At this point, you probably have a good idea as to whether or not you’re a Batman fan or not. The most prolific comic book character has been interpreted in every conceivable way, in every conceivable medium. But then you get an artistic visionary like Tom King at the helm, and he turns what you thought you knew about that Dark Knight on its ear.
Written by Tom King
Illustrated by David Finch‘I Am Bane’ part two! Barricading himself within the walls of Arkham Asylum still might not keep Batman and his allies safe from Bane’s assault. Which one of Bruce’s loved ones will be torn from him next? RATED T
Bane is a villain who peaked early. His most famous act of villainy was breaking Bruce Wayne’s back, and though he’s had a couple of memorable appearances since then (Gail Simone’s “Secret Six” comes to mind), he hasn’t had much staying power. So what do you with a villain like Bane? You get to show a different side of Batman, the side that’s friggin’ terrified.
That’s the driving force in this issue; Bruce Wayne is totally traumatized by his first encounter with Bane, and he’s not used to acting on his fears. It’s going to cause him to make mistakes. After last issue ended with the memorable image of Bruce’s three living sons (Dick, Jason, and Damian) strung up by their necks in the Batcave, this issue starts off with Bruce totally panicking. He sticks the three Robins in stasis pods and carts them away to the Fortress of Solitude, where he demands Superman guard their comatose bodies until the whole Bane thing blows over.
It’s… not the best choice he could be making. Superman seems uncomfortable with it, to say the least. But that’s the fun of this story. Even when he’s worried about whatever the Joker is up to, even when he’s been blasted with fear gas, Batman is an unstoppable force of nature, always in control. King gives you the distinct feeling that when confronted with Bane, Batman loses control and panics as any human would when confronted with an awful trauma. It humanizes Batman in a way lots of writers aren’t interested in doing.
The issue also includes memorable turns for lots of the supporting cast. Alfred is a particular standout, getting to display his knack for old-school disguises and his sheer ballsiness as he tries to manipulate the very unstable Psycho Pirate into saving Gotham Girl. Selina Kyle, on the run since the last arc, makes a brief appearance as she faces down one of Bane’s old minions.
The appearances of Catwoman, Alfred, Superman, and the scene Fortress of Solitude, plus the various villains in Arkham Asylum and the prominent role for Psycho Pirate of all characters does something rare for a “Batman” comic. Too often, Gotham seems isolated, a city where half the action in the DC universe takes place but one secluded from the rest of the world. This version of Gotham seems connected to the rest of the world, not beholden to the larger meta-plot of the shared superhero universe, but still existing in the same world as the Justice League.
In an issue filled with disguises and double (sometimes triple) identities, it’s important to have an artist who can draw distinct figures. David Finch is up for the task, though stylistically he’s a bit trapped in the world of 90s comics, where every shadowy face needs to covered with so many lines. Seriously, every character is covered in so much cross hatching, you’d be forgiven for thinking you’d picked up a Rob Liefeld “Cable” comic. Still, we are talking about a Bane story, and Bane is one of the most 90s villains out there, so the style doesn’t feel too out of place.
Finch is gifted with a great Batman costume to draw. When he does the classic double page spread of Batman, posing on a Gotham City rooftop, it looks good. Really good. The yellow outline around the chest insignia and the purple lining to the cape remind you that this isn’t a 90s comic.
“I Am Bane” is shaping up to be a horror story. Much like Jaws, we don’t get a good look at the villain until the end. The tension builds up, the protagonists make questionable choices based on fear, and when Bane finally shows his masked face, the full page image really hits. Finch is an artist that needs a writer who understands his talents, and King understands how to write a script for his artist. The big moments hit hard, and in the end isn’t that what we want from a “Batman” comic?
Final Verdict: 8.2 – A well-matched creative team hits all the right beats in the middle chapter of what is shaping up to be an unforgettable arc.
