Batman #156

Recap
THE RIDDLER'S PLANS FINALLY REVEALED! The GCPD is closing in on their suspected killer — and on Batman! Wayne Enterprises is under attack as Nygma's plans come into focus. The Owls are not what they seem. Don't miss the thrilling penultimate issue of "The Dying City"!
Review
Switching between artists within a story arc can be a boon or detriment to a periodic comic. As comics continue to move at a clipped pace while expectations of more stylized or detailed work grow, the need for fill-ins and guest artists will increase in tandem. The best planning allows for natural places of switches while last-minute changes or scheduling conflicts can create incongruous changes. In the purely hypothetical, the switch is a fertile ground for artistic or narrative expression, offering a place of experimentation or reinforcement of themes in the run (see Ultimates #4). Those ideas weigh heavily with the current arc of Batman, which utilizes four artists for five issues.
Batman #156 – written by Chip Zdarsky with art by Tony S. Daniel, colors by Tomeu Morey, and lettering from Clayton Cowles – continues Zdarsky’s swansong to the main Bat-title with the Riddler-centric story. After discovering that Jim Gordon didn’t directly kill Mayor Nakano, they learn the murder was a result of Mad Hatter mind control tech. As Batman learns the truth, Gotham erupts into chaos as the local citizens rebel against the “socialism” that Bruce Wayne advocates for. At the center of the rioting is the new costumed figure in Gotham, Commander Star, who has the approval of current Police Commissioner Vandal Savage.
Bruce puts the pieces together that lead back to Riddler and his encryption company, and their connection to the new Court of Owls under the leadership of Leonid Kull. Batman and Gordon end up confronting the puzzle-addicted rogue, battling for the sake of Gotham and Wayne Enterprises. As Riddler is revealed to be a pawn in Kull’s twisted machinations, Batman also puts the clues together and sees the big picture for this arc. The Court of Owls leader manages to slip away and Batman is left to pursue, having to contend with a final confrontation while leaving Riddler in Jim Gordon’s hands.
Zdarsky’s scripting continues to be as sharp as the previous issues in this arc while shifting gears in the Batman-storytelling engine. Instead of the shadow-drenched, noir-flavored tale that was #155, this issue takes on the more propulsive, superhero fare seen in modern comics. As mysteries are solved and roads converge, Zdarsky manages to tighten the genres of Batman’s history into a unified penultimate issue. Even though there is a large shift in the narrative and visual approaches, this issue feels in line with what came before.
That shift is ushered in well with the switch from Jorge Fornés’s gritty crime pulp style to Daniel’s more high-octane action approach. Changing artists to reflect that switch is an interesting choice that makes sense both on a storytelling and production level. This story arc, which Zdarsky confirmed as an addition to his original plans for the Batman title, feels a bit tight in the way it came together, and having three separate artists from within an arc could be a sign of poor editorial planning. Instead, there is a practical and artistic reason for it that serves as a great celebration of what makes Batman a compelling book and character.
Having the consistent presence of Morey’s coloring and Cowles’s lettering continue throughout this run ensures a strong continuity to the visual aesthetics of the book. Morey’s coloring is less expressive and heightened in this issue when compared to the work of main artist Jorge Jiménez. Instead, the palette morphs to fit Daniel’s style, resulting in a statement of intent even as it doesn’t break the mold. Cowles’s lettering takes a similar approach, which creates an even tempo to the text within the issue.
In theory, Daniel’s style works great for this issue but falters in some places. The action is explosive and of the quality expected for the flagship DC title. Nothing leaps out or is egregious with the linework, layouts, or designs yet in the same breath, nothing stands out. Daniel delivers a consistent if a bit dull superhero action story. After Jiménez and Fornés deliver very specific, unique styles, there is a bit of deflating when Daniel’s artwork appears on the page.
Again, this is not a critique of the work found within the comic but speaks to the limitations of the approach of Big 2 books and their scheduling. Based on the solicitation for the next issue, which closes the arc, Daniel and Jiménez will both work on the final installment of the arc. That decision, along with Daniel’s inclusion in this issue, makes sense as connective tissue between styles while indicating a dip in the big swings that this arc was willing to take.
Daniel’s artwork is at its best with the action sequences, allowing for a sense of kinetic movement and fluidity in the movements of characters. Batman is an imposing figure and Gordon gets to unleash a bit of raw, angry punches that showcase the more primal side of the normally level-headed detective. Gordon also has the opportunity to use Batman’s utility belt in the Riddler beatdown scene, and Daniel wordlessly indicates the man’s ability to use the tools from it. Not only does Daniel imbue a sense of competency in Gordon in the scene, but also points to Gordon’s time and training as a replacement Batman during the DC You era. These small decisions are the true strength of the issue and run at large, which understand, highlight, and point to the wider Batman mythos without feeling forced or crammed into the ongoing story.
Final Thoughts
Batman #156 is a solid connecting issue that does its best to shift from the noir thriller of the last issue to a more by-the-numbers superhero action story. Zdarsky writes a Batman that naturally pieces together the wide breadth of clues from across the arc while still throwing fists. Daniel’s artwork is consistent and reliable even when it lacks some of the strong styling flair of previous artists. The transitional nature of the artwork occurs in the most natural way possible thanks to Morey’s coloring and Cowles’s lettering. As Zdarsky’s time on Batman comes to an end with the next issue, it becomes clear that this final arc might be the strongest due to the back-to-basic approach to the story engine combined with elevated stylistic choices.
Batman #156: From Sleuth to Superhero
- Writing - 10/1010/10
- Storyline - 10/1010/10
- Art - 8/108/10
- Color - 10/1010/10
- Cover Art - 10/1010/10