He also channels the sheer power of the beings Batman battles. Experiments with styling people are discarded, and he creates suitably hostile locations packed with feral threats for the drama to play out.
Patrick Gleason adapts phenomenally well to the new environment, and it’s noticeable that he uses more spreads to do so. The result is a very different type of story from the remainder of the run, not small and enclosed by Gotham, but widescreen action, like a Superman film, but starring Batman. It’s been apparent during a succession of team-ups, and is emphasised again here as the Bat-Family gather round to help out. Tomasi has made a subtle case for Batman being more effective when he puts his trust in others. Throughout the Batman and Robin run Peter J. Batman has followed in protective armour created for his use by the Justice League. An opportunity he hadn’t foreseen was travelling to Apokalips and making use of their super science, but during the course of The Hunt for Robin, Damian’s coffin was abducted and taken there. As methods beyond reality exist in the DC universe, it’s no great surprise that Batman intends to exhaust them all before accepting that Damian Wayne/Robin can’t be returned from the grave.
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