Nick Dragotta makes a welcome return to Absolute Batman as the artist for the first arc’s penultimate issue. After the last issue being dedicated to flashbacks to an Absolute Year One, we go back to the present question of Batman accepting Black Mask’s offer to essentially buy him out.
This issue begins with a familiar sight of young Bruce in a graveyard, though this time he has his mother beside him. Gordon consoles him as the Zoo, the site of his father’s death, will be torn down. But Bruce, in his trademark melodrama, responds that he wants it to be a symbol; a reminder.
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In the present, Batman races to meet Black Mask on a typical Gotham rooftop. Dragotta does a lot of wide shots here, where Batman’s huge body is tiny compared to the vast locale – he doesn’t dominate the space – which also rings true to his place in this issue. Batman’s always been a guy who takes hits just as much as he doles them out. He’s been beaten up more than a hundred times before, but how Scott Snyder writes it here, with Nick Dragotta’s choreography and Frank Martin’s striking colors, is nothing short of brutal.
The fight between Batman and Black Mask’s Party Animals is a showstopper. He is put through the wringer and is humbled by how huge his enemies are, if not in size then in scope. And no pound of muscle could compete. You’ll cheer, you’ll wince, and by the end, you won’t be able to wait for the next issue.
It has all the spicy ingredients for a good comic book. These static images stacked next to each other are given so much life and dynamism that it really does feel like they’re moving, and you are moved in return. Most importantly, the story does wonders to make you invested. You care about what happens to Batman, his life, and his reputation. He isn’t the infallible Bat-God here, but he acts like he is, believes it even. But perhaps what’s more vulnerable is his supporting cast.
We have interactions between Martha Wayne and Commissioner Gordon, which is always great to see, as they aren’t available in mainline comics for obvious reasons. As supporting characters in this tougher universe, readers are made afraid for their lives. Batman can’t die in his own series, but his supporting cast? Well, all bets are off.
Unfortunately, with all of these positives, aside from a moment with Alfred being a nice subversion, parts of the plot beats feel familiar from other Batman media. This isn’t necessarily bad, but with the Absolute initiative that Scott Snyder spearheaded, I don’t think it’s wrong to expect more variety in the stories. Personally, I wouldn’t mind another flashback issue that continues the last one with Bruce confronting his father’s murderer, or a shift of focus to how Bruce balances his day job. Focusing on another angle of the character could be a welcome change. We’ll have to see how it plays out in the future.
Absolute Batman #5 is another home run for Scott Snyder and co. It’s shocking, teeth-clenching, amazing to look at, and above all else, a good time. However, it wouldn’t hurt to utilize the title’s premise more by differentiating it from regular Batman stories – looking at other aspects of the character behind his mask and muscles.
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