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Broadway, motorcycles, and Resident Evil 9, oh my! After a recap of the past few weeks, I review the 2006 story “Progeny” in Birds of Prey #92-95. Listener feedback, Stella’s Dungeon of Smut, and my literature recommendations also appear.
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In Season 14 Episode 6 of The Batman Universe Podcast, Ian (@ibmmiller) and BJ (@bjshea33) are inspired by the announcement of the second DC x Sonic crossover to examine the first, by Ian Flynn and Adam Bryce Thomas! How did the Sonic comic book creative team integrate the video game characters with out beloved DC characters? What other bits of Sonic crossover creation do we bring up?
Drop us a line at TBU@TheBatmanUniverse.net. As always, if you like this episode, please rate, share, and subscribe on the streaming platform of your preference. It’s a great way to show your support, and it’s quick and easy! Thank you, loyal Bat-fans!
Find past episodes of The Batman Universe Podcast right here.
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In Season 14 Episode 5 of The Batman Universe Podcast, Ian (@ibmmiller) and BJ (@bjshea33) read the JLA/Titans crossover The Technis Imperative by Devin Grayson and Phil Jimenez! What causes our two titanic leagues to crash into each other? What similarities to today’s crossovers did we find?
Drop us a line at TBU@TheBatmanUniverse.net. As always, if you like this episode, please rate, share, and subscribe on the streaming platform of your preference. It’s a great way to show your support, and it’s quick and easy! Thank you, loyal Bat-fans!
Find past episodes of The Batman Universe Podcast right here.
Harley Quinn #60 main cover by Ted Brandt and Ro Stein (DC Comics)
HARLEY QUINN #60
Written by ELLIOTT KALAN
Art by CARLOS OLIVERAS
Main Cover by BRANDT & STEIN
Variant Covers: DAVID NAKAYAMA, GUILLEM MARCH, ASET KAIRAMBAYEV, JORGE JIMENEZ, LEIRIX
Page Count: 32 pages
Release Date: 3/25/26
Harley Quinn #60 begins not with the wild and absurd antics of the anti-hero of Throatcutter Hill, but with a dark and gritty inner monologue of Batquinn who patrols the neighborhood looking for criminals to violently pummel. Batquinn tries to keep it grim and gritty as she patrols for crime. She encounters Harley Quinn’s friends as she prowls the rooftops, but insists that she is Batquinn, a serious crimefighter.
Batquinn responds to a nearby bank alarm and (literally) crashes and stumbles her way inside, where she is confronted by social activist/criminal Penny Plunderer (not to be confused with the supervillain Penny Plunderer, that’s her dad). The teenage nepo baby has taken it upon herself to confront the system by making a sizable and illegal withdrawal from the local bank.
Both women throw down, exhibiting a dazzling array of acrobatics and fighting skills, but the brawl is interrupted by the unexpected (and unexpectedly superpowered) Chicken Fingers. Despite his grievous injury last issue, Chicken Fingers was apparently healed after absorbing Harley Quinn’s excess Alpha Energy she gained during the King Omega event, and he now patrols the neighborhood as a superpowered paragon of justice and fair play.
She is vengeance… right? (DC Comics)
Chicken Fingers unleashes his chicken-based superpowers against Penny and her gang of “One-Centers”, but Batquinn tells him to back off. Batquinn finally gets the upper hand and is prepared to deliver brutal justice against the teen felon, Chicken Fingers intervenes once again, appealing to her humanity. Frustrated and confused, Batquinn takes off, as her sense of purpose and identity crisis is in full meltdown mode.
Harley Quinn #60 ends as Batquinn arrives at Harley’s apartment building seeking refuge. She knocks on landlady Mrs. Grimaldi’s door, and to her surprise, Harleen Quinzel answers.
Harley Quinn #60 was a masterclass in misdirection and satire. Writer Elliot Kalan nails Frank Miller’s classic “grim and gritty” vigilante tropes, seeding it with clever one-liners, while unfolding an inner monologue that explores Batquinn’s insecurity and lack of confidence. “Batquinn” struggles to stay on message, and for a while it appears that it’s just Harley trying out a new gimmick or life hack, but in Harley Quinn #60, Harley Quinn is nowhere to be found.
The unexpected Batquinn/Harleen Quinzel revelation raises some intriguing questions, not the least of which is how did this happen? And where is Harley? Her new friends have settled into Throatcutter Hill in the aftermath of the recent Deconspirator chaos (and the cross-country road trip/kidnapping). But they are under the mistaken belief that Batquinn is just Harley trying out a new gimmick.
The Chicken Fingers reveal is another wild twist that offers relief for fans concerned over his recent attack while also summarizing Harley’s time away during the King Omega event (she came back with Alpha energy powers). Penny Plunderer adds a welcome bit of absurdity with her radical social activism, and her mix of light and color plays in stark contrast to Batquinn’s dark and brooding hero vibe.
Carlos Olivares appears to revel in the opportunity to recreate the edgy “street level” vigilante tropes that embody Batquinn’s dedication to “serious” crime fighting, whether through dramatic camera angles, contorted figure posing, heavy use of shadow and scowls. Olivares still brings the brighter, chaotic energy typical of the series in Batquinn’s battle with Penny, displaying a dazzling array of dynamic action in the fight scenes.
Harley Quinn #60 delivers more fun, action, humor and gorgeous artwork. The mystery of Batquinn raises questions while effectively satirizing the popular dark hero tropes with a distinct Harley Quinn vibe.
Detective Comics #1107 main cover by Mikel Janín (DC Comics)
DETECTIVE COMICS #1107
Written by TOM TAYLOR
Art by PETE WOODS
Main Cover: MIKEL JANIN
Variant Covers: ESAD RIBI, OZGUR YILDIRIM, JORGE JIMENEZ
Page Count: 32 pages
Release Date: 3/25/26
Detective Comics #1107 begins one week ago where a protected witness dies from apparently natural causes while surrounded by FBI agents in Gotham City. Cut to the present day where a sterling member of the GCPD violently shakes down a low-level street dealer only to be “apprehended” by Green Arrow (Oliver Queen). With the bad cop locked in the trunk of the Arrow Car (don’t laugh), Ollie checks on the victim only to discover it is Batman in disguise.
Batman has Ollie cut the crooked cop loose so Bruce can find a protected witness in a case against the Klep Corporation. With two other witnesses already dying under mysterious circumstances, Bruce is concerned Richard Klep is up to something. Klep is keeping himself busy these days as Ollie (and Dinah Lance) are in Gotham City on business, including fending off Klep’s hostile takeover of Queen Industries.
What is Green Arrow doing in Gotham City? (DC Comics)
Later at Wildcat’s gym, Dinah Lance addresses the Bat and Arrow families regarding Ted Grant’s recent death (JSA #6), and his bequeathing of his gym to her. Dinah and Bruce Wayne, two of Grant’s best students, spar in the ring and Dinah cleans Bruce’s clock (although the rules were no actual contact).
The next morning as Bruce, Dinah and Ollie gather at Gotham Cemetery to memorialize a nameless, fallen teammate on the anniversary of his death, the solemn moment is interrupted by a young girl who peppers them with questions about the mystery man (except for Bruce who has disappeared).
Detective Comics #1107 ends as the girl’s grandmother (and security) comes looking for her, which almost ends in a brawl. The older woman sizes up Dinah and Ollie for a moment, before departing. Bruce reappears, noting that at long last someone knows who their mysterious friend named Prion actually was.
Detective Comics #1107 kicks off a brand-new story arc while acknowledging the damage from “The Courage that Kills” virus and how the events impacted the entire populace of Gotham City, (and nearly destroyed Batman). Series writer Tom Taylor continues adding new elements to the sprawling Bat mythos with yet another intriguing mystery which could easily be subtitled “The Brave and The Bold” given the featured guest stars.
Taylor riffs on current events from the tech world and the current corporate climate with his own addition. While Richard Klep is a new foil for both Bruce Wayne and Oliver Queen (and their alter egos), whether or not Klep has anything to do with the Prion subplot, he’s lucky that he’s not being targeted by the Absolute Green Arrow (I hear that guy is a new kind of ruthless).
The exchanges between Bruce and Oliver simultaneously highlight their similarities and differences within a few sentences. Bruce plays the long game while Oliver prefers swift justice. The events bringing Dinah Lance to Gotham allow both her and Oliver to follow their own story, rather than just being the other’s plus one. Detective Comics #1107 is also a Bruce Wayne story as Batman has less of a presence than even the new, all-electric Batmobile).
The brutal sparring match between Dinah Lance and Bruce Wayne, two of Ted Grant’s best students, is an impressive tour de force as Dinah displays her dominance in the ring, but there is only respect for her from Bruce.
If the mysterious deaths, a new corporate threat and Dinah’s acquisition of Wildcat’s Gym aren’t enough to maintain interest, Taylor throws in the mysterious “Prion” and his connection to a past covert team that included Batman, Green Arrow and Black Canary. Also, the older woman at the cemetery has to be Prion’s widow, right?
Veteran artist and colorist Pete Woods subs in on Detective Comics #1107, giving series artist Mikel Janin a well-deserved break after the epic, six-part “The Courage that Kills” story arc. Woods provides some impressive visuals and colors that suit the mood of the film noir plot, nailing both the brutal action scenes and the quieter scenes with ease. The impressive Dinah Lance/Bruce Wayne sparring match is a standout sequence.
Detective Comics #1107 introduces an enticing new mystery, and hints at a secret past for the Bruce, Oliver and Dinah. The writing informs and entertains, while the art enhances the dark and gritty crime noir inspired story.
Batman/Superman: World’s Finest #49 main cover by Dan Mora (DC Comics)
BATMAN/SUPERMAN: WORLD’S FINEST #49
Written by MARK WAID
Art by MARCUS TO
Main Cover: DAN MORA
Variant Covers: NATHAN SZERDY, ADRIAN GUTIERREZ, KARL KERSCHL, DAN MORA
Page Count: 32 pages
ON SALE 3/18/26
Batman/Superman: World’s Finest #49 starts with a flashback to 48 hours earlier, where Earth-1 Brainiac uncovers the existence of the multiverse (perhaps causing a crisis somewhere down the line). Superman crashes through Brainy’s spacecraft, warning him about the danger, but gets blasted into space for his effort. Superman slams into Batman’s ship and the unconscious pair are pulled through the dimensional rift, and discovered by Star Labs on the other side.
Batman and Superman awaken chained up inside Magnus Robotics. The pair play possum as Ultraman and Owlman inspect their new prisoners (after last issue’s attack), but decide to loot the place before torturing them. As the heroes plan, Riddler (Eddie Nygma) arrives to free them, and the trio escape via a speed boat. Eddie gives them a tour of Earth-3 Gotham City (even worse over there) and recounts his gruesome origin story at the hands of Owlman.
So that’s what happened… (DC Comics)
Back at Magnus Robotics, Ultraman and Owlman are none too pleased to discover that their prisoners have somehow escaped. Ultraman tracks them down river (with a bit of overkill). Meanwhile at a lead-lined safehouse, Batman and Superman are introduced to Gotham’s good guys including Toyman, Catwoman, Scarecrow, Mad Hatter and Silver Banshee. A plan is hatched as Batman, Superman and Eddie break into Star Labs, while the others attempt to free Two-Face, only to be cornered by Ultraman and Owlman.
As Eddie locates spatial rift, Superman speeds over to Arkham to save the others from Ultraman’s wrath. Despite being weakened by the altered sun on Earth-3, Superman fends off Ultraman and Superwoman (Lois!) but gets caught off guard when she announces that she’s pregnant. The bad guys are brought down by Silver Banshee, who is inspired by Superman’s heroism. Batman and Superman suit up at STAR and head back into space and disappear through the rift.
Batman/Superman: World’s Finest #49 ends as Riddler has also been inspired by the World’s Finest team, informing Mad Hatter that he’s heading to Louisiana to track down a “thing” in the swamps that is terrorizing people.
Batman/Superman: World’s Finest #49 was a nice bookend to last issue’s opener, exploring the rebooted early days of the DC Multiverse, and Batman and Superman’s unexpected first arrival on Earth-3. Writer Mark Waid enjoys repackaging Silver Age DC Comics concepts for a modern audience in both this series and in Justice League Unlimited, and his enthusiasm shows, despite the darker setting of Earth-3.
Waid’s reimagining of the World’s Finest team’s first foray into the DC multiverse is ably assisted during his own team-up by returning co-writer Mark Russell (One Star Squadron) who likely adds to the humorous interplay between the variety of characters populating Batman Superman: World’s Finest #49, including a quintet of Batman and Superman’s rogues, functioning as reluctant heroes on Earth-3. For sure the Batman and Mad Hatter exchange has to be Russell’s.
Waid is no stranger to humorous setups and witty dialogue in this series, with his friendly banter between the World’s Finest duo (and the less friendly, but more hilarious bickering between grudging sidekicks Robin and Supergirl). Riddler’s dark origin (mimicking Joker’s from the Batman 1989 movie) results in Eddie becoming a hero and de facto leader) to his reluctant Gotham City allies, while his appearance reflects a passing resemblance to Metamorpho.
Also, Owlman and Ultraman haven’t formed their Crime Syndicate yet, so they’re not yet aware that you shouldn’t leave your prisoners alone to plot an escape while you loot the place. Eddie Nygma is a standout character, still obsessed with puzzles but he has a good heart despite his trauma, while the Swamp Thing as a creature of true horror is a nice twist ending. Superman offers hope that the heroes might return to help with the resistance on Earth-3, so maybe a sequel?
Batman/Superman: World’s Finest #49 allows readers to understand how the World’s Finest arrived on, and react to Earth-3. Also, the showdown between the two teams is fun and thrilling, especially Superwoman’s (Lois!) weaponizing her pregnancy (evil Superbaby?) to throw off Superman. A story this important could have easily gone another issue to build up the tension more, but for the most part this two-part arc sticks the landing.
Artist Marcus To is a well-established artist whose style evokes a mix of modern comics storytelling with the dynamic classical figure work of an earlier era. Whether the space suits with a Bat and Superman symbol on the chests were the writers’ idea or To’s, it’s another hearkening back to a simpler time when readers wouldn’t question why this existed on Earth-3 for them to wear. To’s action set pieces and use of dramatic angles are electrifying and full of character.
Tamra Bonvillain’s application of a more muted color palette in Batman Superman: World’s Finest #49 evokes an earlier era in both the setting (ten years in the past) and previous color techniques. Bonvillain also adds to the horror of Eddie’s dark origin story and the chilling appearance of the devastated Gotham City on Earth-3.
Batman/Superman: World’s Finest #49 wraps up the updated first clash between Batman and Superman and their Earth-3 counterparts, concluding the story arc with a sense of hope and optimism, plenty of cool action and some nice character moments. The art and color also impress.
Catwoman #85 main cover by Sebastian Fiumara (DC Comics)
CATWOMAN #85
Written by TORUNN GRONBEKK
Art by DAVIDE GIANFELICE
Main Cover: SEBA FIUMARA
Variant Covers: FRANK CHO, MAHMUD ASRAR, W. SCOTT FORBES, JORGE JIMENEZ, LEIRIX
Page Count: 32 pages
Release Date: 3/18/26
Catwoman #85 opens with Black Mask torturing and killing a man who sold him out. Black Mask isn’t the powerful crime boss we all know and love. He has hit rock bottom as his men are leaving him and he is just left with one poor soldier. Until a woman comes to see him who has a grudge against Selina Kyle and offers a teamup.
Selina is sneaking into a function at police headquarters but not through an air vent. She is going through the front door disguised as a pregnant, blond woman. She gets patted down at the front by a female officer and she asks if she has any names planned. Helena if it’s a girl and Alfred if its a boy. (Love). The officer says she dated an Alfred once and he was a real gentleman. (Go Al).
Using her purple scarf as a hood she knocks out one of the guards. With the purple hood and blonde wig, she looks like Stephanie Brown. I know my cohost on the TBU Podcast will be happy to see that.
Congratulations, Miss… (DC Comics)
Flashback to a week ago and Selina returns home to her apartment in Gotham She is being evicted, there’s no power, the cats are hungry. Selina then calls Holly to say she is home.
Selina is making her way and getting her ducks in a row to rob the police station. She sets a fire, jams the radios, and takes out a couple useless security guards.
Selina reunites with Holly and Holly says she needs her help. Her girlfriend is in trouble. While they are talking, she is being watched by a woman who is reporting back to Black Mask. Selina is happy that Holly came to her because it gives a reason to be needed. She was searching for a reason to take that job Carmine offered her and this is her opportunity.
Catwoman is done at the police station and Carmine’s men come to pick up. However they are not there for the money but they are stealing drugs. Catwoman confronts Carmine about how he lied. Catwoman demands honesty from Carmine and takes off.
Selina returns home and sees someone tied up on the floor. Its her friend George who lives outside her apartment on the street. He has a black mask on his head and when Selina takes it off, she sees a bomb attached to his head. Catwoman #85 ends with her friend’s head exploding right in front of her.
So the big mystery of Catwoman #85 is who is the woman teaming up with Black Mask to target Selina. Selina has a lot going on in her return to Gotham. She has to work for Carmine Falcone, Holly needs her help, and now she has Black Mask and a mystery woman coming after her. I look forward towards the end of this arc when all those things are colliding all at once. And you just know a certain Dark Knight will show up.
This is the most I’ve ever read of a Catwoman run. I always thought it was tough for her to have a consistently great run. If she’s a thief just running around Gotham then she’s going to go toe to toe with Batman. Is she a hero? Is she going to fight other Gotham Rogues? But this run has been pretty good by Grønbekk. He took her from Gotham and brought her back because of her past, because of Holly. And Holly is a character that dates back to Year One and Frank Miller.
Grønbekk’s little bit about what Selina would name her child was terrific and a nice little touch that still tangentially connects her to the Bat world.
Catwoman #85 sets up a lot. Black Mask making a comeback in Gotham’s underworld. When will Selina be done with Carmine or will she need his help to fight Black Mask? And what’s up with Holly? Is there betrayal in the future?
Batwoman #1 main cover by Dani (DC Comics)
BATWOMAN #1
Written by GREG RUCKA
Art and Main Cover: DANI
Variant Cover: JORGE CORONA, STANLEY “ARTGERM” LAU, JOSHUA “SWAY” SWABY, STJEPAN ŠEJIĆ
Page Count: 32 pages
Release Date: 3/18/26
In Petalon, Greece, on an island facility, Dr. Zena Sidaris speaks with Kate Kane, described by her caregivers as “defeated.” Bearing significant signs of injury, Kate sheds a tear and remembers her last meeting with her twin sister, Beth, also called Alice of the Religion of Crime, who supposedly died when they were both twelve. Kate yells that nothing matters, and we see her fighting in flashback the members of the Religion, who quote their prophecy that indicates she will die to bring about Anti-Life and the age of Darkseid. Batwoman pleads with Alice, who has moments where Beth seems to surface, not to kill millions. Shooting the detonation device with her grapnel gun, Batwoman climbs out of the cavern they are fighting in and breaks the device, under heavy fire from Alice. On a cliff, Alice declares that Kate or Beth must perish, and then the twins both apparently plummet from the cliff.
In the facility, Kate weeps, and repeats Beth’s question: “How do you fight the devil when the devil is real?” She repeats that no one has a choice.
Elsewhere, in Eschaton Tower, the leadership of the Religion of Crime observes Kate, saying that as the mirror of her dead sister “Alice,” Kate must be converted and then sacrificed to Darkseid. As they plot, Batwoman interrupts them with a laser-projected Batwoman signal on their window, saying from her rooftop, “Come and get me, @%$#.”
Sibling rivalry… (DC Comics)
After about 16 years, Greg Rucka returns to the character he defined in the powerful story Elegy (recently collected in the excellent Compact Comics edition). While other writers, including JH Williams III, Hayden Blackman, Marguerite Bennet, James Tynion IV, and more have told stories with Kate that have resonated, exploring her battles against supernatural threats, old exes, and (annoyingly) the Batfamily itself far too often, always building on the foundation that Rucka laid in Elegy, the core question that Elegy raised about Kate – why was her mother killed and her sister twisted into the horrifying Alice by the Religion of Crime – was never even touched. Alice herself was found and somewhat rehabilitated, but Rucka, clearly not a fan of most, if not all that has been done to Kate in the intervening decade and a half, has decided to effectively reset most of the relevant pieces (Alice, Religion of Crime) to focus on that central question once again.
The resulting story is heavy on the vibes of foreboding and despair. Greek artist DaNi, the partial inspiration for the book’s setting, puts her trademark almost hallucinogenic style, heavy on the silhouettes and carefully chosen seemingly simple shapes, to excellent use. Colorist Matt Hollingsworth beautifully highlights DaNi’s linework with carefully chosen, limited palette colors, hearkening back to Rucka’s early 2000s Detective Comics run with Steve Leiber, Rick Burchett, Shawn Martinborough, and other artists which created a beautiful limited color neo-noir look – but this time, more exotic, threatening and vibrant colors peep through, adding dashes of menace and power. While very different from the extremely unique look that JH Williams and colorist Dave Stewart created for Kate in Elegy, there’s a bit of similarity to the bold shapes used by superstar artist Jock in the short Batwoman story “Cutter” also found in the Elegy Compact Comics edition.
While Rucka reveals very little concretely about Batwoman’s real state of mind (probably to achieve the surprise reveal of the final page, where a supposedly defeated Kate shines her brilliant laser-red Batwoman signal right at her enemies), and lets the brief visuals of the villains speak more than his dialogue does, there’s an overall sense of threat, despair, madness, menace, and foreboding. The title of this first arc, “Eschatology” – the study of the end of all things – and of course Eschaton Tower, the hideout of our villains – underlines these effectively conveyed vibes. The focus on the Religion of Crime makes me hopeful that one of my biggest frustrations with Elegy – the lack of coherency to the villains’ motivation – will be addressed at last. Whether it is or not, though, one thing is sure: Rucka and DaNi are here to hit the emotions hard.
DaNi’s main cover features Kate as Batwoman atop a rooftop, surrounded by negative image bats, white against the blackness – highlighting the surreal, silhouette and limited color effect of the book beautifully. Stjepan Sejic’s cover features Batwoman taking off (or putting on?) her mask in a Batcave, with Batwoman symbols on the Batcomputer behind her. Artgerm’s variant (also available as a foil virgin variant) features a much less heavily rendered version of his trademark painted style, focusing on the black, white, and red color scheme in a very striking pose for Batwoman. Jorge Corona’s Next Level variant features Batwoman against a pale blue background in a pose somewhat reminiscent of the famous black and red cover of Batman Year One by Mazzucchelli. The 1 in 25 incentive cover by Joshua Swaby shows Batwoman plummeting down a narrow white space, looking over her shoulder – very dynamic, especially in her extremely long red wig. A Jams Fortress Comics Megacon retailer/convention exclusive variant by Ariel Diaz also features a very heavily rendered painting style image of Batwoman, strong ties to her JH Williams appearances, but with the new current design, against a red-lit skyscraper cityscape.
Rucka and DaNi produce a deeply moody, foreboding issue with Batwoman #1 that’s a bit light on explicit plot and character revelation, but heavy on the vibes.
Nightwing #136 main cover by Jorge Fornes (DC Comics)
NIGHTWING #136
Written by DAN WATTERS
Art by DENYS COWAN
Main Cover: JORGE FORNES
Variant Covers: JEFF SPOKES, JAE LEE, JORGE JIMENEZ
Page Count: 32 pages
Release Date: 3/18/26
In the aftermath of the massive destruction caused by the Zanni and Columbina’s fifth dimensional attack on Bludhaven, Dick Grayson walks the streets of the city and drives a car through the night streets to re-learn the changed landscape. Mayor Bisogni built a superhighway through the city, causing a spike in traffic deaths and seeming hauntings. Nightwing picks up a strange ghostly lady in his car, and she tells him to go to the crossroads. Nightwing tells her that he heard a truck driver attacked by a woman talking about witches on the police scanner, and the woman draws a knife, implying she is a witch as well. When she starts bleeding from the eyes, Nightwing tries to take her to the hospital, but she attacks, causing a massive car crash, killing 9 people. Nightwing saves a man from the wreckage, but when he returns to his destroyed car, there’s no sign of the woman.
I’m not a fan of the Batfamily vs. the supernatural. For me, Batman is a figure of noir, hardboiled detectives. So the recent trend of stories like Gotham Nocturne by Ram V or the past arc of Nightwing by Dan Watters are a hard sell. While Ram V’s run on Detective Comics completely failed for me, Watters managed to win me over with the Zanni arc because of his mirroring of GK Chesterton’s thematic message through Nightwing Prime (though I’d argue Dick himself felt like a supporting character in his own title for most of the run, the pacing was weak, and the political messaging pretty immature much of the time). Immediately starting with ANOTHER supernatural arc, while expected, means Watters once again has a hard sell for me – especially since I find the way modern writers treat witches and witch trial stories incredibly incoherent. Witches don’t exist, so killing women by accusing them as witches is evil because it’s false, but then they DO exist, and clearly are malign and like killing people, so why was killing them wrong? Hopefully Watters will figure out a way through that typical laziness in the modern witch story, but this first issue is not promising on the writing front. Though of course, the vibes he creates with the haunted highway, Dick’s quips and desire to help, and the horror of the car crash are impeccable as usual, the themes are once again messy and unclear. There’s also a bit of a sense of deja vu for those who remember Jim Gordon causing a huge train crash in the first issue of Batman Eternal due to a ghost. Curious to see if Watters reaches for the same unravelling of that plotline (mind control tech).
One thing that’s not unclear, though, is veteran art master Denys Cowan on pencils, with equally legendary inker Norm Rapmund, ably assisted by Francesco Segala on colors. After Dexter Soy’s modern, slick visuals, it’s cool to see the older-school but still powerful Cowan’s linework on Dick and his spooky Watters world.
Jorge Fornes produces an impeccably designed cover as usual for the main cover – an upside down Nightwing shaded in zippetone (dots instead of lines or gradient), over a setting sun on the Bludhaven skyline. Jeff Spokes gives us a very pretty blue, black, and white vision of Nightwing atop a graffiti-covered chimney. Jae Lee’s signature sharp lines combined with gentle coloring by June Chung features Nightwing atop a grotesque. We have a Nightwing symbol on white virgin variant. And lastly, for a significant price hike, we have Jorge Jimenez’s lovely little corner box Nightwing figure in foil variant.
Plunging right away into another supernatural plotline, Dan Watters continues his slow burn run on Nightwing with new main artist, veteran penciller Denys Cowan.
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It’s been a minute, but Steph and Theo are back with Season 18 Episode 3 of The Batman Universe Comic Podcast. So what has been going on with the two of them the last month. Listen in and find out. This episode, however, Steph and Theo are going to do something a little different. Since we’ve missed out on the entire month of February, we going to give you one big segment of Greater Gotham to catch everyone up for the month of February. Of course, they will have time to sprinkle in their thoughts here and there.
Batman #6
DC K.O.: Knightfight #4
DC K.O.: Boss Battle #1
Batgirl #16
Poison Ivy #41
Batman / Static: Beyond #3
DC x AEW #1
DC K.O. #4
Batman and Robin #30
Immortal Legend Batman #6
Sirens: Love Hurts #1
Absolute Batman #17
Nightwing #135
Batman / Superman: World’s Finest #48
Catwoman #84
Detective Comics #1106
Justice League Unlimited #16
Harley Quinn #59
The Bat-Man: Second Knight #3
Batman: Wayne Family Adventures #186-189
This will get you access to Beyond The Gates Of Gotham, our Patreon-exclusive podcast
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