What can be said about Grant Morrison that hasn‘t already been said? I won’t bore you with quotes that praise not only his work, but his overall genius. What I will say though is that I think Morrison‘s work makes room for a larger critical debate both on the validity and the consciousness he presents within the pages he produces and the characterization on the psyche of the superhero. While people will agree with him, even more people will disagree. Where one person interprets the work as bunch of crap thrown onto the physical representation of nothingness, another person see’s the work of a genius and a need for a deeper understanding for the work presented. While he is sloppy, and inconsistent most times he strikes the vein of greatness, and when he does, he shines and you get a feel for what makes him so great. Batman and Robin #13 is a comic that not only pursues this thought, it is a comic that wholly represents it. Story-wise, the book has no faults. It’s a story that impresses, and leaves you to put the pieces together and find your own meaning, for now that is. The “detective story” never looked as good as it does here. The beginning of the book takes a moment of god-awful cruelty on a family and flips it on it’s side and turns it into an even crueler and shocking moment of a newly founded betrayal, of which we have never seen before in the Batman Universe. It not only punches you in the stomach, it lights a fire in the deepest recesses of your body for revenge and explanation, again drawing on your own mind to create a temporary answer. And that is exactly where things go from bad to worse.
We are not only forced to witness a brutal act of violence, we are also forced to peer into the mind of a madman via The Joker. Although it’s brevity needs to be taken into account; the back and forth between The Joker and Batman and Robin can only be described by the sane as scary, mad, and disturbing, and while those might not be the most grandest of words it serves it‘s used to the fullest. But what really shocked me more than anything was when The Joker breaks down and is crying when he admits that he is sorry for what he’s done, that he got shot in the face and was stitched up badly that’s why he’s always smiling, and that once he was a “little boy wonder and he didn’t set out to be this way. While it is a disturbing and a somewhat moving scene, there resides a thread of doubt in the back of my mind that this isn’t the real Joker, that this is an imposter, and that he is the true mastermind behind all the chaos that was sowed and will flower in this storyline only to make this world worse. The Joker interrogation scene is made even greater with the absence of Dick and the presence of Damian. Damian presented here is cold and remorseless stating that The Joker isn’t a force of chaos. That chaos is “needing someone to change your feeding tube” and that “chaos is not being able to go to the toilet without help” before producing a crowbar and beating The Joker over the head with it. It is a scene that is not for the light-hearted, it builds and builds on our emotions only to be released by a crowbar and a head. But that is only one part of the story, the other part shows Dick and Jim Gordon trying to piece together evidence to try and stop the release of a viral narcotic that Dick thinks has already been spread via an antidote that turns out to be a dormant version of the viral narcotic which is waiting for a viral trigger. The impending doom weighs heavy but is soon interrupted by Gordon’s phone, it is one of his cops stating that Damian is in a room alone with The Joker causing both men to rush back to the apartment when they are shot down by two men with rocket launchers. Dick and Gordon crash land in Blackgate penitentiary surrounded by Dollotrons who free Professor Pyg.
Brought on by forces temporarily unseen (as of this writing), things are even worse than before whether it’s the events that unfold in the first scene, or Dick and Gordon stuck in a very sticky situation, Damian acting on his killer instinct, or even the release of Professor Pyg, everything is falling apart in front of our eyes. But the worst part of all is Morrison’s brilliant use of the present and the past, using it, he is able to weave strands of inevitability and despair together to create a mat that is rough and uncomfortable, using against us, our barest of emotions and soft spots. The hopelessness Morrison evokes at the end of the issue only cements the fact that there is no redemption or salvation, that we must go down mentally with Dick and Damian and that there is a need to hit rock bottom before they get better if they ever fully do, as well as showing that with all the knowledge and strength Dick possesses he is powerless and helpless and so are we, we can’t stop it.
Even though I think this issue is the greatest thing (up to this point) Morrison has wrote for his run on Batman, the weak point of this issue, I’m sad to say, is Frazer Irving’s art. While it does have it’s brilliant and poignant moments, I just don‘t like it. Admittedly I have never been a big fan of his pencils or colors, I think his presentation of Batman and Robin are amateurish at best and are both bland and uninspiring, and that goes for the Frank Quitely/Frazer Irving cover also. But, that’s not to say the art doesn’t have high points. Irving’s Joker is the scariest and disturbing Joker I have seen in quite awhile, I mean The Joker smiling while he‘s crying, being beaten, and in peril is really disturbing and grotesque when it comes down to it, while the real Oberon Sexton laying dead next to his rotting wife is also of the same disturbing/grotesque quality. Overall though, the art does a good job when it comes to the story, and only enhances and creates a darker atmosphere even more so (in some cases) than the written word.
Batman and Robin #13 is a truly haunting piece both visually and story-wise. If I‘m being honest and if I‘m going to swallow my pride for a second I have to say that when I was reading this issue I found myself looking away and closing the book out of pure fear, shock, disgust, and horror more times than I care to admit, and that‘s what makes this issue so great. The refusal to compromise to the reader‘s needs and into a bold and new direction although it isn’t necessarily where you want to go is excellent. Throughout this issue there is an overall feeling of escalation into the depths of despair, and you do not want to be there. It is like being scared of roller coasters and being forced onto on that’s heading up to the biggest drop on the ride. It is constantly building and building and at its bursting point, the issue ends. But, it is not your typical Batman story, because it presents a state of weakness and suffering that hasn’t been presented before. It forces the reader to watch what we don’t want to watch, and overwhelms (in the best possible way) you with a sense of hopelessness, brutality, and shines a light on what makes you weak and brings those weaknesses to life.
Batman and Robin #13:
Reviewed by Dane
Greetings everyone, and welcome back to Creator Spotlight. In this piece, I take a look at the highly successful and controversial Grant Morrison. You either love him or you hate him, I love him, but what about you? Let’s take a look:
Grant Morrison is one of the most highly creative and respected comic book writers in the medium today. However, while Morrison is considered a true pioneer of the comics’ medium, his works often divide the fan base of characters such as Batman.
Morrison began his career in comics working for Near Myths magazine. It was here that he introduced his character, Gideon Stargrave, who appeared in issues three and four of the magazine. Unfortunately, the magazine only ran for five issues before cancellation. Following his work at Near Myths, Morrison found himself writing comic strips and penning various issues of the comic, Starblazer. Morrison would leave the comics scene briefly, but he would later return and begin working for Marvel UK briefly before moving over to 2000AD. While working there, Morrison along with Steve Yeowell and Brendan McCarthy would create Zenith. Zenith, a popular piece in the 2000AD magazine would consistently appear from 1987 to 1992. Zenith is responsible for Morrison landing a job at DC Comics. Morrison would propose Animal Man. Now Animal Man was a somewhat forgotten DC character who Morrison would later revive. Morrison would write the first twenty six issues of the series and the title proved to be highly successful. With Morrison’s unique prospective on the superhero genre, DC would hand him the rains to Doom Patrol in 1989. Morrison would take a rather simple group of characters and expand greatly upon the concept. 1989 would prove to be rather important role in Morrison’s career, along with Doom Patrol, Morrison would write Arkham Asylum: A Serious House on Serious Earth.
The story was released as an original graphic novel and there is no other Batman graphic novel like it. By this point in his career, Morrison had established himself as a writer who would often want the reader to read in between the panels. Arkham Asylum: A Serious House on Serious Earth was no different. At the time, Morrison felt that too many writers were taking the realistic approach to Batman; therefore he countered that with a very surreal and mythical approach. While the story was simple; Batman enters Arkham Asylum to gain the asylum back from the prisoners, Morrison did an excellent job of weaving various forms of symbolism into the story. And while the story focuses on Batman, it is very much about Amadeus Arkham and how the asylum came to be. Morrison also greatly altered some of the characterizations of many of Batman’s villains; especially the Joker. Morrison depicted the eccentric clown as a transvestite. Along with Morrison, the artwork was done by Dave McKean. McKean created a world with boundaries within Morrison’s scripted pages, it was like no other Batman comic before it, and there has been nothing like it since.
With the enormous success of Arkham Asylum: A Serious House on Serious Earth, Morrison was now a household name in the comics industry. The graphic novel has gone on to become the best-selling graphic novel of all-time. In April of 1990, DC gave Morrison five issues in the fairly new Batman title, Legends of the Dark Knight. The storyline was titled, “Gothic”, and again, Morrison incorporated some surreal and satanic themes into the plot. The book was penciled by the legendary Klaus Janson and the storyline is considered to be one of the best of the series and one of the darkest Batman stories of all time.
Throughout the 1990s, Morrison would continue to work with DC Comics but would also have work published with small publishers, and would continue to have printed material in 2000AD. During this time, Morrison would also establish his relationship with fellow Scotsman, writer Mark Millar. The two would collaborate on various projects throughout the decade. Also during this time, Morrison would write his rather epic and fan favorite run on the Justice League of America. JLA was Morrison writing fun and action-packed superhero comics, and this is my favorite run of JLA. Morrison would also begin working within the Vertigo and Wildstorm universes. Morrison would work closely with DC Comics until 2000, where after the release of JLA: Earth 2, he would leave for Marvel Comics. However, while Morrison enjoyed success at Marvel, in 2004 he returned to DC and Vertigo. Morrison would relive great success with the releases of We3 and his return to the JLA. Over the next two years at DC, Morrison would continue to be their ace with such works as Seven Soldiers of Victory, 52, and All Star Superman. However, Morrison could not keep away from the bat and in 2006, was given the rains to the Batman main title, and really the entire Batman universe.
Morrison began his Batman run with issue #655 in September. He would begin with artist Andy Kubert, who was also working with DC for the first time. The storyline was titled; “Batman and Son” and it would run until issue #658. This would mark the beginning of the highly-acclaimed “Batman R.I.P.” story arc. Morrison would then attempt a prose issue, with issue #663, “The Clown at Midnight”. While it was a bold attempt and good story, fans didn’t seem to take kindly to it. None the less, Morrison continued with act II of Batman’s demise in, “The Black Glove” storyline. Morrison would collaborate with the talents of J.H. Williams III and then the current writer/artist on Batman, Tony Daniel. After the first two issues of the storyline, “The Resurrection of Ra’s Al Ghul” would crossover into the main title for issues #670 and #671. Morrison wrote the prelude and part 4 of 7 in the storyline that would also crossover into the Robin, Nightwing, and Detective Comics titles. Morrison would then continue on with “The Black Glove” storyline that was wrapped up with issue #675. Morrison, along with Tony Daniel, would begin of his epic and controversial Batman tale, with Batman R.I.P.
For the better part of two years, Morrison had been writing Batman and everything he had been working for was leading up to Batman R.I.P. All of the issues he had written going back to the beginning with issue #655 were intricate pieces to understanding the over all story. R.I.P. began with issue #676 in May of 2008 and concluded with the Last Rites storyline, issues #682 and #683. Also that same year, Morrison penned the DC main even, Final Crisis, which ended up playing a big role in the future of the current Batman universe. While I personally feel that Morrison’s run on Batman has been unforgettable and one of the best that I’ve read in a long time, many fans feel that Morrison began writing for himself. Many readers felt that they were misled and the ending was not what they were looking for. The question I ask is; did Morrison not capture the very essence of Batman’s character? Did he not show great respect and understanding for this comic book mythology we all love?
Following a brief absence from the Batman titles, Morrison made his triumphant return in June of 2009 with the release of Batman and Robin #1. The result was an epic critical and commercial success. The first three issues of the series are considered by many to be the best written superhero comics that were published in 2009. Morrison was redeemed by fans for any of his prior Batman work. Along with great artist and close friend, Frank Quitely, Morrison was able to capture the quirky and action-packed fun that we all have come to love inside the pages of comics. However, after issue three, Frank Quitely left the title, and the book has since had a revolving panel of artists every three issues. Morrison has remained and the book has lost some of the magic that it had within those first three issues. None the less, it is still considered to be the best current Batman title currently being released.
In addition to Batman and Robin, Morrison is writing The Return of Bruce Wayne miniseries. The first issue is set to release today. The six issues miniseries will bring Bruce Wayne back to Gotham City, and will be the latest chapter in Morrison’s Batman epic which continues. Morrison is also set to return to Batman with issue #700 in June of 2010. Morrison just continues to leave a rather large stamp on the character.
Grant Morrison is widely recognized and considered to be of “rock star” status in the comic book world. There is no denying that no other creator has impacted the character of Batman like Morrison has. He has taken chances, some that haven’t always worked but others that had. He isn’t afraid of making mistakes and I feel like he has taken the Batman universe in a fresh and bold new direction that will change the future of the character forever. Love him or hate him, you have to respect him.
That concludes this entry of Creator Spotlight; I hope you enjoyed a look at the rather impressive look at the career of Grant Morrison. Next time, I will be elaborating on the fan-favorite artist, Tim Sale. Until then, tune in next time, same bat-time, same bat-channel.
Posted by Zach
Grant Morrison’s second act of his fourth story arc in the highly entertaining series that continues to shock the fan based with high energy and twists and turns around every corner has come out. The series continues to pick up momentum and Andy Clarke’s artwork does a consistent and satisfying job.
With issue #11, Morrison continues to craft a story full of hints and symbolism. He wants the reader to read between the panels. Morrison also does a terrific job of keeping the reader in check, he continues to reference previous issues in his run on Batman which really rewards the reader who has been knee-deep in Morrison’s run on the character. The issue is splits between Dick continuing to travel through the newly discovered underground graveyard, while Damian joins forces with Oberton Sexton to fight off the attack of the 99 fiends sent by the evil Doctor Hurt. The key to the success of these transitions is that Morrison uses Alfred as the bridge between the two. While Alfred continues to help Dick solve the riddles to the Wayne family, he keeps a close eye on Damian down in the graveyard. The one downfall in the issue is the continuing of Talia’s sporadic control over Damian via the spinal link. I just feel this makes everything more difficult and is unnecessary. However, Morrison incorporates the Dick and Deathstroke relationship that somewhat redeems this rather irritating plot point.
Morrison also brings in the question; who is Oberton Sexton? I will refrain from making a prediction, but I will say, expect the unexpected. Morrison always seems to lead the reader one way and then throw them a curve ball, leading you into a completely different direction. It is one of the techniques that makes him such a fantastic storyteller.
One top of Morrison’s finely penned story, Andy Clarke does a solid job of bringing the script the visual page. While he is no Frank Quitely or Cameron Stewart, there is something simple and refreshing about his style. In a story that is full of complications, his easy going pencils seem to keep you in tune with the epic story at hand. I also feel that Clarke feeds off of Morrison fairly well. The two continue to tell a fast-paced and entertaining story, and that’s what really matters, doesn’t it?
Overall, I think Batman and Robin is continuing in the right direction. The book keeps my curiosity and intrigue like no other current Batman title on the shelves today. Pushing all the mysteries and different possible conspiracies, this is just fun comic and anyone who loves Batman, will enjoy this.
Batman and Robin #11:
Reviewed by Zfactor
Batman and Robin #10 scratches the itch that comic fans like me do not like to talk about. A set up issue, that is genuinely interesting, and is enjoyable in its own right. The title of Andy Clarke’s run on Batman and Robin is known as Batman vs. Robin, and we get a nice set up of that here, along with set up for the return of Bruce Wayne.
The issue is based all around Damien finally being comfortable being a member of the Bat-Family, and actually admitting to his own mother, that maybe he likes being a good guy. Unfortunately for Damien, the wheels are now in motion for the return of Bruce Wayne, and of course, his tenure as the boy wonder is in the air. The issue is filled with interesting twists and turns that set you up not only for the next issue of Batman and Robin, but also the twice monthly six issue mini-series, Batmam: The Return of Bruce Wayne.
This issue is the definition of a set up issue, however, like I have said, this is a set up issue done right. We get reasoning behind what is going right now, along with the story tying up a loose end from the end of Batman R.I.P. Morrison is finally pulling in the net for the return of Bruce Wayne, and although I am happy with Dick and Damien as Batman and Robin right now, he has got me very interested in how this story turns out.
The art here is great; Andy Clarke seems to be following the lead of Cameron Stewart and Phillip Tan before him. It seems like Andy Clarke trying to bring an amalgamation of his own style into the set tone the Frank Quitely brought to the first three issues of the series.
Although this is a short review for Batman and Robin #10, seeing as I do not want to spoil the plot, as it is so marvelously convoluted that the only way to work it all out, are to be in Morrison’s mind, or read the issue for yourself. And rather than get lost in the insanity that is the mind of Grant Morrison, I recommend just picking this issue up.
Batman and Robin #10:
Reviewed by Suavestar
Yesterday, we got a somewhat amusing image from Cameron Stewart over on his Twitter page.
Rejected cover sketch for Batman & Robin #9
Posted by Dustin
The roller coaster ride continues! DC wasted no time in releasing the second part of Morrison and Stewart’s story arc. After an excellent, yet confusing issue in number seven, we receive the answer to the question; who is the resurrected Batman? In a fast-paced and wonderfully scripted issue, Morrison continues to provide us with the freshest approach to Batman that we haven’t seen for years. And I haven’t even mentioned Cameron Stewart yet!
Let me start off by saying that any doubts that you may have had after issue seven; forget about them. Morrison approaches issue eight with a much more cinematic style of story telling. He also clears up the mysteries behind all of these Batman corpses. He does a fantastic job of pacing and structuring the issue, a slight problem with issue seven. He incorporates flashbacks and references to R.I.P and Final Crisis, and they make perfect sense. However, to fully understand what is going on, if you haven’t read any of the titles previously mentioned, you might want to go check those out. The issue reads quickly and forces the reader to keep up, but these qualities provide the reader with a very exceptional reading experience.
The issue begins with Batwoman explaining her predicament and how she exactly ended up in a coffin, like she was in issue seven. As she is explaining, alongside Batman, Squire, and Cyril the Knight, they all wait for the rising of the Batman from the Lazarus Pit. Of course, when this Batman comes face to face with the group of heroes, he is rather uncontrollable to say the least. He quickly begins to attack the group and we then learn who this Batman truly is. Tying back into R.I.P and Final Crisis, we learn that this is the one remaining clone of Bruce Wayne. Returning to present time, the crew is having quite a bit of difficulty bringing the clone of Wayne down. Outside of the mine, King Coal’s men escape and return to King Coal himself. They tell him of the masks inside and he then proceeds to detonate a bomb. The roof of the mine explodes, separating Dick from Cyril and Squire and the clone. However, Dick manages to find Batwoman beneath all the rubble. The clone finds the exit and begins to leave. We then see Alfred accessing the sealed vault that Dick removed the body from, and he learns of Dick’s horrible mistake. The clone commandeers the bat-plane and heads for the plane back to Gotham City. Back in Gotham, Alfred meets an injured, but heeled Damian at the top of Wayne Tower. In the mine, Dick comforts Kate but she then explains she has to die, and does. The plane arrives back home, and the clone makes quick work of a curious Alfred. While Damien is researching Dick’s recent actions, he is confronted by the cloned Batman and believes him to be his father. To be continued…
Like I said, this issue reads fast! But Morrison does a great job of knitting it so tightly together. I also thought the issues cliffhanger leaves the reader with some interesting predictions. Morrison continues his fun and action-packed ride that I just cannot get enough of.
While Morrison remains on top of his game, Cameron Stewart is the true hero in this issue. Stewart’s artwork is much more refined and his style and lines remain very strong. In some very difficult panels, he makes a clear distinction between Dick and the cloned Batman during their fighting scenes. Readers should no longer question the reasoning for his presences on this title. Truly genius!
Overall, I found this issue to be an absolute blast. It left me wanting more and I will have a difficult time waiting for the next issue. Luckily, the break is only two weeks. Morrison and Stewart make their collaboration a very memorable one with issue eight. Morrison does a fantastic job of tying all of his previous work together, to form a rather logical story. Morrison’s stamp on the character continues to get larger and larger…
Batman and Robin #8:
Reviewed by Zfactor
Yesterday, there were a number of posts by creators. The first one comes from Philip Tan who has been working on Outsiders. He made a post over on his Twitter page.
Ok, since I don't have sketch.. How about sneak from page today?! 
The next post comes from Jock and his work on Detective Comics. He also provided this through his Twitter page.
batman takes one to the nose
The last post comes from Cameron Stewart who has been pulling art duties on the current arc in Batman and Robin. He posted up some layouts for Batman and Robin #7 on his blog.
The Squire has a different bike here, it wasn't until after I'd sketched these out that Grant decided it was to have the horse's head on the front.
Note some of the differences between the layouts and the final printed artwork in the traffic scene. This was my first attempt at it, and I did some revisions to punch it up for the final.
What will today bring us from the creators?
Posted by Dustin
The much anticipated delayed issue number seven of Batman and Robin has finally arrived. The elusive writing talents of Grant Morrison continue to pack the panels with action-packed entertainment. However, the issue also marks the first of three issues done by the brilliant Cameron Stewart. Issue number seven keeps Batman and Robin as the best bat title, but does falter in some aspects.
Issue number seven returns the series to the quirky and ridiculous nature of the first story arc. Morrison returns to writing fun and action-packed panels that keep the reader at the edge of their seat. Cameron Stewart isn’t Frank Quietly, but Stewart is an improvement of Philip Tan. Issue number seven is by far one of the strongest issues of the series thus far.
The basic plot of issue seven is Dick is attempting to resurrect who he thinks is in the Batman suit, Bruce Wayne, by using a Lazarus Pit. The issue opens were number six left us; Dick is removing the corpse of someone in a Batman suit. I say someone because while most are saying that this is Bruce Wayne, I am not quite ready to make that statement yet. We then cut quickly to England where Dick and Squire are racing across England to rescue civilians on a wired subway train. Dick and Squire successfully prevent the criminal known as Eddie English from completing his plan. English is known as “The Pearly Prince”, the son of “The Pearly King of Crime”. Dick heads over to the prison to meet with the Pearly King. During the discussion, we learn that a game of cards was played and Eddie won a mine from King Coal that contained a Lazarus Pit. As Dick and Squire are leaving the prison, we learn that The Knight is already down in the mine helping Dick because as we know, Damian is currently unavailable. We then see Damian is undergoing surgery at the hands of Talia’s best medical assets. Alfred has come to watch the procedure and shows concern for Damian. Talia assures Alfred of his safety on his way back to Gotham. Talia also asks Alfred if he truly believes Bruce Wayne is dead, in which he explains that he saw the body and the identity has been verified by several people. We then cut to Dick and Squire making their way into the abandoned mines that Dick and the Pearly King discussed earlier. Upon entering the mines, they are attacked by some of King Coal’s men, with the aid of The Knight; the three of them make quick work of the henchmen. After Dick and Cyril greet each other, Dick learns what exactly is in the mine, a lost Lazarus Pit. The three discover a coffin that the henchmen were carrying. The coffin explodes and appears Batwoman. She quickly reacts and begins to question Dick while attacking him. Batwoman demands to know who is being resurrected, in which Dick explains Batman, which confuses Batwoman. Dick explains to her that he is the new Batman and the original Batman died saving the world, however Dick does not reveal his identity to Kate. The four heroes enter the room that contains the Lazarus Pit and we learn that Dick has already had the body wearing the bat suit put into the Lazarus Pit. The issue ends with the hand of the body arising from the pit.
Now aside from one editorial mistake, I found this issue to be a rather fun and entertaining ride that kept me compelled. I thought Morrison did a terrific job to returning to his original light-hearted tone that worked so well during the first story arc. My one problem with this issue is that the pacing is rather erratic and the story can be a bit confusing at first. The issue opens with Dick carrying the dead body of someone in the Batman costume, and then immediately we see Dick racing across England. What? I guess I would have liked some sort of plot point that explained Dick’s movement from point A to point B. However, Morrison returned the title to its original roots and I am excited to read more.
When I first learned that Cameron Stewart was going to be working on this title I thought, wow, he is a terrific artist but he is not someone I would think of working on a Batman book. However, Stewart is an excellent storyteller and he does not disappoint in issue seven. Stewart’s clean and expressive line works perfectly with Morrison’s style. Stewart brings this raw energy that was lacking during the Philip Tan issues. I also feel like he is the perfect artist to be working on this current story arc, that appears is going to be quite silly and action-packed. I look forward to see the next two issues he will be working on.
Overall, this issue is by no means perfect. The pacing is so fast that I feel some key details were left out and I found myself a bit confused at times. However, this confusion did not detract me from the story. I felt the artwork lent itself perfectly to the storyline. This title continues to remain at the top of the stack for me and I look forward to issue number eight.
Batman and Robin #7:
Reviewed by Zfactor
In today's edition of Creator Posts, we see a number of things buzzing around the net. The first thing is with today's release of the anticipated Batman and Robin #7, there are all kinds of talk about it. Be sure to follow Cameron Stewart and Grant Morrison to see their thoughts throughout the day.
Next, we have some awesome art that was posted up on Lee Garbet's blog. The art is from next month's Batgirl #7.
Posted by Dustin
So…..
This is why "Batman and Robin" issue 7 has been delayed so long? For those who don't know, the above is a preview image for issue 7 that DC Comics released today and it sure confuses me about the fate of Bruce Wayne's body. We now have three bodies of Wayne floating around the DCU.
1) Caveman Bruce as seen in "Final Crisis" issue 7 and the upcoming "Return of Bruce Wayne" mini-series.
2) The body (which may be fake in light of this) that Dick buried over in "Batman" whose skull is now being used in "Blackest Night".
3) This new addition to the madness.
So anyone have any theories in what's going on? Got me. I hope "Batman and Robin" issue 7 clears things up, otherwise this just raises more questions.
Posted by Josh
Creator Posts takes us to Cameron Stewart today. Yesterday, Stewart posted up on his Twitter page links to YouTube. Those links gave us a first look at some of his art on his upcoming run on Batman and Robin. So take a look below.
Posted by Dustin
With Batman and Robin heading to England in an upcoming issue of Batman and Robin, could it be too far fetched to think that these kilts may make a reappearance? From Detective Comics #198
Posted by Dustin
The conclusion of the Revenge of the Red Hood storyline is creatively woven together by the very talented Grant Morrison. Philip Tan also continues to provide a solid depiction of the dynamic duo. We also learn that inside, Jason Todd remains to be the most hated character in Batman history.
While Morrison’s second story arc wasn’t quite as enjoyable as the first, it still provided us with some terrific character developments and entertaining reading. I feel that throughout this arc, Morrison did a very solid job exploring Jason Todd’s character. He is arguably the first writer to bring a consistent characterization of Jason Todd since Todd’s days as Robin. I feel that issue three contained many clever plot points that helped the story along such as the opening panels; Todd and Scarlet are streaming a live web cam session that will reveal the identities of Batman and Robin after one million calls. I also think the introduction of the Flamingo was intriguing; he appears to be a sadistic maniac that scared the hell out of me. Flamingo shooting Damien also let us see how emotional Dick becomes when Damien is in need. Morrison does a great job of working in little creative details throughout the issue. I also feel Todd’s epic speech at the end of the issue gives us insight on just how lost his’ soul really is. He also strikes Dick’s nerves when he tells him that he will always live in Bruce’s shadow. Scarlet’s mask is also ripped off by Flamingo and so is her evil alter ego. However, the high point is the conclusion of the issue where we learn that Oberon Sexton has been blackmailed by none other than Simon Hurt. We then cut to a panel where Dick has made his way to Wayne Tower. Dick makes his way to a chamber, where the password he enters is, of course, “Zur en arrh”. I found issue six to be the high point of Morrison’s second story arc, he leaves us with an epic conclusion that will keep us thinking, and awaiting the arrival of issue seven.
I think Philip Tan is a terrific artist, but the art is the low point of the issue. While I enjoyed the art in issue six, Tan’s inconsistencies are apparent in almost every panel. Tan seems to struggle drawing the human anatomy consistently from panel to panel. I also feel that, like issue five, the inks are poorly done. They appear blotched and muddy throughout the issue. However, I feel that Tan has received harsh criticism while drawing this book that I do not understand. While the art has its’ problems, it doesn’t distract you from enjoying the story. I also feel that Frank Quietly doing the covers doesn’t help Tan out either. I think some people look at Quietly’s covers and expect that to be the interior artwork which is not the case. Tan has a different style that I think lends itself well to Morrison’s story.
I felt that Morrison did an excellent job of wrapping up the Red Hood’s storyline, as well as Scarlet’s. While I hope we will see her again, Morrison left me very content with her character’s state of being. He leaves us picking up our jaws off the floor and keeps the reader intrigued. Batman and Robin continues to be the best bat-book on the shelves with no signs of letting up.
Batman and Robin #6:
Reviewed by Zfactor
Philip Tan must feel like the middle child in a family of celebrities. No matter how solid his art may be, it will never live up to his “older brother” Frank and his “younger brother” Cameron. Tan’s collaboration with Grant Morrison and run as primary artist on Batman and Robin will probably be forgotten once this series is done, but his style and tone continued the drama in an interesting visual direction even if it wasn’t as magical as his predecessor or as anticipated as his successor.
Tan and Morrison finish up the Revenge of the Red Hood arc with a slew of dramatic panels that are the most violent of this series to date. Morrison uses the maniacal Flamingo not only as a means to bring Red Hood and Scarlet’s fate to a climax, but to resolve the question of who will be Gotham’s protectors. The writer slyly does this without Dick and Jason having to physically confront each other directly. Much is left open ended at the end of the story: Damian is paralyzed; Jason is off to jail; Flamingo’s body can’t be found; Scarlet, free of her mask is off to start a new life, and a battered Dick Grayson opens a sealed vault to what I’m not sure by uttering the password “Zur en arrh”. I’m not even going to try and speculate on the reason why Grant Morrison has Dick utter that infamous phrase at this time of the story. I think my brain would explode if I did.
I appreciated the action and the depth of drama in this issue, but the writing and panel layouts seemed sloppy and rushed. The artistic simplicity that made the first arc so unique and popular is almost reversed here, with too much going on at the same time. Scarlet’s plot resolution is the most successful and effective of the characters. Her horrific happy ending gave the arc’s finale an edge that made the book worth reading. Dick once again doubts his significance, but there was awkwardness to this portrayal that I found unusual for the author who understands this Batman more than anyone. His cool lecturing of Jason followed by a verbal flare-up while Gordon and the cops are all around, was strange and out of character. Especially considering Robin is laying face first with multiple bullet wounds in his back. And then how does Talia show up all of a sudden? Is Damian headed for the Lazarus Pit? Is this a foreshadowing of his future?
Morrison also inserts a page of Oberon Sexton and El Penitente as if to make sure we don’t forget them. The two insignificant characters will hopefully have a meaningful purpose in the next storyline.
I think Philip Tan is a very talented artist. However, I would love to have seen this issue have fewer panels on each page. His detailing isn’t precise enough to bring out the emotion of the characters and the ferociousness of the violence in such small space. His visual expression would have had a much more profound impact with the use of splash pages. Unlike Frank Quitely, whose panels stand on their own, Tan needs the dialogue to give his work definite meaning. The last page, which should have left me wanting more, instead frustrated me. The actual standout from a graphic art perspective was Jonathan Glapion’s inks and Alex Sinclair’s colors. The quality of those elements has remained consistent from the first issue.
What I find so interesting is how Grant Morrison’s writing changed with the artist. It really makes one realize how essential the chemistry between writer and graphic artist are to the success of a comic book.
Much like Philip Tan, this story arc seemed like the misplaced middle child of the “Pyg” arc and of the story yet to come. I know Blackest Night will deeply impact this series in the upcoming issues, and fellow Canadian Cameron Stewart will no doubt bring the magic back to what was just a few months ago the best book in print. But whatever the future holds for Dick and Damian, I have a feeling we should brace ourselves for a tumultuous ride!
Batman and Robin #6:
Reviewed by Tiggerbrown
The second part of this “Revenge of the Red Hood” storyline, is again a strong performance from Grant Morrison and Philip Tan. Batman and Robin #5 is another action-packed story, and another reason why Grant Morrison is the man to be writing Batman write now.
Issue #5 opens up with the Red Hood and Scarlet again quarreling with Batman and Robin. I think that Morrison does a really solid job when writing the dialogue between the two dynamic duos. I also feel that Morrison’s characterization of Jason Todd is the best interpretation that we have seen since his return from the dead. He makes Jason feel like such a hopeless and cold character. Morrison also continues his well executed investigation into Dick and Damian’s relationship. This to me is what makes the book so good. Throughout Batman Reborn, Morrison has been the best at writing the relationships between these characters and that continues in this issue. The introduction of the Flamingo was also very well done. Anytime Jason Todd takes a shot to the head, it’s always enjoyable. The biggest problem with this issue is that because it is so action-packed, we do not get very many of those emotional scenes between Dick and Damian. I my mind, this doesn’t take much away from the issue though. I also hope that “The Gravedigger” character becomes much more prominent in the next issue. I also still feel that this current story arc isn’t grabbing me like the first arc. My main reasoning is that while Morrison’s version of Jason Todd is an enjoyable one, I still don’t care very much about the character. The Red Hood isn’t nearly as interesting to me as Professor Pyg was in the first story arc. The issue also leaves Batman and Robin in a rather problematic predicament that I think Morrison will play off of in the upcoming issue.
I feel that Philip Tan’s art is greatly under appreciated. I think Tan is a terrific artistic who is being criticized because he is not Frank Quitely. It is not fair to compare Tan to Quitely, Quitely is a master at his’ craft and is in a league of his own. I just think that people should get over the fact that Philip Tan is the one on this book right now and take his’ art for what it’s worth. While I do think that Tan shows some inconsistencies in his’ pencils, the art is still quite good. I think the bigger problem here is not Philip Tan, but Jonathan Glapion. Glapion is the inker on the book and I feel that at times the inks get rather sloppy. Nonetheless, the art is still well done.
At the end of the day, I still consider this to be the best book to come out this week, and the best Batman title to come out every month. This book is just consistently well written, well drawn, and just a lot of fun. Keep picking up Batman and Robin.
Batman and Robin #5:
Reviewed by Zfactor