So we’ve got the Batman trying to take down the newly re-formed Black Mask Gang. Meanwhile Dr. Nigel Glass has come under the employ of the gang so he can continue his research on how to create an invisible man.

You know, I’m going to have to say that this issue was actually pretty good in its own weird kind of way. I’m not really sure what it is about it, but it has a certain comic (as in comical) charm about it that makes you smirk when you might otherwise ask yourself, “When exactly did Batman become such a screw-up?”

In reality this Batman is nothing like any Batman we’ve ever encountered. He’s almost to the point of being his antithesis, but it works. Throughout the issue Batman is plagued with an undeniable and inescapable failure. The Dark Knight just can’t intimidate anyone. This mixed with Jones’ art just hits the right spot. It’s ironic that one of the more wickedly drawn Batman’s commands so little respect and fear from the people he’s facing. Some of which are teenagers, mind you. The comic does read a bit like an episode of Scooby-Doo but that’s part of its charm really.

Considering the look of the art, one could only assume that the story would have gone one of two ways (in order to seem most effective, that is): extremely twisted and obscure or quirky and kinda funny. In this case we got quirky and kinda funny and although it does take some time to adjust to, once the adjustment is made you enjoy the story for what it is--a lighthearted read.

I won’t lie, at first I wasn’t really loving the comic and I was frightened by the thought of having to read yet another Cacophony-esque Batman tale. But as the comic plowed on, it won me over. Moench’s use of “Episode” marks gave it the feel of reading through an old daily. The use of captioned narration also made it a bit reminiscent of an old style radio show. This tactic really drives the comic forward and makes some of the cornier lines humorous as opposed to exhausting outdated.

The art of this book is amazing! It’s as if Hanna-Barbera and Todd McFarlane had a demented art baby! This isn’t exactly the book you want to turn to if you’re looking for the pillar of anatomical perfection in the comics art form. But if you’re looking for a good example of how to wonderfully stylize a comic, this is definitely a good reference. When Spawn was released, back in 1992, the world was formally introduced to “the cape” as an extension of the character who wore it (if not an independent character within itself). Jones’ Batman utilizes this concept, making Batman’s cape more fluid, moving more like a part of Batman himself as opposed to a piece of his ensemble. The ears to the cowl also provide for a more devilish quality of the Batman, unlike Jim Lee’s tighter, sleeker ears on the Batman cowl.

The line and ink work provide for very noir moments throughout the book. Madsen’s color work is a nice match for Jones’ line work. She does a great job of making the panels pop when they need to, while also luring you into their darkness at other moments.

As I begin to wrap up, I can hear a certain homeless “hero” complaining that he didn’t even get an honorable mention. The Unseen, in both art and story, also have a certain quality reminiscent of Sam Kieth’s The Maxx. Whether it be Batman’s large stature and embarrassingly ineffective presence or Batman’s likeness, at times, to Mr. Gone (in his cape). Whichever it may be for you, The Unseen’s Batman and the Maxx have some definite similarities that should be noted.

All-in-all, this was a smooth read. A bit slow at first but I would recommend it. It’s not the greatest thing you’ll read this week, but it’s definitely something you won’t regret picking up. It’s nice to have the opportunity to get a laugh at the Dark Knight’s expense.

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