Review by Frank Plowright

What would Gotham be like with Batman out of action? It’s a story that’s been run in the past, not least during the 1990s Knightfall, but The Gotham War takes a different approach by suggesting it might actually be safer. Collaborating writers Chip Zdarsky and Tini Howard conceive an ingenious reason why that’s the case, with Catwoman responsible for the resulting intriguing ethical puzzle. Her solution has worked, but Batman’s objections set them on opposing paths.

However, Catwoman has explained her methods not just to Batman, but also to the remainder of Gotham’s protectors working under his guidance, and they don’t all see what’s happening in such absolute terms. The expectation might be that Batman has everything under control and would be able to cope with a smattering of friends and an exceptionally talented former lover, but that would be to underestimate Catwoman. Complicating matters further is the appearance of immortal villain Vandal Savage

The art is varied. Jorge Jiménez is a class act (sample spread left), while Nico Leon’s pages are well designed and his Selina Kyle masked for an opera personifies glamour, but he objectifies Catwoman (sample spread right). So does Nikola Ciżmešija, who prefers to picture people up close and grimacing. Mike Hawthorne is the most traditional of the artists, but a solid draughtsman and excellent storyteller.

The Gotham War is destined to be a graphic novel confined to an era, largely due to Zdarsky not treating it as a standalone event and referencing his ongoing troubles for Batman, which aren’t going to make sense out of context. However, it’s not the only drawback. After an extremely strong start, things degenerate into a succession of one on one battles between Batman and former friends. It’s here that the back-up personality of Zur-En-Arrh makes a difference, resorting to methods that Bruce Wayne as Batman wouldn’t. He’s seen as vulnerable a few times, which isn’t necessarily a bad thing, but doesn’t greatly fit events here, although the manner in which Red Robin is nullified is bold and effective. Unfortunately, though, it comes with an on/off switch as the plot requires.

Halfway through the original plot is subsumed by the desires of Vandal Savage and due to what he lays on the table Gotham’s regular villains crawl from the woodwork. It allows for some iconic art from Ciżmešija and Hawthorne, but there are too many villains for any individual to have an effect. Further diminishing the plot is the elephant in the room of Batman and Catwoman almost marrying not too long ago in DC time, and the resulting emotional aspects don’t always convince as two people that care greatly for each other.

The ending is a real problem, something readers aren’t going to believe, so why should Batman? It’s weakly plotted spurred on by a desire for tragic sensationalism at the cost of credibility.

There are good moments to The Gotham War, but overall it drags and lacks the compulsion expected from an event.