"I am not one to write."
The "I Am Suicide" story arc is nothing if not an experimental approach to Batman storytelling. Tom King and Mikel Janin's gambles haven't always paid off, as we saw in issue #10 last month. But the opposite is true in the case of Batman #12. This latest issue takes some very daring risks with the characters, risks that result in the strongest chapter yet of an already great comic.
Mirroring an earlier issue that featured a letter from Catwoman to Batman as running narration, Batman #12 is a somber, introspective affair that's framed by Bruce's letter to Selina. What this letter proves is that, even after so many decades and so many thousands of Batman comics, it's still possible to offer a genuinely new and different take on Bruce Wayne's psychology. As the letter opens, Bruce is portrayed as a cold, clinical man who doesn't understand Selina's decision to become a mass-murderer. But over the course of the issue, Bruce lets down his guard and shows more of the tortured, lonely man that only a select few like Selina ever come to know. Bruce not only acknowledges the futility and ridiculousness of his endless crusade, but offers new insight into his childhood and relationship with his parents. Suffice it to say, this issue gives new context to the "I Am Suicide" title.
All of this is juxtaposed against a mostly silent, action-driven story as Batman battles his way through Santa Prisca to finally confront Bane. The interplay between the intimate narration and the brutal fight scenes creates a very unique and engaging story. It's not one that will necessarily resonate with all readers. In some ways, the frank, in-depth prose in the letter is very out of character for the Dark Knight. But while I tend to get annoyed when writers depict Batman as being overly chatty, it's excusable in this case because the general tone of this arc is so surreal and dreamlike. There's a heightened reality quality to "I Am Suicide," even by the usual standards of a franchise that centers around a man who dresses up like a bat to spook criminals.
For his part, Janin seems hellbent on outdoing himself with each new issue, and he hasn't failed in that task yet. Janin paints a vivid picture of a warrior in constant motion as he follows Batman's whirlwind journey through the prison. Janin downplays the traditional approach to panels and page design, instead focusing on a series of intricately detailed collage images where Batman tears a path through countless guards, scales treacherous walls and even dives with man-eating sharks. The action is fluid, and the heavy use of shadow enhances the somber mood of the script and the unsettling, inhuman nature of Bane's prison. By the time Batman actually comes face-to-face with his foe, Janin's art has built to a powerful crescendo and the stage is set for a truly epic showdown in issue #13. But that issue is going to have a difficult time topping its predecessor.
The Verdict
This arc hasn't been especially consistent in quality, but it's clear that Tom King's Batman work is never stronger than when he's paired with Mikel Janin. This issue marks a new high point for the series, blending violent, brilliantly choreographed action scenes with a deep, disturbing look at the man underneath Batman's cowl.
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