With Batman #701, Grant Morrison wanted to tell a “Lost story” that took place between Batman R.I.P. and Final Crisis. “Ok, that’s cool I guess”, I thought and muttered repeatedly unsure about the premise of the whole “lost story” bit. While it can be done right, most of the time it’s done wrong and doesn’t mean anything except to make it clear as day that it’s only filler to bleed a little more money out of our pockets. And that sadly is the case for Batman #701, while the foreboding is certainly there it is nothing new for those of us who have previously read Morrison’s material. But, the biggest fault here is that absolutely nothing happens. Sure, the beginning of the book starts off with Bruce escaping the helicopter wreckage and making his way back to Wayne manor to Alfred’s joy, but the story takes on a lulled attitude after that, it’s subtlety is a little too subtle. The scene where Bruce goes into the secret room is almost uneventful, boring, and meaningless. Sure, we get to see it‘s walls scrawled with the name Thomas and Barbatos, and Bruce‘s inner monologue wondering if there is some kind of sickness at the root of the family tree or a worm at the foundations, but that’s all. A lot more could have and should have done with the room, but it is left as an after thought or a throwaway panel. The feeling we get after we see the room is almost like when Geraldo Rivera opened Al Capone’s vault only to find two empty bottles that he tried to hype up and say “this was probably a bottle that held bootleg liquor back in the day, WOAH!!!!” Totally underwhelming and bland. Bottom line here is, it’s hard to get into the story and once you do and your committed it’s passed off and reluctant. After I read this issue I had a terrible feeling, I wondering why I read this thing. Obviously it’s a Batman comic and I kind of like Morrison’s writing, but the underlying fact is that this book just doesn’t deliver. I, more than anything, wanted to like this issue but it’s just not there. Whether it’s the brevity or the blandness of it, it just doesn’t deliver.
All that aside though, it does have some good stuff in it. What sticks out particularly for me is Bruce’s inner monologue, for which, it looks like he’s writing in a diary or notepad. Morrison hits Bruce’s tone and voice perfectly and you really feel Bruce’s fear/enticement for this whole “curse” mystery while he tries to piece it together. What also can be noted here is the fact that after Bruce escaped the helicopter wreckage, and after making it all the way to Wayne manor, he wants to go back out to the crash site to search for Dr. Hurt’s body. Upon Bruce’s return to Wayne manor Alfred comforts Bruce’s restless mind with his fatherly wisdom as Bruce makes his way to his bed to sleep off the hallucinations of the Joker venom. It is a scene that shows Bruce’s unwillingness to compromise, his stoic bravery, relentlessness for good, and overall detective intuition that no other comic book character can express within those circumstances. That, along with showing us the relationship between Alfred and Bruce is kind of what saved the book. Because Bruce and Alfred are mainly the only two we see, no other character from the Bat-family makes an appearance, we don’t even see Dr. Hurt. Sure, Alfred and Bruce can carry an issue by themselves when it is done right, sadly Morrison doesn’t do it that way. There scenes are brief and nothing other than what I have stated really happens with them. I feel like more could have been done here given what Morrison has done before and what we have seen within his current run on the various Batman titles. It seems like Morrison can’t find a happy medium content wise nowadays. It’s either too much or too little content-wise, I don’t know what’s going on in his head but it seems like he’s being overwhelmed, beaten down, and overtly pressured to the point where his work is suffering and it shows in his inconsistency. In either case does it prove a valid case for the matter at hand and if so does it vindicate him? Or should Morrison be blamed for everything and shunned? The answer I feel lies somewhere in between those two extremes. Sure, there is a lot of pressure and criticism for him to write something good, but he should not let that take a hold of his work and bring it down. He’s working on multiple titles, and I can’t imagine that that is easy. Going from story to story, page to page, rewriting, removing things, adding things, meeting different deadlines, etc. But that is not an excuse, to rush through a story just to get it out in time. I’ve been blaming his writing for a couple of reviews now but now I think the problem isn’t his writing, or DC comics, or the due dates. It’s him. He took on more than he could chew, he let the pressure get to him, he turns out these half-hearted stories, and in the end he only has himself to blame because it‘s not DC‘s name that‘s going to get trashed, it‘s his. It was poor planning with an even poorer execution. And what do we get in the end? We get inconsistency which is any writer/artist’s nightmare; to be lauded, then panned. The inconsistency is the Achilles tendon of Grant Morrison’s writing. And it not only prevails but triumphantly defeats the good that he’s done.
The art on the other hand, is nothing short of beautiful. To date, it is the best thing Tony Daniel has done for Batman in my opinion. His pencils blaze through your eye sockets and into your brain where it doesn’t feel like a blow to the face but as a soft pillow that you lay your head onto only to discover it’s covered in razor blades. Truly remarkable, Daniel's Bruce Wayne is the broadest, grandest, most elegant representation of the character I have seen in a long time. The best part is the distinction you see between Bruce and Dick, whereas Dick is a little smaller and has a softer face, Bruce is larger than life and has both the eyes and the prowess of a Bald Eagle. I haven’t seen Bruce like this in a long time and to see him in Daniels’ particular representation is enough to send chills down my spine.
But overall, this issue fails to deliver no matter what I’ve said to praise this issue, it still fails. I can only hope Morrison does a little better next month and that he has committed the time to crafting a story rather than being brief about it. This issue feels half-hearted, rushed, and almost meaningless and it fails to draw you into the story.
Batman #701:
Reviewed by Dane
Retcon or Rebirth?
In my last profile I concentrated on the reigning Batman, Dick Grayson. Dick is seemingly at his high water mark as he has successfully solved such mysteries as the identity of the Black Mask and the enigmatic Oberon Sexton. He did so in the best tradition of the master detective, Bruce Wayne.
So what of Bruce Wayne?
As many of comic book fans know, Bruce is now tumbling through time headlong towards what might be an apocalyptic end. It is Grant Morrison that has been given the keys to this storyline that is driving us towards the return of the Bruce Wayne Batman. As with anything that Morrison writes, it is complicated, mysterious and a bit byzantine in nature.
If anything, Morrison does challenge the intellect. Sometimes he succeeds as in the current “Batman and Robin” books and sometimes he leaves us with a version of “The Emperor’s New Clothes” as in Batman #700. (Yes, I didn’t think it was all that great.)
So what is Morrison doing with Bruce Wayne now? Are we witnessing a whole new formulation to the Wayne Batman mythos?
We are all familiar with the traditional birth of the Batman. Wayne’s parents were brutally murdered in front of young Bruce’s eyes and he dedicated the rest of his life to fighting crime to avenge his parents. His inspiration was a bat that flew into his study.
Ah, but now there is more. After being sent back through time by Darkseid not only is Bruce Wayne coming into close contact with his own ancestors and the earliest environs of Gotham City, he is being totally immersed in a new Bat mythology. This immersion includes the formation of a clan of “Bat-people”, Wayne being dubbed the “Man of Bats” and an early religious like totem the “Bat Beast”.
As Morrison would have it, a whole new reality is being formed surrounding the introduction of Wayne into the past. This also includes a curse on the Wayne family and by the third “Return” issue another religious totem worshiped by the Bat People in the form of the cape and cowl that Bruce himself brought back.
The Batman mythos is no longer inspired by the surprise visit of a solitary bat it now includes a whole new storyline based on Bruce Wayne himself!
So I ask you, ret-con or rebirth? Can we accept a mythos where Bruce Wayne is actually the inspiration for Batman? There are three more issues to go in the series. Morrison may have built himself an out as hinted in the second “Return” issue where Wayne speaks to Dr. Hunter and says, “So you’ll just have to trust me.”
I guess we’ll have to trust Morrison also.
Posted by Dark Knight Dave
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
.jpg "Batman: The Return of Bruce Wayne #3 (of 6)")
Bruce Wayne’s epic journey through time continues in THE RETURN OF BRUCE WAYNE #3. Having narrowly survived the perils of both prehistoric and puritanical Gotham, Bruce now finds himself thrust into a pirate adventure worthy of a Robert Louis Stevenson novel.
This issue opens with a FINAL CRISIS flashback to the moment when Batman fires a God-wounding bullet into Darkseid in an effort to save the world from anti-life enslavement. As a consequence, Bruce himself is hit with the Apokoliptian Omega Effect which traps him in a series of harrowing periods in history. In the following pages, Bruce struggles to remember who and what he is. This won’t be an easy task for the time-lost hero who is immediately confronted by a band of surly pirates who have already taken a young man, who identifies himself as Jack Loggins, hostage at knife-point. It seems Bruce has been mistaken for the legendary Black Pirate, captain of the Black Rose. Naturally, the villainous Blackbeard is after an Indian treasure hoard hidden deep within the Gotham County catacombs. A treasure whose whereabouts are known only to the Black Pirate.
As the pirates and captives begin their journey into the caves of Gotham, the young man taken hostage begins to impart his knowledge of the cave’s booby traps to the group. Solely on the names of the obstacles, Bruce is able to instinctively escape their mortal danger.
The story abruptly cuts to current day continuity and the discovery of Batman’s cape and cowl deep within Bludhaven’s Command D. This would appear to be a direct nod to BATMAN #701-2 where Grant Morrison and Tony Daniel re-team to tell the exciting 2-part, untold tale of Bruce Wayne and his adventures between BATMAN R.I.P. and FINAL CRISIS. This scene also references Superman following Bruce to the “end of time,” which we saw in issue #2 of this series. If one were interested, the further adventure of time-traveling Superman can be followed in a “companion” limited series to THE RETURN in July called TIME MASTERS: VANISHING POINT. In which a group of DC’s heroes accompanies Superman on a mission to find Batman.
Eventually, Jack Loggins reveals himself to Bruce as the mythical Black Pirate and presents Bruce with his signature cloak. Bruce is able to momentarily escape and with the aid of his new cloak, some bats, and the remaining Miagani tribesman living within the caves, kick some serious pirate booty. The revelation that the Miagani have preserved Batman’s costume sparks some memories within Bruce. He is becoming more aware of his past and what to expect in the future. He also imparts this knowledge on the young Jack Loggins who will eventually place his transcribed memories into a small casket adorned with a bat symbol. This is a reoccurring story thread that will surely play a significant part in future issues.
As in the previous two issues of the series, the book closes with a glimpse into what the immediate future has in store for Bruce Wayne. It appears as though he’ll be facing off with DC Comics’ iconic bounty hunter Jonah Hex. The final page features a Batman riding horseback and donning his signature utility belt. And most importantly, true to his staunch beliefs…no sidearm.
The only negative mark against this issue is a quick comment from Damien to the “new” Batman…”Don’t we need to get back to the Joker?” My guess is that the confusion this line caused me is a result of scheduling. With the Joker laying low since BATMAN R.I.P., I have to assume that this is related to BATMAN AND ROBIN #13 which has been delayed in shipping. But it’s clear that the genius mind of Grant Morrison has created a hearty circulatory system of stories that runs throughout BATMAN R.I.P., FINAL CRISIS, BATMAN AND ROBIN and THE RETURN OF BRUCE WAYNE resulting in an epic tale with a life of its own.
The illustrations featured in this book are simply stunning. Andy Kubert unquestionably continues his mastery of the cover art duties in this series with aplomb. His image of a swashbuckling Batman is not only suitable for framing but worthy of mounting on human flesh and worshiping en masse. Often in comics, an awesome cover can castrate interior artwork and render it underwhelming. Not in this case however. I haven’t seen Yanick Paquette’s outstanding artwork since he last teamed with Grant Morrison on SEVEN SOLDIERS OF VICTORY. But perhaps that is just because he’s been working on THIS book ever since then. Paquette creates a hyper-detailed world of high-adventure that makes me wonder if artists working on subsequent issues will be able to measure up. Apparently, Dark Horse Comics’ artist Georges Jeanty has been named as a last-minute replacement penciler for long-time Morrison collaborator Cameron Stewart. I’m not familiar with Jeanty’s work, but a truncated work schedule combined with the high bar set by Paquette has my expectations for a Wild West Batman a little low.
Batman: The Return of Bruce Wayne #3:
Reviewed by Hayesstronaut
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
Editor's Note: This was sent in before the release of Batman #700. We were just able to post it.
So, we’re almost there. To Batman #700 I mean. Issue #700 has been touted by DC and other Bat-fan’s as Grant Morrison’s grand return to the Batman comic that comes along with a sweeping story that features Batmen from different generations all starring in one single over sized issue priced at $4.99!!!!! But wait, hold on, this review isn’t about #700 because at the time of this writing it hasn’t come out yet!!!! With all the hype surrounding issue #700 there are the people especially on the internet who complain that #699 was rushed, that Tony Daniel’s story was cut short and not fleshed out and as a one-sided theory, it is true.
This issue begins where the last issue left off, Batman finds Edward Nigma under the influence of the Joker’s laughing gas which is later revealed to be a generic knock off of the real thing, Batman however still needs to search for the killer of issue # 698. While I will not spoil anything completely for you in the two issue story arc I will agree with the facts, being that the story was rushed and cut short. There are questions that are left unanswered and it is incredibly fast-paced even with Dick’s inner monologue, which is one of the things Daniel got perfect, not to mention the ending which just left another huge question about what is going to happen. I just felt that this story could have been more than what was presented in the actual book. While it had a great story , beginning in Batman #698 and concluding with this issue, Daniel had too much to work with and not enough time or pages/issues to create a better story considering the return of Grant Morrison in the landmark 700th issue. If he had had the time maybe we would’ve got a better story. But maybe it’s Daniels fault with the fact that he could have condensed the story and re-worked it with consideration to the issue number and the number of pages he was allowed. Maybe he was just overwhelmed and distracted with other things. No one knows except for him and we can't truly blame anyone at this point. Saying that it was Daniel's fault or DC’s fault or even Grant Morrison’s fault is the elusive one-sided theory.
But overall we can only assume what we are led to believe (until we get all the information) which is the fact that it was just poor planning on both sides. Whether it was in fact the number of issues or some other unseen reason. Anyways, all the negativity aside I can commend the artwork by Guillem March. Even though he has been heavily critiqued in the past, is one of the best artists in the game with his visually stunning style and overall scope, depth, and understanding of the medium pulls you into the world of the long forgotten world of true artistic statement. I can also commend the story up to a certain point. I see the depth that Daniel wanted to take it to with the addition of Edward Nigma to his story and the overall sense of where the story was going, it truly would have been great. The inner monologue with Dick as Batman was truly the highlight of the story because I finally pictured Dick as Batman and was no longer haunted by the image of Robin and Nightwing when I see him as the Batman, his inner monologue was some of the most eloquent writing I have read in a long time. But the story just doesn’t cut it, it just reads way too fast, it was too rushed, and finally there are things that are supposedly happening when truly nothing is going on ? Maybe I am wrong, maybe what we were presented with was what Daniel wrote and he just had a bad run? Like the ending it leaves us in the universe’s waiting room with a bag full of future possibility. We all have our bad days thus we are forgiven. I’m sure with the proper situation this could have been a great swan song for Daniel. And like any person that has had a bad day, I will forgive.
Overall, the presentation is there with Guillem March’s art and Daniel's story but sadly it falls short almost to the point where March’s artwork cannot redeem it. But what I am hoping is that all the questions that weren’t answered and the cliffhanger at the end of Issue #699 with the question/possibility it hold will be revealed in future issues. But I can only hope.
Batman #699:
Reviewed by Dane
The story begins with a tribe of cavemen who go by the name of The Deer Tribe and who upon discovering a space vehicle crashed wonder if its part of the sky that fell. They then notice a trail of footsteps leading from the capsule to a cave nearby. They wonder if the tracks belong to one of the “Shining Ones.” One of the cavemen says that if the Shining Ones come again then it is some sort of end. As they make their way to the cave one of them throw a rock into the cave causing bats to fly out from the cave. We then see Bruce Wayne emerge. The cavemen all speak in a form of broken English and Bruce talks in sentences where words are combined into one word.
One of the cavemen introduces himself as “Man” son of the “Old Man” and the youngest caveman is “Boy” the grandson of “Old Man” and the son of “Man” who is learning to be a Young Man. There is of course one caveman who is called Joker. Man, Boy, and Joker walk into the cave and find Old Man dead, as Bruce is walking out, utility belt in hand, to the space vehicle where he finds Superman’s cape, he then proceeds back to the cave.
Later on in the night, The Blood Mob attacks with their leader Vandal Savage. Bruce who acts on his pure instinct grabs Boy and hides him while he goes and fights. Both Man and Joker are killed while Bruce is captured and named “Man-God” by Savage. At the Blood Mob village Savage proclaims that he’s brought his village gifts from the forbidden land that he took from the Shining Ones and claims that he has defeated the Man-God just like he defeated a large bat beast as we see a cloak and bat head. Savage then says he will eat the Man-God as soon as the sun rises on the Man-God’s suffering. We then see Boy in a mask and wearing Bruce’s utility belt wielding a shield with a large bat symbol on it, he cuts Bruce from his restraints. Savage then wakes up and Bruce attacks using all of his gadgets to defeat him. As the mob runs after them Bruce and Boy jump off of a cliff and into a river.
We then cut to Superman, Hal Jordan, and Booster Gold next to the time sphere, Superman says that they just missed Bruce, as Hal says Bruce has no memory of who he is or what happened to him, while Booster Gold says that no one, not even Bruce could survive this. Superman replies by pointing out that that’s what Bruce does, Survive, while commenting that if Bruce survives this and makes his way back to the 21st Century on his own then everyone dies.
We then see Bruce in the water (Boy is gone), in a new era with a huge water monster behind him as a nameless woman says “Master Demon. Whatever you are. What horse is this you rode in on?”. Bruce holds a sword as the monster rises up.
With the Return of Bruce Wayne I have to admit I was hesitant to pick it up, one because I didn’t know how this time traveling thing would play out and two because I had been reading Batman & Robin (also by Grant Morrison) and I think Dick and Damian do a good job in their current respective roles. So when the first issue of The Return of Bruce Wayne had hit the stands I resisted it for 3 days. But curiosity got the best of me and I caved in and bought it.
When I got home I immediately started reading it. After my first read through I found it hard to read. It was confusing and served no purpose in telling the story of Bruce’s return, with a minor exception for the end. So I re-read it. Still didn’t get it. So I re-read it. Nothing. By the time I was about to start my fourth read through I had grown so frustrated with the content that I had to close the book, stand up and take a deep breath while I cleared my mind. Then out of nowhere I realized that the problem wasn’t the content or Grant Morrison’s writing, it was me. I had been thinking about what I know and what SHOULD happen in the strict terms of this story.
The foundation of this issue isn’t the basis for anything except your own mind. Bruce Wayne/Batman as a whole or absolute system or as we know him isn’t what we think he will be after all of our readership. All these thoughts and ideas we have created for him in our own minds that bring him to a whole is subtly broken down and laid on the floor in front of us as we open to the first page of this issue. By that I mean (now strictly hypothetically speaking), Grant Morrison’s Bruce Wayne/Batman is a brand new forging, forged not by him but by us. There is no need to refer to our Year One’s or whatever back issue you want to throw out there that defined Batman as you, yourself know him, it is already within you stirring and mixing the old and the new in your mind as you read these brand new pages. Morrison creates this “new” Batman by starting off in the middle of nowhere, with no back-story as to how we got here, erasing Bruce’s memory, by breaking our understanding of the English language, and most importantly by letting the pictures tell the story. The pictures serve as an emotional narrative that we use to forge our new memories of the Dark Knight. We can refer to our memories as children or as adults reading our eyes out gathering all this random information to (in our minds) not have these random pieces of information scattered all about but to put these pieces together to create Batman as we see him in our minds eye. What Grant Morrison does is break down this Batman and scatter all these pieces of information so that its laid out in front of you as brand new thoughts and ideas, but as he does this He’s building a new Batman using our memories. Batman will never be the same as we let go of the old one and let in the new one as you now see him. Grant Morrison not only helped break down and rebuild our image of Batman, he started anew, building the Dark Knight from the ground up not by forcing his hand or convincing us or saying this is your Batman, this is your ideas, and thoughts, and feelings but by simply showing us the door.
All in all, great issue. The art looked like a throwback to the older days of Batman while hinting at a new style or direction which only enhances the experience. Not really recommended to the newer reader but highly recommended to all of us who have been with Batman for all these years.
Batman: The Return of Bruce Wayne #1:
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
Howdy everyone, and welcome back to the latest Creator Spotlight. Zach here as always and in this entry, we are going to be taking a look at the career of artist, Norm Breyfogle. And here we go:
Norm Breyfogle started working in comics at a very young age; 16 to be exact. Breyfogle’s first gig was writing and cartooning a book titled, Tech-Team. Breyfogle would then go on and complete high school. While in college, he did some work for a local magazine in Michigan and also did some work for the publisher, Book Concern. In 1984, Breyfogle met a talent agent and illustrated a six page story in DC’s New Talent Showcase. Breyfogle then started to receive more work; a back up in American Flagg, pencils in Eclipse Comic’s Tales of Terror, a Captain America short story in Marvel Fanfare, and then the title; Whisper for First Comics. However, in 1987, Breyfogle returned to DC and began working on Detective Comics, and that is where the story begins.
At the time of Breyfogle’s arrival to Detective Comics, the book’s sales had stooped tremendously and the title was sinking fast. However, with the help of writers Alan Grant and, briefly John Wagner, they were able to stop the bleeding and begin the revival of the series. Breyfogle would work on Detective Comics consistently for three years (1987 to 1990). During this time, Breyfogle would become the numero uno Batman artist of the late 80s and early 90s. After his work on Detective Comics, he moved over to the main Batman title.
Breyfogle would make twenty six appearances on Batman that spanned form June of 1990 to July of 1998. During his time on the title, Breyfogle and Alan Grant would remain a strong combination. Breyfogle was also responsible for penciling Tim Drake’s first night as Robin in issue #465. Much like Detective Comics, Grant’s and Breyfogle’s created villains would often appear in Batman as well.
However, Breyfogle and Grant were not done with the bat quite yet. The two would introduce a new Batman title, Shadow of the Bat in June of 1992. And while Breyfogle would only work on a total of eight issues during the series run, the initial story arc, The Last Arkham is arguably the most unforgettable.
For most of the early 90s, Breyfogle was considered “The Batman Artist”, and somehow I feel like he is always forgotten by so many. Breyfogle’s artwork was so energetic and had so much life to it. In my opinion, he really brought the pages to life, something that I think many artists struggle to do. Maybe he is forgotten because he didn’t pencil the epic storylines, but instead, along with Alan Grant, they just wrote solid Batman comics for years. Breyfogle’s Batman was my first interpretation of the character in comic book form. To me, he should always be considered in the same breath as Neal Adams, Jim Aparo and David Mazzucchelli as one of the greatest Batman artists of all-time.
Well, again thank you for reading and I hope you all enjoyed a peak into the career of Norm Breyfogle. The next creator spotlight will be highlighting the very talented and controversial writer, Grant Morrison. I can hardly wait! 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
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
We loyal followers of the Dark Knight are in for a treat this year. No, not just a treat, a singular event. Perhaps something that many of us will only experience once in a lifetime. This year DC comics will not only follow the adventures of one Batman but as many as four, or quite possibly seven!
In 2010 in what I call “The Year of the Batmen” I will endeavor to chronicle these various manifestations of Batman and discuss the dynamic of having their respective storylines running concurrently. Even as they exist in different “universes”, alternate realities or as parallel plotlines that remain apart but eventually come together.
How will these Batmen compare? How will the media and readership accept or reject them? Whose storyline will succeed while another may fail? Will the various writers and artists vie for supremacy or just engage in a little friendly competition. Is it possible for all of these incarnations to exist at the same time and avoid saturation? Or will we embrace all of them and insist they continue for years to come? Perhaps multiple readership factions will arise and insist their Batman is the one true Caped Crusader.
As we all know Dick Grayson has picked up the mantle of the Bat in the absence of Bruce Wayne. This particular arc has been admirably filled out by the likes of Morrison, Daniel and Winick. How will the eventual return of Bruce Wayne (written by Morrison) effect Grayson? Will he give up the cape and cowl and go quietly into the night or will there be conflict? Will Bruce actually want it all back?
What of the iteration of the “First Wave” Batman? Brian Azzarello has promised a young Bruce Wayne one that is a, “millionaire playboy; brash, cocky and fully relishing life.” This Batman is inexperienced and makes mistakes that extract “the cost of fighting crime.” Stir in a healthy dose of Doc Savage and the Spirit and we have a whole new Dark Knight. 
Speaking of re-imagining the tale of the Dark Knight how will Geoff Johns’ interpretation compare to Azzarello’s? Johns tells us his Earth One Batman will “break the restraints of any continuity and focus on two things: character and story.” Certainly, what we have seen of artists Gary Frank’s Earth One Batman is in sharp contrast to the First Wave Batman as penciled by Rags Morales. Frank’s take looks indomitable and steadfast while Morales looks more sinewy and athletic.
But I am getting ahead of myself. There are several other incarnations that are worthy of discussion. The ghoulish Black Lantern Batman from the Blackest Night. The “undead” Batman resurrected from a Lazarus pool by Dick Grayson. And what of the Batman that exists in “Superman/Batman” comics or in Batman Confidential? Not to mention the JLA Batman that is both teammate and leader as embodied by Dick Grayson written by James Robinson.
There will be much to discuss and I am eager to get at it. Throughout this massive effort I will seek your input. Comments are welcome. The impressions from you the reader will add fuel to the fire as we discuss and dissect one of the most iconic figures in comic book history. It all comes together in 2010, “The Year of the Batmen”.
Written by Dark Knight Dave
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
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