Straight from the pages of Batman: Year One, comes the Dark Knight at the very beginning of his war on crime. With unstoppable determination, Batman forges his path while refining his use of intimidation, technology and grit to create the mythic legend he is destined to become.
Outfitted in a comic-accurate, tailored cloth suit with a wired cape, allowing Batman to strike dramatic, grounded poses straight from the iconic storyline. Multiple interchangeable head portraits showcase a range of intense expressions, including an unmasked Bruce Wayne, reflecting the physical and emotional toll of his first year as Gotham’s vigilante.
Equipped with an experimental arsenal, Batman comes prepared with batarangs, explosives, a blowgun with dart effect, a recording device, a floodlight, and additional accessories recreating key moments from Year One.
In Batman: Year One, Bruce Wayne returns to Gotham to wage a personal war on crime, crossing paths with a corrupt system, ruthless criminals, and a city in desperate need of a symbol.
Books like Batman #5 are why I love superhero comics. Matt Fraction, Jorge Jimenez, and Tomeu Morey create an entire issue that is centered around Bruce Wayne, not Batman, being chased by ninjas while on a kind of, sort of date with Dr. Annika Zeller, an Arkham employee who has invented something called the Crown of Storms to regulate electrical signals. So, of course, she’s on the run from rival ninja gangs, including Ojo aka Lady Death Man. There’s flirting, tension, cool gadgets, and a killer final page when an action from one of Wayne’s allies
Although, Jimenez has a much different art style from David Aja, Batman #5 reminded me a lot of another Fraction comic, Hawkeye #3 aka the freeway car chase issue where Clint Barton and Kate Bishop try out all the trick arrows. (It was adapted pretty well in the 2021 Disney Plus series too.) Batman #4 set up all kinds of labyrinthine plotting while this issue is all about a man getting a woman to safety and also dealing with his feelings about her. Of course, Dr. Zeller is a gorgeous woman, but Bruce is more attracted to lack of fear in solving mental health crises and speaking truth to power in a way that’s earned the ire of two and definitely more criminal syndicates. Even though the costume and cowl are miles away, some of his real personality comes out in this issue as he listens to her talk about innovative ways to make Gotham a better place, which is something he can assist through Bruce Wayne’s money and not just Batman’s fists. Finally, it’s so wholesome how protective Bruce is of Annika like when he immediately throws her into the safety of the dumpster when Ojo confronts him in an alley.
However, most of this issue is Jorge Jimenez and Morey turning in one of the coolest car chases (in comics) period. Seriously, there’s a double page spread that plays with time in an utterly insane way when Bruce catches a lock of Annika’s hair that was cut off by a biker gang member between her uttering “Oh God”. In this series of panels, you know what it’s like to have the reflexes of Gotham’s boy billionaire, who is also the Dark Knight. Specificity in sound effects from letterer Clayton Cowles and Jimenez are key in this and other segments of the chase sequences, and you hear the sword and the enemy’s body hit the side of the car before cutting to a small panel in silhouette that’s pure dark slapstick. In his colors, Tomeu Morey finds a happy medium between complex digital work and old school flat colors. When in doubt, pink and black look fantastic, and this scheme shows up in the issue’s movie poster-worthy title page along with the hand to hand fight between Bruce and Ojo.
Batman #5 also uses the high adrenaline action to fuel a kind of identity crisis for Bruce Wayne. He has to do Batman things to get through the issue, but has no access to his costume or gadgets beyond a sick suit of light body armor that’s also moisture wicking. Matt Fraction and Jorge Jimenez effectively use tics in Bruce’s vocabulary and shifts in body language to show when he’s blending or crossing over different parts of his dual identity. Of course, Ojo calls him out on this behavior, and this leads to Jimenez drawing his best, mean mugging action pose. Bruce Wayne is definitely more comfortable drifting cars and shifting gears than being a man in a business suit.
I love romantic comedies. I love action movies. So, I loved loved Batman #5. This comic is a showcase for Jorge Jimenez’s virtuosic art, Tomeu Morey’s ability to set the mood through colors, and also Fraction’s skill at quickly creating romantic chemistry and letting his artist cook. But, in a very cranked-to-eleven way, it demonstrates the best way to really know what someone is like is in a stressful situation, and I think Bruce passed with flying colors. (Until the final page.)
A night out with Bruce Wayne goes off the rails immediately for Dr. Annika Zeller — it seems her experimental Crown of Storms has her marked for death. And if they survive the legendary 000 Gang, they’ll still have to confront the sinister assassin known as The Ojo!
Sometimes, the staff at Graphic Policy read more comics than we’re able to get reviewed. When that happens you’ll see a weekly feature compiling reviews of the comics, or graphic novels, we just didn’t get a chance to write a full one for.
These are Graphic Policy’s Mini Reviews and Recommendations.
Logan
Ultimate Universe: Two Years In (Marvel) – Ultimate Universe: Two Years In is a complex story about the Ultimate Guardians of the Galaxy trying to fix the universe using the power of timey wimey things. Deniz Camp and Alex Paknadel turn in a script oozing with ideas about the nature of humanity, hope, and if a better world can happen complete with talking dogs, nihilistic robots, cosmic surgery, and a truly unique take on Daredevil. This book is worth reading for the Ultimate Daredevil sequence alone which is fourth wall shattering comics storytelling at its finest from Camp, Paknadel, and Javier Pulido. Pulido’s vivid, flat colors are the cherry on top. It wavers under the weight of its own complexity sometimes, but Deniz Camp and Alex Paknadel find the emotions at the core of this space and time-spanning story with Patrick Boutin and Phil Noto‘s facial expressions especially keeping me immersed in the story. Earth-6160 is full of ideas and interesting characters, and it’s sad it will conclude soon. Overall: 8.2 Verdict: Buy
Ultimate X-Men #22 (Marvel) – This issue of Ultimate X-Men has massive Buffy season finale energy filtered through the unique stylings of Peach Momoko as the X-Men face off against the Shadow King aka Kageyama. I love Momoko’s re-characterization of the classic villain as a spurned teenage boy who wants to control the lead character, Hisako, and for her to be just as empty as him. She shows this through visuals with all kinds of logic-defying and fear-inducing shapes as Hisako’s armor and Kageyama’s shadows face off. But he is a lone terror, and she has the fierce backing of the X-Men to help her in this death-defying battle. The emotional core of this issue is totally mainly through the rise and fall of Peach Momoko’s art, and there’s a real sense of payoff in this book. I was down on this book’s plotting early on, but have really come to love it and am also craving fried chicken. Overall: 8.7 Verdict: Buy
Hulk Smash Everything #1 (Marvel) – Hulk Smash Everything is another all killer, no filler action-packed comic book from Ryan North, Vincent Carratu, and Federico Blee. Calming and/or redirecting the Green Goliath’s anger is the driving force behind this comic, which is pure mayhem beginning with the initial assault on Dr. Strange. Carratu’s visuals capture the battle between finesse and brute strength using surrealist layouts for the scenes with Strange working his mojo and big ass splash pages for Hulk’s rampages. Pair it with a truly epic cliffhanger, and this is series that looks like it’ll be entertaining me into 2026! Overall: 8.6 Verdict: Buy
Giant Size Criminal #1 (Image) – Sticking up a talented poker player in a hotel room seems like an easy enough crime, but this is Ed Brubaker, Sean Phillips, and Jacob Phillips‘ Criminal so things are not so easy. They spin a yarn of a stick-up gone wrong complete with drugs (Phillips’ palette comes in handy here.), sex workers, cartoons, and of course, daddy issues. Even if you haven’t read a single Criminal story (Guilty as charged, I think), this is a great entry to the world and filled with humor and violence too. In addition to the 36 page lead story, Giant-Size Criminals features some background information about the creation of Criminal, some funny strips about Brubaker and Phillips’ experiences with the upcoming TV adaptation, and the holy grail of all, a Criminal TTRPG created by Kieron Gillen himself that’s worth the price of the comic. Overall: 9.5 Verdict: Buy
Batman #4 (DC) – A villain who runs an “algorithm of crime” is the perfect Big Bad for 2025/2026, and Matt Fraction, Jorge Jimenez, and Tomeu Morey use Batman #4 to give us a tantalizing introduction to the Minotaur. The grid layouts paired with a precise monologue raise the stakes even higher in the first and final frames of the book while the bits in between show the utter chaos and hopelessness of Gotham. However, Fraction’s trademark witty humor shines in a sequence where Bruce Wayne flirts his way into some information. (His target wearing Krocs is an adorable detail.) Batman #4 is more a building block than a full meal or even a course on a tasting menu, but Jimenez’s slick visuals and a frightening, yet relatable villain make it worth a read. Overall: 7.7 Verdict: Buy
ORGANIZED CRIME IN GOTHAM CITY HAS BECOME REALLY, REALLY ORGANIZED! As Bruce Wayne investigates the Crown of Storms, Batman pursues Anarky and discovers a criminal conspiracy hiding in plain sight that will change the game for crime and criminals in Gotham City… and the world!
ORGANIZED CRIME IN GOTHAM CITY HAS BECOME REALLY, REALLY ORGANIZED! As Bruce Wayne investigates the Crown of Storms, Batman pursues Anarky and discovers a criminal conspiracy hiding in plain sight that will change the game for crime and criminals in Gotham City… and the world!
The Igloo collab with DC features three iconic DC Super Heroes: Superman, Wonder Woman, and Batman. The collection includes wearable belt fanny pack coolers and matching stainless steel drinkware. The WW belt has a cute miniature lasso on the front, all of the bags have bottle openers, and the Batman has two detachable can holders.
In The Flash (2023), Batman’s secret armory reveals a vault of Batsuits collected over decades of his crime-fighting past. Among them is the distinctive blue and grey suit, a design that pays homage to the character’s comic book roots.
The figure features a newly developed blue-cowled head with 3 interchangeable lower face sculpts that evoke Batman’s steely determination. Fans can also recreate a variety of nuanced expressions thanks to Hot Toys’ innovative rolling eyeball design.
The muscular body has over 30 points of articulation and is clad in the newly developed blue and grey Batsuit, meticulously textured and detailed to reflect its cinematic design. It features a wired cape that allows for dramatic posing, and a yellow utility belt with multiple pouches for a classic look.
Batman comes with his signature gadgets, including a grapnel gun and a Batarang attached with rope. The specially designed figure stand features two interchangeable graphic cards, so collectors can further customize their display.
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The second big Marvel/DC crossover this year features a fifth dimension/fourth wall shattering lead Batman/Deadpool story from Grant Morrison, Dan Mora, and Alejandro Sanchez as well as four individual team-up tales ranging from great (Tom Taylor, Bruno Redondo, and Adriano Lucas are the perfect team for a Nightwing/Laura Kinney Wolverine crossover comic.) to good (It’s great to have new Amanda Conner interior art, but her, Mariko Tamaki, and Tamra Bonvillain‘s Hulk/Harley Quinn story has big “lol so random energy). The crossover explores the differences and similarities between the Marvel and DC Universes, connections between heroes, and in Morrison’s case, they mine their past as a writer and previous intercompany crossover. Let’s just say that Animal Man and bidders on the Gerry Conway/Ross Andru/uncredited house art fixer uppers’ Superman vs The Amazing Spider-Man are in for a good time.
I have a love/hate relationship with the lead Batman/Deadpool story, “The Cosmic Kiss Caper”. This would be a story that I would have died laughing over back in the day with my freshman roommate and our twin comic book collections of Grant Morrison JLA and Action Comics issues, Daniel Way Deadpool trade paperbacks, and various Marvel/DC intercompany crossovers. (Ron Marz and Darryl Banks’ Green Lantern/Silver Surfer slapped!) Morrison uses Deadpool’s fourth wall obliterating, over-caffeinated joke-a-minute personality to flex their incredibly deep reference pool, which Mora enhances through the visuals like a room dedicated to the Amalgam Universe. Like the Deadpool & Wolverine film, it can get grating after a while, but Grant Morrison is a much more clever writer than any of the five on that film and ends up using the comic’s barely there semblance of a plot to poke fun at themself.
“The Cosmic Kiss Caper” also made me realize how much I’ve missed Morrison’s sanity-in-a-sea of a chaos with a dry wit and bit of a James Bond flair take on Batman. Batman has been through these kind of situations before, and a Dark Claw reunion tour has nothing on Batman of Zur-En-Arrh or whatever the heck happened in Final Crisis. He reacts to the PG-13 Looney Tunes antics of Deadpool with style, grace, and dialogue that sounds like it could have been delivered by the late Kevin Conroy. On the art side, Dan Mora and Sanchez pour on flashy colors and poses that satisfied my inner action junkie while going for a more muted approach when this story’s special guest star appears. Batman/Deadpool can be cringy at times, but it’s a love letter to the enduring absurdity as well as emotional honesty of superhero comics. It’s solid pop comics, but Grant Morrison has more of knack writing Batman than the Merc with a Mouth.
Following up the chaos is a Dr. Strange/John Constantine story written by James Tynion, Joshua Williamson, and Scott Snyder, a triumvirate of writers, who have found success penning horror comics as well as Big Two superhero books. The art is handled by Hayden Sherman, who is one of the strongest visual storytellers in mainstream comics with their knack for inventive layouts, with colors by Mike Spicer. This story is about a showdown/conversation between Constantine and Strange (With a Ghost Rider vs Swamp Thing battle royale in the background.) that also ends up being about the nature of fear, darkness, and reality itself in the Marvel and DC universes. DC has the prestige of Vertigo, Alan Moore, Garth Ennis, Peter Milligan and more while Marvel has the more dubious “Midnight Sons” and the Nicolas Cage Ghost Rider duology. (Guillermo Del Toro has directed a Marvel horror film and not a DC one though.) However, Stephen Strange was doing his visually stunning occult thing way before the chain smoking lad from Liverpool, and Tynion, Williamson, and Snyder draw on the moral compromises that the Sorcerer Supreme has made in some of his more recent runs. This gives Sherman the opportunity to do some horrific chimera panels of Strange and Constantine merging with various mystical elements, and I love how they structure the story like a kind of wizard duel. As a fan of gritty fantasy, the occult, and superheroes, this story is a wicked delight, and team-ups between the supernatural denizens of the Big Two would be more than welcome.
The third story in Batman/Deadpool #1 is a team-up between Wolverine and Nightwing aka “nepo heroes” to rescue Gabby and Jonathan the Wolverine from Killer Croc. Tom Taylor uses a dual narration style that is a contemporary version of what Jeph Loeb did in Superman/Batman, and Bruno Redondo’s fluid choreography and grid brings a directness and ease of reading complemented by Adriano Lucas’ flat gold and blues. Taylor is a humorous writer with a side of pure heart like in moments where Dick Grayson, Laura Kinney, Gabby, and Barbara Gordon all bond over their different pets. Although different in outward demeanor, Dick and Laura have a lot of similarities, and Tom Taylor’s succinct narration adds context to the body language showcased in Redondo’s art. They have instant chemistry and could easily appear in each others’ books on regular basis without batting an eye. “Sticks and Snikts” is a no-brainer crossover that pays homage to Tom Taylor’s excellent work with both heroes as well as legacy heroes and their growth and development in general.
Batman/Deadpool #1 wraps up with a Hulk/Harley Quinn story and a Static/Ms. Marvel story that have polar opposite tones. “Harley and Hulk’s Amazin’ Saturday” is a bright adrenaline rush with boundless energy as the more colorful alter egos of Harleen Quinzel and Bruce Banner smash, eat, and even flirt their way through a five page story. There isn’t really a point for these characters to interact, but it’s a rare opportunity for Amanda Conner to show why she still has one of the smoothest lines in comics and shows that the anarchic nature of her Harley Quinn run with Jimmy Palmiotti could fit in with Hulk too. Also, it’s just nice to see the Hulk have fun and not being sent down to Hell or being sad and lonely for once.
On the flip side, “New Friends in Old Places” brings together the iconic teenage hero of the 1990s and the iconic teen hero of the 2010s. The old-ish, new school vibes matches the dynamic of the creative team of G. Willow Wilson, artists Denys Cowan and Klaus Janson, and colorist Francesco Segala. There’s not a lot of time to develop the story so Cowan ably transitions from domestic life to superhero ass kicking with plenty of teenage awkwardness as Static and Ms. Marvel team up to fight a generic kaiju. “New Friends in Old Places” felt like a few bits of an appetizer and not even a full small plate so hopefully there will be future interactions between these two heroes that have inspired young people of all genders, races, and religions. (And are also total nerds!)
Batman/Deadpool #1 is a satisfying intercompany crossover that features dynamic work from some of the best artists in comics and a range of tones and types of stories. It’s fun to see Grant Morrison turn back the clock to 1990 in some ways while dropping hit and miss one-liners about Gen Z Internet culture and Absolute Batman, and Dan Mora was born for this kind of big, bad action spectacular. However, my favorite stories were the Dr. Strange/John Constantine and Nightwing/Laura Kinney Wolverine crossovers because they were both intellectually simulating and visually enticing while digging to the core of their protagonists and roles in their respective universes. Also, it’s kind of epic to see Hayden Sherman draw Ghost Rider and Swamp Thing beating each other up. (One day your Alan Moore, Stephen Bissette, and John Totleben will come, Mr. Blaze/Ketch/Reyes!)
Story: Grant Morrison, James Tynion IV, Joshua Williamson, Scott Snyder Story: Tom Taylor, Mariko Tamaki, G. Willow Wilson Art:Dan Mora, Hayden Sherman, Bruno Redondo, Amanda Conner, Denys Cowan, Klaus Janson Colors: Alejandro Sanchez, Mike Spicer, Adriano Lucas, Tamra Bonvillain, Francesco Segala Letters: Todd Klein, Frank Cvetkovic, Wes Abbott, Dave Sharpe, Steve Wands Story: 8.2 Art: 8.9 Overall: 8.6 Recommendation: Buy
DC Comics provided Graphic Policy with a FREE copy for review
