After the excitement of last issue, the story takes a moment to decompress as the ramifications of Selina’s heist unfold. She and her crew are on the run, trying to escape Gotham and find somewhere safe to take Batman. Like a lot of issues in this run, this one feels very transitional. That’s not necessarily a bad thing, but it makes it difficult to discuss in isolation. Much of the time is spent either wrapping up the characters’ thoughts on what has just happened, or sowing the seeds for what will be coming next.
If there’s one element of the story that best embodies its bridging nature, it’s the shift in perspective from Selina to Talia. For the past fifty or so years these two have been Batman’s primary love interests, and in many ways they represent two distinct sides of the character’s stories. Selina has always been deeply tied to Gotham itself, being a perfect (or as she might say, purrfect) foil to Batman’s imposition of law and order in the city. Like much of his rogue’s gallery, she is a criminal, and a flamboyant one at that. Batman’s relationship with her is in many ways his relationship with Gotham.
Talia on the other hand represents the exotic and arcane. Originally envisioned as a sort of Bond girl for her father’s larger than life plots, she has since come into her own with a much more active role in the mystic things that lurk outside of Gotham’s borders. When we see Selina hand her Bruce’s body, there is a symbolic transition in the tone, and it’s reflected in the narration. Selina’s is one of mourning and desperate hope that Bruce might recover. Talia’s, however, is proactive and determined. We have left the world of Gotham and entered hers – one of magic, ancient cults, and demons.
None of this is to say the story is solely emotional introspection and thematic abstraction. When Two-Face appears to hold off the Orgham forces while Selina escapes, it’s a much welcome return. V’s Two-Face has been a highlight of the run as his mind constantly wavers between unhinged and frighteningly focused. The standoff at the bridge shows him as the sort of unpredictable force that’s best to have in your corner for as long as you can keep him there. It’s Harv at his best when he gets to show what he’s truly capable of.
This brief bit of action also gives Jason Shawn Alexander’s art once again a chance to shine. There are no truly standout moments like the last couple of issues, but Alexander still masterfully uses warped perspective and shadow to create a disorienting world to match the narrative. The level of raw emotion that he’s able to convey on the character’s faces both humanizes and exaggerates them to act as vehicles for the visceral roles they play.
Although Bruce has left Gotham for spiritual far-off lands, the city lives on in those left behind. The story closes out with a montage of the heroes who continue to watch over the city. People like Cass, Azrael, James Gordon, and Montoya. It’s exciting to see how they might continue to try and survive in this new Gotham to come given all we’ve seen of them so far. They’re definitely not the “A-list” bat family that usually shows up for these sorts of stories, but getting to see the lesser-used characters has been a lot of fun. Both Batman’s and Gotham’s stories offer a lot of exciting possibilities moving forward, and Detective Comics is looking to be in a very strong position.
Score: 8/10
Backup: Aleasa
“Aleasa” reads almost like a fairytale more than a comic. I don’t mean that in a bad way, in fact it’s clearly somewhat intentional with the story’s framing. The bulk of it is told through narration accompanying silent panels. It evokes the feeling of reading an illustrated tale more than anything else, fitting the story’s subject matter. Christopher Mitten and Triona Farrell’s art go a long way in creating this atmosphere. With its cool yet vibrant color palette, the story (as well as the story-within-that-story) takes on a chilling and mysterious tone. It feels appropriately dreamlike.
We learn of a parable of the “Grim Soldier, Farhad” who wandered the desert in search of his lost love waiting for him on the other side. Upon reaching her, he learns that she is dead, and curses the gods to the point of turning to stone. Within the context of Damian’s personal past and journey, it is meant as bother a prediction and a warning. His attempts to defy the powers that be, he is told, are pointless. Anyone who battles monsters must inevitably become one themselves.
What’s most interesting about this story is not its existence within a vacuum, but how it potentially relates to the main saga. The Orghams’ antagonism with the al Ghuls is well established, and the personal toll of “being Batman” has been a running theme. Damian stands resolute in his belief that he will be able to take on his father’s legacy, but at the same time is only a young boy. There is a lot to explore in that dynamic, especially with Talia taking on such a large role in the story moving forward. As a teaser for what might be to come, “Aleasa” is the perfect glimpse into the characters’ initial mindset.
Score: 8/10
Recommended If
- You want to see lies on the horizon for V’s Orgham saga
- The idea of having more Talia involvement excites you
- You enjoy examinations of Damian’s psyche
Overall
Detective Comics #1080 wraps up this intermezzo arc with tantalizing possibilities for what lies ahead. It thematically closes the chapter on Gotham City for Batman himself, while having also set up the remaining characters with their own stories to tell. If Ram V can continue the level of quality for the rest of his operatic saga, it could be remembered as a truly great moment in Batman storytelling.
Overall score: 8/10
DISCLAIMER: DC Comics provided Batman News with a copy of this comic for the purpose of this review.
