After being attacked by Punchline, Batman is saved by Harley Quinn, but before she can help him, he begins to have a psychotic breakdown. Spoilers for Batman #96 follow.
After what was a relatively lackluster beginning to “Joker War” in Batman #95, it really didn’t feel like the arc was going to gain the momentum that it needs in order to accomplish what it seemed to be setting out to do. However, it becomes much clearer about what this arc is attempting to do during this issue. It’s not just about Joker trying to destroy Gotham or take it over or whatever, it’s about Joker destroying the legacy of Batman and tearing him down. So, with that motivation now clear, this issue gives the arc the momentum that is sorely needed in the previous issue.
By making this into a horror comic though, it does so much more than provide creepy imagery for the reader. It helps provide the insight and subtext needed to reason why Joker is pulling out all the stops right now. With how this issue is paced though, with a dream sequence at the beginning instead of jumping where the last issue ended, this subtext isn’t clear until the final few pages. These pages retroactively make the dream sequence feel more in line with what is being said through the subtext, but before those pages, it leaves you questioning “What’s the point of anything happening right now?” which is frustrating. So, while it comes together in the end, it’s a bit frustrating while reading this issue.
Another thing that I kept think about this issue is that it, and Batman #95, should have been issues #93 and #94 instead. The previous arc went on for several issues too long and these two issues feel completely like the first arc of this story. As “Joker War” is set to going for four more issues, it feels likes the second act of the story will be truncated unless issue #100 contains the entirety of the third act as it will be oversized.
Even with these story complaints though, there’s one thing that this issue accomplishes beautifully and that’s the art from Jorge Jimenez and Tomeu Morey. Every single panel in this issue is absolutely gorgeous, even the ones that are incredibly creepy. Jimenez hasn’t done much horror, if any, so to see him do some here and it work so effectively, it really demonstrates how great of an artist he is. Plus, Tomeu Morey’s colors? They’re great as always even if they are a bit more subdued than normal for most of the issue. However, when they need to pop, they pop.
