Robot 6

Grumpy Old Fan | Grant Morrison divests himself of Batman

Well, it depends on your definition of "Batman," "Robin," and/or "die"...

Well, it depends on your definition of “Batman,” “Robin,” and/or “die”…

Remember when Batman was a jerk?

Remember when Batman was such a jerk that no less than Mark Waid called him “broken”?

Starting in 2006, writer Grant Morrison aimed to help fix him; and this week, with Batman Incorporated Vol. 2 #13, Morrison concluded his Bat-saga. The issue is a neat encapsulation of the themes Morrison has played with for the past seven-plus years — including the portability (and immortality) of “Batman,” the uniqueness of Bruce Wayne, and the importance of not going alone — all drawn with verve and giddy energy by Chris Burnham. (There’s even a dialogue sequence where the punchline is “Cancelled!”) Like the infinite-Batman cover or the eternal-circle image that dominates an early spread, Batman will go on, but it is the end of a unique era.

As usual, though, some history first …

* * *

By 2005, whether he liked it or not, the Darknight Detective had garnered a decent-sized set of costumed associates. While each had his or her own motivation, and each added a particular flavor to the Bat-books, they all shared the same basic trait of Not Being Batman. Similarly, each tended to enjoy the same treatment from Batman: a certain level of acceptance, building to an inevitable clash that was some variation on Only Batman Can Do This.

This template was not entirely new. From 1989′s freakout following Jason Todd’s death, to 1992′s “Knightfall,” 2000′s “Tower of Babel” and “Divided We Fall” (both in the Waid-written JLA), 2002′s “Bruce Wayne: Fugitive” and 2004′s “War Games,” various storylines illustrated the bad effects of Batman’s unilateral actions. (1999′s “No Man’s Land” was contrapositive, showing Batman carefully planning an effective way to protect quake-ravaged Gotham.)

However, by 2005 things had gotten pretty dark throughout DC’s superhero line. In the Bat-arc “War Games,” Stephanie “Spoiler/Robin IV” Brown had died after being tortured by Black Mask, Identity Crisis had killed off Sue Dibny and Tim Drake’s dad (among others), and the run-up to Infinite Crisis included Blue Beetle’s murder and the revelation of Batman’s Brother Eye spy satellite.

With all that as backdrop, blogger Alan Kistler asked Mark Waid “is there any fear that we’re going back to the grim and gritty 80s?”

Waid replied:

The good news is, and I guarantee you this, when we’re on the other side of [Infinite Crisis], those days are GONE. Just gone. We’re sick to death of heroes who are not heroes, we’re sick to death of darkness. Not that there’s no room, not that Batman should act like Adam West, but that won’t be the overall feeling. After all this stuff, after everything shakes down, we’re done with heroes being dicks. No more “we screwed each other and now we must pay the consequences.” No, we’re super-heroes and that’s what we do. Batman’s broken. Through no ONE person’s fault, but he’s a dick now. And we’ve been told we can fix that.

The “we” in question were probably the writers of 52; namely Waid, Greg Rucka, Geoff Johns, and Grant Morrison. Specifically, at a WonderCon panel on Feb. 11, 2006, Morrison revealed he would be the next Batman writer,* promising that “[t]he Batman coming off of 52 is a very different guy. He’s a lot more fun to write, a lot more healthy. If you remember the Neal Adams, hairy-chest, love-god Batman, he’s more like that guy.”

Somewhat ironically, then, Morrison’s run may be remembered best not only for the declaration that “Batman and Robin will never die,” but also for the deaths of both Batman and Robin. Of course, it turned out that Bruce Wayne didn’t actually die in “Batman R.I.P,” but in the Morrison-written Final Crisis; and that turned out to be a ruse as well, because Darkseid just sent Bruce back into Earth’s prehistoric past, turning him into a sort of “time bomb” that would explode when Bruce actually clawed his way back to his own time. By comparison, Robin’s death was practically an afterthought: impaled during a fight with his own artificially aged clone.

But that’s getting off the track. Morrison had worked on Batman before, most notably in 1989′s Arkham Asylum graphic novel (with artist Dave McKean), 1990′s Legends of the Dark Knight arc “Gothic” (with artist Klaus Janson) and in JLA (1996-2000; various artists). In JLA, Morrison introduced three variations on Batman: the villain Prometheus, who as a child watched his criminal parents shot by police; the Batman of the 853rd century; and the evil parallel-Earth counterpart Owlman. However, the current set of stories — which started in the main Batman title before migrating to Batman and Robin, the Return of Bruce Wayne miniseries, and eventually Batman Incorporated — examined the relationship between Bruce and Batman, and particularly the extent to which anyone else could “be” Batman.

Indeed, Morrison established a new trio of “replacement Batmen” right from the start of his first issue (Batman #655), and alluded to Bruce’s own “replacement personality” with graffiti representing the Batman of the alien world Zur-En-Arrh. Subsequently, Damian Wayne was set up to be both the next Robin and (as an adult) the Batman of a nightmarish future Gotham. In due course Morrison revived the Club of Heroes, an international group of adventurers each inspired by Batman; and positioned Dick Grayson to succeed Bruce under the bat-eared cowl. Bruce was gone for over a year (in real time) and Dick remained Batman (“a” Batman) for more than two years, only going back to being Nightwing with the New 52 relaunch.

It’s overly simplistic, and probably grossly inaccurate, to say that Dick-as-Batman and Damian-as-Robin were Morrison’s two big structural changes to the Batman line. However, it’s still worth pointing out. Morrison brought a new dynamic to the Dynamic Duo (sorry, couldn’t resist) and Dick and Damian showed up across DC’s superhero line in books like Justice League of America, Teen Titans, a new World’s Finest miniseries and Supergirl. This in itself wasn’t all that revolutionary. In fact, at the same time, the Superman books were using the “New Krypton” framework to shake up their own casts. However, Morrison intended to use as much of Batman’s seventy-year history as possible — from the sci-fi stories of the 1950s and early ‘60s to the globetrotting ‘70s and ‘80s and the grim early ‘90s — so for his radical status quo to be “ratified” by appearances in other books was more significant than just a set of routine crossovers.

In that regard, it may be more telling that Morrison’s “Batman Incorporated” concept didn’t get as much play in the shared superhero universe. At first the title seemed like a way to refocus the larger story on Bruce Wayne (headlining both the Morrison-written Incorporated and a new Dark Knight title from writer/artist David Finch) while leaving Dick and Damian as the stars of the still-popular (but Morrison-free) Batman and Robin. In November 2010, Batman Incorporated wasn’t just the Bat-line’s latest way to expand, it was the next step in Morrison’s transformation of the Batman identity. A year later, though, Incorporated was on hiatus and the concept had been reframed into the background of the new Batwing series (and brief mentions in other Bat-books). When Incorporated returned in the spring of 2012, it seemed increasingly vestigial, although Damian’s death earlier this year still ripples through the rest of the line.

* * *

So what about Issue 13 itself? Basically, it’s told from the perspective of Commissioner Gordon, arresting and interrogating a bruised and bloodied Bruce Wayne about the deaths of his son and Talia al-Ghūl. Flashbacks reveal Batman and Talia’s final fight in the Batcave, the two Bat-allies who play key roles (both of whom had previously died rather prominently), and the Batman Incorporated figures who worked around the globe to stop Leviathan’s plans. It’s perhaps more notable for the style than for the plot, as most of the big plot developments amount to hand-waving.

That’s not all bad, because it allowed me to linger on the various homages and Batman counterparts. Talia’s outfit uses elements of Thomas Wayne’s Bat-Man getup, she swordfights with Batman like her father did, and she and Batman lock lips in a very Neal Adams sort of way. Like surrogate parents, Patrolman Gordon and Leslie Thompkins join young Bruce under the Crime Alley spotlight. Leviathan’s weaponized kids parody not just Damian, but the idea of “Robin” generally; and Leviathan’s female agents wear variations of Kathy Kane’s old yellow-and-red Batwoman garb. (Remember, Kathy became Batwoman originally because she idolized Batman and figured she could do just as well.) Similarly, seeing the new Knight reminds readers that sidekicks tend to take on their late mentors’ identities. However, sometimes the mentors return (and sometimes the sidekicks don’t): Talia reminds Batman that her parents died too, and her father more than once. Indeed, in a very real sense the issue centers around the work of writer Denny O’Neil, both with characters he created and one he killed.

In short, it’s yet more Morrison as ecumenist, holding fast to the idea that every Batman story still “happened,” or at least still has value, despite all that the years have done to them. The New 52 relaunch is just another cosmic shift which Morrison must work around, but which doesn’t necessarily change anything. Like Geoff Johns’ sprawling Green Lantern arcs, the longtime readers appreciate the nods, but more practical concerns mean that the focus must always be on what’s happening now.

The issue ends on a note of rebuilding: not just Wayne Tower, but the League of Assassins and the rest of the Demon’s Head organization. There’s also a scene that could allow the return of Damian Wayne, although I don’t think that’ll happen any time soon (if at all). Writers Scott Snyder and Peter Tomasi have both used Damian to good effect, but the lovable little punk was Morrison’s character, and I suspect DC will want the next Robin to not be identified so closely with any particular professional.**

But I digress. Over the past seven years, Morrison and his artistic collaborators (including Andy Kubert, J.H. Williams III, Tony Daniel, Frank Quitely, Frazer Irving and Yanick Paquette) took Bruce Wayne and company around the world and across time and space. They made old and new lovers into deadly enemies, rehabilitated wayward ex-partners, and questioned the integrity of the Wayne lineage. They made “Batman” something that could be shared, even as they focused on the hole in Bruce’s heart that would never heal. For a while, they even brought back the yellow oval.

For all of those reasons, I’d say that yes, Morrison did quite a bit to “fix” Batman. Back in 2010 I wrote that Morrison had made Bruce both “calmly confident,” if not outright “enthusiastic,” about the potential of “Batman.”  Even without regard to the Batman Incorporated organization, that attitude has prevailed, particularly in Scott Snyder’s work. Batman is still driven, determined, and at the top of the superhero org-chart — but he’s no longer “broken,” and Grant Morrison is a big reason why.

+++++++++++++++

* [Paul Dini took over Detective Comics at about the same time, and wrote 24 issues from cover-date September 2006 through cover-date March 2009 before moving on to 16 issues of Streets of Gotham and 10 issues of Gotham City Sirens.]

** [If memory serves, writer Gerry Conway and artist Don Newton introduced Jason Todd, writers Marv Wolfman and George Pérez and artist Jim Aparo introduced Tim Drake, and writer Chuck Dixon and artist Tom Lyle introduced Stephanie Brown; but arguably none of them had any special influence over those characters’ later directions. Now one of the candidates appears to be Frank Miller’s creation Carrie Kelly.]

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Not to mention that running parallel for a short time was Stephanie Brown’s run as Batgirl. It would be very hard to imagine her type of Batgirl prior to Grant Morrison taking on the Batman universe.

BQM’s Batgirl was the best thing not written by Morrison to come out of his time on Batman.

the whole BATMAN INC thing was a bit boring and drawn out.

Part of the run will be remembered groundbreaking because NOBODY before has used 60 years old superhero continuity and given it meaningful context in the here and now.

that was pure genius on Morrison’s part. (that and the flawless plotting)

I at first was disappointed in issue 13, but afterward found myself thinking quite a bit about it and what Morrison was trying to say.
It seemed like both a celebration of the “immortal” nature of superheroes and a condemnation of their ability to evolve.
Essentially in issue 13 Morrison declared that Batman Inc. was an unworkable concept and, as Kathy Kane tells Bruce, he needs to go back to doing what he does best – patrolling Gotham, fighting the Joker, etc. etc. etc. You know, the same stuff he’s been doing for 70 plus years. So the genie’s back in the bottle.
It was also a sad book. Bruce tells Gordon he decided when his parents died he could never truly love again. It’s that inability to love which basically resulted in this war with Talia that cost them their son.
Also it’s sad that the one family Bruce could ever have is composed of a wife who ran an international criminal empire and their test tube baby. That sounds funny, but it’s so incredibly far from normal, and it’s unsettling to think that’s as close to a “family life” as Bruce will get.
So yeah, it was a quick read for Morrison’s final issue. But like I said, I’ve been thinking about it for the past 24 hours so I’d say I got my money’s worth.

@Bob- Mr. Miller did a good job in taking a questionable character like Steph and really make her a fun character to read. To keep on the topic here a little, take a look at Bruce Wayne The Road Home: Batgirl. Batman not only gives Steph a rather difficult test but commends her for figuring it all out. Now I am not that that well versed to Batman prior to Morrison but I find it hard to think of pre-Morrison Batman dealing with Steph quite this way. Let alone when Steph slapped Batman upside the head. Exactly how many people can say they did that without a broken finger, arm..whole body later?
Batman seems more introspective about who he is and how he effects those around him. He doesn’t seem trapped by his own internal drama.

Thank you for the post — it’s a great tribute and still a true critique. Morrison’s Batman is the only mainstream superhero run I have really enjoyed in the last decade.

Congratulations for the great run, Grant!

Good riddance to bad rubbish.

A lot of people will argue that I simply “don’t get” Morrison’s sensibilities, making Batman this globe-trotting cosmic force and trying to jam references to 70 years of continuity as a “celebration” of all that Batman has been over the years, but frankly, it was a lot of rubbish with only a few stops at decent. I find his dialogue his plotting disjointed, the overbearing, esoteric winks to Silver Age comics more annoying than loving, and a lot of his brand of stories to ill fit Batman. Batman punches killer clowns, not gods. He solves grizzly murder mysteries, not saves the world from exploding. You can argue that even O’Neil had Batman doing this sort of thing back on his run, but it was never so ostentatious, and it certainly never tried to be more than it was by adding some kind of unnecessary metatextual layer to a book about a man who dresses like a bat and beats up serial killers and drug kingpins. Batman isn’t interesting because he’s some New God-like master of space, time, and death. He’s interesting because he’s a driven detective and protector of Gotham City, a city of corruption and madness.

Of course the conceit ended up being that Batman Inc was unworkable, because frankly, Batman should have figured that one out to start with. The supreme arrogance of Bruce Wayne setting up little Batman franchises all over the planet was something that should have never flown with any of the characters. We didn’t need years leading up to, “Yeah, maybe it was a mistake.” Batman should know well enough not to do that to begin with. That anyone would write him differently shows how poorly Morrison actually understands the character.

Grant tried a fresh approach to Batman, but unfortunately many fans are still stuck with the “grinding-teeth-Batman” from Frank Miller.

In my opinion, Morrison’s run had more hits than misses.

Thank you very much for the great stories, Morrison.

I liked most of Morrison’s run, but wasn’t too big of a fan of the second volume of inc.

I think that mainly had to do with me never being a fan of how he wrote Talia and how it conflicted with a lot of the stories I liked that she was in. By no means a saint but never on the level of Hitler.

I guess in the end though it fits with some of grants ideas since batman has never been huge on continuity and 10 years from now she can be back with the two doing their conflicted romance theme. And the circle continue.

Been waiting since death and the maidens for a good story with her thought after the resurrection of Ra’s Al Ghoul we’d get one instead she played the irredeemable evil villain

Jake Earlewine

August 2, 2013 at 5:32 am

“Of course the conceit ended up being that Batman Inc was unworkable, because frankly, Batman should have figured that one out to start with.”

So true. Batman is supposed to know better than that. And Batman doesn’t need fourteen sidekicks and a league of Robins. Batman works best as a lone vigilante. He’s not a super-hero. He’s the dark night detective. Night, not Knight. Good Batman writers are good mystery writers.

Give Batman some mysteries to solve and street level bad buys to fight. Darkseid and cosmic level villains do not belong in a Batman story. I hope some day (it will have to wait until after Didio is gone) DC will come to its senses.

Batman’s been “saving the world” as well as “beating up street thugs and grinning clowns” for over 70 years, long before Morrison was born, let alone writing the character.

Attempting to limit the character’s role, motivations, and impact in the wider DC universe is perhaps more indicative of a reader’s anal retentive nature and resistance to change, than a supposed supreme knowledge of the character. It’s not so much not “getting Morrison,” but not understanding the character and potential of Batman.

Bat-mite understands this. So did Morrison:

FANBOY : I always felt Batman was best suited to the role of gritty urban crime detective, but now you guys have got him up against Santas, and Easter bunnies? I’m sorry, but that’s not my Batman!

BAT-MITE : “Batman’s rich history allows him to be interpreted in a multitude of ways. To be sure, this is a lighter incarnation, but is certainly no less valid and true to the character’s roots as the tortured avenger, crying out for mommy and daddy.” And besides, those Easter bunnies looked really scary, right?

My favourite Batman was the Denny O’Neil version. But that didn’t stop me from absolutely loving the team-ups with Kamandi in the Brave and Bold comic as well. Or Batman’s cosmic adventures with Superman in World’s Finest.

>It was also a sad book. Bruce tells Gordon he decided when his parents died he could never truly love again. It’s that inability to love which basically resulted in this war with Talia that cost them their son

I’ve been thinking about the line about the hole big enough to hold anything, and I’m wondering if that means Bruce HAS found the capactiy to love again (maybe thanks to Damian). There’s a hole in his heart into which he can “fit” loved ones. If Hurt/the Gunshot is the hole, then Bruce must fill it (obliterating the hole).

Someone commented on Talia’s change in character, and I thought Grant established that she was sick of being taken for granted by the two men she loves, thus her change in approach. There’s a logic to it (where would she have learned to NOT be a megalomaniac?), even if it’s unprecedented. I really liked Talia pre-Death and the Maiden and, if I had to choose, I’d rather this interpretation than Rucka’s.

Morrison’s Batman was the one I have wanted to see since I started reading Batman with issues 404 and 400 (bought on the same day). Batman Incorporated is also the only ‘New 52′ book I bought (but I still avoided buying it until it had been announced as cancelled). I wonder if it ended the way it was originally intended to.

As for Batman punching gods vs fighting street crime… he can do both; to a degree Morrison had him do both, and there were lots of other Batman comics at the time where he was more ‘street’.

I was disappointed with the New 52 version of Batman Inc. It took the focus away from all those great international Batmen characters and instead focused on Bruce and Damian’s relationship. That wasn’t bad in itself, but it wasn’t what interested me about this book. I wanted to read more stories with Knight & Squire, Man-of-Bats and the others. The only time we got that in volume 2 was when Burnham was writing (#0 and #11).

I’m satisfied with Morrison’s run. He threw in everything, including the kitchen sink and a Bat-cow. No one can say that he told the same old Batman stories; his take was fresh, new, different, and skewed.

But I’ve resigned myself to the fact that Batman will never change. He’ll always be the man-child, hung up on his past and treating his friends and family like shit. I’m tired of this character, when a more balanced approach would not only be more interesting, but more of a worthy role model to the kids who are supposedly reading these books. Bruce CAN be more human; we’ve seen that in the past. And Dick CAN be Batman, but these things are not what DC wants to sell. Batman, who comes with all the potential in the world, has grown stale.

Sadly, Morrison’s “superheroes who aren’t dicks” approach was the exception, not the rule, to DC’s post-IC, and especially post-Flashpoint, output. And now that Grant’s gone, Batman can get back to being a paranoid jackass, as is right and proper. *hangs self*

Best. Comic. Book. Run. Ever.
At least in my opinion. I have never loved any piece of story, or media as much as this run.
I really need all of this in absolute format, DC!

His run was interesting for sure, but I really didn’t want it to happen as, right before the time of it starting, those few issues of the character by Dini and J H W III were probably the best he’d ever been since the 70′s. I want the books from an alternate history where this team continued for a few years.

Never paid much attention to it before. Glad it’ll even be easier now that it’s gone.

It was an audacious run. I was primed for it by JLA. I LOVED Morrison’s take on Batman in JLA. Just flat out the most dangerous man in the world, if not the universe. A supercompetant melding of James Bond, Doc Savage and Bruce Lee’s movie persona. He established that Batman was the most ‘powerful’ member of the league based on pure effectivness right from the start. And since he was in his hyper-compressed story-telling mode for the whole series Batman didn’tt really have time to show his broken side. The JLA was a gathering of professionals at the top of their game.

I thought the ‘every story counts’ premise was brilliantly audacious. We’ve all soon so many reboots that it seems like normal to us now – it seems appropriate that Morrison’s big Batman run is essentially bookended at the start and finish by DC Universal resets. Making the efffort to make 60 years of different styles, different eras, contradictory elements and jarringly different tonal shifts all somehow come together and WORK and feel modern and cutting edge is an enormous acheivment. You could see traces of the same idea in Alan Moore’s Supreme run but it still depended on the reboot concept and leaned heaviest on the silver age incarnation of its character

It still seems to be the operating premise as of the conclusion of Batman Incorporated although clearly being shouldered aside even as he leaves the stage by this Year Zero stuff – although Morrison himself references it in this last issue.

But Batman himself has evolved, become a healthier character. When Jason Todd ‘died’ Batman fell apart. He deterioated to the point where a watching Tim Drake became Robin purely because he became convinced without a Robin the haggarded exhausted Batman he was watching would eventually kill himself accidentally or on purpose.

When Damian died he felt sorrow and rage but didnt fall apart – disregarding the recent Batman and Nightwing story where he goes to Frankenstein to ask him to ressurect his son, that was …frankly awful.

I haven’t been as excited by the new regime. The recent Court of Owls and Death in the Family story-lines have been compelling enough if a bit too much of the ‘take Batman to the breaking point’ a theme thats frankly over-used for the character. They’ve turned the Joker into a horror movie monster like Freddy or Jason. its a valid take on the charachter but hopefully the Morrison idea that the Joker regularly reboots his own personality swings the needle elsewhere soon.

I think the prevailing attitude of “Batman should know better, he’s best solo” that’s even in this comment section is probably a large part of why Inc. ended on such a defeatist note. Grant stabbed that notion in the heart with the end of the second phase of his run in B&R and RoBW (I kind of split his run up into three distinct parts), going so far as to all but state outright that Bruce/Batman was NEVER alone right from the start, but the idea persists despite his best efforts. Perhaps that idea has become as immortal as the idea of Batman, which is a really sad way to go about things. Batman is as versatile a character as you can get, but a lot of people seem stuck on one version of him thanks to a couple classic stories the franchise struggles to remove itself from the influence of; unfortunately for all of us, it’s the “broken” version of Batman that can’t seem to loosen it’s influental grip entirely..

Although, make no mistake, I agree with the overall point of this post; Batman since IC has been a far, far cry from how he was before that event and Morrison, of all people, probably played the key role in fixing him.

Either way, it’s pretty safe to say Grants run will be remembered as one of the all time greats in time. Some folks will disagree, but… well, hey, that’s fine. Not everyone likes the same things. But without a doubt, Grants time on the title is easily the most important run – not story arc or GN – since O’Neil and Adams.

I really thought Batman Inc kinda sucked. Glad to see it go. I had friends recommend me to Morrison’s stuff and I am not a fan. Some of the older stuff was decent but that’s about it. I found a lot of his X-Men stuff was re-packaging older X-Stories in a slightly new package. The Batman stuff was weak. Killing off another Robin was just lame…the issue was just lame and so was the idea.

Good story overall. I’m glad it’s done though. It began to meander a bit until Grant decided to refocus for the close. I’ve only ever read the issues as they came out so I’ll enjoy digging them up and rereading the story as a whole.

In the beginning I thought- no, I knew Morrison was never fit to write Batman. Is too radical and ambitious. Is only a fantasy in some mans mind. Morrison was so delusional that he cannot see what he is doing. I had a problem.

Until now.

There’s psychology involve in Morrisons run in Batman. And is interesting hearing theories out there about his impact on Batman: is love, or legacy, or collectve, or just reality. Batman Inc #13 has so much cues is hard to dismiss it. You can’t go wrong with either one, but I think is safe to say that Morrison did his job.

I do like my Batman traditional, but I ain’t going to deny it: Grant is one of the top ten best Batman writers of all time.

I am so happy that Morrison is getting out of the Batman universe. I have absolutely HATED everything he’s done there. I know…I know… “he’s brilliant”….”I just don’t understand”. No, it’s really been horrible and boring and I am SO incredibly happy that he’s moved on. I’m just very hopeful that’s he’s done with the entire DC Universe.

“and Leviathan’s female agents wear variations of Kathy Kane’s old yellow-and-red Batwoman garb.”

Just to note, they are Spyral agents that are dressed up in the old Batwoman costume, not Leviathan agents. They’re Kathy’s followers.

I have mixed feelings about 13. On the one hand, I think the best thing that Morrison’s run did was to remind people that Batman can do almost anything successfully. He can be the dark vigilante, the bold time traveller, the human god in the JLA, the street detective, the father figure/mentor, the guy who flies off to other planets in tech only he can afford and create, the crafty crimefighter or the ubergenius ubermensch…he’s such a versatile character that he works in all those situations. None of of them should be over done in any one period, but they all work for him. On the other hand, as the end of a massive epic (and in my opinion, the best Batman run ever), you want to see the hero victorious. Instead, we see him crumpled in a pool of his own blood, trying to pull himself up as both his allies and enemies smoothly maneuver around him. His name was on the marquee and it would have been nice to see him save the day. He actually seems to have left the character diminished rather than improved, which goes agains the campfire rule. A massive, brilliant, incredible story that unfortunately ended with a whimper rather than a bang.

Meant “campsite rule,” heh.

You people are dumb, batman inc, has been the only interesting bat book. Let me guess you all suck snyders cock, he so awesome. His new 52 run, has been awful. Death of the family was one of the worst stories I have ever read. And batman zero year is a complete waste of time. What editor gave the ok for that, we have only seen or read batman’s origin like 100 times before.

Looks like “Highball” Hal’s been hittin’ the sauce again…

A shame that Nu52 took away both Batman’s trunks and the Grayson/Damian team. Many cool things about Morrison’s run.

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