Way back in the year 2000, Christopher Priest alongside artist Shawn Martinbrough created Batman: The Hill. It was a one-shot comic that debuted the titular Gotham neighborhood. A crime-ridden, poverty-stricken, predominately black neighborhood that the powers in Gotham City government pretend doesn’t exist, The Hill was above all else a way for Priest to tackle difficult subjects like the relationship between poor black communities and the police. Since then, The Hill has occasionally shown up as a backdrop to various stories in Gotham. Now, twenty years later, Martinbrough returns as a writer to once again put it in the spotlight.
The fact that Martinbrough’s focus is on the neighborhood itself is made abundantly clear. The story is primarily about the ways in which crime has affected the normal people that live there. Whether it be Joker War or roving gangs of costumed criminals, the emotional heart is how every day citizens respond to crisis. A lot of this is reinforced by the art. Sanford Greene’s scratchy linework convey a sense of urban authenticity fitting for The Hill’s setting, while Matt Herms’ warm colors keep a consistently intimate tone with its focus on family and community.
Conversely, Red Hood almost just feels along for the ride because nothing gets published without one of Batman’s sidekicks attached. Everything from the villains, their plan, the characters featured, and the general themes all tie to the neighborhood itself. Despite the fact that Jason has recently moved there, he has very little connection to the goings on as a whole. He largely acts as an observer whose biggest contribution is a housewarming party that allows the story to introduce The Hill’s various vigilantes.
The role of actual protagonist is more prominently filled by Dana Harlowe, AKA “Strike”. Continuing the trend from the Red Hood issues that this acts as a direct follow up to (going so far as to mention that it takes place around Joker War), Strike is the one who has the biggest connection to the events of the story. It’s her family and neighbors who are directly endangered by the villains. We empathize with her recklessness and drive to protect the ones she loves. It’s also her actions that seem to have the most agency in driving the plot forward.
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