Batman and Red Robin #19 In Denial?

 

Peter Tomasi and Pat Gleason follow up their masterwork that was Batman and Robin #18 with Batman and Red Robin #19 and it is a somewhat more muted affair.  

Yes, I am aware of the irony of calling a dialog heavy sequel to the totally wordless issue that was  number 18 "muted" but I do so because it lacked the depth of its predecessor.  Batman and Red Robin 19 is a different cat altogether and it threw its readership for a loop with the reintroduction of Carrie Kelley to the Batman universe.

I'll get to that later.  What I really wanted to focus on was Tomasi's deliberate follow up to 18 and how he was going to explore the five stages of grief as originally outlined by Elizabeth Kubler-Ross.

As noted by Wikipedia the stage of Denial can be explained as, "Conscious or unconscious refusal to accept facts, information, or the reality of the situation. Denial is a defense mechanism and some people can become locked in this stage."

I don't see Batman as "locked in this stage" because, A, Tomasi is going to move him through all 5 stages and B, Batman has to move on to "anger" because if Batman is anything it's angry!

The first glimpse of "Denial" we get from Batman is from his alter ego Bruce Wayne.  Wayne has sought out Carrie Kelly to pay off her fees as charged to Damien for what I can only assume are lessons in theater.  (Whether acting or history or both.)  Wayne is referring to Damien as if he is still alive which is classic denial and at this stage of grief almost reflexive.  Alfred (callously?) points this out to Wayne and he retorts with a sardonic thank you.  Wayne's rebuttal can also be seen a symptom of denial as it is a slap at his closet ally and friend, Alfred, and intended to sting.  Lashing out at ones closest to you keeps you from facing the truth they wish to impart.

Paying Carrie Kelly off is also a form of denial as Wayne intends to close that chapter that involved her and Damien.  Thus, he no longer has to deal with it.

From here I sensed that Tomasi drifted a little from the theme of denial and drifted into the second stage of "Anger" and added a touch of the third stage, "Bargaining".  Batman goes on a mad caper to capture "Agent of S.H.A.D.E." Frankenstein with the hopes of incorporating "Frankie's" insight and abilities of reanimation.  

 In doing so Batman is effectively admitting that his son is dead.  This is in contretemps to the stated definition of denial.  I suppose Tomasi is to be forgiven for this drift of thematic narrative.  I really don't know anything of his educational background nor would it be fair of labeling him a psychologist.  I'm only pointing out that if you are going to entitle your book, "In Denail" you'd be better served to sticking with that theme and plumb the depths of that particular issue.

 

In the above set of two frames we get Batman admitting Robin is dead ("Not for long") and denying it has any permanence when he recounts his own "death" and that of Superman's.  Again, a bit of a mixed message for the stated theme of denial by Tomasi but who said Batman was anything but complicated.

 

I suppose it fortunate that Batman isn't into full on "Anger" or he may well have dismantled Tim Drake.  Here we can make a case for a solid return to the denial theme.  If Batman had been in full use of his capabilities instead of being in the thrall of denial he would have anticipated all of Red Robins tactical moves.  Instead, the tables are turned on Batman as the former pupil outmaneuvered the master catching him when his judgement is clouded and his plans for a grisly re-animation are foiled.

 

While this issue doesn't measure up to the greatness that was issue 18 and I think it drifted from its stated theme, we still get a look at Batman while he begins his descent into grief.  "Anger" is the next step and we certainly got a glimpse at the rage that is engulfing Batman.  The next issues is to be entitled "Batman and Red Hood in Rage."  The Jason Todd character of Red Hood has visited death before and as a former protege of Batman this pairing should unearth some deeply buried resentments and sublimated issues that were never successfully resolved.  If that isn't a recipe for anger then nothing is.

As for the introduction of the Carrie Kelley character, the fictional non-canon character that is now inserted as a fictional canon character, so what!  I know it has the resolute fan-boys' knickers in  a twist but if it was intended as a publicity stunt it worked as the first printing of Batman and Robin #19 was completely sold out.

 Kelley will add a new dimension to world of Batman as she seems determined or at least the type to be determined to find out what happened to Damien.  A thorn in Batman's side is always good theater.

Next up:  Do you believe Batman and "A New Beginning?"

The Iconic Batman: Art of the New 52 #6 Updated!

In this, the sixth installment of the iconic Batman, we examine the artwork of Patrick Gleason from the issue of Batman and Robin #5.  To add a little context to this particular frame, Batman has been struggling with his relationship with his son Damian who is also the current Robin.  Batman and Robin have been battling with someone called Morgan Ducard who, seemingly at this point, is their equal in all departments.  Ducard has managed to lure Robin away from Batman with promises of unfettered grandeur as Robin has been frustrated with Batman’s short leash.

In the above frame we witness Batman ruminating over his failure as a parent.  He hasn’t been totally honest with Robin and he hasn’t shared many of the stories and experiences of his own youth.  Batman has sought to shield Damian in order to bring him along slowly (if that is possible in the world they travel in.)  Now Batman finds himself alone.

We see Batman is full silhouette framed by the full of the moon.  Even though it is night the sky runs red.  As we have discussed before, red is the color of passion.  Only this time the passion is far from the one of love.  It is more sorrowful here and seems to conjure thoughts of loss rather than the close knit bond that should connect father and son. 

It also portends a certain amount of violence for the future of this father and son team.  Violence is not a stranger to this duo, but the blood red of this particular night foreshadows what could be a profound amount of loss that neither may able to get back.  The loss of trust is the greatest of them all.

It’s notable that Batman is balanced on an outcrop of architecture high above his city.  Gleason seems to want to convey how Batman’s future hangs in the balance and any decision from here on will have dramatic effect on the lives of Batman and his son.

What I also found compelling about this image is how Batman is holding a spare cowl from his uniform.  He seems to be looking at himself and asking, or rather, confronting the questions he should have faced long ago.  The cowl is an empty vessel however and the answers to Batman’s questions come from within. A place where they have always been.                                                               

What is also fascinating about this image of Batman is how much it resembles that of Hamlet holding the skull of the long passed Yorick (Laurence Olivier as Hamlet above.).  Hamlet also ruminates over what was lost.  Yorick was jester to the King and someone who bore the young Hamlet “on his back a thousand times”.  Hamlet wishes for better days and a time when life was simpler and he wasn’t burdened with the pressure of his adult responsibilities.  Now Hamlet finds his adult life consumed with thoughts of vengeance over the murder of his father the King and has set his life on a course that is irreversible; a course that is beset with loneliness, retribution and a touch of madness.

Batman also feels the pressure of his lonely struggle to avenge crime.  In Robin, his son, you’d think he’d found the perfect person to share his burden with.  Yet Batman, like Hamlet, is consumed by the fires of revenge and quite often can’t see beyond the breadth of his own designs.

Hamlet is known to be one of the greatest tragedies written by Shakespeare.  In his pursuit of justice Hamlet lent his hand to the death to his many his enemies and sadly to those he loved as well.  Let’s hope Batman does not follow the same path as the Prince of Denmark did.  Many have suffered and many have been lost in Batman’s quest. But to lose the life and love of the son would be the greatest tragedy of them all.

Updated!

If there is one thing I can appreciate it is continuity.  Not just in story, which is expected, but in art form.  Many times in serialized tales we will pick up the story line where we left off and if not there then shortly into the future and then flashing back to where we were.  But to see this in art form is special.  When we last left Batman and Robin #5 Robin was prepared to shoot his prisoner for Ducard and fittingly that is where we pick up for issue #6.  But as we see from the frame at the very top, we left Batman earlier in deep contemplation sitting atop a Gothic outcrop.

What Tomasi and Gleason have done for us is a real treat and I love it.  Instead of static reflection, Batman now swings into action.   Beyond is the same full moon with its yellow sun like glow.  The same blood red sky highlights Batman but instead of a sorrowful mood it courses with dynamic action literally flowing through the arteries of this story.

Batman is no longer in silhouette, we now get the full grey classic costume with the ominous bat symbol across the chest.  Instead of the quietude of somber thought we get the ripples of musculature as Batman now has purpose, direction and command.  He pulls a his Bat-a-rang line with control instead of swinging from it passively.

This is the Batman we love.  This is the Dark Knight that is ultimately vengeful and victoriuos.