Except that – SPOILER, I guess, though I'll avoid details – then we get the bait and switch, and what started out as an Alien riff is revealed as a body horror sex comedy, starring Killer Croc. All of these elements come to give shape to a character that is given a menacing silhouette by the masterful Liam Sharp.

Batman shows up after the fact in each issue and talks to a villain that's all beat up and goofy looking. Self-Deprecation: There are a number of snarky remarks about Batman being nothing but a rich guy with too much time on his hands, most of them courtesy of Alfred. And, Dillon might’ve helped to smooth out some of the script’s many rough edges, but it’s hard to imagine these pages in his more traditional style. The only reason to read this is if you get your kicks out of reading awful comics like you do watching MST3K.The book delves into a new take on Killer Croc and his evolution and, while there are some interesting ideas on display, the whole thing becomes extremely convoluted. Yes Bayman is a dark character, yes he uses fear as a weapon, but in this book he comes across as much of an uncaring sociopath as the criminals he us chasing or "putting into traction". Which I shouldn't have been, because Black Label seem determined to put out even more Batman titles than core DC, so at this point they must be flinging absolute shedloads of cash at any big name who isn't entirely sworn of work for hire. The artwork style was a continual muddy and unattractive mess, and the storyline - involving some sort of sewer-dwelling mutated creature (with a noggin that seems somewhat inspired by - or is it simply ripped off from? Este quadrinho me provocou sentimentos ambíguos sobre o que os autores, Garth Ennis e Liam Sharp tentaram fazer com esta minissérie/encadernado Batman: Reptiliano.

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Deftly moving from psychological horror to splatter, it mixes the staple of any Batman narrative (that is, the idea of solving a mystery, the mark of the detective story) adding an element of science fiction and biological warfare. Instead of largely comical tone of these issues, he decided to make a much more serious series, re-launched under Marvel's MAX imprint. He uses his no-kill rule as a weapon, threatening others with the fear of pain to get the information he needs. Killer Croc's child may count too— its victims, though horribly injured, survive its attacks, because it loses interest and doesn't finish the job. Instead this is what the head of Discovery should have made sure never saw the light of day instead of the Batgirl movie.

The first three issues are a slow, fascinating build that leads up to an absurd, cheap climax that feels at once obvious and arbitrary. He discovers that he's not born with a bizarre skin condition, but that he's an hermaphrodite cross between alien and human.The end result is such that we, the readers, are put in such a position as it becomes quite difficult to know what is going to happen next.

Yes, he's got form on giving good bastard, but here he manages to work within Bruce's ridiculous limitations so as to make someone who is widely known not to kill genuinely menacing all the same.I also adored how all the rogues are drawn almost like caricatures of their normal selves since that’s exactly how Ennis sees them all. In 2008 Ennis ended his five-year run on Punisher MAX to debut a new Marvel title, War Is Hell: The First Flight of the Phantom Eagle. In true Ennis fashion, however, it doesn't miss out on the chance to mock several aspects of Batman. The creature's streak of mutilations are not done out of malice, but out of confusion and frustration. There was one particular double page spread that I seriously stared at for a couple minutes trying to figure out exactly what was in the picture.