Two reviews on Tues
September 22nd, 2009
Before the sun sets on the comics week.
Batman and Robin #4
Published by DC Comics
Story - Grant Morrison
Art - Philip Tan, Jonathan Glapion
This was always going to be a let down from where I’m sitting. Batman and Robin under the pen of Quitely was without a doubt my favourite Superhero comic of the year, and very possibly my favourite superhero comic since the last time those two collaborated. Scratch that, truth be told I preferred those three issues to All Star Superman, because not only were Morrison and Quitely producing fabulous work, they were producing fabulous work on a Batman comic, and I do so love a bit of Batman. So, yes, I always knew this was going to be a letdown and that I would have to struggle to give it a fair hearing.
Yet more bloody thoughts about Batman and Robin #2
July 9th, 2009
Batman & Robin #2 would appear to be the book where the uncommitted became converts, or at least became considerably more interested. People have made the usual gestures towards Quitely’s wonderful art, and highlighted the elegant conceptual economy evident in Morrison’s character work and its meta-textual dimensions. And here we get to the first object of this droplet of criticism - a slice of meta-commentary of surprising value, in that it makes a strong case for shedding our fears and anxieties about this ersatz Batman. By framing Dick’s tenure as a performance, Morrison shows us how both the characters and we, the audience, can engage with the new status quo without feeling that anyone’s toes are being trod on. The real beauty of this idea is that it brings with it the flexibility and permissiveness of adaptation and interpretation (key elements of any performance), and consequently lends the book a lightness and unboundedness (made much of by Amy in his review) that is all too rare in A-list superhero books. Put simply: a lot more can happen because this Batman isn’t Batman. Implicit to this way of approaching the comic is the understanding that theatrical performances are there, largely, to be enjoyed. Morrison is tacitly telling us to allow ourselves to sit back and have fun, to take pleasure in the unfolding of the role, to view it for what it is: entertainment.
