SYNOPSIS: The Scarecrow emerges in Gotham City, and fear consumes the streets! And now that he has the murderous Hangman to do his bidding, the stage is set for Scarecrow’s next grand act. With terror and psychosis at a fever pitch across Gotham, the Bat-Man struggles to tame the city without destroying his personal life as Bruce Wayne…leading him to make a fateful decision about his relationship with Julie Madison.
Picking up where they left off with last installment’s cliffhanger, writer Dan Jurgens and artist Mike Perkins don’t miss a beat in capturing the panicked crowd at the movie premiere that is under attack. With an active shooter, a panicked crowd, and an injured and soon-to-be murdered Dark Knight unable to help, this looks like a job for…another comic book character Jurgens is well-known for.
The issue doesn’t let off the gas as Batman struggles with survival, and a strange visitor from out of town goes to help Lois Lane and Julie Madison, who were plunging off a cliff last time we saw. Their respective scenes feel intimate and epic at the same time.
As the story shifts to our villains and their unholy team-up, we get some of their backstory, and the role historical context plays in it. This is by no means my first Scarecrow story by any stretch of the imagination, but there is something about this iteration that chills me to the bone, beyond the wonderful art by Perkins. Crane’s origin is extremely fitting for this time period, made more ghastly by the fact that he is trying to get the Nazis’ attention.
Obviously, fear is a big theme for this story, in part because of Scarecrow, but more due to the setting of the Second World War. While the sense of worldwide dread loomed over the first series, as the U.S.’s entering the global conflict becomes more and more inevitable, it comes to a fever pitch here, with distrust of “The Other” becoming more and more prominent.
Jurgens really holds up a mirror to society by having us look back to 85 years ago, showing a world with fascism on the rise, where a shooting can interrupt what one would assume is a safe activity, and how an “every man for himself” mentality does harm. However, also in that mirror are strangers who would do good and assist their fellow human beings.
While it may not seem like we get a lot of Bat-Man or Bruce Wayne this outing, Jurgens expands on the lore and delivers a reason why this old Commissioner would hang out with this idly rich playboy. There was no need for a rationale back in 1939, but in 2025, Jurgens delivers the perfect explanation by tying it in with real-world history, adding a verisimilitude to the proceedings.
Perkins’ illustrations also add to how grounded the story feels. Far beyond the looks of terror on the populace or malicious glint of evil in the villains’ eyes, there’s a phenomenal sense of tactility when you look at the heroes’ costumes or any of the background details and settings. A flashback to The Great War literally puts you into those trenches of horror.
While there are lots of moving parts to this story, that isn’t to say that the private life of Bruce Wayne is forgotten about. There are some great dynamics with his relationship with actress Julie Madison that are a lot of fun to see, particularly how she can help him with his cover stories. Being a Black Label book, there is no guarantee that their relationship has to play out like the comics, and I wonder what the endgame Jurgens has in mind is. Could this be a trilogy? Will Bruce have a happily ever after, or would a third chapter introduce Robin? Time will tell.
The Bat-Man: Second Knight, Book Two expands on the canon of the first series, giving the story some time to breathe, while introducing new characters. The coloring of Mike Spicer stays true to the established world, but becomes bolder when appropriate, particularly with one reporter from The Daily Star. Jurgens is a complete master when it comes to these characters, making the historical context have maximum impact for the story he is telling. Perkins is the perfect artist for this, capturing the time period with authenticity while still bringing a modern flair. The only thing to be afraid of is not finding a copy! – Javier E. Trujillo
GRADE: A
