Batman and Robin #2 is published by DC Comics, written by Joshua Williamson, art and colors by Simone Di Meo, and letters by Steve Wands. Batman and Robin have been fighting a team of animal-based villains, but a mysterious smoke pellet causes a swarm of bats to attack the man who took them as a symbol.
This is a comic filled with a fast pace and brilliance. Taking place immediately after the previous issue left off, the book suddenly splinters into numerous threads. There’s a new villain that links directly to Damian’s past, but this group has several unseen figures. The situation with the bats is frantic and fun, disrupting a symbolic relationship. It matches the most light-hearted approach that Williamson has taken to the book. The moment is desperate before stopping with a sudden and dramatic halt, which is a common technique that is used frequently in this series.
Then, there is the small matter of sending Damian to school. This subplot has some predictable outcomes, but it is still extremely fun seeing Robin in that setting. The structure brilliantly allows all of these story veins to exist in the same space, with seamless transitions and not a hint of confusion or running away from itself.
What is becoming apparent within Batman and Robin #2 is how much of the story is being told through the lens of Damian. And perhaps that is because he is a newcomer to the situation again. The villains seem to originate from him, and Bruce is working to be better for him. Williamson is investigating new parts of the young warrior’s personality. One of those is a sensitivity towards life. The boy can be cold and calculating, but this issue also shows an affection for animals and a desire to protect them.
Batman is used brilliantly. He is really working hard to be a good father, listening and communicating with his son as well as commending him on his achievements. Instead of being a drill sergeant like he is often portrayed, Bruce is actually being a dad. This version of Batman and Robin truly appears to be a partnership. Robin is a brilliant tactical mind not far off the level of Bruce, but even at home, they seem to try and take care of each other.
The art is sensational. The frantic pace is captured brilliantly in the first set of pages, and the motions of these unbelievably rapid characters are portrayed through blurring and almost imperceptible movements. The locations are gorgeous and rife with detail. The vehicles are ridiculously impressive. Robin’s buggy is huge, like an oversized Hot Wheels, and Di Meo delights in showing its speed. And the villain designs are terrific. The Terrible Trio are distinctly horrifying whenever they make an appearance.
The colors are stunning, easily the most captivating part of the comic. The lighting is mesmerizing and always intense. It’s blue but so bright that it’s closer to white light. But then the scene will change, and the palette becomes a duopoly of purple and green. It is usually two colors that exist on a page at a time, although there are important tones on the characters that serve as exceptions. The lettering is very easy to read.
Batman and Robin #2 takes a different approach to the father-and-son relationship. Instead of focusing on being antagonistic and angry, Williamson is trying to operate out of love. It gives the book a more positive spin, and the comic is, therefore, lighter to the reader. The story is still extremely effective and intriguing, and the art is spectacular. Batman’s relationship with the Robins can be complicated, and that is very apparent here. But above all, it paints them both as good men.
Batman and Robin #2 is available where comics are sold.
Batman and Robin #2
Batman and Robin #2 takes a different approach to the father-and-son relationship. Batman’s relationship with the Robins can be complicated, and that is very apparent here. But above all, it paints them both as good men.