Batman/Superman [2019] #9 - DC Comics

BATMAN/SUPERMAN No. 9, July 2020

Sensationally filled with a seemingly endless array of sense-shattering set-pieces, Joshua Williamson’s narrative for Issue Nine of “Batman/Superman” really must have entertained its audience when it finally struck the spinner-racks in June 2020. For whilst the twenty-two page periodical does contain a momentary pause in its action-packed adventure, courtesy of a brief “nice night” between Superman and his wife atop a French balcony, the vast majority of this comic provides some superbly tense depictions of the Dark Knight fighting Atomic Skull and two inquisitive Gotham City Police Officers allowing their curiosity to get the better of them on the shore of the conurbation’s harbour.

In fact, this comic’s opening half is arguably flawless, as Bruce Wayne’s alter-ego roars into action inside the Batmobile, and uncovers a truly disconcerting conspiracy involving Albert Michaels’ desperate attempt to turn over a new leaf with the Metropolis P.D., and a number of heavily-armed underground operatives wearing outdated police uniforms who are supposedly trying to bring the ‘former S.T.A.R. Labs scientist turned super-villain’ back into custody; “You shouldn’t have run. I thought we shared a common bond… And after everything I did for you your escape makes me so angry. Now be a good boy and come with us…”

Similarly as successful is this comic’s shocking cliff-hanger featuring “one of Superman’s oldest foes”, which does a good job of portraying the sheer terror felt by one of Commissioner Gordon’s finest, following his realisation that the body he found on Gotham Harbour’s beach wasn’t “washed up from the ocean”, but rather came from a man-made cave being used by the Ultra-Humanite in order to build an Atomic Army. Witnessing the savagely abrupt demise of his partner at the hands of Jerry Siegel’s giant, white-furred gorilla, readers can clearly hear the terror in the helpless officer’s voice as he’s dragged like a baby deeper into the Injustice Leaguer’s evil-looking lair.

Providing this pulse-pounding publication with plenty of visual stimulus is Clayton Henry’s stunning artwork and Alejandro Sanchez’s amazing colours. The Atomic Skull has arguably never looked better than when he’s projecting a ghoulish purple-pink glow upon his ill-fated pursuers as they encircle him with their firearms raised, nor the Ultra-Humanite, when the monster’s formidable physical presence is suddenly caught in the blue glare of a policeman’s handheld torch as the villain ambushes him from out of the darkness.

The regular cover art of "BATMAN/SUPERMAN" No. 9 by Clayton Henry & Alejandro Sanchez