With the Infected beginning to arrive no one other than a Batman/Superman team is able to discover why. Spoilers for Batman/Superman #3.
The first couple issues of Batman/Superman started off in an odd way. With the focus being on The Batman Who Laughs, there was a lot left to be wanting given that the character has been used a lot over the past two years. Arguably too much. However, the interactions between Batman and Superman were the highlights of the series, so things really evened out. Now, the series really begins to find its footing by doubling down on the threat being posed.
The biggest problem with this series so far was that it just seemed to be using the Infected as a gimmick. Like a “What would happen if this character was like The Batman Who Laughs?” type of thing. Now though, it’s apparent that more of a plan was always in place and the threat actually feels real. There’s honestly a Black Lantern type of feeling with these infected characters now. These are the characters we know, but they aren’t. It pains us to read them as they are right now just as it pains Batman and Superman.
Joshua Williamson’s horror roots begin to come out again with this issue, especially when it comes to the reveal of the new Blue Beetle. It’s creepy and terrifying in a way that you wouldn’t equate to Blue Beetle, which is what makes those pages so effective. You aren’t expecting it from this character so, when it happens, it’s much creepier.
Yet again though, the star of this issue is David Marquez’s art. It’s absolutely phenomenal. Everything about it exudes power, no matter what’s happening on the page. Superman looks like he’s insanely strong in a way that some other artists can’t capture. Batman’s motion is so fluid that he feels like he’s actually moving panel to panel. His linework is gorgeous and perfectly encapsulates the power that each character needs.
When it comes to the horror elements of this issue, Marquez also excels. His redesign of Blue Beetle is extremely creepy and very effective at what it’s setting out to do. When it comes to Commissioner Gordon though, everything’s more subtle. It comes down to the eyes and body posture, both of which exude monstrous tendencies. It’s excellent horror art from an artist not necessarily known for that style.
