SHADOW OF THE BAT #33 - December 1994

Prodigal: Six

Credits:  Alan Grant (writer), Bret Blevins (artist), Todd Klein (letterer), Adrienne Roy (colorist)

Summary:  Tensions rise between Commissioner Gordon and his wife after she suggests he turn to the new Batman for help against Two-Face.  Meanwhile, a representative of a Russian consortium named Troika attempts to extort Lucius Fox.  After Fox throws him out, he has several Waynecorp security guards killed.  At Blackgate, prison overcrowding causes a riot.  Because Robin feels inexperienced using the thermal Batgliders, Batman is forced to handle the riot alone.  He restores order after defeating the instigator, Tatum.  Inside the basement of the Hall of Records, Two-Face keeps Harvey Kent hostage.

Irrelevant Continuity:  If you’re wondering who that middle-aged man on the cover is, I couldn’t tell you.  I can only guess he’s supposed to be Harvey Kent, even though he looks quite different inside the issue.

Miscellaneous Note:  I’m not sure if I’m the only one who didn’t know this, but a “troika” is defined as “a carriage of Russian origin drawn by three horses harnessed abreast of each other.”

Review:  It’s another “Prodigal” chapter that’s slowly building up to Dick Grayson-as-Batman’s confrontation with Two-Face, while giving the reader precious little to digest in the meantime.  There are little bits that I like, such as Robin opting out of using the flying Batglider because he doesn’t feel properly trained, and Batman actually being supportive and telling him it’s okay.  That kind of scene is necessary to distinguish Dick as a more compassionate Batman, in addition to reminding the reader that Dick has more of a brotherly relationship with Tim than a paternal one.  We haven’t had enough of these moments yet, really.  The start of the Troika subplot is also a welcome change of pace from the pattern of C-lister/Two-Face subplot/C-lister we’ve been getting lately.  The main story just feels like filler, however, and surprisingly not even much of a challenge for Batman.  (He singlehandedly takes on a prison riot in about six pages!)  That subplot with the Gordons also feels awkward, as Sarah is now suddenly okay with Batman and angry with Gordon for not accepting him, which flies in the face in all of the stories reprinted so far.  Of course, it's entirely possible there's a story featuring Sarah Gordon's change of heart and the trades skipped it.  I don't really think that's true, but the trades have had more stunning omissions.

SHADOW OF THE BAT #32 - November 1994

Prodigal: Two

Credits:  Alan Grant (writer), Bret Blevins (art), Todd Klein (letterer), Adrienne Roy (colorist)

Summary:  The reunited Scarface and Ventriloquist target the mobster who took Scarface’s place while Ventriloquist was in Arkham, Marty Vetch.  After Scarface poisons Vetch’s heroin supply, Vetch agrees to a meeting at Scarface’s nightclub.  The two factions double-cross each other, leading Batman and Robin to stop the firefight.  Later, Scarface attacks Vetch at his penthouse.  Batman and Robin arrive and capture Ventriloquist, but Scarface is smuggled away by a goon.  Meanwhile, Two-Face is accidentally released from prison, as the guards try to deal with the overcrowding caused by Arkham Asylum’s closing.

Irrelevant Continuity:  

• Batman and Robin are now driving a 1940s style Batmobile.  I can only guess the switch happened in a story not reprinted in these trades.
• The scene that has Two-Face released from prison is supposed to be the crux for his motivation in the next storyline, but the continuity never fits.  In this issue, he’s released because a guard reads the name “Harvey Kent” off a sheet of paper.  Two-Face responds, turning his scarred side away from the guard, and is told that his “check kiting” charges have been dropped.  Later stories repeatedly claim that Two-Face was released due to a computer error, but this is clearly human error.  Earlier in the story, another officer complains that Gotham’s records should be computerized, making the later claims that this is a computer error even more annoying.  
• Harvey Kent, by the way, was Two-Face’s real name in his first appearance, but DC later changed it because they didn’t want him sharing Superman’s last name.

I Love the ‘90s:  Scarface proclaims that this is the nineties…“Sentiment is out.  We gotta go straight for the jugular!”

Total N00B:  Dick and Tim continue to talk about Alfred leaving and wonder where he is now.  Shouldn’t they be looking for him?  Or did he just go on a vacation and choose not to tell them where he’s going?

Review:  Alan Grant is dragged into another crossover, although his only editorial obligation this issue seems to be setting up Two-Face’s role in the next storyline.  The majority of the issue is dedicated to Grant’s creation Scarface, and assuming you embrace the absurdity of the concept, it’s pretty entertaining.  My only problem with the story is the way Grant actually seems to be leaning towards Scarface being a supernatural menace, as opposed to the outlet for the Ventriloquist’s dark urges.  While threatening Vetch, Scarface recounts his origin as the wooden gallows used to hang criminals in the 1800s, indicating that decades of hate and evil are contained within him.  I realize that this is the origin Alan Grant always used for the character, but I was first introduced to Scarface in the ‘90s cartoon.  Since the show always left this info out, that’s probably why it feels so unnecessary to me.  Later, when one of the goons rescues Scarface after Ventriloquist is captured, he discovers that Scarface’s emergency plan is for him to study a book on throwing his voice.  

This is a cute joke, but there also seems to be an implication that Scarface really could resurface if just any ventriloquist picked him up.  It could be argued that the Ventriloquist, in his Scarface persona, genuinely believes this so that’s why he drew up the plan, but even the teasing of the idea just seems ridiculous to me.  Anyway, much like the previous chapter, it’s Batman and Robin in a fairly traditional, straightforward action story.  Ordinarily, this could come across as time-killer, but I can understand why the creators felt it necessary following the previous two years.

SHADOW OF THE BAT #30 - August 1994

 

Wild Knights, Wild City

Credits:  Alan Grant (writer), Bret Blevins (penciler & inker), Todd Klein (letterer), Adrienne Roy (colorist)

Summary:  Catwoman is injured while leaping off Selkirk’s helicopter.  Batman jumps off to save her, while the helicopter crashes into the top of a bridge.  Jean-Paul confronts Batman once again, but accidentally sets himself on fire when his flame weapon touches leaking helicopter fuel.  After he falls into the river, Robin and Nightwing unsuccessfully search for him.  Batman and Catwoman rescue Selkirk and his men.  To spite Catwoman, Selkirk throws the neural enabler into the river.  Later, Batman hacks his way into the Batmobile, unaware that Jean-Paul booby-trapped it.  Jean-Paul reemerges, boasting that now there is only one Batman.

Irrelevant Continuity:  Gordon is in his office when he’s informed of the fire and explosions at Selkirk’s penthouse.  This contradicts Batman #510, which had Gordon getting berated by Mayor Krol when the news comes in.

“Huh?” Moment:  The blue portions of Jean-Paul’s armor turn red after he’s set on fire.  It remains that color until the end of the storyline.

Review:  More of the same, only more time is killed by giving Batman a fake death scene.  The next chapter plays the concept straight during the opening pages, even though I doubt anyone fell for the bait.  (The solicitations for the finale in Legends of the Dark Knight #63 had been out for months at this point, so everyone knew that Bruce and Azrael were having their big fight at the end of this month.)  Looking back, I’m kind of surprised DC didn’t go for a serious attempt at killing off Bruce at some point in this event.  After building up the drama of Bruce picking the wrong replacement, what happens if Bruce dies before he can rectify his mistake?  I could see the creators getting a few months of material out of the concept.  (Perhaps the “Death of Superman” event automatically ruled out any attempt to seriously sell Bruce’s death, though.)  Regardless, we’re marking more time with repetitive action scenes and a cliffhanger that fools no one.  I understand that Alan Grant was bored out of his mind having to work on this material, but I wish he could’ve found some way to break up the monotony.

SHADOW OF THE BAT #29 - July 1994

Manimal: Proving Ground

Credits:  Alan Grant (writer), Bret Blevins (penciler), Bob Smith and Bret Blevins (inks), Todd Klein (letterer), Adrienne Roy (colorist)

Summary:  Bruce orders Robin and Nightwing to follow Jean-Paul, while he continues his training.  Another master tracks Bruce to his cabin in the woods, and even though Bruce defeats him in battle, he remains unconvinced that he’s ready to return as Batman.  Meanwhile, Jean-Paul continues his search for Carlton LeHah, his father’s murderer.

Irrelevant Continuity:  According to Bruce’s research, the St. Dumas that Jean-Paul’s order was created to serve possibly never existed.

Total N00B:  I’m assuming Carlton LeHah appeared in the Sword of Azrael miniseries, because the characters in this issue certainly talk about him as if he’s an established character.  We do get a fairly lengthy flashback explaining the Order of Dumas and how Jean-Paul received the mantle of Azrael, the first time this information has been revealed in the sixty or so comics that have been reprinted so far.

Review:  I think Alan Grant still hates Azrael, but thankfully he’s not the sole focus of the series anymore.  The double-sized remit allows Grant a lot of space to focus on Bruce and his insecurities over returning as Batman, along with numerous pages of him training and fighting another unnamed master.  And symbolic animal imagery, of course.  The martial arts scenes get a little tiresome, but Grant’s third-person narration does a lot to humanize Bruce and make his current situation feel like a legitimate character arc, instead of filler before his inevitable return as Batman.  The rest of the story is pretty blatant filler, though, as Jean-Paul keeps talking to visions, Robin and Nightwing fight some generic thugs, and as I said, Bruce trains and trains like he’s in a Rocky montage.  The few good scenes don’t do enough to distract from the padding.  Another great cover, though.

SHADOW OF THE BAT #28 - June 1994

The Long Dark Night

Credits:  Alan Grant (writer), Bret Blevins (pencils), Bob Smith (inks), Todd Klein (letterer), Adrienne Roy (colorist)

Summary:  The Gotham police implicate Batman in the Abattoir’s death, and eventually locate the body of Graham Etchison.  A disheartened Commissioner Gordon decides to confront Batman.  When Batman responds to the Batsignal, Gordon accuses him of being a different person.  Batman defends his actions and boasts that he will continue to protect the city as he sees fit.  He leaves and quickly takes down a street gang led by a punk named Vermin.  Later, he designs a new weapon in the Batcave.

Irrelevant Continuity:  I’m not sure if Alan Grant knew the exact details of the previous chapter while writing this issue.  He doesn’t seem to know Batman was physically incapacitated while the Abattoir fell to his death, and instead writes the scene as if Batman consciously decided to leave Abattoir to his fate.

Review:  At least the covers are starting to get pretty good.

After months of buildup, Gordon finally confronts Batman and accuses him of being an imposter.  And while Alan Grant does a nice job with Gordon’s first person narration throughout the story, the actual confrontation just feels anticlimactic.  Gordon and the new Batman probably should’ve had this face-to-face much earlier in the storyline, and it would also be nice if there were real ramifications to their falling out.  Maybe that’s where the story’s heading, but as of the end of the issue, Gordon’s just kind of bummed that the Batman he knew is gone.  I think setting up an antagonistic relationship between Batman and the GCPD earlier in the storyline, something akin to what Miller did in “Year One,” would’ve helped the overall event immensely.  And spending more time on Gordon’s reaction to the new Batman, and perhaps investigating what happened to the original, could’ve also helped to break up the monotony.

Regarding Jean-Paul, he actually gets some of his best scenes in this issue.  Grant thankfully downplays the mental illness angle and simply allows Jean-Paul to defend his point of view with a fairly reasonable argument.  It’s the old “why let a villain live who’s only going to escape and kill more people” defense, and while it’s hardly original, it makes Jean-Paul more sympathetic than he’s been so far.  I’m not sure why the creators emphasized the brainwashing angle over the cold logic that popular characters like the Punisher have been using for years.  I would much rather read about a driven man, straight out of the pulps, who has a moral code but is also absolutely intolerant of murderers replacing Bruce Wayne.  Jean-Paul’s personality usually begins and ends with “crazy.”

SHADOW OF THE BAT #27 - May 1994

Creatures of Clay - Child’s Clay

Credits:  Alan Grant (writer), Bret Blevins (pencils), Bob Smith (inks), Todd Klein (letterer), Adrienne Roy (colorist)

Summary:  After Batman electrocutes Lady Clayface, she reveals to him that the Abattoir kidnapped her baby after he discovered their hideout.  He’s ordered her and Clayface to kill Batman and kidnap Graham Etchison before they can see their child again.  Batman races to Clayface and Abattoir’s meeting place, just as Clayface turns on Abattoir.  Their fight is interrupted when Clayface’s son attempts to grow wings and fly off the nearby fire escape.  Batman is forced to allow Abattoir to escape in order to rescue the baby.  Clayface is taken into custody and his son is sent to STAR Labs.

Review:  Okay, five issues later and Abattoir is still on the loose?  This is ridiculous.  I think it’s fairly obvious that Grant has no interest in this Abattoir storyline, and is merely using him as a plot device for the Baby Clayface story he was going to tell anyway.  Judging the Shadow issues on their own, it’s actually a defensible move, since Abattoir’s story has nothing to do with this book and he’s capably filling his role as the true villain that’s brought the Clayfaces back into crime.  But if you’re trying to read the entire Abattoir arc in its entirety, watching him constantly get away is just tiresome.  Regarding the Clayface story, I think Grant is still doing a admirable job of giving the relapsed villains some depth, and I guess Bret Belvins’ Baby Clayface is kind of cute.  I don’t know if this arc is typical of Shadow, which I assumed to be the “gritty” more realistic Batbook, but I enjoyed it.

SHADOW OF THE BAT #26 - April 1994

 

Creatures of Clay - Diary of a Lover

Credits:  Alan Grant (writer), Bret Blevins (pencils), Bob Smith (inks), Todd Klein (letterer), Adrienne Roy (colorist)

Summary:  While searching for the Abattoir, Batman is ambushed by Lady Clayface.  Meanwhile, Clayface invades a therapy session Leslie Thompkins is holding for the children who witnessed the Abattoir’s fight with Batman.  He demands Graham Etchison turn himself over.  While fighting Batman, Lady Clayface flashes back to her life with Clayface.  She recounts Clayface’s escalating pain, which can only be alleviated by touching another person and passing his contagion on.  During a respite from his pain, she was impregnated.  Following her flashback, Lady Clayface regains the upper hand on Batman.

Irrelevant Continuity:  The Clayface in this story is Clayface III, Preston Payne.

Total N00B:  My only knowledge of Clayface comes from the ‘90s animated series and the recent video games.  Consequently, any image of Clayface with an oatmeal can head and supervillain cape just looks wrong to me.  And I have no idea who Lady Clayface is.

Review:  This Abattoir storyline certainly has its share of detours, doesn’t it?  Alan Grant has apparently been roped into the Batman arc (which even Doug Moench doesn’t seem too enthused about finishing), and has decided to use it as a springboard for…a Clayface/Lady Clayface story.  Sure, whatever.  The second chapter of the story makes the connection clear, but at this point, the Clayface material comes across as a totally arbitrary diversion.  However, even as a diversion it’s still more entertaining than anything directly related to Abattoir.  Grant does a good job of making the Mr. and Mrs. Clayface sympathetic characters; more sympathetic than the person who’s actually Batman at this point, to be honest.  And the mystery of why they’re simultaneously trying to kill Batman and kidnap Abattoir’s cousin makes me curious enough to read the next issue.  So far, this is the best Shadow issue reprinted in the Knightfall books.

SHADOW OF THE BAT #25 - March 1994

 

Joe Public: The Birth of a Hero

Credits:  Alan Grant (writer), Bret Blevins (pencils), John Beatty (inks), Todd Klein (letterer), Adrienne Roy (colorist)

Summary:  The Corrosive Man escapes from prison, seeking revenge on Mort Kadaver.  Meanwhile, Batman advises new hero Joe Public to retire.  Joe intercepts a police band announcement of Corrosive Man’s escape, and soon joins Batman in battle.  Batman orders Joe Public to absorb Corrosive Man’s powers, then buries the villain in sand.  Batman again advises Joe to quit before returning to the Batcave.  There, he designs a new costume.

Irrelevant Continuity:  

• Joe Public first appeared in DC’s “Bloodline” annuals.  He’s a high school gym teacher with absorbing powers.  I have no idea if he’s intended to be a comedic character, but Alan Grant seems to view him as a joke.
• Batman’s stated reason for developing a new costume is to develop an acid-proof cape, and a way to remotely access the Batcomputer.  In the previous installment, Batman drew up plans for a new cape that could work offensively, following his inconclusive battle with the Abattoir.

I Love the ‘90s:  Remotely accessing a computer is treated as a technological impossibility.  Batman has to develop advanced technology and program it into his helmet in order to access the Batcomputer’s files while patrolling the city.

Total N00B:  I had no idea who Corrosive Man and Mort Kadaver were before reading this issue.  After reading it, I have a vague understanding that Mort Kadaver is somehow responsible for Corrosive Man’s condition, although I still have no idea who Mort is or what he looks like.

Review:  For the second time in two months, Batman’s inspired to draw up plans for a new costume.  Because Shadow of the Bat happened to be hitting an anniversary issue this month, it’s been selected as the debut for Batman’s new look.  And there’s not much to it, is there?  His mask is now a helmet, his gloves have red laser sights, and I suppose there’s some minor redesign of his cape.  Given the weak rationale for the new look within the story, I can only guess that the new costume was conceived as a way to maintain publicity as the overall “Knightfall” event marched along.

While Alan Grant seems as apathetic towards Jean-Paul as ever, this issue does at least see the return of Bret Blevins as penciler.  Blevins does a lot to sell the horror movie feel of the story, and his interpretation of the Corrosive Man looks like a genuine monster.  There’s nothing anyone could do about Joe Public, however.  The guy looks like he should’ve been one of Hammer’s back-up dancers on this “2 Legit 2 Quit” tour.  Baseball hat, giant sunglasses, bulky leather jacket…DC was still trying to push this loser during the height of grunge, for crying out loud.  How could anyone think this was a good idea?  A charitable reading of Joe’s dialogue would lead you to believe Alan Grant is intentionally treating the guy as a joke, but that doesn’t make his presence any less annoying.

 

SHADOW OF THE BAT #18 - Early October 1993

The God of Fear - Part Three
Credits:  Alan Grant (writer), Bret Blevins (penciler), Steve George (inker), Tod Klein (letterer), Adrienne Roy (colorist)

Summary:  Batman scours the city for Scarecrow, who’s preparing to infect Gotham with his fear serum.  Anarky spies on Scarecrow, wondering when Batman will arrive.  Eventually, he shows, and with Anarky’s help, subdues Scarecrow.  Scarecrow orders the brainwashed Phil Herold to distract Anarky, enabling him to inject both Batman and Anarky with his fear serum.   Batman’s programming allows him to fight through the fear, forcing Scarecrow to order Phil to jump off the roof as another distraction.  Batman ignores Phil and knocks out Scarecrow, forcing Anarky to save him.  When Anarky questions Batman’s motivations, Batman threatens his life and leaves.

Irrelevant Continuity:  I believe this is the first time the younger Herold is given the first name “Phil.”

Total N00B:  Azrael/Batman makes numerous references to his “programming” and curses the mysterious “St. Dumas” for taking away his ability to feel fear.  Once again, this makes no sense to anyone who hasn’t read the original Azrael miniseries.

Review:  Many threads in this arc, none of which truly come together.  The “fear as a new religion” concept only receives one line of dialogue this issue, Scarecrow’s connection to Phil’s deceased father never amounts to much, the brainwashed teenage Scarecrows just kill a few pages, Anarky barely factors into the main story, and we don’t even get to see what the new Batman fears, because he’s already been programmed not to fear.  

In terms of advancing the overall theme of “Knightfall,” there is one significant scene, as the reader learns that Azrael is more than willing to sacrifice an innocent if it’s for the “greater good” of the city.  And when someone questions his reasoning, he threatens to kill him.  So, Azrael is now more Punisher than Punisher, but the story fails to make this work as a parody or an overall statement about what the true Batman is supposed to represent.  The general execution of this arc just feels shoddy.  I like the idea of Scarecrow encountering the son of his first murder victim, but Phil remains a nonentity throughout the storyline.  And the significance of his father’s connection to Scarecrow doesn’t serve any obvious point in the story.  In addition, this issue plays up the idea that this new Batman isn’t a detective and isn’t going to have an easy time finding the Scarecrow’s hideout…until he magically appears with no explanation in time for the climax.  Since I can’t imagine Shadow of the Bat, one of the more “prestigious” Bat-books, could normally be so disappointing, I can only assume Alan Grant’s just doesn't want to do this crossover.  Hopefully, he adjusts in the future, because this thing is far from over.

SHADOW OF THE BAT #17 - Late September 1993

The God of Fear - Part Two
Credits:  Alan Grant (writer), Bret Blevins (penciler and inker), Todd Klein (letterer), Adrienne Roy (colorist)

Summary:  Scarecrow sends his brainwashed doppelgangers into the city to wreck havoc, as he visits the home of the son of his first victim, Paul Herold.  While searching the family’s massive library, Scarecrow recounts his origin to Paul’s son.  After watching a booby-trapped tape left for him, Batman searches the city for Scarecrow.  Anarky simultaneously catches one of Scarecrow’s doppelgangers.  When Scarecrow sends a massive holographic message for the entire city, Anarky decides to use the opportunity to catch both Scarecrow and Batman.

Irrelevant Continuity:  Scarecrow is obsessed with books, which is an idea that I don’t think has made it into any outside media adaptations.  I’m assuming the origin story he presents here of a misanthropic college professor who turns to crime to help feed his book addiction is fairly close to his first origin story.

I Love the ‘90s:  Scarecrow leaves a VHS tape for Batman at the university.  The magnesium is booby-trapped to explode.

Review:  I’m not sure how well this arc holds up when compared to other Scarecrow storylines from this era, but it’s becoming a chore to read.  The hook of the story appears to be some vague ideas about fear replacing religion as the new means of maintaining order in society, but the execution is a mess.  Grant spends an inordinate amount of time having Scarecrow recount his origin and elucidate his philosophy on fear, but never succeeds in making him an engaging enough villain to stand out amongst the thousand other “sophisticated” foes that quote Shakespeare repeatedly.  Making matters worse is Batman doing the same thing he did last issue (beating up faceless thugs), and Anarky doing the same thing he did last issue (beating up faceless thugs, while also trying to justify why killing Batman fits into his philosophy).  It’s dull, which is the last thing a Scarecrow story should be.

SHADOW OF THE BAT #16 - Early September 1993

The God of Fear - Part One
Credits:  Alan Grant (writer), Bret Blevins (penciler), Mike Manley (inker), Todd Klein (letterer), Adrienne Roy (colorist)

Summary:  Scarecrow rents a hall at Gotham University under an assumed name.  He’s recognized by Herold, a student whose father was killed by Scarecrow ten years earlier.  Scarecrow incapacitates him and uses his fear-based virtual reality program to brainwash the rest of the students.  He declares that he’ll end religion and become the god of fear.  Meanwhile, Anarky escapes juvenile hall and patrols the city.  He decides that Batman is indirectly responsible for Gotham’s supervillains and vows to stop him.

Production Note:  The Knightfall trade doesn’t reprint the title page from this issue, which means the full credits and title aren’t in the book.

I Love the ‘90s:  Anarky claims that he was rewarded with shop duty in juvenile hall after telling the staff he’s “glad the Democrats won.”

Review:  For anyone who might be unaware, Shadow of the Bat was the fourth monthly Batman title, launched in the summer of 1992 to coincide with the release of Batman Returns.  Batman ended up with a fourth monthly title for the same reason Spider-Man received one -- the market was incredibly strong at the time and retailers wanted more product from the major franchises.  Like Legends of the Dark Knight, Shadow of the Bat was a higher-quality format series that consisted of self-contained arcs that rarely had anything to do with Batman and Detective.  However, while Legends of the Dark Knight was set in the past, and as fans later learned, not even considered in-continuity within DC (unless Denny O’Neil wrote the arc), Shadow of the Bat occurred in the present day.  Not surprisingly, many fans drifted towards Shadow in favor of LODK, since it seemed to “count” in a way the previous spinoff did not.  Shadow of the Bat was also nominally in-continuity, even if it rarely participated in any of the ongoing storylines at the time.

“Knightfall” was too large to be ignored, however, so now Shadow must find some way to incorporate the events of the past few months, while still remaining vaguely “standalone.”  It’s obvious when the Shadow issues begin in the Knightfall trade because the pages are abruptly full-bleed, making the sides of the book look as if someone took a Sharpie to them.  The actual stories are also an awkward fit, as someone has decided that this three-issue arc takes place after Detective #665.  That’s the issue that ended with the new Batman already unhinged and pursuing his vendetta against Bane, while Robin’s father and Shondra are kidnapped and Bruce Wayne lies helpless in the Drakes’ lawn.  This story has Jean-Paul still trying to follow Bruce’s wishes, Tim in no real distress, and presumably Bruce Wayne safe at home.  There’s no numbering on the cover to indicate when this storyline should be taking place within the larger event, but clearly it’s before the last chapter the audience read.  

As a story, there’s little more than setup.  A nerdy college student is introduced who will presumably play a role in Scarecrow’s schemes, the new Batman has a few pages to go all Miller on a few hoods, and Alan Grant’s pet character Anarky is awkwardly shoehorned into the plot.  The only real excitement comes from Bret Blevins’ art, although some readers might think his anorexic Scarecrow is a little too preposterous.