![]() But then you wouldn’t get the new art produced by Burnham to replace the fill-in art that was sometimes necessitated by deadlines. So why not just buy the regular trades? Well, you certainly could. Most of all, if Batman and Robin readers learned to like Damian Wayne, it was Batman Incorporated readers who learned to love him like their own wayward son. There were tons of Easter eggs that enriched the experience for long-time readers while never distracting newer readers. Never was that more on display in those final issues, which veered all over the place but never lost its way. ![]() He helped to redeem the Adam West years while also paying significant homage to the Denny O’Neil-Neal Adams era that was designed to obliterate it. Morrison maintained that his run was grounded in the notion that all 70-75 years of Batman‘s history mattered: The wacky early Silver Age alien stuff fit in, as did the Golden Age gun-toting, dark avenger. Whatever it was, it was a masterpiece - Batman‘s final showdown with, Talia, the mother of his son - greater even than the much-loved Batman and Robin run that preceded it. ![]() Maybe it’s because artist Chris Burnham was a revelation with an uncanny knack of tapping so well into the writer’s consciousness. Maybe it’s because Morrison knew it was time to wrap it up. But the ideas were always there - and never were they more adeptly and confidently conveyed than they were in the final, post-New 52 Batman Incorporated arc, which makes up the back half of this edition. ![]()
0 Comments
Leave a Reply. |