By: Grant Morrison (writer), Andy Clarke, Scott Hanna, Dustin Nguyen (artists), Alex Sinclair (colorist)
The Story: The Mexican Train, Part 3: Robin is still being controlled by his mother (read whatever Freudian angle you want into that) and therefore trying to kill Batman. They duke it out, but Batman pulls out some tech and some theory and gives his attackers a taste of their own medicine. Then, Dick is left with two things to do: solve the mystery of Bruce Wayne and deal with Talia.
What’s Good: Morrison has got a really strong ear for dialogue. It comes out natural and real and without being filled with information characters wouldn’t say. He keeps his words to a minimum, in fact, so that this story is told more from the art side (at least the action sequences). Morrison also draws out, until the end of the book, the mystery of Sexton (I didn’t see that one coming), while the larger mystery, of whether Bruce is alive or not, sometime in the past, is teased out, clue by clue. My two favorite moments in this comic were the shredded Batman cowl hanging on the antlers in the deepest caves under the Wayne Manor and the back splash page.
What’s Not So Good: Alright. I know that last time I dinged this book some grades for Clarke’s art, it got people going (I wasn’t in the majority). But I cannot lie. I still don’t like it. To me, Clarke’s art lacks dynamism. Check out bottom of page two, Damian breaking a shovel over Dick’s arm. Damian just kind of looks straight, hanging in the air. No arms or legs splayed for balance, no arching of the back to give greater force to the blow, and even though he is yelling “Slaaaaade!” his facial expression is stiff, like he’s ordering a latte. The splash page is a little better, but then check out the top panel of page four, where Dick is close to breaking Damian’s ribs with that kick. The cape is fluttering behind him while obviously he’s being driven back by the blow, yet his body is not curling with it. This may sound like a lot of nitpicking, but what I’m talking about is the dynamism described most clearly in “How To Draw Comics the Marvel Way.” It doesn’t matter that it’s Marvel or DC. The rules of perspective, form, dynamism, posture, etc, apply to the superhero genre as a whole. Other action postures throughout the book don’t work for me either.
On writing, I found that Morrison took a few shortcuts. Dick just announces that Slade’s nervous system and Damian’s are merged and then acts on that revelation. That seems awfully convenient and a little stupid on the part of the designers of this tech. You’d think they would design safeties for this sort of thing, right? (Fuses have been around since the 19th century…) Then, Dick and Damian just walk into what should be one of the most intimidating, dangerous places on Earth. Ninjas, the elite killers of the planet, are helpless against a sauntering Batman and a meandering 10-year old. I just found this a little too convenient and easy for Morrison. If Dick and Damian are that great compared to the enemy, then why should I be worried or invested in the story? It loses all tension when the villains are pushovers. (I had a very similar problem with the League of Assassins in Red Robin – maybe these assassins need some remedial coaching or something.)
Conclusion: This is the second middling grade in a row I’ve given Batman and Robin. I’m not sure what’s happening. Morrison has got all the ingredients of something great, but the plotting and art just aren’t firing on all cylinders. All those who inevitably are going to disagree with me are welcome to throw more tomatoes…. 🙂
Grade: C
-DS Arsenault
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