The last issue of the Dark Patterns arc, “Pareidolia,” is one of the saddest and most tragic Batman stories I can remember. At the same time, it’s a fitting conclusion to this story, and I think it will be a pivotal chapter in this title overall. I can’t really say more without spoiling it, but if you’re like me, just be ready to be sad. Find something fun to read when you get through.
First, a brief recap: there’s been a murder in The Rookery, the most neglected neighborhood in Gotham. It has the markings of The Red Hood Gang, so Batman suspects they’re operating again and becomes obsessed with solving it. Mainly because no one else seems to care. At the end of the last issue, he learns the murder was committed decades ago, but the body was dug up and moved to be discovered, and makes everyone believe the Red Hood Gang was active again. A wheelchair-bound old man claiming to be one of the original members conveniently explains all this to Batman, but only after shooting him to prevent the truth getting out. This issue begins with Batman regaining consciousness to find himself tied up on the floor, about to get his skin bleached off. And the tension doesn’t let up from there.
A running theme in this arc is Batman’s reckoning with the (dark) patterns in all these cases. The Wound Man and Scarface’s takeover at Bledin Towers both started with grisly murders just like the one in the Rookery. All three included destructive fires. In the first issue of this arc, Batman stops himself from seeing smiling faces in blood stains and ice cubes, a nice reminder of the most famous Red Hood. Repeatedly, Batman rejects assumptions based on patterns that might not be there. But right when he needs facts and evidence to solve this case, there are none to be found, not until the old man shoots him in the back and has to explain it all while he slowly blacks out on his apartment floor. But that’s not to say Batman doesn’t get to be a detective. He puts together what’s really going on brilliantly, using several clues that tell the real story behind the old man’s. Funny thing is, Batman had to be shot and tied up with nowhere to go to finally put it together. His usual m.o. of running all over the neighborhood, interrogating everyone, turned up nothing. But it wasn’t a waste, even if he thinks it was. Pay attention to the last few panels to see why.
The art is again perfect, and it’s highlighted with really inventive panel layouts. I’ll admit I was looking for patterns in how the panels are used, because the creative team is using placement and layering in really clever ways. This team has things to say about Batman, and they’re using these techniques to say it brilliantly. My favorite page is the face-off between Batman and the old man, where Batman gains the upper hand just by putting the clues together and telling the story the old man doesn’t want told. It’s the turning point of the issue and the arc overall. Unfortunately, it leads to the tragic ending I mentioned earlier, but it’s all done really well.
There is one point at the end of the issue I hope to learn more about. We get a cool homage to a famous Batman story. But it’s more than an homage; the way it’s presented makes it appear that this story and those characters are already part of this world. Per the first issue, this is a year three Batman, so there’s technically time for all this to have happened, but as far as I can tell, there’s been no previous mention of it, and if it has happened, it does make me read this Batman a little differently. Not a nitpick at all, just a curiosity. Maybe it will get addressed in the final arc, “The Child of Fire.” But even if it doesn’t, I’m sure we’re in for another great story from this team, and I’m looking forward to it. – Trey Jackson
