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Batman & Robin #21

A comic review article by: Travis Walecka
When it was announced Green Lantern Corps creators Peter Tomasi and Patrick Gleason were leaving the title for other endeavors, I left as well. Of course, DC Comics found a brilliant way to lure me back with the forthcoming War of the Green Lanterns (got to love it). And if you’re curious as to why I left, look no further than here…

Batman & Robin may have been DC’s brightest prize behind the wisdom of Grant Morrison, and may have stumbled briefly with Action Comics superstar Paul Cornell. However, with what now many critics have been dubbing “the complete Batman book,” the new creative team of Batman & Robin seemingly fits the bill.

Surely there are flaws. If there wasn’t, there’d be no point in reviews. The good news is, with the all-new Batman & Robin they are minimal and bearable.

Let’s face it: no one can write Damien quite like Morrison; it’s even arguable that no one can write Grayson as well as Morrison. Many who tried have basically used Bruce’s personality with Dick’s namesake and a gray alternative to the classic gold emblem.

Thankfully, Tomasi is a Nightwing veteran and -- other than a couple “against-type” remarks, particularly with the term "Twitter" -- his take on Batman’s devilish, spunky son is just that, albeit an improvement from last month’s issue.

Camaraderie may be significant, but wondrous conception is certainly what this team does best. Gleason’s astonishing galaxies with the Corps, chiefly that of Oa, caught the eyes of thousands, and his version of Gotham City takes the term "wonder" to new heights.

As one of the few artists who’ll significantly distract you from the story and keep your eyes adhesively to full-page layouts or spreads, Gleason rocks the menacing radiance of White Knight with gritty, extraterrestrial extremity. No, I don’t think Batman & Robin will become Gotham’s “space book,” as there are plenty of grotesque murders, scathing repartee, and, thankfully, Jim Gordon.

Oh, there’s no doubt the new Batman & Robin’ll feel a bit sci-fi compared to Morrison’s hokey throwback textures. Yet, with that style already displayed internationally with Batman Incorporated, Scott Snyder’s horror-driven Detective, Batwoman’s artistic fantasy, and Tony Daniel’s mob-mentality on the main title, Tomasi and Gleason’s ingenious style will hold just right on its own.

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