Batman #152 is published by DC Comics, written by Chip Zdarsky, with art by Mike Hawthorne and Adriano Di Benedetto, colors by Romulo Fajardo Jr, and letters by Clayton Cowles. There is a backup story written by Kelly Thompson, art and colors by Mattia Iulis, and letters by Cowles. This is part of the Absolute Power event. Batman and Catwoman try to steal a Mother Box on Czarnia while also contending with the Suicide Squad.
This issue thrives on stakes. This takes place immediately after the end of the previous issue. Batman and Catwoman are in one of the most hostile territories in the DC Universe, facing a mighty Suicide Squad team. The issue is a battle from start to finish, with Batman holding off the enemies while Catwoman finds the Mother Box that Waller has hidden away. This issue highlights the extensive planning that went into Waller’s war against the metahumans. This has been a saga executed over several series and events.
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The fight is phenomenal, staying fast for most of Batman #152. Each villain comes with different circumstances, forcing Bruce to think on his feet. The action is exhilarating, and not a single page is wasted. But the biggest villain is saved for last. A horrible dread rolls in like a storm cloud as a shocking reveal is made. In Absolute Power, anyone can show, and anything can happen.
The dialogue and the captions are phenomenal. Narration accompanies Batman’s battle against the Suicide Squad, and Zdarsky scripts it superbly. It’s quick and efficient, trying to work out strategies and weaknesses in the opponents while also being attacked by the others. Batman has never been one for extensive monologues, so the words must be succinct. Even in their desperation to complete the mission, the connection between Batman and Catwoman remains clear. They trust each other and know when to move.
The Suicide Squad is used more for its physical attributes than its personalities, but it does shine through. Bizarro is so complicated to write because he also speaks in opposites, but Zdarsky works with it and even has Batman flip it and manipulate that language back at him.
The art is mesmerizing. Batman #152 is an incredibly physical issue, and Hawthorne and Di Benedetto shine in the action. They can display Batman’s speed, ability, and intelligence within the panels, working the angles and understanding the space around him. There are so many awesome poses from the characters.
Bizarro’s design is remarkable under this art style. The expressions on his face are exquisite, adding childlike qualities to a monstrous appearance. Each character tends to move differently, accentuating how varied this iteration of the Suicide Squad is.
The colors are mainly muted but bright and clear. When the Mother Box opens a portal, the brilliant blue is the most vibrant part of the issue. But there are other examples of rich shades, such as the red on Deadeye’s cloak. It’s also pretty funny to see Batman’s purple gloves, borrowed from the Fortress of Solitude, be used as weaponry. It’s comical but adds something different to the appearance of the Dark Detective. The lettering is fantastic and always easy to read amid the frantic fighting.
The backup story is about the Birds of Prey, stemming from Thompson’s brilliant series. It focuses on their involvement in the event. The team went to war with the Amazons and now seeks shelter among them, leading to an uncomfortable conversation between Black Canary and Nubia.
Black Canary is knocked for six by the Queen of the Amazons, smacked down, and now struggling for confidence. The art is incredibly realistic, with depth and dimensions to the characters. One panel, in particular, is designed to make a few brains short-circuit, and it does so successfully.
Batman #152 concludes one of the most exciting tie-ins within the event. The comic has taken Batman into extremely uncomfortable surroundings, yet the adaptability has proven why he is such a fantastic hero. The battle has occurred over an issue and a half, yet is engrossing until the final issue. Even with technological wonders and an unrelenting pace, Zdarsky still tries to find love and heart in the issue.
