The Darkness Dies In The Light: Reviewing ‘Detective Comics’ #1078

A high noon showdown approaches as the fates of Gotham City and its shadowy defender hang by a precious thread. Catwoman’s greatest heist ever might have hit a massive snag which could doom them all.

Detective Comics #1078 brings the biweekly Batman: Outlaw to its midpoint in another stellar issue from Ram V, Jason Shawn Alexander, Dave Stewart, and Tom Napolitano. With it comes another emotionally charged backup from Dan Watters, Casper Wijngaard, and Steve Wands.

Calling anything a classic early, especially while it’s still running, is a tough proclamation to make. Sometimes though it’s just too clear what will be considered a classic or legendary run on a comic book title. This is one of those cases.

Everything that Ram V is doing with Batman and his world just sings here. Fitting, since the overall story was framed as a gothic opera. Even this smaller biweekly arc that is meant as a sort of break in the overall story is powerful. Batman is essentially a prop, a prize, a supporting character, yet still looms large. Everyone here is trying to see the character saved or sacrificed. Turning the rescue of Batman into a heist book, a style he wrote so well over in Catwoman, is so inspired.

All the characters, both widely and softly used, fit. They are given power, personality, weight, and purpose. Not only that, but we’re getting character interactions we’ve wanted to see for years (Lian/Shoes and Cheshire reunion) and ones we never knew we needed more of (Batgirl and Mister Freeze). There isn’t an ounce of fat in these issues, as every single beat has a reason for being and  propels the entire story and world forward.

Gotham City is a living breathing character in its own right when things are done correctly. It’s not hard to say that this run has done things very correctly.

I’ve made my feelings about the overuse of the Joker very clear, surely much to the sighing of those who follow me socially. Too much usage has, in a way, robbed some characters, especially villains, of their mystique or terror or other factors. Then along comes an issue like this one.

They say that sometimes less is more and clearly it’s a school of thought Ram V has mastered. We get just a glimpse of the Joker here, in the most perfect way. In the shadows, barely seen but for a smile, laughing about the fate befalling his longtime foe. That’s it. Hits the spot, in a shared universe and terrifying way.

So much of that terror comes from the tone that Alexander sets in the issue. Artists bring life to a story, showcasing the details and motions of these worlds. There is far more to what they do, though, and one of those important things is helping really set and sell the tone of a story. Holy crap does Alexander sell it in this issue.

Everything is rough and sharp but also detailed and energetic. Characters feel like they are truly living and breathing as they move through the pages. Perfect framing choices allow a sequence to feel wide open or confined, often in the way that is most beneficial not only to the moment but the characters on the page. So many shadows, like the aforementioned Joker page, remind us how dark this story is right now as the fate of Batman and Gotham are eroding fast.

I mean, just look at the pages shared here. The way that Alexander uses shadows and profile shots is inspired. Right there, above, in  the panel of Batman before the noose. We see nothing of the man’s features or expression. Just that cowled profile we know so well, almost touching the thing threatening to end his entire fight and life. So many other pages are similar, using shadows and silhouettes to make moments hit even harder.

Some things are just so powerful that the mere hint of them does all the talking.

Colors that are toned down, stripping away a lot of the usual overly bright superhero stuff, compliment these images. Taking them further, Stewart moves between the pages to maximize the feeling of life that these characters and Gotham itself have been given. It feels not only like a street book, but so many of the yellows and other colors make sure we get the Western feeling we’re meant to get from this story arc.

We still see those more vibrant starker colors though. A perfect example is the arrival of the Azrael Batman (Holy 90’s, Batman!), in all his fiery religious fury. The costume is dark, but the blues still pop out as does the fire blade and its usage. Setting that against the sparser darker backdrops makes them stand out more, diverting our attention right where it’s meant to be (just like it does for the Orghams).

So many varying characters and voices mean Napolitano has even more room to do that thing he does so well. Creating personality and energy within distinctive voices in the lettering. Throwing various colors or balloon and box shapes in order to change how we interpret a voice. Changing things along the way so that the right pauses, inflections, volume, and tone are inherently clear. It allows the mind to fully create the voices and replay them as we follow the story.

Just about everything said about the main story can be repeated in some format for the backup story. It’s no wonder that Watters and Ram are friends, they share a lot of the same story sensibilities. An innate ability to just fully dive into any given character, bring out their fullest, and tell an engaging story around that.

While Selina Kyle is busy in the main story (and technically out of Gotham in the larger Batline sphere), our eyes turn to the other Catwoman. Yakuza leader Eiko Hasigawa. I’m so glad that we’re getting more of Eiko Catwoman since the main series is sending Selina far away around the world. She’s such a compelling character, as we see here.

Watters doesn’t shy away from the issues Eiko battles, running a criminal empire she benefitted from (even if she runs it far differently) while also wanting to do things better. Being Catwoman allows her the freedom and courage to strike back against that which is wrong, which Eiko can’t do personally. Loved the ending where she just shuts down Bette, declaring the woman to be beneath her after having singlehandedly demolished the woman’s empire.

Wijngaard is such a solid choice for these stories. A highly energetic kinetic style that shifts a bit here or there depending on the tone of the story. Whimsical, detailed, weighty, and resonating with power. All the colors are a swirl of toned-down neutral levels paired with far brighter striking greens, pinks, and others. Plenty of shadows are sprinkled into the mix, giving even more depth to everything on the page.

All that energy and power flows through the artwork, including the letters. Wands has been handling backups in this series for quite some time, bringing a shifting unique continuity of sorts. Allowing the voices to be heard, spicing them up with each character’s particular brands. Finding the small, and the big, ways to allow them to speak for themselves so that we the audience actually can hear them.

Detective Comics #1078 is now available from DC Comics.