Last issue began an interesting narrative structure where the B-plot was framed as a totally different story that alternated back and forth with the A-plot. That Gotham side story primarily added context and perspective to the main events happening in Bruce’s mind. It was in line with how this run has been using its backups, and I was content to just treat it the same. However, this issue does something very clever with that same technique. By switching between Hurt’s psychological attacks on Batman’s will and the real-world scenes of Gotham in his absence, it forms a point-counterpoint dialectic between the two. Each one attempts to refute the other in a trial for Batman’s worth in the eyes of the reader.
Dr. Hurt opens the issue with a tried and true classic from all the way back in Batman R.I.P.: convincing Batman that both he and Gotham would be better off if he gave up the cowl. He presents a Mardi Gras-like festival of frivolous absurdity, mocking the very idea of Batman’s mission. Lee Loughridge provides a spectacular display of garish colors, with even the blues of Batman’s costumes saturated to contrast his usual grim persona. The self-indulgent revelry is meant to stand in for Batman’s personal war on crime. It’s an ostentatious display that simply masks any underlying problems. Gotham, according to Hurt, would be far better off if Bruce simply used his vast resources to feed the poor. It would certainly do wonders for his mental health as well.
It’s a criticism of Batman that’s fairly common in real life. At first glance, this could seem to be yet another stick meant to beat an all too deceased horse. However, just as Morrison did 16 years ago, Ram V refutes Hurt’s claims and shows why there much always be a Batman. At the same time this is happening, Montoya is working in Gotham to uncover the truth behind the Orghams’ lies. She learns the people of Gotham have been made complacent through a combination of magic and manipulation. Crucially, their will to resist rests on being unable to remember who Batman is. That is why Hurt is wrong. Batman is a symbol, and his actions against evil represent a meaningful force for good beyond simply punching villains. Without him, Gotham falls further into its pit of despair no matter how much money might be thrown in after it.
Cassandra especially works as a last vestige of that symbol. She alone might not be able to break the spell, but she is a ghost of what once was, still fearsome to behold. Stefano Rafael’s art makes her an all-encompassing presence. She crashes through the panels on the page and cannot be ignored. If anything can break through the malaise constructed by the Orghams, its her and her terrifying reminder that Batman will never be completely gone.
So maybe Batman’s war on crime makes a difference; surely he must still concede that his actions reek of an authoritarian tyrant? Once again Hurt acts as an avatar for common criticisms of the character. According to him, Batman’s war on crime creates a city wracked with fear, lest they be the victim of his violent “justice”. Riccardo Federici’s art does a great job of humanizing the “real” Batman, contrasted with the almost demon-like visage of the authoritarian. The Batman of Hurt’s portent is not someone who improves the lives of the people, but a terrifying nightmare who crushes anyone who dares step out of line.
Just as before, the scenes we’re shown in Gotham counter Hurt’s claims with the truth of what has happened in Batman’s absence. Hurt’s, and by extension the Orghams’, mind games are disingenuous and hypocritical. Batman never stepped over the line that would have him rule with an iron fist, it’s his absence that has allowed the Orghams to do just that. They are the ones “sanitizing” the city of undesirables. Their will is law, and their reality is made manifest. It is the single-minded pursuit of truth and vengeance that allows both Montoya and Cassandra to break free and fight back. The same pursuit that drives Batman.
Score: 8/10
Backup: His Name Was Dr. Hurt part one
With their plan in place, the victims set out to take down Dr. Hurt. The story immediately creates an unsettling atmosphere as they arrive at Hurt’s castle which shouldn’t even exist. The Eyes Wide Shut style masquerade gives the reader a clear idea of the sort of event they’re stepping into, even if the trappings are a tad clichéd. Christopher Mittens’ scratchy linework continues to make everything feel ever so slightly off, lending to the uncanny mood.
If the personal tales from the last issue weren’t enough, it’s here that we see the sheer scope of Hurt’s depravity. More than the handful of victims we’ve been following, Hurt has indoctrinated hundreds of brides in his mad quest to create a suitable heir. When they inevitably fail him, he kills them off without another thought. He uses his power and influence to lure the world’s most perfect people, both aesthetically and morally, just in order to watch them die. This second chapter makes clear just how driven by spite and sadism Dr. Hurt is, and sets the stakes for what is soon to come.
Score: 7.5/10
Recommended If
- Unique story structures offer a new way of enjoying comics
- The questions over whether Batman’s actions are correct are interesting
- Beautiful art can bring the story to life
Overall
Detective Comics #1082 creates a Socratic dialogue on the effectiveness and morality of Batman’s war on crime. By framing Hurt’s visions against the reality of Gotham, it’s able to show why the city needs him. It’s a unique narrative structure that lets the rhetorical debate play out through actions rather than words, creating an extremely compelling story. Each side is reinforced by the gorgeous visuals by both sets of artists, and gets you invested in what will come of his psychological struggle.
Overall score: 8/10
DISCLAIMER: DC Comics provided Batman News with a copy of this comic for the purpose of this review.
