The first issue of Batman: Death Mask begins a manga miniseries by Togari creator Yoshinori Natsume. It considers an often explored idea in the Batman’s world and brings it to literal, vicious life. Other writers have examined the idea that Bruce Wayne stands as more of an assumed identity than Batman. Many have questioned the blurred line between Wayne’s two personas. However, Natsume brings it to life in a way that seems obvious, yet strangely unexplored. He asks if Dark Knight and Bruce Wayne at least coexist within the same person, what might happen if the Batman escaped as a separate entity.
Bruce Wayne prepares to receive a delegation of Japanese businessmen from the Agurama Corporation, interested in partnering with Wayne Enterprises. Consequently, he reflects on his own training in Japan. And, a series of nightmares force him to question how much control he really exerts over his alter ego. Within the delegation, he meets a young woman that works part-time at parties and events for the company. Wayne swears that he met her in Japan as a young man, but knows that her young age makes that impossible. But, as he prepares for the gala welcoming ceremony for the Agurama Corporation, he reads about a murder that mimics his own death in his nightmares. In Batman: Death Mask, Yoshinori Natsume questions the role of masks—both literal and figurative—and explores the consequences of letting a mask take over one’s true self.
Batman: Death Mask is formatted like a manga, in that it is to be read from right to left, and that the art is black and white. However, it comes packaged as a standard American comic book, so it won’t upset the order of anyone’s long boxes. While that style may feel awkward to some readers, as with most manga, the art creates a sense of rapid motion—more so than American comics that focus on denser narrative progression over time and movement. With that comes a higher page count—thankfully, not reflected in the book’s cover price. But, that also means that the manga style comes off as uniform, and varies little from what most readers have already experienced. But, Natsume flies through a series of haunting, cinematic shots that enhance the movie-of-the-mind quality already inherent in the comics medium.
In much the same way that a Batman manga reflects a cross-cultural experience, Natsume explores Batman through the motif of Japanese Noh masks. It constitutes a new take on an old character and, even more so, a new exploration of a familiar interpretation. Natsume examines Batman through a Japanese cultural lens, bringing new perspective to the character, and an appreciation of his enduring appeal. Whether the specter of the Batman that haunts Bruce Wayne proves a creation of his own mind or the machination of a greater evil remains to be seen. But, Batman: Death Mask should be seen and read immediately.
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