After a rough encounter in Paris with Equilibrium and an old friend and mentor on his death bed, Batman reminisces on his cowl-less days of tutelage with Ducard on the art of espionage and reflects on the mistakes and trauma of their unlikely friendship, reminding him to always have allies.
With the main story taking a backseat to Batman’s history in Europe, Kubert and Anderson get to reimagine earlier classic iterations of Batman’s costume as demonstrate the contrast of a grizzled veteran of vigilance with the born yesterday playboy billionaire.
Similar to that of the animated series, it looks as though a coffee stained Paris of greys, browns and acidic blues from Anderson has been painted atop a black canvas by Hope, making for a charmingly dark setting. A perfect Renaissance for reconnaissance.
Taylor is finally getting into the origins of Batman’s espionage skills and it’s a viscerally challenging journey for the psyche of the Caped Crusader. The beauty of this story is that Bruce Wayne, in his early days, makes mistakes and pays for them; not always with money. This is made all the more interesting with a charmingly obtuse student & master dynamic between Wayne and Ducard.
In conclusion, Batman: The Detective #3, while deviating from the plot at hand, provides a strong and satisfying backstory that is derivative enough for even the most casual of Batman fans to understand. When combined with the setting of a Lupinesque backdrop of Paris however, it becomes an undeniably gorgeous and gothic addition to the Batman mythos.
With artwork worthy of the Louvre itself and a Sherlock Holmesian dose of unyielding character dissection, this comic puts the Detective in Batman: The Detective.
Let us know in the comments your thoughts on Batman: The Detective #3, your brooding vacations in Europe and what else you’d like to see us cover at BGCP!
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