Like Batman RIP, Batman and Robin Must Die bookends another phase of Grant Morrison’s run on the titles featuring the Dark Knight. If it wasn’t obvious enough, Batman and Robin Must Die is the point of unification, where Bruce Wayne returns to the present and the Dick/Damian duo fight against the Dark Knight’s most formidable foes. The Return of Bruce Wayne left a rather sour taste in my mouth, particularly as the second phase of Morrison’s run up to that point was excellent. Morrison’s run on Batman and Robin (vol 1) may only be a mere sixteen issues, but they provide some of the most character-driven and enjoyable stories of the set. It’s a shame it has to end here as did comics as a whole! 2011 spelt the start of a new era for DC Comics as every title was cancelled. That is, before they were all instantly replaced by the same title but numbered at issue one. Welcome to modern comics…
Batman and Robin (vol 1) 13-16 was published from August 2010 to January 2011, with Batman: The Return’s release to coincide with the conclusion of Morrison’s run
on Batman and Robin. The stories were written by Grant Morrison with art by Frazer Irving, Cameron Stewart, Chris Burnham, David Finch, Matt Banning, and Pete Steigerwald. I’ve read these issues in the Batman and Robin Must Die hardcover
Batman and Robin Must Die --- Written by Grant Morrison with art by Frazer Irving, Cameron Stewart, and Chris Burnham
The finale to Morrison’s second phase begins in a world different from our own. That oh-so familiar scene of a young Bruce Wayne walking home through dark alleys with his parents Thomas and Martha is altered. In the mind of Doctor Simon Hurt, the man who claims once to be Thomas Wayne, Martha is murdered by Joe Chill, the gunman he hired. Decades later, Simon Hurt returns as Thomas Wayne to reclaim the Wayne dynasty. Hurt believes that he has defeated Bruce Wayne with his facade, and his final obstacle has been taken care of thanks to a bullet in the back of Dick Grayson’s head. Once again, it’s typical Morrison to begin a story with an event that takes place much later. Batman and Robin Must Die is, like most of Morrison’s other Dark Knight works, not a story a beginner could just pick up and read. This story concludes virtually every aspect from the Black Glove saga. But before we get into the details, we go back three days. After he is revealed to be the murderous Oberon Sexton, the Joker is arrested by Batman and Robin. The Joker, since he’s one of Batman’s more intelligent foes, realised long ago that this new Batman was not his Batman. The Joker wanted to change his act and get something out of crime again. Therefore, he stole the identity of Oberon Sexton, a writer (not before killing him however). You see, the real Sexton murdered his wife and the Joker, deciding on a whim, killed him as well. It’s never really explained why the Joker picks Sexton, but I guess it works because there’s a sense of mystery about the whole case. Anyway, Batman and Gordon leave to discuss the Joker’s serial killings of Black Glove members, leaving Robin behind with the Joker. Because those two have obviously had such a good history together. While those two lovely and colourful characters get acquainted, Batman and Gordon discuss a solar eclipse that’ll come to Gotham in three days that they seem to believe is crucial to the Joker’s plan as he’s going around the world killing foes linked to El Penitente. However, it deepens as Professor Pyg’s narcotics plan (Batman and Robin (vol 1) 1-3) is still in-action due to the antidote acting as a trojan horse before infecting people through a virus. Sorry. What does this have to do with the Joker? You can have Professor Pyg in the story as much as you like, but Batman just blurts this out so immediately and quickly that it ends up not making much sense. Suddenly however, we’re gifted a nice distraction as Robin starts to beat the hell out of the Joker to get the plan out of him. It adds a nice bit of drama and action into the story after a somewhat dry middle. Although Batman and Gordon try to go after Robin before he murders the Clown Prince of Crime, they are taken out by Professor Pyg’s men and his army of Dollotrons. Just as Damian’s true colours are revealed, it seems as if all hope is lost. And Doctor Simon Hurt hasn’t even turned up yet. Before we continue, it’s worth reiterating that Morrison’s writing of Damian not just here, but throughout the entire run is a true treat. As Damian is a character that he’s created, he knows him inside and out. He’s also by-far the most interesting of the Robins. As much as I like Dick Grayson, he was a bit too plain. Jason Todd was better, but he didn’t hang around long enough, and I always thought that Tim Drake was just inoffensive. Damian cannot be described as inoffensive. Plainly put, he’s a bastard and a good one. For drama, his relationship with Dick is brilliant and makes for great reading. Anyway, as Robin beats the Joker with a crowbar, the clown begs for his life. It’s strange watching the Joker act this cowardly, until he reveals that he has poisoned Damian with his usual-joker juice. With that, the Joker escapes with (continued)
another Robin. Elsewhere, Professor Pyg is being tortured by Doctor Simon Hurt for reasons which aren’t too clear, but the villainous Thomas Wayne-pretender gloats about finally having the Wayne wooden box (from Batman Vs Robin and The Return of Bruce Wayne) and allowing Pyg to have his chance to shape a new Gotham. Meanwhile, Batman and Gordon experience that first-hand as the army of Dollotrons act like an inflamed Black Friday mob. Unlike in Batman RIP, Hurt’s character appears slightly more twisted. There’s nothing wrong with that, but I do feel as if he’s not as threatening as he was. He obviously wants to use Pyg for his plan so he can return to Gotham as its saviour, but surely in a world of superheroes and shapeshifters, the people would realise that Hurt is simply a pretender. Also, it’s worth remembering that Hurt thinks Bruce Wayne is dead. The news of Final Crisis was worldwide. Therefore, what’s his motivation. Is it that he really does believe he’s a dead millionaire or something else? Hurt’s motivation was explained well enough in the Black Glove saga, but less so here. Regardless, as the second day begins, Gordon is captured by the Dollotrons, and Batman manages to escape. The Dark Knight is forced to work with the Joker to take down the Black Glove once and for all. He’s told of a party in Crime Alley. There, Gordon is exposed to the virus from the crowd of Dollotrons and although the Dark Knight arrives to untie him from Pyg’s shackles, it’s too late. Gordon loses control of his senses, and he knocks Batman out. With that, Hurt finally has the Batman as a hostage. Part two is definitely more action-packed and interesting than the first, but there’s still something a little ordinary about the story. It seems a bit like Morrison has pulled out a generic finale disaster plot from the hat. But remember, Morrison is the most unpredictable of writers. Issue three proves this as the Joker dances gracefully with a skeletal bride. As the unhinged lunatic entertains Damian with torture while revealing he has planted a bomb in the city, the rioting continues and Simon Hurt, as Thomas Wayne, arrives home to Wayne Manor. The third day begins, and Thomas Wayne does exactly as planned. He acts as Gotham’s saviour and offers hope to its people. At the same time, Damian, despite being drugged and injured, escapes from the Joker to take out Professor Pyg and rescue Gordon. However, Robin’s age works against him as his brash attitude lands him into Pyg’s grasp when the Dollotrons arrive. With that, we’re back to where we started. It’s Batman and Robin in Wayne Manor, with Simon Hurt shooting the former in the back of the head. It’s still one of my favourite Morrison openers. Anyway, Dick is shot in the head and Morrison somewhat ruins that moment when Simon Hurt explains that fear not, the bullet is specifically designed not to penetrate the skull. Really now? He does explain that, after less than twelve hours, the bullet was cause Dick to suffer from permanent neurological damage, but why wait? Cut his legs off now I say. Although he’s certainly one of Batman’s more cunning foes, there is a touch of the James Bond villain in Simon Hurt. Nevertheless, Hurt’s plan enters its final moment as he begins the Ceremony of the Bat. With the Wayne family in tatters due to Hurt’s lies, he attempts to convert Damian onto his side while opening that old wooden box. I’m not too sure how any of this works, but that wooden box has been a key staple throughout the whole run and it’s here when we discover how important The Return of Bruce Wayne was. Hurt opens the box to find a bat-tracker inside with the word “gotcha” written on a note. After countless issues in different time periods, Bruce Wayne is back. Batman and Robin (vol 1) 16, the final issue of Morrison’s (continued)
tenure, features the three generations of the Dark Knight uniting against Hurt. After a crap introduction about an 18th century Wayne and some talking bat (which reminds me of The Return of Bruce Wayne all the more), we’re thrown back into the action as Hurt has brought a few friends along to take out the heroes. The 99 Fiends are a very forgettable aspect of Morrison’s run and, although they appear as Hurt’s private army, they’re just a bunch of forgettable glorified gangsters. They just give Dick and Robin someone to fight while Bruce goes after Hurt. Having Bruce back as Batman is strange not just because there’s now two Batmen, but because his overall mood and attitude is darker. Batman’s hunt for Hurt in the Batcave is a moment which reminds me of the Killing Joke with the Joker in the house of mirrors. The dialogue is very one-way and gradually, Hurt transforms into the slightly more insane character that he always has been. Elsewhere, Dick and Damian go after Pyg, but the effects of his drug wear off and his followers turn on him. It’s a bit of a simplistic end to an aspect of the story which I never really liked. As much as I like Professor Pyg, I do think that his plan here was pretty much the same as it was in Batman and Robin (vol 1) 1-3, except slightly more confusing. Regardless, for the final stretch of the story, Bruce is distracted as he must save Alfred from Hurt’s trap, while the villain himself bumps into the Joker through the back door. This moment makes the story for me. When you look at Simon Hurt and his complex plans, you can just see the OCD of his character and how much of a perfectionist he is. On the other hand, the Joker is, underneath it all, far more simple. He basically leaves a banana peal for Hurt to slip on as he runs towards him and with that, the Joker’s revenge is sorted. It just sums up the Joker so well. Batman RIP did something similar as the Joker outsmarted Hurt there as well and it happens again here. The Joker may escape, but Batman gets Hurt. With that, the crisis is over, and everything can return to normal, right? Well, not quite. Bruce’s time away has made him realise that Batman and Robin are more important than ever before. To conclude the second phase of Morrison’s run, Bruce Wayne announces publicly that, no, it’s not that he’s Batman, but he has been funding him for years. But now, he won’t just be funding Batman, but Batman Incorporated. After the events of Morrison’s run, perhaps this shows Batman has some guilt after leaving the Club of Heroes to basically rot for all-time. I think Batman Incorporated is actually the part of the run that Morrison has wanted to write all along. You can just feel the enthusiasm he has for characters like Knight, Squire, Man-Of-Bats, and all the others who’ve appeared along the way. But to conclude his run on Batman and Robin (vol 1), Batman and Robin Must Die does have some faults with its plot and there are areas where I think it repeats points from previous tales, but overall, it’s a fast-paced story with good characters, decent villains, and an ending which makes the whole thing worthwhile. In the end, most of the plot holes are minor anyway and don’t compare to the unique storytelling that Morrison delivers. Grant Morrison’s run on the title may only have been sixteen issues, but they deliver some of the most enjoyable stories throughout his run. His sense of character is also amazing here. The relationship between Dick and Damian has developed since issue one to the point where they appear to be friends. There’s a great moment in the final issue when Bruce Wayne returns, and he notices his son as Robin. Explicitly, he notes that he is proud and it’s one of those rare moments when Bruce shows an emotion other than misery. It’s great to see. To me, Batman and Robin was a prime example of how comic books, specifically superhero comic books, can work in the modern world.
As time went by, I gradually warmed to Frazer Irving’s unique and surreal art. When you examine it, it doesn’t look pencilled and inked in the way you’d expect from a regular comic book. It’s driven totally by colour and different shades which make the story feel almost psychedelic. Irving’s art somehow reflects the mood of Morrison’s story and overall, its sense of storytelling is good. Fill-in artists Cameron Stewart and Chris Burnham do follow slightly more conventional styles of art, but they produce nothing offensive or bad per-se. It’s just Irving’s style is very vivid and overall, creates a more lasting impression.
Story: 8.5/10
Art: 8/10
Planet Gotham --- Written by Grant Morrison with art by David Finch, Matt Banning, and Pete Steigerwald
Batman: The Return is a one-shot that acts as a bridge between Batman and Robin (vol 1) 16 and Batman Incorporated (vol 1) 1. Think of it acting like Final Crisis did
between the first and second phases, except it’s shorter and better. After yet another re-presentation of the night the bat crashed through the window in Batman: Year One, we’re back in the present, back with Bruce Wayne. Batman rescues a boy from a gun-wielding criminal screaming about some Leviathan, an organisation of sorts who seem to operate in things worse than death (according to the gunman’s screams). Batman takes him out before heading back to the cave to present his new idea to the Bat Family. Recent events have made Bruce realise that Batman must become global and, thanks to Wayne technology and android development, that’s exactly what happens. Before the big launch, Batman heads out with Damian on a mission to follow up on the Leviathan case. It’s a matter of a villain named Hussain Mohammed trying to claim territory in Yemen, but the Dark Knight wins and Mohammed is forced to return to his overseers defeated. Knowing that their position is compromised, Leviathan deliver Mohammed his fate by forcing his son to murder him. Batman overhears the event and simply says: “game on”. Batman: The Return’s purpose is basically just to get Bruce Wayne back into the role of Batman and to establish Leviathan as villains. Morrison succeeds in doing so, especially since they’re proven to be quite ruthless. Overall, it’s hard to critically judge a one-off like this. It’s quite a plain story with a simple purpose. It does well in that and there’s not much to be critical about. In short, it’s a nice introduction to the third and final phase of Morrison’s Batman run.
In the days before the New 52, David Finch was an upcoming artist who quickly became a household name for DC Comics. His style is very modern and detailed, but there’s something about his sense of storytelling and dramatic visuals that make Finch’s artwork stand out from many others like him. Its visually impressive features make it a joy to look at and while some of it may be typical of the art of the early 2010s, his action-packed art does the job well. It’s no shock that he was given his own title when the New 52 launched (The Dark Knight (vol 2).
Story: 8.5/10
Art: 9/10
VERDICT
Overall, Batman and Robin Must Die is a fitting conclusion to the second phase of Grant Morrison’s Batman run. Despite some flaws, Morrison delivers an action-packed tale which returns Bruce Wayne to the role of Batman far more successfully than the actual story designed to do that. As a villain, Simon Hurt’s overly dramatic style works well and the character-writing by Morrison here is on-point, particularly between Dick and Damian as usual. Batman: The Return may not be in anyway outstanding, but it serves as nice filler between the second and final phases of Morrison’s Batman run.
Stories: 8.5/10
Art: 8.5/10
Next Week: Shado: Song of the Dragon (Shado: Song of the Dragon 1-4). Written by Mike Grell with art by Michael Davis Lawrence, and Gray Morrow.
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