Nightwing #137 - DC Comics

NIGHTWING No. 137, June 2026

Whilst many a bibliophile will doubtless agree it’s always enjoyable to see the original Caped Crusaders working together, those who read Issue One Hundred And Thirty Seven of “Nightwing” will also surely believe that Batman’s presence throughout this comic is also the only good thing about it. Sure, the notion of two snipers besieging Bludhaven Bridge from opposite ends definitely sounds like a solid basis for a modern-day, no-nonsense storyline. But the implausible purpose behind one of the shooters’ actions, and supposed unwillingness to actually kill anyone makes the entire situation rather lack-lustre and unconvincing.; “Even the woman she shot was probably a lucky hit.”

To begin with, this book’s audience are meant to believe that when Ioana gunned down a “public defender” with a single bullet to the head just as she was leaving a taxi, the markswoman was actually purposedly missing her fiancée who was busy working on the flyover’s infrastructure. Such a notion just smacks of Dan Watters being desperate to pen a reason for Commissioner Sawyer to call in her city’s masked vigilante for aid, and then later explain just how Dick Grayson’s alter-ego is only nicked in the face when he subsequently makes himself a plain target by standing still on the viaduct.

Furthermore, it’s not arguably all that clear why the Romanian woman ever agreed to her brother’s plan in the beginning, if she wasn’t going to go through with it and murder the man she loved. The English writer appears determined to mask this misguided motivation with a ghost tale about the pair’s great grand-father being buried alive in the bridge’s foundation as a sacrifice to its stability. However, none of this reasoning is ever properly explored or even shown to be true and debatably makes any spectral machinations behind the gunplay disappointingly meaningless – even if Nightwing does anxiously attempt to convince Batman that without the cold-blooded killings a fatal hairline fissure in the structure would never have been discovered.

Slightly more credible than this periodical’s plot are Denys Cowan’s pencils, which at least help imbue a somewhat statically-based script with a bit of vigour here and there. The comic’s opening view of Bludhaven Bridge being scanned by both Nightwing and Batman is particularly well drawn. Though it does raise the question as to why the Police need to call in the likes of the Dynamic Duo for something that they’re clearly trained to deal with on their own..?

Writer: Dan Watters, Pencils: Denys Cowan, Inks: Norm Rapmund and Colors: Francesco Segala

Nightwing #130 - DC Comics

NIGHTWING No. 130, November 2025

Seeing as the first part of Dan Watters’ storyline for Issue One Hundred And Thirty of “Nightwing” deals with the titular character fighting a seemingly never ending battle against the corruption of wannabe Mayor Bernard Bisogni, whilst its later pages explore a potential Superman-level threat to Bludhaven, many a bibliophile may well view this comic as containing two rather contrasting halves. And resultantly, may then feel that the book’s initial ‘deep dive’ into the shady politician’s dealings with the Blockbuster Gang fits in far better with Dick Grayson’s street-level alter-ego, than a being whose very presence alone warrants the dramatic arrival of the Justice League; “You don’t need any help tracking down your faux Kryptonian?”

Unfortunately however, it is this second plot-thread which the English writer seemingly chooses to put the more effort into by having the original Boy Wonder rather unconvincingly decide that young Bryce Moran should remain as “an aspiring hero with incredible power” - albeit with the Teen Titan as his mentor. This decision debatably comes completely out of the blue, and seems to go against everything Grayson was planning to do – even to the point of bringing Night-Hare with him to show the fake Van-Zee that in his present super-powered state he might hurt the little critter by accident.

In addition, the London-born author also tries to ‘push’ the responsibility of the ill-advised choice onto the youngster’s shoulders, by penning Dick feeling that the former juvenile criminal has somehow made a “good point” and that the city’s guardian had somehow been talked into letting the boy remaining as he is. Neither of which the lad actually does. Indeed, the 'youngster in a man’s body' appears to agree with Nightwing’s belief that he should revert back to his true self, and is a millisecond away from drinking a drop of Bat-Mite Soup when he’s stopped from doing so.

Somewhat surprisingly though, regular artist Dextor Soy’s contribution to this publication also seems to be equally ‘hit or miss’, with the Filipino doing a first-rate job on the vast majority of this comic’s pencilling, until he strangely begins giving the likes of Wonder Woman, Superman and Bryce some disconcertingly doe-shaped, almost romantic-looking eyes. Whether this technique is used to perhaps show innocence or goodness on behalf of these individuals is difficult to say. But the style does debatably jar with that used to draw the aforementioned Bisogni much earlier in the book.

The regular cover art of "NIGHTWING" #130 by Dexter Soy

DC K.O. Knightfight #4 - DC Comics

DC K.O. KNIGHTFIGHT No. 4, April 2026

Whilst many a bibliophile may well get the impression from this comic’s rather lengthy foreword that writer Joshua Williamson was a bit worried the mini-series’ long-term readers might now be struggling as to what its overall narrative actually was, the American author doesn’t appear to dwell too much on the problem when it comes to Issue Four of “DC K.O. Knightfight” itself. Indeed, this particular twenty-two page periodical seems to spend no time at all in explaining just how Damian Wayne became Gotham City’s future Batman, and instead simply has its most pre-eminent members of the Bat-Family unconvincingly accept that they live in an alternate reality which will cease to exist when the all-powerful Heart of Apokolips decides to end it.

To make matters even more confusing though – especially for those fans who have somehow managed to stick with this spin-off title, the California-born writer also appears to have suddenly changed its goal posts by penning that the sentient machine disconcertingly now wants Bruce Wayne to return to its “deadly tournament” and become its victorious King Omega. Sure, the device still wants to punish the Caped Crusader for supposedly ‘cheating’ in its deadly contest. But its original plan now appears to have been side-lined in order to give the Dark Knight a greater purpose.

In addition, it may well strike some within this book’s audience that a clearly aged, costumed crime-fighter is given plenty of time with which to train both his brain and brawn before having to fight his son ‘to the death’. Everyone appears fairly causal about the World’s Greatest Detective shockingly coming back from the dead and being told that they’re not real, and this lack of haste badly affects Batman’s final bout of fisticuffs against Damian once it starts. Furthermore, the story doesn’t even end, as having shown Wayne admitting he can’t defeat a much younger, seasoned ‘keeper of the cowl’, this publication abruptly informs any onlookers to purchase another instalment of the “Crisis of Absolute Proportions” crossover event to find out what happens next.!?!

Disappointingly even artist Dan Mora appears utterly befuddled by this comic’s script, and appears desperate to finish the project as quickly as possible by utilising negative space for his backgrounds as much as he can. In fact, this sense of disinterest debatably even extends to the aforementioned highly-anticipated conclusion, where the Costa Rican illustrator desperately attempts to use lots of movement lines to cover over his rather basic-looking, poorly-detailed combatants.

The regular cover art of "DC K.O. KNIGHTFIGHT" #4 by Dan Mora

Nightwing #122 - DC Comics

NIGHTWING No. 122, March 2025

There’s certainly a lot to enjoy when it comes to Dan Watters’ writing on Issue One Hundred And Twenty Two of “Nightwing”, including his well-penned flashback to a time when the titular character was just a youngster and learning the ropes alongside the World’s Greatest Detective. However, perhaps the biggest ‘hook’ to “Little Circus Boy” doesn’t lie with its nostalgic trip back into the past with the original Caped Crusaders, but in the present as Dick Grayson’s Bludhaven collapses about his ears into a full-on crime war despite the young man’s desperate protestations that Spheric Solutions are actually the ones behind all the bombs and damage.

Indeed, the surprise on the Teen Titan’s face when he discovers that a direct attack upon the Melville Police Precinct was unexpectedly perpetrated by a green-skinned flyboi, and not some nefarious agent of Olivia Pearce’s company is perfectly palpable. This shock is genuinely upsetting for both super-hero and reader alike, and makes the subsequent weight shown sitting upon the former acrobat’s shoulders as he gloomily surveys his conurbation from the abandoned Titan Tower all the more impactive and foreboding; “I thought I could do things different, Babs. The violence stalled for a bit. But… The bloodshed continues. Maybe everything’s just going to keep getting worse.”

Of course, the highlight of this twenty-two-page comic is its aforementioned return to the days when Grayson was the Boy Wonder, and together with Batman he tackled Colombina and the Cirque Du Sin. This skirmish is perhaps understandably brief and inconclusive, yet still manages to take the audience back to an arguably simpler (and perhaps better) time when the Dark Knight did far more punching than thinking, and Robin was perhaps something of an adolescent liability.

Also at the very top of his game is Dexter Soy, who along with colorist Veronica Gandini absolutely nails the grimy, old school feel of Dick’s world working alongside the Gotham City's protector. Possibly therefore this book’s sole disappointment comes in just how physically alike Commissioner Sawyer and Pearce appear, as for a long while it may seem to some bibliophiles that Nightwing is accusing Olivia straight to her face atop a high-rise building, as opposed to him merely discussing his theories with the head of Bludhaven’s police force.

The regular cover art of "NIGHTWING" #122 by Dexter Soy with Veronica Gandini

DC K.O. Knightfight #3 - DC Comics

DC K.O. KNIGHTFIGHT No. 3, March 2026

Considering that at the very start of this comic ‘all-star creator’ Joshua Williamson plainly spells out what this spin-off mini-series is apparently all about by having Batman categorically state that the Heart of Apokolips has arranged for him to fight his former Robins to the death, it’s probably still a safe bet that many within the book’s audience were nonetheless utterly bemused by the events they were witnessing. True, Bruce Wayne’s decision to team-up with his past proteges rather than fight them certainly seems to mess with the entity’s plan to punish him “for attempting to cheat” in the infernal machine’s fighting tournament. But it is never made clear anywhere within this twenty-page-periodical just what will happen to the super-hero if he does fatally kill the bogus Dick Grayson, Tim Drake or Jason Todd.

As a result, this publication’s rather choppy script arguably just plays out like some stories from an Elseworlds anthology, with each tale being tragically cut short whenever the Dark Knight finally manages to convince his fictious successor that they should work together. This pattern is genuinely frustrating, and leads to so many unanswered questions in the readers’ minds that by the time the cowled crime-fighter is shown facing his little grandson Alfred, any onlooker’s head will be positively spinning with an exhaustion and uncertainty; “You’re just mad that I beat your test my way.”

Similarly as perplexing as this comic’s plot though is also the logic of the Heart of Apokolips, which inexplicably does a complete U-turn midway through the narrative and irrationally offers Batman an opportunity to return to its tournament if he can “beat my [next] challenge.” Having already bested two of the sentient machine’s fake predicaments with relative ease, and developed a deep understanding of what he needs to do to continue winning, it appears highly unlikely that the Dark Knight will lose such a ridiculous bet – and indeed, in the very next contrived situation the Caped Crusader quickly emerges victorious.

Sadly, Dan Mora’s artwork also appears to become increasingly tired as the script progresses. It’s somewhat clear that the illustrator purposely changes his drawing-style to match the different trials and tribulations being thrown at Wayne’s masked alter-ego. However, these adaptions seem to predominantly rely upon the Costa Rican making his pencils become ever simpler to the eye, so by the time an aged Bruce encounters Damian’s aforementioned child, his sketched figures are debatably a mere shadow of those used during Clayface’s extraordinary rescue of a plummeting Red Hood during this issue’s opening sequence.

Writer: Joshua Williamson, Artist: Dan Mora, and Colors: Triona Farrell

DC K.O. Knightfight #2 - DC Comics

DC K.O. KNIGHTFIGHT No. 2, May 2026

Having made it clear half-way through this particular twenty-page periodical that both the spin-off title’s opening instalment, as well as this one, was arguably a redundant read - courtesy of the Dark Knight realising that the world around him isn't real, many within this comic’s audience probably felt a little despondent. In fact, seeing as Joshua Williamson subsequently pens Bruce Wayne nonsensically transforming into the shape-shifting criminal Clayface at this publication’s end, it’s probably a safe bet that more than the odd bibliophile was probably thinking the American author's latest plot twist for this book wasn't the best of ideas either; “You need to accept it, Basil. You’re not Batman. I am.”

Of course, that doesn’t mean for a second that Issue Two of “DC K.O. Knightfight” doesn’t have its merits, as the notion of Gotham being encased in a giant glass ‘Red Hood’ for twenty years so as to prevent the Joker’s deadly toxic gas from escaping the city’s limits could easily be the basis of an intriguing “Elseworlds” title in its own right. However, even this enthralling notion of a deserted metropolis ruled over by Jason Todd’s deeply disturbed incarnation of the Caped Crusader is soon ruined by the real cowled crime-fighter’s discovery that this twisted reality is also just a figment of the Heart of Apokolips’ imagination.

Furthermore, it is genuinely difficult to understand just what in the world the point of this entire mini-series’ overarching narrative actually is..? On the one hand the writer makes it crystal clear that Wayne was killed by the Clown Prince of Crime early on in the King Omega Tournament, and yet on the other the “sentient, infernal machine that runs on Omega Energy” apparently wants to punish the supposedly deceased Batman for wearing a suit of “Apokoliptian armour outfitted with special Boom Tube” during the event..?

By far this book’s biggest asset therefore lies not in its writing, but in it’s artwork, thanks to some genuinely thrill-a-second panels pencilled by Dan Mora. Whether an onlooker is a fan of this comic’s implausible storyline or not, there should be little doubt that the constant punch-ups between Bruce and Nightwing, as well as the Dark Knight’s brutal confrontation with a sadly deranged Red Hood, are absolutely packed full of pulse-pounding action.

Writer: Joshua Williamson, Artist: Dan Mora, and Colors: Triona Farrell

DC K.O. Knightfight #1 - DC Comics

DC K.O. KNIGHTFIGHT No. 1, April 2026

Considering that this was the fourth best-selling comic book of November 2025, it’s still somewhat difficult to imagine that all that many readers were completely won over by Joshua Williamson’s script for Issue One of “DC K.O. Knightfight”. Indeed, this tie-in title to the Burbank-based publisher’s 2025-2026 crossover event probably had many a Bat-fan scratching their heads in utter bemusement as a beaten Caped Crusader inexplicably finds himself “trapped within an alternative timeline/possible future – in which Dick Grayson replaced him as Batman.”

Admittedly, this disconcerting plot taps so wonderfully well into the ever-popular “Elseworlds” vibe that Bruce Wayne’s desire to discover more about the decidedly different Gotham City initially quite cleverly mirrors the wishes of this mini-series’ audience too. However, by the time the billionaire industrialist finally encounters the protégé who replaced him as his birth-place’s protector, so many ‘wibbly-wobbly timey-wimey’ events have been thrown at the reader that it’s debatably difficult to fully comprehend just how incredibly diverse this Robin Incorporated dominated world actually is; “I used the training you gave me and shared it with the world.” 

Furthermore, the Dark Knight which Nightwing previously usurped in this bizarre dimension is completely unrecognisable from the mainstream cowled vigilante - having apparently slaughtered the likes of Jason Todd, Tim Drake and Damian Wayne for daring to challenge him. However, for some reason that doesn’t apparently stop Grayson from repeatedly offering his former mentor an opportunity to simply stand down, and even leads to Dick going so far as to untie the supposedly homicidal Batman when they first meet so he can provide anyone listening with plenty of brain-bamboozling exposition.

Much more convincing than this comic’s penmanship is debatably its layouts with Dan Mora doing a top-job in imbuing all of the numerous Robins with the gracefulness one would expect from such acrobatic sidekicks. Of particular note has to be the artist’s ability to depict such a striking contrast between Grayson’s fighting style as opposed to that of Wayne, with Nightwing clearly appearing a much more fluid combatant over the older, and slightly slowing down crime-fighting veteran. In addition, Colorist Triona Farrell deserves a little kudos for making this publication’s futuristic metropolis such a vivid-looking concrete jungle, with the brightly-lit, neon-populated skyline appearing rather reminiscent of that seen in Joel Schumacher’s 1995 film “Batman Forever”.

Writer: Joshua Williamson, Artist: Dan Mora, and Colors: Triona Farrell

Absolute Batman #14 - DC Comics

ABSOLUTE BATMAN No. 14, January 2026

As issue-long punch-ups go it’s easy to see why this particular edition of “Absolute Batman” was the third best-selling comic book in November 2025. Sure, Scott Snyder crams so much action and adrenaline-fuelled physical mutilation into his twenty-four-page plot that many of its readers will feel as tired as the heavily-fatigued titular character does by the publication’s end. But there is arguably just so much to take in with a first perusal that the vast majority of its audience will doubtless feel obliged to pour through the Darknight’s “final battle” against Bane once or thrice more at least; “I wanted to put your mind at ease. This whole incident, I see it as a minor setback.”

Furthermore, the American author manages to somehow squeeze in a whole plethora of tantalising titbits for this ongoing series’ future, such as a faceless Emergency Medical Technician named Dick Grayson cursing the Caped Crusader’s notoriety on the Gotham news channel, and Catwoman making off into the night with a container filled full of the “extremely potent steroidal compound” Venom. These ‘hooks’ genuinely hold plenty of promise as to potential storylines, as well as ensuring that the more dedicated bibliophile will scour each and every panel again to see whether even more ‘easter eggs’ are hidden within. 

Of course the biggest pull has to be Bruce Wayne’s cataclysmic conflict with Bane, and there can debatably be little doubt that this conclusion to Snyder’s “Abomination” narrative delivers it in spades. Whether an onlooker is a fan of a seriously outmatched Alfred Pennyworth, the diminutive Harley Quinn or even the crocodilian-shaped monster Waylon Jones, the (new) Bat-family’s brutal onslaught against Arkham’s super-strong test subject at the Veteran’s Arena contains plenty of hold the attention. 

In addition, Nick Dragotta pulls out all the stops as this comic’s regular artist, pencilling an incredible number of pictures – whether they be a scatter gun of small, rectangular-sized frames or a double-splash of Batman so jacked up on Venom that his suit quickly begins to split at the seams. Of particular note has to be the illustrator’s handling of Bane’s incredible regenerative growth, which towards the end of the book has the villain’s bulk absolutely dwarfing that of the Dark Knight, and setting up the conclusion for some truly grisly injuries as the Caped Crusader sets about hacking through the murderous maniac’s flesh with his large hand-blade.

The regular cover art of "ABSOLUTE BATMAN" #14 by Nick Dragotta & Frank Martin

Absolute Batman #13 - DC Comics

ABSOLUTE BATMAN No. 13, December 2025

Described by its Burbank-based publisher as “Batman’s final showdown with the monstrous Bane”, Scott Snyder’s narrative for “Abomination” probably left many of its readers scratching their heads in mild bewilderment due to Bruce Wayne’s arch-nemesis barely making an actual appearance in the book. In fact, the Venom-enriched psychopath only features in a handful of panels, and during these the masked behemoth is simply depicted sedentarily sat whilst a small team of surgeons rather disconcertingly work on his cybernetically-enhanced spinal cord; “Soon you’ll have my replacement, and he’ll have his new Bane. Then, I’ll finally go home.”

Instead this eighteen-page periodical largely focuses upon Catwoman, and her apparent ‘on-and-off relationship’ with the titular character. Admittedly, this largely dialogue-driven encounter proves pretty interesting at first, especially when it appears that the young woman’s helmet “looks a lot like the gear Black Mask uses”. But this insight also reveals a decidedly disconcerting difference between the American author’s incarnation of Batman to that co-created by Bob Kane, in that the titular character will “cut a deal” will the villainous Falcone to rig a boxing match, just because he doesn’t have any faith that his friend Waylon can win it fair and square.

Quite possibly this comic therefore only comes into its own once the Dark Knight and Kyle team-up together to penetrate the Red Hood Gang’s headquarters at a seaside funfair. This confrontation shows just how formidable a partnership the fighting duo make and contains a pretty surprising revelation in that the criminal gang are led by a shaven-headed Harley Quinn. In addition, Snyder finally hints at just what physical metamorphosis his version of Batman has undertaken having almost been broken “in a place called Ark M, where they do make monsters.”

Setting aside any criticisms of the storyline though, it’s doubtful many bibliophiles will find Nick Dragotta’s pencils for this publication underwhelming. The illustrator definitely channels his inner Frank Miller for some of his panels – most notably a splash page showing this book’s lead pair leaping through a sunset-lit sky, as well as providing a genuine laugh-out-loud moment when Catwoman captures Alfred Pennyworth and almost strangles him with her tail.

The regular cover art of "ABSOLUTE BATMAN" #13 by Nick Dragotta & Frank Martin

Absolute Batman #12 - DC Comics

ABSOLUTE BATMAN No. 12, November 2025

Fully focused upon the frightening fate of Bruce Wayne’s closest friends at the hands of a totally deranged Bane, Scott Snyder’s script for Issue Twelve of “Absolute Batman” is perhaps understandably a bit of a choppily-paced affair. Indeed, every time the titular character opens a hospital room’s door and gasps in shock at the bed-ridden body before him, the storytelling arguably resets itself in an attempt to outdo the gratuitous, physical mutilation which has just preceded it; “Eddie, We need to get you to a hospital. You – AAAGH!”

Unfortunately though, so unstoppable an assault upon the audience’s senses – following up so closely upon the body horror inflicted upon both Waylon Jones and the Dark Knight himself, is arguably much too much all at once, and resultantly doesn’t leave any time for the reader to dwell upon each supporting cast members’ life-changing injuries. Furthermore, even once the ghoulish carousel of broken bones, badly burnt flesh and partial lobotomy is over, the American author debatably doesn't allow any of the trauma to actually sink in, before throwing the Venom-poisoned Caped Crusader head-on into a confrontation with Catwoman instead.

Admittedly, such a scintillating speed of events definitely holds the attention throughout the eighteen-page periodical. But the impact of so much bloodshed would surely have been far more poignant if perhaps poor Ozzie, Harv and Eddie’s fortunes had been delivered in a far more piecemeal fashion throughout this multi-part narrative. As it is, few bibliophiles will probably have even had the time to process Jones’ future as a giant crocodile before they’re inundated with Oswald brutally being “almost two feet shorter” and Harvey suffering “third-to fourth-degree burns across the left side of his body.”

What is impressive about “Abomination” are Nick Dragotta’s pencils, which somehow manage to capture all the distress caused by Bane within the confines of a single comic book. This is a publication which has little room to spare for double-splashes or even a handful of panels per page. So when the artist does deliver a single picture, such as Batman and Alfred Pennyworth standing shoulder-to-shoulder in the darkness awaiting an unseen assailant, it should cause any onlookers to pause momentarily to admire the moment, before plunging on back into the morass of tiny pictures.

The regular cover art of "ABSOLUTE BATMAN" #12 by Nick Dragotta & Frank Martin

DC K.O. (Local Comic Shop Day 2025 Ashcan Edition) #1 - DC Comics

DC K.O. (LOCAL COMIC SHOP DAY 2025 ASHCAN EDITION) No. 1, November 2025

Unashamedly acting as a promotional gimmick for “DC Comics” major comic book event “DC K.O.”, this five-page pamphlet probably utterly bemused those readers who knew absolutely nothing about Darkseid somehow destroying the future. For rather than providing them with any sort of explanation as to how “a universe-shaking five-level gladiatorial arena” has shockingly emerged on Earth, Scott Snyder simply throws his audience straight into Superman’s preparation for his opening bout, before suddenly dragging them back to a time when the Man of Steel was still oblivious to the sense-shattering machinations of Apokolips’ absolute ruler.

Indeed, the vast majority of this “exclusive Ashcan special edition” focuses upon Clark Kent, Diana of Themyscira, Lois Lane and Bruce Wayne all sitting around a boardgame harmlessly ribbing one another as the dice rolls flow. So idyllic a moment is genuinely heart-warming, as it’s nice to see the Burbank-based publisher’s Trinity enjoying one another’s company. But a fair few bibliophiles would surely have preferred some sort of account as to how Darkseid acquired “his ever-growing Omega powers”, or an explanation as to just why so many of the “greatest superheroes in the universe” are willing to “enter the arena in a thunderous tournament where the stakes are sky-high.”

Of course, the main aim of this publication is to generate curiosity in the actual mini-series, and as a teaser this title performs that role rather well. Of particular interest has to be the American author having Superman choose to ‘up’ his power levels even more than normal by wearing some “knuckles with miniature suns raging inside” – something which strongly suggests that the ‘Boy Scout’ is taking absolutely no chances during the imminent tournament.

Quite possibly less satisfactory though are some of Javi Fernandez’s layouts, which debatably make it hard to ascertain just who is who inside Lane’ apartment. Clark is pretty recognisable. However, Diana’s dark hair so closely resembles that of the award-winning journalist for the Daily Planet, that when Lois does emerge from the kitchen as a brown-haired, rather homely-looking lady, it’ll probably take a few onlookers a moment or two to realise just who she is. In addition, Bruce Wayne simply melts into the background due to a complete lack of facial detail, and disappointingly doesn’t even make an impact once inside the Bat-Wing racing to confront Darkseid.

Writer: Scott Snyder, Artist: Javi Fernandez, and Colorist: Alejandro Sanchez

Absolute Batman #11 - DC Comics

ABSOLUTE BATMAN No. 11, October 2025

Providing the much anticipated all-new “origin of Bane” according to Scott Snyder’s alternative universe, the heavily worded storyline for Issue Eleven of “Absolute Batman” must have physically exhausted many within the comic’s audience. True, the publication delivers a somewhat compulsive account of the muscle-bound behemoth’s early life upon the tiny island of Santa Prisca. But such is the sheer amount of narration hurled at the reader throughout its twenty-one pages that anyone picking up this book would definitely have had to work to reach the tale’s end; “He’s coming for you at this very moment. Wherever you are, kid, I’m sorry.”

Similarly as exhausting is arguably the pacing of this periodical, which repeatedly relies upon tiny, micro-panels to help tell its plot. These layouts seemingly slow down even the most pulse-pounding of military coups to a soporific speed which disconcertingly induces much of the weariness felt by the rebel fighters whenever they are forced to race across their homeland’s sandy beaches battling the enemy. Indeed, many a bibliophile was probably absolutely elated whenever Clay Mann pencilled a splash page or two, as it momentarily provides an all-too brief respite from the American author’s avalanche of syllables, sentences, and paragraphs.

Such a situation is genuinely disheartening, as this instalment contains several memorable moments – not least of which is Bane brutally breaking the back of his aged father as part of his deal with the Joker. Furthermore, the New York City born writer must have caught the vast majority of onlookers completely off-guard when the cold-hearted Caribbean killer quite literally chops off both of the Dark Knight’s arms with the vigilante’s own axe-blade, and then proceeds to brutally brain the pleading torso which remains.

Possibly just as disappointing as this comic’s penmanship is Mann’s aforementioned scribblings, which for much of the book simply aren’t given any chance to breathe. In fact, it’s not until the artist is able to muscle his sketches into some sensibly-sized frames that he is able to show how truly talented he is - even if  the illustrator’s design for a bare-chested, Venom-enhanced Caped Crusader may well look a little too over-the-top for some Bat-fans.

The regular cover art of "ABSOLUTE BATMAN" #11 by Nick Dragotta & Frank Martin

Absolute Batman #10 - DC Comics

ABSOLUTE BATMAN No. 10, September 2025

Chock-full of body mutilation and some truly terrific examples of just how ingenious Bruce Wayne can be when the circumstances warrant it, Scott Snyder’s narrative for Issue Ten of “Absolute Batman” probably kept its audience repeatedly guessing as to whether the Dark Knight was ever going to escape “the horrors of Ark M.” In fact, one of the few concerns some bibliophiles might have with this particular twenty-page periodical’s plot is just how the upcoming crimefighter is ever going to recover from removing many of his own teeth, and undergoing a number of near fatal surgeries – including a painful sounding “craniotomy and subsequent brain-stem insertion.”

Also somewhat disconcerting is the fact that no-one seems to actually care just who Subject Twenty Seven is, with the institution’s hierarchy seemingly doing no research whatsoever into the six foot nine inch tall vigilante’s secret identity. True, this inactivity could simply demonstrate a complete disinterest in just where the experimental facility gets its hapless stooges from. But considering just how much attention is subsequently paid to the titular character as he repeatedly attempts to break out from his cell, this lack of interest into someone who has previously defeated the Black Mask could strike some readers as being a little too convenient – especially when his mother Martha is so desperately trying to track him down on the outside.

Quite possibly this comic’s only other quibble is that Bane apparently always knows that Wayne is going to escape, as well as where to locate him within the massive maze-like complex. The American author does a good job of using Bruce’s various exploratory exploits to drop-in all manner of Batman’s (alternative) Rogues Gallery, such as Clayface and Poison Ivy. However, due to it soon becoming clear that the super-strong villain is apparently always one step ahead of his increasingly brutalised prisoner, any sense of suspense as to the possibility of the young man's escape is quickly diminished.

Definitely assisting in making this book as successful as it is has to be Nick Dragotta, whose ability to pencil the increasing physical toll being placed upon the (now) Capeless Crusader’s frame should genuinely disturb many within this publication’s audience. In addition, the sheer creativity employed to depict the other Ark M inmates is incredibly well done, with Waylon Jone’s Killer Croc persona probably being the best of the bunch.

The regular cover art of "ABSOLUTE BATMAN" #10 by Nick Dragotta & Frank Martin

Absolute Batman #9 - DC Comics

ABSOLUTE BATMAN No. 9, August 2025

Despite its twenty-page plot being rather devoid of pulse-pounding pugilism until its very end, Issue Nine of “Absolute Batman” still should have kept its audience hooked with the increasing mystery it shrouds the “all new Ark (M)” with. Indeed, the titular character’s carefully planned infiltration of Gotham City’s “fully operational institution” is absolutely packed full of foreboding atmosphere – whether it be simply a tense meeting of minds to discover a suitable entry point, or the deep-sea swim into one of the Nineteenth Century Hospital’s original water pipelines; “Private records show they’ve been working on the site ever since.”

Furthermore, Scott Snyder’s introduction of his ‘reinvented’ Bane is superbly well-penned, with the supervillain causing bloody chaos the moment he appears in the neutral territory of Alegab, Bialya. Massively muscled, it is clear that the masked monster has lost absolutely none of the formidable strength and political savvy which his co-creator Chuck Dixon first imbued him with, and this makes his highly anticipated confrontation with a much less experienced Bruce Wayne all the more foreboding for the cowled crime-fighter.

Lastly, the American author finally appears comfortable to firmly establish Batman’s family for these ‘Elseworlds’ adventures by assembling all of the protagonist’s friends in one room alongside the covert operative Alfred Pennyworth. In addition, it quickly becomes clear that the Caped Crusader has the ear (and loyalty) of former Mayor Jim Gordon’s daughter for the time being, with the street cop seemingly willing to provide the costumed vigilante with all sorts of information from her Police Department’s records.

Also well worth a mention are Nick Dragotta’s layouts, which do a terrific job in holding the readers’ attention. Of particular note has to be the way the artist emphasises Bane’s tremendous size when the deadly combatant first appears at Omar’s peace party, and then how truly talented at martial arts the huge bulk of a human being is when he methodically disables the Dark Knight using a series of simple strikes to the hero’s limb joints. These meticulously precise finger jabs upon Wayne’s pressure points truly smack of a surgeon carefully cutting away at some patient’s disease, and comes before the ferocious felon has even juiced himself up on Venom…

The regular cover art of "ABSOLUTE BATMAN" #9 by Nick Dragotta & Frank Martin

Nightwing #112 - DC Comics

NIGHTWING No. 112, May 2024

Gently reminding the audience just why Bruce Wayne first took up the mantle of the bat, as well as highlighting the motivation behind an adolescent Dick Grayson following in his footsteps, Tom Taylor is arguably at the top of his game for Issue One Hundred and Twelve of “Nightwing” as he cleverly pens a tale which dives deep into the differences behind the original Caped Crusaders. In fact, thanks to Batman’s narration throughout, this twenty-two page periodical’s plot intriguingly shows a seldom seen soft side to the Dark Knight, as he paternally attempts to guide his protégé through his sudden inability to leap from great heights.

Furthermore, this comic provides the titular character with a much more serious edge than is ordinarily shown, once the Teen Titan discovers just how cold-blooded and murderous poor tiny Iko’s uncle really is. This 'change' genuinely appears to make an impact upon the usually quick-quipping crime-fighter, and adds a bit more depth to the former sidekick’s often one-dimensional personality by showing just how calm-headed he can still be when an incredibly volatile situation warrants it; “He took the shot on purpose. Drew the fire. Drew the gun away from the boy.”

Sami Basri should also receive a lot of credit for making this particular publication a veritable feast for the eyes. Of particular note has to be the Indonesian illustrator doing far more than his fair share of heavy lifting to help sell the internal, highly emotional conflict raging within Grayson’s alter-ego. Indeed, not only does he manage to pencil Nightwing with plenty of visible humanity, he also somehow surprisingly imbues Batman with similar virtues too; most notably when the Dark Knight is approached by a clearly intimidated Beast Boy and asked how he handles people hating him.

Somewhat disappointingly though, this book’s secondary tale “The Son Of Grey” probably didn’t land anywhere near as well with readers. Penned by Michael W. Conrad and pencilled by the legendary Francesco Francavilla, this “period saga” doesn’t debatably really end, and instead just raises a question as to what the entire point of the two-part tale ever was. Sure, Grayson successfully tracks down the Joker-like holy man whose minions killed his family. But the young farmer then just mystifyingly lets them all go, even after being traitorously stabbed in the torso by the clownish priest.

Writer: Tom Taylor, Artist: Sami Basri, and Inks: Vicente Cifuemtes

Absolute Batman #8 - DC Comics

ABSOLUTE BATMAN No. 8, July 2025

Scarily super-strong due to having “ice woven into the muscle tissue” and irrefutably insane, Scott Snyder’s reimagining of Mister Freeze will surely capture the complete attention of anyone picking up a copy of this twenty-page periodical. But whilst Victor Fries Junior quite literally looks like he stepped straight out of a first-class horror flick, several other aspects of “Absolute Zero” probably didn’t land quite as well – especially once a thoroughly frozen Bruce Wayne finally manages to free himself from his adversary’s deep-freeze machine.

For starters, the American author’s sub-plot of having Waylon Jones beat-up his crime-fighting friend in a dark alleyway arguably appears a little forced, and tries to suggest that Batman’s previous “suicide mission” to save Gotham City from the murderous machinations of the Black Mask was actually an act of cowardice. Now admittedly, the vigilante is still recovering from that horrendous ordeal, and even wears an arm cast as a result of the injuries he suffered defeating Roman Sionis. But it’s difficult to watch him get so quickly ‘laid out’ by his chum without any sort of struggle, and definitely hard to swallow that the Dark Knight is in any way a quitter.

In addition, some bibliophiles possibly won’t be able to shake off the notion that Wayne suddenly appearing in his full bat-suit inside Fries’ headquarters rather smacks of Tony Stark’s lightning-fast transformation into Iron Man. Indeed, one moment a semi-naked Bruce is desperately trying to escape an air-tight tube half-full of a liquid cooling agent, and then in the next he’s booting down Victor’s door with a miniature flame-thrower strapped to his right wrist; “I heard you like pain.”

Equally as unsettling as some of the penmanship to Issue Eight of “Absolute Batman” are debatably parts of Marcos Martin’s pencilling. The Spanish artist’s handling of this book’s central antagonist is absolutely superb, with the tall, gangly monster moving with all the awkward mannerisms an onlooker would expect from a deranged serial killer whose limbs are twice the length they should be. However, some of the scenes involving Wayne – most notably the flashbacks involving his dead pal Matches – just seem a little too clean-lined for so dark a tale, especially when garishly coloured by Muntsa Vicente.

The regular cover art of "ABSOLUTE BATMAN" #8 by Nick Dragotta & Frank Martin

Nightwing #111 - DC Comics

NIGHTWING No. 111, April 2024

Portraying Dick Grayson as a much more emotionally intelligent, thoughtful crime-fighter than his Gotham City-based mentor, Issue One Hundred and Eleven of “Nightwing” is arguably a much slower, more sedentary affair than the former Robin’s usual fast-paced, acrobatic adventures. Indeed, apart from a brief glimpse of Batman battling some goons on the Docks, Tom Taylor relies solely upon conversations and dialogue to push his twenty-two page plot along to a rather startingly cliff-hanger; “The last thing I need is a damn superhero looking too closely!”

However, this slow(ish) speed seemingly suits the nature of the titular character’s investigation into Heartless’ apparent departure from Bludhaven and subsequent incursion into the Dark Knight’s metropolis, as it allows the storytelling to take on an almost police procedural quality. This ‘by the book’ atmosphere genuinely helps sell the trauma experienced by poor little Iko Wahid, whose father has been savagely slain by Shelton Lyle’s deadly alter-ego, and also allows the audience to observe some significant similarities between the Teen Titan’s upbringing under the wing of Bruce Wayne and the orphan’s future in the company of his Uncle Loc.

Furthermore, this comic contains a solid scene between the Caped Crusader and his protégé concerning the former Circus performer’s inexplicable sudden fear of heights. Proficiently pencilled by artist Sami Basri, this discussion atop a high-rise building shows just how vulnerable Grayson has shockingly become without being able to “jump” from any great height, and provides Batman with an opportunity to show his heartfelt concern that he one-time prodigious highflyer is now reduced to simply ‘taking the stairs’ in order to reach the Coroner’s Office.

Quite possibly this book’s biggest draw though may well be Michael W. Conrad’s short story “The Son of Gray”, which comes completely out of the blue to transport this publication’s devotees to Fourteenth Century Normandy during the Bubonic Plague. Reading like an “Elseworlds” tale and featuring both the art and colours of legendary illustrator Francesco Francavilla, this enthralling two-parter sees a revenge-filled “Grayson” facing off against an utterly insane Joker – who sees himself as some sort of pious bishop who has carte blanche to brutally slay everyone in the name of God.

The regular cover art of "NIGHTWING" #111 by Bruno Redondo

Absolute Batman #7 - DC Comics

ABSOLUTE BATMAN No. 7, June 2025

Despite this being the second best-selling comic book during April 2025, it’s probably a safe bet that a fair few of this publication’s audience were a little bemused by the contrasting quality of Scott Snyder’s penmanship with that of “the one and only super-star” Marco Martin’s disappointing pencilling. In fact, some of this twenty-page periodical’s panels are so disconcertingly dreary, such as its opening sequence which features a close-up of Victor Junior’s adolescent face as he slowly succumbs to “a rare terminal disorder” in Tanzania, that the odd bibliophile may well have been in two minds as to whether they wanted to read on any further.

For those that do persevere however, there is undoubtedly a solid, almost scary storyline to be found inside Issue Seven of “Absolute Batman”, and one which intriguingly transforms the classic character of Mister Freeze from that of a “tragic villain” desperately attempting to save his beloved wife, into a truly disturbing, thin-faced youth who can apparently transform himself into something that wouldn’t look out of place in Motive Studio’s 2023 survival horror video game “Dead Space”. So strong a departure from the ‘norm’ really must have caught a lot of readers off-guard, and (once again) helps the American author provide this ongoing title with a shocking cliff-hanger; “I felt everything. Every moment. And the pain… My god. Ice grinds and twists… The ice isn’t grace. It is fury. It’s reckoning.”

Furthermore, this comic contains some nice examples of how Bruce Wayne’s network of contacts is able to support him in his covert crime-fighting. Admittedly, the absolutely horrific death of poor Mitchell Malone to some face-popping bacteria quite possibly pushes this book’s “Ages 15+” guidance to its limit. But the information “Matches” spills before spontaneously bleeding out on Elliott Bridge also neatly illustrates just how deadly a game the Dark Knight is playing, as well as leads into the Caped Crusader vengefully setting off to V-Core’s company headquarters during a snowstorm without actually knowing first-hand what it is he's actually going to face there.

Disappointingly however, some onlookers may well say that it doesn’t matter how good the narrative may be, if the interior artwork isn’t up to scratch to help tell it, and that’s definitely the problem with “Absolute Zero”. There is no doubt that Martin can sketch both an atmospherically dark conversational piece set within the confines of a Gotham City alleyway, and an adrenaline-fuelled action scene showing Batman ducking the local authorities. Yet, along with some garish palette choices by Muntsa Vicente, a fair few of this publication’s visuals are far more likely to put people off from buying another edition, rather than draw in any new Bat-fans.

The regular cover art of "ABSOLUTE BATMAN" #7 by Nick Dragotta & Frank Martin

Absolute Batman #6 - DC Comics

ABSOLUTE BATMAN No. 6, May 2025

Enthusiastically described by “DC Comics” as concluding with a “larger-than-life story”, this final instalment to Scott Snyder’s opening story arc for “Absolute Batman” must surely have left a few fans somewhat disappointed by just how easily Bruce Wayne’s alter-ego defeated the Black Mask. Indeed, considering just how rich and powerful Roman Sionis is supposed to be, the fact that the Dark Knight simply parachutes down onto yacht to face a single, disco-bopping bodyguard (and a kid) is pretty bemusing; “You think you can stop them? You think you can stop anything that’s coming?”

Furthermore, the city-wide chaos created by the criminal mastermind which now threatens to transform Gotham City into a cesspit of mass murderers, robbers and thieves, is disappointingly largely focused upon Martha Wayne and Mayor Jim Gordon’s face-off against a trio of wannabe Party Animals. Admittedly, the comic does depict one poor citizen being attacked on a tube train. But predominantly, the American author dedicates an incredible amount of this twenty-two page periodical to solely showing the courageous couple desperately trying to talk the low-life down from shooting them dead in the street.

Lastly, a lot of this book’s pace and impact is arguably lost by a string of flashbacks to a time when an adolescent Bruce was looking at pictures in his mother’s photograph album following a bedtime nightmare. This moment is undoubtedly key in the growth of the titular character’s personality and determination to see things through to the end, even an unfavourable one. However, it debatably also gets tiring quite quickly - especially as it continues to run until almost the tale’s last panel, and resultantly keeps pulling the reader straight out from all the adrenalin-fuelled action which is taking place during the present day.

By far this publication’s biggest asset is therefore the artwork of Nick Dragotta, who rather superbly manages to imbue Batman’s battle against the Black Mask with some eye-wateringly violent moments and some truly frenetic-fighting. In addition, the illustrator surprisingly manages to provide Gordon’s aforementioned dialogue-driven stand-off with plenty of palpable suspense, and actually uses the fact that this adventure takes place in a reimagined universe to cause any onlooker to constantly second guess as to whether either Jim, Martha or both will actually die whilst conversing with Sionis' latest recruits.

The regular cover art of "ABSOLUTE BATMAN" #6 by Nick Dragotta & Frank Martin

Absolute Batman #5 - DC Comics

ABSOLUTE BATMAN No. 5, April 2025

Apparently the best-selling comic book in February 2025, few Bat-fans were probably expecting Scott Snyder to pen Bruce Wayne’s alter-ego suffering such as painful-looking smackdown as the one he receives in this particular twenty-page publication. Sure, the young, costumed crime-fighter ultimately manages to survive his severe beating at the hands of Black Mask’s most notorious, heavily-armed followers. But in doing so some bibliophiles might argue that this title’s American author was seriously pushing up against any onlooker’s willing suspension of disbelief as to just how many physical injuries the human body can take; “My god. You actually think you achieved something here, don’t you.?”

Minor quibble aside though, this entire adrenalin-fuelled action sequence does make for a truly marvellous read, with Batman actually appearing to have the upper-hand for most of the fight. Indeed, the impressively armoured vigilante initially seems to anticipate every assault before it occurs – with the one-handed, meat-cleaver wielding maniac who unwittingly impales himself upon the super-hero’s shoulder-spikes whilst charging from behind probably being the best moment of the battle.

In addition, the “broken, beaten and ultimately defeated” Caped Crusader’s subsequent flight also allows this comic’s writer to show Officer Gordon is having her doubts as to whether Batman is a public menace, as well as demonstrate just how strong Roman Sionis’ grip upon the population of Gotham City may actually be. These sub-plots are neatly crowbarred into all the much more pulse-pounding proceedings, and resultantly don’t arguably appear to slow down the periodical’s quite frantic pace one iota. In fact, they just provide this comic’s audience with a necessary breather, before the book delivers its somewhat jaw-dropping conclusion concerning Mayor Jim Gordon and Martha Wayne.

Also adding an incredible amount of tension and vigour to Issue Five of “Absolute Batman” is Nick Dragotta. Of particular note has to be the way the artist holds everyone’s attention with a single, splash-page of the Dark Knight stood out against the metropolis’ skyline, before pencilling a ton of small-sized panels showing him subsequently battering every member of the Party Animals he can get his gloves on. However, such is the “highly acclaimed” illustrator’s ability to quickly establish a scene, that you can additionally almost hear the sigh in Barbara’s voice over her police car’s sirens, as she lowers her hand-gun and refrains from shooting a fleeing “avenger of the night”.

The regular cover art of "ABSOLUTE BATMAN" #5 by Nick Dragotta & Frank Martin