A year later, Bruce Wayne is training himself with the guns left behind by the Batman. He has Booster Gold chained up in his basement and is trying to repair Skeets in the hope of saving his parents. He soon discovers that Skeets is voice-activated, which means that he must bring Booster Gold back up from his prison.
Batman #47 actually pulls out a mostly decent ending to “The Gift.” While the crassness of the story and its myriad tonal issues were jarring at times, the ending to the comic grounds the narrative for the better.
The comic still leans on humor a too hard in spots that did not need it. While Bruce is trying to convince Booster to take them back and save his parents, Booster winks at Skeets. This leads to a weak comedy routine where Booster tries to convince Bruce that there was a fly in his eye.
The finale finally has Booster Gold facing the horrific outcomes of his actions, and that is a nice change of pace. However, it still leaves you wondering why he thought any of this was a good idea in the first place, which brings us back to the perplexing fact that Tom King has written him like a time-travelling Deadpool.
Tony S. Daniel’s artwork continues to be a pleasing highlight in the comic. He draws Booster emaciated and hairy after being held in prison, and it’s a bit unnerving. The detailing is oddly lighter in some parts, but most of the book still looks great. Tomeu Morey’s color art is darker and well balanced, with Booster’s costume being allowed to stand out in the gray and black of Gotham City.
Batman #47 brings a surprisingly solid ending to “The Gift.” This issue is still tonally off and makes Booster out to be near unlikable, but the ending lands some emotional resonance. Plus, Tony S. Daniel, Sandu Florea, Danny Miki, and Tomeu Morey bring some great artwork to the title. I can recommend this one who have been enjoying Tom King’s Batman, and tentatively recommend it to others. Booster Gold fans, however, will still find the comic misrepresenting this great character.
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