What awaits Batman and Flash on the other side?
"The Button" has been a strangely slow-paced crossover, especially considering that the whole story is only four-issues long. Those hoping the pace might finally pick up in the fourth chapter will be disappointed. "The Button" is clearly a story geared more towards character relationships than plot progression. And for the most part that's fine, but this issue does wrap the crossover on a slightly hollow note.
Readers will likely be struck by just how little Tom King and Joshua Williamson have advanced the larger DC Rebirth narrative by the end of this issue. We don't really have any greater insight into Doctor Manhattan's role or even what Reverse-Flash saw when he met "God" back in Batman #21. Heck, the recent announcement of Doomsday Clock was probably more informative than the entirety of "The Button." There's one big development in this issue, but the long-term significance of that is very unclear.
It's frustrating that this crossover feels padded out even at four issues, but at least it every issue connects on an emotional level. Williamson may not reach the heights of the father/son reunion from Batman #22, but the return of a venerated DC hero in this issue does pack a solid punch. Williamson directly mirrors the events and structure of DC Universe Rebirth #1 here, albeit with one significant wrinkle. The result is that "The Button" reads very much like a middle act in a story that began with DC Universe Rebirth #1 and will likely conclude n Doomsday Clock.
Williamson's handling of the Flash/Batman dynamic also continues to be a huge draw. This issue is great about contrasting the two characters and their tragic backgrounds. If "The Button" wasn't the major leap forward for DC Rebirth readers were led to believe, it certainly makes a strong case for the need for an ongoing Batman/Flash team-up book.
Artist Howard Porter also shines here as he wraps up Batman and Flash's whirlwind journey. The crossover hasn't necessarily been that cohesive from a visual perspective. Porter's angular line-work and Hi-Fi's bright colors are a significant departure from the comparatively dark and moody style of Jason Fabok. But Porter and Hi-Fi's collaboration is strong on its own merits. The two deliver several thrilling splash pages and a continued sense of energy that propels Batman and Flash along their journey. Porter follows Fabok's example from Batman #21 by echoing the nine-panel page layouts of Watchmen, but only in the final pages where that approach is most appropriate.
The Verdict
"The Button" reaches a slightly underwhelming finish, as the story provides few answers to the mystery that's been slowly unfolding across the DCU for the past year. But the characterization shines even if the plot itself stalls out. And Howard Porter does a great job of evoking both DC Universe Rebirth #1 and Watchmen in his art.
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