James Tynion IV

A confession: I'm an oddball who really enjoy the action genre without being very into action. That goes doubly for superhero comics, and so in a giant collection like this, not everything will be to my tastes. The giant kaiju-esque battles in "Night of the Monster Men", for instance, do very little for me (though at least when there towards the end of the omnibus is a similar confrontation in "Fall of the Batmen", there is the emotional undercurrent to make me care more). What I love is the show more character stuff -- issue 975, "The Trial of Batwoman", for instance, is probably my favourite issue of this whole giant book. All the various Bat-sidekicks sitting around, talking, interacting, arguing, caring. That's the good stuff.

And there is a lot of stuff like that here. I got this collection for Christmas, but I specifically wished for it because James Tynion IV has earned my confidence that he knows how to handle these characters very well. No exception here. While I'd at times have appreciated some more grounded plotlines and less overblown science fiction mumbo jumbo, the character arc throughlines are impeccable. Cassandra Cain might be my favourite Batman character of all time (well, second to Alfred, obviously, but I'm increasingly of the belief that anyone whose favourite Batman character isn't Alfred simply hasn't read enough Batman comics yet) and she really gets to shine here. Conversely, a character I've never really cared about -- the original Clayface -- also has a wonderful, redemptive plotline that made me like the character for the first time I can remember. Kate Kane's Batwoman came out of nowhere for me with Rucka's original run, and has cemented herself as a strong, interesting character for me ever since -- no exception here. Finally, Tim Drake might be my favourite Robin, sharing as he does in Batman's trademark intelligence and paranoia but coupled with a youthful optimism and idealism, and he, too, is pivotal in this collection, perhaps more so than anyone.

So while any collection of 50ish issues of an ongoing comic title will have its ups and downs, there are a lot of ups here. It's probably not the best entry point for a complete Batman novice, with the large roster of characters, but the bar is still pretty low, the continuity nods and references always being the kind that brings added value to the diehard fan without being incomprehensible to the casual one. A worthy sequel to Tynion's "Batman Eternal"/"Batman and Robin Eternal", whose character introductions of Stephanie Brown, Cassandra Cain and Jean-Paul Valley it continues to chronicle, and one I'm glad I now own. show less

4.5/5 stars
What if every conspiracy theory ever created could be true if enough people believed in them? Who would maintain order and a record of what’s actually real? This is the word Cole Turner finds himself in at the beginning of The Department of Truth—a world where the moon landing is fake, and the earth is flat solely because people believe it to be true. Lee Harvey Oswald leads the Department of Truth, a government-run organization dedicated to ensuring these conspiracy theories show more don’t gain enough believers to become truth. Oswald and the department quickly recruit Cole in their quest to preserve reality as we know it, but there is a greater threat lurking in the shadows. A rival organization that wants to see these conspiracies take root? Why? Which side is right? Which side is wrong? Who are the good guys and who are the bad guys? Does the truth even matter? These are the questions at the heart of volume one of The Department of Truth.

The Department of Truth feels a lot like The X-Files in several ways. There’s the obvious one—it’s a story about a government organization that investigates fringe theories. But the similarities run deeper. Each issue of The Department of Truth has a case-of-the-week (or month, I guess, since the comic is published monthly). These procedural elements are intermingled with an overarching plot that sees Cole, Ruby (his partner), and Oswald uncovering evidence suggesting they’re fighting the daddy of all conspiracies—orchestrated by a mysterious group, Black Hat, who seem to keep cropping up behind every corner. The similarities run even deeper, though—like The X-Files’ Fox Mulder, Cole has his own traumatic childhood connection to the Department of Truth. He was a victim of the Satanic Panic of the 1980s, a conspiracy that acts as a kind of precursor to a certain modern-day conspiracy that shall not be named but is central to the comic’s overarching mystery.

I point out these similarities not as criticism, but as praise. Like a good TV show that merges procedural and serialized elements, The Department of Truth moves at an excellent pace. Exploring a different conspiracy theory in every issue gives the series a sense of variety while the overarching plotline gives it a sense of unity. It’s a structure that works very well, ensuring that no chapter feels disposable while also ensuring the series doesn’t settle into a creative rut. The conspiracies are varied—there are false flag operations, assassination theories, even reptilians—but they’re all unified by this organization that focuses on eradicating them. It’s an idea that feels like it could go anywhere, and Tynion takes it to some captivating places. The work that Tynion does to establish the world of this comic, and Cole’s backstory, is remarkable. He doesn’t overload his readers with too much information all at once. Instead, like a good conspiracy, everything is slowly unraveled, with small breadcrumbs leading to bigger ones until an entire tapestry has been revealed. This isn’t a story about conspiracies; rather, it’s a story about the power of stories. What stories get to be true and who gets to decide that? Tynion doesn’t answer any of these questions yet, but the care with which he explores these ideas is well worth the price of admission.

The artwork of any comic can be a subjective, and sometimes polarizing, experience. Some people love abstract artwork while others prefer artwork that’s more utilitarian in purpose. I fall somewhere between these two sides, though I tend to lean toward the latter. I say all of this as a preface for how much I love Simmonds' artwork in The Department of Truth, even though it is more abstract than I normally prefer. Here, that abstractness helps expand the atmosphere Tynion’s created with his writing. Everything is a little smokey, almost as if it’s in a state of flux, ready to change at any moment—much like the comic’s depiction of truth itself. However, the artwork is never so abstract that it detracts from the story being told, or makes it difficult to follow the plot. Instead, Simmonds' artwork feels suitably stylistic. In moments of fantasy, his imagination shines brightly as he gives creative designs to things like the Reptilians or a demonic creature with a pentagram etched into its face. But mostly, everything is very shadowy and noir-like. It’s a style that worked well for me, but won’t be for everyone.

And that’s honestly the case for The Department of Truth as a whole. It’s not going to be for everyone, but the people it is for are going to adore it. Each issue is a mixture of fun, case-of-the-week stories that explore a new conspiracy and of serialized plotlines that get furthered every issue. The world of The Department of Truth is one that feels rife with possibilities—there are so many directions Tynion and Simmonds could take this story, all of which feel equally exciting. It feels like a story that could go for years and years while also feeling like one with an endpoint in mind. It’s clear that there’s a mystery Tynion and Simmonds are unraveling here, and it’s introduced so brilliantly in this first volume that it’s easy to become enthralled by it. All in all, it’s a comic unlike most comics I’ve read lately. It feels like a TV show in the best possible way and I am captivated. I can’t wait to see where things go from here. If you’re into conspiracies, mysteries, or just really good, unique comics, The Department of Truth is a must-read. show less

when the turtles sneak into the batcave, michelangelo cannot help riding on the back of that giant dinosaur thingy and crying, "this is everything i have ever wanted out of life!!" my first three fandoms were ninja turtles, star trek, and batman, i'm pretty sure in that order. so basically mikey is providing an absolutely perfect visual metaphor for how i feel about this crossover.

this is such a love letter to both of these franchises and their fans. it is actually kind of ridiculous how show more good it is. it's not just a novelty, it uses bruce and alfred and damian's interactions with splinter and the turtle boys to just kinda show off how thoroughly it gets all these characters. the degree to which it is just exactly how i would have approached this extremely unlikely crossover is also just kind of hilarious? not necessarily the main plot and villains so much as the interactions between the heroes, and the fact that said interactions take up probably more of the story than the conflict with the villains. i just feel so incredibly catered to. literally my only complaint is that this didn't come out when i was 5. show less

I love the world of Batman. Bruce Wayne is the epitome of an antihero, and his stories are exciting, dark but fascinating, and good triumphs in the end. While I expect the grim aspect of a Batman story, this volume in the series exceeded my expectations. It is very dark and disturbing. Joker returns, and considering his previous history, I suppose they had to raise the stakes to prove him as Batman's most threatening foe. Joker is first seen in a horrible killing spree in the Gotham Police show more Department, and Gordon is spared his life by Batman's timely arrival. Turns out Joker was only leaving his calling card, though, and soon reveals to Batman that his real target is Batman's family: Nightwing, Batgirl, and all the other crime-fighting associates considered a part of the bat family. Batman strives to stay one step ahead of the lunatic, especially after the Joker kidnaps Alfred, but he isn't able to prevent the madman from taking his family. While Batman does thwart Joker's plans before he can kill the others in front of his eyes, the whole ordeal leaves a deep, negative impact on everyone. Admittedly, the story was riveting, but equally true is the fact that I felt a sense of relief when I finished. In addition to the upsetting story line, the art was truly creepy, with the joker wearing his face pinned back in place, after having previously had it cut off. This central device sets the tone for the illustrations, which are gorey and intense, much like the story. While I like the dynamic between Batman and Joker, this was too much for me. I can't deny it was a good story: well-written, clever twists and real development for Batman and Joker, and with a potential to upset the whole Gotham universe. Nonetheless, I hope subsequent stories give us a breather. show less