Wow, this is an unusual array of creative talent on this comic book. First of all, we have the Chase creative team of Dan Curtis Johnson and J.H. Williams III reuniting to tell a story from the Dark Knight's past, but Williams is co-writing, not illustrating. In his place we have the surreal style of Seth (Happydale, Green Lantern: Willworld) Fisher. One might think his odd style wouldn't work for the grim and gritty world of the Batman, but it works quite well when it comes to bringing the life of an obsessed recluse and his world full of freaks. Those looking for something different in a Batman story ought to check this out, because they'll find not only unusual but fascinating artwork but a novel plot that sees the title character adjusting his methods.
Bruce Wayne has been donning his Bat-mask for about 18 months now, and a mistake in judgment has cost him dearly. As Alfred helps him to recover from multiple gunshot wounds, the Batman realizes he needs help in his war on crime, but Detective James Gordon and District Attorney Harvey Dent are shackled by the system in which they must work. Meanwhile, Dr. Victor Fries is elated about the direction his life has taken. He and his wife are happy and thinking about having a baby, and his career and research are really taking off, thanks to a military contract. His happiness is about to cool, though, as he gets some disturbing news.
This new story arc was preceded by a Mr. Freeze two-parter, and I thought it was odd that the editors would follow a Mr. Freeze story with another arc involving the villain. This story incorporates the villain's origin, but I was pleased to discover that the main point seems to be about the Batman rather than his icy enemy. Nevertheless, those looking for more variety from this title have to be wondering why two Freeze arcs were scheduled one after the other.
Seth's art is meticulously detailed, but that doesn't mean it's realistic. Quite the opposite, in fact. The absurdity of a man dressed as a bat, foregoing sleep in favor of retribution for the wicked, is subject matter that's worthy of the artist's surreal perspective. He seems to set the story in the 1970s, and that reinforces the off-kilter look of the story. I love how Fisher offers up a Norman Rockwell-esque world for Victor Fries; it reinforces the depth of his loss and why he'll eventually become so bitter.
Williams and Johnson present a vision of the Batman's that's young, impatient and flawed. He becomes frustrated with Gordon and Dent, and instead of working within their limitations, he seems to write them off and seek out new resources. We know he's making a mistake. We know this new approach isn't going to last. The tension lies is finding out how this goes wrong. It's fun reading about this young, driven and passionate interpretation of Bruce Wayne as opposed to the emotionally distant machine we usually see him as in stories today. 8/10
