Comic Review: Detective Comics #1095 – Batman on the Brink and a Truth That Hurts

 

The Detective Comics series by Tom Taylor and Mikel Janín is finally picking up momentum. After a few issues that dealt with important topics (like prison reform) but at times felt too stagnant, issue #1095 is a clear step forward. It not only develops the ongoing threads but also offers a psychological exploration of Batman, who is grappling not just with Gotham’s secrets, but also with his own legacy.

Bruce Wayne is silent, but his rage says everything

The comic opens in the Batcave – Bruce is reading the documents left by Asema and taking his frustration out on a punching bag. He isn’t talking to anyone, not even Oracle, whom he puts into “silent mode” like she’s just another AI. His hair is longer than usual – a small but symbolic indicator of time passing and his deepening isolation. Even Superman visits Wayne Manor, promising help when Bruce is ready. But Bruce doesn’t open the door.

Only Leslie Thompkins manages to break through – not by lecturing about his father, but by delivering a brutal dose of truth. Her monologue about Batman’s choice not to kill is one of the issue’s most powerful moments. Taylor perfectly channels the tone of classic Batman stories here, evoking the post-Crisis era while staying grounded in modern themes.

Joe Chill, ghosts of the past, and the scent of his mother

Batman decides to visit Joe Chill – the man who murdered his parents. The confrontation is a true test for Bruce. Chill, though physically weak, still triggers his deepest traumas. Bruce freezes for a moment, like he’s eight years old again… but it passes quickly. He disarms Chill, but instead of attacking, he questions him.

He learns that in the accident we saw earlier in flashbacks, Chill was injured, and the woman with him at the time was redacted from the files. Thanks to the documents from Asema, Bruce learns her name: Evelyn Scott. A new name likely to resurface in future issues.

Back in the car, Leslie reveals that the scent on the envelope – and at the crime scenes – is the same perfume his mother, Martha Wayne, used to wear. A perfume discontinued decades ago. What does that mean? The implication that someone knows such deeply personal details about Bruce’s life is unsettling.

In Gotham’s shadows – Vandal Savage, Penguin, and the mysterious Elixir

A shift to the Iceberg Lounge brings us into Gotham’s criminal elite. When the police surround the building, Vandal Savage pulls Penguin aside for a private chat. The message: stop asking questions about Asema. A mysterious “representative” (who looks like a mix of an FBI agent and Blade) makes it clear this secret organization could destroy Gotham overnight if it wanted.

While the “secret society in Gotham” trope might feel played out (hello, Court of Owls), Taylor handles it with restraint. Instead of overwhelming us with names and exposition, he provides just enough intrigue to keep us hooked.

A public reckoning and Batman at his most furious

The next morning, an article drops in the Daily Planet, exposing the “real-life vampirism” at Theromise – the harvesting of young prisoners’ blood to prolong the lives of the wealthy... including Bruce Wayne. Superman is stunned, but Bruce – as always – is prepared to face the fallout.

Scarlett calls Bruce, trying to explain she didn’t know what was happening. But when he asks if she knew when she gave him the first dose – her silence says it all. Bruce ends the call… revealing he’s been standing on the roof of her building the whole time.

He dons the cowl and crashes into her office. Scarlett panics, warning him that “they” are watching. Then… the building explodes.

Is Detective Comics becoming the most important Bat-book again?

Tom Taylor surprises by skillfully balancing brutality, introspection, and classic detective storytelling. While many threads remain unresolved and answers are slow to come, the narrative finally moves forward at a satisfying pace.

Taylor’s Batman feels like a blend of Starlin’s intensity, Rucka’s moral nuance, and Grant’s inner turmoil. This isn’t a Batman who shouts – he’s silent, focused, and relentless. And thanks to Mikel Janín’s stunning artwork, every emotion hits even harder. The rooftop scene with Superman, Bruce’s expressions, the panel compositions – all lend a cinematic weight to the story.

Pros:

+Brilliant artwork from Mikel Janín – moody, emotional, and well-composed

+Deep psychological insight into Batman and his moral code

+The Leslie Thompkins scene – strong, heartfelt, and essential

+Revisiting Bruce’s childhood trauma without falling into cliché

+The mystery surrounding Asema and Elixir remains compelling

+Symbolic visual touches (like the perfume or hair growth) add depth

Cons:

– The story still holds back many answers

– The Leslie Thompkins subplot feels cut off after one great scene

– Yet another secret Gotham society may feel repetitive

– Some side characters (like Scarlett) lack development

– The cliffhanger explosion, while dramatic, feels a bit predictable

Final Thoughts:

Detective Comics #1095 isn’t groundbreaking, but it’s a solid, emotional, and well-crafted issue. While the mystery still drags its feet a bit, and some supporting characters fade into the background, the story of Bruce as a man facing both Gotham and himself hits exactly where it should.

MyScore: 7/10