Batman #146: Superman Returns

Cyclical storytelling and superhero comics go well together, in large part thanks to their shared roots of mythology and the hero’s journey. The common visualization of the monomyth is that of a circle, as a hero ventures out from their home to a world of the known before returning with a boon in hand. That sense of spinning structure lends itself to the superhero storytelling world due to the genre’s home in periodic releases. Characters return to defaults, old and pulpy elements come in and out of style, and creators strive to honor the hero’s story engine while trying to deliver something new. In either respect, that endless cycle is never clearer than in a title like Batman, who has become the archetypal vigilante/superhero. 

Batman #146 opens with a change of pace, as the usual back-up leads the issue, revealing how psychologist Capito survived Joker Year One, and has become the Warden of Blackgate. The story –written by Chip Zdarsky with art by Michele Bandini, colors by Alex Sinclair, and letters by Clayton Cowles – details the pathway of Capito installing his own failsafe into Bruce’s mind that would have the vigilante protect him. During the Batman/Joker fight from the Mindbomb arc, Joker stated the code phrase that triggered Batman to go and release Capito from his cell. It’s an interesting attempt to break up the format of the issue with mixed results, setting up an antagonist and plotline that feels auxiliary to the current story. Bandini’s art is a jarring contrast to the regular style of the book, and the use of a different colorist makes for a rocky transition to the present day story. 

The remainder of the issue, which features scripting by Zdarsky with art by Jorge Jiménez, colors by Tomeu Morey, and lettering from Cowles, follows up on Zur-En-Failesafe’s attempts to take hold of Gotham, masquerading as a Bruce that uploaded his consciousness to the robot. Damian Wayne/Robin has aligned himself to the robot, playing on their re-established connection from the pages of Batman & Robin. The rest of the Bat-family (plus some friends in higher places) have their doubts about the mind operating the machine. By the end of the issue, a certain blue boy scout is ready to make his presence known in Gotham, ready to get to the bottom of things. 

Meanwhile, Batman and Joker are still locked up in the bowels of Blackgate Penitentiary with an ever-growing horde of criminals. As Zur continues to arrest and detain criminals, a festering sentiment spreads through, moving the fear of the bat from whispers in the street to oppressive authoritarianism. Batman uses the opportunity of Zur being removed from his head to try and shift through the alternate personality’s memories. He learns a few hints about Failsafe’s construction and then makes his escape from the prison, playing on his reputation with the guard. As Failsafe’s influence over Gotham grows, Bruce is forced to leave the city. 

Zdarsky delivers a great story on paper, with a full display of well-designed craft. The symmetries of the two stories, Batman in prison and Zur throughout Gotham, make for an excellent scaffold for the issue to hang itself on. The strongest flash of writing is the check-in with Damian, who finds himself falling for Zur’s heavier stance on crime. Zdarsky weaves the perfect bits of characterization for Damian, moving him from blindly loyal to the mission and his father, to a budding betrayer after Robin learns about his acquisition of an Amazo body. The scripting makes excellent use of the push and pull of the Bruce/Damian relationship that has been a strong undercurrent of the recent supporting Bat-titles. 

The other element that evokes a sense of excitement in the scripting is the teases of Superman, who feels strongly in character for a modern rendition of the hero. There’s an interesting echo of Dark Knight Returns in the scene, except Superman has more agency in the situation rather than being played as a government lackey. The back-and-forth between Superman and Failsafe at the end of the issue showcases Zdarsky’s knack for tuning into really personable, natural dialogue between characters, making a talking scene read as dynamic. 

It’s a shame that the strong structure and character work can’t overcome the bland story Zdarsky has chosen to tell. The larger plot beats of the issue feel like second and third iterations of the story, using repetition to poor effect. Failsafe has taken over the city again, Bruce is on the run outside of Gotham again, and even the Bat-family is splitting apart again. These reused plotlines feel intentional but knowing that does not make it any easier to swallow. The book feels stuck in a holding pattern like Zdarsky is spinning wheels before concluding the Zur and Failsafe plotlines. 

Wheel spinning is infectious in this issue, as Jiménez’s linework works overtime to try and elevate the story beyond comparison to what came before. All of the stunning elements of the series feel like the echoes of previous instances. Everything from the kinetic action, striking silhouettes, and rapid pace all betray a sense of safety in a book that started as an attempt to make big artistic swings. Jiménez’s linework feels restrained, even as the book introduces more supervillains and dynamic action sequences. The page layouts carry their clear, concise direction, but there is a lack of sense of explosive dynamism. 

The only elements of the art that feel close to capturing that previous sense of innovativeness are in the design of Superman and the character expressions. The various close-ups of Damian and his range of emotions, like flashes of joy at Zur’s encouragement or the hints of doubt after seeing Amazo, reinforce the character-forward storytelling of the issue. There’s a sense of heartbreak for the kid getting suckered into Zur’s plans due to the desire to maintain the tenuous relationship. The turn really occurs in the sequence of Zur and he attacking Harley Quinn, betraying her Bat-family adjacent status due to her past crimes working with the Joker. Jiménez drops in small, focused reaction panels that highlight the conflicted nature of Damian. 

The emotion is just as evident later in the issue, as Superman makes his appearance in Gotham. There’s a bit of worry masked by the firm resolve of the Man of Steel. Superman towers in every panel, whether it be set against humans or robots alike. Jiménez proved himself as a definitive Superman artist during the Rebirth and Scott Snyder Justice League era, and this issue proves he’s never missed a beat. Even in an issue without any Krytopian action, there’s no doubt that this interpretation of the hero evokes a very specific version of the character. 

Morey’s coloring still manages to continue to elevate the various elements to try and capture something new, even as the art and writing struggle to break the cycle. The book continues to exist in a wide gamut of palettes, including industrial yellows, stark purples, and vibrant pinks. The purples of Zur feel like an interesting alchemy of the alienating costume mixed with the pulpy purples of classic Batman. That addition gives a distinct edge to the character that makes it feel more original than just Failsafe 2.0. The striking, single-color backgrounds continue to elevate the action and silhouette on the page, striking the right balance of realism and elevated colors.