“Batman” #34 is a damn fine done-in-one Bat-story by the guest team of Gerry Duggan, Matteo Scalera, and Lee Loughridge (with a story assist by regular “Batman” Bat-scribe Scott Snyder). They understand Batman and perfectly reveal his complexity in this horror tale that introduces a terrifying new villain.
Written by Scott Snyder and Gerry Duggan
Illustrated by Matteo ScaleraZERO YEAR is over, and the events of BATMAN: ETERNAL have put Gotham City in a tailspin, but Batman is focused on finding a killer who has haunted his hometown in secret for years. This special issue features art by Matteo Scalera (DEADPOOL, Black Science) and sets the stage for the next major Batman story in the fall.
After last month’s end of the stunning epic that was “Zero Year” with “Batman” #33 by Scott Snyder, artist Greg Capullo, and company, the creative team needed a well-deserved breather before their next sprawling story. However, “Batman” #34 is far from filler. Gerry Duggan supplies the script (with Snyder’s distinct and horrific help with story) while the gorgeously haunting art is stunningly rendered by Matteo Scalera, with colors by Lee Loughridge. An unobtrusive and gorgeous two-page splash brings us up to date on the general goings-on in “Batman Eternal” and makes this tale a great jumping on point for readers who haven’t been keeping up with the weekly Bat-book. With sparse dialogue, a classic Bat-ally who really hasn’t had a chance to shine just yet in the New 52, and a new villain that truly terrifies, Duggan has written a tale that captures the essence of Batman.
A mysterious new serial killer who calls himself the Meek is on the loose in Gotham and Batman must assist one of his closest confidantes. Many of Doctor Leslie Thompkins’ patients are missing and Batman is hot on the trail of this mystery man. It’s nice to see Thompkins in Batman’s world again and I hope we’ll see more of her in the future. Like Harvey Bullock in “Detective Comics” and the rest of the Bat-family in “Batman Eternal”, it’s satisfying to see Batman’s allies expertly used to transform a great story into something even more gratifying.
Duggan is new to the Bat-universe and he fits in quite snugly with his first turn at bat (cheesy Bat-pun intended). He is known more for his humorous side, yet proves his adeptness with horror in this issue (along with Snyder, who we already know is a master of the macabre). However, there are moments where Duggan’s humor shines through appropriately and adds something welcome to Batman’s voice and world. If this issue is any indication of where Duggan is going with his upcoming “Arkham Manor” Bat-title, then we are in for a horrific tale with a healthy helping of levity.
Duggan demonstrates a tightness of pacing and story, which is vital for a suspenseful tale such as this one. Scenes segue smoothly between each other and every line of dialogue is important. Whether it’s Batman deputizing a dog (the Dark Knight Detective clearly loves animals: just look at Titus the dog’s role in “Batman and Robin”) or the Meek expressing his motivation, Duggan has a natural way with words and is able to convey so much with few to no words at all. In those silent moments, he allows Scalera and Loughridge to breathe life into the tale.
Like Duggan, Matteo Scalera is new to the Bat-world. His art is impressive in the current ongoing “Black Science” by writer Rick Remender. The science fiction world of that book is far from the world of Gotham City. Scalera, however, is just as comfortable in a fantasy world as he is in the relatively real world of Gotham. The realism in this issue of “Batman” adds to the suspense and sense of danger present in Duggan’s horror story. The Batcave’s realistic nature even seems scary. We can feel the dank, dark, and winding quality of the cave and believe a man has carved into something natural to transform it into a headquarters that houses modern crimefighting technology.
The realism in Scalera’s art is not relegated to just the setting. Scalera’s Batman isn’t a supernatural monster of the night, but a detective of the night. He looks like a man in a Batsuit, which is high praise indeed. Batman’s costume is more of a uniform for someone who is on a mission. He’s sleek and utilitarian: exactly what we would expect to see from a man who has honed his mind and body to near perfection. Yet the very human side of the man comes through in Scalera’s art. Whether talking with a doctor at Arkham Asylum or interacting with Thompkins, he betrays his usual stoicism to reveal emotions that make him such a complex character. One of the best Batman facial expressions ever put to paper occurs when he commiserates with a villain. Just remember the scene with his eye: it’s all you need to know without being spoilerific.
Continued belowMatteo Scalera’s art seems to be inspired at times by artist Klaus Janson. When comparing the classic 1990 “Gothic” storyline that Janson did with Grant Morrison in the “Legends of the Dark Knight” title with this issue of “Batman”, Scalera’s use of motion and shading on the page is reminiscent but not a blatant copy of Janson. It’s more of a loving homage. The Batmobile appears to fly off the page as it zooms from the Batcave, with the motion lines adding a dynamism to an iconic moment we have seen time and time again in other books. Soon we see Batman using his detecting skills at the scene of a murder. The shading of this scene and the linework on Batman himself bring the situation to eerie life. The splotches of light from a flashlight are very Janson-esque, with the art retaining Scalera’s own unique style.
Scalera’s art would not have the unearthly and sinister feel that it has if it wasn’t for the Lee Loughridge’s poetic colors. The streetlamps on the first page emit an ominous yellow glow, proving horrendous events still occur despite the light. The earth tones of both sky and ground during a cemetery scene add a sense of realism to the scary images that soon appear. Loughridge is not a stranger to Batman. He brought his vibrantly rich colors to the “Batman Adventures” titles that were based on “Batman: The Animated Series” and, as a possible nod to Loughridge’s history, Scalera has police blimps hovering over the city.
Batman cares for every life, whether rich, poor, named, or nameless. “Batman” #34 expresses this and gets to the core of Batman’s humanity. The evocative final page of the story is evidence of the entire artistic team’s understanding and expression of Batman’s world: one filled with suspense, intrigue, melancholy, unspeakable horror, bravery, and heart. Although it’s only for one issue, Duggan, Scalera, and Loughridge are always welcome visitors to Gotham. They have done The Bat proud.
Final Verdict: 9.5 – Although it can be read on its own as an amazing single issue Bat-yarn, “Batman” #34 is a perfect introduction to the world of Batman if you haven’t been reading his current exploits. Seeds for future stories are subtly planted in this issue and are filled with deliciously deviant possibilities.
