Modern Age Batman Review: Batman and the Monster Men #6

With Hugo Strange's Monster Men closing in on Sal Maroni and Norman Madison under threat of execution from the same, we approach the thrilling climax of Matt Wagner's six-part series.

"Batman and the Monster Men, Part Six"
By: Matt Wagner
Colours: Dave Stewart
Letters: Rob Leigh
Synopsis: Maroni's execution of Norman is interrupted when one of his thugs is thrown through the window. And they're on the third floor. Three of the Monster Men easily climb over the outside wall and begin butchering Maroni's men, to the amusement of Hugo Strange. But Strange gets more than he bargains for when BATMAN smashes through the front gates in his proto-Batmobile. He deploys a steel net which traps the first Monster Man, and then proceeds on foot into the estate where the other two are already smashing up the place.
With one of the monsters trapped, the mobsters utterly rip through it with gunfire. This Monster was once Sanjay's brother, Rajan. Strange's assistant kills the mobsters who have murdered his brother, but is himself shot by one of Maroni's men.
Maroni knows there's an escape helicopter on the roof, and heads there with his lieutenants, leaving Madison to be killed by the creatures. Batman surveys the damage caused, as the interior of the estate is a bloody massacre. He takes down the second and third Monster Men with steel cable and mountaineering equipment, and heads for Maroni's location on the roof.
Along the way he runs into Norman, and tells him to get out of the house and to safety, referring to him by name. The paranoid and guilty-conscienced Madison is terrified by the caped crusader.
Maroni and his men are trapped on their way to the helicopter by the fourth and most developed Monster Man. Good thing Batman is there, as he jumps on the beast and injects it with a tranquilizer. Unfortunately, it only makes the Monster groggy, leaving Batman to finish the job by luring it into charging at the helicopter -- causing both to fall off the roof and collapse in a massive explosion. Batman confronts Maroni and threatens him until he agrees to absolve Norman Madison's debts.
The next morning, Julie Madison wakes up in Wayne Manor, and Bruce tells her that he's lent her father the money he needs to pay off his debts. Meanwhile, Hugo Strange managed to escape and has now become a television personality and psychological expert on the Batman, appearing on numerous talk shows. With no solid evidence, Bruce cannot go after Strange. Maroni and Falcone also escape unscathed. Bruce reflects that other than his relationship with Julie, he would feel that he had lost this conflict.
Meanwhile, Norman sees Strange's psychological report about Batman on TV, in which Strange classifies the Dark Knight as insane and relentless. Norman believes the Batman knew about his mob dealings, and his paranoid mind now has made him terrified that the Batman is going to come after him.
My Thoughts: Matt Wagner achieved a very special accomplishment with this series, turning an entertaining Golden Age Batman story into a fantastic exploration of the Dark Knight's early days. Other than the involvement of Hugo Strange and his Monster Men, however, this series is vastly different from the original story, which saves it from feelling like a simple rehashing. The numerous subplots, character examinations, and vast difference in exact plot events make this an entertaining and original effot on its own.
The Art: Wagner gives a great climax to this story, with several spectacular panels. The image of the proto-Batmobile smashing through the gates of the Roman's estate is memorable, as is the two-page spread of the bloody carnage inside the estate. The image of Batman threatening Maroni against a flaming background is also unforgettable. Great stuff. One thing I can say is that Matt Wagner draws a damned good Batman.
The Story: Wagner wraps up his threads really well here, managing to get all the main players in one location for an exciting, explosive finish. He impressively allows Batman to stop the Monster Men without outright murder, and gives all the characters good moments. He leaves Hugo Strange in a perfect place for another writer to pick up the character and run with it (namely Doug Moench's "Prey" arc in Legends of the Dark Knight) and of course leaves Norman Madison in an intriguing place that makes the reader wanted to pick up Wagner's sequel series, Batman and the Mad Monk.