Writer: Tom Taylor / Penciller: Andy Kubert / Inker: Sandra Hope (#2 - #6) Colour Artist: Brad Anderson / Letterer: Clem Robbins / Collects: Batman: The Detective #1 - #6 / HC / DC Comics
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The Pitch: A horrific tragedy in the United Kingdom sends a very personal and deadly message to the Dark Knight-one that will draw Batman out of Gotham City to investigate! From the moment he lands in Europe, Batman will face a difficult investigation and unheard-of adversaries and gain the assistance of a partner once more-all in the hunt for the villain known as Equilibrium! New villains! New allies! A thrilling overseas adventure begins for the Dark Knight!
Spare a thought for the Batman writer, dear reader. The character has existed in so many forms for so many years that to a certain extent, it must feel like all the stories that can be done have been done. It must be wonderful then when a writer comes in with a pitch that no one has seen before. By 'no-one' I of course mean me because I've read a couple of thousand Batman comics by now and I don't remember an idea like this in a while. Trust Tom Taylor to come up with an angle as good as this. Starting out with Batman imposters blowing a plane out of the air over the UK, The Detective escalates to an International adventure that intertwines Batman's past with his future, making them dance in real-time.
BRUCE SEEMS OLDER, WORN
Time is an issue throughout this. When we meet Bruce, he seems older, worn. His face is lined, reminding us of the leather jacket he sports: vintage, familiar but not quite comfortable. He's not a million miles away from his Dark Knight Returns phase. There's a surly, smouldering growl to him that will doubtless please fans. One gets the sense of a fading giant, whose best days are behind him as he leaves Gotham's protection to younger soldiers. What he clearly needs is a case and boy, does he get one. Someone begins killing people that Batman had previously saved. It's an interesting choice because deep down, Bruce wants to be rendered unnecessary. He wants to have not existed, at least in his night-time form. This gives him his greatest wish but in the worst way possible. It says “You are futile”. It says, '“no matter what you do, the difference you make will be undone@. It waves the red rag to the bull and readies the spears to stick in his hide. With the passing of time wearing on Bruce, his past actions as The Batman now spat back into his face to a near epidemic level, time kills him again, or at least the race against it does, as he prepares to uncover the mystery of just who is against him and more importantly, why. And what more of Bruce's past will bleed into his life now?
if Alfred was the gentleman’s gentleman,DUCARD IS THE GENTLEMAN’S SCUMBAG
The answer comes in the form of the morally flexible, charming and dangerous Henri Ducard. If Alfred Pennyworth is the gentleman's gentleman, then Ducard (a character I've loved since he first appeared in Blind Justice back in 1989), is the gentleman's scumbag. It's Ducard who sets Bruce on the final course for ultimate confrontation and it's in the scenes with Ducard that we explore the weight and impact of Batman's actions. It's also the place where you can feel Taylor having the most fun as a writer, this despite the presence of a newly-minted Knight and Squire, who provide entertaining foils for Batman's ruthless efficiency. Taylor has proved time and time again his ability to focus on the drive of the story. It's nice to see him stripped of the Elseworlds / Multiverse trappings that have become something of a calling card – although they are obviously still in evidence in Dark Knights of Steel and Dark Ages so don't fear that they're going anywhere. His writing is sharp and exciting, giving Kubert a great base to build on.
KUBERT’S FIGURES STAND TALL IN THE VERTICAL SINGLE COMIC PAGE
And build he does. His art makes a movable monolith of Batman, wrapped in extra gear, reminding one a little of Tom Hardy's Bane in his stance and silhouette. But that monolith exists to be torn down by more agile creatures, as well as ones that match him for brutality. Equilibrium, his enemy here, seems almost supernatural in their ability, a feat accomplished by simply doing as Batman does: they build an army of people loyal to the cause and resemble creatures of the night in form and appearance. Kubert creates people who are physically slight but dynamic and skilful. His poses are inspiring, the figures standing tall in the vertical space of the single comic page, here used to great effect. His action is kinetic and weighty. It's great cartooning that reminds you why he's one of the best in the business. He's inking himself on #1, with Sandra Hope’s excellent lines from #2 - she does an amazing job of keeping the look consistent with Kubert’s. her line is reliably heavy and that helps ground even the most outrageous of moments. Brad Anderson creates a nice set of colours and light, relying on a palette of realistic hues, but never forgetting to bring the stylisation when needed. They're all backed up by Clem Robins' excellent lettering and sound effects. He makes voices rise above the (very loud) noise of the action and talk to us in believable accents throughout. The Detective feels like it could be a final word on Batman, but my hope is that this team will take another case and bring all their talents to bear to solve it.
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