There’s a heightened sense of expectation when a comics fan sees the words “Chaykin” and “Kane” on the cover of an issue. (I guess it depends on the “Kane” in question; I’m talking about Gil, not Bob.) 

These are not only two masters of the form, but each known for their own distinct approach to comics–as a writer, Chaykin excels at a steamy blend of intrigue, sex, politics and satire; Kane’s pencils are legendary for their mastery of shape and shadow. 

Not only are these two greats working together, but they’re doing an out-of-continuity Batman story. DAMN. This should be good, right? 

No. No, it’s not. 

Chaykin picks a fine starting point for his story–Bruce Wayne worried he’s enjoying being Batman a little too much, until a mysterious foe in a flying armored war machine attacks him unexpectedly and leads him on an aerial chase high above Gotham City. That’s essentially part 1 of 3 here, and if you’re curious enough about what you’ve heard so far to want to check this out, maybe only read the first part. 

From there, Chaykin twists this story into something grotesque involving Nazis, intimations of incest, and a set of brutal characters that might seem worthy of our pity if they weren’t so unlikable. Our finale entails Batman held captive by Birgit Eisenmann, an ageless Nazi crone who is obsessed with procreating with the Caped Crusader to further her personal vision of a “master race.” 

This one line from the DC Database entry on the issue really captures the squirm of it all: “Birgit gets aroused watching Batman overcome every obstacle…” These are elements of plot and character that could just as easily have been assembled into something more sturdy; Chaykin has written plenty of genre stories where moments of revulsion are employed not just for shock value, but for thematic resonance or even just bizarre humor. Here, these strange villains seem to come from nowhere, say nothing, and vanish just as quickly as they appeared. 

“Flyer” is…an uncomfortable read. Because it feels both silly and gross at the same time, what stands out are some of the more ludicrous comic book plot devices Chaykin employs. Early on, Batman knocks the flying Nazi into the river, causing him to almost drown; in response, he brings the dying criminal to the Batcave (?!!?!) to work with Alfred on saving his life. If Batman started bringing bad guys he hurt to his secret headquarters, it wouldn’t stay secret for long. 

All of that said, there are some late-era Kane pages here that are gorgeous, even if they’re in service to a story that’s at turns stupid and disturbing, and occasionally both at the same time. 

I love the motion of the cape here and the position of Batman’s legs, as they emphasize both the power Batman’s fighting against and his body’s struggle in opposing it. The three facial close-ups on the right-hand side help escalate the drama as well–Batman’s anguish, followed by a two-panel zoom into Birgit’s mania. 

“Flyer” feels like a classic example of the “adult” comic book story gone woefully wrong; it’s not enough to put Batman into a story with weird sex stuff and the most toxic foes imaginable (Nazis). If it all pushes the reader away, if there’s nothing smart or emotionally engaging or even formally interesting, then there’s no point.