REVIEW: ‘Batman/Catwoman: The Gotham War: Battle Lines,’ Issue #1

Batman/Catwoman: The Gotham War: Battle Lines #1 is published by DC Comics, written by Tini Howard and Chip Zdarsky, pencils by Mike Hawthorne, inks by Adriano Di Benedetto, and colors by Romula Fajardo Jr. This is the beginning of the Gotham War crossover. Batman wakes up from a coma to find that crime is way down in Gotham because they all now work for Catwoman.

The beginning of the issue may require catching the end of Knight Terrors: Knight’s End #1, but it is not entirely required, as there is sufficient exposition to catch up on Batman’s situation. Once he is awake and moving, the issue sticks to the present. Usually, if Batman is out of action for some time, crime spikes, and trouble is even more prevalent in Gotham. But this time, it’s even quieter. And it isn’t long before the whole Bat Family is called for a meeting where the concept of the Gotham War is laid out. There’s a quandary with a definitive right answer, yet it creates a question of morality that starts a fissure through the superhero community in the city. Batman finds himself dealing with a style of crime that Robin Hood would be happy with, but Bruce Wayne would not. The action within this issue features more of the other characters than Batman himself, and the violence has a gritty, street-fighting quality. Howard and Zdarsky do a brilliant job of making the group fractious and unsettled from the start, leaving them on shaky ground even before a landslide. The final part of the comic had been moving under the radar, actually used as bookends for the issue. But it’s sad, and just the inciting incident needed to force Batman into acting.

A word that can be used for Batman in this issue that is rarely available elsewhere is uncertain. That isn’t by how the crossover opens. He is never out of control of his body, so waking up after so long is deeply unnerving. Even after shaking that off, there’s more self-doubt in Batman’s ability than has been seen in a long time. Bruce is noticing that his body isn’t as young as it was. The years are getting to him, but he won’t let them take over. Then, later in the issue, all of those he has trained are in the same room, conflicted over a code that he has fiercely instilled and defended. The dialogue has some excellent moments, especially when you get the considerations of the various characters. Many of them appear true to how the characters think, especially Batman and the individual Robins, and it is fascinating to see how each one can have a different tone and viewpoint on the matter. The individualism of the Bat Family is superbly crafted. 

For most of the issue, the art is fantastic. Many of the personalities within the Bat Family are captured purely by where they stand, who they are with, and their facial expressions. Some are on their own, while others bunch together for comfort. Then, on opposite sides, there’s the Bat and the Cat. What Hawthorne and Di Benedetto capture well is their standing within the group. You have Catwoman on a stage, trying to gravitate and convince. Batman never needs that, instead standing behind them with a natural authority. The ages of all the characters are also brilliantly depicted. It’s not a factor of trying to make them realistic or catch up with time, but a demonstration of how long they have been doing this. However, there are a few panels where certain characters’ shapes look misshapen. There are notable examples featuring Nightwing and Catwoman, where their heads look squished.

The colors are gorgeous, evolving as the issue progresses. The lighting is rarely natural, with vibrant shades used to match the characters instead. Batman is often accompanied by blue, while Catwoman is against the backdrop of purple. When the group steps into Selina’s club, it is bathed in purple shades to insinuate that this is her lair. There are numerous other colors involved, and Fajardo Jr. rotates them throughout the issue to give the comic more variety. The lettering is always easy to read.

Batman/Catwoman: The Gotham War: Battle Lines #1 immediately sets the tone of the crossover. Many of the characters aren’t in their right minds as they come into the story, and that is before anything escalates the situation. The choice that Batman and the others are given is one that most would never accept, but it isn’t out of character either. It’s a comic book conundrum that provides ample opportunity to split a family down the middle. The book brilliantly shows how imperfect each character is, with arrogance, pettiness, and just plain hurt all playing a part in the conflict. This is not where the war begins, but it is easy to see what the sides will be when it does erupt.

Batman/Catwoman: The Gotham War: Battle Lines #1 is available now wherever comics are sold.