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
First off, let me state that I think that every Batman fan reading this that hasn’t read this issue yet should go out to their local comic shop and pick this issue up before they read this review because HEY, IT’S THE 700th ISSUE and it is quite the achievement, and for such a momentous occasion you shouldn’t read about it in a review and have it spoiled and thrown away on a quick read through on your computer screen. You need to hold the book in your hands, read it, soak in every word and panel presented, truly treasure the occasion and reflect on your own personal experience after it is done. So with that out of the way I will state that I will not spoil anything for you here, but I beg of you to PLEASE go out, buy it, and read it before you read this review. But what I will do here is give you a little insight to what is to be expected in these pages.
Messy is an understatement. Grant Morrison’s work on Batman #700, is what it is. A messy, garbled story of which we have no clue to what’s going on, but at the same time and in old Grant Morrison style it leaves the story up to the visual side of a complete and unquestioned whole that makes up what we love to read. But that isn’t necessarily a bad thing. All the hype about this specific issue aside, there is a coherent story there (of course) that begins, climaxes and ends all in one issue it transcends everything that I have expected and more. While sticking to a storyline, I can't help but feel that there is something more to this story. First, we start off with Bruce and Dick in the first story called “Yesterday” as Batman and Robin strapped to chairs in a maybe machine, a machine used to see what would happen if things turned out differently. We then see them surrounded by the Riddler, Mad Hatter, Cat Woman, and none other than the Joker. We then see Dick and Damian in the second story called “Today” taking up the positions previously stated, trying to stop an underground auction that is auctioning off weapons and other things. Finally we see Damian as Batman in the third story called “ Tomorrow” trying to stop a criminal named January from killing all the citizens of Gotham using an old yet familiar gas that makes people laugh. The end is the real kicker and will only be revealed when you read it.
I know, it sounds like none of these stories connect to each other, but they do through time travel and the consequences of actions which I must say weaves perfectly through a single twist of continuity and fate. While this issue and its content both visually and text wise offer a valuable story, I was expecting a little more from these pages action and story-wise even though the idea is there and makes it a wonderful read. Maybe it’s because DC, other Batman related websites and news stories hyped the hell out of it or because it falls short of the holy grail of content we’ve grown to expect from Grant Morrison. But I can’t help but feel that this issue would have been better if it was a one-shot. Which in a sense is somewhat true, the story could have been fleshed out a little more and it would not have been plagued by what had become a problem for Tony Daniels when he was the writer for the Batman series. While this issue is numbered within the Batman comic series, it is presented as a one-shot or something like it. Although I’m not quite sure if the events in this story will have any effect on other series such as Batman & Robin, I will state that I would like to see some of what is presented here in future issues or maybe a one-shot with the maybe machine being used again and acting as a plot device. This story/one-shot/whatever you want to call it takes us back to the past, to the current day and to the future….. Then further on in the future, and back to current day which like I‘ve said is pulled off and presented wonderfully, and most importantly in a smart, innovative way all the way to the end.
At the end of the issue there is bonus material in the form of artwork by artists that have worked on Batman in the past, while it is a hit or miss, Guillem March’s Joker art is something to be reckoned with, while Philip Tan’s Batman is also quite extraordinary and both I would recommend you take a peek at. The story, art, and bonus material is not only presented great here, but it also rings in and applauds the momentous occasion for what it is. This issue is the definition of a comic book and if there is any kind of redemption in this world, the 700th issue is it.
Like I’ve said before I think this story is much more than a typical run of the mill story. I think (besides the obvious examples that have been told in past issues) it’s a “passing of the torch or cowl” sort of story. With Bruce to Dick to Damian and so on and so forth. It’s an action or tragedy on a son who becomes a father who passes it on to his adopted son to another son to the future bearers kind of story. Because we don’t know who the future Batmen are and what their relationships are to who we already know I also think (while not directly stated or presumed) it’s a Father/Son story about those talks you had with your Father when you were a kid, and after all those years you look back and realize what your father was telling you, it was knowledge learned that we use to protect ourselves to fight for what we think is right, for what we think NEEDS to be right, to stand up for justice and the righteousness of what you think is the right thing to do . Everyone plays the part of the Batman no matter where you come from, no matter how you were raised, no matter what happened in your past. It’s a final confirmation that Batman is bigger than anything we can hold in our hands or that one person can fully grasp within a lifetime or perhaps will never be fully understood by any one human. Thus, there is a universal need for a wearer of the cowl to try to understand all the craziness and absurdity in this world to put together what it is that makes what’s right, right, and what’s wrong, wrong, and for the symbolic nature of an idea or philosophy to show all of humanity that there is some sort of greatness in every single thing we do, that there is goodness in the human soul, and finally but most importantly that there is hope in despair (all the while not fully understanding it at all), which in the end is what Batman stands for.
Overall, a great issue is all I can say. This is what I have been personally waiting for and Morrison delivers. As for the art Finch’s cover kind of echoes (dare I say) Jim Lee’s work. On the inside Tony Daniel’s pencils are top notch as they should be while Ian Hannin’s colors bring a grimness to an already grim scene. The other artists most notably Frank Quitely are all on par to deliver a great book. There are great things to look forward to in the future with the Batman series. With Morrison at the writers helm , who knows where we’re going?
Batman #700:
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
Concept Art: Part One
In this, the third entry of the Year of the Batmen, we will examine what is to represent Batman visually and how the artwork conveys a certain mood, message, or characterization. Since all the printed word for upcoming stories aren’t out yet we’ll look at this artwork with “thumbnail” sketches of each drawing and what I think they exemplify.
The Rags Morales Batman
This Batman, featured in the “First Wave” comic along with Doc Savage is often depicted in some type of movement. This suggests he is youthful and athletic. It also suggests that this particular Batman relies on surprise or guile rather than experience to catch his opponents off guard. Seemingly springing out of nowhere his abrupt appearance is meant to bewilder his foes to make up for his lack of sophistication.
The Gary Frank Batman
This Batman is designed to intimidate. Note the furrowed brow of the unmasked Batman. Even as a youth there is a certain grimness that suggests a purpose full of anger and determination. The cowled head-shot with the gritted teeth characterizes a brutal strength fused with a hair trigger temper. As for the full body shot, this Batman looks almost military in presence. The Bat suit looks like something a paratrooper might wear. Also important to note the lack of “over-musculature” in the body, this Batman is drawn to represent a real person.
The Frank Quitely Batman
The thing that most impresses me about this Batman is how Quitely captures the youth of the Dick Grayson Batman. This Batman’s posture is more relaxed. The head is always seems to be tilted in some manner that suggests a callow cockiness that is both vigorous and arrogant. He is not a coiled spring of vengeance and his body type shows also a lack of the over wrought musculature that makes the other Batmen artificial.
The Tony Daniel Batman
Daniel draws one of the more gothic of Batmen. His Batman is definitely a creature of the night. Daniel makes much use of the cape and it is to suggest that this Batman is an almost unworldly being that is terrifying to behold and quite possibly capable of flight. Almost Vampiric in nature this Batman is exemplified by a musculature that is almost beyond human and quite probably impossible.
The David Finch Batman
I couldn’t resist including the cover to Batman #700 by David Finch. Here we have the quintessential Batman. Even more gothic than the Daniel version. Its chief component (at least in this picture) is the lack of facial features something that Daniel also employs to great effect. As seen in this illustration what we have is two predatory eyes set into a dark visage mounted on a coiled figure. This menacing figure is a vengeful spirit wrapped in black crepe. A crepuscular wraith poised to strike at any transgressor. Finch also makes good use of perspective. Note the baroque structures that tower into the night sky slowly giving way to the bat signal as if it was a full moon. Quite striking.
There are so many artists out there now drawing the Batman that I’ve decided to divide this entry into several sections. Coming soon, the artwork of Bagley, Syaf, Alex Ross and others
Posted by Dark Knight Dave
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
Batman in the JLA
In this, the second entry of my “Year of the Batmen” series, I am going to discuss the Dick Grayson Batman and the dynamic of his entry into the newly reconstituted Justice League of America.
For the longest time the JLA was led by the holy trinity of the DC pantheon, Superman, Batman, and Wonder Woman. The Batman character, specifically embodied by Bruce Wayne, was often seen as the intellectual leader of the JLA and for the most part its chief tactician. The Wayne Batman was renowned for planning for every contingency, for being several steps ahead his foes and for never being caught off guard. This served him well in the JLA as that unit was often comprised by disparate heroes, some with much less experience than Wayne but often possessing much more physical power and or abilities.
Because Wayne often dealt with these heroes of different or greater qualities, who were used to pursuing causes of their own, he often clashed with them as they chafed under his authority. And because this Batman did not suffer fools well and was often harsh and impatient he often clashed with his team mates off times coming to physical blows. The most distinct rivalry often came from Hal Jordan, the Green Lantern, who was essentially an inter-galactic policeman and who quite often resented taking orders from Batman who basically was the guardian just of one city.
As most readers know now the Bruce Wayne Batman is no longer on the scene. He has been succeeded by his foremost protege, Dick Grayson. For years Dick toiled under the shadow of the Bat as Robin and is only now getting up to speed as Gotham’s premier crime fighter. In the JLA, as written by James Robinson, we see a different personality to the Batman. It’s something I call the “Winick Model” after Judd Winick, who took up the writing for the Batman series as Grayson became Batman. This particular take on Batman found the caped crusader to be more open and visible. No more lurking in the shadows or avoiding the spotlight. He even smiles.
Fortunately, Dick Grayson is no neophyte when it comes to the team concept. Something the original could not claim. As Nightwing he fought along side the Teen Titans some of which now comprise this new JLA. The Teen Titans however could be seen, unfairly or otherwise, as a second tier unit. What’s different now are the expectations of being the Batman and serving in the JLA which has historically been seen as Earth’s mightiest heroes and its foremost protectors. So how does Robinson integrate this new Batman into this new progression? By having Grayson coordinate his first major action with the team.
In JLA #42 the team is confronted with a rogue Atlas and it takes all the group members to bring him down. Each heroic character is allowed an internal dialog that speaks to the reader on how they feel it is to be part of the team. Grayson comes off as a bit callow. He seems surprised to be even included. He says, “My league, me as Batman” as if he can’t quite comprehend that he is there. Something the Wayne Batman would not think even to himself. As the battle rages Dick also has to deal with the fact that two of his team mates have had an intimate relationship with him. Something the Wayne Batman would certainly sneer at. Grayson calls out instructions to Donna Troy and Starfire and they execute his plan perfectly and when the coup de grace has to be applied, it is Dick who orders Green Lantern into play. Jordan thinks it is “weird” taking orders from Dick as does Grayson giving orders to the Green Lantern.
So that part of the dynamic stays true. Batman calls the shots while the others follow, trusting that Batman will know what is best for the team and the consummation of the outcome to be without flaw. The major difference is the hint of doubt we see from each principle even though it does not affect their performance. At least for now.
Additionally, let’s study how this particular Batman is drawn for this story. Mark Bagley does the pencils. Inks by Hunter, Rapmund, and Glapion with colors by Pete Pantazis. This new JLA Batman is not very threatening. He wears the blue and gray costume as opposed to the more Gothic black and gray as drawn by Tony Daniel. Therefore this Batman is depicted to less of a loner and more of a team player. Even the cowl as drawn by Bagley has a less threatening look to it as the ears are minimized and therefore less frightening. This Batman will not threaten the team dynamic with arrogance or force of will and is drawn to reflect that.
As constituted now the new JLA Batman is a bit green behind those nominal ears. Unsure, untested in his new team dynamic. Will he be allowed to grow in this new structure? Will doubt set in if his next plan goes awry? The original Batman led without question. Will the Grayson version be allowed the same luxury? And what of the return of Bruce Wayne? As Dick becomes more comfortable in this role will he want to let it go? There are many questions to be answered as the Dick Grayson Batman not only fills out the most iconic of roles but also steps into the rarefied air of the holiest of trinities of the DC pantheon.
Next up for the Year of the Batmen, a sneak peek into the art of the Batmen as drawn by Daniel, Gary Frank, Rags Morales and Frank Quitely amongst others.
Posted by Dark Knight Dave
The DC DTV animated movie series has had its fair share of ups and downs. It has put out awesome movies, like Green Lantern, or Wonder Woman, and it has put out very bad movies, like Superman Batman: Public Enemies. So where does JL: CTE, the latest film in this series, sit? Well, it’s at the top. This movie was fantastic!
Before I actually review it though, I want to go into the history of the film. It originally was supposed to be Justice League: Worlds Collide, and was going to be part of the DCAU. The film was intended to be released between Justice League and Justice League Unlimited. It would have served as a bridge between the two series. However, the film never got made, and Justice League Unlimited began, albeit, bridge-less. Now, many years later, the film has finally been released, but rewritten as Crisis on Two Earths. Even though The Film has been rewritten, not much has changed. We get to see the League building the new Watchtower, how the expanded roster came about, and even how Wonder Woman got her Invisible Jet. The only actual difference is that Green Lantern is Hal Jordan, not John Stewart. Other than that, CTE fits nicely into the DCAU, and perfectly fills the gap between JL and JLU.
The story is simple enough, a good version of Lex Luthor, from an alternate earth, comes to the Justice Leagues world, asking the league to help him defeat the Crime Syndicate of America, super powered criminals who have the country’s crime under their thumbs. The League goes to Luthor’s earth to take down the Syndicate, but soon discover a more sinister plot to destroy all of reality. The story is not to complex, but excellent nonetheless. Though the movie is made primarily of action sequences (awesome action sequences), it has some nice character development, especially a subplot involving John Jonzz. Dwayne McDuffie delivers one his best scripts with this movie.
The animation is absolutely top notch. The fight sequences are brutal, and exciting, and just look great all-around. The character designs are very good too. They seem to take some inspiration from Frank Quitley’s artwork on the JLA Earth 2 graphic novel written by Grant Morrison. I particularly liked Batman’s fight with Owlman at the end of the movie. It was one of the coolest animated fight scenes I have seen in a while. I won’t talk about it though; you just have to see it.
One of the things that makes the movie so good is the flawless voice cast. Everyone involved is great, there is no weakness in the cast (can we expect less from Andrea Romano though?) In the Justice league we have Mark Harmon as Superman, William Baldwin as Batman, Josh Keaton as Flash (he was awesome, and had the perfect voice for The Flash), Vanessa Marshall as Wonder Woman, Jonathan Adams as Martian Manhunter, and Nolan North as Green Lantern. From the Crime Syndicate we have James Woods as Owlman, Gina Torres as Superwoman, Brian Bloom as Ultraman, and James Patrick Stuart as Johnny Quick. Also from the Crime Syndicate world is Chris Noth as Lex Luthor. Focusing on Batman for a minute; William Baldwin was great! At first I was a little jarred by his voice, it’s definitely different from Kevin Conroy’s DCAU portrayal. However, as the film progressed, I liked his performance more and more. He is actually really good, and I would like him to return to the role. His last line to Owlman is awesome! Speaking of Owlman, James Woods’ performance is one of the highlights of the film. He was the perfect actor for the role, and it shows! His performance alone makes the movie worth watching!
Also, one more thing I loved; the music. The film is scored by James L. Venable, and though he is new to me, I hope I hear more of him soon. His score was very good, and had a big budget cinematic feel.
So all in all, I can’t say enough good things about his movie. It’s certainly the best of the DC DTVs, and I highly recommend that you see it.
Justice League: Crisis on Two Earths:
Reviewed by TheCapedCrusader
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
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
This week, we venture into the particular time that I will refer to as "The Month Bat-Fans Go Broke." Why is that, you ask? Well, there are almost twice as many comics and trades coming out this month than a typical month. What does the first week hold? Well, let’s find out.
Batman and Robin #5
$2.99
This will be the second issue in the new story arc. If you are still trying to catch up on your comics from last month, you might have missed some things. Phillip Tan has taken over for Frank Quitely. Professor Pyg is locked up. Red Hood is now the main villain along with his/her (I say this to politically correct, but it would be crazy if it ended up being a female that we never thought of)) sidekick, Scarlet. Scarlet has a tendency to be very familiar with pop culture. We do not know who this new Red Hood is just yet (or do we?). So do I have you intrigued? A lot of people have said that Tan’s art takes a back seat to what Quitely was doing. I say to that, nonsense. Tan’s art can not be compared to what Quitely was doing. Grant Morrison is very good about creating a story that shows the strengths of the artist that he is working with. Tan’s art works great for this new story arc. I think you should BUY IT.
Batman Annual #27
$4.99
After taking a absence from the Batman Universe, annual issues are now back. Batman Annual #27 picks up right where the last issue of Azrael: Death’s Dark Knight #3 left off. We will see in this issue and the annual for Detective Comics next week the gaps filled in between the mini-series and the new ongoing series coming out later this month. Annuals are a great excuse to get more story. This annual will be 56 pages, which mean you are getting more for your money. And don’t forget, Dustin Ngyuen’s Little Gotham will be making their debut in the issue as well. BUY IT, or buy two like Ngyuen suggested.
Batman Confidential #34
$2.99
Confidential ships twice this month. And I will most likely be giving it the same suggestion. This is part four of five in the current story arc. Sometimes when I read this series, I truly believe that they are just trying to see what they can put out. They are testing the market. Issue three was terrible. As much as we have praised past story lines in this series, we have probably bashed it just as much. They need to take a different approach with this series, and until then PASS.
Batman: The Killing Joke-New Printing
$5.99
Not much to talk about when it comes to this book. It is a very good story. It covers the possible origin of the Joker and Barbara Gordon being paralyzed. Like I said good story that affects a large amount of continuity. Then why do I suggest, what I am about to suggest? Well, every year we get another reprint of this story. What does that do to the market? It over saturates it with that specific story and the original copies slowly loose value. As good of a story that it is, we do not need this reprinted every year. PASS
Batman: The Unseen #1
$2.99
Many people know that I am not a fan of the Batman horror comics. Gotham After Midnight would fall into this category. Simon Dark. Or anything else that Kelley Jones works on. I am all about giving mini-series a shot before saying forget it. So READ IT, and we will see if it is worth picking up in the future.
That wraps this week up. Not as many as you probably thought after reading the first paragraph, but don’t let this week fool you. "The Month That Bat-Fans Go Broke" has only just begun. Just wait. After looking over the rest of the solicitations for DC Universe books, nothing jumps out at me. So that is it for now. ‘Til next time, keep reading.
Posted by Dustin
"I once was lost, but now am found". This familiar lyric from the gospel classic Amazing Grace came to mind as I was reading Streets of Gotham #4. When fans heard that Paul Dini would be helming a title that was going to explore the under belly of Gotham and the characters that fuel its engine, we were instantly excited by the possibilities. Then came the first three issues, and the clear direction we were led to believe in was non-existent. What we were given instead was none too different than Grant Morrison’s B&R but without the style and execution. There were hints of what could be, but mostly the writing and the art were inconsistent and unfocused at best. The fresh idea its title implied was lost from the beginning. But just like the hymn, Paul Dini finally found his way!
Streets of Gotham was my favorite Bat-book of the week. This is all the more surprising since Batman & Robin #4 came out on the same day. Paul Dini has finally delivered on the titles premise: a relatively standalone story that brings us down to street level and intelligently explores an otherwise unknown but essential key to the workings of the Gotham underground. How many stories have you read or tv episodes have you watched when one of Batman’s arch villains is somehow set up in a swank new hideout? Lots I’m sure. Have you ever wondered how these criminals find their perfectly suited lairs of crime? Well, Dini explains it by introducing us to The Broker. He is the Switzerland of real estate agents; give the client what he wants, but never ask questions, and never get involved. Ignorance of the criminals’ actions allows him to provide the perfect venues without questioning his own morals. Whether it is for good or evil, he remains neutral. I just loved the way this character is developed throughout the story, and how Dini has him interact with small time crooks like Warren White and big time villains like Mr Zsasz. You could feel the tension emanating from every panel. Dini really delves deep into the character in a very short time. We learn his motivation, why he takes the neutral approach, and what he values.
My favorite moment is the interrogation scene with Batman. First, Dini just nails the voicing for Dick Grayson. In the classic tradition, Batman knows the Broker’s identity when no one else does. The Grayson side appeals to the Broker’s sense of morality, but when the Broker won’t budge from his motto of never getting involved, never making it personal……well to quote Batman; “It is now". The final panel of the Broker bloodied in his chair, but accepting that his beating is the price of doing business, was brilliant.
Dini doesn’t ignore the past few issues either. The first two pages are a prelude to the beginning of the story, showing Hush’s status as Bruce Wayne. This scene, while amusing because of the Creeper, and necessary for continuity sake, was my least favourite part of the book. From then on though, it is one of the best plotted comics I have read in weeks. The Zsasz story line is moved forward, yet we get an interesting and intelligent look into the life of one of Gotham’s unique players.
Visually, this was Dustin Nguyen’s best Batman work so far. His almost Picasso like angular style continues to be a love it or hate it proposition. But for those who have a taste for it, he really delivers. The story’s opening page of a homeless boy in front of a children’s shelter is one of the moodiest and sensitive pages I have ever seen him draw. His Batman is menacing, but still different from Bruce. His facials are more detailed and the characters move much more fluidly than in the past few issues. I still think his male faces are too similar to one another, and Robin’s legs are too dis-proportioned, even for Nguyen’s strange take on body shapes. But the art really brings Dini’s world to life. You couldn’t ask for anything more. The cohesiveness between author and artist is as seamless as Morrison and Quitely.
We love Paul Dini because he understands the pulse of Gotham City. As much as any recent writer, he has created new classic characters and taken old favorites in unique directions. His first few weeks of duty on Streets have been surprisingly less than stellar. The fans were worried he had lost his touch. However, not only did he remind us of why we love him, he gave us a great new character and did a complete 360 with an instant classic. In one issue, he transformed a title destined for insignificance and made it a must pick up. Thanks Paul, we missed you!
Batman: Streets of Gotham #4
Reviewed by Tiggerbrown
Don’t fix it if it ain’t broke. Change for the sake of change is never a good thing. These wise adages prove to be true more often than not. Issue #4 of the incredibly successful Batman and Robin monthly marks the title’s artistic debut of Philip Tan. In my opinion, Frank Quitely’s unique style and cinematic pacing have made every page of B&R a visually stunning work of art. His mastery of creating emotion and action without the need for narration has even pushed Grant Morrison’s writing to new heights. So I naturally had some trepidation as to how this week’s issue would turn out.
The result……. well it’s mixed. Visually the look is more traditional, but I liked it. The homage to the 60′s show is gone and replaced by a much darker tone. On first glance I loved Tan’s imposing take on Batman. It almost reminded me of Jim Lee. Then I thought about it for a minute, and realized that one of the most refreshing elements of Quitley’s Batman and to a lesser degree Dustin Nguyen’s was that the character is drawn to be uniquely Dick Grayson. Philip Tan’s Batman is spectacular, don’t get me wrong. It just looks like Bruce Wayne in the suit. Maybe that was intentional, especially as it relates to my favorite scene in the issue. Dick and Damian are on a rooftop staking out a crime boss meeting. Dick is looking as menacingly Batman-esque as he ever has, and starts lecturing Damian about the art of surveillance. Dick is definitely revelling in mentoring his Robin the way Bruce educated him. Unfortunately for Dick, Damian isn’t your typical rookie Boy Wonder. When he tries to teach Robin a lesson about the danger of wearing a hood, Damian quickly gets the upper hand on Dick and gets in the line of the book; "I can hear you breathing and beat you senseless in pitch darkness. Your point is?" You can almost see Dick pouting through his cowl.
Tan’s pencils are very detailed and really accentuate the violence and intense action. His drawing of the Penguin’s beaten face is gorgeously horrific. I also really admire how he is able to exude emotion from a faceless villain using body shape and movement.
The main focus of this issue is to introduce Red Hood and Scarlett as violent psychopaths, hell bent on taking out the criminal element in a much more literal way than Batman and Robin. This isn’t original in its premise, as we have seen vigilante characters self-create in the past because of Batman’s refusal to kill. The briefly mentioned Abuse character from Streets of Gotham comes to mind, as does Lock-Down from BTAS, and Andrea Beaumont from Mask of the Phantasm. What makes this different is the team-up with Scarlett to create an antithesis dynamic duo, but with an even greater influx of irony because it is Red Hood, and the assumption that he is Jason Todd. The pin-up of Red Hood and Scarlett in a very Caped Crusaders on the move pose is very well done. Now I used the word "assumption" when mentioning Jason as Red Hood. Morrison plants the seed of doubt by introducing us to Oberon Sexton, aka Gravedigger as an obvious candidate to be Red Hood. But I suspect that this is a red herring. "Oberon" is actually a reference to the King in Shakespeare’s Midsummer’s Nights Dream who sets the stage for the play’s misunderstandings that have become a staple plot device in modern literature. This could be a clue to Sexton’s actual purpose in this story arc.
I found Morrison’s style to be a little more akin to his work in RIP as compared to the first three issues; somewhat muddled and a bit too wordy. Red Hood’s quoting of Milton’s Paradise Lost didn’t work for me the way the Shaw citations did for Pyg in the last arc. I also didn’t quite get the reason for the Flintstones reference. Maybe someone can explain it to me in the comments. There were some nicely written scenes though. The aforementioned hood scene, as well the over the top massacre of the crime bosses, reminiscent of Heath Ledger in TDK but a lot more violent. Morrison earns novelty pop culture points too for having Scarlett post on Twitter. The Batman-Red Hood meeting is predicable, but still creates anticipation for next month.
So, is Philip Tan a change for the better? Most certainly not. Is he a worthy successor? Absolutely. Can this creative team continue the high quality we have come to expect from B&R? I think they can. And if things go down hill, we always have Seaguy coming to the rescue in issue #7!
Batman and Robin #4:
Reviewed by Tiggerbrown
It’s lonely out there. While every Bat-fan from coast to coast is sitting in front of their gaming console, playing and chatting about the coolest action game of all time; Batman: Arkham Asylum, I’m getting my Batman fix old school….reading comics. I may not know the difference between an Xbox and a PS3, but I can recognize good storytelling and great art. B&R #3 continues its run as the best Bat-book in print, if not the best comic book period. I haven’t been able to find anyone who is willing to pry themselves away from the video game and discuss the comics this week, so you will have to take my word for it.
Frank Quitely continues to deliver graphic art that is colorful, dramatic and most of all fun! Sadly, this is his last issue for a while, but he will carry on doing covers. It will be interesting to see how the book changes with Philip Tan helming the art. Morrison and Quitely have such cohesive chemistry, I wonder if Grant will alter his writing style to suit Tan. Quitely is superb at conveying emotion and directing the action without the need for narration. This has allowed Morrison to employ a minimalistic approach as compared to his writing in RIP. Hopefully this won’t change. One of the remarkable aspects of this title so far has been the chemistry between Dick and Damian that the other Batman Reborn titles have not been able to capture. Look at the great scene on page 11 of Batman and Robin taking out Pyg and then cementing their partnership. The writing is simple and the art so magnificent, it masterfully creates an emotional moment that grows the depth and identity of the new Dynamic Duo. I wonder if Morrison and Quitely see themselves in that same scene?
Believe it or not I actually have a criticism of the art. I found the depth of scale between the characters to be a bit off; in particular the scene where Robin is escaping his binds. His size compared to the henchman is inconsistent. I probably would never have noticed if the art wasn’t otherwise breathtaking.
Morrison’s defining of all his characters continues to be brilliant. I wish the other Bat-writers would read this book, if only for consistency sake. Dick isn’t smiling all the time or playing for the cameras, he is controlled and calculating. He has taken his own personality and enhanced it with some "Batman". The first scene of Dick getting his Circus of Strange stooge to talk and then securing his role with Commissioner Gordon is nothing but classic Batman, yet purely Dick Grayson. It seems simple, but it is the author’s brilliant technique that makes it so.
Morrison even injected some humor to the story, albeit sick in tone. The strip scene with Pyg and Robin is hilariously twisted. I actually turned my head away in both disgust and laughter.
I also appreciate the little detailed consistencies through out the three issues. For example, the splash page of Batman and Robin near the end of book. Robin always takes the lead when they crash a scene. I’m sure this is reluctant on Dick’s part, but the compromise is as much a part of his unique personality as the impetuousness is part of Damian’s.
As always, the last pages lead us into the drama that is to come. Quitely gives us a wonderfully cinematic scene of what is probably Red Hood watching Alfred reminisce over a family photograph. With almost no movement he creates suspenseful anticipation for the next arc. Equally as masterful, Grant Morrison gives us Scarlett’s motivation for joining Red Hood and forming the dastardly duo that want to erase Gotham’s Caped Crusaders once and for all. I can’t wait for issue #4.
I freely admit that I am envious of all the Bat-fans sharing their enthusiasm for Arkham Asylum this week. If I wasn’t so stuck in my ways I would probably buy the game and like it. But I am who I am, old school and not about to change. Thanks to Grant Morrison and Frank Quitely for creating a series that is fun, smart and exciting. I can’t think of anything more old school than that!
Batman and Robin #3:
Reviewed by Tiggerbrown