This extra-sized fiftieth issue of “Detective Comics” has some nice moments conveying solid characterization and detective skills, yet is uneventful and solely for the hardcore Batman fan. The thirteen page short story at the end, however, is a treat for connoisseurs of gorgeous art.
Written by Peter J. Tomasi
Illustrated by Fernando Pasarin and Scot EatonJim Gordon faces his past in this extra-sized conclusion to his most shocking cold case yet. With history itself forcing him to reflect on the last year as Batman, Gordon must make a decision about what his future holds in Gotham City.
James Gordon’s tenure as Batman comes close to its conclusion in “Detective Comics” #50. Peter J. Tomasi’s storyline is wrapped up with this issue in a tidy way that is free of surprise or much depth. Tomasi, however, does live up to the “detective” aspect of the book and demonstrates how Gordon was worthy of protecting Gotham City using (most) of Bruce Wayne’s tactics. His repertoire with Harvey Bullock during this storyline has been natural from issue to issue and Gordon’s own little Bat-family was a true support team that, as evidenced in this issue, was effective in their interaction.
“The Bronze Age” storyline concludes with “Detective Comics” #50. The payoff at the end of this mystery involving a man using historical figures in his murder tableaus was anticlimactic and reminiscent of what we’ve seen before in other comics. The aspects of this comic that recommend it are the small character moments that bring Gordon’s personality and crime fighting tactics to the forefront. Tomasi is adept, as he’s shown quite brilliantly in his New 52 run on “Batman and Robin”, that his characterization skills are often impeccable. The effectiveness of “Batman and Robin” was so evident because of his pairing with a great artist with a singular style.
“Batman” #50’s art duties are split between Fernando Pasarin and Scot Eaton. Although both, especially Pasarin, are capable artists, they don’t have much in Tomasi’s story to work with in order to demonstrate their abilities in any dynamic way. The familiar villain and quieter moments are reflected in art that begs for more exciting moments. Pasarin, along with inker Matt Ryan, is more successful in conveying deep emotion in his characters’ faces. Bullock’s grizzled mug and nuanced expressions are amusing while Gordon’s body language is confident, yet not as confident as Bruce’s almost god-like stance. He differentiates between this Batman and Bruce’s Batman in ways appropriate for a “normal” man who has taken over the Bat mantle.
Eaton’s art, although sharing similarities with Pasarin that makes it so the reader isn’t too jarred by the change, isn’t as strong and appears uninspired at times. The action is less fluid and his faces are less defined. That final splash page is, however, a fun moment that defines Gordon’s tenure as the Dark Knight. Eaton and inker Wayne Faucher may not have the same strengths in their pages as Pasarin and Ryan, yet they are successful with what they have to work with when it comes to story.
Chris Sotomayor’s colors are evocative throughout the issue. His use of light and shadow lends a haunted feeling to the nighttime proceedings of “Batman” #50’s mysterious goings-on. There’s a breathtaking splash page colored by Sotomayor involving a statue of Saint George battling a dragon that is illuminated with blue green moonlight shining upon it. The black of Gordon’s Batsuit is colored a deep black and gray that imbues the image with a 3-D quality.
The last thirteen pages, also written by Tomasi, are a visual wonderland. Some of the best artists to work on DC books both past and present each supply a splash page worthy to be a pinup while the two bookend pages are supplied by the great Scott McDaniel. It would be a disservice to ruin the surprise, but each page has a meaning to it that would make any Bat-fan squeal with delight. Based on what’s supposedly coming with “Rebirth”, this story seems like a fitting preview.
Although only the most diehard of Bat-readers will enjoy the main story, this issue is essential to tying up the story in a too-neat way. There could have been a more satisfying ending regarding the villain, yet Tomasi, Pasarin, and Eaton gave us a solid, yet at times uninspired, finale.
Final Verdict: 7.5 – Although not the best that Tomasi has given us, “Batman” #50 is still a solid story that will be enjoyed by the most die-hard of Bat-fans. The last story alone is worth the read.
