Funnybook Babylon

January 28, 2010

Batman and Robin #6 and #7

Filed under: Annotations — Tags: , , , , — David Uzumeri @ 9:07 am
Batman and Robin #6

Batman and Robin #6
Batman and Robin #7

Batman and Robin #7

The #6 annotations are so late partly because the issue seemed rather sparse to me and partly because Gavok over at 4thletter! just completely demolished the landscape of any of my commentary, so what’s below regarding that issue is heavily indebted to his realization about the nature of the story. Then, below, commentary on today’s #7, which is detailed and byzantine and littered with references and basically my wet dream as an annotator.

Cover: A clear reference to Prince’s classic Purple Rain.

Batman and Robin #6

Page 1: Fanservice for fangirls (and, I guess, pedophiles) of Dick Grayson and Damian Wayne. The phone poll metajoke is even more prominent this issue, and certainly on this page. I have no idea what to make of the way they produced the video – for a while I thought the colorist stuck a panel from an earlier issue in there, but I can’t seem to find it, so I have no idea who’s responsible for 1 8XX XXXX as a phone number, but it’s pretty distractingly amateurish.

Page 6: Jason Todd’s most famous alien-fighting experience was back in Superman Annual #11, the famous Alan Moore (there’s that name again!)/Dave Gibbons “For The Man Who Has Everything” story where he won the day by dropping the Black Mercy plant on Mongul and got a boner from staring at Wonder Woman. He traveled through parallel worlds in the Countdown weekly series/publishing disaster while a member of the never-called-such-in-the-actual-comic Challengers from Beyond alongside Donna Troy and Kyle Rayner. The middle panel with the old couple’s a pretty direct commentary on the bloodthirsty-public mentality that led to Jason’s death and, subsequently, what was really his modern origin story. (Does anyone really care about his time as Robin anymore? Let’s be honest here, Jason’s real origin story/central tic is that he’s the Robin who died under Bruce’s watch.)

Page 7: It seems a bit big on the inside, but the implication of the middle panel seems to be that Red Hood and Scarlet’s hideout was in the back of a huge truck – was that supposed to show that they’re trailer trash, maybe?

Page 9: Jason speaks the truth – he seems to have a real fourth-wall-breaking awareness of the nature of his appeal, so if Morrison chose to have Flamingo actually shoot Jason in the face, there’s really very little chance he’d stay that way for long this time.

Page 13: Three shots, nearly point blank, to the spine – the incident that Gavok references in the above link that neatly aligns with Barbara Gordon’s role in The Killing Joke, much as (as we will soon see) this arc and especially this issue act as a weird revisiting or mirror of that canonical story.

Page 15: The industrial garbage grabbing truck is a pretty strong metaphor for Jason Todd’s entire crimefighting approach – heartless, impersonal, the easy way out that causes a bunch of unexpected damage. Contrast with Batman #655, when Bruce Wayne throws Joker in a dumpster personally – Jason Todd is more than happy to throw the baby out with the bathwater.

Page 17: As Gavok’s above link shows, Dick’s offer of help here (and on the next page) are highly reminiscent of Bruce’s offer of help to the Joker at the end of The Killing Joke.

Page 19: Robin only looked shot three times at close range earlier, but that’s a small detail.

Page 21: This whole arc was really heavy on identity and masks, wasn’t it? Which is pretty well-worn, well-trodden ground for a Batman story. With the exception of Scarlet, everyone in this comic is wearing a mask or adopting an identity that used to belong to someone else – Dick as Batman, Damian as Robin, Jason as Red Hood. Everyone was trying to step up into someone else’s shoes, and then Flamingo, the “Eater of Faces”, arrives at the climax to ‘eat away’ at the characters’ roles and faces. The story begins being about Batman and Red Hood, morally incompatible vigilantes in conflict; it basically finishes like a Wayne Family episode of Intervention as Dick offers Jason help and then they drag Jason away screaming about daddy issues. Their entire conflict was a mask in and of itself – it was never about Old vs. New Testament justice, it was about – as Jason put it in the first issue – “the revenge of one crazy man in a mask on another crazy man in a mask.” Flamingo may have tried to eat Scarlet’s face, but the face he REALLY ate upon his arrival in Gotham was that of their conflict.

Page 22: Oh hey, El Penitente is Simon Hurt! I jotted down a bunch of thoughts about that a while ago, and what the “W” scar on his back (and his predilection towards Bat-suits and self-flagellation) might mean. Oberon Sexton’s hotel room is littered with newspapers, the visible one of which is identical to the one at the end of Batman R.I.P. reporting on Talia’s killing of Cardinal Maggi due to his involvement in the Black Glove. It certainly casts Sexton’s red-and-black ensemble in a sinister new light, and brings into question the nature of the killer he’s supposedly following.

Page 24: According to Morrison, this body was (presumably) put back together, thrown into a bat-suit and placed in this secure location after the desecration of Bruce Wayne’s grave back in Blackest Night.

Batman and Robin #7

Page 1: We pick up right from the end of #6 with this direct reference to the final page of Final Crisis #6, with Superman holding the same body that Dick Grayson’s holding here. Cameron’s reference is pretty exact, down to the locations of the holes in the costume and the emaciated skeletal structure. The only thing that’s really different is that here Batman isn’t still smoking.

The issue’s title, “Pearly and Pit,” carries both a literal meaning (since the issue is about the British crime figure the Pearly King and his assistance in finding a Lazarus Pit) and a figurative one (Heaven and Hell – the Pearly Gates and the Eternal Pit). And, of course, pearls themselves always play an important part in the Bat-mythos because of Martha’s pearl necklace. (Get your mind out of the gutter, you back there.)

Page 2: An indeterminate period of time then passes and Batman’s evidently gone to Europe, for reasons we’ll soon discover. The gigantic Ferris wheel he’s saving the girl from is the London Eye, where he then jumps on a boat and heads south.

Page 3: I don’t recognize the building in the top panel; the W1 that Squire is referring to is slang for London’s West End (from its postal code designation). Batman is boat-hopping to Westminster Bridge.

Page 4: Now Batman car-hops while going west on Westminster Bridge, before jumping onto the Route 15 bus, which doesn’t appear to go anywhere near Westminster Bridge, so I should probably stop trying to take this scene so literally with regards to location.

Page 5: “Harridges” is a reference to monstrous London department store Harrods, into which Squire barges in, goes up an escalator and crashes through a window to pick up Batman, who swing off that crane after jumping off the bus on the previous page. (These fight scenes are exceptionally well-choreographed, even if I can’t work out the geographic details – I was gonna do a Google Map of the chase and everything!)

Page 6: St. James’s Park Station is the closest to Westminster Bridge, so that makes sense.

Page 7: Old King Cole is a British nursery rhyme, “Burning Black Heart” might be a reference to the Keane song, and King Coal is a term used to describe the now-dying British coal industry, a concept which comes up later. Smooth Eddie English, the “Pearly Prince”, is all dressed up as a Pearly King, the uniform of a charitable working-class British organization that’s apparently been co-opted by these costumed criminals. In other words, this book is WORKING-CLASS BRITISH AS HELL, going right along with Beryl’s background. The idea of pirate subway trains harkens back to Morrison and Stewart’s last DCU collaboration, Seven Soldiers: Guardian, where “All-Beard” Alan Moore and “No-Beard” Grant Morrison battled for control over the NYC subway system.

Eddie’s reaction to Batman’s appearance makes me wonder if the Pearly gang, like the Coal gang, are also familiar with the Crime Bible and the “Knight of the Beast” prophecy Batwoman references later.

Page 8: The man next to Batman is, despite my earlier statement (thank you, Internet and living documents!), the obscure DC Comics superhero Beefeater. The structure he’s in is royal British prison the Tower of London; all of the supervillains mentioned here are new creations – I imagine Dai Laffyn is a pun on “Die Laughin'”, Don Drummond might be a reference to the reggae trombonist, the Morris Men could refer to Morris dancing, the Highwayman is a pretty straightforward, obvious reference and I have no idea where Metalek the xenoformer comes from, although it certainly resembles Marvel’s Trull the Inhuman. The Pearly King of Crime is presumably the father of the Pearly Prince.

Page 9: It’s interesting that the King already has the dominoes in the map position.

Page 10: This conflict obviously isn’t limited just to London, as Newcastle is practically on the opposite end of the country – so it’s the old British city vs. country thing again, working class versus working class. I expect Pearly playing dominoes is a coincidence regarding the Domino Killer, since Pearly can’t do much in prison; then again, he apparently knew what Batman was looking for before he even arrived, so perhaps there is some sort of connection. I can’t seem to find any references to what “Donna” and “davina” mean, although from context clues I can guess they mean “woman” and “balls.”

Page 11: The comment about the Cauldron of Rebirth – clearly referring to the Lazarus Pit – hearkens not only back to Celtic mythology but also Morrison’s Seven Soldiers, where the original Cauldron had been taken to New York and used as the personal resurrection machine for Don Vincenzo. Also in Seven Soldiers, it’s revealed that the Cauldron of Rebirth was a gift from the New Gods to Aurakles – so, like the Omega Effect Bruce is trapped in, the Lazarus Pit is ultimately based on New God technology and magic.

Pearly’s hand is following a path on the domino-map, allowing him to maintain his vow of silence while also helping Batman for what he did for his son. The song he’s singing is, of course, a working-class folk song. I’m guessing Dick takes a picture or recording of the domino pattern and sends it to Cyril; Shipment X, as later revealed, is Bruce’s body.

Page 12: Well, at least Talia has the courtesy to call him MISTER Pennyworth. The surgery tank very faithfully replicates the one in Batman #665.

Page 13: Talia’s little note as Alfred leaves is probably a reference to pulling the trigger on some sort of kill order, leading to the next arc, “Batman vs. Robin.”

Page 14: Lazarus pits generally lie on ley lines or junctions of them. I’m not sure why midwinter has such a meaning to King Coal’s group, but I’ll trust Beryl (and any commenters who want to chime in) on it. Rendle Colliery seems to be fictional on Morrison’s part; I’ve got no idea if the name is a reference to anything, so, again, British assistance appreciated. The footprints are from the dudes carrying Batwoman’s coffin.

Page 17: Oxford Street is apparently a very busy street in the aforementioned W1. The chanting and twice-daughter are our first hints of what’s coming on the next page; back in 52, Batwoman was referred to the “twice-named daughter of Cain” by the Crime Bible cultists, who it seems the Coal gang are affiliated with. Hammer Films is a British group that made low-budget horror flicks.

Also, just like the Cauldron of Rebirth and Omega Effect are New Gods concepts, so is the Crime Bible that apparently led Batwoman and the Coal guys here.

Page 18: Batwoman, object of desire for Crime Bible cultists, makes her grand appearance.

Page 19: So midwinter is an excuse to use the whole Blackest Night title reference without actually having Black Lanterns around, it seems. The dialogue is accidentally switched around in the middle panel.

Page 21: Insanity has long been a standard side effect of the Lazarus Pit, used to explain the mental states of both Ra’s al Ghul and Jason Todd. The “what the whole world’s just been through” that Batwoman’s mentioning is likely the zombie epic that was Blackest Night.


  1. Yeah, Davina will be contempo rhyming slang, e.g. Britney Spears = beers, “get the Britneys in”; Davina would be Big Brother presenter Davina McCall. Dunno Donna.

    Rendle… Rendlesham? Not sure, but I can only highly recommend GB84 by David Peace as a truly phenomenal, breathtaking demifictional piece on the miners’ strike and after-effects; about one of the five best books I’ve ever read, I’d say.

    Oh, the Xenoformer seems like a Transformer to me, really; obvious but, probably Marvel UK’s biggest success and one of their first post-Moore/British Invasion crossover talents was Simon Furman, who c.1989 took over the american title on the back of his UK work; it’s not British, but it _feels_ to me like something we can get proprietorial over.

    I really really really really loved this comic.

    Comment by Duncan — January 28, 2010 @ 9:46 am

  2. Not read #7 yet, but when I re-read #6 I had the thought that Sexton might be the original Knight (British, secret past)? But Morrison says he won’t feature much in Blackest Knight, so probably not.

    Comment by James — January 28, 2010 @ 10:50 am

  3. I took “Donna” to actually refer to a woman named Donna. One of Morrison’s favorite literary tricks is making off hand references to previously unknown characters and events as if they existed in some back issue out there waiting for us to read. I like to think he does this to help recreate the fun of discovering comics for the first time (especially back in the day when it wasn’t so easy to find every comic ever published)

    Oh, and Hammer Films wasn’t a British group that made low-budget horror flicks.

    Hammer films was a British group that made GREAT low-budget horror flicks.

    Comment by jmb418 — January 28, 2010 @ 11:28 am

  4. “Coals from Newcastle” is a riff on the phrase “carrying coal to Newcastle,” meaning to do something totally unnecessary.

    Comment by Douglas Wolk — January 28, 2010 @ 1:05 pm


    Johnston from BC also did his own little notes, basically referencing all the British idioms and such we Yanks and whatever it is brits call Canadians don’t get

    Comment by Nathan — January 28, 2010 @ 1:42 pm

  6. The Metalek might be a reference, at least in name, to the Daleks from Doctor Who. They were also namedropped along with King Coal by Squire way back in JLA Classified #2.

    Love that the vampiric looking Batwoman makes her entrance by bursting from a coffin. I’ll be honest, the guest stars feel a little superfluous so far, but they’re damned fun.

    Does anyone else agree with Morrison that Dick was always more of a little brother to Bruce than a son? I’ve honestly always had trouble with the idea that Bruce is much of a father figure.

    Comment by Super-Dad — January 28, 2010 @ 1:46 pm

  7. Metalek =

    Comment by fcfanatic — January 28, 2010 @ 3:45 pm

  8. fcf – well played on telling the Thatcherite to fuck off, mate.

    Comment by Duncan — January 28, 2010 @ 4:57 pm

  9. :-)

    Comment by fcfanatic — January 28, 2010 @ 6:16 pm

  10. Good work as usual David. Couple of (really) minor points. The building on page 3 is Buckingham Palace and Harridges is a splicing together of Harrods and Selfridges – another monstrous department store in London. I agree Duncan, this was the nuts.

    Comment by Electricant — January 28, 2010 @ 7:15 pm

  11. The problem with using a real city is that those of us who live there can see the errors :p

    It’s like in “National Treasure 2” with the car chase…the alley they reverse down and turn out of does not lead into the street they were on…

    Similarly, here, on the South Bank where the London Eye is situated there’s a solid wall, not the metal railing thing Dick vaults over – and boats aren’t allowed that close (however, I’m going to take that boat as being remote controlled).

    The department store was a take on Harrods, but that’s in Knightsbridge and for him to get to there after getting on to Westminster Bridge (based on the colour and proximity) would take at least 8 minutes driving (without traffic) as it’s just under 3 miles. But going from there back to St James’ Park Station (and they actually depicted the front of the station, including the traffic island and newspaper storage box :p ) would mean going back on yourself.

    HOWEVER, it may be a take on “Claridges” (perhaps even an amalgamation of the two, which seems most likely), the problem with that, though, is that the hotel is in the middle of a block rather than on a corner, as depicted in the comic.

    “Davinas” is an abbreviated version of “Davina McCalls”

    Having “Basement 101” in the Tower of London was cool – although…the place is a tourist attraction…but since we’ve never heard of a breakout from there I guess it’s secure – and so safe for the tourists above ;)

    As for the crown stamp on the mug, it would likely lead them to Derby or Stoke – there is a ley line in Derby, so probably there…

    (Oh, and the number 15 bus…would only work (with a roof on) if he had gone towards Charing Cross, instead, but the bridge used for him to be able to do that is incorrect (it only allows foot-traffic and the rail section in the middle wouldn’t be of use to him). Nit-picky, I know, but someone out there might be interested… ;) )

    Comment by Adnan — January 28, 2010 @ 7:22 pm

  12. Ah Claridges, of course!

    Comment by Electricant — January 28, 2010 @ 7:26 pm

  13. Oh yeah, Selfridges…the flags made me think of Claridges, though :p

    Oh, and Westminster is the closest station to Westminster Bridge, not St James’ ;)

    Comment by Adnan — January 28, 2010 @ 7:36 pm

  14. Selfridges, Harrods, Claridges. S’all there kids

    Adnan, I enjoy seeing our city up there in four colours but I could not give a fuck whether liberties are taken with geography. 10 years ago I might have moaned about all the stereotyping and all the cheap references to outmoded British culture (pearly kings for a start), but then I stopped being a prat.

    It’s fun. It’s silly. It’s got Batman in it leaping over the Thames and vaulting over red buses.

    The world is gud

    Comment by Zom — January 28, 2010 @ 7:42 pm

  15. Oh, I agree, I enjoyed seeing Batman in London (heck, BB and DK had parts filmed here (part of the hotel scene was filmed in the building my office is situated in).

    It was a fun ride, even if a little “out of synch” :p

    Comment by Adnan — January 28, 2010 @ 7:49 pm

  16. Dave, this was basically my wet dream fullstop. I love it when the super-set touch down in blighty, speshly when they’re backed by cheeky fun creators like Morrison and Stewart

    Comment by Zom — January 28, 2010 @ 8:15 pm

  17. “…a game of cards played using REAL PEOPLE. Coal gambled and lost.”–Just like how the Black Glove sanctioned “games” played with people’s lives. Mayhew lost one of those games in Batman 669, for instance.

    I’m not sure Pearly vs. Coal is really “working class vs. working class”. Pearly King might clothe himself in “charitable” trappings, but the guy calls himself “Royalty” and claims descent from King Arthur. Also, though this could be standard issue given the location of the prison, maybe he has that cup with the crown stamp because he really DOES have legitimate royal connections.

    BTW, the whole 3-page interrogation scene between Dick and Pearly King is an echo of the 3-page scene between Bruce and the Joker in DCU #0 (the prelude of R.I.P.). The Joker/Killing Joke-inspired motifs keep on coming in B&R…

    Getting back to the royal/pseudo-charitable stuff, maybe it’s just my own conspiratorial trappings, but in this issue I definitely got the sense that Morrison was pointing out how false political opposites really amount to the same thing: in the end, it’s really the elite bad guys (despite their relatively MINOR differences) vs. the regular people. Pearly King is “charitable” whereas his foil, King Coal, is earthy and rustic…and they both may pretend to be “working class” (to different extents, I’d say), yet they both call themselves “Kings”. They want to be “Kings” AND be the people’s champions. But that’s all window dressing and costumes. Meanwhile, what’s REALLY important is that they’re both criminals! Despite their slight differences (gah, they actually think they’re “opposites”!), they both play the same sort of lawless violent “games” for power, the side-effects of which cost normal people their lives.

    In the ’80s Thatcher (from the “Right”) tried to shut the British Coal mines down. Today the British Coal industry faces some threats from the “Left”, who want more “green” energy. There have been recent scandals where the owners of British coal mines, professing to care about the environment, close the mines in England…only to reopen them in other countries where the laws are less strict and the costs of labor far lower. Toward the end of Thatcher’s reign, actually, she had used the “environmental” excuse to get a few things across the table as well. Now, before anyone jumps on me, I’m not taking any strident political stand on any of these issues (Tou lean Left? Fine. Right? Eh, whatever. You want green energy? Cool. You want to keep mining coal? Whatever)…but what I’m saying is that B&R #7 kind of shows how all these surface-level political identifications and false oppositions don’t matter. Because what it all really is, in the end, is powerful criminals (or near-criminals) playing games with people’s lives. In the end, it’s the everyday people who get hurt–like it’s some kind of mystical law almost. In B&R 7 we’re told that the workers took back this “cursed” mine…but then ten of ’em died the next day in an accident.

    The whole “class warfare” stuff in Morrison’s Batman goes back to issue #673, when no less a self-proclaimed good guy than Joe Chill himself tries to justify all his villainy by stressing how he “worked” his way up…as if that makes it okay for him to have murdered people.

    And Morrison’s always pointed out the irony of Batman being, basically, a rich guy who (apparently!) does good by beating up bad people who, mostly, are quite poor (or at least waaaay poorer than Bruce Wayne is).

    (Hope I didn’t step on any toes. I’m not saying any of this is absolutely correct, but these are the thoughts that I derived from the comic. The oppositions associated with Morrison’s Batman villains often prove to be near-meaningless or false oppositions, I think.)

    Lastly, the idea that Dick functioned more like Bruce’s younger brother was also put forth by Morrison in an interview from a few years ago.

    Cheers on the annotations. Hell of an issue.

    Comment by TMarls — January 28, 2010 @ 10:49 pm

  18. David,

    My buddy just noticed this.

    Pull out “The Killing Joke”. Check out what’s hanging in the background on page 10!

    Comment by MikeCr — January 28, 2010 @ 10:52 pm

  19. Damn,

    I just re-read my buddies message and what he noticed was who’s in the picture in panel 3. I’m calling dibs on panel 4’s allusion.

    Comment by MikeCr — January 28, 2010 @ 11:00 pm

  20. (P.S. Gah, I meant that some owners of British coal mines were moving their operations and investing money in foreign mines. Not actually moving the physical mines to other countries…which is how my comment kinda read. Sorry. Beside the point anyway. Just posting this because I don’t want to look like a complete goofball in posterity)

    Comment by TMarls — January 28, 2010 @ 11:12 pm

  21. Could Metalek be a reference to Morrison’s own work on Zoids?

    Have to agree about the chase to Harrods and back being a bit of a waste of a journey, but I’d imagine that’s deliberate and probably a parody of chase sequences in films (especially considering the whole “Coals to Newcastle” analogy). I wonder whether it’s a reference to the best parody of chase sequences of them all, in the Spice Girls Movie. No, really. It’s great. It even features a toy London Bus because they run out of money for special effects.

    Further landmarks missed:
    Page 3 Panel 1: that’s Buckingham Palace, which makes sense if the Squire picks up Batman from outside Harrods.

    Page 4 Panel 2/3/4: We see the old GLC building, which is situated to the west of the London Eye, and based on the south of the river Thames, diagonally opposite the Houses of Parliment and connected by Westmisnter Bridge.

    Page 4 Panel 8: Which also makes sense with Batmans journey north by north east as here he passes Westminster Abbey

    And that’s definitely Harrods, meaning that Batman and the Squire then backtrack to St. James Park tube station.

    Lovely choreography from Cameron Stewart in this sequence, and it’s always refreshing to see London drawn well.

    For all the fact that the Tower of London is traditionally where traitors were imprisoned in Days of Olde, I wonder whether Morrison also put the secret basement there as a reference to the Doctor Who story The Christmas Invasion, which featured a secret government headquarters in the same location.

    Comment by Lee — January 29, 2010 @ 6:32 am

  22. Oops, I meant North by North West as the trajectory of Batman’s journey through London…

    Which, of course is a film based on a non existent identity… you really can start going far too deep into refences with Morrison’s scripts, can’t you?

    Comment by Lee — January 29, 2010 @ 6:34 am

  23. The chase is just bloody good fun and that’s the bottom line, whether it’s a parody or not

    Comment by Zom — January 29, 2010 @ 8:01 am

  24. […] | David Uzumeri continues his annotations for Batman and Robin, now with Issues 6 and 7. [Funnybook Babylon] Jellaby, Vol. […]

    Pingback by Comics A.M. | The comics Internet in two minutes | Robot 6 @ Comic Book Resources – Covering Comic Book News and Entertainment — January 29, 2010 @ 12:28 pm

  25. yeah, can everyone give it a rest with the geography now?

    and his ‘donna’ is a reference to his woman – see the brilliant ‘Snatch’ by guy ritchie. or don’t. you’ll be happier if you don’t.

    and on the subject of things i hate, i really hope morrison isn’t listening to keane.

    Comment by amypoodle — January 29, 2010 @ 4:24 pm

  26. Great notes, David, thanks.
    In ref. to MikeCR’s comment on the Killing Joke, I appreciate his effort to let people find the whatever themselves, but … being unable to find my copy of KJ just now, I’m hoping someone will just tell me what the stuff on page ten is. I’m supposing a post like this is meant to be kinda spoilerific, anyway, right?

    Comment by Guy Smiley — January 29, 2010 @ 5:36 pm

  27. Very nice. I believe this marks the first time All Three groups – the League of Assassins, Religion of Crime, and Black Glove have had themes intersect. Formerly, the League of Assassins (and specifically Talia) had come into contact with both elements, but not in the same issue or span of issues.

    “Donna” is slang for a woman in England much the same way “Sheila” is slang for it in AU, and “Colleen” in Ireland.

    Speaking of Joker analogues – The Pearly King of Crime and his son, a “Prince of Crime” … the guy plays “the old-school street games” like Dominoes, Darts and Cards, and he has a fish-tank full of electric eels. And Batman meets him in Arkham looking for answers.

    This guy is another Joker analogue. As probably is Dai Laffyn. Can’t say about King Coal yet. Wonder who King Coal’s “old lady” is, actually, and if she’s someone we know like Whisper A’Daire or another Rucka guest character.

    Comment by RetroWarbird — January 29, 2010 @ 7:50 pm

  28. (Well … British equivalent of Arkham, I should say.)

    Comment by RetroWarbird — January 29, 2010 @ 8:01 pm

  29. Guy,

    Nothing spoilery. Just some fun little Easter eggs that are more fun to discover on your own rather than have described.

    KJ page 10 has Batman back in the Batcave. In panel 3 he places a joker card on a table. On the table is a picture of the Bat-family featuring Batman, Robin, Batgirl, (presumably) Alfred, (presumably) Gordon, Batmite, Ace the Bathound, and (most inexplicably) BATWOMAN(!). Can’t say I’d ever noticed that before. Then, in panel 4, there’s one of the Bat-gyros Batman and Squire fly to the mine in hanging in the background.

    None of it means anything but it definately once again reinforces that Morrison is consciously referencing The Killing Joke.

    Comment by MikeCr — January 29, 2010 @ 8:51 pm

  30. Wait … “most inexplicably Batwoman” … I forget, is Kathy Kane out of continuity? I can still remember the Don Newton art on that old issue of Detective where she got killed … Great bat-artist, that Newton, and not a name that regularly comes up for the pantheon.

    Comment by Guy Smiley — January 29, 2010 @ 10:37 pm

  31. (and of course, MikeCR, thanks for coming back and giving me the skinny.)

    Comment by Guy Smiley — January 29, 2010 @ 10:38 pm

  32. Don Newton was a great Aquaman artist too, if I do recall.

    Kathy Kane’s current continuity crisis is an ongoing question, especially with multiple “Kathy Kanes” running around in the form of Kate Kane, her step-mom Catherine Kane, Bruce’s old friend who was murdered Kathy Kane who was no longer Batwoman but yet who has been seen in-continuity in nods from Moore, Morrison, and more!

    Current belief is that the older Kathy Kane is our current Kate Kane’s aunt and namesake, especially given that her cousin Bette is also niece of Kathy, and that’d make Kathy Colonel Jake Kane’s sister, possibly deceased.

    Comment by RetroWarbird — January 30, 2010 @ 12:32 am

  33. As for the geography of London in the issue not quite matching up… last I checked there wasnt a Gotham City, Star City or Metropoilis in the US, butt here was a Detroit, LA & New York. DCU USA somehow finds room (and additional population) for all of them, so I can handle DCU London having a slightly different streetscape and numbers on the busses to our real one!

    Thanks for the annotations in any case. Man, has anyone ever tried annotating a range of comics not by moore or morrison and comparing them to see just how less layered most comics are?

    Comment by Earlofthercs — January 30, 2010 @ 5:02 am

  34. I thought the London Eye was a nice little nod to Seaguy #1 and Mickey Eye Park.

    Comment by eli — January 31, 2010 @ 11:07 pm

  35. Why is Alex Sinclair still allowed to colour comic books?

    Comment by David Bombing — February 2, 2010 @ 5:52 am

  36. […] Don’t forget to check out the excellent annotations of this issue up at Funnybook Babylon – we’ll be covering much of the same ground as them, and throwing our own bent and battered […]

    Pingback by Mindless Ones » Blog Archive » Batman & Robin #7: the annocommentations — February 2, 2010 @ 9:07 pm

  37. “Contrast with Batman #655, when Bruce Wayne throws Joker in a dumpster personally – Jason Todd is more than happy to throw the baby out with the bathwater.”

    That wasn’t Bruce Wayne that did that. It was Josef Muller, the first of the three ex-cops Dr. Hurt turned into fake Batmen.

    Comment by Adam Farrar — February 11, 2010 @ 1:09 pm

  38. I’m pretty sure Bruce was the one who brought his body down — because he just before tries to give him to the ambulance workers, and Muller would never do that.

    Comment by David Uzumeri — February 11, 2010 @ 1:12 pm

  39. Ah, I forgot that part. You’re probably right. Sorry.

    Thanks for the annotations!

    Comment by Adam Farrar — February 11, 2010 @ 1:29 pm

  40. Another Batman and Robin? Again!..I think we need another Batman like character. Seriously!

    Comment by funny — February 16, 2010 @ 8:34 am

  41. […] it’s concentrated essence of Britishness, complete with a Pearly King as a villain, nonstop references to working-class British culture, and a landscape that’s wall-to-wall bridges and department stores and tube stops (although […]

    Pingback by Emanata: Batman & Robin Pour Down Like Silver - Techland - — February 26, 2010 @ 10:35 am

  42. They were good issues – nothing like getting a little Brit humour in there every now and again :)

    Excellent write up David!

    Comment by Mouse — March 6, 2010 @ 10:00 am

  43. What tmarls said here:
    “Getting back to the royal/pseudo-charitable stuff, maybe it’s just my own conspiratorial trappings, but in this issue I definitely got the sense that Morrison was pointing out how false political opposites really amount to the same thing: in the end, it’s really the elite bad guys (despite their relatively MINOR differences) vs. the regular people. Pearly King is “charitable” whereas his foil, King Coal, is earthy and rustic…and they both may pretend to be “working class” (to different extents, I’d say), yet they both call themselves “Kings”. They want to be “Kings” AND be the people’s champions. But that’s all window dressing and costumes. Meanwhile, what’s REALLY important is that they’re both criminals! Despite their slight differences (gah, they actually think they’re “opposites”!), they both play the same sort of lawless violent “games” for power, the side-effects of which cost normal people their lives.”

    Makes this a possible vague star trek reference from the episode “Let That Be Your Last Battlefield” as well. GM did a lot star trek referencing in the Invisibles so its not entirely out of the question.

    Comment by Ar0n — May 9, 2010 @ 10:06 pm

  44. What’s the best way to save documents to a blogspot blog?

    Comment by Shanta Tenpenny — August 7, 2011 @ 1:30 pm

RSS feed for comments on this post. TrackBack URL

Leave a comment

You must be logged in to post a comment.

Powered by WordPress