Zombipanda
My Boom-Boom's mostly gay
Re: Batman and Robin (Morrison/Quitely) discussion
So, I wrote a review of this issue for BleedingCool.com before I realized they had an approval process for the review team. I normally don't do this kind of thing but I feel like Tan gets a lot more criticism than he deserves for this book. Here it is.
Philip Tan has a tough act to follow. The first three issues of Batman and Robin paired Grant Morrison with Frank Quitely, a duo who's output has become near legendary over their sporadic decade of work together; and while Tan's art doesn't shine with the brilliant artistry and design aesthetic of his predecessor, his style is well suited to Morrison's story. The first arc of the title served as a pilot episode of sorts, providing a circus-themed gallery of henchmen which served as a counterpoint to the new Batman's history. High on style and light on exposition, the story established the relationship between the two leads and planted the seeds for a criminal conspiracy that looks to constitute the heart of the twelve issue series.
Batman and Robin #2 provides the second act of the second story, and the kinetic day-glo of Quitely's art is replaced with a style reminiscent of the grim-and-gritty 1990's mode. Tan exhibits an overabundance of line work and a more grotesque approach to character design. The pages are inked with long splashes of dark shadow, and while this may seem like a step backwards to a darker age of comic book design, it's perfectly suited to the script at hand. Morrison's script revels in the post-Frank Miller Batman aesthetic. From the conflict of vigilantes who kill and vigilantes who don't, to the horrific and bloody choice of villains, to the frequent cuts to mass media commentary, all the tropes will seem familiar and likely tired to a long-term Batman fan.
However, the issue thrives despite this, largely due to a clever wryness Morrison injects into the script. Jason Todd serves as the issue's principal antagonist, and for the first time since his reintroduction under Judd Winnick's watch, he shows signs of being a compelling character. Todd is characterized as a marketing disciple, a vigilante who understands the symbolism of the title character without truly following the heart of Batman's mission, a kid who hides behind meaningless slogans and flashy creeds. Even Todd's sidekick seems to recognize how insipid his mission statement is, and this weakness makes the character stronger. At the same time, it strengthens the menace of the larger villain, a Mexican kingpin who will surely become the recurring threat through the foreseeable length of Morrison's tenure. When the Flamingo, a character teased with foreshadowing that resembles Kaiser Soze in The Usual Suspects, finally appears mounted on a Harley and bedecked in purple, with a sniper rifle in one hand and a whip in the other, the issue reaches a satirical crescendo. Had these elements been played with a straight face the results would be abysmal, but Morrison's script plays fast and loose. The none-too-serious banter of Batman and Robin casts the proceedings through a surreal, big top lens, and the result seems both loving and critical of a grim era of Batman history. Rather than mire itself in the broodiness of the "grim avenger" aesthetic, the darkness of the storyline instead creates a counterpart to the sunnier dynamic duo, highlighting what makes the team of Dick and Damian so different from the past two decades of Batman tales. Smart dialogue and brisk pacing prevents the story from seeming too heavy and full of itself. At the same time, both Damian and Dick are forced to suffer consequences for their looser, more free wheeling style of crime fighting. Morrison plants seeds for both characters to grow as a team.
For readers who have been following through Morrison's earlier run on Batman, this series will seem like a natural extension of his earlier work. While the primary plot moves briskly through the story, small flourishes move the larger plot forward, establishing the current nature of Wayne Enterprises, the state of affairs in Gotham's underworld, and the impact of Bruce-as-Batman's disappearance. Batman's world is on a clear collision course towards the apocalyptic future teased in Batman 666. Further echoing Morrison's earlier run will be criticism of the art transition. In much the same way that Tony Daniel suffered from having to follow the brilliant JH Williams, Philip Tan will undoubtedly face criticism coming on the tail of Frank Quitely. But, like Daniel, Tan is providing art that's perfectly servicable given the nature of the story, and his work truly feels like an homage to the style of story being echoed.
This issue perfectly meets the standards set by the first four issues. The banter continues to be smart and offers plenty of substance to match the style of the first arc. The situation continues to escalate for Dick and Damian without sacrificing the lighter and breezier dynamic offered by the two new leads.
4 out of 5 stars
So, I wrote a review of this issue for BleedingCool.com before I realized they had an approval process for the review team. I normally don't do this kind of thing but I feel like Tan gets a lot more criticism than he deserves for this book. Here it is.
Philip Tan has a tough act to follow. The first three issues of Batman and Robin paired Grant Morrison with Frank Quitely, a duo who's output has become near legendary over their sporadic decade of work together; and while Tan's art doesn't shine with the brilliant artistry and design aesthetic of his predecessor, his style is well suited to Morrison's story. The first arc of the title served as a pilot episode of sorts, providing a circus-themed gallery of henchmen which served as a counterpoint to the new Batman's history. High on style and light on exposition, the story established the relationship between the two leads and planted the seeds for a criminal conspiracy that looks to constitute the heart of the twelve issue series.
Batman and Robin #2 provides the second act of the second story, and the kinetic day-glo of Quitely's art is replaced with a style reminiscent of the grim-and-gritty 1990's mode. Tan exhibits an overabundance of line work and a more grotesque approach to character design. The pages are inked with long splashes of dark shadow, and while this may seem like a step backwards to a darker age of comic book design, it's perfectly suited to the script at hand. Morrison's script revels in the post-Frank Miller Batman aesthetic. From the conflict of vigilantes who kill and vigilantes who don't, to the horrific and bloody choice of villains, to the frequent cuts to mass media commentary, all the tropes will seem familiar and likely tired to a long-term Batman fan.
However, the issue thrives despite this, largely due to a clever wryness Morrison injects into the script. Jason Todd serves as the issue's principal antagonist, and for the first time since his reintroduction under Judd Winnick's watch, he shows signs of being a compelling character. Todd is characterized as a marketing disciple, a vigilante who understands the symbolism of the title character without truly following the heart of Batman's mission, a kid who hides behind meaningless slogans and flashy creeds. Even Todd's sidekick seems to recognize how insipid his mission statement is, and this weakness makes the character stronger. At the same time, it strengthens the menace of the larger villain, a Mexican kingpin who will surely become the recurring threat through the foreseeable length of Morrison's tenure. When the Flamingo, a character teased with foreshadowing that resembles Kaiser Soze in The Usual Suspects, finally appears mounted on a Harley and bedecked in purple, with a sniper rifle in one hand and a whip in the other, the issue reaches a satirical crescendo. Had these elements been played with a straight face the results would be abysmal, but Morrison's script plays fast and loose. The none-too-serious banter of Batman and Robin casts the proceedings through a surreal, big top lens, and the result seems both loving and critical of a grim era of Batman history. Rather than mire itself in the broodiness of the "grim avenger" aesthetic, the darkness of the storyline instead creates a counterpart to the sunnier dynamic duo, highlighting what makes the team of Dick and Damian so different from the past two decades of Batman tales. Smart dialogue and brisk pacing prevents the story from seeming too heavy and full of itself. At the same time, both Damian and Dick are forced to suffer consequences for their looser, more free wheeling style of crime fighting. Morrison plants seeds for both characters to grow as a team.
For readers who have been following through Morrison's earlier run on Batman, this series will seem like a natural extension of his earlier work. While the primary plot moves briskly through the story, small flourishes move the larger plot forward, establishing the current nature of Wayne Enterprises, the state of affairs in Gotham's underworld, and the impact of Bruce-as-Batman's disappearance. Batman's world is on a clear collision course towards the apocalyptic future teased in Batman 666. Further echoing Morrison's earlier run will be criticism of the art transition. In much the same way that Tony Daniel suffered from having to follow the brilliant JH Williams, Philip Tan will undoubtedly face criticism coming on the tail of Frank Quitely. But, like Daniel, Tan is providing art that's perfectly servicable given the nature of the story, and his work truly feels like an homage to the style of story being echoed.
This issue perfectly meets the standards set by the first four issues. The banter continues to be smart and offers plenty of substance to match the style of the first arc. The situation continues to escalate for Dick and Damian without sacrificing the lighter and breezier dynamic offered by the two new leads.
4 out of 5 stars
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