In the 1980s, as is well known in the world of comics, many important developments took place, most notably the coming of age of the medium. Certain titles, guided by their creators, moved toward darker paths, exploring themes and ideas that had previously been avoided, or perhaps that audiences had not yet felt the need to engage with. This point, however, deserves further analysis, since artistic creation and life are not separate entities. One influences the other, and those who produce art do not differ all that much from those who receive it, in this case the readers, as they belong to the same social reality. As history has shown, it was a period in which certain things needed to be said, and fortunately they were.
It was during this time that works such as The Dark Knight Returns and The Killing Joke were published, along with The Cult, which is the focus of this text. I place it in the same category, even though it is not often mentioned, although that may simply be my personal impression. It feels as though it has been somewhat forgotten over the years, so I take this opportunity to say a few words about it for anyone interested, while always keeping in mind that I may be mistaken, as I do not claim to have a definitive grasp of what is considered a classic and what is not.
Starlin and Wrightson had collaborated before, though not extensively, which is precisely why this work carries particular significance. Over the course of four issues, they managed to convey a truly terrifying story. By terrifying, I mean that it is so violent that even today, when you read it, you feel numb and find yourself wondering how something like this could have received approval from DC for a title such as this, one that was and remains a flagship of the company, alongside Superman, of course.
Both creators have contributed immensely to the comics industry and were, and still are, considered giants in the field, not merely in theory or due to critical favor, but in practice. We are talking about creators responsible for works such as A Death in the Family and The Infinity War, as well as Swamp Thing, Frankenstein, House of Mystery, and countless others.
Here, they applied their experience and together led Batman into the sewers of Gotham City, where they placed him at the mercy of a dangerous figure named Deacon Blackfire, a striking name, who has established a cult, as the title suggests. With himself as its leader, he orchestrates murders aimed at the purification of society’s “evil,” as he presents himself as the instrument of God. Yes, as becomes clear, religion forms the foundation upon which his gang is built.
Driven by the pursuit of power, Deacon constitutes the central problem of the story, and, as expected, Batman represents the solution. However, this time the approach is different. The hero finds himself in a dire state, drugged and psychologically dismantled, as his adversary manages to unlock the tightly sealed inner chamber within him, the place where guilt resides. Once released, that guilt is allowed to devour him. The allegory is clear, as the narrative indirectly addresses the concept of religion and how it functions as an opiate of the masses, especially for the segment of a city’s population that cannot survive due to the system itself. It also points to the inability of any government to support this group, particularly when its priorities often lie in self enrichment rather than problem solving. This is where faith enters the picture, offering promises of a better life, albeit after death. The message is simple, believe in this god and you will be rewarded. In other words, a solution based on fear, which in turn produces guilt if one fails to remain faithful for any reason. Everything is acceptable as long as you support your religion, far less so when you abandon it.
I find The Cult incredibly bold and unquestionably pioneering, deeply introspective for its central hero, who wears the costume throughout almost the entire story, except for one brief moment. This detail, in my personal estimation, suggests that Starlin wanted to emphasize the protagonist’s sense of duty, using it as a symbol of how he relates to himself and to the world beyond his own identity. Toward the end, predictably and not in a negative sense, the story follows a conventional dramatic structure. Everything that is expected to happen does happen, and yes, at that point it becomes foreseeable. Nevertheless, the journey leading to that conclusion remains thoroughly innovative and, as mentioned earlier, shocking even today.
If you have not read it, do not miss it.
Until next time — be well, and keep reading.
It’s important!
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