This is not a plot-heavy comic by any means. It's more a fun yet bittersweet celebration of the Bat-family and the enduring symbol that is Batman. King's script is structured so that Batman is at a constant distance from the reader, leaving them to wonder along with Alfred exactly what is driving the Caped Crusader through this bizarre gauntlet of foes. That technique may be a hindrance in "City of Bane," but in this context it works wonderfully. The result is a heartfelt and often humorous celebration of Batman's legacy and one of the most important relationships in Bruce Wayne's life.
This issue is also an excuse to let artist Jorge Fornes run wild in Gotham City. Fornes has made a big splash during his limited time on the series, but he reaches a whole new level of storytelling craft here. Before, Fornes' appeal was in how adeptly he replicated the look and feel of David Mazzucchelli's Batman: Year One art - that haunting, spartan look and the grimy noir approach to Gotham. Here, Fornes showcases what makes his style unique. Many of the vignettes pay homage to the campy Silver Age Batman era, right down to a panel featuring Batman's zebra costume. This is hardly a gritty noir tale, but a story full of giant monsters, outlandish vehicles and the one crazy person in a cape trying to keep it all under control.
Fornes somehow manages to convey the silly and somber sides of this story with equal ability. There's a dynamic, lighthearted quality to many scenes, even as Batman himself looks human and vulnerable. Fornes' Batman isn't the chiseled god as rendered by artists like Mikel Janin and Clay Mann. There's a fragility and a humility to this Batman that only reinforces the character's bravery in confronting these ridiculous challenges. Having master colorist Dave Stewart on board only further enhances the impact of the art and maintain that balance between light and dark.Fornes doesn't draw the entire issue, as Mike Norton steps in for a rapid montage of panels near the end of the book. Fortunately, this is anything but a jarring transition, as Norton's own clean, economical style meshes well with Fornes. It's one more visually stunning entry in a series with an already high bar.