Batman #148: Rebirth of the Family

The notion of continuity and a wider universe is a double-edged sword, sharpened on one side with various genres and tones that can compound into cohesive storylines. On the other edge of the blade, the need to fit into a mold or the rails leading to a bigger narrative can lead to the detriment of the standalone story. That fact puts creatives in a precarious position when crafting work-for-hire stories at companies like Marvel and DC. There must be a balance between a standalone tale and a wider universe, which is difficult for even the best storytellers. 

Batman #148 – written by Chip Zdarsky with art by Jorge Jiménez, colors by Tomeu Morey, and lettering from Clayton Cowles – brings the Zur-En-Arrh/Failsafe arc (in its current form) to a close with a plan featuring the central Batfamily. Bruce reveals to his various children the secrets of the Zur-En-Arrh personality, explaining his choices that led to the current run. While the family uses the information to formulate their endgame against the rogue robotic foe, Zur and his twisted Robin (a genetic clone of Bruce in a younger body) attempt to cure the rogues of Gotham. Starting with the Riddler, a sliver of Batman is implanted into the mind, whispering to the villains as a deterrent to commit crimes. 

Bruce reconciles with the family, especially Jason Todd, in the bowels of the Batcave. The patriarch of the Batfamily is clad in his new armor, developed in the previous issue, and offers upgrades for the various sidekicks turned vigilantes. The group launches their attack as the auxiliary sidekicks (the other Batgirls, Signal) assist the GCPD in fighting Failsafe drones. Amanda Waller offers her support to Commissioner Vandal Savage, who’s set his sights on the prison that is functioning as the hub for Zur’s plans. As plans intersect, Bruce uses Jason Todd’s skills to trick the underlying code of Failsafe to defeat him while Daniel Capito is also taken out by his own hubris. The Batfamily stands triumphant, descending into the night reunited as a team once again. 

Zdarsky’s writing brings the plotlines together in a semblance of cohesion, making every element of the run feel relevant to this story. It’s an excellent display of craft that overcomes the cracks in the firmament of the larger narrative. Some plot elements feel more splashdash than others, like the reconciliation with Jason Todd or the Tim Drake and Damian moments, but overall it is a consistent ending for an uneven story. Whether it be the byproduct of existing in an interconnected universe on the precipice of a line-wide event or the desire to strive for the bombastic spectacle, it feels disappointing that Zdarsky’s scripting can’t turn the focus on the more interesting plot beats of the run, like the Vandal Savage twists or Jason Todd relationship. 

The downside to the ending, which might feel like a bigger comment on the nature of shared universes, is the fate of the antagonist. Zdarsky built his first chunk of the run around Zur-En-Arrh and Failsafe as the primary antagonists, and even with the attempt at closure to the story, the truth is there isn’t any. With Absolute Power’s narrative shadow looming and the confirmation of the Zursafe robot as one of Amanda Waller’s allies, it’s hard to see this ending as anything other than an empty stopgap.  While it needs to be acknowledged that all superhero stories inherently have some level of that feeling by design of operating in a wider world, it’s still annoying that the story is undercut by the next month’s titles. 

Just as Zdarsky’s writing buckles under the weight of its story, so too does the art buckle in this issue. Jiménez’s usual action sequences are still compelling in the confines of the issue, but never quite reach the heights of previous issues. Much of that is a direct result of the upgraded costumes on display in the story. Channeling the feeling of the run, they feel too complex and overly designed, adding too much flair that subtracts from the core storytelling and visual ethos of the series. The additions to Batman, Tim Drake Robin, and Jason Todd’s costumes instantly date this book, making each profile feel weighed down by unnecessary detail. There seems to be no narrative or visual reason for adding these moments beyond selling action figures or inspiring video game skins. 

Beyond the steady action and poor designs, Jiménez continues to shine in his depictions of the humanity underneath the mask and cowls. The close-ups used to depict Bruce and Jason’s conversation revel in enough detail that it obfuscates the flimsy dramatic resolutions. Jiménez’s expressions are complex and sorrowful, and work to sell the redemptive arc that Bruce is undertaking. There’s a more complicated conflict simmering under the surface, and the borderline resentment is not wholly discarded. From there, the other characters and their emotions are more muted, with Tim getting the next focus. He offers a beat of reassurance to Damian, making it clear that family extends beyond squabbles. Jiménez’s pencils cut straight through pretense and make the two characters feel distinct even as they are garbed in their respective Robin suits. 

Still, the strongest element of this book is Morey’s coloring, which continues to drench the series in a wide gamut of expressive palettes. The nights in Gotham come to life through the colorist’s choice of hues, adding glowing blues, harsh reds, and neon twinges as the Batfamily takes their fight to the Failsafe drones in the streets of the city. Morey knows exactly how to drop a new color or element into a colorscape to ensure that the vibrancy of Gotham remains intact. Those choices go a long way to make this book feel more exciting than it actually is, elevating the linework’s repetitive spectacle into something enthralling.