By Alex Batts — Tom King’s run on Batman has come to an end. Nope, to me it still doesn’t feel real. But alas, the critically-acclaimed scribe’s work on the main Batman title ended late last year with the release of Batman #85 (though King’s work on the Caped Crusader isn’t completely finished, with Batman/Catwoman set to hit sometime in 2020). Now that the Gotham mist has cleared, King’s run on the Dark Knight has been one for the ages, while it has left some (alright, many) fans divided, there is a lot to love about it. When it started back in 2016, I doubted anyone could come close to topping the work that Scott Snyder and Greg Capullo had just completed on the title, but I think King’s run has reached that bar, even if I’m still undecided about whether he surpassed it.

That said, it’s a good time to walk down memory lane and highlight some of the standout issues during King’s lengthy tenure on the book. As with any listicle I write, I’ve got a few disclaimers to get through. First, these aren’t in any specific order. There’s no way I could rank them, and getting it down to the number I have here was hard enough anyway. Speaking of whittling down the books on here, I cheated and lumped a few issues together for a couple of slots if they were part of a short arc (sue me, there’s just too many to choose from). With disclaimers out of the way, let’s get into the 10ish best issues from Tom King’s work on Batman.

Batman Annual #2

“From the first kiss to the last.”

Where do I even begin with this one? It’s pretty much the ultimate from meeting to death love story, and it’s not even 40 pages. What King does with this script, aided by the brilliant artistic talents of Lee Weeks, Michael Lark, Elizabeth Breitweiser, June Chung, and letterer Deron Bennett is nothing short of astounding. The cat and mouse (bat and cat?) game between Bruce and Selina is perfect. The unavoidable pull the pair feel to each other is palpable. The rhythmic dance the duo plays across time in this issue tells their full story while hitting all of the emotional beats. The art deserves more discussion because it’s just so damn good. Weeks brings some of the most iconic Batman/Catwoman imagery ever and Breitweiser’s colors elevate every page. The script is phenomenal, the art transcends, and this will (and already has) gone down as the Batman/Catwoman tale.

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Batman #1

This might seem like an odd choice, but I maintained throughout this run that the first issue was one of my favorites, and I stand by that. I know King himself has said he feels shaky about it and that he was still trying to grasp how to write Batman, but I think it’s a flawless Batman issue. David Finch, Matt Banning, & Jordie Bellaire bring some incredibly bombastic, tight, and pure comic book art, perfect for a first issue. Finch and Bellaire work in tandem a handful of times throughout the run, and every time they do it’s magic — this first time included. This issue has action, mystery, suspense, drama, and more. It sets the stage for so much of what’s to come in King’s long-form narrative, introducing new characters and thematically establishing the run’s intentions. We see Batman doing what he does, ready and willing to sacrifice himself for Gotham, while wondering if it’s a good death. This theme gets explored further by analyzing what makes life worth living for Bruce (spoiler, Selina is a big part of that). All this and more are present from the first 20-odd pages in King’s run, and I can’t commend him for it enough.

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Batman #62

Tom King and Mitch Gerads working on a Batman issue, need I say more? The duo teamed-up a few times during this run and any of those issues could’ve made this list (I’m looking at you Rooftops and The Brave and The Mold), but this issue has always stood out to me. Taking place at the start of the Knightmares arc, my favorite part about this issue is a storytelling decision I’m not sure many people notice. Batman is trapped in a slaughter room with Professor Pyg, he doesn’t know how he got there, and most importantly (to me) he can’t hear. The fact he can’t hear is absolutely genius, because it puts the reader and Batman on the same level. Comics are a strictly visual medium, and though we get sfx in books, we can never actually hear what’s happening. Putting us there with Batman to this extent heightens the issue in a really interesting way. Also, the issue just plain kicks ass. We’re in Batman’s head as he uses his skills to work out of a deathtrap while Gerads’ absolutely terrifying Pyg taunts him. Gerads’ art is as stellar as always and King’s voice for Batman is just fantastic.

Batman #24

Talk about a turning point. David Finch, Danny Miki, Clay Mann, Seth Mann, and Jordie Bellaire had the job of creating some of the most important pages in Batman’s history, and they crushed it. This issue features dual narratives of Batman and Claire (Gotham Girl) conversing on top of a radio antenna during the day, while that same rainy night Batman chases Catwoman across the rooftops. Claire pesters Batman about why he does what he does, railing against Batman’s arguments that he does it because he has to and that, for once, he should do what he wants. This culminates beautifully in Batman finally asking Catwoman to marry him. Up to this point, the pair have always had a will they/won't they thing, never fully committing, but this issue fundamentally changed their relationship and the trajectory of the overall run going forward. The run was originally going to be 100 issues (and still kind of is if you add the 12-issue Batman/Catwoman book), and this bombshell dropped a quarter of the way in. The conversation Claire and Bruce have is a personal favorite of mine as it gets at the core of Bruce. Finally, the issue ending with the proposal page is nothing short of iconic.

Cold Days

Listen, I told you I was going to cheat and lump together some arcs. Perhaps my favorite of this lot is the arc featuring Lee Weeks and Elizabeth Breitweiser on art. Weeks and Breitweiser work wonders. Weeks brings a timeless feel, incredible nuance and detail, and riveting emotion. Breitweiser’s colors are splendid, full of magnificent hues and vibrant contrasts that elevate every panel. Also, I’m admittedly a bit biased since this arc focuses on Mr. Freeze (my favorite Batman villain). Story-wise, this arc asks compelling moral questions about Batman, as he becomes the spotlight in a court case where Bruce Wayne himself is on the jury. Ironically, Bruce argues against Batman and works to convince the jury that Batman isn’t always right. I’m also a huge true-crime fan, so the “boring procedurals” of court are my cup of tea (though I prefer coffee), and the questions this arc asks are consistently engaging and thought-provoking.

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SuperFriends

A double date with Bruce Wayne, Selina Kyle, Clark Kent, and Lois Lane featuring art by Clay Mann, Seth Mann, and Jordie Bellaire. What a hell of a concept, and the execution does not disappoint. These two issues are just pure fun. The interplay between the four characters is too good. It’s a refreshing change of pace to see Bruce and Clark hanging out without capes on (though there’s still some action sprinkled in for good measure), and the added dynamic that their significant others are present is great. Mann and Bellaire’s art is some of the best in comics (Bellaire absolutely crushes EVERYTHING she does, consistently knocking it out of the park with each artist on this run) and graces us with a TON of unforgettable pages featuring two of the most famous couples in superhero comics. Packed with laughs, heart, and stellar art...this two-issue arc is an instant classic.

Batman #74

The final issue of The Fall and The Fallen, which put the spotlight completely on the father and son relationship between Bruce and Thomas, was easily my favorite of the arc. The inclusion of Thomas Wayne in King’s run on Batman was perhaps the most unexpected twist, and his role in the story is pivotal. It’s heartbreaking, seeing that the rift in ideology between Bruce and Thomas can’t be mended, but it’s that same contrast that makes the relationship so compelling. The issue focuses on Bruce’s resolve and the reason he continues to be Batman, highlighting the positivity that can come from his trauma. While King worked with a myriad of artists throughout his run, if there is one that could be considered a series regular that title falls to Mikel Janin, who again with Bellaire’s colors, brings some of the best art in comics. Every environment, expression, and movement is rendered beautifully, and Bellaire’s colors in this issue are some of my favorite in the series.

Rules of Engagement

The first arc to take place after Selina says yes to Bruce’s proposal is a standout for multiple reasons. First, Joelle Jones renders a stunning splash on the title with an immaculately illustrated Batman and Catwoman in the desert that’s complemented beautifully by, you guessed it, Jordie Bellaire’s colors. Since this arc, Joelle has sort of become the Catwoman artist of current times, and it’s easy to see why. Her Selina (and Talia!!) is drop-dead gorgeous and looks exactly how you imagine she should. Seeing the dynamic of the now-engaged Batman and Catwoman was a blast, new and fresh and a joy to behold. The arc also incorporates another of my favorite Batman villains/love interests, Talia Al Ghul, which gives it even more bonus points. I mean, there’s a freaking sword fight in the desert between Talia and Selina, yes PLEASE. This arc does a great job of establishing how the Bruce and Selina relationship will operate through the next phase of King’s run, and it’s one I love going back to re-read.

Batman #50

Arguably the biggest turning point in King’s run occurred right at the halfway point of the series. The landmark issue was marketed as the wedding between Batman and Catwoman, the build-up was astronomical, the variants plentiful (I got at least 10 myself) and then… no wedding. The outrage was there, and understandably so given the marketing, but from a storytelling perspective, the wedding not happening was genius. Batman was raised as high as he ever had been emotionally, and then it was all ripped away. Not only was it ripped away, but it was also revealed that everything up until this point had been orchestrated by Bane (and Thomas Wayne). The true scope of the grand story King was weaving began to come into focus with this issue, and it’s incredible to see, especially in hindsight. The issue is a perfect capping point for the first half of his run and propels the narrative for the second half. Not only that, but the letters Bruce and Selina write each other are some of the most heartfelt Batman/Catwoman exchanges I’ve ever read. And the art, with Janin and Bellaire doing the storytelling pages, is as amazing as always. Sprinkled throughout the issue though are stunning splash pages of Batman and Catwoman from a variety of famous artists who have tackled the Caped Crusader in the past. The oversized issue is packed to the brim with dense storytelling and jaw-dropping art.

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Batman #85

Is it cheap to end my list with the final issue of the run? I’m doing it anyway. This issue had a lot to tie up, and it somehow managed to pull it off. Wrapping up the insanity that was City of Bane while feeling like a fulfilling conclusion to 85 issues and years of storytelling is no easy feat, but King pulled it off here with the help of Janin and Bellaire (again). One of my favorite aspects of the issue was the conclusion of sorts to one of the longest-running threads in King’s run regarding the Gotham Knight’s quarterback, Campbell. It’s here that Gotham Girl, Kite-Man, Thomas Wayne, and more get proper closure, and it’s about as happy as an ending as you can give Batman. While King still has more story with Bruce to tell, this wholly serves as a complete ending to his work on the flagship title.

So, that’s it. Those are just some of my favorite issues in King’s intricately woven, epic, emotionally, game-changing, character-defining Batman run. I promise I’d have thrown every issue in there if I could. I’d list some honorable mentions, but I know I’d get carried away and we’d be here with an extra thousand words. Long story long, I really love Tom King’s work on Batman and I’ll be re-reading it for years to come.

Alex Batts is from Texas. A lifelong comic book enthusiast and movie lover, if he’s not talking about comics, he’s probably not talking. You can find him on Twitter by following @BatmanFiles