Tom Taylor’s run on Detective Comics has been full of a lot of the writer’s strengths: characterization, action, and engaging mysteries. But what’s struck me the most as this latest storyline has progressed is how well he’s inserted a new ally into Batman’s past with Prion. The central mystery behind Prion and why someone close to him has been attacking Batman, Green Arrow, and Black Canary started as something a little rough to wrap my head around, but as the story has progressed it’s become a surprisingly twisty narrative that has allowed Taylor to really delve into some interesting and twisted new ideas for the Dark Knight. With Detective Comics #1110, with artist Mikel Janin, that narrative gets a few more twists to really make for an engaging narrative.
After Batman and Green Arrow narrowly escape from their young assassin’s attack, the young girl has found her way to Black Canary’s hideout. Nursing her wounds, Dinah attempts to find out who attacked the girl and what they want with her, unaware that the girl has actually been the one fighting (and winning) against Batman and Green Arrow. After her cover is blown, the girl escapes after Batman tells Black Canary to let her go. Thanks to a tracking device, the girl is located at a mysterious mansion on the outskirts of Gotham. There our three leads make a startling discovery: the girl is not a true young assassin, but under the mind control of her grandparents to get revenge for the death of Prion.
The mind control angle is a weird one, but it’s one of the reasons why I enjoy Tom Taylor’s work so well. He’s able to work within fun, crazy comic book logic but also make it seem like it makes complete sense in the context of the world of the books. The idea of a young girl being hypnotized into being an assassin may not be the wildest comic book trope thrown out there, but it’s still pretty absurd, and yet in the context of the story it’s still one that when we got it it I was like “oh that’s an interesting angle to take with this”. It truly surprised me in the best way.

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Unsurprising, however, is just how well Taylor writes this new trio of leads in Detective. The dynamic between Batman, Green Arrow, and Black Canary remains hilarious. By now I should be tired of Green Arrow’s jokes about Batman’s stoic nature, yet it still brings a smile to my face every time it happens. The recurring gag about Batman’s exit timing is also great here as well, with Dinah even getting in on the fun for a few panels. The opening flashback that’s become a recurring bit in this story is also really engaging, as the high stakes train hijacking is some of the best action the series has had to date, and really starts to showcase what made Prion such and impactful teammate to our leads.
Of course, one big reason why that opening is so effective is because Mikel Janin is back on the pencils. Two issues in a row with one of Taylor’s best collaborators is cause for celebration, and Janin definitely goes for broke with our opening pages. As Prion, Green Arrow, and Black Canary free fall onto the train there’s a great sense of propulsion to the speed, so much so that you can almost feel and hear the wind on your face just by looking at the pages. Another fight scene later on with Black Canary finally gives her the badass moment I’ve been waiting for, almost making the fact that she’s been sidelined in favor of Green Arrow and Batman until this moment worth the wait.
Detective Comics doesn’t get quite the same level of coverage as Batman, but it’s been a solid read ever since Tom Taylor took over (and was a great one before that too). Taylor and his artists have been quietly crafting some rock solid Batman stories for those who want them, and Detective Comics #1110 is the latest fantastic example of what happens when you let a dynamite creative team loose on a longstanding character to tell good, old-fashioned mysteries. While it’s impossible to want Taylor and his team on this series for 1110 more issues, here’s hoping they get to stay a little while longer if they want.



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