After sleeping for eight weeks since his tussle with the villainous Insomnia, Batman wakes up to find a changed Gotham City, courtesy of Selina Kyle. As his own family sides with Catwoman’s attempt at organizing and redirecting the flow of crime, Batman makes his stand loud and clear. The only one who seems to agree with him is Damian, who has reconciled with his father since the Lazarus Planet event. DC presents a father-son tale for a new age as Batman and his sidekick, Robin, prowl the streets together again. Written by Joshua Williamson with art from Simone Di Meo and letters from Steve Wands, Batman and Robin #1 alludes to new beginnings, new enemies, and new adventures.Catwoman may have taken all the henchmen away with her, but crime still finds a way to rear its head in Gotham City. Batman and Robin #1 opens with a hostage situation, as White Rabbit holds people at gunpoint on a zeppelin ride. It does not take long for the two crimefighters to take down their enemy and reach home just in time for a nap. As a new day begins, father and son reminisce about the old days and finding new ways to reconnect with the world. With Damian having made a breakthrough in last night’s case, Batman and Robin jump into action only to find Killer Croc and Orca waiting for their arrival.Although it branches out from the ongoing Gotham War arc, Batman and Robin #1 is its own thing. Williamson’s story structure is formulaic. It starts with a hook and slows down enough for the protagonists to find their rhythm until the book punches the gas in the last mile. Neither the villains nor the mystery stand out much, but the father-son dynamic is charming. Williamson’s Bruce is more open to parenting now, showing genuine concern for his son’s wellbeing, even though it still needs some work. The dialogue is the cornerstone of the issue, as mannerisms can only convey so much. Damian’s struggle to find his groove in his civilian identity, as he has in his cowl, serves an emotional angle but is not enough to make the book especially engaging.RELATED: REVIEW: DC’s Fire & Ice: Welcome to Smallville #1
After sleeping for eight weeks since his tussle with the villainous Insomnia, Batman wakes up to find a changed Gotham City, courtesy of Selina Kyle. As his own family sides with Catwoman’s attempt at organizing and redirecting the flow of crime, Batman makes his stand loud and clear. The only one who seems to agree with him is Damian, who has reconciled with his father since the Lazarus Planet event. DC presents a father-son tale for a new age as Batman and his sidekick, Robin, prowl the streets together again. Written by Joshua Williamson with art from Simone Di Meo and letters from Steve Wands, Batman and Robin #1 alludes to new beginnings, new enemies, and new adventures.
Catwoman may have taken all the henchmen away with her, but crime still finds a way to rear its head in Gotham City. Batman and Robin #1 opens with a hostage situation, as White Rabbit holds people at gunpoint on a zeppelin ride. It does not take long for the two crimefighters to take down their enemy and reach home just in time for a nap. As a new day begins, father and son reminisce about the old days and finding new ways to reconnect with the world. With Damian having made a breakthrough in last night’s case, Batman and Robin jump into action only to find Killer Croc and Orca waiting for their arrival.
Although it branches out from the ongoing Gotham War arc, Batman and Robin #1 is its own thing. Williamson’s story structure is formulaic. It starts with a hook and slows down enough for the protagonists to find their rhythm until the book punches the gas in the last mile. Neither the villains nor the mystery stand out much, but the father-son dynamic is charming. Williamson’s Bruce is more open to parenting now, showing genuine concern for his son’s wellbeing, even though it still needs some work. The dialogue is the cornerstone of the issue, as mannerisms can only convey so much. Damian’s struggle to find his groove in his civilian identity, as he has in his cowl, serves an emotional angle but is not enough to make the book especially engaging.
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