Just like campy fetish-villains, there are also some good guys you just can’t avoid in the grand scheme of Batman. Luckily, the powers-that-be (or were) in the Modern Age of Comic Books took a cue from some of the old-guard of the Bronze Age and carried forward the darker, more serious tone that began appearing in the 1970’s. As we’ve already seen, stories like Batman: Year One and The Man Who Laughs are a direct result of that trend. But if there’s one character in particular among the Bat-family whose popularity has done nothing but skyrocket since the Modern Age “officially began,” it’s Robin.
Btw, I’m not linking to all these Wikipedia articles just for kicks — they can help to explain all the thematic and stylistic changes comic books have exhibited over the years, and they can provide some insight into the zeitgeist of their respective time periods. I guarantee this is not the last time I’ll mention some of the differences between various eras in American comic books.
In “current” DC Comics “continuity” (read the above links and you’ll get why those c-words are in quotes), there have been five different incarnations of the Robin character. We’ll talk about at least two more of them later in this series, but for now we’re talking about the one, the only original Boy Wonder: Richard John Grayson.
Dick Grayson first appeared as Robin in Detective Comics #38, April 1940, a mere 11 issues after Batman’s debut, making him the longest-running secondary character in the Bat-family, longer even than Bruce Wayne’s lifelong friend and guardian, Alfred Pennyworth. Dick has served many roles over his 72 years at Batman’s side, including but not limited to surrogate son, crime-fighting partner, stalwart ally, and stand-in Batman. In recent years, he’s been more than a stand-in, having taken over the mantle of the Gotham Batman after Bruce Wayne’s disappearance in Final Crisis and his subsequent creation of Batman, Incorporated.
His role as Bruce’s first and prodigal son is particularly important to the deepening of the Batman mythos. Dick and Bruce both suffer similar tragedies at similar ages; they are both orphans with no remaining blood ties; they fight tirelessly to prevent anyone else from having to grow up without their loved ones. But where Bruce is grim and often pessimistic, Dick has ever remained the lighthearted optimist. This is perhaps the very reason he’s retained and even amplified the more or less universal popularity he’s always enjoyed — Dick Grayson makes friends with everybody, and he’s always there when you need him, but he can be every bit as dedicated and deadly serious as his mentor.
The comics I include as Dick Grayson’s induction into the Bat-family have two things in common: first, they present Robin as a legitimate, intelligent, capable character — most emphatically NOT the “Boy Hostage,” as Harvey Dent has often dubbed him. It’s also important to me that any comics featuring Dick acknowledge the strong father/son bond he and Bruce have developed. No matter their differences, no matter the odds, Batman and Robin-I/Nightwing always reconcile with each other, and they’re always there for each other. How else would we define family?
Second, Dick Grayson lightens up the tone of Batman’s adventures. While I’m a self-professed adherent to the “dark, avenging creature of the night” brand of Bat-comics, there is an unavoidable element of camp in any comic book series, and when he’s done well, the Robin character serves as the primary mesh between the Dark Knight and some of his more preposterous escapades, particularly if we want to explore any of the early years of Batman’s publications (see the next entry in this series for more).
Batman: Dark Victory by Jeph Loeb and Tim Sale
Completing the Loeb/Sale trilogy, Dark Victory deals with the fallout from the collapse of the Falcone crime family. It’s another murder mystery, and this time the victims are all on the right side of the law. With Batman, Jim Gordon, and Harvey Dent estranged after Harvey’s rampage in Long Halloween, somebody else has to become the glue that holds the good guys together. (Guess who?) Themes of loneliness and isolation abound until Dick Grayson suddenly appears in Bruce’s life, offering a fresh, youthful perspective in the fight against crime and refocusing the Batman on why he does what he does. Loeb nails Dick’s trademark sense of humor, a character trait that has lasted since the earliest days of the Dynamic Duo.
Robin: Year One by Chuck Dixon and Scott Beatty
I just read this comic recently, and I was thoroughly impressed. It explores the Batman and Robin team from Dick’s point of view, with a good bit of narration and reflection from Alfred as well. Dick proves himself as a solid detective and crime-fighter, going up against Bat-villains that frequently seem too silly for Batman (Mad Hatter, anyone?), but the story still retains a grim feel. (The Hatter, for example, is kidnapping young girls to be sold into slavery, presumably sexual.) Year One also includes Dick’s first, nearly fatal encounter with Two-Face, which will be referenced by many subsequent comics. Overall, the series successfully balances Dick’s youth and enthusiasm with the Modern Age’s reinvention of Batman as the dark, menacing, and sometimes morally ambiguous figure we recognize. Additionally, Robin: Year One meshes its art styles with those of Batman: Year One and the Loeb/Sale titles, meaning it fits well both thematically and visually into my collection of Bat-family comics.
Next time, we’ll indulge some of the 1950’s and 60’s flights of Bat-fancy while setting the stage for some events that will take place much later in our Batman’s character arc.