In Batman #152, Batman and Catwoman fight Amanda Waller’s Suicide Squad on Czarnia.
Batman #152 main cover by Salvador Larroca & Matt Herms. Image: DC Comics
Title: Batman #152 / Absolute Power Tie-in — “Happy Endings
Writer: Chip Zdarsky
Artist: Mike Hawthorne
Colors: Romulo Fajardo Jr.
Letters: Clayton Cowles
Cover: Salvador Larroca & Matt Herms
Variant Covers: Guillem March, Dave Johnson, Nicola Scott, Jose Luis Garcia-Lopez, Gabriele Dell’Otto, Belen Ortega, Joelle Jones & Joe Quinones
Release Date: September 4, 2024
This comic book review may contain spoilers
Picking up on the cliffhanger ending of Batman #151, the first issue of these Batman-centric Absolute Power tie-ins, Batman #152 starts on the dead world of Czarnia. It’s the homeworld to Lobo and the other Czarnians, who were recently seen in the “House of Brainiac” storyline in Superman.
Batman and Catwoman find themselves surrounded by Amanda Waller’s Suicide Squad as a countdown timer keeps ticking down. The two split up, dodging blasts and explosions. Batman isolates Gunsmith, taking him down. Catwoman finds herself going toe-to-toe with Black Alice, whom she distracts to break concentration. It works, and Catwoman takes her out, running to defuse the timer — but it’s too late! A tomb starts “unfolding” as Batman battles Deadeye.
Deadeye is tough and can hold his own against Batman, but Batman has a secret weapon; he knows Deadeye’s identity. Deadeye, also known as Archie, is Amanda Waller’s nephew. Batman uses this intel to point out that Czarnia has a bunch of relocated graves of Waller’s family members, including Archie’s mother.
Bizarro enters the fight, and as Gunsmith is collecting himself after being taken down, Batman uses that to his advantage by coaxing Gunsmith to fire — and hit Bizarro. Bizzaro, with his childlike mind, doesn’t take that kindly and starts rushing Gunsmith.
Simultaneously, Batman and Catwoman work on shutting down the Mother Box that led them here, and while they work, they communicate with one another, promising to avenge each other and allowing a moment of love to pass. It’s a beautiful moment, cutting through the “tie-in” aspect of this issue, and it comes amidst a maelstrom of action, yet doesn’t feel out of place.
It’s the strength of Chip Zdarsky’s emotionally resonant writing and Mike Hawthorne’s steady, consistent paneling. Hawthorne draws readers eyes from one panel to the next so effortlessly, it’s amazing that one doesn’t get lost in the haze of who punched who.
After their moment, Batman fights Bizarro. Suddenly, a swarm of flying, carnivorous scorpions buzz about, forcing all the Suicide Squad members, save for Deadeye and Gunsmith, to flee. Batman punches Deadeye’s mask, cracking it. Batman heavy-handedly tells Deadeye to leave, letting him know that if he stays, those scorpions will help him join his entombed family.
The swarm arrives, and Batman wraps up Selina with his cape. The two are shielded as they run toward the boom tube, but it closes. There’s no way back, but just as suddenly as the scorpions arrive, they fly away, frightened by something. Darkseid is coming for the Mother Box.
Batman and Catwoman flee with the Mother Box, and Batman runs through his thoughts, trying to grasp something that will take them anywhere but here. As Darkseid lands on Czarnia, Batman and Catwoman teleport to a beach.
It’s the beach from Batman #79, the one where Batman and Catwoman hid out during “City of Bane.” Bruce tells Selina that it was the last time he was truly happy, and the two walk down the beach toward a resort where they can arrange transport, basking in that moment one last time.
It’s a bittersweet ending, one that gives this tie-in purpose. If this tie-in was meant to mend things between Bruce and Selina, it did a decent job at bringing the two back together after the whole Batman / Catwoman: The Gotham War event. Some might argue it’s fan service, but without these tugs at the heart, this tie-in is just another soulless romp.
Where the grit, dirt, and debris ruled the day throughout much of this story, the clear skies and idyllic beachfront closes out this story. Hawthorne trades in his earlier linework for clearer penciling here. Romulo Fajardo Jr. takes the final few pages to mesh the colors of Batman and Catwoman with a crystal clear sky. It creates a beautiful sunset haze, and the perfect note to end on.
Batman #152 variant cover by Dave Johnson. Image: DC Comics
Title: “Emotionally Compromised”
Writer: Kelly Thompson
Arts & Colors: Mattias De Julis
Letters: Clayton Cowles
The backup story is a Birds of Prey-focused story that sees the birds hiding out on Themyscira, waiting for a signal from Nightwing before they join the others during the “Absolute Power” storyline. As they hide out, Big Barda arrives in a helicopter, and Black Canary makes the decision to go find Oliver Queen alone. The other birds are to wait for Nightwing’s signal.
Not much else happens, and the story really serves to sell readers on three other titles, including Green Arrow #16, Birds of Prey #14, and Absolute Power #3. The art, however, is fantastic. Mattias De Iulis has a photorealistic, colorful style that rivals Alex Ross, and it’s an absolute delight to look at.
Editor’s Note: You can find this comic and help support TBU in the process by purchasing this issue digitally on Amazon or a physical copy of the title through Things From Another World.
