Batman and Robin #1
Rob G. and Raymond Hilario Weeklycomicbookreview.com
Posted on June 5, 2009
Grade: A
By Grant Morrison (writer), Frank Quitely (pencils, inks) Alex Sinclair (colors)
The Story: Following the events of Battle for the Cowl, Dick Grayson and Damian Wayne reunite the dynamic duo in the new Batman and Robin. Meanwhile, a new crew of mysterious and freaky villains, led by a sadistic criminal known as the Pyg invades Gotham as the new dynamic duo try to come to terms with each other and their respective roles.
What’s Good: There is a lot to love for this new Batman epic. It’s exciting to see a completely new and novel incarnation of such a well tread concept, as Morrsion perfectly states it in the comic: Batman and Robin are “together again for the first time.”
The new, flying Batmobile is a perfect fit for the crazy, bouncy, and fun themes that comprise this comic. Like all of Grant Morrison and Frank Quietly projects, this effort has a near perfect symmetric prose and beautiful and haunting images. Morrison’s creation of the weird and campy threat of Pyg and his crew blends perfectly with the Quitely’s illustrated words, such as “Splsh” and “Bwasksssss.” As in All Star Superman, Morrison leaves the heavy lifting to Quietly, while executing minimal dialogue and extremely well-scripted scenes.
Surprisingly, Damian was my favorite element of this read. In the past, his character irritated me like he was a demonic Jar-Jar Binks. But here, his characterization is very strong and rich with depth. His interactions with Dick and Alfred were really interesting and subtle. I look forward to seeing his character develop.
Its kinda like beating a dead horse over here at WCBR (see here), but Quietly’s work is basically astounding. The character designs are beautiful. The perspectives are things of wonderment. It really is good to have Quitely and Morrison, together again. I see Eisner Awards in the near future.
As for Morrison, by concocting and executing this light and accessible tale on top of some of the most complex comic book stories (R.I.P and Final Crisis) he’s ever told, he has cemented himself as an expert storyteller with possibly the widest range of any writer around. Those of you who were let down by his most recent projects will be delighted here, and those who enjoyed those projects will be equally, if not more, pleased with this comic.
It should also be pointed out that Alex Sinclair works the palette masterfully here. The choice of tone and color are flawless. Just flip through the comic casually and you’ll see what I mean.
What’s Not So Good: Truthfully, there is nothing to complain about in this comic, especially when taking into account that it is the first issue in a series. That being said, I did feel that Dick’s character was a little flat and boring, but honestly, I always felt that way so I can’t blame Morrison for keeping this particular streak alive.
Conclusion: It may not be Bruce, but Batman is back! After the roller coaster of deconstructing one of (if not) the most famous characters of all time, it’s nice to be back to some old-fashioned, action-packed stories featuring the Caped Crusader and the Boy Wonder– and not Batman of Zur-En-Arrh. You won’t need Wikipedia to get through this comic, you won’t have to download .cbz files of Batman from the Silver Age to know what Morrison’s talking about, and you definitely won’t have to worry about thinking of dropping a Morrisson book! Between the great art and great writing, Batman and Robin is poised to be the read of the year.
Batman and Robin #1
by Benjamin Birdie CBR
Jun 3rd, 2009
4.5
Story by Grant Morrison Art by Frank Quitely
Just shy of exactly eight years ago this month, Grant Morrison and Frank Quitely introduced their landmark reinvention of one of the most significant pop culture artifacts in comics with the release of "New X-Men" #114 in July 2001. The artist and writer (who some might argue are the best of their respective specialties working in the industry today) have had other collaborations since then, including the instantly definitive "All Star Superman," but nothing has come close to recapturing that sense of relentless ambition and upheaval until now, with the release of "Batman and Robin" #1.
It's impossible for anyone that anxiously picked up that issue on a long ago Wednesday to not feel the same thrill here. Behind a similarly iconic and swagger-drenched cover, we are treated in the opening sequence to a double page spread of Batman and Robin in the cockpit of the all new Batmobile, in the light of the same red windshield that Cyclops and Wolverine sat behind in an all new X-Wing of their own eight years ago; practically in the same position. The resemblance could be completely coincidental, the product of two sensibilities that simple like the same things they've always liked, but it's a fitting parallel, because the books end up doing very similar things.
Once again, there's been some set up for this relaunch. "Battle For The Cowl" ended with Dick Grayson as Batman and Bruce Wayne's biological son Damien taking the mantle of Robin. Far from just a cosmetic change in these icons (indeed, Quitely has made only the most minor adjustments to their costumes), Morrison has given them a new lair (stories below the towering skyscraper that appears to house Dick's new penthouse Gotham apartment [all shown in a delightful cut out diagram]), a new Batmobile (it flies), new villains, and a fresh sense of unease that never seemed to plague Morrison's unflappable Bruce Wayne.
Quitely is, as always, a masterful storyteller. There's a moment, completely silent, in which Batman and Robin thwart the escape of a criminal who thinks he's scott free that is almost literally breathtaking in its adeptness of narrative. His talent has always been in coordinating exacting and dimensional detail with an almost superhuman command of panel-to-panel transitioning, and this brief and charming scenario is the perfect example. He's crafted a book that can (and will) be pored over again and again to catch new details, like the henchman who packs almost nothing but loose bullets in his getaway luggage. Quitely also adds a new item to his toolkit here, where at key moments he draws certain sound effects himself, integrating them fully into the three dimensional space of the panel (ably assisted by the color work of Alex Sinclair). It's a fantastic display of the unique qualities and opportunities of the medium.
Just as "New X-Men" introduced a new, creepy, and diabolical adversary, "Batman and Robin" #1's Circus of Strange is a genuinely frightening collection of antagonists. The introduction of their leader, Pyg, and his doll-faced minions at the close of the issue is about as vicious and unsettling a sequence as I've ever seen in a Batman book. His Rogue's Gallery, even Joker most of the time, has always played at menace but usually just traded on diamond heists and broken windows. Pyg's revenge on a henchman trying to escape with his family reads like something out of a Japanese horror film and Quitely's rendition of his brutally disfigured victims/assistants is authentically chilling stuff.
So our heroes clearly have their work cut out for them. Morrison always wrote Bruce Wayne as a man never without the perfect solution, a detective who always stayed one step ahead (even in "death"). That Batman is casting a long shadow over Dick Grayson here, even as Alfred tries to assuage his concerns (and Damien broadcasts his readiness to do the job himself at any opportunity). And, frankly, Bruce Wayne never had to deal with anything this messed up. (Seriously, best of luck guys. Yikes.)
While fans are already jittery about the necessary concessions being made to keep "Batman and Robin" an ostensibly monthly and firmly in continuity book (Quitely will only be drawing the first three issues), Morrison and Quitely have laid some thrilling and invigorating groundwork that anyone should be able to follow easily. There is a sense of dark wonder throughout the book, a mood that is a perfect summation of the character, and a tone that is perfectly suited to a new Batman. Dick Grayson is committed but unconvinced; with a wild and unstable ward; both of them plunging head first into a Gotham City that has never looked this good, felt this strange, or been this deadly.
Batman and Robin #1
by Chad Nevett CBR
Jun 3rd, 2009
4.5
Story by Grant Morrison Art by Frank Quitely
“This is it. Batman and Robin. Together again for the first time.” And what a beginning it is. The much anticipated “Batman and Robin” #1 has everything you’d expect and want with a new creative team, a new Batmobile, new villains, a new secret hideout, and, of course, a new dynamic duo protecting Gotham.
If you haven’t noticed, the word here is new. Not only that, but it’s also fun. When was the last time a Batman comic felt both new and fun? Yes, Bruce Wayne recently died and that is addressed here, but “Battle for the Cowl” was the mourning period, and “Batman and Robin” is everyone moving on with their lives. And what better way than capturing a new bad guy, the Toad, in a brand new Batmobile that hovers?
The new dynamic duo is certainly different from what fans would expect with Dick Grayson as a Batman trying his best to have fun in a role he always knew he’d have to fill, but hoped against. While his disposition has always been lighter than Bruce’s, the quiet moments with Alfred in the new Batcave show that the happy-go-lucky front he puts on is just that -- partly for himself and partly for Damian, Bruce’s son with Talia al Ghul and new Robin.
From his first appearance shortly after Grant Morrison began writing “Batman,” Damian has been impudent, rebellious, and rude —- and he’s changed little here. The only noticeable difference is that he’s dedicated himself to taking after his father and is willing to tolerate Dick and Alfred (who he addresses as ‘Pennyworth’). He has the skills to do this job and, worse, he knows it -- and can’t help bringing it up at any chance he’s given.
The interplay between the two is unusual and not at all what’s expected of Batman and Robin, and it works very well. Dick and Damian have had little on-panel interaction up until this point, so their relationship is very fresh, with neither comfortable with the other yet. Damian acts like he’s the one in charge and Dick does his best to shrug it off, knowing that a well-timed remark is all it takes to bring him back down to Earth.
Nothing seems more fitting for this first issue than for Frank Quitely to join his longtime collaborator Grant Morrison on art. While Morrison is no stranger to Batman, Quitely has only drawn the character a few times in the past, mostly on covers, and he brings a fresh energy to the book. Morrison's work on the Batbooks to this point has been plagued by less-than-stellar art, so seeing him get a chance to work not just with one of the top artists in the industry, but an artist who so completely understands Morrison’s writing is a joy.
As with most projects, Quitely has added a new trick or two to his art. The most noticeable is the integration of sound effects into the art, which adds to that feeling of fun I mentioned. Since this issue is fast-moving, he opts for large panels and drawings that could easily become iconic stalwarts. The new Batmobile showing off its capabilities, Batman and Robin taking out the Toad, the two testing out their new paracapes... you can’t turn a page without stopping to admire the art.
With expectations high, “Batman and Robin” #1 could have easily disappointed, but it not only meets those expectations, it exceeds them. No one could have asked for a better introduction to the new Batman and Robin.
Batman and Robin #1
By Jay Cochran Comicnewsi.com
Jun 16, 2009
4
Story by: Grant Morrison Art by: Frank Quitely
Grant Morrison seems to be off to a decent start with the new Batman & Robin, but I can’t help but feel we’ve gone through all this before. Maybe it’s from the last time Bruce Wayne was taken out of action by Bane and we had to muddle through Azrael trying to assume the mantle of Batman or maybe it’s because we just went through this over at Marvel with Steve Rogers. As much as I like the character of Dick Grayson, it’s hard for me to get invested with the idea of him being Batman when I know within a year’s time the likely hood of Bruce Wayne returning from the dead is about 100%. I don’t know about the rest of you but frankly I’m getting tired of these comic companies feeling the need to kill off one of their major characters only to bring them back some 12 months later.
Anyway getting back to the specifics of this particular issue we find the new Batman and Robin and their new flying Batmobile taking on what appears to be a new baddie who goes by the name of Pyg and his henchmen Toad (No relation to Toad from the X-Men books). Grant does his normal good job of leading you into the story and wanting you to come back for more in this first issue. Frank Quitely’s art is ok but there is several times where it seems like the batsuit is just hanging off of Dick making him appear scrawny.
The whole hero reborn thing to me has been done to death (No pun intended) but still Grant Morison is a good enough writer and off to a good start with this title that I would recommend any Bat fan picking this one up.
Batman and Robin #1
By Chris Mautner Robot6.cbr.com
June 3, 2009
by Grant Morrison and Frank Quitely DC Comics, 32 pages, $2.99.
See, this is how it should have been from the start.
Much was made when Grant Morrison took over the writing reins for Batman, though few ultimately found merit in the confusing and at times even dull slog through canon and character that the book turned into (though, of course, the series does still have its fans. I also understand there are people who collect milk bottles).
Batman and Robin chucks all the excess baggage that hampered Batman R.I.P. — the elbow in the ribs riffing on classic tales of yesteryear, the need to make an important statement about the character, Tony Daniel — fills up the gas tank to its flying Batmobile with rocket fuel and proceeds to floor that puppy out of the cave with nary a glance backward. The result is a streamlined, but no less surreal or smart, tale that’s one of the most satisfying superhero reads I’ve had so far this year. This is a really fun comic book.
Now, I haven’t been following Battle for the Cowl at all, so I have no idea what has or hasn’t been revealed up until this point and thus will probably unleash all manner of spoilers without meaning to. You’ve been warned.
That being said, I think everyone by this point is aware that Nightwing/Dick Grayson has assumed the Batman mantle of new Batman with Bruce Wayne’s illegitimate and surly son, Damian, serving in the sidekick role.
One of Morrison’s traits (or quirks, if you prefer) is that he tends to define his characters and their relationships to each other as quickly as possible. He’s an economic writer when it comes to dialogue and not one for exposition; he’d rather cut to the chase. This can be a useful tool but also detrimental to the overall story and reader immersion (I think it ultimately hampered Final Crisis).
It works wonderfully well here though. One of the things that impressed me the most about this comic was how succinctly and effortlessly it set up the central relationship between the two characters. Halfway through the book we know just about everything we need to about Grayson (professional, dedicated, willing to assume the role, but far from eager) and Damian (cocky kid with violent past who’s perhaps a bit too eager).
The comic kicks off with a thrilling car chase involving a frog-faced villain and doesn’t really pause for a moment to catch its breath. Morrison has spoken in interviews about how he’s wanted to create a “psychedelic noir” feel that evoked the 1960s TV show but still felt relevant and modern, not to mention occasionally creepy. He certainly delivers on that last part in the final two pages, a reminder, perhaps, of just how good Morrison can be at evoking horror and dread.
But none of this would have worked half as well if Morrison didn’t have Quitely working with him. The artist’s not-quite-caricature, not-quite-photorealistic style serves the material astoundingly well here, particularly in depicting some of the more gruesome and new additions to the rogues gallery. (Just imagine what Quitely could do with a war horse like Dick Tracy.) Beyond the pronounced jaws and hyper-detailed costumes, however, is a really smart and playful layout, that carries the reader through as speedily and effortlessly as possible yet still has time for a one-page sequence involving Alfred’s trip to the Batcave that evokes those great schematic “a look inside” maps of yore.
Really, it’s hard to imagine any of Morrison’s critics, especially those who claim he’s too “clever” or esoteric, finding something to complain about here. This is one of the most straightforward, economic and, as a result, immersive comics he’s ever written.
OK, there were a few “Hey, wait a minute” moments, like: How have they attempted to explain Burce Wayne’s disappearance? Has Grayson inherited the Wayne fortune as well? And didn’t Damian kill somebody? Wouldn’t that be a stain on his crimefighter resume?
Oh, but those are all questions for the future. This first issue is nothing but setup. And what a wonderful setup it is, tantalizing and immediate and fun in a way that doesn’t neglect new readers or the party faithful. I can’t wait for the second issue.
Batman and Robin #1
Brian Cronin Goodcomics.cbr.com
June 3, 2009
Definitely Recommended
Two things stood out to me in the first issue of Grant Morrison’s new comic, Batman and Robin (with Frank Quitely along for the first issue, on the art), one fairly standard the other a bit odder.
The first is the spooky new villain, Pyg. Pyg’s introduction was eerie and effective as all get out. The second is the amount of exposition Morrison put into this comic. It was not inappropriate, as this WAS a number one issue, but it still struck me by just how accommodating he was to the ephemeral “picking this comic up for the first time” reader.
Those were the two things that jumped out to me (having a good villain was the standard thing, by the way), but the issue as a whole worked extremely well for an introduction to the new Dynamic Duo.
Quitely’s art was amazing, as usual, especially his brilliant layouts and page designs. Morrison filled the issue with plenty of action, but managed to highlight a number of little character bits (one of my favorites was the way he made a point of showing that Dick loves to eat, as opposed to Morrison’s Bruce, who never seemed to eat). Damian was his usual pain-in-the-ass self, but Morrison also made sure to show exactly how effective he is, as well.
The Circus of Strange were interesting, particularly how Quitely drew them.
I loved the sort of “there is still hope!” moment with Gordon and the GCPD and the Bat-signal, which leads to one of the coolest pages from the comic.
I presume that’s Jason as the Red Hood, right? So he has a “Robin,” too? Very cool. Great to see Dr. Hurt return. After the Circus of Crime, it’ll be nice seeing an “older” villain come back. I also love how Batman #666 now becomes this almost blueprint to the series, with all the characters in this issue who first appeared there.
Batman and Robin #1
By Chris Smits Mania.com
June 09, 2009
A
"Morrison just nailed it with this one"
The first adventure for the new incarnation of Batman and Robin starts here! The capture of some lackeys opens the door to a larger mystery for the new Dynamic Duo. With motives that are yet to be fully revealed, a psychopath calling himself "Pyg" seems to have what it takes to be a villain in Gotham City; the town that sets new standards daily when it comes to criminal lunatics. Luckily for the citizens of Gotham, there was also a standard set for the city when it came to standing against such criminals; a standard set by the original Batman and Robin and is now being followed by their successors.
The Good
Absolutely every line of art and every word on its pages. Grant Morrison returns to perfection here after a year of hits and misses with the fan base. Having a ringer like Frank Quitely handling the artwork makes this an outstanding kick-off to the series and the second issue can't come fast enough. The family aspect is still intact with the characters but new dynamics are being formed between them. There's new everything in this book and it all hits the bullseye; from a flying Batmobile to a fresh group of baddies making their mark, this is the return to greatness that the fans have been promised.
The Bad
There is no bad, seriously. If you've ever been a fan of Batman, you're gonna dig this book. If you like classic superhero tales, you're gonna dig this book. Long time readers and first timers alike are going to come away from this having been thoroughly entertained.
The Bottom Line
Grant Morrison just nailed it with this one. He may have taken a zig-zag path to get to this point, and it's a matter of debate as to whether it could have been handled better, but now that it's here, Batman and Robin is overflowing with kick-assery. The banter between Dick Grayson as the new Batman and Bruce Wayne's son Damian as the new Robin was fantastic. The anchor of mainstay butler/caretaker Alfred is used to perfection as the pivot point between the two, but it's the difference in styles, mannerisms and (in Damian's case) ettiquette, that made this incredibly cool and really fun to read. This may not physically be the Batman of old, but the tone is everything that's ever been great in the characters history. Since Dick Grayson is the epitome of a legacy character, it's like a father/son situation in the fact that there's a lot of Bruce still on the page. I loved that everything about Dick Grayson being raised and trained by Bruce comes into play and it works very naturally under the handling of Morrison. The situation has changed and yet every selling point for fans of Batman are in here: Detective work, great gadgets, the family dynamic and crime busting. Not only are all of those things in here, but it has such a natural flow to it that it never reads like a writer's checklist as to how to write Batman. This reads as something absolutely new and fresh and yet it retains everything about the mythos that you would never want to give up. The biggest accomplishment with this book is that it doesn't read like a re-boot, it reads like the next chapter of the Bat family. Obviously I'm giving this an A as far as a grade goes, and at $2.99 I can't imagine a better value on the shelves right now. Fun factor, adventure, Grant Morrison and Frank Quitely...I dare you to find fault with that!
Batman and Robin #1
By Jesse Schedeen IGN.com
June 3, 2009
7.8
Grant Morrison returns to kick off a new era for the Dynamic Duo.
Batman has been around for 70 years. It's almost impossible to tell a story with the character that hasn't been done in some way, shape, or form already. That's precisely why Grant Morrison's run on Batman has been such a breath of fresh air over the past few years. Morrison is a writer who always brings something new to the table, regardless of the project. By the same token, Morrison tends to attract a sizable chunk of detractors who disapprove of his storytelling methods. So it was, and so it ever will be.
With Batman and Robin, Morrison continues to mine the Batman mythos for unexplored nuggets. It's not enough that this series is the first to showcase the new Dynamic Duo of Dick Grayson and Damian Wayne. Morrison is pulling from a variety of strange and unusual sources this time, including the much loved and reviled '60s show. Beyond nostalgia, I'm no real fan of the Adam West Batman, but this didn't worry me. I've learned to place my faith in Morrison by now. The only aspect of this new project that worried me involved something the writer himself said in a recent interview. He admitted that he was making a conscious attempt to make this new Bat book more accessible to new readers. It's a noble goal considering there are probably going to be a healthy number of newcomers with this issue. All the same, that sounds a little too much like self-censorship to me. And when it comes to Morrison, self-censorship is like a four-letter word.
My fears were not exactly put to rest by reading Batman and Robin #1. Compared to his debut in Batman #655, this feels a little bare-bones. It's certainly not a bad debut for Dick and Damian, but I expected a little more from the script. Morrison allows us to see them in action, complete with a new Batmobile. After trouncing a few thugs, the focus moves to the new Batcave, with Morrison exploring the sometimes uncomfortable relationship between Dick, Damian, and Alfred. And before the issue's end, an all-new villain will be introduced. All the bases of first-issue storytelling are covered. But as far as ringing in the new day with a huge bang, ehh...
I don't want to sound like I'm hating, because I did enjoy this issue quite a bit. Morrison employs the campy tone of the '50s and '60s comics to great effect. It makes sense that Dick's Batman would spend less time hiding in the shadows and more pounding heads. And so far, Damian makes for a top-notch Robin. I have my doubts how the character will be handled by other writers, based on past experience, but as long as Morrison guides Damian he manages to tread that line between annoying brat and kid super-genius well. And the new gaggle of animal-themed villains make a good first impression in what little time they're given.
So far, there just doesn't seem to be the usual Morrison-esque density to the story. Dialogue is fairly sparse. The plot progresses in swift and very linear fashion. It's tough to get the sense that a greater conflict is brewing. To a large extent it's just too early to tell where Morrison is going with this new series. And if I'm lucky, maybe after a few more rereads I'll discover some vast, unseen subtext to the story. However, remembering how strong a hook his previous Batman debut had, it's tough not to feel a little disappointed.
Frank Quitely follows suit by delivering art that, while stunning in many respects, still manages to disappoint in at least one area. A major reason why this story feels so sparse is because Morrison allows Quitely numerous splash pages and wide panels. This may lighten the plot, but it's only good news for lovers of Quitely's art. Quitely livens up every page with his unique, bombastic layouts. The new Batmobile receives a particularly nice debut in the opening sequence thanks to some spectacular choreography. Meanwhile, the colors of Alex Sinclair only further the retro throwback flavor of the story. The one real weak spot comes with Quitely's figure work. Quitely has something of a reputation for giving his characters overly wrinkled faces. Usually it's a quirk I can ignore, but not here. Quitely relies on a very thin, scratchy form of inking in this issue, and it only serves to amplify the wrinkle effect several times over. In a few cases I'd swear characters are wearing a second set of skin.
I have little doubt Batman and Robin will rank among the best of the Bat family once all the respective books have had their chance to debut. Even in its early stage the series is a huge amount of fun and, for the most part, a visual stunner. But this issue didn't bowl me over like I hoped it might. It's certainly not Morrison's strongest debut on a series. Let's just hope that doesn't matter when held against the bigger picture.
Batman and Robin #1
By Dan Phillips IGN.com
June 3, 2009
9
Another Take by Dan Phillips
If you're wondering what to expect from Grant Morrison and Frank Quitely's latest collaboration, the first eight-page sequence of Batman and Robin #1 should tell you a lot.
It begins as a carload of criminals bursts out of a fiery explosion while barreling down the highway. The new Dynamic Duo suddenly appears in their snazzy new flying Batmobile, derails the car with a well-placed missile and then swoops in to snatch the vehicle off the road like a hawk does a field mouse. The car full of goons is deftly deposited in the nearby river, and we watch as their leader, the hideous Mr. Toad, swims ashore only to find Batman and Robin standing over him. The following page begins with a brilliantly executed silent shot of the two heroes delivering a pair of haymakers to the unsuspecting rogue, and at this point it's abundantly clear that we're in for another incredibly fun collaboration from this legendary creative team.
In a number of ways it's really a perfect opening for this new series, Morrison and Quitely's first outing since the near-universally acclaimed All-Star Superman. Not only are their perfectly in-sync storytelling chops on full display in these early pages, but the sequence also effectively announces the marriage of iconic elements and utter weirdness that follows in the rest of the issue. This is far and away the most straightforward Batman script Morrison has delivered since his run began several years ago, but it's still lush with the sort of surreal, off-the-wall ideas fans have come to expect from his work.
Morrison employs a bare-bones, economic approach to storytelling that hasn't really been seen in his recent DC work. This being the debut of the new team of Dick Grayson and Damien Wayne, Morrison takes time to hit a number of familiar Batman tropes and subtly showcase what makes this duo different from past incarnations. Whether we're watching Dick's unique style of interrogation, his hesitance to step into his mentor's shoes, Damien's eagerness to prove himself as his father's rightful heir, or the different ways each hero interacts with Alfred, Morrison is able to convey each personality beautifully in a very limited space.
When you contrast this approach to the one taken in Batman RIP and Final Crisis, it becomes even more clear that the scribe wasn't kidding when he said he wanted to make this book more accessible and straightforward than his recent output. I don't think I'm exaggerating when I say this might be the best character work Morrison has achieved in a long time.
But as straightforward as the majority of the issue is, the book's last four pages are as strangely horrific as anything Morrison has written. It's here that we get the first glimpse of the insane Pyg and his Circus of Strange, who immediately announce themselves as terrifying additions to Batman's rogue's gallery. That final sequence, as well as the one-page teaser that concludes the issue, is further proof that we're in for a hell of a lot more of this brand of surreal, manic fun.
And as with most Morrison/Quitely collaborations, Quitely's art is the real star of the show. Quitely's style is noticeably looser here than it has been in the past – particularly in close-ups on characters' faces – but his storytelling chops are as tight as ever. The way he works sound effects into the actual visuals heightens the bombastic nature of the story, and his splash pages and wide, cinematic panels are as gorgeous and dynamic as you'd expect. Like his collaborator, Quitely is constant tweaking and reinventing his style to accommodate the story he wants to tell, and this issue marks his latest exciting artistic evolution. It's just a shame he'll only be around for two more issues before an extended break.
Batman and Robin #1 is an outrageously fun start for this new series. It's not as cerebral as Morrison's past Batman work, but that's part of the fun. It's full speed ahead for both this book and its new Dynamic Duo, and I can't wait to see what happens when the pair runs smack dab into the horrors that undoubtedly await them.
BATMAN AND ROBIN #1
By Kristopher Tapley Batman-on-film.com
June 5, 2009
OFFICIAL SYNOPSIS: "The new Dynamic Duo hit the streets with a bang in their new flying Batmobile as they face off against an assemblage of villains called the Circus of Strange. They also tackle their first mission investigating a child who's been abducted by the mysterious Domino Killer. But will everything go smoothly? And who exactly are the new Batman and Robin? The newest era of The Dark Knight begins here!"
EDITOR'S NOTE: The following review may have details that some would consider a "spoiler," FYI. Also, my friend Kristopher Tapley of INCONTENTION.COM will be reviewing this title for BOF. - Bill Ramey, Founder of BATMAN-ON-FILM.COM
Is this what you wanted?
Is this the “new direction” you hoped for?
Is this the personality of Gotham City you’re willing to cozy up to for the next 12 months?
It better be, because for better or worse, Grant Morrison’s BATMAN AND ROBIN will be the new flagship for a character who just celebrated his 70th anniversary last month as the devoted await the inevitable return of Bruce Wayne to the pages of BATMAN and DETECTIVE COMICS.
Following the events of “Battle for the Cowl,” we know a few things: Dick Grayson has reluctantly assumed the role of Batman; Tim Drake has slipped into a fascinatingly ominous state of mind; And yeah, unfortunately, Damian wasn’t some cruel manifestation of our imaginations, having now annoyingly taken on the role of Robin to Grayson’s Caped Crusader.
In the first installment of the new title, we’re immediately introduced to a fresh world of villainy. A grotesque plumper called Toad, spouting what Grayson would later call “European Circus slang,” high-tails it through the streets of Gotham after “a simple exchange” gone awry. The details of the exchange are of course saved for later issues in the arc, which brings to mind something this book happens to get right: planting the seeds of future intrigue.
The opening sequence also introduces us to The Dynamic Duo’s new ride: a hovering Batmobile rendered beautifully by artist Frank Quietly. Though a double-page spread of the cockpit is perhaps too reminiscent of a similar image of Cyclops and Wolverine in the pages of NEW X-MEN #114 (the first issue of the “E is for Extinction” arc, Morrison and Quietly’s “new direction” of the X-MEN franchise in 2001).
There’s a lot of NEW X-MEN vibe to this, actually, which begs the question: Is Morrison planning to piggyback his own covered territory? It’s too early to judge, but the suits at DC would likely hope for nothing more. After all, “E is for Extinction” re-ignited the floundering X titles and ushered in a new era of vibrant creativity. But was the Bat universe really all that desperate for a facelift? I submit that it’s the writing talent that hasn’t been up to par (Paul Dini excepted), but that’s just me.
Getting back to the book, it moves along nicely and has a richness of mood that’s rather unmistakable. Morrison owes much of this, no doubt, to Quietly, whose textured pencils work a lot more than may have been expected by the seemingly caveat-laden cover we’ve seen for months. (There is actually a JG Jones variant cover that is more appealing, if somewhat against the grain of the narrative’s tone.) Quietly has moved effortlessly from the high key elements of Metropolis and the Fortress of Solitude in the pages of ALL-STAR SUPERMAN to the grit and drab streets of Gotham. I’m reminded of Tim Sale’s similar tendency, even if both artists have drastically differing styles.
What Quietly’s work really brings out, however, is Morrison’s macabre-soaked vision. The book’s final moments with a diabolical new villain, Pyg, drive this point home. I have mixed feelings on Pyg because he seems somehow derivative, and with a rogue’s gallery such as the Bat’s, is a new antagonist really appropriate? Will Morrison leave Pyg to finally be defined five years later as Jeph Loeb did with Hush or does he actually have thematically pertinent plans for him? Time will tell, but as a start for the hopeful, BATMAN AND ROBIN #1 certainly introduces a well of potential.
We’ll see what they do with it.
Batman and Robin #1
Posted by Lee Newman Brokenfrontier.com
Jun 3, 2009
Words: Grant Morrison Art: Frank Quitely Colors: Alex Sinclair
Story Title: Batman Reborn - Part One: Domino Effect
What’s that in the sky? Is it a bird, a plane, Superman; no... it’s... the... Batmobile?
God love Grant Morrison. You have to, as after the mess that was Final Crisis and the full speed ahead derailment known as "Batman R.I.P.", he just gets right up on the saddle. He probably can’t help it, this is the guy who wrote Animal Man and All-Star Superman, after all.
Dick has a bit of a youthful feel here. Like maybe Batman’s death took a couple of years off the guy. He is not exuberant, he mentions that wearing the cowl is the equivalent of a shroud, but this is not the guy that was at the end of Nightwing. Well, maybe the guy that was in Titans. Anyhow, his take on Batman is not any more edgy, not in a real sense, it just feels edgier. Maybe the fear that the criminals allow to creep into their Adam’s apple is leaping off the page, but for a moment, I thought Dick was going to drop Toad to his death.
Then there is Damian. He is still a spoiled, obnoxiously egotistical little brat. However, it would appear he is some kind of wunderkind. He makes the Batmobile fly! It comes soaring out of the air shooting missiles and then seems to pick up a bad guy’s car like it is some kind of industrial magnet crane! Gadgets. That used to be a Bat-mainstay, but had fallen to the wayside for melodrama and those famous detective skills of late.
Then there are the villains. The Toad? He looks like he came out of Wind in the Willows. And he is driving the car like it is a Disney ride too!
And all of this is in the first four pages.
Then comes Pyg. Yeah, brace yourself, this might be the most creepy villain since Simone introduced us to her little friend Junior. I mean this guy gives me the willies.
It is a little hard to tell exactly what is going on with the story. There is not a whole lot past exposition here. There is an odd payment and the obvious concern from the police that Batman is dead and gone and the reciprocal glee from the criminal community. Given time, it is possible that Morrison can let this ball unravel as well, but this debut issue is smoke gushing, guns blazing, BATMOBILE FLYING fun! That is an element that has been missing from the core Bat books for some time. Sure, Batman Confidential had its moments and then some guy named Kevin Smith decided to have a little bit of perverse fun with the Joker, but excitement was long gone from the franchise.
To go along with some keen character moments and a script full of explosions and the like, Quitely steps up to the plate. This is not the bright and beautiful Metropolis of All-Star Superman, this is Gotham. This is dark corners and gritty crime. This is the realm of the insane criminal masterminds and it is all reflected in the people and the streets. To contrast this is the sleekness of the new Batwheels. There is an edge to its lines, it stands out.
The artist also puts his touches to paracapes and Batsignals. The action is crisp and almost bursts off the page in your face. The layouts help, as they are as dynamic as the hoops that the creative team puts this new Dynamic Duo through. As perfect as the action sequences are, so too is Pyg creepy - you can almost feel Malcom McDowell smiling behind the mask in his bloody apron. Shivers, I tell you, shivers.
This is the big popcorn book that we are promised every year and never quite get. This is the new Star Trek, Die Hard, The Matrix, etc... it may not be perfect, groundbreaking or thought provoking, but damn, it’s a lot of fun. And did I mention it already? The Batmobile flies!!!
Batman and Robin #1
By Grey Scherl Comicsnexus.com
June 9, 2009
9
Written by Grant Morrison Art by Frank Quitely
BATMAN: REBORN!
After three agonizing months without Bat books (aside from Battle and it’s tie ins), we finally got what we were waiting for. Batman and Robin, the new franchise title in the Batman line, and the forerunner to the Bat reboot, hit shelves this week. Grant Morrison and Frank Quitely doing a book about the new Batman and Robin, Dick Grayson and Damien Wayne. Did it live up to expectations? Is this book really good enough to head up the Bat line?
Short answer?
Fuck yes.
Grant didn’t give us his usual first issue, in that this wasn’t a wall of plots to be touched upon later, rather he wisely chose to go with a more straight forward issue that gave us a basic understanding of the new status quo in an attempt to ease us into the changes. New Batmobile, new Batcave, same old Alfred. And while we’re at it, hey, new bad guys! We got our first look at the Circus of Strange in the first issue with Toad and Pyg, and it appears that they’re just guys in masks….well, actually, Toad I’m not so sure about. Damn good mask.
Something I like that Morrison is consciously taking into account is that despite Dick and Damian being the new Dynamic Duo, there isn’t history between them. Damian is the real son, but Dick is the favorite. Damian doesn’t respect Dick, and Dick doesn’t know a thing about Damian. In interviews Morrison kept making it clear that it’s a different style of Batman and Robin with the Bat being the lighter one, while the Boy Wonder is grim and gritty. He succeeds immediately, and it comes across very well.
Damian still exudes the cockiness that left most readers writing him off earlier in his life span, but there is no lack of effort put into his character. The little nuances that both make you hate him, but also keep it fresh in your mind that he was raised to be an assassin. He’s not Dick, or Tim, and he’s not even Jason. Damian Wayne is very much his own character, and he’s stronger because of it. Well, that, and the fact that he hasn’t been passed around a writer pool until he was left one dimensional.
Oh the fun that shall be had.
Dick is still finding his legs in the role of his mentor, and he does feel very much over his head. There’s a distinct difference though between Dick in and out of the costume, as when he’s in the suit he knows what he has to do, and he gets the job done, but once the mask comes off he resorts back to questioning himself. The Bat must be confident at all times, but Dick Grayson can still wonder if filling in for Bruce is the right thing. Very nice little characterization.
There isn’t much from the supporting cast, Jim Gordan is there for a page or two, and Alfred helps out for a few more (during which Damian refers to him simply as “Pennyworth”), but again, first issue. There is time to bring in more later, but the first issue needs to establish the main players in the book to keep the reader enticed. Morrison does this exceptionally.
But what about the art? Anyone who’s read a review of mine knows I’m no art critic, but Frank Quitely turns in pages that look very reminiscent of his recent All Star Superman work, and trust me when I say that’s a good thing. Quitely is a phenomenal artist, and in a book like this he truly shines (cast of men, his strong point). His Batman and Robin shine immediately with the same iconic tone he was able to give the Man of Steel. Now, with any luck, he’ll be handling pencils for more then two or three issues at a time. He may not be a monthly penciller, but the more work he does for a book the better it seems to be.
It’s a whole new team, and a whole new beginning, but at the end of the day it feels just like it used to.
Batman and Robin will never die.
Batman and Robin #1
Posted by Matt Price Nerdblogon
June 3, 2009
Writer Grant Morrison teams up with his “All-Star Superman” and “New X-Men” collaborator, artist Frank Quitely, for “Batman and Robin” No. 1, and the result is the best comic-book launch of 2009 to date.
I often have excessively high expectations for DC event-type comics, but this issue met them all, with the new Batman and Robin beginning their partnership in an issue that felt both fresh and respectful of the past.
At the conclusion of “Battle for the Cowl,” Dick Grayson, the first Batman, has taken on the role of Batman, taking over for his mentor, even though he hoped he’d never have to. He’s assisted by Damian, the son of the original Batman, who is a bit of a hothead, but has the skills to back it up.
It makes for great Batman-Robin interplay, and it’s something we haven’t seen before. I’m not sure where this puts the former Robin, Tim Drake, but dramatically speaking Dick and Damian make for a fun team.
Batman and Robin have a new, flying Batmobile, a new Batcave, and new, very creepy villains introduced this issue.
This is the accessible, exciting launch I had hoped “Batman RIP” and “Final Crisis” would be. Morrison is writing a great “Batman” take that can be read by anyone.
“There’s a new Batman and Robin,” you could say, “read this.” And people would instantly be able to follow along. Yes, Morrison’s run to date and “Battle for the Cowl” inform the story, but all you need to know is on the page.
“This is it,” says the new Batman during the story. “Batman and Robin. Together again for the first time.”
Batman and Robin #1
By Leroy Douresseaux Comicbookbin.com
Jun 3, 2009
A
Writer(s): Grant Morrison Penciller(s): Frank Quitely
Batman: Reborn, Part l: “Domino Effect”
Batman and Robin #1 is a new series by longtime collaborators, writer Grant Morrison and artist Frank Quitely, the team behind the acclaimed, All-Star Superman. This new series stars the old Robin (not Dick, but Richard Grayson) as the new Batman and Damien Wayne (Batman and Talia al Ghul’s lovechild) as the new Robin.
When New X-Men #114 debuted in 2001, for the first time in two decades, the X-Men comic books stop living under the enormous shadow of the X-Men comics of Chris Claremont and John Byrne. In New X-Men #114, the then, new creative team of writer Grant Morrison and artist Frank Quitely changed the status quo of the X-Men comic book franchise, and updated the concept for the 21st century. Nearly everything done with the X-Men since their run has been a marathon race backwards.
Since early 1986, Batman comic books have lived under the shadow of Frank Miller’s dazzling graphic novel, Batman: The Dark Knight Returns. 23 years after DKR, Morrison & Quitely are pulling off another amazing job of liberation by simply moving Batman into the future. As a comic book writer, Morrison is the guy who seems always to be three generations ahead of everyone else working in superhero comics. And Frank Quitely: his art always looks as if it belongs to tomorrow.
Batman and Robin #1 doesn’t disrespect anything that came before it. Morrison and Quitely merely take the best of the past (concepts, storylines, characters, settings, etc.), and present something new – reinventing and re-imagining (a flying Batmobile). Whatever it is called, it sure tastes good and looks even better – thanks to Alex Sinclair’s shimmering colors.
This first issue, which foreshadows a nasty new adversary named Pyg, gives us a solemn, leveled-headed Batman, intense like the old, but in his own quiet way. Damien is Robin as the teenaged Kobe Bryant. He’s arrogant; he’s talented. He hasn’t achieved much, but already thinks he should be the captain. He’s so darn cool.
I can’t imagine that Batman and Robin will be all downhill from issue one. Morrison & Quitely are reshaping Batman for the current entertainment and pop culture landscape the way J.J. Abrams and company have redone Star Trek. Yeah, this is the best $3 I’ve spent on a Batman comic book since… 1986?
Batman and Robin #1
by Stephen Schleicher Majorspoilers.com
June 3, 2009
5
I picked up Batman and Robin #1 today and sat down to read it with great trepidation. I haven’t been the greatest fan of what has happened to the Batman titles over the last three years (as evident on the site), and certainly was not a fan of the person behind the curtain pulling the strings to shape the DCU to his world view.
I made sure to only drink water throughout the morning to keep the body and mind pure, and ate a light lunch so as not to upset my constitution. I took my time reading the first issue that features Dick Grayson as the new Batman, and Damian Wayne as the new kid-side-kick.
I’m done reading.
I don’t feel like throwing up.
In fact, to borrow a phrase from Rodrigo - “I liked it.”
That’s right true believers, I really like what Grant Morrison has done with the new Batman and Robin. From the first page explosion to closing pages that introduces a villain that could rival Black Mask, I really liked every single page.
What really makes me appreciate what Grant Morrison is doing in this inaugural issue is that he isn’t writing a Bruce Wayne Batman story. He already had his chance to do that, and it didn’t work from this reviewer’s perspective. Bruce Wayne is a really screwed up person, so he can be bitchy, dark, and brooding and it fits with his character. Morrison tried to change the direction of that barge, and there was too much resistance from long time Bruce Wayne Batman fans.
Here, Morrison gets a second chance to tell a different Batman story with Dick under the cowl. Dick, while having gone through a lot of tough times, has always had a lighthearted approach to crime fighting, and in the pages of Batman and Robin #1, Morrison doesn’t allow the mask to take away from Grayson’s personality. It’s clear Dick isn’t Bruce, as he spends almost as much on page time out of the cowl as in. From the way Morrison is spinning this version of Batman, I doubt there will ever be a question of which personality is the real one; it’s always going to be Richard.
I loathed Damian when he was first introduced. I loathed him in such a way, that as soon as he was introduced, I almost dropped every Batman title DC published. He was portrayed as a real prick, and if he had is own Damian Dickness Meter, he would have eclipsed anything his father could have come up with. I don’t know if the events of Battle for the Cowl played any part in the change, but Damian has mellowed out quite a bit when readers are re-introduced to the brat in this issue.
Instead of snapping at Alfred and treating him as a being far beneath him, he at least elevates the Batman’s batman back to the level of trusted servant. Even in his interactions with Dick, Damian keeps his attitude in check, and there is a mutual respect for one another. Damian willingly allows Dick to call the shots due to age and experience, however, beneath the surface, readers can see Damian’s desire to be the team leader bubble to the top as Morrison practically slaps us in the face by showing Damian’s brilliance and willingness to jump into the fight.
The Black Glove story seemed to take forever to build to any kind of drama, but Morrison gets right to the action here. The introduction of the villains of this arc is built up quite well, as readers are presented with intercut shots of things taking place elsewhere, with no indication of who, or what, these characters are until things heat up and smash the reader in the face once more. Readers learn about Pyg through one of his lackeys, and the mystery of the role a case of dominos play in the story takes center stage immediately after the opening action sequence.
I think it is the opening sequence that sold me the most on this issue. It felt so much like a James Bond movie opening, that I half expected Frank Quitely to layout the final pages before the first ad break in the shape of the new Batman logo.
Even with the action, there are quiet moments in this issue as well, as Dick and Alfred finally close shop on Wayne Manor and move to new digs downtown. Morrison really is closing the book on everything Bruce Wayne related, going so far as to use a parting shot of Dick looking back on the graves in the Wayne family cemetery as the duo drive away. Touching.
Of course, all of this could be wiped away with the very next issue.
With all this praise I’m giving to this issue, it doesn’t mean I have changed my mind about what Grant Morrison did before. I still don’t like it. I think it was a heavy handed way of pushing an agenda to get to this point in story telling. As i’ve always said, a writer is only going to be as good as his most recent work, and from what I’ve seen in issue one, Morrison is on the right track to regaining the trust and respect of the readers he turned off with his previous DC series.
As far as the Quitely artwork goes, I didn’t care for his portrayal of Superman in the All-Star series, and I think it was the key factor in me dropping that series before issue #6. However, I thought his art was quite appropriate for Batman and Robin. His Batman looks real, but not too realistic that it falls into that 2D version of the Uncanny Valley that turned me off of All-Star.
I love how he incorporated sound effects into the art as well. He most certainly could have gone for the BIFF! BAM! KRAK-A-DOOOOOOOOM! lettering over the action that we see in other titles, but instead Quitely makes the explosions, splashes and everything else form the sound effects. I’ve seen this done in a similar fashion in a couple of action movies released over the last decade, and it works.
The only thing that might keep the reader from thoroughly embracing this new status quo, is the big elephant in the room. Namely the question of, “When is Bruce Wayne coming back?” I seriously hope DC give Bruce a rest for at least five years before digging him up again. I want to see writers stretch their legs and give this new dynamic duo a chance to show readers what they are capable of.
Batman and Robin feels a lot like an Ultimate Batman reboot and if DC plays its cards right, could make this title the number one title for months to come. I’m hoping the coming issues are as high caliber and fun as this one has been. Batman and Robin #1 has renewed and rejuvenated my interest in the Batman titles once again, which before today was at my lowest interest level in decades.
Batman and Robin #1 features exciting action, interesting character interactions, and a story that I find engaging from the get go, earning a well deserved 5 out of 5 Stars.
Batman and Robin #1
by Jamison Sacks Popsyndicate.com
06/06/2009
4
Surprised that Grant Morrison still has enough credit to be handed the new Batman book? Me too…
I have to give DC props; they sure do know how to stand behind their talent at times. However, I personally would not want to stand behind someone with so many guns pointed at him as Grant Morrison. After the disaster that made the Titanic look like a Sunday row around the lake, Final Crisis, I think it will take a lot for people to gain confidence back in Grant Morrison. His Batman R.I.P.’s confusing, lackluster story did not win him any points either. So you have made a mockery of the DCU and killed Batman, what next? Team up with Frank Quietly, the artist who helped your run on X-Men become legendary, and tell the story or the New Batman & Robin, of course.
In case you did not know, the Battle for the Cowl ended up with the mantle of the bat in the hands of Dick Grayson, Nightwing, the original Robin. The man raised by the Batman. No stretch there. The weird part? Bruce Wayne’s bastard son, Damian Al’Ghul, wears the Robin suit. This caters to a new style for Batman and Robin as Dick handles things with a more light hearted tone and Damian tends to be the soul crushingly serious one. He only refers to Alfred as ‘Pennyworth’ in the most dismissive tones even. The story for this first issue contains setup: Batman and Robin reintroducing themselves to Gotham after months of Batman’s apparent death. Morrison wastes no time introducing one of his crazy new enemies, Pyg. No mention at all of anything setup in the Battle for the Cowl series.
Some other interesting and fun changes revealed in this book come in the form of a modified Batmobile that now flies (apparently thanks to Damian), new style capes and Dick and Damian’s do not use the old cave. They have apparently made a cave underneath a skyscraper (probably a Wayne building) in Gotham, abandoning the Batcave for now. Considering how many people know its whereabouts and have access to it, that probably comes as a smart move. They blow the last page of story with a teaser of ‘coming in the next year’ panels. Unfortunately, it looks like Morrison will not be letting go of some of his previous ideas any time soon. Maybe he can breathe some sense into some of them.
Quietly’s unique, stylistic art accentuates the Batman feel perfectly. His art contains an edgy, almost-but-not-quite sketchy feel that adds a feeling of surrealism. I am still not a big of the way he draws faces, as many times people suddenly jump in age 10 to 15 years, but it is something I tend to overlook with him. I like the slick new style of the Batmobile; it reflects Dick’s personality better.
The first issue of Batman and Robin leaps into the fray in an enjoyable way. Surprisingly not splashy or overly spectacular, Morrison almost makes me believe that this comic might actually make sense. Coupled with Frank Quietly’s art, I will at least give it a go for a bit. Or until I end up staring at an issue going ‘WTF?!’
Batman and Robin #1
Bigshinyrobot.com
June 5, 2009
Grant Morrison and Frank Quitely kicked off their launch of the newest title in the Batman canon on Wednesday, Batman and Robin.
Morrison seems to be bringing in new villains to the mythos (which is quite refreshing) and we’re introduced immediately to a Mr. Toad riding about in a motor car, much like the Mr. Toad from The Wind in the Willows. Later in the issue, we were introduced to Mr. Pyg, a character straight out of the Twilight Zone, but we’ll get to that in a minute.
The major difference in this Batman and Robin book is who they are behind the masks. It’s not Bruce and any previous Robin. Dick Grayson has assumed the mantle of the Bat and is working alongside Bruce Wayne’s Damian, who’s proudly wearing the Robin suit. Tim Drake has taken off to be Red Robin, presumably, and we’re left with the bickering between the Dynamic Duo of days gone by.
It’s this relationship and matching of characters that makes me feel like this book belongs beneath an Elseworlds logo. Dick has taken the mantle before (in Batman: Prodigal), but there wasn’t the feeling of permanence that we get here. As much as I don’t like seeing the status quo changed from Bruce as Batman, I could get used to this for as long as this is the case. But when you’ve been reading Batman as long as I have, I think it’ll feel like an out-of-continuity tale for a little while, as our palates readjust to the new present.
It’s quite obvious that by the next issue, Dick and Damian will be facing off against Mr. Pyg. Like I said, he comes straight from the Twilight Zone. In fact, the whole scene he’s in does.
Don’t believe me? Check this out:
I don’t mind this.
I love the Twilight Zone and any attempts to tell cool stories in a world occupied by characters that Rod Serling might have dealt with makes me happy.
Though I’d love to see the Caped Crusaders played by Bruce Wayne and Tim Drake once more, it’s refreshing to see stories that would otherwise not be able to be told. Morrison has truly created a new era in Batman, much like the Azreal era, or the era of No Man’s Land. Who knows how long this continuity will last, but we’ll all instantly recognize it as uniquely Morrison’s, and to make a mark of that magnitude on a character with as much history as Batman is a hard thing to do.
Batman And Robin #1
By Scott Johnson Comicbook.com
June 9, 2009
If you had told me the basic premise of Batman & Robin #1 without telling me the artist and writer on the series, then I don’t think I would have liked it. I’ve always preferred my Batman to be Robin-free. I’ve also always been more fascinated with the dark, brooding detective aspects of Batman, then the gadgetry and gimmicks of Batman’s various vehicles and his utility belt. So if you told me that there was going to be a new Batman & Robin series, where the dynamic duo traveled in a flying batmobile and fought a giant toad, then I would have probably groaned and mumbled something unprintable about how DC Comics is determined to kill the Batman franchise.
I write all this, so that readers can truly understand, how completely surprised and blown away I was when I read the first issue of DC Comics’ new Batman &Robin series. As I mentioned in the first paragraph, I probably wouldn’t have even picked up this comic book if I had only been told the premise behind it and not the writer and artist behind it. The fact that Grant Morrison is the writer on the series and Frank Quitely is the artist on the series was the motivating factor for me to at least give this new series a try, and I’m glad I did.
First, in regards to Frank Quitely’s artwork, it is stunning. While Quitely’s version of Batman is different than most recent takes on the character, it is the absolutely perfect look for the series. Quitely breathes the words written by Morrison to life with absolute perfection. It’s incredible that Quitely is able to draw a Batman story that looks both nostalgic and futurific at the same time.
Next, in regards to Grant Morrison’s writing, it is both intriguing and captivating. The most powerful thing I can say about Morrison’s work is that he has taken a basic idea which I would otherwise have had no interest in and has crafted it into one of the best comic books I have read all year. I absolutely hate the idea of a flying bat mobile, but Morrison actually makes it work. I couldn’t help but chuckle, when one police officer asks Commissioner Gordon, “You really believe the freak saw Batman and Robin in a flying batmobile, Commissioner Gordon?”
The basic plot in the first issue of Batman & Robin #1 was solid. It introduced a character called the Toad and laid the groundwork for what looks to be a strange circus-type story. However, what really impressed me the most about the first issue was how Morrison started to develop the relationships between the characters. The Batman in the story is Dick Grayson, and the Robin in the story is Damian Wayne. The beauty of this concept is that even though Dick’s wearing the cape and cowl, Dick acts more like Robin than Batman, while Damian in Robin’s bright yellow, red, and green, acts more like Batman. Damian is truly his father’s child.
When Dick whines and moans to Alfred about taking on the mantle of Batman, Damian is quick to quip, “If you’re not up to it, stand aside, Dick Grayson.” Later, while in the flying batmobile, Damian tells Dick, “You can have my respect if you earn it, that’s all I’m saying. You’re not my father.” In one issue, Morrison has created possible the most interesting twist on the Batman & Robin relationship ever. I really can’t wait to see how things pan out between these two characters.
If I had any complaint about Batman & Robin #1, then it would have to be that it wasn’t long enough. The story whetted my appetite for more, and this is one case where I would actually have gladly paid more for a double size issue.
Batman and Robin #1
By Chris Reed Nerdiest-kids.com
June 6, 2009
5
Writer: Grant Morrison Artist: Frank Quitely
Synopsis: The new Dynamic Duo hit the streets with a bang in their new flying Batmobile as they face off against an assemblage of villains called the Circus of Strange. They also tackle their first mission investigating a child who’s been abducted by the mysterious Domino Killer. But will everything go smoothly? And who exactly are the new Batman and Robin?
As a new reader to DC Comics, I was hesitant to pick up the first issue of the new Batman and Robin. But since I knew enough about Final Crisis and Battle For The Cowel, I felt that it would be easy to start off in the DC universe with this comic series. For those, like me, who have followed DC very little or not at all Batman and Robin takes place after the events of Battle For The Cowel with Dick Grayson as Batman and Damian Wayne as Robin. Even without knowing much about previous DC titles this was a great issue to pick up and read for new comic-book readers.
One thing that really stood out above all the other comics I have read was the Art direction. Every explosion and comic sound that is usually annotated on the page, was instead drawn into the action creating the sounds. Those little things really made the comic that much more enjoyable. But what Batman and Robin really offers is a fresh new start of two beloved characters in the new age world. Along side these new heroes Morrison introduces new villains as well. All from a talking toad to a psycho face transplant doctor named “Pyg,” who reminds me of the Manhunt 1 final boss. But what is important about this series is that a new Batman and Robin means pretty much new everything. I’m talking everything from a new Bat-cave, Bat-mobile, and possibly a new butler. All this really helps usher in the new era of Batman and Robin, but also indents into your mind that this is not the same duo that you are use to reading.
In the end, Grant Morrison does a great job of introducing you to the new Batman and Robin and also find a familiarity with them, which in turn leaves you very satisfied. If you are looking to start reading DC Comics this issue is the comic book series to start off with. Overall from a first time reader I give Batman and Robin a 5 out of 5 stars. You can find Batman and Robin at your local comic book store. Don’t know where your local comic book store is? Check this site and find out!
Batman and Robin #1
By Tomer Soiker
Jun 7th, 2009
4.5
Surprisingly, Adam West fitted well into the Batman suit. Burt Ward had to be replaced, though.
‘Domino Effect’
Written by Grant Morrison Art by Frank Quitely
Let me start from the end: This is the best book of the week.
Now, I’m not a big Batman follower, but he’s one of the few DC characters I like. I never really read his monthly books other than several issues here and there, a collected edition and some other stories. I read the first issue of the ‘Batman RIP’ story arc by Grant Morrison. I wasn’t thrilled despite some interesting ideas presented in that issue. The plan was to catch with the rest of the issues later, but it never happened. Then it ended with the alleged death of Bruce Wayne (who actually died shortly after in another story; don’t worry, I don’t get it either) and now we have his big supporting cast taking over the roles of Gotham City’s protectors.
The story begins months after Bruce’s death and the disappearance of Batman. New players use the opportunity to bring their crime game to the city, just when Dick Grayson takes on the role of his mentor as Batman and Bruce’s son Damian becomes the new (cynic) Robin. A goofy gangster called Mr. Toad and his henchmen are taken down easily, while their boss Pyg - revealed later in the issue - is a real sadistic bastard, accompanied by men dressed in blue dresses and permanently masked by plastic doll faces.
Dick seems unsure about doing what he’s doing, although he overcomes his doubts very easily when it comes to fighting crime. Damian is more confident and mocks Dick for his doubtfulness. He also shows disrespect to Alfred and doesn’t seem to appreciate his loyalty to the Wayne (and Bat) family. Dick and Damian’s relationship as adopted and biological sons to Bruce now working together, looks like a good fill-in for the old father-son relationship usually attributed to Batman and Robin.
Grant Morrison is probably one of the best writers of our age, although I’m not always into his works: I loved New X-Men as a whole, but didn’t like some parts, especially his departing arc. Now I appreciate All Star Superman, but it took me five issues to get it and Morrison’s take on the Silver Age. Final Crisis almost ruined his image in my eyes and that’s all I’ll say about this story.
And here, with Batman and Robin #1, it looks like Morrison is back to his game. I hope lateness won’t damage this book and that as I expect from the first issue, it’ll be as good as All Star Superman.
Frank Quitely is such a good artist, seeing people calling his work “ugly” feels to me like blasphemy. Looking past the “repulsive” characters, a good eye will see the amazing craft this man has in his hands. Quitely is a brilliant designer (WE3 is one of the best examples of that), and in this issue he uses funny sound effects, incorporating them into the drawings. And of course, each and any collaboration of his with Morrison produces pure gold.
Batman and Robin #1
by Elizabeth Delaney Dynamicforces.com
June 3, 2009
8
Batman Reborn Part One: Domino Effect
Written by Grant Morrison Art by Frank Quitely
A new DC title. A new dynamic duo. A new batmobile. A new batcave. A new rogues gallery. That’s what awaits the fans who have held on through the devastation of Batman’s character in Final Crisis and Batman RIP. Grant Morrison needed a sandbox to let his crazy flag fly so he gets his devilish puppet strings on his very own title, Batman and Robin. *Note: It’s best to read this after Batman #687.
Issue #1 opens up with a fantastic car chase featuring the new flying batmobile. Mr. Toad leads the dynamic duo into Gotham Harbor. He loses his briefcase full of dominoes and alludes to the boss named Pyg. If you enjoy the cheese of anthropomorphic supervillains akin to the Golden Age of Comics, then perhaps this series will be right up your alley.
As for the new team, Alfred is attempting to break ground with Damian as the new Robin. This spoiled brat with somewhat regal lineage is at least showing that he’s not completely useless and does possess quite a bit of his father’s extraordinary intelligence and aptitude for engineering. Whether anyone will be able to tolerate his petulance, it left to be seen. For less Damian, stick with the main Batman title. Other than getting pulverized in the recent Battle for the Cowl, it’s unstated as to why Tim Drake would decide to be Red Robin as opposed to continuing on as Robin under the leadership of Dick Grayson as Batman.
After there have been sightings of a new flying batmobile, Commissioner Gordon tries once again to light the bat signal and pray for the best. His prayers are answered as Dick and Damian, or rather Batman and Robin, descend from the sky out of the hovering batmobile.
Getting back to the new villains, Pyg is a whack job in a pig mask who has a gang of minions dressed in purple frocks, opera gloves and bastardized Lil Orphan Annie masks. Their modus operandi is a call back to the 1964 episode of The Twilight Zone titled “The Masks.” In this case, the victim does not naively put a torture device on his face; instead he is held down while his daughter is threatened and an acid-laced mask is forced upon him.
It’s not just Mr. Toad’s wild ride, but the fans’ as well. If Morrison’s whacky and out of this world storytelling is something tolerable, then you’re decision whether or not to buy into another Bat-series may hinge on the supporting cast. Frank Quitely’s art is truly amazing but that might not be enough for readers to justify another commitment.
Highlights:
When comparing the recent teams of artists on the Batman books, Frank Quitely is standing out with more appeal than Batman’s new regular artist Ed Benes.
Fans have a love/hate relationship with Morrison. By now you know how you feel about him and whether this book will be right for your white boxes.
Damian may grate on your nerves but he also might bring a sense of freshness to the team; if you can tolerate a genius that acts like a spoiled two-year old prone to tantrums, then you might find this little jerk appealing.
Batman & Robin #1
Brian Green
June 8, 2009
I’ll admit that after the less-than-favorable reviews of “Final Crisis,” I was reluctant to pick up the first issue of the flag-ship “Batman & Robin” title, now being handled by writer Grant Morrison and artist Frank Quitely. But I’m glad that I did. Out of the gate, Morrison and Quitely establish that they aren’t trying to recreate the classic dynamic duo of Batman and Robin. It feels very reminiscent of the old days, while also alluding to readers that this is a very new and somewhat unlikely team-up. Our new Batman, Dick Grayson, carries an air of uncertainty as he tries to adapt the demanding mantle to his own abilities. Juxtaposed to Grayson is the new Robin, Damian Wayne, who is obviously a capable crime fighter, but comes off as arrogant and boastful.
The first few pages depict a high-speed car chase that shows off the new and futuristic Batmobile, sporting updated features such as flight, rocket launchers, and car-snatching grapples. I was instantly reminded of the Batmobile featured in the animated series, “Batman Beyond,” right down to the big, red bat logo on the windshield.
But a weak spot of this maiden voyage is the cast of villains. The Toad character was an obvious nod to “Mr. Toad’s Wild Ride,” as he plows through the streets of Gotham. But the story’s true villain, Mr. Pyg, is nothing more than a mask-obsessed villain typically found on Gotham’s streets. But the uniquely gruesome trait of Mr. Pyg is that he forces his victims to wear masks too, both painfully and permanently.
The feel of “Batman & Robin” #1 isn’t the same as when Bruce donned the guise of the Dark Knight. That’s neither good nor bad—it’s just different. Morrison’s story feels very much like the last few issues of the “Batman” series in that it lacks the constant use of the hero’s mainstream Rogue’s Gallery. By not always falling back on the same canonical villains, Morrison showcases a more detective-oriented approach to Batman’s unending battle against crime.
In the end, I’d say that “Batman and Robin” #1 is a decent comic with a lot of potential to turn into something great. This issue alone won’t shake the foundations of Batman’s place in comic history, but it seems likely to become much larger and grander as the tale unfolds.
Batman and Robin #1
Posted: Sunday, June 7, 2009
By: Dave Wallace
4
Grant Morrison Frank Quitely (with Alex Sinclair, colors) DC Comics
The new Batman and Robin hit the streets in their new flying Batmobile and we begin to meet a few of the new villains that Grant Morrison and Frank Quitely are introducing into the Batman mythos.
Batman and Robin #1 sees Grant Morrison and Frank Quitely pick up the post-Battle for the Cowl status quo and run with it, wasting no time in getting stuck into a fun action-adventure that introduces the new dynamic duo at the same time that Morrison kicks off a brand new supervillain plot.
In many ways, this debut issue is a far more straightforward and traditional superhero comic than Morrison's previous complex and layered work on the Batman title. The writer has mentioned in interviews about his desire to recapture the energy and verve of the 1960s Batman TV show with this book--and, with the help of Quitely, he achieves his goal admirably.
Not only does the book benefit from a fast-paced plot with plenty of action, but there's a sense of humour here that is often lacking in DC's Batbooks. Whether it's the larger-than-life sound effects that are seamlessly incorporated into Quitely's linework, the whimsical inclusion of a low-level villain who appears to be based on Mr. Toad from Kenneth Grahame's The Wind in the Willows, or the sense of comic timing that's apparent in moments like the one in which Dick and Damian punch Toad off his feet simultaneously, there's a real sense of fun to the book.
In addition to all of the former, this first issue is very accessible--especially considering that it's essentially a continuation of Morrison's existing body of work on the Batman title. The story feels relatively self-contained as it explains everything for any new readers who might not be up to speed with the new status quo of the Batman universe, yet it never seems as though readers are being spoon fed large chunks of exposition. Instead, all the relevant and important details are scattered throughout the issue--dropped into dialogue at natural moments rather than being forced into the book in a heavy-handed manner.
For longtime readers of Morrison's Batman run, there are also quite a few subtle references back to previous stories--such as the similarity between the design of the new Batmobile and Bruce's unfinished prototype that was unveiled by Damian way back in Batman #657, or the introduction into present-day continuity of the Dollotrons and Professor Pyg, who featured in the future-set Batman #666.
Not only does Morrison refer back to his previous Batman stories, but the issue inevitably evokes past collaborations with Quitely, too. More than once, I was reminded of their run on New X-Men, with the identical Dollotrons bearing a resemblance to Emma Frost's Stepford Cuckoos, and the opening shots of Batman and Robin in this issue looking very similar to some of the earliest shots of the mutant team in the first issue of Morrison and Quitely's New X-Men. The resemblance is uncanny in places--all the way down to the new design of the superheroes' sleek black aircraft (with the characters' logo in red as a windshield) and the in-cockpit view of the book's heroes drenched in red light.
Perhaps these similarities are intentional--signifying that Morrison wants to put his own personal stamp on Batman and Robin in the same way that he did the X-Men--or perhaps it's just a natural result of the collaborators repeating a couple of past ideas after having worked together on so many projects.
If Morrison is consciously trying to put his own stamp on these characters, he's doing a good job so far. I like the way that the writer treats Dick and Daiman as embodying different aspects of Bruce's personality: Dick has all of Bruce's discipline and restraint, but tempered by a certain lightness and humanity; Daiman, on the other hand, is a more formal and serious superhero--a terse and tight character who treats crime-fighting as a job rather than a hobby.
Morrison effectively establishes the difference between the old Batman and this new version in a couple of scenes that demonstrate Dick's differing approach to crime-fighting--most memorably tormenting Toad by making him believe that he's in mortal danger when in actual fact he doesn't intend to harm him at all. It's quite far removed from the dark, uncompromising techniques that we often associate with Batman, and promises that Dick will take quite a different approach to Bruce in dealing with his enemies.
Frank Quitely's illustrations work in perfect tandem with Morrison's script to tell the story. His excellent new designs for the book include a new flying Batmobile and slightly modified costumes for Batman and Robin. The storytelling is clear and smooth throughout, with a couple of standout moments. I love the pin-up style splash page in which the heroes try out their new paracapes, and the disturbing closing sequence strikes a perfectly bizarre and horrific tone for Morrison's new villain, Mr. Pyg.
There are also one or two smaller visual touches that help to connect the book to the history of the Batman mythos--such as the old-school cutaway page that show the contents of Batman's old Wayne Foundation Tower headquarters from years ago, or the fact that the Dollotrons are hiding out in the Ghost Train from Alan Moore and Brian Bolland's Killing Joke. All of these touches help to reinforce the idea that this book may deal with new characters in the roles of Batman and Robin but it's very much a continuation of the same Batbooks that we've been reading for years.
Finally, I can't help but mention the clever wordplay of the issue's title, "Domino Effect." It seems to refer not only to the idea of a catalysing sequence of events--and to actual dominoes themselves, which are a significant plot point--but also to the "domino" mask previously sported by Dick Grayson and now adopted by Damian, the transfer of which has had a noticeable effect on the personalities of both characters as they grow into their new roles.
With Batman and Robin #1, Morrison and Quitely aren't reinventing the wheel of superhero comics. However, it doesn't seem as though that was ever the intention. Instead, they're taking the new Batman and Robin and setting out to have as much fun with them as possible--whilst also imbuing their world with a sense of freshness and novelty. It's a testament to this fresh feeling that Morrison even manages to pull off the old "together again for the first time" cliché without it feeling self-satisfied or self-aggrandising. This issue feels like a genuinely new take on these old established heroes, and I can't wait to see where Morrison and Quitely take them next.
Batman and Robin #1
Posted: Sunday, June 7, 2009
By: Charles Webb
5
Grant Morrison Frank Quitely (with Alex Sinclair, colors) DC Comics
The new Batman and Robin hit the streets in their new flying Batmobile and we begin to meet a few of the new villains that Grant Morrison and Frank Quitely are introducing into the Batman mythos.
Comments: After months of middling stories and false starts, fans of the Bat-family finally get back to solid footing with the return of Grant Morrison. Better still, he returns with frequent collaborator Frank Quietly--reuniting the team that ushered in radical reinventions/reinterpretations of comic mainstays the X-men and Superman.
The last few months have dealt with the supposed death of Batman and its repercussions on Gotham. This scenario has elicited introspection about the nature of a hero's death (thanks to Neil Gaiman) and nearly histrionic insistence that a Gotham without Batman is a city in flames (thanks to Tony Daniel). Neither approach had any particular resonance for me.
The former was a flat-footed and on-the-nose analysis of the titular character with trite commentary on the nature of the Dark Knight that did disservice to both the "death" of Batman and Neil Gaiman's otherwise stellar legacy of innovative storytelling.
The latter represented one of my great pet peeves in modern comics writing: Editorially mandated running around by the principal cast until the "real story" took effect. I'm sure everyone involved in the construction of Battle for the Cowl* and its miscellaneous tie-ins felt they had something to say about Batman, his city, his friends, and his foes. Ultimately, however, it ended up feeling scattershot, lacking unity, and (worse yet) any feeling of suspense.
The pro forma question of who would wear the pointy ears and voluminous cape of Batman was there, but frustratingly not there. It had less to do with the stories that were being told since these weren't the "real" writers who would ultimately get to dictate this course of events.
With that recent history firmly dealt with, let's look at the present: Morrison and Quietly have (as expected) generated a brightly-colored pop candy confection that doesn't nourish but nonetheless satisfies.
I have alternately loved and admired Morrison's work on Batman since he took the reigns of the book back in 2005. I must clarify this admiration is because I didn't necessarily think some of the choices he made worked--primarily in Batman: R.I.P.--but because the giddy influx of ideas made me excited for what would come next.
Giddiness. That's what this opening issue of Batman and Robin has in abundance. It appropriately feels like Batman as seen through young eyes--for all that entails. In times past, Robin was the character the reader was asked to identify with. However, Morrison asks us here to step into the shoes of protégé-turned-mentor Dick Grayson as he guides Damian Wayne in his role as the new Robin.
Tellingly, the Robin/Nightwing-turned Batman is airborne and aloft both physically and in terms of story. Quietly has reinterpreted Batman and Robin visually as Morrison has shifted the characters behind the masks. Together the creators have made the dynamic duo agile and extremely kinetic. Gone is the grimness of the character but not the essential danger. The genius detective has a greater part of daredevil added to the mix alongside his vicious little deadly-ninja sidekick.
About Damian: I've noted that we now identify with Batman instead of Robin, and I think this is in part because the role of Robin is now in flux with the son of the Batman wearing the modified costume. Indeed, Damian as a character is in flux, still haughty but lacking much of the bratty excesses of his early appearances. It peeks in around the edges, but he seems humbled by his new role as a protector against the threats that face Gotham.
Not content to reinvent Gotham's heroes, Morrison and Quietly reassess the bizarre costumed evil that infects the city. We see hints of it with Mr. Toad and a suitably unsettling appearance at the end of the issue by new heavy Mr. Pyg. What differentiates Morrison from other writers is his enthusiasm for creating new villains instead of relying on the constant tweaking of old ones.
The issue is a perfect first issue--both as an introduction to new readers as well as for longtime readers eager to see the new direction of the series. If I haven't evangelized enough in the last 700 or so words, let me state plainly that I can't wait to see what Morrison has in store for his readers over the next year.
*And what was Battle for the Cowl if not something relentlessly and ploddingly built instead of told?
Batman and Robin #1
Posted: Sunday, June 7, 2009
By: Karyn Pinter
3.5
Grant Morrison Frank Quitely (with Alex Sinclair, colors) DC Comics
The new Batman and Robin hit the streets in their new flying Batmobile and we begin to meet a few of the new villains that Grant Morrison and Frank Quitely are introducing into the Batman mythos.
If you've been living under a rock and have no clue what's happening in the world of Batman right now, I will give fair warning of spoilers.
I guess we'll all have to suck it up and face the fact that Bruce Wayne isn't coming back--at least for a little while--and someone else is going to have to fill his Bat-shoes. Of course, the one filling them is the one we all knew would--and the only one that could. I can't understand why DC kept beating around the bush for so long. Wasn't it obvious? Like father, like orphaned circus performer taken under wing.
And what about Tim? He's just out and Damian is in? That was the biggest con for me. I liked Tim as Robin. So what, he got stabbed by Jason Todd. Boo-hoo. He's the Boy Wonder, and the Boy Wonder doesn't just leave because he got stabbed by a crazy ex-Boy Wonder.
Things are falling into the right places: Dick is now Batman, and Bruce's son, Damian, is Robin. But Damian is a little shit, and I never liked the kid. His only real contribution so far is to make the Batmobile fly, which now makes it the Mary Sue of all heroic vehicles.
As for the story itself, it's not bad, but there certainly have been better.
As we all know, Grant Morrison is very capable of pulling off a Batman story--but I was expecting a little more from the man who offed Bruce Wayne. The issue seemed a little mild.
It's a first issue, but it's not a first issue; some more action would have been nice. Hopefully there will be less flying around in the Batmobile in subsequent issues in favor of some real dynamic duo fighting.
I did like this new villain, Mr. Pyg, and his creepy dolls. That's the Grant Morrison I know, not afraid to take risks by making a villain wear a pig mask and a bow tie. Goofy, yes, but freakish and terrifying overall.
I do have one concern: I hope Morrison writes Dick Grayson as Dick Grayson being Batman, and not Dick Grayson trying to be Bruce being Batman. Dick has always been the one to inherit the mantle of The Bat, but he should retain some of his Robin/Nightwing identity and not just become a carbon copy of Bruce's Batman.
You can see this "carbon copy" character in the way he is drawn in this issue. In the Batman suit, Dick looks like Batman--the way Batman has always looked. Out of the costume however, Dick looks like Dick Grayson-young, a little plucky, but never a Batman. There's a definite facial change in and out of the costume.
This is like the New Coke scenario--brought to us by the makers of the original but with a new recipe. How long will it last and was it really necessary? DC replacing their original characters has had a poor track record. The original is always better and eventually comes back. Batman and Robincertainly is a must read, good or bad. This is a new dawn for Batman. The change has come, but we can all secretly hope it changes back.
Batman and Robin #1
Posted: Sunday, June 7, 2009
By: Paul Brian McCoy
5
Grant Morrison Frank Quitely (with Alex Sinclair, colors) DC Comics
The new Batman and Robin hit the streets in their new flying Batmobile and we begin to meet a few of the new villains that Grant Morrison and Frank Quitely are introducing into the Batman mythos.
Finally! A Batman story for me.
I am not a fan of Bruce Wayne. I think the character is absurdly sophomoric in both his motivations and his methodology, and any notion that reader identification with the character because he has no powers and therefore could be an ideal that we all could achieve with the proper training and education is just absurd.
Bruce Wayne epitomizes the adolescent power fantasy that prompts enraptured gushing by the worst of stereotypical fanboys. Calling him the "World's Greatest Detective" (when clearly he's only ever as good a detective as his writers are at constructing mysteries) is the equivalent of walking around flexing your fists and saying "Snikt" whenever someone bugs you, or making humming noises and pretending to do light saber routines.
The idea that someone with the financial resources of Bruce Wayne, and who thinks that dressing up like a bat and going out to punch people in the face is how to stop crime is just silly. It always has been. The only rationalization for it is if the character is insane.
Really. Why fight poverty and hunger with your inherited millions when you can punch a "bad guy" and look all cool before going out with models and starlets, but not enjoying it?
Girls are icky, after all.
Bruce Wayne has always been a spoiled, emotionally-retarded, pseudo-psychopath and he always will be. I say "pseudo" there, because he's a gutless marketing tool that DC won't even allow the moral complexity of Wolverine (what there is of it). The mere fact that he's let the Joker live all these years puts the blood of every one of the "Clown Prince of Crime's" murder victims' on his hands. Simple as that. And don't quote me moralistic crap about "lowering" oneself to the level of the enemy. Save it for the cartoons.
The only times I've enjoyed stories about Bruce Wayne are when he's clearly bugshit crazy and/or wracked with guilt for not doing enough.
I wish he was actually dead and wasn't coming back.
So why the perfect score for this Batman comic?
I love the idea of Dick Grayson assuming the mantle of Batman. He's a character that is much more relatable and worthy of admiration. Don't forget, he also saw his parents murdered in front of his eyes, but . . . look at that . . . he didn't go insane or turn into an asshole!
Dick Grayson has become a leader in the community without intimidation tactics. He actually has friends, romantic relationships, and a social life that isn't part of his "cover." When Dick makes a moral argument not to kill, there's actually some integrity involved rather than just corporate appeals to adolescent moral constructs.
Dick Grayson is the kind of character who deserves the adoration of fans.
Pairing him up with Damian as Robin is a stroke of genius. In one fell swoop, Morrison has created a dynamic between the duo that couldn't be found with any other pairing. The idea that Batman is the nice guy without personality problems and Robin is borderline psychotic takes the traditional motif of the sidekick being introduced to help mellow out and humanize the protagonist and then immediately subverts it--making it fresh and interesting. This is a Robin who won't hesitate to kill if he thinks its necessary, and that fact creates complexity. It creates interest.
I've never really wanted to read about the Batman and Robin team. Instead, I just followed Morrison and Quitely (creators whose work I have liked) over to this title when they took it on. Now I want to read about these characters.
Morrison captures both distinct personalities effortlessly and he has created in this first issue a work that doesn't require any outside reading to enjoy. Even if you didn't know that Bruce Wayne was "dead," Morrison works all the exposition and introductions that a reader needs right into the dialogue in a way that is extremely natural and organic.
When it comes to Batman's Rogues Gallery, I've never been much of a Joker fan either. Oh, I love the idea of the Joker, but he's never been a serious threat, and when he is written as a truly dangerous character, there's never any serious resolution. He's as much an industry as the Bat is, really.
I enjoyed what Morrison tried to do with him during his run on Batman. Yet, just as with Bruce Wayne, there's really just nothing interesting that can be done with the Joke within DC's main continuity.
However, Morrison's new villain for this piece, Pyg, is what the Joker should be: Genuinely disturbing and chillingly insane.
Pyg is particularly unnerving thanks to his gelded group of "henchmen." Burning blank-expressioned masks onto men's faces and then using medical tools to remove their genitals before dressing them like little girls and making them your brainwashed/damaged slaves is an area that I dare the Joker to step into.
Odds are, even the Joker would be creeped out by Pyg.
So we've got a brilliant passing of the torch from walking fanboy cliche Bruce Wayne to complex and mature Dick Grayson, a Robin who deliciously declares that "Crime is doomed," and a mysterious threat in the form of a nightmarish villain who literally makes my sphincter tighten just thinking about him. If it were illustrated with crayons and stick people, I'd probably still give it at least four bullets. Luckily, Frank Quitely is back in town, and quite frankly his work is perfection.
The rougher textures of his inking establish a distinct change in tone from his recent work on All-Star Superman--though his layouts and orchestration of action from panel to panel maintain that former level of quality. Working the sound effects into the art organically is a great touch, which, as has been said in other places around the Web, emphasizes the singular strengths of comics as a medium. Quitely's work can't be lifted for storyboards without losing the energy and innovation at its heart.
The level of detail in every panel is just breathtaking--whether it's the engine visible through the grill of Mr. Toad's car, the textured soles and laces of Robin's boots, the way Batman's costume actually looks like cloth as he dives from the hovering Batmobile, or the horrifyingly fleshy emptiness of the masks of Pyg's henchmen. Every page of this book is as good as it can be. I have absolutely no complaints.
Together, Morrison and Quitely have done what I thought was impossible. They've created a Batman comic for me, the guy who hates Batman comics. Batman and Robin #1 gets my highest recommendation.
Batman and Robin #1
Posted: Sunday, June 7, 2009
By: Thom Young
4.5
Grant Morrison Frank Quitely (with Alex Sinclair, colors) DC Comics
The new Batman and Robin hit the streets in their new flying Batmobile and we begin to meet a few of the new villains that Grant Morrison and Frank Quitely are introducing into the Batman mythos.
First of all, for all of those readers who seem to believe that Dick Grayson is "permanently" taking over the role of Batman--in the same way that Wally West "permanently" took over as The Flash, Kyle Rayner "permanently" took over as Green Lantern, and Connor Hawke "permanently" took over as Green Arrow--let me assure you that you haven't been paying attention.
Bruce Wayne isn't "dead" in the way that Barry Allen, Hal Jordan, and Oliver Queen were dead. It was revealed at the end of Final Crisis that Darkseid's Omega Beams must have transported Bruce Wayne back in time to Europe's Upper Paleolithic period. After all, Darkseid's Omega Beams have had that effect on people before--such as The Forever People and Sonny Sumo.
Additionally, DC and Morrison have acknowledged that Bruce Wayne will be returning as Batman in about a year or so. It will undoubtedly be one of the "summer events" for DC in 2010. In the meantime, we are being given The All-New Batman and The All-New Robin, the Boy Wonder--and it's a great team filled with interesting possibilities.
As everyone knows by now (because you've at least read the reviews above mine), The All-New Batman is none other than Dick Grayson, the original Robin. I didn't bother to read Battle for the Cowl, but I knew that Grayson had to be the one to emerge as the new Batman.
When I was a kid, I recall reading reprints of stories that were collectively known as "Alfred's Tales of the Future"--originally published in Batman #131, 135, 145, 154, 159, and 163 (DC should collect these in a trade paperback edition). While those stories were Alfred's "imaginary tales" in which he envisioned Dick Grayson as Batman II and "Bruce Wayne, Jr." as Robin II, they cemented in my young mind the idea that Dick Grayson would one day become Batman when Bruce either retired or died.
Any other character becoming the second Batman (if only for a year) would not be tolerable (I didn't bother to read Batman comics in the 1990s when Bane broke Bruce Wayne's back and Azrael briefly became the new Batman, and I've never had any desire to seek out those issues since then).
Anyway, Grant Morrison is giving us a sort of throwback to "Alfred's Tales of the Future"--but with Damian al Ghul (supposedly sired by Bruce Wayne) filling in as Bruce Wayne, Jr. and Talia al Ghul thus filling in as Kathy "Batwoman" Kane. After all, we have an All-New Kathy "Batwoman" Kane in the DC Universe (or "Kate 'Batwoman' Kane," as they now seem to be calling the new version), and it doesn't seem likely that the new Batwoman and Bruce will be making babies together at any time in the future.
As Paul mentioned in his review, the new Dynamic Duo of Dick Grayson and Damian is an interesting twist on the traditional view of Batman and Robin--with a lighter, devil-may-care Batman and a darker, grim-and-determined Robin. Of course, this dynamic has been touched upon before in a few "imaginary stories" in DC's past, but I believe this is the first time we've seen it in "regular continuity." I'm interested to see how Morrison plays it out--and what changes will be made in Damian's character in the next year as a result of Dick Grayson being the mentor whom Damian doesn't want.
I also want to address a point that Karyn made in her review--not only is Dick Grayson clearly not just going to be playing the part of Bruce-as-Batman, he also looks nothing like the traditional depiction of Bruce as Batman. Dick Grayson's Batman is leaner than Bruce's. He has the body of a circus trapeze artist or gymnast rather than that of a weightlifter or bodybuilder--though Bruce Wayne should never actually look as muscle-bound as so many artists have made him over the years.
I recall Marshall Rogers once commenting in an interview in the 1970s that he drew Batman as having a gymnast's body because a character who swings on Bat-ropes, runs around on rooftops, and performs all sorts of acrobatic stunts would not have the bulky muscles that many artists have given Bruce Wayne over the years--and Marshall Rogers was right!
However, Frank Quitely seems particularly aware of making certain that Dick Grayson doesn't look like Bruce Wayne when he's in the Batman costume--and it will be interesting about a year from now if Quitely is around for the arc in which Bruce Wayne returns and there should happen to be a panel in which the two Batmen are standing side-by-side so that we can see how their physical appearance is contrasted.
Anyway, in roughly chronological order, here are the things I really enjoyed about this issue (in addition to Morrison's writing and Quitely's illustrations, of course):
Batman learns all he needs to know from Mr. Toad even though the villain doesn't answer his questions--because Mr. Toad used words that former circus performer Dick Grayson instantly recognized as European circus slang.
For the record, Toad used the words mingers, jossers, nanti, and dinari in this issue (the last two while being questioned by Batman). In order, those words are:
A British slang term for ugly people (though I don't know why Toad is calling the Gotham City cops ugly);
A British slang term for foolish people, or a British circus slang term for anyone who is not in the circus;
An old slang term in the British gay community for nothing; and
A European circus slang term for money--undoubtedly derived from denarii (with an "e" and double "ii" at the end), which are Roman silver coins that were widespread in Europe after 211 BCE).
It's kind of odd that Mr. Toad would use the British gay slang word for nothing (nanti) but not use the British gay slang term for money (hambag). Perhaps European circus slang picked up the one word from British gay slang but not the other.
In any event, I enjoyed seeing Dick Grayson learn all he needed to know about Toad after hearing his slang--proving that Dick Grayson has indeed learned from "the World's Greatest Detective" (sorry, Paul, but I have always liked that notion--being the Batman fanboy that I was and still am to some extent).
The All-New Batmobile--well, I sort of like it anyway.
Back in Morrison's first issue of Batman (#655), Bruce Wayne was designing a new Batmobile that he wouldn't let Tim Drake see. Andy Kubert was the illustrator teamed with Morrison at the time, and I was looking forward to seeing Kubert's design for a new Batmobile. Then Kubert suddenly left the series (for a reason that I don't believe was ever revealed) and it was eventually left to Tony Daniel to design the new Batmobile--which was unveiled two years later (in Batman #676) to be nothing more than either an Acura or a Bugatti concept car that Bruce Wayne modified into a Batmobile. It was hardly something that Bruce had to build himself from the chasis up.
Of course, the Batmobile has often been modeled after a futuritistic-looking concept car designed by an actual automobile company (the 1960s TV series Batmobile is a Lincoln Futura), but I was disappointed in Daniel's use of rather ordinary-looking "concept cars" even if they are designs from Acura and Bugatti.
However, Quitely gives us a radically different Batmobile--one that hovers (apparently the hover jets are located in the four "arms" that can extend outward from the car's body), but which otherwise looks sort of like a really large AMC Pacer on a dune buggy chasis.
As Dave pointed out in his review, this new Batmobile may actually be a reference back to the one that Andy Kubert was designing and that was partially revealed in Batman #657--which makes Tony Daniel's depiction of the Acura-Bugatti Batmobile all the more perplexing.
However, Mr. Toad actually has the cooler-looking car--an apparent variation on the 1938 Phantom Corsair concept car that was referred to as "the flying wombat."
Quitely's integration of sound effects into the design of his illustrations in a way that reminds me of what Walt Simonson did in the 1974/1974 Manhunter series that he did with Archie Goodwin and that Marshall Rogers did in his 1977/1978 Batman work with Steve Englehart--but Quitely's is even more "organic" in the way the sound effects are integrated into the design.
The return of the Wayne Foundation Tower that has a palatial penthouse home on its roof and a secondary Batcave beneath its basement levels (though not accurately drawn in Quitely's cut-away illustration in this issue, which shows that the Batcave is the building's basement).
In 1969, Dick Grayson left Wayne Manor for Hudson University, so Bruce and Alfred put the mansion and the Batcave under wraps and moved their base of operations to the Wayne Foundation building. In this latest issue, Dick and Alfred do the same thing--place the mansion and cave under wraps and move downtown to the Wayne Foundation penthouse and secondary cave. The building has been renovated since Neal Adams and Irv Novick first drew it 40 years ago, but seeing it come back into use is a nice touch.
Damian's dialog is something that Morrison is paying close attention to. I've often commented that Morrison has a better ear for dialog than do most writers working on DC's mainstream superhero titles, and he proves it again here.
When Alfred descends from the penthouse with a "light supper" of sandwiches for Dick and Damian who are working in the Batcave, Damian first instructs the butler to "leave it down by my toolkit, Pennyworth." However, a second word balloon then has Damian add "Thank you."
The "thank you" was an afterthought as Damian is still getting used to having to be polite to "the servant"--indicating with that one panel and two-word-balloon sequence that Damian is a child who feels a sense of entitlement but who is trying to remember to think of "the little people" whom he otherwise believes are beneath him.
Then, in the next panel (on the next page), Alfred shows an interest in what Damian is working on (the gyroscopic array of the new Batmobile), and Damian responds by stating that he promised he'd finish what Bruce Wayne had started working on. However, he then catches himself responding almost familiarly to "the servant" (symbolized by a word balloon containing just an ellipsis) and so he quickly adds, "That will be all, Pennyworth."
Notice Damian's use of the surname when addressing Alfred; it indicates that unlike Bruce, Dick, and Tim Drake before him, Damian does not view Alfred as "part of the family," and he wants to be certain that the butler knows his place. It's a somewhat subtle thing that most superhero comic book writers don't consider--though a handful do, and Morrison is one of those few (and probably the only one currently being employed by DC).
Not counting Commissioner Gordon or the SWAT team on the roof who take Mr. Toad into custody after he's dropped off by Batman, all of the Gotham City police officers shown in this issue (all four of them) are overweight. In fact, the SWAT team officers might also be fat, but their clothes and our viewing angle of them makes it difficult to tell for certain.
Even though it may not be realistic, I like this idea of Gotham having a lot of fat cops who have grown flabby as they've relied on Batman and his Family to do their jobs. Of course, there really are overweight police officers in cities and towns throughout the United States, but it just seemed that Quitely (and Morrison?) was making a point to show a disproportionate number of Gotham's Finest are carrying around several extra pounds.
Family portraits as a motif in this issue. When Dick and Alfred are putting the mansion under wraps, Dick looks at a framed photograph of himself, Bruce, Alfred, and Ace (the Bat-Hound) in happier times when Dick was Damian's age. Later, in the apartment of the Toad's henchman, Niko, Mr. Pyg shows the man the framed photograph of his own family--Niko, Niko's wife (apparently), and their daughter (Sasha).
It's sublte touches like this motif that I really appreciate, and it actually ties into the motif that has been running through Morrison's run on Batman--going back the first arc, "Batman and Son" in issues #655-58.
Anyway, those are a few of the bits that made me appreciate this issue a great deal. The only reason I'm not giving it a full five-bullet rating is that I didn't see any connotative meanings to these bits, but I trust added dimensions and nuances will be forthcoming.
In the meantime, this first issue is nothing less than an extremely well-written and well-illustrated Batman story that is a lot of fun to breeze through.
Before ending this review I want to add that I'd be surprised if the Knight and Squire hadn't heard of Mr. Toad (even though he wasn't in the International Club of Heroes' database). After all, Mr. Toad's slang was almost all British.
Finally, I'm probably wrong, but I thought a clue to Mr. Pyg's identity might be the fact that we don't see Niko's brother, Lev (Toad's other henchman), in the final scene once Niko regains consciousness. Mr. Pyg is wearing a shirt that looks identical to the one that Lev was wearing when the Dollotrons brought him to Niko's door (though it's just a typical white button-down shirt).
Obviously, Pyg has a full head of hair while Lev is a balding male who shaves what little hair he has on his head (based on the hair stubble that is depicted). However, Pyg could easily put on a toupee when he puts on his pig mask.
I'm probably wrong, though--as I so often was in trying to figure out things in Morrison's run on Batman, which still doesn't hold together for me--but I think it would be an interesting twist to have a Batman villain who disguises himself as one of his own followers and learns what his henchmen think of him (sort of like what Shakepeare had the King do in Act IV, scene i of The Life of King Henry the Fifth--but, of course, with Pyg not being as magnanimous as Henry V.
Batman and Robin #1
By Jim Comicsand.blogspot.com
June 3, 2009
Overall Grade A+
A glorious beginning to what will hopefully be a new era for Batman.
Writer Grant Morrison Art Frank Quietly Colors Alex Sinclair
WOW. What a great comic book. You know when I said it looked like Irredeemable had won best new series of 2009 already, well if you count this as a new series this book started off with a bang and could be the series of 2009.
I have campaigned for Dick Grayson to be Batman for years. Not because I don’t like Bruce as Batman, but because the only way to really being in some life to a character is to let someone else be the character. A flying Batmobile, sky diving from a hovering Batmobile, moving the operations back into the city, a Robin more cocksure of himself, a Batman whose has suffered lose but also was raised with love; can’t be Bruce and Tim, but it can be Dick and Damian.
I enjoyed this book like I have not enjoyed a Batman book in forever and very few comics are hitting this mark. We jump right into Batman and Robin going after the bad guys and a mystery is immediately presented to them as the payoff for the crime was being made in dominoes.
We then cut and see the interplay between Alfred, Dick and Damian and the new dynamic is just great. Dick is the cool and confident one trying to tame the brash and unbridled Damian. Alfred is appreciated by Dick, where he was barely acknowledged by Bruce. Alfred is a servant to Damian where he was a friend and semi-father figure to Dick and Tim.
Next we see a new group of villains being introduced and they are appropriately enough the “Circus of the Strange”. An odd and gruesome bunch and effectively creepy and nasty enough to be a real threat. How appropriate for Dick to fight a circus his first time out as Batman.
The art, ah the art is Frank Quietly and Alex Sinclair on colors and again – WOW. From the double page spread of a flying Batmobile, to the full page spread of Dick and Damian jumping from the hovering Batmobile into the Bat signal, to a car that splashes in the water that forms the sound effect, to burning a doll mask onto a person and to quiet moments between the boys and Alfred, Quietly looks beautiful. The smugness of Damian and the quiet thoughtfulness of Dick come through via body language and expression. I wish Frank was doing the book all the time, but an arc here and there is fine by me. Art and color blend perfectly on each page.
This book has me excited for the Bat universe like I have not been since Denny O’Neil and Neal Adams reshaped the Bat. Back in the sixties due to the success of the Batman TV show Batman and Robin were turned into a campy echo of that show. Denny and Neal turned Batman back into a detective and a creature of the night. Those stories have essentially set the tone for what Batman has been for the last 30 plus years. Soft reboots aside no one has really done anything new with Batman since (maybe Batman Year One by Miller, but that was not a radical change). Now with Bruce out of the way it all feels new again and yet it is still Batman and Robin.
I hope DC is smart enough to realize that leaving Dick as Batman for a year will not be enough. When Bruce comes back (and they should make it longer then a year) maybe he will take a back seat and be more of a behind the scenes guy and let his adopted and real son take over the family business like it has always been predicted they would. The sixties were full of stories of Bruce’s son being Robin and Dick being Batman, some things are meant to be.
Also how are going to keep them down on the farm after they have seen Paris, France. I believe the actual expression (slightly different) was talking about WWI, but the same applies here. When Batman Prodigal son was being done it was just Nightwing in the Bat costume, because Bruce was alive and coming back, just recovering. Now it is Dick being Batman, not waiting for Bruce to come back, it is Dick making Batman into his own creature. So once that conversion is complete, how do you make Dick go back to being Nightwing again? I say, you don’t and Bruce takes a different role. Heck we can always do books like Matt Wagner’s brilliant work a few years ago about Bruce’s early years.
Back to this book, even if you were not fond of Morrison run before, do not miss this book. It promises to be a wonderful tale of two people thrown together by circumstances becoming a team and becoming the legends, while making their own.
Batman and Robin #1
By Rokk Krinn Comicbookrevolution.com
June 4, 2009
Creative Team Writer: Grant Morrison Artist: Frank Quitely
Art Rating: 9 Night Girls out of 10
Story Rating: 8 Night Girls out of 10
Overall Rating: 8.5 Night Girls out of 10
I have been summarily unimpressed with what DC has done with the Batman family. The only Batman title that I will be collecting until Bruce's return will be Batman and Robin. And the reason for that is because I enjoy the creative team of Grant Morrison and Frank Quitely. Even though I am not enamored with Dick and Damien assuming the mantles of Batman and Robin I still have a feeling that this title is going to be a wild read. If nothing else, Morrison is not going to deliver a boring story. Let's go ahead and hit this review for Batman and Robin #1.
Synopsis: We begin with the Mr. Toad and two of his flunkies (one of them named Lev) being chased through Gotham by Gotham Police cars and helicopters. The villains take out one of the cop cars. Mr. Toad gloats that the Gotham Police cannot stop them. That it would take the Batman to stop them. And the Batman is dead.
Suddenly, one of Mr. Toad's thugs looks up into the sky and stammers "No, no, no, no." We see a flying Batmobile appear on the scene and flying right behind Mr. Toad's car. We cut to inside the Batmobile with Damien telling Dick that he knew it would work. That Damien took Bruce's blueprints and got the Batmobile to fly. Dick apologizes for ever doubting Damien.
Dick then fires a rocket at Mr. Toad's car. Mr. Toad's car spins out of control. Damien reminds Dick to never use their real names while in the field. Damien says that those were Dick's words. Dick says that he is glad that Damien has been paying attention. Dick comments that when he was Robin that he would have killed for a flying Batmobile.
Mr. Toad's out of control car is about to crash head on into a bus. The Batmobile swoops down and uses a magnet or something to grab a hold of Mr. Toad's car and lift Mr. Toad's car into the air. The Batmobile carries Mr. Toad's car over the river and then drops Mr. Toad's car into the water.
We cut to Mr. Toad crawling out of the water and onto the docks. Mr. Toad comments that he is too slippery for anyone to catch him. Suddenly, we see Dick and Damien standing in front of Mr. Toad. Dick and Damien punch Mr. Toad at the same time and take him out.
Mr. Toad drops his briefcase and it flies open. The briefcase is full of dominoes. Dick wonders what kind of drug dealer gets paid in dominoes. Dick says that the cops can handle Mr. Toad's two thugs. Dick tells Damien that they are taking Mr. Toad to the Batmobile.
We shift to Mr. Toad regaining consciousness. Mr. Toad is blindfolded. Dick holds Mr. Toad out of the Batmobile by Mr. Toad's ankle. Dick tells Mr. Toad that he is 300 feet above the road and that Mr. Toad is a slippery fellow and that Dick is starting to lose his grip on Mr. Toad's ankle. Dick asks Mr. Toad why he is in Gotham City. Mr. Toad replies that his doctors told him that the Gotham air would be good for his complexion. Mr. Toad then says "I'm telling you nanti! Where's my dinari?"
Dick replies "All I need to know." Dick then let's go of Mr. Toad's ankle. We pan back and see that Mr. Toad was only a couple of feet off the ground. Mr. Toad pulls off his blindfold. The Batmobile flies away. Toad screams "You wait 'til Pyg comes! You'll all wish you'd never been born!"
We slide over to the Batcave where Dick and Alfred have completely shut down the Batcave and covered up all the various computers, equipment and memorabilia. Alfred asks Dick if he is having second thoughts.
Dick replies that he always knew that this is what he would do if something happened to Bruce. Dick says that he just did not want to face it. That this was Dick's worst nightmare as a kid. That as long as he was Nightwing he could pretend that he would never have to take over as Batman. That Bruce would always be here.
Dick then asks Alfred what he is getting himself into with Damien as Robin. Alfred answers that Damien can certainly be difficult, but that Damien is his father's son. That beneath all of Damien's defensive bluster is Bruce's courage, determination and desire to do what is right. Alfred says that if anyone can bring out the best in Damien that it would be Dick.
Dick and Alfred drive away from Wayne Manor. Dick stares at the gravestone of Thomas and Martha Wayne as they leave the grounds of Wayne Manor. Alfred says that Bruce was always so proud of Dick. And that Bruce would be especially proud of Dick right now.
We cut to Dick and Damien in a modified Batcave facility underneath Wayne Tower in downtown Gotham. Alfred enters the underground facility with food for the boys. Damien is busy working on the Batmobile. Damien curtly tells Alfred to put the food by his tool kit. Damien then thanks Alfred.
Alfred comments on how impressive Damien's work on the Batmobile has been. Alfred says that the gyroscopic array was a source of endless frustration for Damien's father. Damien responds that he promised to finish what Bruce started. Damien then says "That will be all, Pennyworth."
Alfred then serves Dick his food. Dick compliments Alfred on his excellent cooking. Dick then says that Mr. Toad does not show up in any databases that the JLA, Titans or International Club of Heroes have. Dick says that he knows European circus slang when he hears it and Toad was definitely speaking it.
Alfred comments that Dick has now kicked off in earnest his first week as Batman. Dick responds that he cannot shake the feeling that he is wearing a shroud. Damien walks over and tells Dick that if Dick is not up for it then to stand aside and let Damien be Batman. Damien says that he was bred for the job. Damien says that he was trained by the League of Assassins. Damien says that he could easily continue his father's work on his own.
Dick replies "Maybe one day. But not today." Dick tells Damien to put on his mask and get into the Batmobile. They then race off into the streets of Gotham city.
We cut to Toad in prison. Toad screams that he has friends and that the Police won't be able to keep him in jail. Toad yells that Gotham will soon belong to "us."
We cut back to Dick and Damien flying through Gotham in the Batmobile. Damien tells Dick that Dick can have his respect when Dick earns it. Damien reminds Dick that he is not Damien's father. Dick tells Damien to lose the attitude and that Dick can still offer the position as Robin to Tim Drake.
Dick tells the Batmobile to hover. Dick asks Damien if he is ready to test the paracapes. Dick says that it is time for Batman and Robin. That they are back together again for the first time.
We slide to Commissioner Gordon and a couple of cops on the roof of the police headquarters. Gordon has turned on the batsignal. One of the cops says that Batman has not been seen nor has Batman answered the batsignal for months. Gordon replies that it is still worth a try to turn on the batsignal and see if Batman responds.
We then see Dick and Damien gliding through the sky where the batsignal is located. We cut to outside the police headquarters. A car screeches up to the headquarters and a man made of fire tumbles out of the car. The man then attacks a couple of cops.
We cut to the apartment where Niko, one of Mr. Toad's thugs from the beginning of this issue, is frantically packing his luggage. Niko tells his daughter to get ready to leave. Niko says that he just escaped from the Batman and that is something you do not do twice.
There is a knock on the door and Niko opens it. An unconscious Lev, the other thug from the beginning of the issue, falls through the doorway. Pyg and a bunch of his thugs who look like deformed dolls enter the room. They knock Niko out.
Niko wakes up and finds himself tied to a table. Pyg is standing there wearing a pig mask over his face. Pyg says that Niko should never have betrayed him. Pyg then says that he is going to give Niko a new face. The doll-like thugs place a mask like theirs over Niko's face. The mask burns itself onto Niko's face.
Pyg says that there is always pain when ugliness is burned away. But that pain is the beginning of perfection. Pyg says that Niko has been a bad man, but that Pyg will not make Niko perfect. The doll-like thugs hand Pyg a tray of surgical tools.
Pyg says that Niko's daughter will be next. And that Niko will help Pyg with her. And that when Pyg is done that both Niko and his daughter will be lovely dolls together. Pyg says that he will make Niko's daughter perfect. Pyg says that he is here to make everything perfect. Niko's daughter screams. End of issue.
Comments
The Good: Batman and Robin #1 was quite an enjoyable read. Morrison does a fine job building off the themes that he was playing with in "Batman RIP" concerning Batman's wacky Silver Age stories from the late 1950's and 1960's. However, Morrison does so in a much less meta-fictional manner. Instead, in Batman and Robin #1, Morrison simply takes some of the feel and look of the Silver Age Batman and subtly meshes into the post-Battle for the Cowl world of Batman.
Morrison takes some of the Silver Age themes of the Batman mythos and incorporates them into a story that has a modern sensibility. It is not nearly to the level of what Morrison did with All Star Superman. Instead, it is just enough to give the post-Battle for the Cowl world of Batman a distinctive flair. And that is important as it emphasizes the absence of Bruce and allows for not quite such a grim and dark take on Batman's world.
Morrison wastes no time injecting the Silver Age feel into Batman and Robin by debuting a flying Batmobile. That was brilliant and put a smile on my face. This opening scene serves notice on the reader that Morrison is going to deliver a version of Batman that is stylistically opposite of the post-Frank Miller Batman that we have gotten since 1986. The outrageously styled flying Batmobile is also a stark contrast with the more "realistic" urban assault vehicle that Batman employs in the past two Batman movies.
Morrison knows that part of what made the Silver Age Batman so entertaining were Batman's wild and outrageous gadgets and equipment that sometimes bordered on ludicrousness. Morrison also unveils the paracapes that allow Batman and Robin to fly through the air in stylish fashion.
Morrison also makes a concerted effort to change the setting for Batman in the Post-Battle for the Cowl world. Gone is Wayne Manor and the Batcave. The new Batman and Robin call Wayne Tower in downtown Gotham their home. And the new Batman and Robin utilize the secret base underneath the tower as their "Batcave." It is interesting to note that this new headquarters for Batman looks quite reminiscent to the underground facility that Batman uses in the latest Batman movie, The Dark Knight.
The new headquarters for Dick and Damien help to further carve out their own identity as Batman and Robin independent of Bruce. By changing the setting of the Batman world, Morrison is able to give Dick and Damien their own independence from the long shadow of Bruce Wayne that is ever present in Wayne Manor and the Batcave.
What was particularly surprising and enjoyable about Batman and Robin #1 was that it was rather new reader friendly. Morrison made an effort to make this issue relatively accessible for new readers. It is not necessary at all for the reader to have read Battle for the Cowl. Morrison nicely incorporates some back-story on Damien and Dick in a succinct manner that does not interrupt the flow of the story. This brings newer readers up to speed with a minimum of effort and allows Morrison to waste no time in kicking off this debut story arc.
Batman and Robin #1 was well paced. Morrison massages the flow of the story wonderfully. The issue starts off with a rousing chase scene. Morrison then slows down the story with more dialogue heavy scenes that flesh out the characters and the initial story arc. Morrison then cranks up the intensity in order to deliver a good hook ending.
Morrison also delivers a nicely plotted read. Batman and Robin #1 is a tightly crafted story as Morrison has a clear destination in mind with this story. Morrison remains focused throughout this issue and lays the foundation for what should be a detailed story that is going to progress with a purpose. There is plenty of substance to the story in this issue without it becoming obtuse or too dense.
Morrison crafts some fine dialogue. All the characters have good external voices. The character work is particularly impressive. Morrison does a fine job with both Dick and Damien. Morrison nicely distinguishes the two "brothers."
Morrison has flipped the traditional Batman and Robin roles as Batman is now the lighter and more positive character and Robin is the darker, more intense and focused character. And just like Dick brought balance and light to Bruce, Dick will now have to do the same with Bruce's son.
Morrison takes effort to show the differences between Dick and Bruce. And I appreciate this effort. I am glad that Morrison is allowing Dick to retain his established personality rather than morphing Dick into a Bruce Wayne clone.
Dick clearly brings his own style to being Batman. And that is how it should be. Morrison also makes a point in this issue to emphasize Dick's circus background. And that is important since Dick's circus background is a unique aspect of his character that separates Dick from Bruce, Tim and Damien.
Morrison does a nice job with how he has Dick accept his new role as the Batman. It was important to stress that it was not a matter of not wanting to be the Batman, but more a matter of not wanting to think about it. That life was easier when Dick was Nightwing and he could just act like Bruce would always be around. This is the typical state of denial that most children experience once they become truly independent adults.
This is the moment where Morrison plays with the theme of the father/son relationship. A son will always want to believe his father will always be around. A son never wants to think about the reality that one day he will have to bury his father. And the fact is that some sons do have to eventually step into their fathers' shoes. Dick always knew that he would be Batman one day. That Bruce would not live forever. But, it was something that Dick simply did not want to think about.
On the flip side, Morrison takes great effort to show how similar Damien is to Bruce. Damien's focus, drive, intensity and curt dialogue are all reminiscent of Bruce. Morrison seems to be the only writer who understands Damien's character. We do not get the shallow bratty punk that Daniel gave us in Battle for the Cowl. Yes, Morrison has Damien act a bit bratty at moments, but that is given considering his upbringing and his age.
The fact is that Damien is the son of Talia and Bruce. And Damien was trained by the League of Assassins. Someone with that pedigree and training would most certainly have an inflated view of themselves and an incredibly large ego. So, while Morrison does have Damien act like a brat at moments; Morrison also pays equal time to Damien's positive traits like his amazing focus, incredible intelligence and his impressive technical skills.
The scene where Alfred serves Damien his dinner while Damien is hard at work on the Batmobile really hammers home the similarities between Damien and Bruce. Damien acts just like a young Bruce Wayne as Damien is completely focused on the task at hand and simply directs Alfred to put his dinner by the toolbox. That is in contrast with how Dick yammers on about how good the food is. Still, Morrison also makes sure that Damien does not come across as a complete jerk. Damien does thank Alfred for the food. Even if it is in a cursory manner like Bruce used to do.
It was a wise move by Morrison to use Alfred to point out to the reader the various similarities between Damien and Bruce as well as the positive aspects of Damien's character. This was a smart way to try to get the reader to warm up a bit to Damien's character. Alfred is a beloved character and if he can find the positive aspects of Damien then hopefully the reader will be more likely to do so as well. This is a good way to sell a new character that has been having trouble gaining traction with many readers. Myself included.
I particularly enjoyed the cool public unveiling of the new Batman and Robin as they paracaped their way through the batsignal in the sky. It had a nice dramatic effect without being too over the top. That was a fine way to kick off the careers of the new Batman and Robin.
Morrison presents the reader with two good villains in this issue with Mr. Toad and Pyg. Mr. Toad is a classic Silver Age styled villain. Old school Batman villains always had a funky gimmick and Mr. Toad certainly has that going for him. And I enjoyed the cute nod to the old defunct Mr. Toad's Wild Ride at Disney World with Mr. Toad's wild car chase scene in the beginning of the issue.
Morrison nicely contrasts Mr. Toad with a much more modern styled villain in Pyg. Pyg is incredibly creepy. Pyg's ghoulish doll-like thugs further his eerie persona. The entire circus of the grotesque as the theme for the villains is a nice choice. And it builds off the Theater of the Grotesque theme of the villains from "Batman RIP."
At the end of Batman and Robin #1 Morrison gives us a teaser page with four panels of events to come later this year on Batman and Robin. In one panel we see Damien turning his back on Dick. In the second panel we see the new Red Hood. In the third panel we see Dick and Batwoman fighting next to what appears to be a Lazarus Pit with Batman's body rising out of it. In the fourth panel we see Dr. Hurt holding a set of keys to Wayne Manor.
We all knew that at some point there would be the inevitable moment of conflict between Dick and Damien. We are also going to be getting a new Red Hood. I remain cautiously optimistic with this plotline. I hope that the new Red Hood is a character that we already know. The scene with Dick and Batwoman in what appears to be a Lazarus pit is interesting.
That panel that interested me the most is the one with Dr. Hurt holding the keys to Wayne Manor. I am glad to see that Dr. Hurt will be making an appearance at some point. Morrison simply left way to many plotlines unresolved with the ending of "Batman RIP." Therefore, I am thrilled that Morrison is planning on addressing the various dangling plotlines from "Batman RIP."
I loved the look of Batman and Robin #1. Frank Quitely did a masterful job with the artwork. The layout for this issue was fantastic and Quitely manages to bring Morrison's story to life in a fine fashion. Quitely is able to blend plenty of Silver Age styling cues into the modern era of Batman. The cutaway shot of Wayne Tower and the secret underground base was a neat old school method that you do not see that much of in modern comic books. The amount of detail that Quitely delivers is impressive. I love how Quitely handles little things like Damien's body language in order to convey his stand-offish and haughty personality.
The Bad: I have no complaints with this issue.
Overall: Batman and Robin #1 was a fun read. This issue immediately hooked me on this new title and I am looking forward to the next issue.
I would certainly recommend this issue to Batman fans. And do not be scared off from Batman and Robin because of the fact that Morrison is writing it. This is not Final Crisis or "Batman RIP." Batman and Robin #1 is a straightforward read that is actually quite linear. For a Morrison penned issue, Batman and Robin #1 is easy to digest.
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