Comic Review: Batman: Damned (2018-) #3

Batman: Damned #3

DC Comics

Writer: Brian Azzarello

Artist: Lee Bermejo

It’s truly unfortunate how any discussion of Batman Damned has, since the first issue’s release, amounted to little more than immature jokes and unwarranted outrage over the story’s adult content. The long-delayed third issue brings the story of Batman and John Constantine’s investigation of the Joker’s death and the supernatural forces plaguing the Dark Knight himself to a close and while the issue and the series as a whole have a few significant flaws, those conclusions are themselves dark and quite compelling.

Arguably the biggest legitimate problem with the series so far has been its overuse of surrealism and vague storytelling and that’s still the case in the final issue.  #3 gives no resolution to the Harley Quinn related cliffhanger from the last issue and indeed Harley doesn’t even appear in the issue.  Instead, we open with Bruce buried alive in a coffin with no explanation of how he got there. Several of the subplots introduced throughout the series receive similar treatment, including the question of who desecrated the church in the first issue.  It’s possible we were meant to interpret #2 as painting Harley as the guilty party there, but if that’s the case, again, it’s frustratingly unclear.  The series’ unpredictability is part of its appeal but there’s no point creating these sort of narrative enigmas if they’re not going to get any kind of resolution.

Fortunately, the main two mysteries come to much more satisfying conclusions.  The ending of Bruce’s haunting by the demon woman who looks like the version of the Enchantress featured in the Suicide Squad film leaves a little open to interpretation but it also heavily implies at the answer the series has built to all along regarding the flashbacks to Bruce’s childhood.  Said answer makes the Damned universe one of DC’s more interesting modern Elseworld settings.  Furthermore, the final confrontation with the possible Enchantress results in a great character moment for Constantine and logically sets Bruce on the path to the dramatic choice he makes once he discovers who killed the Joker.  That choice is a well-executed twist that effectively calls the Dark Knight’s morality into question and itself leads to a chilling cliffhanger.  Hopefully, Azzarello and Bermejo have plans to make a follow-up of some form sooner than later.

Speaking of Bermejo, his art remains one of the few non-controversial aspects of the series, as it is unquestionably excellent.  His dark, grungy depictions of the Gotham skyline could serve as examples for filmmakers of how to visualize the city.  Additionally, his simple design for Bruce’s Batman suit and his deeply emotive facial work perfectly accentuate how this is one case in which the Caped Crusader is in over his head.

The distinctness of Damned from standard Bat-tales is another key aspect of its appeal.  Constantine is perfect in his dual roles as chief supporting character and unreliable narrator, which along with the genuine dread induced by the supernatural story points show that Batman should be dipped into the Hellblazer’s world, and the other mystical corners of the DC Universe, more often.  The appearances from other Justice League Dark members are more of a mixed bag (Deadman and Swamp Thing are used well but Zatanna is over-sexualized and reader’s views on Azzarello’s reinvention of Etrigan will surely vary) but it’s still interesting to see Batman forced to turn to them rather than his usual allies in the regular Justice League or the Bat-family.  Ultimately, Damned #3 and the series as a whole are defined by that mix in quality.  The experimentation on display and the way in which such an iconic character is pushed in new directions are commendable but some stylistic choices don’t land consistently.  Still, the series deserves a lot more respect than it’s gotten so far.

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