Batman/Superman [2019] #16 - DC Comics

BATMAN/SUPERMAN No. 16, May 2021

Reading like an “Elseworlds” imprint, this twenty-two page “glimpse of brave new worlds within the DC Universe” certainly must have captivated the majority of its audience with its somewhat innovative manner of telling a story via two separate strands of movie reels. Indeed, Gene Luen Yang’s somewhat startling approach to this comic’s storytelling as a literal double feature probably ensured that Issue Sixteen of “Batman/Superman” was read at least a couple of times by fans of the American icons as they digested “The World Of Tomorrow” and “The World Of The Knight” both as individual and adjoined narratives; “You can either follow one story line to the end and then come back for the other or follow both story lines simultaneously! The choice is yours!”

The first of this comic’s “alternate realities” definitely contains a number of intriguing differences to the modern-day Superman’s universe, most notably that Martha Wayne somehow survived the alley-way shooting which should have caused her infant son to become the avenging Dark Knight, and has resultantly become a big name in the world of technology. Initially threatened by “the maniacal machinations of the Unknown Wizard”, this tale from Metropolis soon develops much less of a tongue-in-cheek tone as Bruce’s mother is arguably ‘earmarked’ as the true villain of the well-penned piece.

Likewise, the California-born writer creates a similarly strong adventure for Batman and Robin in this book’s secondary yarn, as the Dynamic Duo foil Spider Lady’s bold attempt to rescue the Joker and Penguin from some insane experimentation programme at Arkham Asylum. This time though, a “trans-dimensional collision” has resulted in Kal-El being killed mid-flight during the baby Kryptonian’s escape from his doomed planet, and causes Lois Lane from this comic’s Man of Steel story to shockingly appear just as the Caped Crusaders are about to battle a strange figure inside a mysterious fortress at the Arctic Circle. 

Adding enormously to all these celluloid shenanigans is Ivan Reis and his incredibly well planned layouts. The Brazilian artist is clearly on tip top form pencilling the exploits of this book’s titular characters, but it is the way in which he incorporates all of his drawings into a winding roll of film which really helps sell the suggestion that the reader is watching some old flick at the cinema, rather than simply perusing a paper-bound publication. In fact, it is easy to hear the whirr of a vintage Kodak cine projector in the background as each parable is played out.

The regular cover art for "BATMAN/SUPERMAN" #16 by Ivan Reis, Danny Miki & Sabine Rich

Batman/Superman [2019] #15 - DC Comics

BATMAN/SUPERMAN No. 15, February 2021

As self-contained, single edition long stories go, Joshua Williamson’s “Snow Fight” probably pleased many within the ongoing series’ audience with its thumpingly good tension and interesting take on Alfred Bester’s co-creation Solomon Grundy. But whilst the twenty-two periodical’s plot certainly does a solid job of squaring off this comic’s titular characters against the Secret Society of Super-Villains, it arguably does so due to its California-born writer having to force a few illogical leaps of faith.

For starters, just why Superman can’t simply convey the suddenly radioactive zombie to Slaughter Swamp on his own is never convincingly expounded upon, especially when the accepted alternative to the Man of Steel flying him in his arms is supposedly Batman placing the highly explosive prisoner in the Bat-Wing and piloting his bound passenger through a terrifyingly turbulent snowstorm. The notion that Kal-El’s super-speed may well detonate a volatile Grundy makes sense, however surely a simple alternative would therefore be for Colonel Marie Jonas to just ask the Kryptonian to fly a little less fast, and perhaps even go as so far as to encase Solomon in some sort of protective containment vessel first..?

Likewise, the pair’s mission to transport the white-skinned living corpse has seemingly only just been conceived, and yet Poison Ivy already knows that the plan has somehow miraculously reached the ears of The Secret Society of Super-Villains. Such an incredible breach of security is implausibly explained away by Pamela Isley as being due to information leaving “Arkham so quickly that you’d think it was an inmate”. Yet that doesn’t explain how word got back to a seemingly incarcerated “Doctor Green” that the criminal group plan to use the zombie as a weapon of mass destruction, or why Deadline’s attack squad know precisely where to intercept the Dark Knight during a blinding blizzard..?

Disappointingly, even Andrei Bressan’s artwork isn’t without its flaws either, despite the Brazilian illustrator certainly proving his worth when it comes to Superman, or even Solomon for that matter, laying a serious smackdown upon their ever-arrogant opponents; “The Society didn’t give me all the details, Lady Vic. But if we get Grundy, we get paid! Take ‘em down!” Sadly, Williamson’s script seemingly ends with the highly proficient penciller still needing to populate a fair few more panels, and the resultant snowball fight disconcertingly depicts a decidedly impressionable Bruce Wayne taking on a facially very similar-looking Kal-El.

Writer: Joshua Williamson, Artist: Andrei Bressan, and Colorist: Alejandro Sanchez

Batman/Superman [2019] #14 - DC Comics

BATMAN/SUPERMAN No. 14, January 2021

Despite this comic bringing Joshua Williamson’s three-part “Planet Brainiac” storyline to a fairly fulfilling finale, some within this particular publication’s audience probably still found themselves checking out the comic’s actual page count once they had finished perusing it. Indeed, it’s arguably hard to recall such a rapier-fast read as the one the California-born writer presents within Issue Fourteen of “Batman/Superman”, as the titular characters finally manage to stop the homicidal machinations of an utterly deranged artificial intelligence located deep inside a “deadly moon base”.

Happily however, rather than “DC Comics” simply reducing its content, this apparent brevity of an experience is actually down to good old-fashioned prodigious penmanship and a thoroughly enthralling battle against a technologically advanced opponent, courtesy of the script cleverly mixing the Man of Steel’s pulse-pounding encounter against the composite Batman/Superman automaton in Metropolis, with that of the Dark Knight’s clever infiltration of its electronic mind in the digital world; “It worked… Overwhelmed the program long enough for you to download it into a closed system."

Also adding to this book’s sense-shattering shenanigans is Williamson’s use of Steel and Batwoman as supporting cast members, and their crucial involvement in distracting the misguided ‘Brainiac protocol’ prior to the “World’s Finest duo” applying their coup de grâce. John Henry Irons debatably takes the lion’s share of such a spotlight, thanks to his “little Hail Mary for rainy days” and ability to hack into the “army of killer robots”. But Batwoman definitely steals the show with a genuine badass moment as she single-handedly takes out an entire army of mechanical murder-bots using just her electrically-charged fists, and purposely poses atop her mountain of metallic mayhem.

In rounding off this excellent instalment, it would simply be rude not to mention Max Raynor’s extraordinarily dynamic contribution to the success of this comic’s story-telling too, and his breath-taking attention to detail for all the numerous automatons based upon the cream of the DC Universe Rogues Gallery. This publication’s prodigiously pencilled bouts of pugilism really are tremendously well-drawn, with the artist’s ability to imbue every punch with a palpable, bone-breaking impact doubtless making many wish the comic had at least depicted a few panels of Kate Kane’s aforementioned triumph over her numerous foes.

The regular cover art for "BATMAN/SUPERMAN" #14 by David Marquez & Alejandro Sanchez

Batman/Superman [2019] #13 - DC Comics

BATMAN/SUPERMAN No. 13, December 2020

It is difficult to imagine that many of this comic’s 31,000 readers in October 2020 didn’t get caught up in the pulse-pounding pace of Joshua Williamson’s plot for Issue Thirteen of “Batman/Superman”. For whether they be a fan of just the titular characters or this twenty-two page periodical’s guest-stars – Steel and Batwoman, the almost endless series of nefarious knockdowns, titanic tussles with mechanical arch-nemeses and brutal bouts of cybernetically-enhanced boxing, surely must have sated the pugilistic desires of even the most voracious bibliophile; “…It is clear your battles are never-ending. I must act quickly if I am to truly help you put an end to your enemies. You have passed many of my tests.”

Arguably leading this foray into some superbly-penned shenanigans is the half-blinded Batman, who despite being manacled upside-down by the robotic Prince of Puzzles, reveals just why he is both a formidable fighter and the World’s Greatest Detective by besting the android Nygma in a brutal game of Chess. Grim-faced, badly injured, yet still a formidable combination of brain and brawn, the Dark Knight absolutely tears through every trial Braniac's seemingly homicidal computer program can throw at him, and demonstrates just why the Caped Crusader is “listed among the greatest comic book superheroes… ever created.”

Similarly as impressive, at least as far as his ability to brutalise his motorised opponents, is Clark Kent’s alter-ego, who for once is given the opportunity to “enjoy the freedom to unleash your full power” upon his hapless foes. Superman’s action-packed sequences may well lack much of the mental agility depicted within his cowled team-mate’s scenes. But that doesn’t mean the Kryptonian wants for thought-provoking conundrums, especially when he is literally stopped dead in his tracks by his artificially-enhanced antagonist’s query as to why he doesn’t save Lex Luthor if he already realises that the people who raised the Metropolis businessman “would rather hurt him than teach him kindness.”

Also adding an enormous amount of bang to this book’s buck is Max Raynor’s dynamic and highly-animated pencilling. The artist’s layouts really help speed along this publication’s story-telling, and then provide its audience with the occasional splash-page long pause so as to help them gather their wits before hurling them head-first back into the awesome action.

Writer: Joshua Williamson, Artist: Max Raynor and Colorist: Alejandro Sanchez

Batman/Superman [2019] #12 - DC Comics

BATMAN/SUPERMAN No. 12, November 2020

Whilst readers less tolerant of editor Paul Kaminski’s frustrating use of this comic to blatantly promote at least six other “DC Comics” titles might argue Joshua Williamson’s narrative for “Planet Brainiac” is little more than a rather choppily patched together advertisement. Those more forgiving fans of the American author who enjoy a healthy combination of pulse-pounding pugilism and Machiavellian mystery were probably thrilled by the exciting pace found inside Issue Twelve of “Batman/Superman”.

Indeed, not only does this twenty-two page periodical depict a fantastic free-for-all between the titular characters and the very best of the Batcave’s technologically-advanced mechanical guardians, such as the Batmobile, Batwing and the latest incarnation of the Justice Buster. But it also produces a thoroughly enjoyable exploration into circumstances surrounding the Dark Knight’s possible demise by the somewhat unlikely pairing of Steel and Batwoman – a team-up which proves as intriguing as the destruction of the Caped Crusader’s secret lair appears utterly overwhelming; “The trick is going to be hacking the bat-computer. Might not matter with the amount of damage --”

Likewise, the California-born writer manages to effectively pull off one of the ‘oldest tricks in the book’ with this comic’s cliff-hanger conclusion, by making its bibliophiles believe one thing when Bruce Wayne’s alter ego has all along been saying quite the opposite. Just how a seriously battered and bandaged Batman manages to escape Brainiac’s clutches on “the dark side of the Moon” in order to make his misinterpreted video message is never made clear, yet it still leads into a mouth-watering finale which surely caused many comic book collectors to impatiently await the appearance of this storyline’s subsequent instalment on their local store’s spinner rack.

Similarly as successful as this publication’s prose is its interior layouts by Max Raynor and colourist Alejandro Sanchez, who together provide this comic’s quite considerably-sized cast with plenty of animated life. John Henry Irons and Katherine Kane’s costumed counterparts, as well as giant super-villain Chemo, are especially well-drawn, with the creative team really managing to show the super-heroes’ increasing concern as they realise just how much trouble an off-world Dark Knight might actually be in.

Writer: Joshua Williamson, Artist: Max Raynor, and Colorist: Alejandro Sanchez

Batman/Superman [2019] #11 - DC Comics

BATMAN/SUPERMAN No. 11, October 2020

As ‘thrilling conclusions’ go, there was surely little doubt in this twenty-two page periodical’s audience that Joshua Williamson delivered on “DC Comics” pre-publication promise that the titular characters would bring “the deadly machinations of the Ultra-Humanite” crashing to an end. However, just how the California-born writer’s narrative “will reverberate across the DC Universe for months to come” is arguably much harder to imagine, considering that his “Atomic” story-line wraps with the unnamed mad scientist’s degenerating brain being housed within S.T.A.R. Labs and Bruce Wayne successfully removing the villain’s “damn detonator” from his chest using the Batcave's advanced surgical table.

True, Batman is clearly unsettled by the Ultra-Humanite’s claim that “someone was keeping Atomic Skull captive” before Albert Michaels blew up Gotham City’s Financial District, and the American author unsurprisingly has the supposedly dead scientist tear himself free of his grave plot at the comic’s end. But none of this seems to suggest something so deadly has been started that the Burbank-based publisher’s “fictional shared universe” is in danger of being affected, nor that Superman’s revelation to the world that he is Clark Kent will detrimentally impact his relationship with the Dark Knight; “Clark, Stop. I know that. And I wasn’t mad that you didn’t consult with me about revealing your identity. I was only frustrated with how I reacted.”

What Issue Eleven of “Batman/Superman” does deliver though is a thoroughly enjoyable battle of sheer strength and sharp wits between the Man of Steel and one of “the first supervillains of the Golden Age of Comics.” Indeed, the pair’s titanic tussle, superbly sketched by former “Alpha Flight” artist Clayton Henry and beautifully coloured by Alejandro Sanchez, is arguably faultless, as Kal-El demonstrates to both his arch-nemesis and any perusing bibliophile that “Batman isn’t the only detective” in this book by using a trail of rare radiation and his supersonic hearing to locate the Ultra-Humanite’s secret headquarters. Aided by an incapacitated Caped Crusader, Williamson really shows off the Kryptonian’s fighting savvy by having him distract his ‘omnipotent’ opponent just long enough for his partner to neutralise the crook’s technologically advanced base of operations.

The regular cover art of "BATMAN/SUPERMAN" No. 11 by David Marquez

Batman/Superman [2019] #10 - DC Comics

BATMAN/SUPERMAN No. 10, September 2020

Packed with plenty of pulse-pounding pugilism involving the Man of Steel, a fascinating autopsy of the Atomic Skull’s corpse by the World’s Greatest Detective, and a seriously shocking conclusion which reveals the Ultra-Humanite’s sole motivation is to “be remembered as the mind who killed Batman and Superman”, Joshua Williamson’s script for “Atomic” must surely have thrilled each and every one of the comic’s readers. Indeed, the California-born writer’s combination of a sense-shattering flashback concerning the grisly demise of “the first supervillain faced by Superman”, a seriously sinister exploration of the Gotham Industrial Clean Waste facility, and subsequent capture of the Dark Knight by a horde of cybernetic-zombies is arguably faultlessly penned.

For starters, despite his destructive death in this story-arc’s opening instalment, Albert Michaels’ alter-ego is still very much at the heart of the narrative, with both his desperate attempt to right his many wrongs in Metropolis and a remote detonator found near his heart, leading the Caped Crusader to determine someone within his city “is experimenting with turning people into drones… into bombs.” This gruesome discovery clearly rattles even Kal-El and actually leads to the Kryptonian looking a tad nervous during the titular characters’ grim investigation into a missing “shipment coming in from Metropolis weeks ago.”

Just as enthralling is the pair’s battle against a wave of WayneTech’s deceased employees, which debatably demonstrates both the strengths and weaknesses of the ‘dynamic duo’. The Ultra-Humanite touches a raw nerve with Superman when the white gorilla admits he enjoys watching them work together as “one is the mind and the other is the muscle”, and cleverly ensures the Last Son of Krypton must abandon his friend to a pack of cyborg-cadavers by ordering one of his long-dead minions to self-detonate; “Superman, you need to get that drone out of the city. Now.”

Clayton Henry’s artwork also adds an incredibly amount of energy to this twenty-two page periodical, with his pencilling of Kal-El’s reaction to the mutilation taking place around him proving to be one of this publication’s highlights. There’s a palpable sense of sheer superhuman power in all the panels the Jamaican sketches involving the Man of Tomorrow, especially when he’s desperately trying to keep his anger in check whilst facing either the Ultra-Humanite’s seemingly senseless determination to steal an experimental atomic sequencer or the criminal's antagonising mind-games.

Writer: Joshua Williamson, Artist: Clayton Henry, and Colorist: Alejandro Sanchez

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

Batman/Superman [2019] #8 - DC Comics

BATMAN/SUPERMAN No. 8, May 2020

Neatly bookended with a surprisingly touching look at Dru-Zod’s childhood and his father’s desire to ensure the Kryptonian understands just why “Kandor is an important part of the House of Zod’s past”, Joshua Williamson’s action-packed adventure inside Issue Eight of “Batman/Superman” probably had its 38,236 readers wondering just how Superman’s arch-enemy was ever going to be stopped by this comic’s titular characters, considering he had already successfully resurrected the miniaturised metropolis’ long-dead inhabitants using one of Ra's al Ghul’s Lazarus Pits. Indeed, backed by an entire city’s super-powered population presumably grateful to the “distinguished soldier” for bringing them back to life, there arguably doesn’t look like there is much either Clark Kent’s alter-ego or Batman can now do against the insane intergalactic general except flee the Lost Temple of Quetzalcoatl, taking an enraged founder of the League of Assassins with them; “Kandor lives! No longer will your legacy be captivity and death!”

Fortunately however, the California-born writer’s narrative is far from so straightforward, and instead of depicting Zod’s moment of triumph, rather provides a sense-shattering action sequence involving the numerous, fly-sized Kryptonians frenziedly attacking all four of the Lazarus Chamber’s occupants, including their aghast saviour. True, such a response from those freshly reanimated by the restorative chemical pool arguably wouldn’t come as much of surprise to those bibliophiles familiar with the immortality of the Demon's Head. But the ensuing chaos as hundreds of tiny ‘supermen’ project their fiery eye-beams and freezing breath at this comic’s flabberghasted protagonists makes for a truly enthralling experience, especially when a number of the shrunken sadists painfully enter Ra's al Ghul’s ear…

To make matters even more complicated though, rather than regret his actions, the American author has Zod attempt to desperately defend his homicidal brethren against the centuries-old Egyptian and his plan to kill all his crazed people courtesy of “an ultraviolet-light grenade that replicates the effects of a Red Sun” and a specially synthesised Kryptonite blade. Dynamically-drawn by artist Nick Derington, this battle between two of “DC Comics” greatest super-villains is utterly riveting, even though it soon becomes blatantly obvious just how badly out-matched Talia al Ghul’s father actually is when confronted by an increasingly irate General Zod.

Writer: Joshua Williamson, Artist: Nick Derington, and Colorist: Dave McCaig

Batman/Superman [2019] #7 - DC Comics

BATMAN/SUPERMAN No. 7, April 2020

"The first chapter of a two-part epic featuring the work of artist Nick Derington”, Joshua Williamson’s script for Issue Seven of “Batman/Superman” must have pleased those within its 31,519 strong audience who were not fans of Brian Michael Bendis’ almost arbitrary destruction of Kandor within the covers of “The Man Of Steel” limited series. For whilst the Californian writer doesn’t go so far as to simply ignore, reverse or retcon the mass “murdering [of] the entire Kryptonian city", he does seemingly set General Zod on a course which might actually see the villain do some good for a change; “Our people deserved better than to meet an unceremonious slaughter by that mongrel Rogol Zaar.”

In fact, much of the ‘draw’ with the American author’s narrative surprisingly comes from this story’s rather enthralling role reversal of not only Robert Bernstein’s super-powered co-creation, but also that of Batman’s arch-nemesis, Ra's al Ghul, as well. Desperately determined to see his once proud race returned from beyond the grave, Dru-Zod’s motivations for invading “the Lost Temple of Quetzalcoatl” to reach the life-restoring properties of a Lazarus pit seem perfectly laudable. However, equally as admirable in their actions is the League of Assassins’ founder, who readily realises that the General’s grief may well be blinding the Kryptonian to the fact that “we don’t know what the Lazarus pits will do to the Kandorians.”

Stuck in between this marvellous mess of morals are the titular characters, who despite an action-packed start at the gravesite of Clay Ramsay, are predominantly haplessly held on the side-line as little more than interested witnesses to the Teutonic chess game playing out before their eyes. True, Batman manages to once again show his physical prowess against the Demon’s Head when the eco-terrorist foolishly surmises he’ll only be facing Superman at Stryker’s Island. Yet once this bout of fisticuffs is brought to a disappointingly quick end, the ‘dynamic duo’ become little more than observers who accompany Ghul on his quest to ensure the sanctity of “the lifeblood of my legacy.”

Adding an interesting extra dimension to the story-telling process are Derington’s layouts, which certainly provide plenty of pulse-pounding pace to the twenty-two page periodical. Whether it be the double-splash of a shattered Kandor falling beneath the ugly visage of Zaar, the Dark Knight trading blows with a synthetic-sabre wielding cult leader, or Zod hurling about the battered remnants of the League of Lazarus, the artist gives any perusing bibliophile plenty of dynamic detail to keep them hooked.

Writer: Joshua Williamson, Artist: Nick Derington, and Colorist: Dave McCaig

Batman/Superman [2019] #6 - DC Comics

BATMAN/SUPERMAN No. 6, March 2020

Publicised by “DC Comics” as dealing with the “aftermath of the infected”, Joshua Williamson’s script for Issue Six of “Batman/Superman” probably wowed its audience at first, what with its awesome opening depicting Wonder Woman battling a host of stone statues deep underground, and the comic’s titular characters having to nervously explain to Diana of Themyscira that they thought they could beat the Batman Who Laughs without asking for help. However, once the trio have disappointingly defeated the plethora of mythological beast-based animated constructs in rapid succession, “Infection Aftermath” arguably transforms into a much slower paced, dialogue-drive affair, which regrettably depicts the Amazon adventuress bowing out of the book’s plot all-too soon; “I will find Donna. But I fear it will be much more difficult to find trust in each other again.”

Similarly as undesirable as the daughter of Hippolyta’s early departure from the action is the California-born writer’s requirement to peruse numerous other publications alongside his own story-line, so as to fully understand precisely what is occurring within this twenty-two page periodical. These ‘editor notes’ crop up fairly regularly, and at times debatably give this comic the disconcerting aura of having simply been penned just to advertise some of the publisher’s other limited series, such as "Year Of The Villain: Hell Arisen”.

Indeed, between the aforementioned four-issue long special event focusing upon the battle between The Batman Who Laughs and the Apex Lex, as well as signposts for the tale ‘continuing’ in "Supergirl”, “The Infected: Death Bringer”, “Superman” and “Action Comics”, Paul Kaminski seemingly encourages this publication’s 34,967 readers to staggeringly purchase at least another eight comics. Admittedly, none of this additional literature is absolutely crucial to either understanding or even enjoying the main scenario depicted within this magazine, but story-points such as Superman having openly revealed himself as Clark Kent midway through the book somewhat jars the senses when Williamson suddenly refers to it.

Thankfully, any concerns over the somewhat sedentary-natured narrative can occasionally be forgiven, courtesy of David Marquez pencilling some truly pulse-pounding panels. Wonder Woman’s fury-fuelled fisticuffs beneath the Island of Aeaea are gloriously realised by the American artist as she smashes manticores, gorgons and scorpion-tailed beastmen at her leisure. Whilst the Dark Knight and Man of Steel have rarely looked better than when they’re drawn punching the daylights out of the Scarecrow and Metallo respectively.

Writer: Joshua Williamson, Artist: David Marquez, and Colorist: Alejandro Sanchez

Batman/Superman [2019] #5 - DC Comics

BATMAN/SUPERMAN No. 5, February 2020

As “explosive first arc” finales go, it is somewhat doubtful that the majority of this comic’s declining 36,269 strong audience were particularly impressed with just how “Who Are The Secret Six?” concludes. For whilst the titular characters successfully stop “the satellite and the portal to the Dark Multiverse”, this twenty-two page periodical doesn’t in any way resolve the consequences of Hawkman, Supergirl, Shazam, Donna Troy and Blue Beetle becoming infected by the Batman Who Laugh’s poisonous toxin.

Indeed, the more cynical reader may well view Issue Five of “Batman/Superman” as little more than the culmination of a huge marketing campaign by “DC Comics” for the Burbank-based publisher’s 2019 crossover comic book event involving Lex Luthor transforming himself into a “human/Martian hybrid version of himself”; especially when this particular book even goes so far as to close with the exasperating caption “follow the Batman Who Laughs & the Infected in Year of the Villain: Hell Arisen #1”.

Sadly such shenanigans arguably take the shine off of what is otherwise a darn good story by Joshua Williamson, who uses the death of Superman and his family on Earth-22 to dramatically motivate the Man of Steel in this universe. Positively incensed by the decayed corpses of his wife and child hanging on display within the Dark Multiverse’s satellite, and enraged by Shazam’s horrifying belly-laugh at the sight of his Justice League friends’ mutilated cadavers, the California-born writer depicts a suddenly all-too deadly portrayal of Clark Kent’s alter-ego, who literally pounds both his cousin, Kara Zor-El, and Captain Marvel into the very ground.

“One of the premier shepherds of the DC universe” is similarly as skilful penning Batman too, as the Dark Knight tackles Commissioner Gordon and Blue Beetle using a mixture of wits, gadgetry, fists and Superman’s extra-terrestrial zoo animals. Tapping into Jamie Reyes’s untainted scarab to destroy the Batman Who Laughs’ nefarious tower, and subsequently felling the dark version of Gotham City’s veteran police officer with a thunderous kick in the guts, Williamson also manages to simultaneously show the Caped Crusader’s more caring side, by having him notice just how much discomfort Ted Kord’s successor must constantly be in when morphed into Khaji Da’s battle suit; “Jaime… I never knew… Ugh… That scarab was so… painful…”

Writer: Joshua Williamson, Artist: David Marquez, and Colorist: Alejandro Sanchez

Batman/Superman [2019] #4 - DC Comics

BATMAN/SUPERMAN No. 4, January 2020

Persistently rocking back and forth as to whether or not this comic’s titular characters have any hope of thwarting the Batman Who Laughs and his evil, toxin-infected, super-powered slaves, Joshua Williamson’s script for “Who Are The Secret Six?” may well have caused some of its 45,796 readers to feel a little green about the gills. However, for those bibliophiles able to weather such a sense-shattering storm, it’s hard to imagine them ever encountering another twenty-two page periodical crammed with half as many as twists and turns as the “New York Times Best Selling Author” somehow manages to crowbar into this publication’s action-packed narrative.

For starters, just as it looks likel the ‘dynamic duo’ might be about to outmanoeuvre the Blue Beetle’s stunning subjugation of the Fortress of Solitude in the Bermuda Triangle, the pair are shockingly hamstrung by the unforeseen arrival of a heavily-poisoned Donna Troy and Hawkman. This surprising revelation not only must have caught many a bibliophile off-guard, but also leads to some great dialogue where the likes of Jim Gordon, the original Wonder Girl and Carter Hall rebuke “Blue Boy” and the Dark Knight for a plethora of perceived injustices, such as the American archaeologist emphatically stating just “how sick Carter is of hearing about how you plan for everything, Batman”.

Similarly as stunning is the pulse-pounding entrance of Supergirl, and the almost nonchalant side-punch she subsequently smacks Troy into tomorrow with. The idea of Superman, Kara Zor-El and Bruce Wayne’s alter-ego knuckling down to a no-holds barred bout of fisticuffs against a party of poisoned heroes who have been turned “into the Dark Multiverse versions of themselves” is mouth-watering, until it quickly transpires that intercepting a toxin-laced bat-a-rang hurled by the Blue Beetle probably wasn’t the greatest idea of the Kryptonian’s cousin; “Is someone going to explain to me why all our friends have a metal fetish now?”

Nobly injecting all these non-stop shenanigans with plenty of pace are David Marquez’s scintillating storyboards. Moodily coloured by Alejandro Sanchez, the American artist really manages to imbue this comic’s punch-ups with some palpable impacts. In fact, it’s arguably hard to watch either Troy smacking the seven bells out of Superman or Kara cracking Hawkman squarely on his chiselled jaw, without involuntarily winching at the formidable force such blows would surely create.

Writer: Joshua Williamson, Artist: David Maequez, and Colorist: Alejandro Sanchez

Batman/Superman [2019] #3 - DC Comics

BATMAN/SUPERMAN No. 3, December 2019

Whilst Joshua Williamson clearly put some considerable thought into his decision as to which six heroes of the DC Universe had been “infected with a serum that will turn them into the worst versions of themselves.” It is arguably hard not to feel that his script for Issue Three of “Batman/Superman” completely wastes the opportunity to explore just what might have happened had The Batman Who Laughs not killed his universe’s version of Clark Kent, and instead transformed the Man of Steel into “the greatest tool I ever had in my utility belt.”

In fact, considering that this ongoing series’ previous instalment concluded on the cliffhanger of Kal-El purposely poisoning “himself with Joker toxin to go undercover”, many of this comic’s 55,334 readers were probably astounded that the Kryptonian’s façade is brought to an abrupt halt by the Caped Crusader within this publication’s first few pages. True, this short-lived ruse has apparently already been rumbled by Batman’s evil counterpart due to the alternative version somewhat unbelievably being able to smell the hard-light holograms used to ‘fool’ the super-villain into believing he had escaped his cell, but even so, it would still have been interesting to have witnessed Jerry Siegel’s co-creation battle his urge to “give in to your true self” for a bit longer.

Just as disappointing, is the fast-paced resolution the California-born writer brings to Jim Gordon’s disconcerting infection, which, having been used to set-up this entire long-running narrative’s premise, is quickly ended courtesy of Superman’s intervention. Questions such as how many good cops have died because of the Batman, as well as how many people Gordon has had to bury “because of the Hell you’ve created in Gotham”, clearly ‘wound’ Bruce Wayne’s alter-ego, and artist David Marquez does a fabulous job of depicting the inner turmoil on the Caped Crusader’s face.

Yet rather than provide the far more compelling experience of a strongly conflicted Dark Knight tortuously battling both his inner demons, as well as a mercilessly mocking veteran police commissioner who blames him for causing the fictional metropolis to fall ever “deeper into ruin”, Williamson instead has a conveniently ‘almost toxin free’ Man of Steel simply fly straight in to save the day and swiftly end the compulsive confrontation; “So much for the World’s Greatest Detective!”

The regular cover art of "BATMAN/SUPERMAN" No. 3 by David Marquez & Alejandro Sanchez

Batman/Superman [2019] #2 - DC Comics

BATMAN/SUPERMAN No. 2, November 2019

Shifting a respectable 43,107 copies in September 2019, it seems that Joshua Williamson’s decision to ‘promote’ Shazam from being “the last character revealed” within this mini-series to have been infected by The Batman Who Laughs to the first, was actually a wise one. For despite the California-born writer being partially influenced by the recent release of the superhero's film by “New Line Cinema” rather than any substantial improvement to his storytelling, the opening battle between Bill Parker’s co-creation, Kal-El and the Dark Knight irrefutably delivers a sense-shattering start to this twenty-two page periodical.

Indeed, the California-born writer arguably pens a piece portraying the Caped Crusader at his very best, as Bruce Wayne’s alter-ego finds himself caught in the middle of a bout of fisticuffs between two of “DC Comics” heaviest hitters, and yet still seems to hold his own against the super-crazed Captain Marvel utilising all of his fighting smarts, as well as a near super-sonic ‘borrowed’ Bat-wing from an incarcerated Batman Who Laughs; “The jet was just the delivery method, punk! I’m always the weapon!”

Surprisingly, Superman is shown in a similar light too, one moment angrily remonstrating with his ‘poisoned’ former friend following the “world’s mightiest mortal” endangering a large group of innocent bystanders with a lethal shower of broken masonry, and then refusing to deliver a coup de grâce in the next, when the psychotic Shazam transforms himself back into the highly vulnerable Billy Batson just before the big boy scout’s eye laser beams discharge. Such a pulse-pounding picture of the lead two protagonist’s overcoming their failings genuinely pulls the reader in and promotes a palpable aura of menace to the proceedings, which repeatedly looks set to depict the pair being badly beaten by the hauntingly homicidal Captain Marvel.

Disappointingly however, once this all-too brief adrenalin ride comes to an unsatisfactory resolution, and this comic’s audience are rather jarringly jolted to the Fortress of Solitude in the Bermuda Triangle, the American author’s narrative debatably goes badly off the rails. Admittedly, it’s not too difficult to stomach the lengthy, dialogue-heavy discourse between a badly bruised Batman and Superman following their rather necessary regrouping, but it’s rather hard to believe that the best course of action they can think of is to release the Batman Who Laughs from his ultra-secure captivity in the hope the Dark Knight’s “evil counterpart” will lead them to their foe..?

The regular cover art of "BATMAN/SUPERMAN" No. 2 by David Marquez & Alejandro Sanchez

Batman/Superman [2019] #1 - DC Comics

BATMAN/SUPERMAN No. 1, October 2019

Initially conceived as a “very Superman centric” title which may well have simply built upon the “New 52” Greg Pak and Jae Lee “Batman/Superman” series, at least according to Joshua Williamson, this exhilarating twenty-two page periodical undeniably benefits from the inclusion of The Batman Who Laughs as the book’s “underlying villain” and its narrative’s shift in focus from the Big Blue Boy Scout to the Dark Knight instead. In fact, it’s arguably hard to imagine the “New York Times best-selling author” penning such a deeply dark and disturbing storyline as “Who Are The Secret Six?” with Clark Kent’s alter-ego actually taking the lead, especially when this publication’s storyline so clearly spins “out of the devastating events” previously wrought upon Gotham City by Batman’s evil counterpart from Earth-22; “I stopped his plan, but there was a serum… He could have used it to infect others…”

Fortunately, such a “switch it round” clearly took place, leading to a genuinely unnerving exploration of what would happen to “our heroes” close relationship with one another should the Man of Steel truly turn evil, and a tense journey beneath the pious pavement of Crime Alley into the dank, torture device-filled Bat Cave of The Batman Who Laughs. Wonderfully claustrophobic, and packed with plenty of action too as the ‘dynamic duo’ are assaulted from all sides by a horde of robotic “Knightfall” flavoured drones, this comic increasingly manages to raise the neck hairs as it becomes progressively clear no cape within the DC Universe is safe from the maniacal machinations of the utterly insane alternate universe Batman, not even those within the Titans, the Justice League or the Teen Titans.

Likewise, Williamson’s writing throws quite a few curveballs into the mix both to keep this title’s readers on their toes, and maintain the strong belief that the “terrifying new threat” of the clown-faced maniac’s highly-infectious serum “could strike from anywhere.” Superman’s supposed death, courtesy of a lungful of Kryptonite-infused gas within the Justice League satellite is a great example of this, as is the disconcerting Cheshire Cat grin of Commissioner Jim Gordon following his apparently earnest dispatchment of the 'Caped Crusaders' to recover the abducted adolescent Danny Mills.

Sensationally supplementing this superlative story-telling is David Marquez’ prodigious pencilling, which goes a tremendously long way to help build the mounting horror which his creative co-worker’s script contains. In particular, the American artist’s incredibly emotional and well defined faces really help to sell the rising discomfort Superman starts feeling as he realises his entire mission is a set-up, and that instead of facing a toxin-poisoned thirteen year old kidnap victim, he has stumbled upon an unbalanced Billy Batson instead… “Shazam!”

Writer: Joshua Williamson, Artist: David Marquez, and Colorist by: Alejandro Sanchez

Batman/Superman #1 [The New 52] - DC Comics

BATMAN/SUPERMAN No. 1, August 2013

Whilst admittedly bringing about the “return of a book featuring both [“DC Comics” biggest] characters is a no-brainer”, Issue One of “Batman/Superman” provides something of an interesting spin on events, by having Greg Pak’s narrative focus upon the pair’s “very first meeting and relationship” rather than simply a ‘run of the mill’ adventure which indolently relies upon “the star power” of the two superheroes. As a result, this twenty-five page periodical’s plot “takes place around the time” of Grant Morrison’s first edition of “The New 52” “Action Comics” and provides its 143,457 readers with both a “very young… cocky” Man of Steel who “sticks up for the underdog” and “a very early” Dark Knight who sees Clark Kent’s alter ego as “the most dangerous guy I’ve met in my life.”

Understandably such differing viewpoints almost immediately causes some ‘hostility’ between the two comic book legends, with an undercover Bruce in particular finding the meddlesome reporter’s “crusader” attitude one which will cause more harm than good; “Thanks to you, that bully’ll probably come back tomorrow and beat him up twice as hard.” However it isn’t until a possessed Catwoman appears in Metropolis, having apparently murdered three Wayne Enterprises employees that the Caped Crusader and Kal-El actually start to trade blows, and artist Jae Lee draws a genuinely exhilarating punch-up sequence between the ‘dynamic duo.’

Disappointingly though, this incredibly tense, highly stylised ‘fist-fight’ is brought to an all too abrupt end by the Dallas-born writer’s script suddenly having Superman mysteriously transported to Smallville in order to confront a ‘modern-day’ Batman who, quite understandably, knows Clark’s weakness and deploys a kryptonite “automatic defensive system” in order to ‘poison’ him. Such a sudden shift in plot is utterly mystifying, and made all the more jarring by Ben Oliver replacing Lee on pencils until the end of the comic.

Admittedly the former “Judge Dredd” artist still provides this book with plenty of competent panels. Indeed the British illustrator’s depiction of an enraged, albeit somewhat weakened, Big Blue Boy Scout brutally clobbering an off-guard Dark Knight is extremely well sketched. But Oliver’s style is so markedly different to that of Jae that all the wonderfully engaging, depressingly grim atmosphere created by this magazine’s opening eighteen pages is irrevocably undone by the simple turning of a page…

The regular cover art of "BATMAN/SUPERMAN" No. 1 by Jae Lee with June Chung