Detective Comics #1089 Review- The Climactic End of an Emotional Era

From DC Comics

By Ram V

Art by Guillem March

Introduction

Off the bat(nice), I need to address that while typically my reviews start with some spoiler free context to the most recent issue and then delve into spoiler territory- this review is going to be looking back on the entire Detective Comics run in broad strokes so there will be some plot spoilers from the jump, you have been warned!

SPOILERS AHEAD!

Ram V’s epic saga of the Dark Knight asks a deceptively simple question: What happens when you change the nature of a story? I am not referring to a story’s tone or content here, but rather the fundamental intention of the story, the building blocks that make it true. While pondering this dizzying notion, allow yourself to expand upon this idea further, applying it to an individual. For what are we, if not a continually unfolding story? Consider again, the story of a place as opposed to an idea. Does a city, even one as corrupt and tortured as Gotham, have a soul?

In one of the earlier entries of this now 27 issue long series, this overarching philosophy, this great thematic question, was spelled out in as many words with a newspaper article reflecting on Gotham’s sordid history, “How many times have we watched? How many times has this city been witness to strife and conflict that has cost its citizens their lives, livelihoods, and more? But the true cost of that seemingly endless war has been the soul of Gotham city.”

This intelligent, critical examination of the character of Batman, his enemies, his friends, his lovers, his children, and most importantly his relationship to Gotham, the ever present past, and Bruce Wayne himself, rather than yet another entertaining fan-centric, traditionally formatted installment, is one of many reasons this run is already so set apart from everything that came before it.

In this review, I want to highlight just a few of these other laudable, literary qualities that contributed to making this era of Detective Comics one of the most essential chapters in the entire history of the Batman story.

Romance- Bat, Cat, Talia, and Gotham Herself

I am not speaking in hyperbole here when I say that this may be the most nuanced, refreshing display of adult romance in a comic book series that I have read in some time. Especially considering how many comic book series seem to explicitly shy away from any display of romance or affection, even with characters who are married and have children.

The tender, subtly evolving romantic triangle between Bruce, Talia, and Selina was evidenced best in the “Hanging of the Batman” arc beginning after issue #1076, where Catwoman, Talia, Jim Gordon, Nightwing, and Cassandra Cain Batgirl, all had to team up in heist fashion in order to save the possessed and incapacitated Bruce’s life.

These issues clearly related to me, for the first time honestly, how exactly these broken, hardened people like Selina, Talia, and Bruce express their love. Rather than boldly, vainly professing it to be critiqued and rejected, these people demonstrate their love through action, through a quiet devotion to Batman’s ideals in his absence. This understated sentiment is comparably present in the later chapters of Chip Zdarsky’s monumental modern Daredevil series with Elektra taking the mantle of Daredevil in Matt’s absence, which just goes to show that the life of a superhero is hard, made even harder by loyalty to something fragile and shifting like love.

What was especially noteworthy (and heartbreaking) is the fact that after all their efforts together, none of these characters seemed capable of admitting their love in a more direct, honest, or simple way- seemingly scared that doing so would shatter some irreparable invisible barrier. Yet it was still satisfying and touching to see Selina and Talia gently care for Bruce in their own respective ways, without it being a major conflict between them. Moreover, it was truly affecting seeing Bruce forced to become gentle and loving with himself as he was trapped within his own mind by the Azmer poison.

Ultimately, it was simply refreshing to see these characters operate within their iconic, autonomous nature- with competing ideals and goals even- and yet still retain a deeper, palpable level of affection rather than being rigidly platonic or avoidant.

The Good, The Bad, and the Ugly- Major Ensemble Players

Even from the beginning of this series, Ram V was utilizing the ensemble cast of the Batman universe in exciting new ways by blurring the traditional line between “Good” and “Bad.”

The character most representative of this treatment has to be Two Face, Harvey Dent, who spent most of his time in this Detective Comics story as an ally to the Batman’s cause, while still remaining unpredictable. Harvey was one of the first victims to the otherworldly power of the Azmer potion, though it only seemed to unite the broken halves of his personality to a common cause of revenge against Ten Claw, the Werewolf general of the Orgham family. Two Face is a particularly inspired character to centralize in this series exploring the chaotic duality of nature, and his divided relationship to Batman and Bruce (laid out in legendary fashion by The Long Halloween series by Jeph Loeb and Tim Sale) is specifically a plot point that many Batman comics fans have wanted to see furthered for years.

However, Ram didn’t stop there with “Villain turned Hero” heel turns, as he also gave us a nuanced unexpected portrayal of Mr Freeze, who was practically a member of the Bat-Family in this series. After learning that the Orgaham family intended on utilizing the Thelemus Engine to capture the soul of Gotham, utilizing Mr. Freeze’s tunnels in the old Gotham sewers to maneuver such an operation, on top of kidnapping innocent men and women to be turned into vicious Azmer infected creatures, Mr. Freeze became understandably territorial. Moreover, it was Mr. Freeze who finally let his prideful guard down and joined the Batman’s cause, realizing that Gotham is to Batman, what Nora is to Mr. Freeze- a love that cannot be allowed to die.

Next, I have to say that my favorite cult character addition to this series was Azrael, who has been sidelined in Batman lore for sometime. Azrael’s presence just made so much sense in a story with Batman wrestling for his identity and his belief in his own mission as Batman. It was especially entertaining to see Azrael cutting his way through the monstrous, ghoulish, gang members of the Orgham family in Batman’s absence, crying into the night that his enemies had fallen victim to the “Avenging Angel’s Sword” because they were nonbelievers. Azrael’s inclusion was inevitably a fitting counterpoint to Batman as a man whose devout belief in justice had made him a misguided force, encouraging Batman to find balance.

It was made that much more evident, even the beginning, by this entire cast of fringe characters that Ram V’s Detective Comics would not be ignorantly preoccupied with the black and white morality of “Good” vs. “Evil,” exploring the complexity of complex characters as should be the case for a series this far into its iconic history.

Tales from Across the Sands- The Orghams and the Al’ Ghuls

The sheer amount of NEW and MEMORABLE characters that Ram V was able to introduce in this series is something that will hopefully be studied and co-opted by fledgling comic book writers.

I think the success of these characters can, first of all, be attributed to their diversity in design, with the entire Orgham Family having their own unique Azmer induced powers, such as the wolf warrior Tenclaw, the body manipulating Flesh-Crafter, and the many eyed Serpent Woman. Cleverly, these characters feel somewhat familiar because of their interwoven lore with another Batman comics family, hailing from the same mythological region of the desert as the Al Ghul’s.

The foremost characteristic that made these characters exciting and long lasting is their tenacity and intelligence. From their arrival into Gotham until practically the last issue, the Orgham’s had the upper hand. They came ready with a plan that, on its surface, didn’t even appear all that sinister- the earnest revival of Gotham’s poorest city sectors. In fact, it was the kind of philanthropy that Bruce Wayne should have implemented years ago if he had such means.

Instead of presenting the Orgham Family and all their peculiarities upfront, Ram V allowed the reader to uncover more and more about their secrets with a slowly developing narrative. In the beginning, the Orgham’s appeared to be a relatively ordinary, upper class, foreign crime family with a penchant from strange masks and rituals- but by story’s end, we see them in a totally different light, revealed to be the ancient, inhuman monsters they always were.

What’s more, the revealed history of their relationship to Ra’s Al Ghul feels like a plot thread that should have been developed years ago. The fable-like idea of the “lost city in the desert with untold riches and strange machinations” was particularly alluring, and the two implements brought forth from this region, the Lazarus Pit and the Thelemus Engine, are unique, iconic staples of DC lore.

As is always the case, it is rewarding to have learned so much intimate knowledge about the members of the Orgham family, which certainly aided in raising the stakes of the Orgham takeover of Gotham. With the build up to issue #1074 with Arzen shockingly poisoning Batman with the Azmer vapor, I detested him more and more and yet, in this final issue, I found myself sorry for him- rooting for him even- which is the mark of a complex villain. I honestly would like to see Arzen and other members of the Orgham family return in future Detective Comics issues to explore their futures in the wake of such a fundamental defeat.

Long Ears, Long Cape- Innovative Character Design

Overall, if I had to pinpoint my favorite aspect of this “Tec” series, I would have to remark on the series aesthetic and tone. While most Batman media these days focuses on the larger Bat Family or on Batman as a technological genius fighting world ending threats with the Justice League- I (and hopefully many other fans) have yearned for some time for mainstream Batman media to return to a focus on the evocative, thematic details that make Batman so engaging and iconic. Batman as a symbol of fear for criminals and hope for the disenfranchised. Batman who broods in the rain. Batman with an artistic, bizarre flourish. Long Ears. Long Cape.

What this Detective Comics run ultimately delivered is actually a magical combination of both popular depictions of Batman, but with a decidedly more artful, ideological edge.

This intent became particularly evident as the story progressed to Batman’s trials in the desert with multiple issues exploring an elusive, metaphorical, imaginative dreamscape as Bruce battled with the personification of the Bat demon Barbatos within himself and the encroaching Azmer. We also saw the fitting inclusion of far-reaching, magical characters like Doctor Hurt, which would not be nearly as effective in other modern Batman series.

Finally, we have to address the Batman suit design displayed in the final issues of this operatic arc- which just feels like the cherry on top of an already delicious direction from Ram V. The suit goes largely unexplained, but feels like such a bold, fateful creative choice that marks this series in the annals of Detective Comics history even more overtly. The suit depicts a red Bat symbol, more akin to the demon Barbatos, dripping down the front like a tail of spilt blood. Additionally, the arms of the suit are wrapped with cloth tape as opposed to the sleek, evolving body armor often seen in Batman comics. It is clear from the suit alone, that this is a resolved, blank-slate, Batman who has been on a harrowing, spiritually altering journey, that wants to at last strip away all pretense and just FIGHT YOU no matter what it takes.

Finale Issue- The Song

Issue #1089 sees Batman, clad in his “Bleeding Barbatos Demon” suit that he has sported since returning from the challenge in the desert and freeing himself from the Azmer’s influence in Issue #1085, battling against the demonic Dariah Orgham who looks like an alien from the Quiet Place films. As Batman’s fists land again and again he monologues to himself, self-reflecting on the journey that led him here with the words, “She does not see the thing I have mangled myself into… How long can Batman keep at it, she asks. How can I possibly hope to win? Such a naive fragility- the desire to win. True Monsters? True Monsters never lose…”

Which, objectively, may just be the coolest Batman quote ever recorded- but also is a succinct summation of this story’s intent. Because throughout this story we have seen Batman forced to reckon with his own selfish morality, and his fearsome image, grappling with the idea (and the literal reality) of becoming a monster in order to realize his once altruistic goals. However, Batman’s very return to Gotham, and his stance against the manipulative Orgham regime, is proof that he has retained himself- a man, yes, but also a passionate, indomitable, formidable force, more unique and painfully born than any monster that stalks the night.

As Batman stares down the Orgham Queen, he is surprised by the appearance of Talia and Arzen Orgham, whom she resurrected with the Lazarus Pit after he was betrayed by his own mother. Arzen wields the music box that reduces Dariah to her questionably mortal form as revenge for his father, who he now knows Dariah orchestrated the murder of.

We also get strong moments from other members of our ensemble cast as Jim Gordon, still helping save Gotham while retired like the beast is, escorting the Maestro’s black noise song to the Orgham run production studio with the aid of The Question. What ensues is definitively the stand out moment for this issue for me, the idea that there is a song being played throughout Gotham that most can’t even here, but pervades through the air, instilling the citizens with knowledge, a memory of their savior, “the shadow of a miracle” as Ram poetically puts it. There is something so delightfully hopeful, yet heartbreakingly sad, about such a notion, this lingering belief that cannot be heard- and while such a specific, esoteric, emotional image may seem difficult to render visually, it is impeccably displayed by Guillem March. I think that the imagery of the paper lantern bat signal in the sky is going to occupy my thoughts for some time.

However, the day is not yet won, as Dariah reveals to the gloating Catwoman that her plan to use the Thelemus Engine to inject the tortured Scarecrow’s fear into the memory of Gotham itself can only be stopped if Batman kills Jonathon Crane. Just when it seems all hope for righteousness is lost, the Batman cleverly embraces his darkness once more, and shows himself to Scarecrow, inflicting him with fear of, specifically, the image of the Batman. Slowly, the fear, the memory of who the Batman is and what he represents, spreads throughout the city like a breath on the back of your neck. As Two Face puts it, “This is synthesis. This city is HIS again.” After months of systematic control by the Orgahams on a physical, economic, and even spiritual level, Batman has truly returned.

In the final pages we see Batman and Catwoman looking out over the city as they often do at the end of a great conflict as Selina laments to Bruce, “All this fight and fire and blood for what? They’ll fear you again, they’ll want to kill what they fear.”

Which is a fitting, meta question, because if we just wound up back to how things were before all of this started, then what even was the point? I think that such a cynical view would be damning for a lesser series, however, the true, tangible depths to which the Batman fell in this series, and the heightened stakes of the battle for Gotham’s literal soul, allows the reader to resign themselves in this moment to a more complicated, contented sense of relief at the status quo.

As Batman puts it, “Maybe there is no curing Gotham of her darkness. Maybe this is how she’ll be for all time. But I won’t abandon her. I can’t. We all need someone who’ll stand by and watch us lose our fights, don’t we.”

Which is on one hand a harrowing admission of Bruce’s undying fight for the city he loves and also a poignant romantic sentiment expressed to Catwoman for her efforts in this series both of which brought tears to my eyes.

It is a sobering, melancholic note played out by a solitary woodwind instrument that concludes this Opera rather than a triumphant orchestral swell, but somehow… that feels okay- No, better even, it feels right.

The gambit of emotions, locations, characters, and artistic styles throughout this series has been a singular, legendary effort that layered complex ideas and plot points that challenged readers rather than resting on its laurels. For me, this series is proof enough of the importance of comics, especially ongoing legacy titles that are often written off as being ephemeral.

This is the kind of series that will stick with comic fans, like myself, for their entire life which is no easy feat to accomplish for any print media. So in conclusion, I feel I must thank all of the creators who contributed to this era of Detective Comics from the bottom of my heart for this eternal, beautiful gift.

Please support your local comic book stores and pick up Detective Comics #1089, on shelves now, with collected editions coming soon!

-Nicholas Aaron Hodge