight on.
Above, the Red Hood kneels with his hands interlocked above his head and is surrounded by armed police officers, shocked that he actually managed to kill the Joker successfully.
Upon investigating, the police officers search the now empty subway platform and report back that whatever or whoever the Red Hood was shooting was is gone. There’s nothing to see other than some wet clay.
In Malibu, the Joker demands into his cell phone that the fake Joker was supposed to be brought to him alive: is it certain he’s dead? On the other line, Clayface snaps back that he’s sure, and no, he wasn’t able to grab to the body with the Red Hood and cops crawling all over. All he wants is the rest of his money, but the dial tone is all that remains to listen to Clayface’s demands.
Turning to his henchman, Mr. Waffles, the Joker orders him to pack his bags; they’re going back to Gotham.
Analysis: Now, five issues into this series, and seems we’re finally getting some insight into what’s truly going on. There are two Jokers, both of whom are seeking out the other, and now several members of the Bat-Family who can be expected to make appearances.
Stephanie Brown’s attempt to dissuade Jason from carrying out his plans falls on deaf ears, and even the threat of Batman isn’t enough to make Jason turn around and go back. I find myself a little frustrated reading what feels like the same storyline for the one-hundredth time in a row. Jason attempting to kill the Joker and Batman stopping him isn’t anything new, and I think a new approach to this problem is warranted.
The Joker: The Man Who Stopped Laughing #5 ends with Jason, as the Red Hood, in the custody of the police and under the belief that he’d finally succeeded in killing the Joker. Unfortunately, what he doesn’t see is that the man he’d gunned was actually Clayface, hired by the true Joker to try and lure out the other, who, thanks to the impending subway, seems to have taken care of the other Joker. Throughout this, it’s clear that several of the Gotham rouges have accepted a job from the Joker posted in Los Angeles to capture the pretender and deliver him to the other for reasons. This, however, doesn’t happen, and so the Joker is now on his way from sunny California to Gotham City because, as they say, if you want something done right, you better do it yourself.
Story #2: “Big Bad Problems!” by writer Matthew Rosenberg and artist Francesco Francavilla
Synopsis: The backup in The Joker: The Man Who Stopped Laughing #5 sees Gargantua as the latest candidate for the Joker’s obsession, which, despite her very clear distaste for the man, leads him to believe that if he changes his way and does good, honest work, he’ll be able to win over her affection. A few weeks pass, and the Joker sticks to doing nothing but just that, but every effort to impress Gargantua with his virtuous work ethic does nothing to help his cause.
A few days later finds the Joker seeking the aid of the Demon Etrigan; he wants Gargantua to notice what a better person he’s become and uses Etrigan’s book of spells to cast one on himself in the hopes that it would do just that.
The next night, Gargantua tries to destroy a tall building (as she gravely dislikes them) but is stopped by the Joker, who is now just as tall as she is. Unfortunately, any moment they might have had is short-lived by holes forming in the Joker’s face, and tiny little naked Joker men begin climbing out. It seems he cast the spell wrong after all.
Disgusted, Gargantua states she needs to go as she’s late for a date (with Etrigan, no less) and leaves the Joker and his mini look-a-likes wondering why she didn’t want to date him.
Analysis: I just…have so many questions with this one. I will give kudos to the creative team, writer Matthew Rosenberg and artist Francesco Francavilla for being able to provide a short story series that is so consistently bizarre (and somewhat disconcerting). As I’ve noted before, these extra stories are not my favorite, nor am I one to find the dark humor very comedic; however, I hope they serve to entertain others.
Editor’s Note: DC Comics provided TBU with a copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Comixology through Amazon or a physical copy of the title through Things From Another World.
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Overview: In Gotham City: Year One #5, Gotham burns in the aftermath of baby Helen Wayne’s murder and Slam Bradley’s vicious secret beating of the police commissioner, but even during a flaming riot, the truth will come out.
Synopsis (spoilers ahead): Gotham City: Year One #5 opens with a flashback to Queenie and Richard Wayne’s first meeting in a hotel, after Constance stormed out past Queenie working as a maid, then flashing forward a little to the couple a month into their adulterous affair, plotting together in a diner.
Skipping forward more, as Richard watches Sue dancing in a club, then later after sex in a hotel room, Richard cajoles Queenie to help him steal his money back from Constance, which he signed away when he married foolishly – with a plan involving a fake kidnapping of his own daughter. However, Slam’s employee Johnny catches the two of them (in the timeframe of the first issue), who sexually harasses her and blackmails her into giving him half the money.
Later, though, she lures Johnny to Richard, who murders him with his own gun, then kisses Queenie over Johnny’s bleeding corpse. Queenie then tells Slam that when she collected the money from him on the roof, she only left baby Helen for fifteen minutes, but when she returned, the tiny girl was gone, and she assumed Richard had her. When she heard Helen was dead, she assumed Richard killed his own daughter.
Slam drives her through the city as riots break out and the city burns around them. At Slam’s mother Shirley’s crystal ball business, Queenie undergoes a mystical lie detector test through tarot cards, and Slam makes a plan.
Leaving Queenie at his place, he throws Wayne’s head of security/bagman Loder out a window in front of his family, drives the man on top of his car to the dump, then proceeds to beat him savagely to see if he killed the baby. Loder denies everything but reveals that Wayne is broke, and Constance controls all the money left for the Waynes, including employing them as combination security/babysitters. Wayne’s claim to Queenie that he needed his own money was a lie – he’d lost it all, and Constance was trying to protect what was left and run the factory herself.
Finally, Loder drops the bomb that Constance had gone out during the exchange of money for the baby…and Slam drives back to Wayne Manor as Gotham burns behind him to confront the murderess of her own child, Constance Wayne.
Analysis: In the penultimate issue of Tom King’s prequel series, we finally learn the truth of the whole mystery – very typical of King’s work, which usually features a narration-heavy issue or two revealing how all the pieces of the puzzle fit together before the finale resolves the conflict. Unfortunately, because each revelation fits so clearly into the tropes of nihilistic neo-noir (particularly Chinatown, cited by King as inspiration for this miniseries) without any real variation of interest, the puzzle fitting together lands with a quiet thud instead of a satisfying bang.
King attempts contemporary relevance by adding a discussion of racial tension and bigotry, but everything is so surface level it doesn’t come close to adding a new element to the story. Additionally, the attempt to depict the riot, while artistically conceived, doesn’t impact what the protagonists actually do, and so feels distant and minor, instead of the city-destroying impact it feels like it’s supposed to have. Perhaps King would have fared better with his usual twelve-issue scope, but the pressure for a “normal sized” six-issue miniseries for the trade seemed to dictate an overly compressed, overly rote series.
Unlike the recent Batman: Killing Time, which used its six issues to develop a tragic and nihilistic mystery through the confusing the ultimately logical and powerful mechanic of Clock King’s time-skipping narration, Gotham City: Year One relies on Slam Bradley’s pastiche of hardboiled detectives, which doesn’t generate nearly as much interest. Add to that some of King’s most obvious patterns – from the femme fatale who’s guilty of the absolutely most horrific crimes but also has some really sympathetic tortured backstory to his apparently recent fixation on kissing or sex next to a fresh and bloody corpse (seen in The Human Target as well as this issue, to equally disgusting effect), and the story feels tired rather than shocking or bleak. The possible revelation that Slam might be Bruce’s ancestor hangs over our heads like the ever-present rain in this issue – cold and slimy.
Despite the frustrations the writing provides, Phil Hester’s art, brilliantly finished with Eric Gapstur’s inks and Jordie Bellaire’s colors, continues to render the world of this city in beautifully jagged lines, black shadows, and rich coloring effects here in Gotham City: Year One #5. The seemingly simple, almost two-tone color schemes of many panels belies how carefully Bellaire has enhanced Hester’s beautifully rendered linework with thoughtfully chosen hues that create powerful emotional effects.
Phil Hester’s main cover shows a badly beaten Slam Bradley within the image of a cold-faced Richard Wayne, the burning city line of Gotham above them, and a hanged man tarot card beside – very ominous indeed! Jeff Spokes’ variant cover has a strongly lined, brightly lit style reminiscent of Doc Shaner, with a large Batman hovering over Slam Bradley – though if you don’t notice the lack of mustache and the bandages, you would be forgiven for thinking it’s Jim Gordon at his desk. Tony Shasteen’s incentive cover has a brilliantly neon, rain-streaked effect over the image of Slam walking down a crowded street at night in the rain, with a silver Bat reflecting in the puddles he splashes through.
Editor’s Note: DC Comics provided TBU with a copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Comixology through Amazon or a physical copy of the title through Things From Another World.
The post Review: Gotham City: Year One #5 appeared first on The Batman Universe.
Overview: In Batman #132, Bruce Wayne submerges himself into another Gotham that has spiraled into chaos and insanity.
Editor’s Note: Due to the anthology nature of this collection, we will feature a synopsis and analysis for each story, rather than breaking up the synopsis and analysis. Spoilers are sure to be revealed.
Story #1: “The Bat-Man of Gotham” Part 2 by writer Chip Zdarsky and artist Mike Hawthorne
Synopsis: Batman #132 begins in a Gotham City apartment on another world in the multiverse. Dr. Leslie Thompkins rushes out the door to pick up a shift. Alfred Pennyworth pleads with her not to go, but as Leslie points out, too many doctors have fled to Metropolis, so someone needs to help those in need.
Elsewhere, the Bruce Wayne of the main universe shadows Jewel (or Julia) as she goes about helping those she can in a Gotham City overrun by venom-enhanced police. In this Gotham, the city is walled off, and the United States has abandoned everyone within those walls.
Bruce sees a skeleton Jim Gordon talking to him as he helps Jewel. She notices Bruce acting distracted and asks him if he’s hallucinating. Bruce thinks it’s from his multiversal travel, but Jewel knows otherwise. The denizens of this Gotham call it “Crane Brain,” as it derives from a gas pumped into the city by the administration running Arkham Asylum. The gas promotes mental illness, resulting in more people being committed to Arkham. Jewel gives Bruce some pills, which everyone outside of Athena Tower takes to avoid Crane Brain.
At Athena Tower, Red Mask and his armed men go to the judge’s chambers to see Harvey Dent. Dent rests on a throne before a room full of dead men. Red Mask threatens to take Dent’s venom away if he doesn’t get back out there and deliver this new Bruce Wayne to Arkham.
At Jewel’s safehouse, Bruce cooks for her while she tells him about Darwin Halliday, the man who owns Athena Tower and creates the drug that combats Crane Brain. Jewel believes he’s the only one standing up to everything going on. Bruce isn’t so sure. As Jewel talks, Bruce thinks back to his world, back to Alfred and his Robins.
Next week, there’s a fundraiser gala at Athena Tower, and Bruce plans to attend so he can meet Halliday. In the meantime, Jewel gets him a fake ID, and he assumes the name of “Wilson Texlon, a financier from Metropolis.” He also makes some rudimentary homemade weapons.
At the gala, “Wilson Texlon” asks around for Halliday, but Selina Kyle finds him. She asks him to dance, and it takes every fiber of Bruce’s being to remind himself that this is not his Selina. Immediately, Selina calls him out, letting it be known that she knows he’s Bruce Wayne. When Bruce tries to fake like he needed a fresh start, Selina reveals that in this Gotham, Bruce gave everything up to become a social worker before he died. When Bruce presses to find Halliday, she indicates that Darwin is on the second floor.
Bruce looks, and he goes cold. The man on the second floor has a familiar smile and face. Though his face isn’t bleached white, nor his lips red, Bruce is pretty sure that Darwin is this world’s Joker. Before he can meet up with Halliday, Selina ensnares Bruce in her whip. Punchline busts into the gala and attacks.
Bruce breaks free of his bonds and tries to run for it, but Killer Croc intervenes. Croc beats Bruce around, who retaliates by lighting the villain on fire. Bruce is about to make his getaway when he surveils the crowd and sees Alfred. This momentary distraction gives Selina the upper hand, and she gets the jump on Bruce. A man in the crowd pulls out the gun and fires, and Bruce falls out of the tower window. He slides down the building and leaps to a nearby building, busting through a glass window.
Bruce climbs to his feet and stumbles onto the streets, walking down an alley. He sees a police officer beating someone mercilessly, so he acts. Bruce uses every ounce of his strength to take out the officer, dwelling on how much he misses his world, his sons, and his Selina. But this world needs him, and he’ll never give up. Every Gotham is his Gotham, and as he lies on the ground after taking down the cop, Bruce sees a bat.
Analysis: Batman #132 is part two of a multiversal adventure story that finds Bruce Wayne seeing what Gotham City would look like without his impact. In this world, Bruce has long since passed, and much of the issue revolves around Bruce living out his own Bat-tastic riff on It’s A Wonderful Life. Through his savior and friend Jewel, Bruce sees a Gotham cut off from the world and commanded by a totalitarian government. Unlike the similar vibe seen recently during Fear State and Future State, this is a Gotham, apparently without the Internet. That’s a strange highlight, but it also removes any need for a social feed, constant media chatter, or militaristic drones flying everywhere.
As previously stated, a good chunk of Batman #132 really is about the mood and vibe of this other Gotham. In a way, it feels like sight-seeing, wherein we get a feel for how the government operates (apparently, Judge Dent runs law enforcement and is nothing more than a venom junkie under the thumb of whoever Red Mask is — as I said in my review of Batman #131, I believe it to be this world’s Tim Drake). We also see what all of the traditional members of Batman’s rogues’ gallery have been up to. Joker is a wealthy socialite named Darwin Halliday, and Killer Croc, Selina Kyle, and Punchline hang out at his lavish parties in Athena Tower.
The success of this issue hinges on three things — Mike Hawthorne’s gritty, grimy, and moody pencils. Tomeu Morey’s dark, noir-inspired colors. And Chip Zdarsky giving readers a glimpse into Bruce’s inner monologue, which guides us through all the emotions bubbling under the surface as he grapples with a world that reminds him so much of home, yet is so far from it.
The last time we had an outing like this was in “The Gift” by writer Tom King. In that storyline, Booster Gold was our guide, and we watched him witness a horror of his own creation, which served mostly as a setup for the Heroes in Crisis series. This time, Zdarsky and the team use this Elseworlds Gotham tale to force Bruce to reflect on all of the things he had and lost, to strip away Batman and get to the root of why he picked up the cape and cowl in the first place. At his core, Bruce is a person who helps people, giving every ounce of his strength and energy to do so, and that’s reflected in this issue’s end, where Bruce collapses to the ground after saving a victim of police brutality. In doing so, Bruce sees a bat, which inspires him once more to remake himself.
Story #2: “The Toy Box” Part 2 by writer Chip Zdarsky and artist Miguel Mendonca
Synopsis: The backup in Batman #132 happens months ago in Metropolis, as Toyman goes on a rampage, killing innocent bystanders and turning others into toys. Superman (Jonathan Kent) tries to stop him, but before Toyman can be brought to justice, Toyman kills himself.
Today, Robin (Tim Drake) analyzes one of the dolls Toyman transformed a man into. He notes multiversal energy to the doll, further pointing out that the gun Toyman used was the same one Failsafe used on Batman before Batman disappeared to another Gotham City. Tim says all of this out loud, asking a shadowy figure behind him for help.
Mr. Terrific tells Tim that his theory is sound, but he’ll need some time to create a multiversal device that will help Robin track down Batman, as well as the other people Toyman displaced. Tim goes home to Bernard, planning to spend some time with his boyfriend before an adventure that could very well end in tragedy.
The next day, Robin suits up in a special multiversal getup that Mr. Terrific made. He’s given some discs to help send people back to the correct universe. Robin takes the plunge and transports to another universe. Right away, he finds some survivors that Toyman displaced. He also finds Toyman, who is leading an army.
Analysis: This backup tale feels more functional than enjoyable to read. It’s one long info dump explaining Toyman’s gun and how it fell into the hands of Failsafe, which ultimately was used to send Bruce to another world. It also explores Tim’s resolve to save Batman and lays down relentless exposition to explain away the impossible technology Mr. Terrific gifts to Tim. This new suit and tech will allow Tim to save those displaced by Toyman, but more importantly, they will be the vehicle through which Bruce will return at the end of his journey.
It’s not the most exciting backup, but it does perhaps set a necessary foundation that will play into this storyline’s end. The art by Miguel Mendonca and colors by Roman Stevens here in Batman #132 craft a vibrant and eye-catching display that counters the darkness of the main storyline in this issue. Unfortunately, it’s just bogged down with so much exposition that reading this backup feels almost like a chore.
Editor’s Note: DC Comics provided TBU with a copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Comixology through Amazon or a physical copy of the title through Things From Another World.
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Overview: In Batman: Legends of Gotham #1, Red Hood and the Outsiders team up to go after the Leviathan Horde, but unsurprisingly, Red Hood has an ulterior motive.
Synopsis (spoilers ahead): As Batman: Legends of Gotham #1 begins, Red Hood infiltrates the Batcave and tries to access the Batcomputer. Access is denied and he is confronted by Black Lightning. They argue heatedly, in part about firearms, until Katana appears behind Red Hood and calms the situation down; the Soultaker Sword at the throat tends to have that effect. Red Hood confesses that he is searching for evidence pertaining to Leviathan’s theft of sensitive data from most of the world’s top intelligence agencies. Red Hood points out that the presence of members of the Outsiders there confirms that Batman would not want the information being circulated within the Bat-Family.
Black Lightning does have the right computing protocols and learns from the Batcomputer that the data in question is being brokered for sale on Gamorra Island by “Myriad.” Black Lightning and Katana want to intercede but Red Hood expresses disinterest. They request his aid, pointing out that the auction is for outlaws only and that Red Hood fits the bill. After some banter and dispute, Black Lightning captures Red Hood’s attention by noting how harmful it might be for information regarding Superman’s fatal weakness to fall into the hands of Bane. Red Hood has a flashback to Alfred giving him some counsel.
Flying above the Pacific in the Outsider, the team makes their plans. The plane dives into submarine mode and inserts Red Hood into Gamorra as per their plan. Although Gamorra has recently overthrown their tyrant ruler, the regime’s soldiers are now working as mercenaries for crypto-banks and money laundering schemes. Red Hood tries to enter the site for the auction and is rebuffed. Killer Croc appears and initiates a fight before the host at the entrance intercedes. Killer Croc promises to behave but drags a limp Red Hood in, explaining to the host that is refusing to let Red Hood out of his sight.
Inside, Bane appears and mocks Killer Croc. Red Hood, apparently conscious, again flashes back to Alfred. He makes his way to the auditorium where the “Leviathan Hoard” is being auctioned. Lexcorp, Bane, and Red Hood bid competitively. Black Lightning grows frustrated and orders Katana in. Bane wins the auction and heads to a suite of complimentary armed vehicles. Red Hood reveals himself and fires his guns at Bane. One bullet is stopped and embedded in the bulletproof glass. Bane drives off. Red Hood pursues outside on foot only to be confronted by a phalanx of armed men. They fire in unison but Red Hood is protected by a shield cast by Black Lightning. Along with Katana, they make short work of the foes and Red Hood reveals that the bullet he fired was a tracker.
Red Hood wants to take Bane out but Black Lightning reminds him that the mission objective is the data cache. The Outsider soars up to orbit and attempts to block the data transfer from the orbital crypto-bank. As the team infiltrates, Myriad unleashes a horde of robots. Red Hood chases down the physical data chip to an escape pod. He escapes as Myriad detonates the orbital bank. On top of a speeding truck, Katana chases him down and attacks him as a traitor. Red Hood defends and then happily destroys the data chip in front of her. Katana is confused and Red Hood explains that he was going after Bane, not the Leviathan Hoard. Red Hood wants vengeance for Alfred.
He flashes back again to the complete memory of Alfred, explaining Batman and comforting a young Jason.
In the sewers beneath Gotham, Red Hood hands a book to Killer Croc. It is “La Bête humaine” (“The Beast In Man”), by Emile Zola. Red Hood promises never to reveal that Killer Croc loves classic French literature and Killer Croc points out that Bane is owed retribution.
Back in Gamorra, the tech from whom Red Hood obtained the data chip is cast into prison. She is communicating with Myriad and it is revealed that the chip Red Hood destroyed was a decoy. The inmate hands a glowing cube to a gloved hand which turns out to belong to Talia al Ghul.
Analysis: At the outset, it feels strange to have a story about the Outsiders that is not written by Brandon Thomas. I have consistently been impressed with Thomas’s deft narrative work and a keen eye for team dynamics in the Outsiders stories he authored in Urban Legends, and remain surprised that DC has yet to reward Thomas with a separate book or at least a mini-series. The team feels important enough to justify attention; as Red Hood himself notes in this book, the Outsiders fill a crucial role for Batman by essentially acting as a Black Ops squad that is somewhat compartmentalized from the rest of the Bat-Family. Red Hood suggests that even Oracle may not know all of what Batman and the Outsiders do.
My disappointment at Thomas’s absence notwithstanding, Batman: Legends of Gotham #1 is a solid book. The narrative is well-plotted and the pacing is excellent. Scenes switch at just the right moment and there is little filler. Thus, when Black Lightning and Katana arrive at a plan with Red Hood in the Batcave, they move, just as I would expect the heroes to do. There are no lengthy expositions on the emotional tensions nor indulgent banter for banter’s sake. This is Red Hood and two of the Outsiders – characters of vigor and action, sometimes to a fault (especially for Red Hood, obviously).
Bane has been having a bit of a moment in the Batman Universe; between the death of Alfred in “City of Bane,” the almost-astonishing depth his character is provided in Batman: One Bad Day: Bane, and his role as a prime mover in this book, readers are receiving a sustained exploration of what to me remains one of the most fascinating villains in the DC Universe. Red Hood’s focus on eliminating Bane as vengeance for Alfred’s death is a compelling narrative move and one that is highly believable; of all the Bat-Family or near Bat-Family, who would have more motive and be more inclined to take revenge than Red Hood? The flashback sequences effectively drive home the point.
Artist Karl Mostert’s linework is adequate if not inspirational, but do check out Nathan Szerdy’s stunning variant cover that features Katana suspended upside-down amidst falling cherry blossoms. All in all, this is a solid book that does not disappoint, even if, like me, you do not read widely in Greater Gotham. Finally, the reveal that Killer Croc has a passion for modern French literature is both cute and effective, reminding the readers of the basic humanity of even the more monstrous Rogues (and that Bane is not the only well-read Rogue).
Editor’s Note: DC Comics provided TBU with a copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Comixology through Amazon or a physical copy of the title through Things From Another World.
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Overview: In Harley Quinn #26, the Harley from the present and the future work to set a trap for the Harley Who Laughs.
Synopsis (spoilers ahead): As Harley Quinn #26 begins, the Harleys are causing serious havoc all over Gotham. Batwoman swoops in to try and assist, but a group of Harleys menaces her. Present Harley is watching and begins to argue with Older Harley and Kevin. Harley is angry that she has not gotten credit for saving Gotham from multiple threats. Kevin tells her that she is acting like a child and reminds her that she is not owed anything because she has made some good choices.
Batwoman appears, and the crew searches for a plan. They discuss asking Luke Fox for help but settle on a plan of driving all of the Harleys to one spot to attract the Harley Who Laughs. They reason that the numbers alone should be sufficient to overwhelm her. However, the four of them are insufficient to round up all of the multiverse’s Harleys, so Harley enlists the aid of some of her new allies, including Solomon Grundy, Zsasz, Killer Frost, Bud, Lou, and Parry, the Parasitic Alien.
As the team sets out, Kevin discerns that Harley is sad about Ivy’s absence, and he comforts her. Using their powers, abilities, and electrified netguns, the team rounded up a few dozen Harleys at a city pier. The Harley Who Laughs appears and mocks Harley. She reveals a chained and gagged Ivy.
Analysis: In the penultimate issue of writer Stephanie Phillips’s run on the Harley Quinn book, the “Who Killed Harley Quinn” arc rushes towards its conclusion in Harley Quinn #26. The careful, layered buildup of Harley’s redemption journey feels significantly compressed by the need to tie up the writer’s work, which is unfortunate. This rush wastes some opportunities; Damian Wayne appeared several issues ago to question how the Lazarus pits changed Harley, but he has been abandoned in the haste to the conclusion. This seems both unfortunate from a narrative perspective but, more importantly, is unrealistic with everything we know about Damian. If he was genuinely concerned about Harley’s state, there is zero chance that he would not be on the scene with multiverse Harleys running amok.
Moreover, the events in the Lazarus pit that kicked off this arc seem to have been completely abandoned by the end of the arc, which is problematic both for the endless use of Lazarus pits as MacGuffins in The Batman Universe and for the specific arc here. Just a few issues ago, readers were genuinely wondering about the answer to Damian’s question – is Harley really still “Harley” after her reanimation? Or would she go the way of Jason Todd, for example? The fact that the book seems totally uninterested in the question reflects the rush to conclude Phillips’s run.
Fortunately, we get some deeper material probing the relationship between Kevin and Harley, which has been one of the strongest features of Phillips’s work on Harley Quinn. The Harley Who Laughs is unfortunately left quite thin as a rogue – she’s simply the big bad, the level boss against whom Harley struggles. This arc is not the strongest, and I am more than a bit apprehensive about next writer Tini Howard’s plans, but of course, I still want to see the denouement and Ivy’s role in it.
Editor’s Note: DC Comics provided TBU with a copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Comixology through Amazon or a physical copy of the title through Things From Another World.
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It’s time for Ian and Steph to discuss the latest chapters of Batman: Wayne Family Adventures again! There are so many different takeaways this time! Let’s find out with our review of Batman: Wayne Family Adventures #67-69.
Steph: Hi Ian! Man, do we have a variety of genres to review within Batman: Wayne Family Adventures #67-69 today!
Ian: It’s quite the roller coaster! Let’s dig in!
Steph: First is Ivy’s introduction, #67 Branching Out!
Ian: I have to admit, I have a few personal quibbles with this one. How did it hit for you?
Steph: We start out with her first-time appearance, learning she is already an “ex-ECO-terrorist”, so she’s already had her redemption?
Ian: And you hit exactly my main complaint.
Steph: Otherwise, I feel like Steph and Cass should have arrested her right then and there.
Ian: I know WFA is supposed to be friendly and nicer than main Gotham, but I’m just really frustrated that they have villains with massive body counts redeemed off-panel.
Steph: I would agree, but I feel like that’s too big of a story to tell in this format. I mean, the main canon “Ivy” book is on issue #7 of her “redemption story,” and it’s not looking too promising there. If this is meant to be fun and nice, skipping the long, drawn-out process is fine with me. I like that Harley would be with a reformed Ivy, anyway.
Ian: That’s true. I just don’t like the way a lot of canon books ask us to pretend that Ivy never did anything wrong.
Steph: For sure. But they did make a point here to say “former,” so I gave it a pass. I LOVE her character design. It reminds me of the Harley Quinn animated series but is even more relaxed.
Ian: I think they were definitely going for that Lake Bell-voiced version of Ivy. Which I do enjoy. And I like that Steph and Cass bond by being pathetic at taking care of plants.
Steph: Yes! It was so cute. I love that, despite Ivy’s determination to hate them, she can’t help but give them a hand and warm up to them a bit.
Ian: Who could hate Steph and Cass? Even if they do water their plants too much!
Steph: We do get a bit of the redemption arc, in a way. She might not be killing people anymore, but she’s still not a nice person…yet.
Ian: True. I maintain my reservations, though!
Steph: Fair enough. Now on to #68, Thankful. I cannot believe the family was all going to be out of town! I haven’t kept up with “Red Hood and the Outlaws.” Is there a “going home for Thanksgiving” crossover there?
Ian: That’s so bad! Though I do like the reference to Alfred as Penny-One. One of the few N52 elements I kinda miss. I haven’t read the paywall issues of Red Hood: Outlaw, but so far, they haven’t referenced anything with Jason going home for Thanksgiving. They have referenced Jason playing video games with Damian, so there’s still a link between the two worlds.
Steph: I loved that everyone made adjustments to their plans because Alfred is that important to them. Is that Penny-Two standing next to Alfred at the end?
Ian: Let me check quickly.
Steph: I couldn’t tell if that was supposed to be Julia or Selina. They are often drawn similarly, though Julia is usually darker.
Ian: You know, I think you might be right! I don’t think it’s Selina. I do think that’s Helena next to Barbara. It’s really cool seeing Azrael and Batwing, even if it’s just as civilians walking to dinner!
Steph: Me too. Oh, lol, I totally missed them! Lucius is there too! So I’m going to head-canon that Selina is there off-panel.
Ian: She sneaks in late and steals some pie and a kiss, of course!
Steph: Very sweet and cute episode, all in all. Giving Alfred the love he deserves. And the being alive that he deserves.
Ian: How do you think it compares to last year’s Thanksgiving episode? I think the problem was that the Batkids weren’t the best in the kitchen?
Steph: Yes, the death pies. I felt that one was a well-intentioned, poorly-executed love for Alfred. Though funny, I’m glad this is different, and there was even MORE Alfred love, and it was even more successful.
Ian: Indeed! Can’t repeat the same gags all the time!
Steph: Nope. They keep it fresh. We will end on a cliffhanger again with #69 Hunted (Part 1). I have to say; though I love it when Starbite does the art, it’s when they draw Barbara that I get the most excited and the most let down when they DON’T draw her. There’s something about how Starbite draws Barbara that makes her shine more than any other character.
Ian: Interesting! I, of course, like it best when Starbite draws Steph. But Babs is fantastic – this episode gives me really strong late 90s/early 2000s Oracle/Birds of Prey vibes, and I adore it. Oracle is a very hard character to write in modern superhero comics because she’s a character who needs to plan, and planning is very hard to plot. Requires more of a puzzle brain than I think many writers these days have. How do you think our intrepid heroine will escape this deadly danger she’s found herself in?
Steph: Oh, she won’t have any problem at all. I don’t think that’s the point. The question I have is, what game is she playing? What is she trying to get out of these guys?
Ian: An excellent question! And will she do it alone? I have a feeling that the Family in WFA will give her a hand, even if she COULD totally win on her own!
Steph: I thought it was hilarious that they plan to keep her captive, unrestrained (because she is in a wheelchair), in a room with a computer! Like…even if she was a layman, she could still use it to get help.
Ian: Those cowardly and superstitious villains are nothing if not foolish!
Steph: I don’t know if she plans to take them all out and have them arrested, or maybe she’s waiting around to see who the big brain is. I would guess that these guys are just the muscle. No sense in spooking off the main brain early.
Ian: Do you think that Nightwing or the Batgirls are more likely to be Babs’s Family Backup?
Steph: Hmmmmmmmmm. You know, I don’t know. I’m thinking like a significant other when I say probably the Batgirls. Only because I think it would be too hard for Dick to sit around while Babs lets people beat her up.
Ian: I think you might have something there!
Steph: My husband watched me get eye surgery through a window, and he said it took all his willpower not to slam on the glass and stop them from hurting me.
Ian: I forget – are Dick and Babs dating in WFA?
Steph: Yes? I think so.
Ian: I can’t wait for the next issue of this arc!
Steph: Me too! I love it when a plan comes together.
Editor’s Note: You can find Batman: Wayne Family Adventures #67-69 and all other past chapters exclusively on the Webtoon platform. You can find all other reviews from the series here at The Batman Universe.
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Overview: In Catwoman #51, with Selina behind bars, Dario and Eiko try to make her stay as pleasant as possible while helping her make allies within.
Synopsis (spoilers ahead): As Catwoman #51 begins, correctional officers wake Selina up at six, clearly enjoying causing her discomfort. Selina’s roommate Mimi warns her not to make trouble, but Catwoman plots away, from breakfast to headcount, to fighting for a phone call with Dario (Tomcat).
Tomcat and Eiko Hasigawa (Catwoman II) deliver snacks to Selina in prison as trading/social power, though Selina accepts a beating as part of her calculations. Redheaded Marquise helps her out, but she continues to act out to get herself thrown in solitary, where she takes a breath, takes comfort from petting her cat Duchess (inherited from Valmont, and sneaking around the prison’s air shafts), and plans some more.
Eiko and Dario continue to deliver supplies for Selina, which Duchess delivers to Selina’s solitary cell. After getting out of solitary, Selina uses her contraband snacks to make friends, but she is surprised by a visit from Ventura Fremont, who demands to be her legal counsel despite Selina’s refusal.
Analysis: Tini Howard and artist Sami Basri start Selina’s prison arc in Catwoman #51 with a fairly mundane issue, despite Basri’s trademark polished and appealing art, much stronger than normal series artist Nico Leon. Though some elements are nicely handled, like clarifying how Selina killed Valmont and her reaction to that killing, Howard’s plotting continues to flounder completely, relying on risible hilarity like a pampered cat enjoying delivering things through prison air vents (though, to be fair to Howard, cats doing human things for Catwoman isn’t new at all). But elements like how long Selina stays in solitary confinement, how she sends messages through the toilets, and how she smuggles an enormous pile of snack food out of solitary continue to display how much Howard relies on vibes over plausibility.
The introduction of a large number of inmates and the mysterious new legal counsel promise at least some plot developments, but this issue wastes twenty-one pages that could have cut to the end of the issue as its opening, especially after the radical change in direction in the last several issues from Catwoman vs. Black Mask/the Five Families to Catwoman vs. Punchline/prison plotline. None of the new characters have a personality yet, despite Basri’s able efforts, and Dario and Eiko’s shenanigans outside the prison have the air of a minor prank rather than anything the head of Gotham’s Yakuza and the disowned heir to one of the Famiglia would be up to.
New main cover artist David Nakayama takes over from Jeff Dekal with a style that is as polished and appealing but a lot more cartoony and “cute” than Dekal’s more sleek and sexy look. This main cover (also available in a foil virgin variant in some markets, apparently) shows Catwoman in full costume, extremely shiny, behind bars with a key in her mouth and a mischievous expression on her face (not very appropriate to the comic’s overall tone, though more in the character of Selina in general). Joshua Sway’s painted cardstock cover B (also used as the foil incentive 1:50 variant, sadly) shows a sad-looking Catwoman draped in pearls, a stand in her mouth, with blue pearls behind her – much more suited to the somber nature of the story inside. Sweeney Boo (who will soon join Howard on interiors for the Harley Quinn title) provides cover C, a gorgeous purple and white confection showing Selina flanked by two black cats in front of a tall window, a very dramatic and intense composition, quite appealing despite having nothing to do with the interior. Lastly, original interior artist Nico Leon provides an Eiko Hasigawa Catwoman costume design incentive 1:25 cover.
Editor’s Note: DC Comics provided TBU with a copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Comixology through Amazon or a physical copy of the title through Things From Another World.
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Overview: In Batman: One Bad Day: Catwoman #1, Catwoman tries to recover a family heirloom her single mother had to part with years ago.
Synopsis (spoilers ahead): Batman: One Bad Day: Catwoman #1 opens on Selina Kyle in her apartment. Her tools of the trade and a book on Treasures of the 1940s are on the table. She scoops them up and heads out onto the street. It’s daytime, and protesters are taking to the streets, holding signs advocating affordable housing.
Selina submerges into the crowd, following them to the museum where a Treasures of Mid-Century France exhibit is on display. While protesters clash with police, Selina stares out a window, seeing who she used to be.
Years earlier, the Kyle sisters are with their mother. The mother is at a pawn shop, selling a priceless family heirloom. It’s a brooch from Paris. The pawnshop owner tells the mother that the heirloom is a fake, then offers her $200 for it. Reluctantly, Selina’s mother accepts.
In the present, Selina sneaks into an alleyway and changes into Catwoman. Two guards on the rooftop of the museum are arguing over whether the protesters are right about the wealthy or not until Catwoman leaps into action, breaking up their debate. Catwoman takes them out, then sneaks into the museum.
She spots the brooch that belonged to her mother, which was supposed to have been a fake. It’s going for a cool $20,000. Changing into formal attire, Selina stalks the brooch from the ground.
An older woman dressed in purple clothing and hair tells Selina the significance of the brooch. During World War II, when France was occupied, jewelers rebelled by creating art pieces of caged birds. When the occupation was over, they made uncaged birds, which is what this brooch was. It was symbolic of freedom. The woman goes on to talk about how the pawnshop owner didn’t know what he had, having bought it off some poor single mother who needed the money to keep a roof over the heads of her children. When the woman waxes about how the have-mores keep taking from the have-nots, a tear comes to Selina’s eye.
When the woman offers Selina a tissue, she introduces herself as Vivian Page. She promises that she’ll bump into Selina again after the auction. Ms. Kyle joins the auction party, spotting Bruce Wayne among the people gathered. She flees, bolting through the kitchen and quick-changing into one of the caterers.
The auction starts and Selina pretends to make a wrong turn into the room with all of the jewelry pieces. She pretends to fall with her tray of food onto a table with all of the jewelry, using the resulting commotion among the auction staff to steal the brooch.
When the auction staff realizes the brooch is missing, Catwoman is long gone, admiring it in the Gotham night sky.
Later, Selina calls her sister Maggie. Maggie is working a register at her job, and when Selina breaks the news about recovering the brooch, it seems that Maggie has moved on, having no capacity to process the significance of what this recovery means to Selina.
Batman: One Bad Day: Catwoman #1 continues later that afternoon as Selina tries to make it up to Maggie by taking the brooch to a jeweler and getting it appraised. She’s remiss to find out that the brooch, despite what Vivian Page might believe, is truly a fake. Selina smashes the appraiser’s desk, then storms out, talking about the age and family history of the brooch. The appraiser retorts that people lie about family history all the time and that said history becomes mythology very quickly.
Selina returns home, stewing on how the wealthy still hold all the cards, deciding what’s valuable. As she ponders her extreme ups and downs of the day, she remembers something Vivian said about how the brooch had a “very unusual setting for a carnot brooch” of its era.
Catwoman realizes that Vivian is a fraud and a thief as well.
Selina returns to the crime scene, staking out the museum from atop the roof. She waits for Vivian to leave. When Vivian does leave, this time donning a disguise, Catwoman follows her. When Vivian enters a corner store, a man greets her as “Mrs. Hughes.” Catwoman can’t help but admire the gall and craft of this con artist.
Before Catwoman can pounce, Batman arrives. He tells her that this “Mrs. Hughes” is very dangerous, having raked millions of dollars pulling tricks like this at auction houses all over. He tells Catwoman that he’s been watching Vivian for some time, putting together his case.
After Batman offers to help her, the two of them give in to the passion of their relationship and kiss. When Catwoman leaves to confront Vivian, Batman asks her to wait a few days. He tells Selina that if she pounces now, Vivian will only pay for one crime, not many. Batman and Catwoman talk it over, and Catwoman leaves anyway. Though Batman believes in the justice system because it’s the only system they have, Catwoman prefers her own methods.
Catwoman confronts Vivian about the brooch. Vivian reveals that she knows it’s a fake because she made it thirty years ago and sold it to a desperate, gullible woman. She accuses this gullible woman of being greedy and says that all Vivian did was help this woman indulge in greed.
Catwoman attacks Vivian, and Vivian counters everything Selina can throw at her. The two fight, and when Catwoman finally asks why this woman convinced an auction house to sell a forgery knowing full well the money wasn’t going to her, Vivian asks, “What changed now that you know the brooch is a forgery? Is it less beautiful? Less meaningful?”
Vivian knocks Catwoman so hard that Selina’s vision starts to fade. It’s at this moment that the woman, who calls herself the Forger, tells Catwoman that they’re on the same side. The Forger is trying to get by in this slippery world of people with masks. Vivian makes her exit.
Batman arrives and helps Catwoman to her feet. He tells her he misses her and offers to put a steak on her bruised eye. Batman asks Catwoman to come home with him, and she promises she’ll meet him later. First, she has to clear things up with her sister.
Selina pins the brooch on her shirt and heads out into a new Gotham morning. She calls Maggie and apologizes. As Selina Kyle submerges into the Gotham crowd, she plans a coffee date with her sister.
Analysis: Bat-Fans have had a stellar couple of weeks regarding entries into the One Bad Day anthology series. Last week saw the release of Batman: One Bad Day: Bane #1, arguably one of the best stories thus far. This week, Batman: One Bad Day: Catwoman #1 easily climbs to the top, presenting readers with a story that embraces the zeitgeist of the times while telling a very adult narrative wherein Selina Kyle is forced to look past her Catwoman career to the more valuable things in life.
It’s hard to describe the events of Batman: One Bad Day: Catwoman #1 without talking about the atmosphere in Gotham City. As Selina Kyle narrates, we see a Gotham that morphs around her, teeming with haves and have-nots. Protesters hit the streets, calling for affordable housing and an end to homelessness. They clash with the police. Meanwhile, two guards on a roof debate the validity of the protesters, using it as a launching pad to discuss whether they’re truly above the protesters because they have gainful employment or if they should ally with them because their boss rakes it in for their hard work.
Selina uses the crowd to her advantage, submerging herself into the noise, so she can steal back what she believes is a priceless family heirloom that her mother was forced to sell. Catwoman is clouded by her own mythology of the haves and the have-nots. Her obsession with plundering the wealthy has blinded her from seeing what these heirlooms really are. Catwoman isn’t a Robin Hood; she’s a taker, much like the Forger who crafted this fake heirloom that Selina’s mother tried to pass off as a real art piece from postwar France.
Writer G. Willow Wilson lays down a heavy shade of gray over everything in Batman: One Bad Day: Catwoman #1, presenting multiple viewpoints that push Catwoman and readers to self-reflection. When Catwoman confronts the Forger about the brooch, the Forger questions Catwoman, asking Selina why her mind’s valuation of the piece changed. Similarly, when the appraiser tells Selina that this brooch is indeed a fake, she throws a fit, wringing her hands about the haves maintaining the status quo and controlling the change of money that exchanges hands. Though Catwoman can steal from the rich, it never upsets the system, not really.
All the while, Maggie Kyle works a job as a cashier, completely uninterested in Selina’s quest to recover a brooch — regardless of whether it’s real or fake. Maggie has moved on from this low point in their childhood, so the case is closed.
Batman, similarly, sees the system for what it is — complicated and imperfect. He does his part to put all the pieces together, so he can best help people knowing he won’t be able to tear down the status quo. He can only mend it and maybe guide the ship to better days.
When a new day dawns, Selina wears the recovered brooch and calls her sister. She’s learned that their connection is important, that her love for Batman is important. Selina is no longer a caged bird stuck in a cycle of righting wrongs as a solitary thief. She’s a part of something, part of a family and perhaps a society.
Jamie McKelvie provides art, colors, and a cover for this issue. The art is absolutely stunning. There’s a theme of purple throughout that really shines through and evokes this sense of royalty, and the irony is, though the purple puts on a good front, it’s a fraud. It’s a trick of perception, especially since it’s most closely associated with Vivian Page, the Forger, who manages to put Selina in a vulnerable state over a fake brooch.
McKelvie sets the tone with a sense of realism in character designs and settings. While there are moments that very much evoke a classic Gotham vibe, the setting throughout feels more in line with a realism straight out of Christopher Nolan’s The Dark Knight Trilogy. That’s a good thing, as it helps to sell this complicated idea of what truly matters. McKelvie ultimately creates an adult tone that works perfectly with Wilson’s scripting.
Editor’s Note: DC Comics provided TBU with a copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Comixology through Amazon or a physical copy of the title through Things From Another World.
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Overview: In Detective Comics #1068, the Orghams burn Gotham as Harvey and Two-Face struggle to decide whether to help Batman or serve the Orghams as their slave.
Editor’s Note: Due to the anthology nature of this collection, we will feature a synopsis and analysis for each story rather than breaking up the synopsis and analysis. Spoilers are sure to be revealed.
Story #1: “Gotham Nocturne Act 1” Part 3 by writer Ram V and artist Ivan Reis and Rafael Albuquerque
Synopsis: As Detective Comics #1068 begins, Harvey Dent watches Gotham burn at the hands of the Orgham family and their supernatural agents as they tether Azmer demons to many prisoners, creating an army of supernatural slave soldiers. Two-Face demands to be set free, so they can resist their own Azmer possession (as seen in last month’s backup story).
Batman soars overhead in the Batwing as Gordon warns him it’s a trap, but he dives in anyway, engaging Gael the werewolf, using freeze bombs to neutralize the Azmer attackers, and bashing Gael with nano-silver in his suit. However, the five-armed Dark-Blood paralyzes Batman, breaking his ribs and scratching curare poison into his chest through his armor. About to tether Batman to an Azmer, as Harvey and Two-Face argue for possession of their body, Batman impossibly overcomes his pain and poison and stands. Harvey flips his coin, and tells Two-Face Batman’s identity, relinquishing control to his darker half, who blows Batman’s attackers away, then blows up the building to cover their escape.
Commissioner Montoya watches her city burn, waiting for Batman as Gordon searches for his friend. Harvey tries to get Batman to a doctor but finds the Ten-Eyed Man instead.
Analysis: Ram V’s second major arc roars into overdrive as Batman faces the Orghams’ deadly agents for the second time in full combat, and though he’s learned from his first battle with Gael the werewolf, Dark-Blood takes him by surprise. Despite this setback, I think fans of “Batman Always Wins” will like that he stands up after a huge dose of poison and broken ribs, demonstrating his indomitable will. Drawing on the 300-year conflict between Batman and the Orghams setup in the Annual, Ram V also has the Orgham agents reveal that their entire goal is to remove Batman from the magical spell they cast around Gotham in 1776 to keep it under their control.
The showcase of the book, however, is Harvey Dent and Two-Face. Si Spurrier’s three-part backup has set them up for the past three issues, and Ram V powerfully builds to a double page of nine-panel grids, showing Harvey’s past, present, and vicious internal battle. As usual, though the chaos and complexity of what Ram V is doing is often overwhelming, the emotion continues to shine through strongly.
DC advertised this issue as a standalone showcase of Ram V’s “genius” writing and Rafael Albuquerque and Ivan Reis mirroring each other in art. Though a couple of images are clearly mirrors, particularly Harvey/Two-Face and Batman/Gael, the parallels are not nearly as clearly laid out as Tom King did in Batman #50 or The Omega Men #9. The parallels may be there but would require a key at this point. Suffice to say that Ivan Reis and Rafael Albuquerque’s art complement each other and the story incredibly well, full of texture, heavy, scratchy linework, and colored to red and blue-drenched perfection by master colorist Dave Stewart.
Story #2: “A Tune That Listens Back” by writer Simon Spurrier and artist Dani
Synopsis: In the backup in Detective Comics #1068, Jim Gordon and the strange kid try to find the kid’s identity without success. They find a hidden envelope in the records they are searching, but the kid supernaturally sees a strange spirit-like being hovering around Jim as he whistles an eerie tune – but when he tells Jim, the spirit flees. The kid jumps out the window to follow, hearing the thoughts of those around him, but Batman stops him just before he reaches the spirit. Jim arrives to help, but they see the bird tattoo on the kid’s back glowing as he collapses. The letter they found has a list of 13 names attached to a Project Magpie, but the kid sees the fire lit by the Orghams and knows there is no time to keep searching.
Analysis: After two three-part arcs, Si Spurrier returns to Jim Gordon and the mystery of the feral kid, once again illustrated by Dani. It will be quite interesting whether this tangled, psychic and spirit-haunted story will connect to Ram V’s or take place simultaneously. Whatever the case, despite the disjointed and sometimes frustrating nature of the writing and art, it is very evocative, and it’s nice to see the world of Gotham continue to be extremely strange and mysterious, perfect for detectives to play in Detective Comics.
Evan Cagle continues his richly penciled, gorgeously rendered main covers of Detective Comics #1068 with a statue head of Two-Face split in half by a blue-lit Bruce Wayne, Bat-shadow behind him – the blue and yellow-white of the statue contrasting brilliantly. Inhyuk Lee’s cardstock cover B (also available in a Foil version for the 1:50 variant – disappointing that DC is relying so hard on the incentive variants at this point, but that’s the suicidal game they’ve decided to play) and features a drenched in red color, hyper-real but symbolic rendering of Batman being poisoned by the claws dipped in curare inside the main story – unusual for a variant! Series main artist Ivan Reis’s cover C features Batman looming over an organ decorated with hellish skulls and Grim Reaper imagery, fitting into the Opera thematic thread. Lastly, Colleen Doran’s 1:25 incentive art homage variant features Batman with two additional heads (referencing Satan, I believe) over a four-headed water begin combining villain faces.
Editor’s Note: DC Comics provided TBU with a copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Comixology through Amazon or a physical copy of the title through Things From Another World.
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Overview: In Batman/Superman: World’s Finest #11, Batman, Superman, Robin, and Boy Thunder must stop the Key from opening up the multiverse.
Synopsis (spoilers ahead): Batman/Superman: World’s Finest #11 begins thirty minutes ago; when Boy Thunder was still held captive by the Key, he was injected with a special serum. It’s a truth serum, and the Key presses Boy Thunder to remember where his special ship was hidden in the Fortress of Solitude. He asks Boy Thunder to track the flight path to the Fortress, promising to make Thunder forget when the Key has the information he needs.
In the present, the Teen Titans, Superman, and Batman break up Boy Thunder’s beatdown on Joker. Batman takes Superman aside, telling him that even Clark can’t make Boy Thunder follow his shining example. Superman will have to take drastic measures to keep Thunder in line. Batman then leaves to track down the Key. Robin offers to go with Superman.
At the Fortress of Solitude, Superman places Boy Thunder in a device that nullifies Thunder’s ability to absorb sunlight into energy. David will be a normal boy from now on, and Clark can then help him with his anger. Before Superman pulls the trigger, he stops, rethinking his plan and taking the blame.
Just then, all of the animals in Superman’s menagerie are set loose. While Superman deals with the stampede, Robin and Boy Thunder set off to find the Key. Unfortunately, the Key brought friends — Bag O’ Bones, Acid Master, Dr. Phoenix, the Abominable Snowman, Ferlin Nyxly, and Zebra-Man.
While Robin and Boy Thunder engage the other villains, the Key knocks Superman into his solar drain device, temporarily removing his powers. Boy Thunder blasts through the villains and meets the Key, who nullifies David with a “keyword” he instilled in David’s mind that causes paralysis. Key then pulls out a gun called the Master Key, which dematerializes all solid matter into scattered atoms.
Before the Key can pull the trigger, Batman enters the fight. Batman uses a special touch he learned from Talia Al Ghul, which resets the nervous system. The Key falls to the ground, and Boy Thunder stands over him, readying to murder once more. Superman intervenes, telling Boy Thunder that he’s better than this. When David asks why he should believe Superman, Robin says, “Because Superman never lies.”
The trouble isn’t over, though! The Key activated the ship before stopping Boy Thunder, and as the ship hums, Boy Thunder vibrates, too. Batman notes that Boy Thunder and the ship share a vibrational signature. Wherever one goes, the other follows.
The heroes try to turn the ship off, but they can’t. They try to radio Flash and Kid Flash to no avail. Boy Thunder accepts his fate and climbs into the ship. He tells the heroes that he had some great heroes and knows how to make friends and find a home. He thanks them before fading out of this reality.
Superman vows to find Boy Thunder, and Robin knows that at some point in the future, they’ll see David again. After all, Superman never lies.
In an epilogue, David opens the door to his ship and finds himself in a desolate world. A being called Gog tells David that he’s been waiting for the boy to arrive.
Analysis: Batman/Superman: World’s Finest #11 wraps up the arc that introduced readers to Boy Thunder, better known to readers as Magog. It’s a beautifully drawn and colored finale, full of the fast-paced action we’ve come to expect from this series. Though it seems like Superman will take Boy Thunder’s powers away, this never comes to pass, and Thunder’s ultimate fate to become Magog comes to pass. If only Superman had listened to Batman, Kingdom Come would never happen.
There’s a lot of heart in this finale. Superman questions himself when debating whether or not to rid David of his Boy Thunder powers. Ultimately he chooses the route of the boy scout, accepting all the blame and letting David free. When David is sent to a different dimension, Superman vows to find the boy.
It’s in this issue’s final few pages where we learn that, though David has suffered from rage and anger issues throughout this arc, he did learn some positive lessons from both the Teen Titans and Batman and Superman. David learned how to make friends. He learned how to find a home and feel accepted. It’s a touching moment, and though we don’t see Superman express much, it probably resonates with him the most. Throughout this arc, Superman does everything he can to help the boy. While others warned that David was unstable and shouldn’t be a hero, Superman offered him the biggest opportunity.
The art in this issue is fantastic. Especially in those final moments, Mora expresses more shock, pain, fear, and loss in just a few quick facial expressions from Superman. It tells us everything we need to know about how he’s feeling and, in turn, everything we need to feel about this arc. It’s one of loss. It’s one of hoping to change the tide but not quite making it. Though Joker and the Key have been stopped, the cost was losing a child who could have been so much more to this universe.
Tamra Bonvillain’s colors are bright, vivid, and delicately balance the zippy, zany fun of World’s Finest with these tender moments. It’s no easy feat, and the result is a visual display that continues to be one of the most appealing books on comic book stands.
On one final note, that solar drain device gives off serious Superman II vibes. That’s probably the point, but it’s nice to see Christopher Reeves callbacks in a series that highlights the brighter and more fun tones of Silver Age comics.
Editor’s Note: DC Comics provided TBU with a copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Comixology through Amazon or a physical copy of the title through Things From Another World.
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Overview: In Batgirls #14, a silent night falls over Gotham as Cassandra Cain Batgirl detects and fights her way to save her best friend, Stephanie Brown Batgirl.
Synopsis (spoilers ahead): Batgirls #14 begins in the Hill’s GCPD station, as Cass investigates Cluemaster’s desk thanks to their new friend Office Calvin Brooks, discovering that Arthur Brown’s body seemed to walk away on its own. Leaving a picture of Cluemaster with the word “Lazarus” scrawled on it, Cass swings into the rain, seeing ninjas venture out through her binoculars. Stealing one of their suits and bikes, she finds their base, steals some lab samples, then fights her way across a massive suspension bridge above the base. An overwhelming number of ninjas attack, but Lady Shiva and her deadly sword thin their numbers.
Shiva waves to Cass’s displeasure, and she bikes off to the Loft, where she pours over maps, Riddler’s final riddle, and Steph’s letter to her. After reading Steph’s heartfelt words about her history and fears, her childhood with her supervillain dad, Cass prepares for battle, having noticed Steph’s mention of Stonefence Cabins as where her dad used to take her as a child. Zooming through the woods on her stolen ninja motorbike, Cass finds the cabin with Steph knocked out, tied to a chair, and with many electrodes plugged into her.
Analysis: Becky Cloonan, Michael W. Conrad, and Jonathan Case have poured their hearts and souls into Batgirls #14. Though I’ve been a fan since issue one (and before, with the three backup stories in Batman during Fear State), I think this issue will become the Batgirls title stand out, similar to Batman and Robin Eternal #13, Batman Eternal #24, Detective Comics #980, Batgirl (2000) #28, and Batgirl (2009) #14. While it’s part of the larger arc starting when Steph and Cass switched bodies and were kidnapped by their supervillain parents, this story has a beginning, middle, and end that work as its standalone narrative and as part of that larger arc. Advertised as having no dialogue, this is technically true – no words are spoken by any characters, gestures instead carrying greater meaning, drawn brilliantly by Jonathan Case, who handles pencils, inks, and colors all together this issue. There’s a bit of cheating there, though, as Cass does a bit of writing, and there’s a lot of written material for the reader to peruse while going through the story, particularly the letter that Steph wrote to Cass as part of their conversation in the annual that kicked off this arc. Cloonan and Conrad have crafted that letter very well, making this as much Steph’s issue as Cass’, even though she only appears once. Her heart, her history (nicely imagined), and her relationships with her dad, Cass, Babs, and Batman appear in sharp relief in just a few well-chosen lines.
It may seem like I’m making grandiose claims for this issue, but I think that not only the powerful writing by Cloonan and Conrad but the stellar artwork by Jonathan Case lift it as Marcio Takara, Pere Perez, Damion Scott, and other iconic artists lifted similar high points in the Batgirls’ histories.
Cass displays so much intelligence, emotion, and determination in every panel, and every page drips with atmosphere. From the rain sheeting down during the brilliant ninja fight (which surely hints at a few storylines to come, given the samples Cass stole while in disguise) to the dark woods lit only by Cass’s headlamp, Case evokes powerful emotions, action, excitement, worry, fear, and above all, love – love for these two heroines, love for their quest, love for their city. It’s a shame that Case is only drawing two issues, though given how much work he does on not just the art but the colors as well, there’s clearly a time limit on how much can be done on the demanding schedule of monthly comics – but Neil Googe is promised back next issue to wrap up this arc, though it may take a few more than one issue to defeat all of the villains stacked up against our Batgirls!
All three covers for this month are brilliant, from Jorge Corona’s mournful depiction of Cass weeping in the rain over Steph’s empty cape to Dan Hipp’s incentive variant featuring Steph and Cass munching on some burgers and fries, rich in cartoony details like Steph’s Robin figuring on a belt charm. But it’s Artgerm’s cardstock variant that takes the clear prize, featuring Steph and Cass, back to back, in his beautiful digital painted style, sure to be a massive hit with anyone who loves Artgerm’s depictions of Cass and especially Steph since 2010.
Editor’s Note: DC Comics provided TBU with a copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Comixology through Amazon or a physical copy of the title through Things From Another World.
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Overview: In Nightwing #100, Heartless blows the Blüdhaven Prison wide open, and it’s up to Nightwing to do his best to save the city once again. Is he alone, or will his history of friendship come to help in time?
Synopsis (spoilers ahead): As Nightwing #100 begins, the villain Heartless breaks into the Blüdhaven Prison with an army of armed goons and seeks to release not only every processed prisoner in the building but also KGBeast, the metahuman Elephant Man, and Tony Zucco, whom he’s a big fan of.
Nightwing arrives on the scene and appeals to the fact that many imprisoned are not intrinsically bad people. He manages to win over some prisoners into helping before the Titans arrive to assist him. Together, Cyborg, Donna Troy, and Beast Boy take on Elephant Man while Raven, Starfire, and Flash tend to the remaining prisoners. Nightwing chases after Heartless, who is with Zucco, before being tackled mid-air by KGBeast. Falling three stories and slamming into a car, Dick’s shoulder is dislocated as he battles the man responsible for taking away his memories a year ago. Nightwing holds his own before the Titans come back to help him, and although the day is seemingly saved, Heartless has escaped with Zucco – leaving behind a mask that reads, “Dick Grayson has more to lose.”
Superman and Wonder Woman arrive to offer a helping hand before asking Nightwing to travel toward the ruins of the Hall of Justice for a discussion. Due to how Nightwing handled himself and the young heroes when the JLA was presumed dead, Clark and Diana offer Dick total global leadership over the entire Justice League while the founding members re-evaluate their place in the world. Knowing that the fight for Blüdhaven is still not over, Dick asks for more time to think.
Weeks later, Nightwing and Batman meet at the grave of Alfred Pennyworth. Batman reassures the League’s confidence in Dick’s leadership potential, but Dick points out that this is the first time they’ve visited Alfred’s gravesite together. Bruce unmasks and thinks of everything Alfred did for them, providing a bridge of communication between the two when one or the other (or neither) could say what needed to be said. With Alfred gone, Bruce apologizes for failing to let Dick know how much of a better man he made him and for allowing him to think Bruce thought anything less than the absolute highest of him. Dick hugs him and says that Bruce never failed Dick, says he loves him and calls him “Dad.”
Later, Dick, Melinda, and Barbara consider the site of the ruined prison and how best to use it. Melinda talks about reevaluating the prison system in Blüdhaven and waiving all of the prison fees that would’ve been required for proper bail. One month later, Nightwing publicly presents the restoration of the prison building as the new site of Titans Tower, pledging that the Titans will be based in Blüdhaven to help better protect the city.
Analysis: Nightwing #100 is much more celebratory and comparatively momentous than the last time Nightwing had a one-hundredth issue. Not to start the review with a negative comparison or anything, but re-reading that story by Devin Grayson and Mike Lily, this one is less dour, far more optimistic, and is free of the baggage of that whole Tarantula/Blockbuster fallout.
Tom Taylor has free reign to make this issue like a celebration of not just the Nightwing character but the era of Nightwing by bringing on past artists ever since Dick had his first solo title. Scott McDaniel, Rick Leonardi, Eddy Barrows, Javier Fernandez, and Mikel Janin are brought back alongside Bruno Redondo to illustrate action sequences throughout the battle against Heartless and the Blüdhaven prisoners. To my mind, the only three major artists missing are Greg Land (from the second half of Chuck Dixon’s run), Don Kramer (from Peter Tomasi’s run before the new 52), and Patrick Zircher (from the infamous issues of Devin Grayson’s era). This isn’t a loud complaint, as all three are tremendously talented artists in their own right. For an issue like this, however, you needed Scott McDaniel back as the iconic 90s Nightwing penciller. Rick Leonardi is a classic artist, with Nightwing simply one of his many comic book runs. The others have done Nightwing in the past ten years since the new 52, so they’ll be more familiar to younger readers than Don Kramer might. I enjoyed how they were used, with McDaniel bringing in some of his classic tropes, like the bats surrounding Nightwing while traveling to the prison. Eddy Barrows was used to great effect when Beast Boy went up against The Beast, and the weight of KGBeast when tackling Nightwing was an awesomely rendered action moment.
I like Nightwing #100, but more on the second read. It’s straightforward, optimistic, and nary has a worrying moment of conflict to leave within true Taylor fashion, but it makes more sense for that in an anniversary issue. Nightwing doesn’t have a lot of luck in these issues; if you’ve ever read New Titans #100 with his disastrous wedding to Starfire and the aforementioned #100 from 2005. What I like about this is that having read Taylor’s run issue-to-issue up until now, I was expecting a prolonged flashback sequence. He plays with time here, but it’s all in the present. No cliche’d “Back when I was Robin, and so-and-so said this exact thing that resonates with the events of this issue today!” His teamwork with the Titans, appealing to the good nature of some of the prisoners and taking down KGBeast while injured all led to the very logical and much-earned invitation to lead the Justice League at the end. It was well-organized, exciting, and fun.
The big scene for me is at the end with Bruce and Dick and Alfred’s grave. I’m not too fond of the idea that Alfred’s going out as he did near the end of Tom King’s Batman run at the hands of Bane (see Batman #77). Knowing that King planned to bring him back, but Dan Didio at the time suggested that he keep him dead, I’ve always felt that the end for him was beneath the character. That’s not how Alfred should go out. I also was frustrated by the Wake special, which was polluted by Dick being “Ric” at the time and everyone just yelling at Bruce. It made me think that Alfred’s death was a disastrously wasteful opportunity. But the scene of Bruce telling Dick that without Alfred, he no longer has the one person to rely on to communicate what he can’t to Dick was revealing and emotional. As a friend of mine said, it’s a veritable apology for how Bruce has treated Dick throughout the 90s and 2000s. In this current DC age, we seem to be past the Bat-Jerk era for the character, as nobody loves that, but here it’s a kind of forthright admission of guilt akin to what I wrote about in my Tim Drake article in Robin #13 (1993).
The idea of the Titans operating in Blüdhaven feels like a great, smart, well-intentioned plan doomed to fail somehow. I’d be down for Dick’s costumed friends to become more regularly supporting players in the book, as we’ve had Barbara being the one constant for a while. Seeing more of Kory (I’d love for an issue centering on those two), Donna, and the others could be fun. Whether this blows up in Nightwing’s face or not, it’s a cool concept that does seem like it would solve all of the crime in the city. We’ll see how it goes.
Editor’s Note: DC Comics provided TBU with a copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Comixology through Amazon or a physical copy of the title through Things From Another World.
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Overview: In Batman: One Bad Day: Bane #1, Bane must rid the world of Venom once and for all.
Synopsis (spoilers ahead): Batman: One Bad Day: Bane #1 begins sometime in the near future, as Bane is in the wrestling ring, fighting a challenger dressed up as Batman. As the two fight, Bane reflects on his history, moving from his origins as a boy born in Pena Duro prison in Santa Prisca throughout his career as one of Batman’s most powerful enemies. At the end of the fight, Bane breaks the would-be Bat-challenger’s back, and the paramedics are called.
After the fighter, Bane is in the locker room. The man dressed as Batman walks in. The back-breaking event was staged, but the man tells Bane he is a fan and that it was an honor to fight.
Bane goes home alone after signing a few autographs. He drives up to his mansion and settles down for the night in front of his fireplace, where a framed Gotham Gazette hangs above with the headline, “Mysterious Bane Breaks The Batman?”
Suddenly, an intruder gets Bane’s attention, and he grabs this would-be thief. The man pleads with Bane, telling the rogue he’s not here to steal. He offers a vial of Venom, saying that he found it in Texas. The man recounts the history of Venom, having been created by Dr. Randolph Porter. He goes into how Batman tried stopping the supply of Venom, as did Bane.
Bane grabs the vial and throws it into the fire. When the man demands payment for the Venom, Bane demands that this man take him to the lab. He will destroy the Venom supply, as he destroyed Batman.
Batman: One Bad Day: Bane #1 continues years ago, as Batman breaks into a lab that Bane is already tearing apart. He’s here to bring Bane in. Bane tells Batman that he only dared enter Gotham to shut this lab down, and he offers a truce. After the two stop the supply of Venom for good, Batman can have his precious justice.
Bane finishes telling this story to the kid who brought him the Venom, asking that the kid share his story in return. The kid tells Bane that his father owed money to drug dealers, and he was forced to repay the debt. Selling Venom was his ticket to freedom.
When they near the lab, the kid asks Bane about Batman’s death. Bane tells the young one that Batman and himself traveled worldwide, breaking up Venom supplies. Their final location was at Blackgate, wherein Batman noticed that Venom was hooked up to the anti-riot system, which means that it would disperse in gas form during a riot.
A villain by the name of Grudge greets them. Grudge is monstrous, and just one touch from him means an infection of Venom. Inmates surround Batman and Bane hopped up on Grudge’s Venom. A fight is about to break loose when —
In the future, Bane and the kid walk up to the lab complex. They surveil the place from a distance, planning to hit it at nightfall.
In the past, Grudge makes his way to the roof, planning to use the Batplane to spread Venom across Gotham City. Batman battles Grudge, ordering Bane to activate an E.M.P. that will stop Grudge. Batman gets bitten and is infected with Venom. The two battle near the E.M.P. device, which means Batman will be caught in the blast, but he demands Bane activate it anyway. Bane escapes, but Batman is caught in the explosion.
After finishing his story, Bane finds himself and the kid surrounded by guards. He’s knocked out and reawakens in a lab, tied to a chair. Bane finds out it was all a trap, that the kid was a lure to bring the villain here.
Bane breaks free from his bonds and beats his way through a bunch of goons. He strides deeper into the laboratory, wherein he finds a “big fan” of his — Dr. Porter. Porter, who has been juicing himself, considers Bane his “life’s work.”
Dr. Porter reveals that he created Venom to help Batman after Batman failed to save Sissy, Dr. Porter’s daughter. Batman rejected the Venom and fought to destroy it, so Dr. Porter faked his death. In secret, Porter has been perfecting different forms of Venom, but now he is dying. He wants to meet Bane and return the villain to his former glory.
Porter and Bane fight, but ultimately Porter gets the upper hand, breaking Bane’s back in the process. He promises to fix Bane, and Porter plans to use a new version of Venom. Porter forces the Venom on the kid first, who is strapped to a nearby medical table.
Bane gets to his feet and stops Porter. When the kid asks Bane how he fixed his back, he says that if Batman can do it, he can do it.
Bane sets off an explosion that destroys the lab and kills Dr. Porter once and for all. Bane escapes with the kid, passing out once they are safe.
News reports detail the fire in Texas, noting that the days of Venom may truly be over. Bane reawakens in a hospital bed, but now, he’s known across the globe as a hero. A shadowy figure appears. Batman tells Bane he has been tracking that lab for a while now, but Bane beat him to the punch.
Bane climbs out of bed after telling Batman that once, long ago, the day he broke the Bat was the greatest day of his life. At that time, Batman represented everything he had endured up until that point, but after that day, it was the worst moment of his life. Bane asks Batman to fight him, as per their offer. He knows he will die, but he wishes to die fighting the Dark Knight to escape his pain.
Batman, or at least the specter of Batman speaking to Bane, tells him that he understands how one bad day can control someone’s life. Batman challenges Bane to find a new way to live. Only then can they fight again.
After he’s recovered, Bane burns the framed Gotham Gazette headline, sells his house, and hits the road with the kid, looking to leave the past behind and start life anew.
Analysis: Batman: One Bad Day: Bane #1 is unlike every other issue in this One Bad Day series, and it’s better for it. Instead of going for a darker, edgier take on a classic villain, writer Joshua Williamson, artist Howard Porter, colorist Tomeu Morey, and letterer Steve Wands dig deep into Bane’s psyche and strive to set the character free.
Overall, it’s a beautiful, heartfelt issue that delivers quite the empathetic punch in the final few pages. The Bane featured in this book is a haunted figure. He’s haunted by his past, by the specter of himself and his fame, and by Batman. Stuck in reliving the glory days for an adoring audience, there’s a level of meta-commentary going on in this issue too.
Batman: One Bad Day: Bane #1 opens with Bane acting out his greatest victory against Batman again, “breaking” the back of a wrestler donning a Batman mask to cheering crowds. On some level, this seems to be a commentary on Bane’s last outing in the main Batman title (City of Bane), wherein he once more tried to claim Gotham for his own and “break the Bat” (albeit emotionally instead of physically). Disillusioned and stuck in the past, Bane goes home to rest in his chair and await a new day.
When an intruder offers him a vial of Venom to gain his former glory, Bane comes alive, setting off on a quest to finish what Batman and himself started years ago — rid the world of Venom.
Readers learn quickly that Bane and Batman fought together to bust labs all over the globe. During a fateful match with a monster named Grudge, Batman dies, sacrificing himself to save the rogue. This left Bane with no reason to continue fighting, as he hoped to battle Batman once more after Venom was eradicated.
Bane and the intruder head to the lab, wherein they meet Dr. Porter, the creator of Venom. Naturally, Bane overcomes a broken back to kill the doctor once and for all. It’s not spelled out how Bane recovers so quickly from a broken back, but a comment by Dr. Porter helps put the pieces together. Before breaking Bane’s back, Porter notes how Venom causes cognitive decline. In the hospital, Bane sees a vision of Batman speaking to him (we know this because Batman reminds Bane that a “vision” of himself challenged Bane to fight the Dark Knight before Knightfall). One can assume, then, that Bane used Venom to heal his back and take down Dr. Porter.
It’s this hospital scene, however, that seals the deal on what makes this issue great. Bane and Batman’s ghost have a heart-to-heart, and Batman urges Bane not to let one bad day rule his life. It’s something Batman suffered from, but Bane can be better. He can best the Batman and start a new day.
In the final few panels, Bane’s visions of his childhood and his pain vanish before his eyes as he sells his mansion and leaves to forge a new path. It’s beautiful, touching, and sentimental, and it endows Bane with a humanity that sets him apart from the other rogues. Plus, it turns the idea of One Bad Day into a series on its head, striving to inspire readers.
While there are a few wonky issues with the plotting (like Bane’s miraculous, off-panel recovery from a broken back), the story overall is pretty solid. Where this book suffers the most, however, is in the art. Morey’s colors give Porter’s pencils sort of a dusty, Western vibe during this book’s best panels, and at their worst, there’s an overall cartoony feel to the art. In any other book, Porter’s art could fit, as Porter has a zany style that defies more grounded character designs. In Batman: One Bad Day: Bane #1, Porter’s wild and unique style undercuts the tone, sometimes in direct contradiction to the weight and emotion Williamson and Wands bring to the scene. It makes for an inconsistent read and lessens what should be a tear-worthy impact.
Editor’s Note: DC Comics provided TBU with a copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Comixology through Amazon or a physical copy of the title through Things From Another World.
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Overview: In Batman: Urban Legends #23, we see stories featuring the Nightwing, Robin, Arkham Academy, and the conclusion of The Murder Club story.
Editor’s Note: Due to the anthology nature of this collection, we will feature a synopsis and analysis for each short story rather than breaking up the synopsis and analysis. Spoilers are sure to be revealed.
Story #1: Nightwing in “The Director” Part 2 by writer and artist Jamal Campbell
Synopsis: The first story in Batman: Urban Legends #23 begins in Blüdhaven at Sanctuary Park. We learn that Nightwing with the gas scene is another of the Director’s films. Dick and Babs banter; Babs has traced one of the films to Trafalgar, a local media arts college. Later, Nightwing discusses Marcel with Derek Coleman and gets a lead to the Southern Orlandeau Community Center.
In disguise as Marko Moon, Dick gets another clue and follows some of the people from the Community Center to a job they are working at an abandoned movie lot. As he observes the scene, a dart strikes his neck, and he passes out. He wakes up hours later with the people on the job. Their hands are tied behind their backs, and they are all frightened. The Director’s voice announces the beginning of his newest feature. They are in a labyrinth and must escape before the “Beast” finds them, who turns out to be Flamingo.
One party member down, the group flees in terror. Dick manages to get Flamingo to slice his bonds, but he is still drugged and struggles to evade his assailant. Flamingo stalks his prey, and Dick hunts the predator. They clash, and Batgirl swoops in to assist. One of the party thanks them, but Nightwing and Batgirl name her as the Director, a Trafalgar student named Christine Eigawa. Derek Coleman tries to shoot her, but Nightwing and Batgirl prevent it.
Outside, Nightwing speculates that Eigawa could not have managed all of this by herself, and a figure in a double costume mask watches the scene on a large screen, drinking a glass of wine.
Analysis: Again, this does not feel like the most original or compelling story, but at least the fundamentals of the narrative are solid. Nightwing and Batgirl work well together here, and the art is excellent. There are no heights reached here, but it’s a decent two-shot and, despite its relative lack of ambition, definitely serves as an example of the kinds of work that could have anchored Urban Legends as a more consistent book.
Story #2: Batman and Robin in “Hot Pursuit” by writer Kenny Porter and artist Simone Di Meo
Synopsis: The second story in Batman: Urban Legends #23 takes place during Robin’s second year in Gotham. Batman reminds him of the rules as the Dynamic Duo rushes off. Batman comes to as Robin is driving the Batmobile away from an unseen foe from above that is doing everything possible to destroy the car.
The foe is Firefly, and he has the Duo cornered. Batman rages at Robin for disobeying Rule #1, which is to leave Batman if it looks like he is going to die. Robin patiently explains what it means to be partners and references his parents and the Haly Circus. Batman quietly acquiesces, and Robin jumps the car directly into Firefly, destroying the car in the process and injuring Batman.
Later, in the Batcave, Robin asks Batman how he performed. Batman chides him but acknowledges that he could not be happier with Robin as a partner and family. But he reminds Robin that he won’t be driving the Batmobile anytime soon.
Analysis: Akin to the first story, this solid story amplifies a familiar message in the relationship between Batman and Robin. It is short, simple, and effective.
Story #3: “Arkham Academy” Part 3 by writer Dennis Culver and artist Hayden Sherman
Synopsis: Killer Croc has killed Li’l Kitten. As he removes the muzzle, the rest of the class realizes they are armed or have powers that can be effective and go on the attack. They take Killer Croc down, and Scorn is called into the principal’s office. She reveals that the entire episode was planned to illustrate that they are never fully safe. She reveals herself as a member of the group behind Arkham Academy: The Court of Owls.
Analysis: I like The Court of Owls, but there is little to appreciate in this story.
Story #4: Batman in “The Murder Club” Part 4 by writer Joey Esposito and artist Vasco Georgiev
Synopsis: The final story in Batman: Urban Legends #23 sees Batman remembering Crime Alley. The “Judge of Owls” stalks his memory, explaining that she needed to purge the Court of Owls. The Judge is manipulating time and planning to use John Starr to kill Joe Chill – thereby preventing Batman from coming into existence. The Court of Owls has sentenced Bruce Wayne to life.
Batman, Robin, and Nightwing attack the Judge and her Court. At the Batcave, Thomas and Martha are frightened and order Alfred to take them to the scene. As sirens sound at the fight scene, the Judge and her Owls are distracted, and the Bat-Family takes advantage to finish the fight. Batman tells Alfred to take his parents back to the Batcave and briefs Jim Gordon before rushing off.
Back at the Batcave, Batman repairs the time malfunction, and the countdown begins to the Waynes’ departure. They speak warmly, and Thomas apologizes for his anger. Both he and Martha refer to Batman as Bruce and ask him for a ride in the Batmobile. Batman obliges, and as they watch the sun setting over Gotham, Thomas tells him how proud he is of the light that Batman shines for Gotham.
As they return to Crime Alley for the Waynes’ departure, they say goodbye to Robin and Nightwing and remind Batman of the importance of family. They recede into the light and are gone.
The next day, Robin and Nightwing find Batman alone on top of Wayne Tower as the sun sets. Batman is ready to work, but he stops to thank Robin for his willingness to sacrifice himself and Nightwing’s perpetual choice to pull Batman out of the darkness. He apologizes for the life he feels he has thrust upon them. Robin and Nightwing upbraid him gently, and Batman remarks that his father and Nightwing both reminded him of what Gotham has given him – not just what it has taken. They work as a family. The trio soars off to round up the rest of the Owls.
Analysis: This is a genuinely beautiful, heartwarming story. The return of the Waynes in the current timeline is handled with care, respect, and reverence due to the characters. The story here is a classic bildungsroman, except that it is not just Batman who is forever changed, but all of the characters in the story. The resolution for Thomas is stunning – he realizes the full power of what his son has done, who he has become, and what it means for all of Gotham. The dialogue rings authentic, and every conversation between these critical characters strikes deep emotional chords for anyone remotely involved in the Bat-Family and The Batman Universe.
The linework from Georgiev is excellent and classic, as befits this utterly classic story. The characters are skillfully rendered, and the emotion courses across Batman’s face, even under the cowl. Hearing Thomas and Martha refer to Batman in cape and cowl as “Bruce” is stunning in its own right, for no other characters in the story other than perhaps Alfred would have the authority to confuse the main character (Batman is the true identity and Bruce Wayne is the costume – but not to Thomas and Martha Wayne).
This is a beautiful story, skillfully done, and it made me tear up on more than one occasion. Although Urban Legends has, on balance, been disappointing, this terrific story is an ideal way to close the run and a winsome reminder, perhaps, of what the book could have been. The finale of the series seeing Batman, Robin, and Nightwing soaring off into the Gotham twilight with the Bat-Signal illuminated and smiles on their faces, is a lovely send-off.
Editor’s Note: DC Comics provided TBU with a copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Comixology through Amazon or a physical copy of the title through Things From Another World.
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Overview: In Batman Incorporated #4, as Ghost-Maker tracks down Clownhunter, Phantom-One and the team of vigilantes best the Batman Incorporated team.
Synopsis (spoilers ahead): Batman Incorporated #4 begins somewhere over the pacific as Ghost-Maker is flying his ship trying to find Clownhunter. Finally, his signal is picked up at headquarters, and Ghost-Maker flies his way. As he is flying, he checks in on the different groups.
In Moscow, Knight and the Fallen are fighting in the apartment, trying to bring Avery to justice using their own methods. During the fight, Wingman is still knocked out from the drugs he drank in the previous issue. The Fallen uses her Xylazine-laced claws to break through the Knight’s armor and pierce her skin, effectively ending the fight. The Fallen calls in for extraction on the rooftop and brings Knight and Wingman to a ship that features Lex Luthor’s symbol.
At the Central Suriname Nature Reserve, Jiro and Gray Wolf are fighting Hollow, which results in Jiro stabbing the Hollow. Hollow questions their violence since he helped them when a huge light appeared above them.
El Gaucho and Raven Red, in British Columbia, are passing blows on Fissure. El Gaucho gets a hold of Fissure when Raven Red takes a knife and slices some wires, stopping electricity from traveling through Fissure’s suit. Fissure explains that he and the other vigilantes that Lex Luthor created had been given the opportunity to get revenge on the people who wronged them. Raven Red questions Phantom-One’s connection, but the ship with Lex Luthor’s symbol shows up, and Hollow, Fallen, and Oryx step out to make the save for Fissure as they tranquilize El Gaucho and Raven Red and bring them on the ship.
When Ghost-Maker returns to headquarters, he is greeted by Dark Ranger and Black Mist. He questions where Clownhunter is, but Dark Ranger doesn’t know. Ghost-Maker sees a floating box that says, “you can’t control us anymore,” and inside is Clownhunter’s tracker. Black Mist stabs Ghost-Maker and kicks Dark Ranger. Then Phantom-One comes from the shadows with Clownhunter and attacks Ghost-Maker, eventually bringing him to his knees. Black Mist tells Phantom-One to stop and proceeds to tell her origin story.
In Dublin, she thought the city needed its own Batman-like vigilante. She took the role and fought the gangsters. They didn’t like wasting their money, so they sent Tommy Tivane to take her down. He succeeded and paralyzed her. After she recovered in the hospital, she was sent to prison for five years with the worst of Ireland. After serving her time, she faked her death and built an exoskeleton to walk again. With her rage, she looked for Tivane, eventually following Palladium. One night she saw Ghost-Maker turn his back on Phantom-One. So she nursed him back to health and, as time passed, saw that Ghost-Maker was painted as a hero in Gotham City. They both wanted to expose him for who he was.
Back to the present, Clownhunter appears with a barbed wire baseball bat and is told to kill Ghost-Maker to be free finally.
Analysis: If you didn’t know this series was continuing past the current arc, you would assume this was the penultimate issue of the series. It isn’t, but it certainly feels like the team is falling apart at the seams and will dissolve after dealing with Phantom-One and Lex Luthor’s team. From the team having doubts about their mission to Clownhunter, you have to wonder how this team even existed in the first place. The series starts with the members having issues with each other, but it is odd to see the leader taken down early in the series.
The next issue could end up being a big battle for the soul of Batman Incorporated, with some members of Luthor’s team joining the main team going forward and having other members go their separate ways. Will there be any deaths this early? It almost seems like the cast is too big, and with little character buildup for anyone outside of Luthor’s team and Phantom-One, it feels like we could see a death for the sake of thinning out the ranks, as most Suicide Squad series do (even if they come back in the future).
After Batman Incorporated #4, you have many questions with few answers. It speaks to the upfront story but leaves less to build on without adding more characters to the series. It is still an action-packed read, but hopefully, once this arc wraps, we will learn more about the team members rather than just creating even more new characters.
Editor’s Note: DC Comics provided TBU with a copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Comixology through Amazon or a physical copy of the title through Things From Another World.
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Overview: In I Am Batman #17, given the recent revelations, Jace struggles with his identity, while a woman’s life hangs in the balance.
Synopsis (spoilers ahead): I Am Batman #17 picks up immediately after the end of the last issue. Jace is trying to come to terms with the fact that the woman who raised him may not be his biological mother. Lucius confesses that he had an affair with Elena Aoki. Jace is furious, and he lashes out at his father, saying that he took advantage of a subordinate. Elena was unable to care for a child. Lucius confessed to Tanya, and along with Lucius, they decided to raise the baby as their own. Tam admits to Jace that she also knew Jace’s true parentage.
Tanya steps in and tells Jace that he was always treated as a family member. Jace is not ready to hear any of this, and he packs some things and decides to leave. Tiff follows him and tries to talk to him. Jace still does not want to hear any of this and states that even Elena’s predicament is not his problem.
The other three members of the Fox family discuss the situation, including Jace and the ransom money for Elena. Lucius does not want to capitulate to the terrorists, and Tam tells them that they should have told Jace and not forced her to secrecy.
Elsewhere, Jace gets a call from Hadiyah. Hadiyah calls to find out what is going on, but Jace doesn’t know how to explain it to her. He lashes out, saying that the woman who is not on the phone with him now has no time for him, and he hangs up on her.
Tiffany arrives at Batman’s base. She meets with Vol. She tells him that she knows that Jace is Batman. Vol counters that Jace told him that Tiff is trying to be his sidekick. Tiff changes the subject to focus on the hostage situation. She tells Vol that Batman is not coming and she wants to help find Ezekiel King.
After gaining some basic intel, she meets with Chubb in costume. She strikes a deal; she will go in to free the hostage while the cops deal with King. Chubb gives her five minutes and hands her a phone. Tiff heads off to carry out her part of the plan.
Hadiyah calls Vol. She tells him that she knows everything except where Jace is.
Tiff makes her move, but she discovers that Batman has followed her. Tiff calls Chubb and tells her that Batman is with her and they are moving on the plan. King orders his people to kill Elena, and Batman and Tiff strike. King calls back up, and the two heroes are quickly overwhelmed. Outside, the cops take fire. King holds a gun at Batman’s head, and suddenly the room is filled with smoke. Another masked vigilante calling herself “Nobody” arrives.
Analysis: The art in I Am Batman #17 is the standard superhero style. Very good, but not a lot of wow. I want to say the Rex Lokus on colors did a fantastic job with the smoke effect. It helps the character of Nobody stand out on the final splash page.
Who Nobody is, is anyone’s guess. From the design, it appears that the character is female, but interestingly all of the skin and hair is covered. My initial thought is that this might be Hadiyah. She could be wearing a head scarf that he is shown wearing all the time in her civilian presentation. She did ask where Jace was, stating that she, in essence, knows that Jace is Batman.
The main theme of this story, I feel, is the question of identity. Is a person’s identity tied to who they were born as, or is it more than that? Jace comments that he is not a member of the family because his mother is not the matriarch of the Fox family. Tanya tells Jace that she treated him as her son even though she did not give birth to him. Jace, in his anger and immaturity, rejects that argument, but in the end, he appears to do the right thing by joining his younger sister in trying to free the hostage.
This Batman may not have lost his parents, but he appears to have his fair share of family drama.
Editor’s Note: DC Comics provided TBU with a copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Comixology through Amazon or a physical copy of the title through Things From Another World.
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Steph and Ian are so excited to review this batch of Batman: Wayne Family Adventures. What do they think of Tim Drake and Damian Wayne’s tenuous relationship? How does it compare to the main DC comics? Let’s find out with our review of Batman: Wayne Family Adventures #64-66.
Steph: Ian! Another three weeks, another three amazing episodes of WFA to review! Are you ready?
Ian: I’m so ready! And what three weeks we have!
Steph: For sure. The first two got me right in the feels. Let’s start with the first one, #64 The Choices We Make (Part 1)
Ian: This is a hefty two-parter!
Steph: Tim and Damian’s animosity with each other.
Ian: It’s been a long time coming!
Steph: It has. I felt like the first episode gave a good status quo of the situation and showed Tim’s feelings on the matter and also his resolve to fix things because, as is, it’s dangerous to their safety and any mission they do. And, of course, Steph and Tim’s friendship appears healthy and well-maintained post-breakup.
Ian: Yeah. I’m still sad, but I appreciate that they both know each other so well and give each other good advice.
Steph: I feel like DC likes that canon Tim/Damian don’t get along and keeps it at that.
Ian: Canon (calling back to Tim, giving Steph encouragement in her two-part arc), Tim and Damian never sit down and talk. Since WFA is both goofier but also a bit more mature (in that it deals with everyday problems and doesn’t let the world-ending catastrophe get in the way of character growth), it’s really, really nice to see this kind of thing. In fact, I still think that this emotional, growth-oriented stuff is exactly why WFA has millions and millions of fans. And MAYBE canon could learn a bit from it?
Steph: For sure! I love that the comic seems to take the canon personalities and relationships we love and applies HEALTHY life management tools. Very refreshing.
So in #65, The Choices We Make (Part 2), we get the confrontation, and it starts as well as we could imagine but ends so well. What did you think of Damian and Tim’s discussion?
Ian: I thought it was really nice seeing Damian admit his vulnerability. It’s something that too often gets lost, particularly at the beginning of the n52, where a lot of the real damage was done to the current state of the Tim and Damian relationship was done.
Steph: I loved how naturally it came out! Like, he started talking like the little brat he is, but the more insults he was throwing at Tim, the more the truth started coming out.
Ian: Yup. Very nice dialogue writing in this one particularly. What was a favorite thing about this confrontation for you?
Steph: The penny dropping for Tim. He can’t see it, but Damian’s lip is quivering. It’s the turning point for their whole relationship. Though, I did love Damian’s comment on the over-dramatic meeting atmosphere.
Ian: That great combination of art and writing!
Steph: What was your favorite part?
Ian: I think it really was Damian’s vulnerability, and Tim, instead of pouncing on that as a weapon, affirms Damian and heals the breach a lot. Really good stuff.
Steph: So good.
What about the last episode, #66 No Doors Allowed? Here we have another silly episode about Cass and Jason showing Duke the error of his ways, only to be schooled by him on how to break from Bat-predictability.
Ian: After all that emotion and stuff in the Tim and Damian arc, it was so nice to kick back and cut loose with the silliest of meta concepts, “how to enter a room as a Bat-Family member.” Really reminds me of the great conversations about “monologuing” in The Incredibles! Also, the balance of the characters is nicely handled. You have Tim, Steph, and Damian in the last two, and then Duke, Cass, and Jason in this one spreading out the family so everyone can see their faves!
Steph: Yes! There seems to be a great balance of the main characters, with a sprinkling of the supporting ones.
Ian: Do you agree with Cass and Jason, or Duke in the “conflict”? :0
Steph: Oh man, Duke, totally. Less property damage, less glass to pick out of the suit, and more surprise!
How about you?
Ian: But it’s the Bat-Family way! You gotta enter with a BOOM! Theatricality! Deception! Shattered glass falling to the floor as you kick the cowardly and superstitious criminals in the face! Obviously, I’m a Cass and Jason sider here!
Steph: I see. I did love that, arguably, the more stubborn and set-in-their-ways characters outside Batman were willing to have their eyes opened to new ways of thinking. And, of course, Starbite killing it on art again.
Ian: Indeed! It’s so nice seeing Starbite still on art – I was worried that the new art team would completely replace them, but it looks like it’s more of a rotation, given the brutal schedule a weekly webcomic has!
Steph: Yes! I enjoy the other team, but Starbite takes it to a new level. Well, I can’t wait to review the next batch with you. See you next time!
Ian: Thanks for reviewing with me! This batch was really great!
Editor’s Note: You can find Batman: Wayne Family Adventures #64-66 and all other past chapters exclusively on the Webtoon platform. You can find all other reviews from the series here at The Batman Universe.
The post Webtoon Review: Batman: Wayne Family Adventures #64-66 appeared first on The Batman Universe.
Overview: In The Joker: The Man Who Stopped Laughing #4, the Joker manages to make his way unseen through the halls of Gotham General Hospital while Red Hood and the police try to hunt him down.
Editor’s Note: Due to the anthology nature of this collection, we will feature a synopsis and analysis for each story rather than breaking up the synopsis and analysis. Spoilers are sure to be revealed.
Story #1: “It’s Not Funny Anymore” by writer Matthew Rosenberg and artist Carmine Di Giandomenico
Synopsis: The Joker: The Man Who Stopped Laughing #4 begins at Gotham General Hospital, as a worried police officer calls out to a wandering “Doctor D’Amico” to retreat to safety behind the police barricade. Ignoring the warnings, the doctor makes his way back through the panicked halls of the hospital, slipping his way up and into the pediatrics wing despite trying to escape at the end of the last issue.
Outside, a man in a red hood and trench coat subtly lights the tire of a police car on fire, only adding to the already mounting chaos. Using the panic caused and distressed shouts from those around him as cover, he takes the opportunity to slip into the hospital unseen.
Inside the room of several children, patients in the hospital, the Joker runs through a series of morbid jokes but doesn’t receive much positive response. Hearing shouts below, he quickly hides as men in SWAT gear and additional law enforcement officers storm the hospital and search through the rooms. The door to the kids’ room opens, and one of the agents stands in the doorway asking the children if they’ve seen the nightmare clown. The said clown motions silently to the children from his hiding space behind the door to not say anything.
The children respond negatively, and the agent leaves shortly after, followed closely by the Joker, who thanks the children and comments that they should ask for better toys. After all, parents never say no to dying kids.
In the men’s restroom, a police officer slowly makes his way through, checking it’s clear before using one of the urinals to relieve himself. Moments later, he’s beaten and unconscious, his uniform missing as the Joker slowly makes his way out of the restroom and to the elevator, covertly making his way to join the now motionless officer’s squad.
Just as the elevator doors open, the disguised Joker and Red Hood are both shocked to see the other person standing there, and a foot chase quickly ensues as the Joker crashes into a fellow officer just as Red Hood makes his way around the hallway, guns drawn and aimed at both men.
The confusion lasts only a moment as the officer, Powell, finds himself sandwiched between the gun in the Joker’s hand, aimed at his head, and the guns pointed at him by the Red Hood. Ignoring Red Hood’s command for the Joker to drop his gun, the clown uses Powell’s radio to inform the other squads that the Joker was spotted exiting the hospital via the back entrance.
The standoff is interrupted by the arrival of a shocked nurse, who, under the Joker’s command, makes her way back into the room she came from to open the closet full of drugs. Turning to the Red Hood, the Joker says the situation is simple. Jason needs to drop his guns, or the officer dies.
Jason demands to know how the Joker has convinced the whole world that he’s really in L.A. doing organized crime while he’s here in Gotham, but still complies with his demands and drops his gun to save the officer’s life. Elated to hear that Jason thinks the Joker is the Joker, he shoves Powell into Jason, and they, along with the nurse, all go crashing into the small closet.
Leaving them there, the Joker stops to answer Jason’s demand to know why the Joker isn’t trying to kill him again, to which the Joker replies that he doesn’t like telling the same joke twice.
Moments later, the hospital floors are again swarming with armed officers, who discover Powell and the nurse with no sign of the Red Hood.
Inside the room of an elderly, sick woman, the Joker, in an effort to remain hidden, answers her confused cries. Moments later, the room door is flung open, and the officers enter, only to find the woman dead, smiling peacefully with the window ajar and no sign of anyone else. They lost the Joker.
Analysis: Vigilantes and police officers alike are bested by the Joker as he continues to elude all those trying to hunt him down despite their best efforts. The story in The Joker: The Man Who Stopped Laughing #4, written by Matthew Rosenberg and illustrated by artist Carmine Di Giandomenico, continues to be narrated by a somewhat crazed, nihilistic voice that I mostly skipped past quickly to follow the actual dialogue, which, unfortunately, left me feeling mostly unsatisfied as nothing really happens.
The Joker manages to sneak his way back into the hospital that supposedly has a bomb hidden somewhere (yet police officers regularly enter it and search each floor despite the bomb threat), followed closely by the Red Hood. Jason is determined to make good on his promise to kill the Joker once and for all but is prevented by the Joker’s threat of possibly killing a police officer. The interaction ends with…nothing happening except the Joker getting away and Jason disappearing.
The interaction with the Joker and children additionally didn’t make much of any sense to me; if the Joker has been around Gotham for so long and with the number of threats by supervillains the city sees daily, it is most likely safe to assume that kids are at latest somewhat familiar with the Joker’s overall look and feel. Why, then, did they help him escape? Why not turn him over to the authorities? Lastly, the scene at the end between the Joker and the elderly lady who passes away did not come across as very relevant to the story other than to possibly showcase the Joker’s character.
Story #2: “Knocked Upside Down!” by writer Matthew Rosenberg and artist Francesco Francavilla
Synopsis: As the backup in The Joker: The Man Who Stopped Laughing #4 begins, the Clown Prince of Crime has done it again, stealing all the water from the Gotham River with the help of his trusty henchmen, Jackanapes and Gaggy. He’s brought to a halt by Zatanna, who is more than affronted by the Joker’s offer to start a family with her. Her response is to cast a spell on him, leaving the Joker… pregnant.
The Joker and his henchmen visit Doctor Phosphorous in the hopes of getting the baby checked out and out of the Joker; given that they have no idea where the baby will come from, the process is likely to be uncomfortable.
Before anything else can happen, the Joker vomits a steam of mud-like substance that takes the form of some vaguely humanoid shape, starts wailing, and takes off running away. Seeking to find and kill it, the men (and..others) take off after it.
Twenty unproductive minutes later, the men (and gorilla) are still searching. They locate the mud creature and are shocked to find it’s transformed into a mini version of the Joker.
Several weird weeks later, Zatanna, just finishing a magic show performance, is surprised when the Joker pays her another visit. He tells her that, ultimately, they would have made a wonderful family; Zatanna is shocked when the Joker introduces her to his mini-me version and declares that they, the Joker and Zatanna, did it! They have a son.
Analysis: This is officially one of the weirdest and somewhat uncomfortable short stories I’ve ever read. I’m extremely curious to know where this inspiration comes from for the creative team, writer Matthew Rosenberg and artist Francesco Francavilla because it’s quite bizarre.
The concept is not only strange but also missed the mark of being comedic and landed more in the “I would be happy never to have to see the Joker being checked up on to give birth” again realm.
I suppose this extra story could very well be some people’s cup of tea, but I would not ascribe that to myself as the concept of the story is too uninteresting and strange for me, and the art style is not preferred. Hopefully, they don’t get weirder from here!
Editor’s Note: DC Comics provided TBU with a copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Comixology through Amazon or a physical copy of the title through Things From Another World.
The post Review: The Joker: The Man Who Stopped Laughing #4 appeared first on The Batman Universe.
Overview: In the aftermath of baby Helen Wayne’s murder, Gotham City: Year One #4 sees the Gotham Slam Bradley knows slip away in a tide of blood.
Synopsis (spoilers ahead): The chapter in Gotham City: Year One #4 opens with a shot of the Gotham Blade newspaper blaring baby Helen’s murder on the front page as Slam recounts the aftermath of finding her body. The commissioner of Gotham himself beats Slam brutally for failing to turn the case over to the cops. After a few days in jail with frequent beatings, the police cut him loose, and the Waynes pick up where they left off – but when Richard tries to take out his rage and grief in another beating, Slam strikes back, beating Richard and his two bodyguards easily, then intimidates the group into letting him go.
Back in his apartment, Bradley cleans himself up, then Constance Wayne arrives and declares they will sleep together, which they do. Afterward, Constance rages that her husband will use the literal ashes of her dead baby daughter as a literal wall against criticizing his new factory. At 1am, Slam leaves her in his bed and beats the commissioner of Gotham so badly he is forced to retire, causing the alley where the commissioner was found to be called Crime Alley.
Back at his apartment, Slam finds Queenie, the girl who started it all, with a pistol in his room, but he easily takes the gun, and she claims innocence, saying Richard Wayne is to blame.
Analysis: Tom King continues through the middle of his film noir pastiche story leaning pretty heavily on the expected tropes and patois – the femme fatale and the protagonist sleeping together and “got myself a gat” – but sadly, despite Phil Hester, Eric Gapstur, and Jordie Bellaire’s gorgeously stylish artwork, the issue has returned to the same feeling of a complete retread of the tropes, rather than the moments of zest we saw in the last couple of issues.
From Slam’s Korean War backstory to the rehash of Jim Gordon beating Flass in Slam’s beating of the commissioner, it feels like there’s no real verve or zip to the story. Even though King’s writing a pitch-black noir pastiche, some energy, some investment in the characters and worlds other than how they fill the roles expected of them must make it stand out from classics like the Maltese Falcon or the Big Sleep or their modern heirs like Brick or Veronica Mars.
Instead of having Constance Wayne wander through Slam’s life like a zombie femme fatale, hiring and then bedding him with no real coherent motivation, some chapters focused on her perspective might have thrown the story off the beaten track.
Instead of having Slam wax poetic about how the city has changed from a bright facade covering a dark heart into darkness everywhere, with a labored backstory for Crime Alley’s nickname, spending some time having us become attached to the Gotham of 1961, and then having it ripped away would have made it feel something (as Constance claims to want so badly), instead of just seeing it happen.
Speaking of that date of 1961, the Korean War backstory, and the mention of Slam’s age as 98, it’s odd that King is so invested in dating the story instantly. When Frank Miller wrote the backstory of Batman, he deliberately went for a timeless feel – clearly the past, but not nailing himself down to the 1970s, leading at least in part to the eternal feeling the book still evokes. This story will be forever tied to a specific moment in history, and the further we get from publication, the further we’ll get from believing that this is actually the story of Bruce Wayne’s grandparents (and given Constance and Slam’s affair, perhaps even the completely uninteresting secret that Slam is Bruce’s grandfather).
There are so many more interesting ideas that King could explore, like the question of whether the commissioner’s brutal methods were actually worthwhile – but even though he tries to evoke some ambiguity and poetry in Slam’s narration, there’s never a single question that the commissioner is anything but a black-hatted, mustache-twirling bad guy. All in all, the focus on the characters going through the motions of the noir tropes instead of attempting to really look into those tropes and invest the audience in the tragedy King keeps telling us is happening hamstring this chapter of the book. Hopefully, the final two issues give us a bit more to latch onto, but it seems a bit unlikely given how little room there seems to be for King to move out from under the crushing weight of imitating his influences for this tale.
Phil Hester continues beautiful work with his main covers for the series. Like all of the previous covers, he goes with a smaller central figure of Slam enclosed or loomed over by a character from the issue, giving the book a unity of design in a pleasing way! In this case, Slam and Constance Wayne kiss passionately as the Commissioner of Gotham looms over them, all in red, with a bloody bat to the right and a beaten Slam in jail covering the top quarter of the composition. Tony Harris provides a painterly cardstock variant for Gotham City: Year One #4, with a (strangely slim-looking) Slam, bandaged up, smoking his pipe in a cafe as the Waynes look through the window at him. Frequent King collaborator Mikel Janin provides a polished incentive cover, with Constance looking down from a staircase at Slam striking an investigative pose with pipe and flashlight, an ominous red splashed with Bat-shaped shadows washing out the background.
Editor’s Note: DC Comics provided TBU with a copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Comixology through Amazon or a physical copy of the title through Things From Another World.
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Overview: In Batman #131, Batman wakes up in another Gotham City somewhere in the multiverse.
Editor’s Note: Due to the anthology nature of this collection, we will feature a synopsis and analysis for each story, rather than breaking up the synopsis and analysis. Spoilers are sure to be revealed.
Story #1: “The Bat-Man of Gotham” Part 1 by writer Chip Zdarsky and artist Mike Hawthorne
Synopsis: Batman #131 begins in Crime Alley, as a bloodied Batman lies unconscious. Two drug addicts steal his utility belt and runoff. He awakens, remembering Robin (Tim Drake) watching him as Failsafe blasts him outside the Fortress of Solitude (see the conclusion to the Failsafe arc in Batman #130).
As Batman climbs to his feet, a skeleton Jim Gordon greets him. Every thought that Batman has, Jim answers, revealing himself as potentially a figment of Batman’s imagination.
Batman quickly deduces that he must be suffering from some multiverse poisoning. He finds a change of clothes, and while hunting for clues, Batman notices that his brownstone has been abandoned for years. He also sees that Wayne Tower is something else entirely.
Bruce Wayne hears a scream across the street. Cops are swarming an apartment, and a large figure in a black trenchcoat sedates a woman for arguing with him. The figure walks down the hall to another apartment and kicks in the door. He asks the resident if the resident is sane or insane, then raises his gun. Bruce leaps to action, pulling this figure back into the wall.
Quickly, Bruce realizes that this cloaked figure is using venom. The two battle and Bruce realizes that he’s facing off against Judge Harvey Dent. As Bruce works to neutralize Dent and the GCPD officers, Firefly hovers outside a window, unleashing a fury of flames.
Bruce saves an elderly woman from Firefly’s flames, but before he can escape himself, Judge Dent grabs him. Dent tosses Bruce across the room, gaining the upper hand now. As the two battle, a child whips two tiny daggers at Dent. The child saves Bruce, and as the two escape the apartment building, Bruce returns the favor by saving the child.
The child leads Bruce to a car and then drives the two of them off to safety. Bruce, wounded from a gunshot, is left wondering if this world’s Batman is dead.
Elsewhere in this world’s Gotham City, mob boss Selina Kyle claws one of her goon’s faces for robbing her and bragging about it. Selina receives a phone call from a man in a red mask, who tells her that her new top priority is finding this new Bruce Wayne. She can hardly believe it since Bruce is dead, but she gets to work.
When the man in the red mask hangs up the phone, he says loudly that he’s been waiting for Bruce to appear. Behind him, many patients are strapped to medical beds, their bodies showing signs of different levels of stress and dismemberment.
At a secret hideout, Julia (or “Jewel” as she goes by), the child who saved Bruce, helps Bruce patch himself up. Bruce realizes that Jewel, like himself, is an orphan. It’s then that he understands why Failsafe brought him here. When Batman and Robin reprogrammed Failsafe with compassion (see the last issue), Failsafe’s parting gift was to send Bruce to a Gotham without a Batman.
Analysis: Batman #131 is surprising. After the Failsafe arc ended last issue, it may have felt natural to assume that writer Chip Zdarsky and artist Mike Hawthorne would leap into a completely different story, one that keeps Batman on the shelf for a few issues. Instead, readers are treated to a continuation that finds Batman in another Gotham City.
A big, scary, mountainous Judge Harvey Dent, presides as the swift arm of the law, using black-and-white thinking to make snap decisions about whether residents of an apartment complex are innocent or guilty. Though Bruce fails to halt Dent, he meets with Jewel, and his appearance has already caught the attention of a crime lord Selina Kyle and a shadowy figure in a white cloak and red mask.
What’s interesting about this arc is that not only does it propel Batman into another world, but it does so directly after an arc and corresponding backup storyline that involved the Batman of Zur-En-Arrh. Batman of Zur-En-Arrh, originally, was a Batman in another world in Batman #113. During Grant Morrison’s run on the Batman title, the moniker was used as a “failsafe” personality for Batman should he ever find himself mentally compromised. Chip Zdarsky and last arc’s artist Jorge Jimenez carried on with this tradition, using Zur-En-Arrh as an alternate personality that created Failsafe, who proved to be an even colder, more mechanical (literally) Batman.
When Batman and Robin infected Failsafe with nanotech that reprogrammed it with compassion, it seemingly sent Batman to this Gotham City, one that lost its Bruce Wayne many years ago. The cycle of alternate Batmen is what’s interesting here, as the real Batman now finds himself in a Gotham that needs him and one that will allow him to reinvent his identity. Beneath the surface, Zdarsky and Hawthorne continue to tinker with this idea of identity, alternate selves, and what it means to be Batman.
For argument’s sake, this Gotham has its version of the vigilante in Judge Dent. Dent, however, is more akin to the Punisher, sporting a similar garb and a penchant for guns and using violence and murderous intent to keep law and order in Gotham. One can presume that Bruce will serve as a counterbalance to Judge Dent, struggling once more to save Harvey from Harvey’s worst impulses.
The art in Batman #131 is fantastic. Jumping onto the title after Jimenez isn’t easy, but Hawthorne’s style is frenetic yet easy to follow. The paneling and action flow very well, and Hawthorne does a great job designing Judge Dent as a Mr. Hyde-like mirror of Bruce. Dent’s eyes are empty and vampiric, and near the end of their fight, a strand of Dent’s black hair falls mid-forehead while he rages at Bruce and us, the readers. In this particular panel on page 17, even Dent’s hair matches Bruce’s.
Tomeu Morey stays on the title, delivering those absolutely stunning colors readers can always count on. Paired with Hawthorne’s pencils, there’s a moodiness to Gotham that’s haunting and beautiful.
In the final panel, readers are treated to a horrific display as this red-masked figure leaves a room where patients have clearly been tortured. Judging by the build of this white-cloaked figure, it might be this world’s Tim Drake, which would make sense given the previous arc’s focus on Batman’s relationship with Tim. Time will tell.
Story #2: “The Toy Box” Part 1 by writer Chip Zdarsky and artist Miguel Mendonca
Synopsis: As the backup in Batman #131 begins in a retro-style home kitchen with a mannequin wife and child, a strange man notes that Superman and Arkham are gone, which frees him from his shackles. He plays with action figures of Superman and Batman on his kitchen table, plotting his domination.
In the “Batacombs” beneath Gotham City, Robin (Tim Drake) goes over the fight with Failsafe, trying to figure out what happened to Batman. Jonathan Kent is there for moral support, though he feels unhelpful as Tim pieces together that Failsafe destroyed the weapon it fired to prevent Batman from returning to this world.
Robin puts on his helmet and hops on his motorcycle. He will stop some crimes while he processes how to save Batman.
Elsewhere, Cutup and his henchmen hold a rich couple for ransom. Nightwing leaps into action, taunting Jeff (Cutup’s real name) for pretending to be the Joker while the real deal is out of town. Robin drops in, assisting with the hostage situation.
Nightwing and Robin talk about Batman’s disappearance. Word has spread, and guys like Cutup think it’s their moment to step up and take control of Gotham. Robin pushes for help in finding Batman, but Nightwing pushes back. Dick Grayson has seen this before, and Batman will be back. He believes the Bat-Family should keep Gotham together until Batman resurfaces. Robin disagrees and abruptly leaves.
It’s then that Robin is contacted by Jonathan Kent. It appears that Toyman has committed suicide, and there’s a mystery afoot.
Analysis: Having backups written by the main story’s writer continues to be a blast. This backup in Batman #131 directly ties into the previous arc’s ending as a parallel narrative to Batman’s adventures in another world. Readers see Tim Drake on the verge of losing himself. Tim pushes his allies away, digging deeper into his obsession with finding Batman. If one were to assume that the red-masked figure in the other Gotham is Tim, then Tim’s breakdown in the real Gotham could be a precursor to what happens to a Gotham where Batman has been lost.
Editor’s Note: DC Comics provided TBU with a copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Comixology through Amazon or a physical copy of the title through Things From Another World.
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Overview: In Harley Quinn #25, both the present version of Harley and the future version battle the Harley Who Laughs.
Synopsis (spoilers ahead): As Harley Quinn #25 begins, a menacing man is losing cards to an older Harley Quinn, and he does not like it. A battle ensues and is ended by The Harley Who Laughs, who informs “Old Lady Harley” that she has been searching the multiverse for her. Apparently, the Harley Who Laughs is on a Highlander trip, and there can be only one (Harley). They banter and battle. Eventually, Old Lady Harley triggers a portal and runs through it.
In our universe, Harley is towing Zsasz as she flees from the Harley Who Laughs. Old Lady Harley screeches up in a sports car, and they race off.
On the Harley Ferry, Kevin, Parry the Parasitic Alien, Bud, Lou, and the Harleys discuss the current predicament. Everyone except the Harleys leaves, and they chat.
The Harleys make a plan in which they stroll down a street as bait. The Harley Who Laughs finds them, and they fight. The Harleys enter a building with a floor of ice, and they, unlike the Harley Who Laughs, are equipped with skates. Killer Frost appears and assists.
They try to remove the portal device from the Harley Who Laughs, but she breaks free of her ice prison and hurts Killer Frost. In the process, present version Harley gains control of the portal device and destroys it. Multiple Harleys immediately begin appearing from the multiverse.
Analysis: As writer Stephanie Phillips’s run on the Harley Quinn book ends, this final arc seems chaotic and messy. That’s not necessarily a problem especially given how well it suits our hero, who is nothing if not chaotic and messy. But given how carefully planned so much of Phillips’s run on the book seems to be, the narrative does feel a bit lost. Key aspects of the run, such as Kevin and Harley’s relationship, also seem to be getting short shrift in the race to the finish.
The Harley Who Laughs feels like a deus ex machina for Harley to work out many of her most pressing issues and problems. It does feel a bit peculiar that no member of the Bat-Family is anywhere to be found (Damian was watching Harley – what happened to him? If we know Damian, there is no chance he would lose interest if he suspected Harley’s return from the Lazarus Pit really changed her for the worse).
The fact that we get almost no character development for The Harley Who Laughs here in Harley Quinn #25 other than a replay of Highlander is also disappointing – she seems to have been introduced solely for the purpose of creating another Big Bad rather than advancing Harley’s own personal narrative. The dialogue between the Harleys is sweet in some moments and cliched in others and ultimately misses as much as it lands in my view – it’s a bit too much “ghost of Christmas future” for me.
Editor’s Note: DC Comics provided TBU with a copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Comixology through Amazon or a physical copy of the title through Things From Another World.
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Overview: In Tim Drake: Robin #4, Tim continues his investigation with the help of the Batgirls while the new villain kidnaps Bernard.
Synopsis (spoilers ahead): As Tim Drake: Robin #4 begins, Tim is relaxing on his boat, going over the evidence he has. He was told that he has all the clues, but he is having difficulty putting them all together. He is soon interrupted by his landlord James. This is not the distraction he wants. James is a scared civilian, but he is also a pain in the ass. He quickly snatches the old computer printout in Tim’s hand and absently looks at it. He then makes an interesting statement about the viper. Tim is immediately interested, but again he is interrupted by his phone. Bernard is calling him. He pushes James out and leaves to meet Bernard.
On his way, he muses about the cipher. Is it possible that the printout is a cipher? It is six lines of numbers with three numbers on each line. His thoughts are interrupted by an approaching Bernard. Tim asks Bernard about letting a superhero onto his boat, and Bernard says that he figured Tim wouldn’t mind; they both have something in common. They both keep saving him. Again this scene is interrupted. This time a resident of the Marina is getting fired. The business owner makes a statement about the residents of the Marina being degenerates. This prompts a conversation with the onlookers who are including Tim and Barnard. Tim makes a statement about not losing their homes; it was hard enough moving his books, and soon it will just be Tim and his books. This sparks a thought in Tim. He realizes that four of his books are missing.
Bernard brings his boyfriend food. He is confused about Tim running off to stare at his books. During their conversation, mainly focusing on their school memories, Tim realizes that he has to get into his head.
This prompts him to look up his missing books on Google. He can find the pages and zero in on the words corresponding to the various numbers on his cipher list. He comes up with three names: Wally Sype, Kathy Horne, and Carol Donovan. Bernard does not realize that he is working on Robin’s mystery; he thinks he is trying to figure out who is stalking him. Tim tells Bernard that everything is safe and that there is nothing to worry about.
Tim decides to call in help. This is in the form of the two Batgirls, Cass Cain and Stephanie Brown. It is too dangerous to bring in anyone but the family. Robin tells them this person came into his home and is targeting him. Stephanie asks about Bernard. The two quickly decide to help Robin. After a search, it was discovered that there were a number of people who have one of the three names Tim identified. The three split up to investigate each name. They rule out all but two names.
Robin decides that the three should investigate these last two together. He decides to start with Wallace Sype. The three enter and find Sype dead. The three do a search of the body. In the previous murders, there were clues to a detective story. Robin immediately identifies the goldfish. At that instant, a giant glowing goldfish attacks. Robin immediately starts to search for the white disk. They are unable to find one, and the fish continues its attack. Robin decides to jump inside the giant fish. He finds the disk inside the fish. The fish explodes into pearls releasing Robin. Robin gets a call from Bernard.
When Robin picks up, it is not Bernard, it is the villain of this story, and he has kidnapped Bernard. The villain’s goal is to become the best villain in Gotham. To do that, he needs a dapper costume, a killer name, and a worthy opponent. He wants Robin to be his opponent.
Analysis: I am disappointed with the art in this story. The style of the characters is not what I want to see. The people do not look human. Their proportions are not realistic. In addition to that, all the characters are beginning to look feminine, including Tim and some of the side characters. They all are drawn with feminine or juvenile-looking features, and I do not like looking at this art. The art by Riley Rossmo is really taking me out of this story.
The story, though, is very interesting. The chief complaint is I am having a hard time following the logic of Tim’s discoveries here in Tim Drake: Robin #4. It seems that Tim is suddenly getting brain storms to move the story forward, but there is not any evidence or reason for the conclusions he is drawing. I did like the idea of bringing the Batgirls into this, and I agree with Robin’s reasoning. This is getting very dangerous, and characters like Williams and Sparrow are too green and inexperienced to handle this situation, especially given that Tim has no real idea what is happening. To bring in the experience of Cass and Stephanie, both being capable fighters as well as being trained by Batman and Batwoman, can hold their own. Tim relies on their experience when he jumps inside the goldfish or, more accurately, a shark.
It appears that the antagonist is a new character. The main question is, does this person know that Tim Drake is Robin? It appears that they do since they went after Bernard, the one character in which Tim has a romantic interest in. This is a common tactic to get inside the head of their opponent.
Editor’s Note: DC Comics provided TBU with a copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Comixology through Amazon or a physical copy of the title through Things From Another World.
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Overview: In Detective Comics #1067, Mr. Freeze provides surprising assistance to Batman as the Orgham family’s war to conquer Gotham heats up!
Editor’s Note: Due to the anthology nature of this collection, we will feature a synopsis and analysis for each story rather than breaking up the synopsis and analysis. Spoilers are sure to be revealed.
Story #1: “Gotham Nocturne Act 1” Part 2 by writer Ram V and artist Ivan Reis
Synopsis: Detective Comics #1067 begins as Batman and the werewolf Gael struggle free of Mr. Freeze’s ice. Bruce reflects that he feels frozen spiritually in a changing city. Mr. Freeze drags the freed Batman through the sewers.
Meanwhile, Prince Arzen speaks in front of the ruins of Arkham Asylum, newly purchased by his family, the Orghams. In his limo afterward, he meets with Gael, who presents him with the Reality Engine (from last month’s Annual issue), and insists that the Orgham agents go masked in the next phase of their plan.
Mr. Freeze wakes Batman after six hours, and Bruce is surrounded by ice sculptures of Nora, who has abandoned Victor (in Peter Tomasi’s run of Detective Comics). Freeze gives Batman one of the Azmer demons that the werewolf tried to possess him with frozen in a jar and asks him if Gotham still needs Batman.
Arzen Orgham calls on Bruce Wayne in his brownstone, trying to make a friend, as Shavod, Gael, and Neang begin their next moves, starting with a huge explosion and a vicious gang fight. Shavod buys the Narrows housing projects from Wayne Development, hypnotizing the board with her horrifying eye-covered mask to get her way and implanting a suicide order in the board members. Jim Gordon texts Bruce the news of the conflagration, and he has to cut his meeting with Arzen Orgham short, as Batman’s duty calls.
Analysis: With the insight gained from the Annual (the “Interlude,” as Ram V titled it, keeping with his musical theme, pun totally intended) that the Orgham family has been trying to control Gotham using the supernatural “Reality Engine” for almost 250 years, this latest issue of Gotham Nocturne in Detective Comics #1067 shows the next moves the Orghams make to eliminate the Batman. The question now arises: do the Orghams know that Bruce is Batman? They already know that the Bat avatar, Barbatos, is a spirit of resistance to their control patterns. They’ve taken brutal, nasty steps to eliminate key parts of Wayne’s power in Gotham City.
However, it’s nice to see continuity respected in the depiction of Mr. Freeze, following up on Peter Tomasi’s best arc of his Detective Comics run, in which Nora Freeze was freed from her eternal frozen prison but decided to leave her husband for a life of more extreme crime than he desired. Mr. Freeze’s danger and wistfulness are highlighted very well in Ram V’s writing and Ivan Reis’s powerful artwork, and solicitations reveal that the ice villain (or anti-hero, perhaps?) will feature even more prominently in issues to come.
Interestingly, Bruce is facing the question if he’s too old and set/frozen in his ways to help a changing Gotham when the alternative Ram V is presenting is the violent, brutal, careless-of-life Orgham family/organization, which goes back even further than the Wayne/Wainwrights. Though still paced fairly slowly, the ability to actually tell the forces arrayed against each other and see at least the broad outlines of their motivations means a huge deal in parsing the text.
Ivan Reis continues as one of the main artists on Ram V’s run, lending the powerful, appealing character work and environmental design seen in his landmark Aquaman run and many other works. It’s great to see a master at work on Batman for his first sustained run, continuing from his work on Tamaki’s run. Danny Miki’s inks add much to Reis’s pencils, as do master colorist Dave Stewart’s carefully chosen hues. As expected from one of DC’s premiere titles, the art team provides some of the best available on the market.
Story #2: “A Tale of Three Halves” Part 3 by writer Simon Spurrier and artist Hayden Sherman
Synopsis: The backup in Detective Comics #1067 sees Harvey and Two-Face continue their struggle with the Azmer demon, trying to make plans without the possessing force realizing. Harvey confesses that Two-Face is the image of his father, and he hates him but is grateful for the violence that has saved his life even before the attack that left him scarred. With this new insight into the two halves of his mind, Harvey can let Dr. Mead, the psychiatrist who “fixed” him most recently, escape and can hide from the Azmer and Gael.
Analysis: Si Spurrier, Hayden Sherman, and Nick Filardi’s work on this backup wraps up this three-part story, putting Harvey Dent in place for the forthcoming issue exploring his role in the war between Batman and the Orghams. Though the necessity of three full backup issues may be questioned, this conclusion does provide some interesting insight into where this version of Two-Face comes from, with the connection to his father (I wonder if Spurrier had access to Tamaki’s One Bad Day work when composing this piece), his bullying as a child and college student, and how Two-Face fights both the demon possessing him and himself. The clear collaboration between Ram V and Spurrier continues to be on full display, and Hayden Sherman’s bold psychedelic pencils, brought to vivid life by Nick Filardi’s neon colors, shine a penetrating light into Harvey’s twisted, tormented mind and soul.
Evan Cagle continues his cover series, highlighting Mr. Freeze above a Batman in the sewers, a very nice light blue flare effect dominating the composition. Jim Lee provides a dark image of Batman being swallowed by a huge bat creature, an infernal gleam in its throat, reminiscent of the tiger cave in the Disney film Aladdin. The same image appears in a shiny foil version for the 1:50 incentive variant. Lee also penciled a Holiday Postcard cardstock variant, a horizontal composition featuring Batman’s hand with the keys to the Batman Begins Tumbler, wrapped in a red ribbon in front of a huge tree. Colleen Doran painted the 1:25 incentive variant, based on Sir John Everett Millais’ “Ophelia,” continuing the theme of paintings based on classic art, featuring Batman floating in a lily-pad filled stream, white flower, and pearl necklace in his hand.
Editor’s Note: DC Comics provided TBU with a copy of this comic for review purposes. You can find this comic and help support TBU in the process by purchasing this issue digitally on Comixology through Amazon or a physical copy of the title through Things From Another World.
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Overview: In Batman: Urban Legends #21, we see stories featuring the Dynamic Duo, Renee Montoya, Alfred, and…
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Overview: In I Am Batman #15, Batman faces his fear and this experience leads him to join…
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Overview: In Batgirls #12, it is the Hill Ripper versus the Batgirls…and the Riddler as our heroines…
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Overview: In Batman vs Robin #3, Batman must work his way through a trap set by his…
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Every year, Batman Day comes and goes, and one of the things I think about every year…
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Overview: The mystery of the real Joker’s whereabouts intensifies in The Joker: The Man Who Stopped Laughing…
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Where has the time gone? Another three episodes of Batman: Wayne Family Adventures have been released, and…
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Overview: Slam Bradley’s tale to Batman about the origin of the evil in Gotham City swirls in…
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Overview: In Batman #129, while Failsafe has Gotham City and the Bat-Family disarmed and imprisoned, Batman lures…
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Overview: In Harley Quinn #23, post-Lazarus pits, Harley seems fine. Damian is not so sure. Maybe Harley…
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Overview: In Tim Drake: Robin #2, Tim must steal a diamond to catch a criminal mastermind while…
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Overview: As the “Overture” of this “Gotham Nocturne” concludes in Detective Comics #1065, the Orgham family takes…
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Overview: In Batman/Superman: World’s Finest #8, the Key holds Gotham City hostage, and it’s up to David…
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Overview: In Catwoman #48, Selina and Valmont end their Italian visit with a bang as they head…
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Overview: With Blockbuster dead, the remaining lieutenants of his squad are under threat of being silenced by…
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Overview: In I Am Batman #14, we see the conclusion of the arc featuring the Question while…
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Overview: In Batman: One Bad Day: Penguin #1, Oswald Cobblepot reclaims his empire from Umbrella Man. …
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Guess whose back? Well, Batman: Wayne Family Adventures on Webtoon, for one, but that means that Steph and…
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Overview: In Batman: Urban Legends #20, we see stories featuring Alfred and Talia, along with multiple stories…
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Overview: After a year and a half, the series comes to a close with Future State: Gotham…
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Overview: In Tim Drake: Robin #1, Tim strikes out on his own to discover who he really…
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Overview: In Batman vs Robin #2, Batman and Alfred Pennyworth enter a portal to the House of…
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Overview: In Gotham City: Year One #1, Slam Bradley finds himself at the heart of the kidnapping…
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Overview: In The Joker: The Man Who Stopped Laughing #1, the reign of the Crown Prince of…
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Overview: In Batman #128, Superman and the Justice League show up to save Batman from Failsafe. …
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Overview: In Harley Quinn #22, the question is, who killed Harley? We may find out after a…
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Overview: Ram V’s Gotham Nocturne arc continues in Detective Comics #1064 with the arrival of Prince Arzen…
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Overview: In Batman/Superman: World’s Finest #7, Batman, Robin, and Superman discover a boy from a parallel earth…
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Overview: Get a beverage of choice and settle in. There’s a ton of Harley coming your way…
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Overview: In Catwoman #47, Selina Kyle and Valmont start their whirlwind tour of Europe, fighting the families…
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Overview: In Nightwing #96, the Battle for Bludhaven concludes with a stunning showdown between Nightwing and Blockbuster!…
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Overview: In Batman: One Bad Day-Two-Face #1, Batman aids Harvey Dent in trying to unravel who put…
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Overview: In I Am Batman #13, the Batman of New York and the Question’s investigation into the…
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Overview: In Future State: Gotham #17, the Batmen fight and regroup as Hush’s true plan reveals itself…
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Overview: In Batman: Urban Legends #19, we see stories featuring the Signal and the Outsiders, Batman, Alfred,…
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Overview: The Batgirls delve deep into the world of puzzles and codes as they work to crack…
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