Page 7 – The Batman Universe

Comic Review: Detective Comics #1106

by Adam Koppel February 26, 2026

written by Adam Koppel

In this review of Detective Comics #1106, with the Courage virus already infecting its populace, Gotham is tearing itself apart, and an end stage Batman has one radical option left to save himself and his city.

Detective Comics #1106 main cover by Mikel Janín (DC Comics)

DETECTIVE COMICS #1106
Written by TOM TAYLOR
Art and Main Cover: MIKEL JANÍN
Variant Covers: GREG SMALLWOOD and STEVE SKROCE
Page Count: 32 pages
Release Date: 2/25/26

This review contains spoilers

Detective Comics #1106 begins as Leo (Aka “The Lion”) crows over his “saving” Gotham City from itself, by removing all fear from its citizens. The early results are positive as random people across the city find the courage to take a risk. Meanwhile Batman takes a huge risk of his own, adding Scarecrows fear gas to his special suit’s air supply. Batman’s fear returns and he welcomes it, battling and overpowering Leo (with a timely assist from the Batmobile).

Meanwhile, as one police precinct burns, a fed-up mob of fearless citizens march towards GCPD headquarters where Commissioner Vandal Savage orders his police to deploy lethal measures against the crowd if necessary. Officer Jim Gordon confronts Savage over his extreme measures and the pair come to blows.

With both groups feeling emboldened outside the GCPD, Batman gets Mister Terrific’s help in deploying the fear toxin city wide. When the gas cloud hits, both groups get spooked and run for cover. Batman gets Damian to safety after getting caught in booby trap earlier, and he finds a gift from Leo addressed to Bruce Wayne at the manor, a bottle of fine alcohol, which Terrific discovers has the cure to the Courage virus.

Detective Comics #1106 ends two weeks later as a recuperating Bruce Wayne visits Leo in Arkham Towers, as Bruce offers his appreciation for the gift. It turns out Leo held Bruce in high regard from years ago. Both men share the stories of their childhood loss as their images revert to their younger selves.

page from detective comics #1106 showing Jim Gordon punching Vandal Savage

Did he just hit his boss…? (DC Comics)

Analysis

Detective Comics #1106 wraps up the story arc in grand fashion with an all out mix of action and a measure of catharsis. Writer Tom Taylor pushes the envelope for Batman in the final hours before the Dark Knight becomes fully consumed by the Courage virus. For Taylor, Batman is an indomitable force of will despite limitations of the body. Also having Batman infect himself with Scarecrow’s fear gas is a baller move and a clever fix (which Mister Terrific replicates for the rest of Gotham City).

The showdown between Leo and Batman is epic: Bats headbutting Leo was as unexpected as hitting him with the Batmobile. Taylor’s reveal of how various Gotham citizens respond to having “no fear” in their everyday lives is both encouraging and crushing, but quick fixes are never a long term solution even in comics. “Officer” Jim Gordon punching Commissioner Vandal Savage over authorizing lethal force against protestors is a desperate move, but more out of anger than fear.

The final twist of Leo sending Bruce Wayne a cure in a bottle of alcohol shows the bond Leo felt through being mentored by Bruce during his youth. The deus ex machina of that cure in a bottle is a forced streamlining of a needed resolution, allowing Mister Terrific to mass produce the cure for the entire city, while pumping fear gas across the city immediately provided a temporary solution which came as a relief and was unintentionally hilarious.

Taylor’s exploration of behavioral science is fascinating but short-lived. Leo’s motivations have been clear throughout the story arc, but that final conversation with Bruce Wayne, through their shared bond of childhood trauma illustrates how much Batman has in common with those he fights.

Artist Mikel Janin continues his stellar run with impressive action set pieces including the brutal Batman/Leo battle, Leo’s new “look” in Arkham Tower, Bruce Wayne’s battle-ravaged face, the Bat-armor, the Batmobile, Batman’s hallucinations and the Gotham City equivalent of Times Square. Janin’s color palette covers the pages in rich, hazy blues and greens for the “happy” hallucinations, and warm reds and orange for the flames and scary hallucinations.

Final Thoughts

Detective Comics #1106 wraps up the story arc with a wild, frenetic and satisfying finale with loads of action, a dose of humor, humanity and gorgeous art and color.

Detective Comcis #1106

Final Thoughts

Detective Comics #1106 wraps up the story arc with a wild, frenetic and satisfying finale with loads of action, a dose of humor, humanity and gorgeous art and color.

4.7

Final Score

February 26, 2026 0 comments

Comic Reviews and Editorials

TBU Review: Catwoman #84

by BJ Shea February 22, 2026

written by BJ Shea

In this review of Catwoman #84, after the battle with the Talon, Catwoman heads to a seedy hotel in Croatia to lick her wounds.

Catwoman #84 main cover by Sebastián Fiumara (DC Comics)

CATWOMAN #84
Written by TORUNN GRØNBEKK
Art by PATRICIO DELPECHE
Main Cover: SEBASTIÁN FIUMARA
Variant Covers: FRANK CHO, MAHMUD ASRAR, W. SCOTT FORBES
Page Count: 32 pages
Release Date: 2/18/26

This review contains spoilers

As Catwoman #84 begins, we flashback to the Year One time with Selina and Holly living in Gotham and doing what it takes to survive. Selina and Holly are playing a game asking each other what they would do with all the money in the world. Holly says she would live in Australia and buy a bike with a bell on it. Selina says if she had all the money…. She would have a choice. Just then Mr. Hansen arrives with a job for Selina.

The job Hansen offers is shaky at best and Selina questions it. Hansen says if she does then she will wipe Holly’s debt clean.

Selina and Holly sneak into a party to do what Hansen needs. Selina gets to work while Holly is the lookout. While Selina is breaking into the safe and Holly is the lookout in the bathroom, she is being harassed by a man. The man busts into the bathroom and gets punched in the face by Selina. They escape and Selina asks Holly if she is on drugs.

In the present Selina breaks into Holly’s house in Croatia looking for her. Catwoman finds a note from Holly about her making amends to her. Holly tells a story of beginning a relationship with a woman in NA but she began stealing from her. Holly knew what that was like because she stole from Selina all those years ago. Catwoman finally reaches Holly on the phone. Holly is in Gotham and Selina says she will be there soon.

Selina heads back to Gotham and visits her mother’s grave at the cemetery and buries the diamond necklace that she stole from Carmine there. Someone calls Carmine and alerts him that Selina is there. Carmine confronts Selina and says that he knows that she is Catwoman. He tells her he does not need a daughter but is in need of a Catwoman. And now Catwoman works for Carmine Falcone.

Analysis

Catwoman #84 is a pretty great issue. The Selina and Holly relationship is great in this issue. We see them in the Year One time, before Batman, before Catwoman. That time is something that plenty of fans know because that is such a famous story and Selina and Holly are such a famous pair from it.

Many times throughout Catwoman #84 Selina talked about how much she needed Holly and that she probably needed Holly more than Holly needed Selina. It reminded me of Bruce and Dick or any of the Robins. How he would never admit that he needs them but deep down he does but it was refreshing to see Selina admit it.

Great ending with Carmine and you could feel real tension between Selina and Carmine. Carmine grills her about the diamond and knows she took it but Selina would never admit it. Then Carmine, knowing she’s Catwoman, is going to blackmail her and force her to work for him. It makes for an interesting story going forward.

Grønbekk has a great voice for Selina and is writing an interesting story. Getting Selina back in Gotham, rekindling her relationship with Holly and delving deeper into their past, and introducing a new partnership with Carmine is all great stuff. Great issue. Great art as well by Delpeche whose art is pretty timeless and can fit in the Year One timeline and in present day Catwoman and Gotham.

Catwoman #84

Final Thoughts

Final Score

February 22, 2026 0 comments

Comic Reviews and Editorials

Review: NIghtwing #135

by Ian Miller February 22, 2026

written by Ian Miller

In this review of Nightwing #135, Nightwing must end the Zanni’s horrifying plans…but maybe not the Nightwing you think!

Nightwing #135 main cover by Dexter Soy (DC Comics)

NIGHTWING #135
Written by DAN WATTERS
Art and Main Cover by DEXTER SOY
Variant Covers: DAVE JOHNSON, FABRIZIO DE TOMMASO
Page Count: 32 pages
Release Date: 2/18/26

This review contains spoilers

Nightwing #135 begins as Titans Tower falls under Olivia/Columbina’s metaphysical attack. Martian Manhunter holds Batgirl (Barbara Gordon) back from trying to rush in to save Nightwing Prime – but the Fifth Dimension powered child wakes up and rescues himself in an awesome display of superhero power. He tells Babs he hears the Zanni’s music, and follows it.

In the Cirque du Sin, as the Zanni is injured by the Nite-Mite Fifth Dimensional soup, Nightwing manages to imagine/create a ladder of escape and persuade the lost children to climb it – but the Zanni soon follows, a malevolent nightmare. As Zanni taunts Dick, saying he’s more of an idea and asking what a Nightwing is, Nightwing Prime arrives and begins battling the evil demon. Zanni claims that a shard of darkness is now buried in each child’s heart, ready to let the Zanni burst into reality. But Nightwing Prime says he’s going to stay in the Cirque to fight – since superheroes are a much cooler idea than the circus.

Nightwing reaches Bludhaven with the kids and tries to go back for Nightwing Prime, but the door to the Cirque is closed, and the children need help in the massively destroyed city. The Justice League helps search and rescue, and the gangs Flyboiz and Teddies both help as well.

Martian Manhunter says Nightwing can’t go back to the Cirque to rescue Nightwing Prime, and Babs tells Dick it’s a victory – something Dick can’t accept. He visits Claire, Commissioner Maggie Sawyer’s girlfriend’s daughter, and learns that Nightwing Prime is all right. He visits children in their dreams, whenever the Zanni tries to give them nightmares – a superhero for children terrified of the dark. Strangely happy, Dick gives Claire the rabbit who powered the Spheric mech that he rescued many issues ago.

Epilogue: Mayor Bernard Bisogni looks over Bludhaven and plans to break the city to his will, and enjoy the pain.

Analysis

I’ve been pretty hard on Watters’s run on Nightwing for a while now. I really, really loved the miniseries Sword of Azrael, with its thoughtful, delicate, vivid, nightmare and dream-inducing qualities. Nightwing has some of that same unreality, which doesn’t work as well in a hero who tends to be more grounded and street level, but in the end, I feel that Watters managed to make all the metafiction work. Perhaps inspired by Neil Gaiman (and Terry Pratchett) misquoting G. K. Chesterton, Watters illustrates this deep truth about stories for children: “The baby has known the dragon intimately ever since he had an imagination. What the fairy tale provides for him is a St. George to kill the dragon” (“The Red Angel” – sourced with commentary on the misquotations here: https://saveversusallwands.blogspot.com/2016/05/tracking-back-that-chesterton.html).

The Zanni – a horrifying clown (who, thankfully, Watters has NOT tried to tie to The Joker, a wise choice given the prevalence of clowns in the Batfamily villain gallery) who conjures up all of the terrifying things children imagine in the dark, is finally beaten by a child who has embraced the metafiction/fifth dimensional idea of the superhero – the idea that someone who started out weak and helpless can gain power and use it to help others. And even though I’ve been very frustrated by the seeming ideological incoherence of Watters’ criticism of the Comics Code Authority in the Nightwing Annual last year while also showing that there’s real evil found in stories that can warp and ruin lives, the complex deployment of the Circus image – not just free spirited entertainers, but also the Romans feeding Christians to lions before cheering spectators – displays a story that’s more interested in a complex seeking of truth rather than cheap historical ideological points scored. Well done, Watters, well done.

For the past two years, artist Dexter Soy has been the main provider of visuals for the story of Nightwing vs. the Zanni, and as he bids farewell to Bludhavenin Nightwing #135, his work is really well done. The sketchy but clear linework around the nightmare Zannia and the dark but heroically dreaming Nightwing Prime form a beautiful poetic capstone to this metafictional story. Colorist Veronica Gandini provides the dark, noir and nightmare inflected tones that wash through the Cirque and Bludhaven, and the book continues to be a wonderfully consistent package in an age of all too common fill-in artists.

Watters could perhaps be accused of letting Nightwing take a step back in his finale as his original character defeats his original villain. I’m not sure that anything from this long arc will really be employed by other writers going forward – the Zanni and Nightwing Prime are contained, and it would be a shame to undo that delicate metafictional balance created by Watters. But as a story that highlights both who Nightwing is, and why superheroes are important, I think it’s a very solidly crafted arc, perhaps a little too dependent on the ending, but most good stories do depend heavily on the ending to really work. The epilogue promises a conflict between the new mayor of Bludhaven, which feels a TAD bit overdone after both the “evil police violence” in the just finished arc, and the Batman arc that is both ongoing with Vandal Savage as police commissioner of Gotham and Poison Ivy about to become Gotham’s mayor – but hopefully Watters executes with a twist, just as he has with the Zanni.

As main series artist Dexter Soy bids farewell to the title after a very solid run, he provides a fitting farewell cover with Nightwing driving a motorcycle up a crane towards the moon, with some lovely doves flying above – giving the emotional impression of “onward and upwards!” Dave Johnson’s variant features a grinning, square jawed Nightwing leaping down the urban canyon with a lot of negative space, humorous title lettering, and more flying doves! Lastly, in the style of Julian Totino Tedesco, Fabrizio de Tommaso’s variant shows Nightwing blasting a gun wielding criminal into a trash heap with his escrima sticks – lovely painted feeling, but with a very humorous layout and concept – and a seagull. I wonder if flying white birds was an editorial brief on all these covers!

Final Thoughts

After quite a few shaky chapters, Watters and Soy stick the landing quite well, with thoughtfulness and emotional power.

Nightwing #135

Final Thoughts

After quite a few shaky chapters, Watters and Soy stick the landing quite well, with thoughtfulness and emotional power.

Final Score

February 22, 2026 0 comments

Comic Reviews and Editorials

Batman/Superman: World’s Finest #48 Comic Book Review

by Adam Koppel February 20, 2026

written by Adam Koppel

In this review of Batman/Superman: World’s Finest #48, Owlman and Ultraman wreak havoc over on Earth-3 as the deadly duo track down a mystery acquisition of immense power. These two do not play well with others.

Batman/Superman: World’s Finest #48 main cover by Dan Mora (DC Comics)

BATMAN/SUPERMAN: WORLD’S FINEST #48
Written by MARK WAID
Art by MARCUS TO
Main Cover: DAN MORA
Variant Covers: MARK SPEARS, ADRIÁN GUTIÉRREZ, MEGAN HUANG
Page Count: 32 pages
Release Date: 2/18/26

This review contains spoilers

Batman/Superman: World’s Finest #48 begins decades ago in Gotham City as the familiar origin story involving Bruce Wayne and his parents unfolds, only with a dark twist because they are on Earth-3. Twenty years later the citizens of Metropolis run for cover as Ultraman enjoys some sick thrills by shooting heat vision down at them. Cut to Gothamforge Steel where Owlman chases Riddler to his death. A grumpy Ultraman arrives and Owlman fills him in on a quest for power from S.T.A.R. Labs that will allow them to take over the other crime syndicates and go global.

Ultraman’s in, but inquires about the source: it’s Owlman’s protégé Talon who died after giving him the information. With S.T.A.R. Labs no longer in possession, the duo meet up with the newest Talon who has set up a meeting with Niles Caulder and the (Doom Syndicate) and provides them with an offering. Caulder doesn’t appreciate the trinkets they offered and the syndicates clash. The duo make short work of the Doom Syndicate and follow Caulder’s information to Doctor Will Magnus.

At Magnus Robotics, the Metal Men fare better than the others, but an assist from Superwoman (Lois Lane) turns the tide and Magnus loses his head.

Batman/Superman: World’s Finest #48 ends as Ultraman tears open the lead lined vault door and discovers that the prize awaiting them are the incapacitated forms of Batman and Superman: World’s Finest.

page from batman/superman: world's finest #48 showing a different origin

Wait… this isn’t how the story goes. (DC Comics)

Analysis

Whew, Batman/Superman: World’s Finest #48 flips the script on Mark Waid’s typical fun World’s Finest tale, as the deadly duo tear up Earth-3 in search of what ends up being their imprisoned Earth-1 counterparts. Ultraman and Owlman have all of the power and none of the charm or character. No compassion, no friendship and every alliance up for grabs if the whim suits them. Waid’s dark bent on Owlman’s origin (Thomas Wayne, Jr) is only the start of this dark odyssey.

Mark Waid explores Earth-3 as the antithesis to Earth-1(remember this takes place years ago), but as always the writer finds a way to include a love letter to Silver Age DC Comics. In this instance, Niles Caulder, the Doom Syndicate, Will Magnus and the Metal Men are pretty much the same, just a little bit darker (an out of their depth). Owlman’s chillingly casual request for Alfred Pennyworth to retrieve another disposable child from captivity and become the newest Talon is par for in this darkest timeline.

The new Talon recruit brings a small amount of levity as they fawn over Ultraman (who couldn’t care less if the kid was on fire). Waid has explored variations of Batman and Superman in Batman/Superman: World’s Finest before (Kingdom Come for example), but this alternate reality is still a shock, despite Earth-3 not being a new concept. It’s tricky to not make Ultraman sound too much like Homelander from The Boys or Owlman from Mark Millar’s Nemesis, but Waid accomplishes the task.

The easy rapport and camaraderie shared by the World’s Finest duo is absent in Batman/Superman: World’s Finest #48, replaced by an icy and uneasy pragmatism between two dangerous individuals whose goals align more often than not. Owlman’s blunt response to the (hero) Riddler would be funny if it weren’t so cruel. Ultraman zapping random Metropolis citizens with heat vision for kicks is also unsettling.

Longtime artist Marcus To fills in on Batman/Superman: World’s Finest #48, and the results are impressive. To’s crisp, sleek linework and facial expressions maintain the high bar of quality set by Dan Mora and Adrian Gutierrez. To provides enough details to the city scenes, while providing devastating action sequences for a pair of villains who aren’t shy about targeting non-powered, non-combatants. The designs for the Metal Men and Doom Patrol of Earth-3 are reminiscent of their Earth-1 counterparts.

Final Thoughts

Batman/Superman: World’s Finest #48 takes a walk on the dark side (no not that one) of the DCU, with a disturbing but engaging World’s Finest team up. The twists on classic Silver Age DC Comics are still present, only darker. The writing is sharp enough to draw blood, while the art is cooler than a heart of ice. That final reveal raises some pertinent questions and promises some excitement down the road.

Batman/Superman: World's Finest #48

Final Thoughts

Batman/Superman: World's Finest #48 takes a walk on the dark side (no not that one) of the DCU, with a disturbing but engaging World's Finest team up. The twists on classic Silver Age DC Comics are still present, only darker. The writing is sharp enough to draw blood, while the art is cooler than a heart of ice. That final reveal raises some pertinent questions and promises some excitement down the road.

February 20, 2026 0 comments

Absolute Batman #17 main cover by Nick Dragotta (DC Comics)

Comic Reviews and Editorials

Review: Absolute Batman #17

by Kris Burke February 19, 2026

written by Kris Burke

Absolute Batman #17 main cover by Nick Dragotta (DC Comics)

ABSOLUTE BATMAN #18
Written by SCOTT SNYDER
Art by ERIC CANETE
Main Cover: NICK DRAGOTTA
Variant Covers: CLAYTON CRAIN, DAN PANOSIAN, ERIC CANETE, KARL KERSCHL
Page Count: 32 pages
Release Date: 3/11/26

Make a wish.

That’s the theme of Absolute Batman #17.

In this issue, we are introduced to the Absolute Universe of Pamela Isley who of course goes on to become Poison Ivy. She’s definitely not the biggest start among Batman villains, but she’s got an intriguing background nonetheless.

Like many of this universe’s rogues gallery, this version of Poison Ivy is different from what we have seen in other iterations. Yet it is true to the character and also very good. Scott Snyder has done it again and it works.

We meet a young Pamela in a flashback atop Gotham’s Heart Building with her mother. We learn from Ivy’s narration that her mom is sick but we don’t learn with what exactly although it reads like some form of brain cancer. It’s something so many of us can relate to, and helps make Ivy a more sympathetic villain.

It’s her mom that initially gives Pamela the nickname “Ivy” because of her love for climbing trees behind her cabin. She hands Pamela dandelion and tells her to make a wish before blowing the pedals off of it. Another relatable moment for anyone who ever blew the cotton off the fuzzy dandelions on the playground.

We’re then brought to the present where some kind of monster and then Ivy confront an officer in the same building.

Trees and plants have overtaken it when Batman gets inside it. He learns from Alfred several officers went in with a sound weapon and Batman sees them. Alfred disputes that saying no humans were detected on the floor Batman is on.

That’s because the officers have now become some plant monsters. It’s a very science fiction type of situation, but in this universe it works.

We next go back in time again, this time only a week. Bruce is in the sewers looking for Waylon Jones to see if that necklace is helping him recover and only finds shedded skin, indicating Waylon is actually growing. He’s not sure if he’s actually helping Killer Croc or making his problem worse. More on that shortly.

After being escorted out of the sewer, Bruce goes to see Dr. Thomkins about Harvey Dent and finds out he’s gone. This hits Bruce deep given how close he is to Harvey and pushes him closer to the edge of giving up.

Bruce then walks the street wondering about his crusade as Batman. He says Batman was never supposed to be the story but after the encounter with Bane, Batman has gone mainstream in a way Bruce never intended. It’s the kind of internal debate you are more likely to see in a Spider-Man comic but it works really well here

I’m guessing this is a setup for some kind of crisis in a later issue. You don’t see Batman stop very often and it would be a fair bit to think we’ll get as part of the storyline of Batman should just hang it up and if he’s making things worse. You see it in a lot of different Batman stories and it’ll be something we likely see here too

We move forward to the fight against the plant monsters and Batman realizes he encountered them before at Ark M. and tells Alfred to look up the name “Isley”

Yet another flashback comes up, this time to an older Pamela. She’s been studying fusing human cells with not just plant DNA but other DNA as well. She’s also lacking enough funding for her work. Now this reads more like a standard superhero origin but at least you’re a little more sympathetic towards her here.

The classic Ivy origin with a twist.

At the same time, Bruce goes to see Joe Chill who suddenly doesn’t want to see him. The dynamic between Bruce and Joe Chill has been one of the best things about this series.

Another future seed planted? I guess this is part of the reason why this is one of the best selling comics out there right now.

Back to the present, Batman learns Pamela is supposed to be dead before rescuing Officer Gordon. He then starts to climb a giant plant.

Another flashback: Bruce goes to see his mother, who is talking to Jim Gordon. She mentions she wants to do something, but she’s worried if it comes out everything will change. Bruce walks away without seeing her and continues contemplating his effect as Batman.

We cut back to the fight where Batman makes it to the top and how Pamela got her powers is explained alongside the fight. Several other “Pamelas” emerge before Batman encounters the horrific, true Poison Ivy. It’s an absolutely visually dizzying fight.

We cut back again to Martha on the phone and the big reveal at the end: she’s a member of a certain super secret organization. Let’s welcome this universe’s Court of Owls. I’m sure we’ll be seeing more of them in issue 18.

Analysis

I said it in the review of #16, but I LOVE this series. It’s a different but familiar take on the characters we know and love. It’s really the way to go when you have a character that’s nearly 90 years old. The trick is to not lose the heart and core of the character.

You can’t help but feel sympathetic for Pamela, especially with what her mother is going through. She also makes a point regarding corporations and how funding for research is handled and it makes you think about how research is paid for in our own world.

It’s also good that we are getting a little more introspection from Bruce. It’s clearly setting up a crisis of purpose storyline that Batman often experiences. This rendition of it will be very different however given the changes to Batman’s origin and his mother’s secret we learn about on the final panel.

The story and artwork are top notch as usual too. Snyder has done it again.

Final Grade

I continue to enjoy Absolute Batman. Snyder’s take on these characters continues to be familiar but also unexpected that it keeps each reveal fresh and exciting. It’s become par for the course and that is a huge praise for Snyder and everyone else involved. Reading Absolute Batman is a monthly highlight for me. The only drawbacks to issue 17 are there were too many flashbacks that I lost track of when some of the encounters happened (Bruce walking and going to talk to his mom mainly). It’s also not exactly clear who is responsible for Pamela’s transformation, but that reveal could and will likely come in a future issue.

I can’t wait to read it.

Absolute Batman #17

Final Thoughts

I continue to enjoy Absolute Batman. Snyder’s take on these characters continues to be familiar but also unexpected that it keeps each reveal fresh and exciting. It's become par for the course and that is a huge praise for Snyder and everyone else involved. Reading Absolute Batman is a monthly highlight for me.

Final Score

February 19, 2026 0 comments

Batgirl to Oracle

Episode 270

by Kimberley Rockmore February 17, 2026

written by Kimberley Rockmore

Podcast: Play in new window | Download | Embed

Subscribe: Apple Podcasts | Spotify | RSS

Guest-starring Tom Panarese! Join us as we look at the controversies, conflicts, and ethical dilemmas that is Nightwing Annual #2 (2007). Stella’s Dungeon of Smut, our literature recommendations, and some listener emails also appear.

February 17, 2026 0 comments

Comic Reviews and Editorials

Review: Immortal Legend Batman #6

by Kris Burke February 17, 2026

written by Kris Burke

In this review of Immortal Legend Batman #6, it’s the final showdown between the Legends and the Joker… after Bruce deals with Tommy Elliot.

Immortal Legend Batman #6 main cover by Dan Mora (DC Comics)

IMMORTAL LEGEND BATMAN #6
Written by KYLE HIGGINS and MAT GROOM
Art by ERICA D’URSO and DAN MORA
Main Cover: DAN MORA
Variant Covers: DANIELE DI NICUOLO, SARAH BASLAIM
Page Count: 32 pages
Release Date: 2/11/26

This review contains spoilers

It’s Batman vs The Joker as you’ve never seen it before.

If that sounds a little bit like a cinematic trailer, that’s because this issue reads and looks like a movie. Robin and Nightwing are left to fend for themselves against The Joker, who has now become the Immortal Legend Batman. It’s a wild notion but we’ve seen Joker act like The Dark Knight before yet never quite like this.

As for where Bruce is, we pick up where we left off from issue 5 with Bruce saving Tommy Elliot from drowning after they were thrown into the water by the Joker. With his belt gone, Bruce tells a disbelieving Tommy he needs to make a new one and takes him to “Old Gotham” which is the original Gotham City. They enter this universe’s version of Blackgate where humans first started using Dark Matter and brought the first Shadows into the world.

Tommy and Bruce encounter a portal with the tear to the other universe. Tommy holds Bruce at gunpoint saying he’s the one who needs to enter despite the risk. Tommy enters after Bruce says he isn’t strong enough but then Bruce has an encounter with what could be Tommy but also the dark universe. What follows is Bruce realizing he’s stronger than his pain and that he can overcome it. It’s a very grounded moment for a story set in such a fantastical universe.

Bruce emerges with what he needs to make a new belt and suddenly he’s back facing the Joker in a new suit. I won’t spoil it but the color scheme is a throwback to one of the greatest era in Batman comics. Fans won’t be disappointed. Oh, and Tommy is still alive and a seed is planted. More on that later.

I won’t spoil the ending, but Bruce’s confrontation with the Joker is the stuff of absolute science fiction but it’s also quintessential Batman and Joker talking while duking it out. I’ll just say it gives major “Batman Beyond: Return of The Joker” vibes. One note about the ending: remember Tommy is still alive. That and the image of the last panel sets up another run for this line. Will it get a sequel? That depends on sales, I suppose.

Analysis

I mentioned it in my review of the previous issue but Mat Groom and Kyle Higgins get what the core of Batman is all about. Setting Batman in a futuristic/fantasy world is not everyone’s cup of tea and I include myself among them for the most part. Keep me in a a grounded Gotham City ON EARTH as much as possible, please. Yet these six issues kept me intrigued for the most part. Sure, there are a few “yeah, right” moments” but given how true to the characters both writers stay it’s easy to get past those moments.

I will nitpick a little on the art and coloring, however. There are times when the panels have so much going on in terms of action and coloring that you can lose track of who is talking. This is especially true in the fight between Joker, Robin, and Nightwing. Thankfully the dialogue boxes change color so you at least know when the Joker is speaking but it does at times get a little tricky to keep up with the action.

Final Thoughts

Overall, Immortal Legend Batman #6 definitely sticks the landing on this rather unique take on Batman. The characters are easily recognizable despite the weird surroundings. In the end, that’s all you can ask for when you’re reading a comic. The art is dazzling if not a little overstimulated at times, but I respect the choice of going big when it’s something as legendary as Batman vs. The Joker. I get it, but it slowed the reading down a little bit for me. Yet I still couldn’t wait to see how this ended and that’s the highest compliment coming from someone who expected to not like this series.

Will we get another run? That’s up to you, the readers.

Review: Immortal Legend Batman #6

Final Thoughts

Overall, Immortal Legend Batman #6 definitely sticks the landing on this rather unique take on Batman. The characters are easily recognizable despite the weird surroundings. In the end, that's all you can ask for when you're reading a comic. The art is dazzling if not a little overstimulated at times, but I respect the choice of going big when it's something as legendary as Batman vs. The Joker.

3.8

Final Score

February 17, 2026 0 comments

Comic Reviews and Editorials

Review: Batman And Robin #30

by Stephanie Mounce February 10, 2026

written by Stephanie Mounce

In this review of Batman and Robin #30, with get to the end of Phillip Kennedy Johnson’s run on the series as the Dynamic Duo work to stop Scarface and the Quiet Man from causing chaos at Sacred Heart.

Batman and Robin #30 main cover by Nimit Malavia (DC Comics)

BATMAN AND ROBIN #30
Written by PHILLIP KENNEDY JOHNSON
Art by FICO OSSIO
Main Cover: NIMIT MALAVIA
Variant Covers: GUILLEM MARCH, BRIAN BOLLAND
Page Count: 32 pages
Release Date: 2/11/26

This review contains spoilers

Batman And Robin #30 begins with a nominally inspiring speech by the Penguin at the Sacred Heart Convalescent Home opening, taking all the credit.
Upon arrival, Batman hears on the police scanner than The Quiet Man, Mercer, escaped Blackgate. Batman tells Robin that there will be no blood shed on their watch

Meanwhile, Scarface punishes one of his new subordinates by murdering him brutally with a tommy gun. Things are looking bad as TQM and Scarface are making their way to the crowded plaza.

Batman and Robin are able to set of fireworks to cover the noise of them taking out the armed goons to avoid a mob panic. Wesker escapes and Robin follows him, but is taken out by a gun punch from The Quiet Man. Mercer is about to kill Wesker and Robin comes to enough to not become trapped by his choices; to let Wesker going back to Arkham be enough.

Mercer agrees, but Scarface tries to kill Robin, so he pushes the boy away and takes the bullet. Just then Batman arrives and apprehends Wesker while Robin performs triage on Mercer. Batman expresses admiration for Robin’s bravery in performing minor surgery to save The Quiet Man.

Back at Bat HQ with the evening saved, Batman discovers that Mercer has escaped again, even in his critical condition. Since he saved Damian’s life, he is letting him have a head start before going after him, and mentions that if he gets across the river, he’ll be gone for good.

Damian starts to think and realizes that the stolen silver, the Brazzi, the man who took off with the silver, and Alvin Mercer’s body were never found. What if they never made it out of Gotham?

Robin, along with the Gotham Irregulars scope out the bridge and river, and later he and Batman dive down to find the van with all the silver and two bodies inside.

Alvin Mercer’s body is finally laid to rest, with his father watching at a distance. The silver was used to pay for a pediatrics center for the hospital. Damian and Bruce start bonding while volunteering at the hospital together. Batman and Robin #30 ends with Robing declaring that Gotham will always need a Batman, and Batman will always need his Robin, as the two fly off into the night.

Analysis

Man, what a ride we’ve been on with PKJ. After meeting him in New Orleans for Fan Expo, he seemed really sweet and genuine, with a love for the characters. I will say, over all, I have enjoyed his run, even if we were resentful at first that he apparently took Damian’s character development back a few steps, and Batman was…not a great dad. But I am pleased with where the Dynamic Duo has ended up under his pen and I truly hope the next person to pick up the pen can follow suit.

I am so glad The Quiet Man made good choices at the end. I was thinking, while reading this issue in particular, that a benefit of creating new characters that go away when a writer’s run is over is that you can do whatever you want with them. They don’t need to return to a status quo that keeps their characters in limbo for their whole existence. They can grow, mature, and change. So did Mercer, who in the end chose mercy instead of violence, whereas Wesker did not get his redemption arc after all.

I have hope that the Gotham Irregulars will be a continued staple in this series…as well as hope that this series will continue, even though it has been missing from the last few solicitations. This hope is based on no factual evidence what-so-ever. Just a fool’s hope.

Batman and Robin #30 wrapped things up beautifully, giving hope for Mercer, peace for his son, punishment for Wesker, Penguin got praise and glory, and Bruce and Damian were able to further their bond and relationship as father and son, which is what (I hope) we are all here for. It was lovely.

The art in Batman and Robin #30 wasn’t bad, though some people’s faces looked a bit goofy. When the crowd is distracted by the fire works, I thought they were mind controlled or brain dead or something…but they were fine. And one of the last images of Damian has his eyes looking a little off. But other than that, the action was great and the big panels were a great way to end PKJ and Ossio’s run. Especially the last panel, which is nothing short of frame worthy.

Thank you Phillip Kennedy Johnson and Fico Ossio for your work on this book and the great stories you told.

Batman and Robin #30

Final Thoughts

Creating original characters allows writers to give characters depth, growth, and redemption, and I think all that was achieved here. And the Bruce /Damian bonding at the end was delightful.

Pros

Art was pretty great

The Quiet Man had a good conclusion

Batman and Robin are back on a good page

Cons

Some of the art was...weird

NO MORE ISSUES SOLICITED!!!

4.5

Final Score

February 10, 2026 0 comments

Comic Reviews and Editorials

Batman/Static: Beyond #3

by D.M. Grant February 9, 2026

written by D.M. Grant

In this review of Batman/Static: Beyond #3, the Tomorrow Knight and Static are at odds on how to stop Shutdown, just as the power outages across Dakota and Neo-Gotham grow worse and worse!

Batman/Static: Beyond #3 main cover by Nikolas Draper-Ivey (DC Comics)

BATMAN/STATIC: BEYOND #3
Written by EVAN NARCISSE
Art by MIGUEL MENDONÇA
Main Cover: NIKOLAS DRAPER-IVEY
Variant Covers: BERNARD CHANG, SANFORD GREENE
Page Count: 32 pages
Release Date: 2/4/26

This review contains spoilers

The enormous power outage from Shutdown leaves both Gotham and Dakota completely blacked out, with Static unconscious and unresponsive. Batman flies him towards the lightning storm in the sky, which revives Dakota’s hero just in time to save his young colleague before the Bat-Suit runs out of power.

Static is furious at Batman for jumping the gun, causing Shutdown to freak out and destroy all electronic power statewide. He leaves Terry with some sobering advice about not letting the mantle of Batman work him, but have it work for him. Later the next night, Static is shot trying to stop masked punks from attacking aid workers. His powers have been grievously affected by Shutdown, and he’s lost confidence in himself.

Terry feels similarly guilty. His actions led to the attack from Shutdown, resulting in the disabling of the Bat-Suit. He avoids returning to the Bat-Cave, opting to check in with his family and Max, unsure on how to act as a hero despite engaging in fights with thieves and Kobra troops.

Shutdown, a.k.a. Melvin Kim, returns to his parents revealing his abilities and furious when they tell him they’ve been working on the top-secret Q-Juice project. He feels betrayed that their secrecy involved everything he’d been protesting against, but uncontrollably teleports away.

The next day, a Tomorrow Institute graduation hosted by Adam Evans a.k.a. Rubberband Man is interrupted by Shutdown, who blames Static for his parents involvement in the Q-Juice project. As he attacks, Static, Rubberband Man and the Tomorrow Institute students all retaliate with their special abilities.

The team cannot figure how to wake Static up. (DC Comics)

Analysis

I’ve been solidly enjoying this miniseries so far, but with this issue is especially exciting as it features Miguel Mendonca on art duties. As I said in last issue’s review, Nikolas Draper-Ivey is a terrific artist, but his interiors often leave a lot to be desired when it comes to the finishes. Details like backgrounds and foreshortened anatomy can suffer, and I think Draper-Ivey is stronger as a splash page artist and cover artist moreso than an ongoing interior penciller (although his work on Static: Shadows of Dakota was stronger, and I’m curious if the lead time on this book gave him less of a deadline window). Miguel Mendonca on the other hand is a far more detailed and experienced draftsman. I’m only previously familiar with him from a couple of years back during Chip Zdarsky’s Batman run, in which he provided artwork for the backup stories with Tim Drake. He’s got a very refined, slick style that shows off more of a mastery of the human form. Additionally, he’s a great Batman Beyond artist. His HUD panel with Terry’s face was a great insert shot, as well as his rendering of Batman’s mask often in shadow without a visible mouth. Again, I’m a fan of Draper-Ivey, but Mendonca’s work really gave this issue a shot in the arm.

Narcisse’s writing for this is still solid, regardless of the artist. Three issues in, and this is one of the better Batman Beyond comics I’ve read (I’ve not read many past the new 52 series from forever ago), and an even better crossover. He makes the combination of a Terry McGinnis/Virgil Hawkins team-up not only work, but work with Virgil being much older and almost unrecognizable. But the key word is “almost”. Virgil still feels guilt and responsibility, and even feels bad for ragging on Terry. There’s an unspoken understanding of how similar Terry is to how Virgil used to be back when he was a teenager. Maybe a bit more focus on that could be appreciated, but just enough of it is there between the lines for it to be a good contrast.

There’s also a lot of fine details that fill in gaps between classic Milestone and this future iteration. Virgil and Daisy have gotten married. Amistad, Rocket’s baby son, grew up to become an inheritor of her powers and is the hero Beacon. We also get a reference to Shadows of Dakota with Rubberband Man invoking his kidnapping from that storyline. None of it is confusing or overtly expositionary. It’s all fast-paced, but with just enough focus to not feel like throwaway scenes. Especially with Batman and Static rescuing each other in the beginning. That managed to have just enough suspense and action to feel like a real *moment*. Lesser comics would’ve solved that dilemma in a single page. But Mendonca’s art makes it breath and shows off all of his shining qualities in four explosive pages.

I think Batman/Static: Beyond #3 ends a bit abruptly with Shutdown’s attack of the graduation, but overall this is a fine comic featuring fan-favorite heroes. One of the better books out at the moment, which is saying a lot, as DC’s been quite solid for a long time now.

Batman/Static: Beyond #3

Final Thoughts

I think Batman/Static: Beyond #3 ends a bit abruptly with Shutdown's attack of the graduation, but overall this is a fine comic featuring fan-favorite heroes. One of the better books out at the moment, which is saying a lot, as DC's been quite solid for a long time now.

Final Score

February 9, 2026 0 comments

Comic Reviews and Editorials

Comic Book Review: Batgirl #16

by D.M. Grant February 6, 2026

written by D.M. Grant

In this review of Batgirl #16, the War of Shadows comes to a dramatic end!

Batgirl #16 main cover by David Talaski (DC Comics)

BATGIRL #16
Written by TATE BROMBAL
Art by TAKESHI MIYAZAWA
Main Cover: DAVID TALASKI
Variant Cover: JORGE FORNÉS
Page Count: 32 pages
Release Date: 2/4/26

This review contains spoilers

Batgirl begins Batgirl #16 by dictating into a receiver on the events of the past night. As she recounts, we recap that Nyssa Al Ghul created Samsara as a haven for those wanting to heal from their trauma. She intended to further these goals with the aid of stolen blue poppies from The Unburied, who then (and unbeknownst to the others) were led into the city by a traitorous Jaya. But as Jaya meets up with Batgirl and they confront Nyssa and Angel Breaker over their betrayal, Nyssa offers Cass everything she desires – from being free from the pain of her upbringing to getting rid of Tenji. Cass rejects, racing off to find and rescue Tenji.

Aruna finds Jaya at the Samsara turrets and figures out that she’s a traitor. Learning her true motives when she transforms into her, Jaya quickly disable Aruna and throws her off the mountaintop.

Batgirl finds Tenji and Kalden the Unseen. Rejecting to fight for vengeance over her mother, Batgirl frees Tenji from his chains just as Nyssa arrives to kill her. Cass quickly jabs her with several pressure point-hitting attacks, restoring in Nyssa her sense of touch. Leaving Samsara with Tenji and Jaya, she concludes her report to Oracle as we see the Unburied return their stolen poppies to their hideout, and Aruna posing as one of them, escaping Samsara alive.

Analysis

Finally. We are finally finished with the Unburied plotline. Seemingly.

Takeshi Miyazaki returns for Batgirl #16, delivering pretty solid artwork once again. Batgirl looks great both masked an unmasked brandishing a katana. There’s actually some neat sequential storytelling, like the panel-to-panel transition of Aruna getting thrown off the mountain, and Batgirl hitting the ground in the next shot. That’s uncommon for this series, and I’d like to see more of that ingenuity.

Story-wise, nothing much in Batgirl #16 was hugely unexpected. The events of the conclusion were fine and I liked how Cass remains at the center of everything. Brombal has been good about keeping focus on her when there are so many characters that have been introduced in this series. So the general outline of this chapter was good.

I couldn’t stand the dialogue.

If most Cass Cain fans agree that the initial run of her first series by Puckett and Scott is the bar to reach towards, then there is way too much talking in Batgirl #16. I can be forgiving whenever Batgirl spouts off badass one-liners before an action sequence, but Brombal has been almost reliant on that, to the point where scenes seem to start over again in exposition despite everything happening in linear sequence. Consider the fact that Batgirl’s opinion on the Unburied had changed in the last couple of issues, which is why she sees through Nyssa in this one. Why exactly is she reacting and fighting them in the beginning, saying “Test Your Luck”? It’s like she’s got no reaction on the new information until she has to say it again for the readers.

Not only is the dialogue ill-placed, it’s also lousy. When Batgirl and Jaya are confronting Nyssa, Jaya says “You’re a villain, Nyssa Al Ghul.” Next panel, Nyssa says to Tenji’s whereabouts “He tried to play hero and save the day.” While I imagine the intent was to underline everyone’s motivations with an ironic sense of remove in invoking language like “hero” and “villain”, their characterization is so thin any subversion effects as straightforward text. It comes across as unironic, chosen words in the voices of these people who are being rendered as terribly shallow and one-dimensional. But it’s worse with Batgirl. Cassandra’s struggles from her past, her yearning for justice and her sense of herself are all swirling in her head, to the point that she talks to herself out loud all the time. And look, every fan is different, but I don’t see Cassandra Cain saying out loud “I choose to reach for the light!” Maybe Brombal is going with a Cass who wears “Reading is FUNdamental” shirts and loves poetry, so her voice is embedded with that kind of influence (I still don’t love that recent element to her character), but that’s not how it comes off in the book. It reads as histrionic and melodramatic, same as the entire book has read with the over-the-top martial arts drama. Everyone sounds mostly the same or highly cliche’d archetypes, like Tenji.

I don’t think that these kinds of stories don’t work with Cassandra’s character. Honestly, this last War of the Shadows arc has recalled the final arc in Cass’ original series during the Andersen Gabrych run, with the snow and super-powered characters. While I think that Batgirl’s 2000 title lessened with each writer, it never got bad and I was sold well enough on the writing (mostly). But Brombal approaches writing this kind of high-fantasy story like it’s an action movie off of the Hi-Yah channel. That’s not really how a Batgirl book should sound like.

Also, Batgirl hitting Nyssa and returning her sense of touch came out of nowhere. Wouldn’t she offer to have done that for her three issues ago?

I can’t wait to see our girl back in Gotham, for both a change of pace and to invite voices into the book that shouldn’t be written like these characters have been for the past year. Will his voices for Batman, Oracle and Stephanie Brown go down better than Shiva and Nyssa? God, I hope so. As for this arc, for me it overstayed it’s welcome after Shiva left the series. I never warmed to Tenji and the characters ballooned in the title with little else to say but to take up space. It’s a lesser arc than the first one with Shiva in it, but it doubles down on the problems I had with that arc, and sews misfortune for the remainder of the series unless a change of scenery turns things around.

Batgirl #16

Final Thoughts

I can't wait to see our girl back in Gotham, for both a change of pace and to invite voices into the book that shouldn't be written like these characters have been for the past year. Will his voices for Batman, Oracle and Stephanie Brown go down better than Shiva and Nyssa? God, I hope so. As for this arc, for me it overstayed it's welcome after Shiva left the series.

3.5

Final Score

February 6, 2026 0 comments

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