The time has come as Joshua Williamson ends his run on Batman this week and Chip Zdarsky and Jorge Jimenez prepare to take over with Batman #124. Before that though, Williamson, Howard Porter, and Jorge Fornés have one more especially surprising little tail involving the new supervillain Abyss. Adding to the already-stacked package is a Poison Ivy story by G. Willow Wilson and Dani that leads directly into Wilson’s new series (also out this week). All in all, this is a good little issue, but let’s break it down!
This issue opens in Badhnisia, a coastal city where Abyss is enacting some vigilante justice. Oracle is radioing Batman to give him an update, which also allows Williamson to catch readers up on a few plot threads spilling out of “Shadow War.” It’s a nice touch to remind us Williamson’s short tenure on Batman did affect multiple storylines. It’s an efficient opening few pages.
Soon Batman is found in Badnisia riding what can only be described as a giant big wheel for adults. Porter draws the heck out of this smash cut, with characters observing in shock from afar in some especially vivid detail. The design of this motorcycle is wacky and the kind of fun only comics can get away with. This leads to a great double-page layout with Batman fighting Abyss. Once again, Porter draws a hell of a Batman, with his cape dropping in some interesting ways. The costume seems extra pointy and the cowl is practically alive, making for a very macabre rendition of Batman as he’s depicted in shadow with his face obscured.
There’s no denying Abyss has a cool costume. Courtesy of DC Comics.
About halfway through this issue, you’ll realize this issue is all about setting up a new hero. I won’t spoil who they are, but it’s a nice touch to harken back to Batman’s origin and helps build up the value of this newer hero. Fornés draws this scene nearly perfectly, revealing that Bruce encountered the man who killed his parents before he became Batman. It’s a lesson, and it gets called back in the final moments to help remind the reader of why Batman does not kill. It’s a strong statement and a good one to end on for Williamson’s run.
The colors by Tomeu Morey are top-notch, with a great play of light in the final scene emanating from the moon. The action is always easy to track, with cool effects conveying swooshes of kicks and the movement in general. The details in Batman’s big wheel motorcycle are also incredible, forcing your to linger and take everything in.
In the grand scheme of things, this story offers an interesting future for Abyss, although it’s too little too late. Likely we won’t see the misdirection idea offered here again anytime soon, which feels like something of a shame. But for that reason, and the lack of a specific version of Abyss, this issue does feel a little out of place.
Closing out this issue is the backup “Photosynthesis” by Wilson and Dani. The art is moody, dark, and weird — customary of Dani’s incredible and unique style. The story is compelling, and it catches readers up on the fact that Poison Ivy doesn’t have the full force of her powers anymore. She’s on a personal quest to get them back, though, and this backup makes a strong case for what the new series will encompass. Like the Bats story, it seems to be an intriguing way to plan for what comes next.
Batman #124 is a solid done-in-one tale that wraps up Abyss in some capacity while setting up Poison Ivy’s new series. Porter’s excellent rendition of Batman, combined with Williamson’s reminder of Batman’s core M.O./approach, makes this a truly winning issue.
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