Batman- The Grant Morrison Odyssey: The End

Part 1: Batman & Son
Part 2: Club of Heroes/Resurrection of Ra's Al Ghul
Part 2.1: Devil-Bats & The Bridge to RIP
Part 3: RIP
Part 4: The Missing Chapter/Last Rites/Final Crisis
Part 5: Batman Reborn
Part 6:Blackest Knight/Batman vs. Robin
Part 7: Batman & Robin Must Die!!!
Part 8: Return of Bruce Wayne Part 1
Part 9: Return of Bruce Wayne Part 2
Part 10: Batman Inc. Part 1
Part 11: Batman Inc. Part 2

New 52 Part 1
New 52 Part 2
New 52 Part 3
New 52 Part 4
New 52 Part 5
New 52 Part 6
New 52 Part 7
New 52 Part 8
New 52 Part 9


12/30/11...That was the day I first started this journey through the Opus that is Grant Morrison's Batman saga and here we are over the course of the 20 blogs preceding this one, looking at the end.  It's been 838 days, or 2 years, 3 months, 17 days in all since the beginning...yes there was an extended break from April 2012 until September 2013 but I had to wait until Batman Inc Vol. 2 had completed before wrapping up the journey. From Batman and Son through Gotham's Most Wanted as the final hardcover was dubbed, we have witnessed the Dark Knight go through hell and back multiple times over and be reborn in many fashions.  Now he stands on the verge one of the most important, and personal, battles of his career as Talia Al Ghul, the mother of his murdered son Damian, enters the Batcave for one last dance of death.

All by its lonesome, this recursive cover tells the never-ending tale of our protagonist.  Every Bat-symbol contains another Batman and another and another, ad infinitum; to me it is a commentary (whether intentional or not, and that's the beauty of artistic mediums isn't it? Lots of room for interpretation) on the nature of comics themselves.  No matter how Morrison and Burnham end their story, the story of Batman will go on and on and on...

The image on the left is from issue #1 of this volume of Batman Inc while the image on the right is the first page of issue #13...the story coming full circle with one small visual difference. The Bruce in ish #1 is spotless while the Bruce we see in #13 shows the bruises from the battles of the previous issues with Talia and her Leviathan forces.  Also in issue #1 we had no idea whose graves Bruce was standing in front of but now, come unlucky #13, we know that one of those graves belongs to now deceased Robin, Damian Wayne.

The fact that it is Jim Gordon questioning Bruce is extremely appropriate as the Commissioner points out.  Even if it's not necessarily considered continuity in the New 52, think back to Frank Miller's Year One where Gordon questions Bruce in his search to figure out Batman's identity.  Even running under the assumption that Gordon is clueless to Bruce's alter-ego, just think of all of the times Batman has been there for Jim in that pre-New 52 world.  For Sarah Essen-Gordon's murder, for Barbara's paralysis, for the Officer Down arc, when Jim nearly died from his smoking addiction, when Bruce revealed himself during No Man's Land...there has long been a bond between the two characters and I, for one, prefer to think Gordon is willfully ignorant to the Bruce/Batman connection.

There is something I truly love about the pages Burnham rendered during Bruce's interrogation; from the decimated face of the billionaire playboy to the little details of that last panel as Gordon puts his glass back on, it's a beautiful piece of work.  The dimples on Jim's nose, the mustache, the stitching and bruising on Wayne's face, and for some reason that one open eye of Bruce's staring down at the floor, it all just speaks to me so strongly.

Bruce referring to Talia as "La Belle Dame Sans Merci" sent me off to Wiki-land looking to see if this was a reference to something or just Bruce calling her by a cute name.  Turns out that La Belle Dame sans Merci is a John Keats poem circa 1819; once again you can thank comics for educating you and me about things we may not have otherwise ever discovered.

Gordon's unasked question brings us back slightly to where last issue left us hanging, with Talia descending into the Batcave, adorned in her own super-villainess disguise that is very reminiscent of Bat-attire all her own, particularly in a mask that reminds me of Dr. Hurt's attire.  It's all show though, theatrics, as she discards first the cape and then the mask as she descends the stairs to meet her beloved/enemy in combat.

Talia's undressing of costume is an undressing of the entire Batman mythos in this sequence and is essentially one of the entire superhero genre with its "...childish game of masks, Halloween costumes, and clues".  Talia is verbally shredding Batman's purpose down to its very core while simultaneously discarding any shred of feeling she may have had for her own son AND laying the blame for his death on Bruce's lap. 

The interesting thing about this page is that, unlike any previous COMIC BOOK version of the origin story, Morrison & Burnham's flashback to the night the Wayne's were murdered firmly entrenches James Gordon in the picture.  As far as a I can think, outside of the Nolan movies, this is the first time Gordon has been made a part of the origin story pre-Year One.

When Bruce says he tried to fight something he barely understood, my take is that he is referring to the obsession disguised as love that Talia brought to the table.  Bruce understands fighting, he understands armies and killers and crazy people, he does not grasp some of the most basic of emotions.

The kiss we are seeing is not a memory but rather taking place in the Batcave as evidenced by their attire and the sword while the imagery we see on the above page and the subsequent ones if what is going on in the world around this doomed couple.  The various members of the now decimated-Batman Incorporated are still attempting to save Gotham from the "empty" onslaught of Leviathan while Bruce & Talia engage in the only battle that truly means anything in this war.

We see Gordon & Harvey Bullock fighting off mutants and crazy children as well as Red Robin, Nightwing, Knight, Hood, Wingman, and every one in-between fighting for their lives.  We see El Gaucho battling for the Oroboro device, we see Red Raven & Man O' Bats, Nightrunner, Batwing, and Jiro all fighting around the world to save it from Leviathan but NONE of that truly matters.  It's all about Talia and Bruce Wayne, an Al Ghul versus THE Batman, and the nod to the digitalis is cute as it is something that has popped up before in the interaction of these two individuals.

What I love about this image is it pulls in two of the central themes of Morrison's run. First it has the red and black color scheme that was majorly prevalent during R.I.P in particular and is accentuated by the clothing of Batman and Talia.  Second it uses the Oroboro/snake eating its own tail theme that was such a major part of both volumes of Inc and it also representative of that same recursive theme the cover of this issue showcased.  It just goes on and on and on, spiraling forever...

I love the crossed swords framing of this page and Talia taunting Batman the whole time is a nice touch as well.

The interrogation of Bruce continues on as Gordon questions the two graves at which he found Bruce earlier but Wayne dodges the question and goes into another story involving the number two; the two bullets that killed his father.  It doesn't stop there though as Bruce tells Jim about the third bullet, the one that tore a hole in his mother and left a hole in Bruce as well, "a hole in everything" he says which brings back one of the earlier motifs of Grant's run as well.  The hole in everything was used to refer to Dr. Hurt, it was somewhat represented during Return of Bruce Wayne by the eclipse, and here it pops up again in reference to what Bruce experienced at his parents death.  This hole, this inability to love, this is one of the driving forces of the Batman and it too, unfortunately, is likely the root cause of all of this chaos Talia unleashed on Gotham.

A poisoned blade sends Bruce towards his dying breath with a top panel that I absolutely love; between that dragon, the melting world, and Batman face down with his cape sprawled around him like a sheet covering a dead body, it's a beautiful thing.

The fact that it is Jason Todd who comes screeching into the rescue is an important one because he owes his very resurrection to Talia Al Ghul AND his status as the black sheep of the Wayne Family also makes him the most believable to betray the cause to save Bruce.

Fortunately for all, JT is merely playing with that image as he hands over a useless Oroboro box to Talia while Bruce drinks the antidote to her poison.  Talia, resolute, tells them that she will own Wayne Industries and that Bruce will never rise above his battles with "grotesque mental patients" but, just as she accused Bruce of being a "posturing, patronizing bastard", it is Talia's own posturing that prevents her from seeing the threat before he that Bruce and Jason see.

The return of Kathy Kane! The original Batwoman, long thought dead, but who has in truth been dancing behind the scenes for quite some time as the Headmistress of Spyral.  She was there at the Girl's School in Leviathan Strikes! where the uniform of the assassins was essentially a variation on her Batwoman costume...

Just as quickly as Kathy reappears in Bruce's life, she disappears once again and leaves him alone in the cave with Alfred the Cat and Bat-Cow as his only companions.  Her influence though is felt once again as Bruce is released from Gordon's custody courtesy of the government and a mystery woman clearing his bail.  What's interesting about Bruce's comments to Gordon though are his insistence that Batman is dead...something stated by Talia during their duel that Bruce rebutted, and a statement that also made me think of this from earlier in Morrison's Opus:

Well that statement (made by Dick Grayson we would later find out) was half-right, at least for now...

The interesting thing about this page is that I'm pretty sure it also marks the first time in the New 52 that Morrison has elected to acknowledge the events going on around him in the DCU.  In this case it is Gordon's mention of Zero Year which was, at the time, an upcoming story by Scott Snyder & Greg Capullo in the Batman book that has essentially been an origin tale for the New 52 version of the Caped Crusader.

I think Gordon's nod to the Batman Incorporate pin to Bruce, when added to his thoughts on the page below, add credence to my belief that James Gordon is willfully ignorant to Bruce's secret. In-between that page above and the one below though we learn that the two graves (presumably that of Talia and Damian, although it isn't specifically stated so it could very well be his parents' graves) have been robbed.  This causes Bruce to toss aside his decision to "kill" Batman and we get the enraged hero that was depicted in other Batman books (particularly Batman & Robin) following Damian's death.
 

 But, because it is comics and the drama must never ever end, we revisit an earlier story point of Talia's only this time from the perspective of her father Ra's Al Ghul and under new light with his daughter and grandson now dead.  We know because of The Heretic's existence that Damian was cloned, and we have seen in earlier parts of Morrison's story how Talia had a spare Damian laying around the house...

...but know, with Ra's in charge, we can see the truly horrifying scope of those experiments first-hand:

And that is how we end: the snake eating it's own tail, full circle, from Son of Batman to sons of Batman.  Some writers, like Brian Michael Bendis when he left Avengers, put all their toys back in the box and essentially reset the status quo when their tenure ends.

Morrison left a Bat-landscape that was forever altered as he both introduced a son for Bruce Wayne and then murdered him (a storyline that Peter Tomasi continues to follow through with expertly in B&R), killed off one of the longest running female figures in Batman's mythos in Talia Al Ghul, introduced an entire alternate future with Damian as Batman, decimated the Wayne name multiple times over, reintegrated the disparate portions of Batman's publishing history into continuity, to say nothing of the monumental task of telling an extremely long-form story.  He introduced the concepts of The Black Glove, Leviathan, Dr. Hurt, and reintroduced The Club of Heroes to the world.  He played with the very foundation of Batman and left any future writers with numerous toys they could play with if they so choose.

I know there is the Batman Incorporated Special that showcased some of the other members of the group but I don't feel it was anything more than a fun way for various creators to play with Grant's toys and as such was not integral to the larger story of Batman/Talia/Damian that Morrison had been telling since he took over the title.

So now I bid farewell to the world of Batman as through the eyes of Grant Morrison and brought to life by the likes of Chris Burnham, Tony Daniel, Frank Quitely, Andy Kubert, Cameron Stuart, JH Williams, John Van Fleet, and numerous other pencilers, inkers, letterers, colorists, editors, and other creative types.

After devoting so much of my blogspace to this subject, I know must figure out is next for me.  Obviously there are endless amounts of material to choose from thanks to the fabulous world of comics.  I just have to choose...

Batman- The Grant Morrison Odyssey: New 52 Style V9

Part 1: Batman & Son
Part 2: Club of Heroes/Resurrection of Ra's Al Ghul
Part 2.1: Devil-Bats & The Bridge to RIP
Part 3: RIP
Part 4: The Missing Chapter/Last Rites/Final Crisis
Part 5: Batman Reborn
Part 6:Blackest Knight/Batman vs. Robin
Part 7: Batman & Robin Must Die!!!
Part 8: Return of Bruce Wayne Part 1
Part 9: Return of Bruce Wayne Part 2
Part 10: Batman Inc. Part 1
Part 11: Batman Inc. Part 2

New 52 Part 1
New 52 Part 2
New 52 Part 3
New 52 Part 4
New 52 Part 5
New 52 Part 6
New 52 Part 7
New 52 Part 8

I believe due to the nature of issue #11, and the fact that I think the final issue Grant Morrison's Batman Opus deserves its own solo spotlight, it looks like this blog is going to be pulling double duty with Chris Burnham & Jorge Lucas' Batman of Japan-focused ish #11 and issue #12!

In the same fashion that issue #5 diverted us from the core story into a glimpse of the Damian Batman, this issue splits from the main narrative with an issue written, rather than art, by Chris Burnham and art from Jorge Lucas.  It gives us a look at the adventures of Jiro, the Batman of Japan, in the costume that is a far cry from the one he was originally given when he signed on to The Inc:

Editorial edict? Creator preference? So there was only ONE guy in a Batman costume? For whatever reason, Jiro's official Inc. costume was changed from his bat-clone original to the one featured on the cover of this issue.

I love the very first image on this page:

It's such a sad image of Damian's pet cat Alfred sitting in front of his owner's graveyard but it is very temporary as, almost like a TV screen getting an overlapping signal, the picture goes static and we turn our attention to Japan and some cleavage-wielding biker chicks.

Immediately we see that these women are not just T&A, one of them rips a guy's tongue out of his head because of his coffee choices! They are more upset about blood & coffee getting on their uniform (a choice of word I found interesting because it implies this look is intentional) and seem just as likely to fight one another as the police.  There is obviously something more to these ladies as well given that White swings around a human body with an ease that makes it seem as if you or I were hoisting a piece of paper while Green takes three bullets to the helmet while talking about being bulletproof.  She could be referring to her "uniform" or to herself, not exactly certain at this point.

As the police call for a Bat-Alarm, our scene then head on over to...

Jiro Osamu (aka The Batman of Japan) and Shy Crazy Lolita Canary of the Super Young Team. The members of the SYT are another of Grant Morrison's creations circa Final Crisis who became mega-celebrities in their native country.  Canary, much like the American heroine of similar name, has a sonic scream but is tiny enough to fit in the palm of someone's hand.

The initially awkward interaction of these two is cute, very first date-ish, as Jiro tries to spout off some Casablanca material that initially goes over the head of the 20 year old Lolita.  References are made to Jiro's probationary period, to Lolita's 20th birthday in which Jiro was apparently the vomiting one, and that Jiro has been trying to make this date happen for a bit as evidence by his shrink ray request to Batman.  There is something about that request I just find insanely humorous, the idea of a shrink ray in the midst of the Bat-World I find so insane yet the concept of monster clones and tiny little winged girls doesn't phase me in the slightest.  Silly...

We quickly learn, as the aforementioned Bat-Alarm reaches its target, that this entire date scenario is taken place with the world of Internet 3.0 that was the centerpiece of Batman Inc. (Vol. 1) #8.  Lolita makes a joke about how she wishes she could get 3.0 on her phone which leads Jiro to say it's possible with a "chip in your head and a port in your neck"; I read that all I think of is Johnny Mnemonic and The Matrix.

We get a quick glimpse into the Batcave of Japan and see its similarities to that of the Batcave proper (old costumes (including the Mister Unknown & original Batman of Japan outfits), a dinosaur, a coin, and computers) before jumping back to the Biker Chicks.  They come off as total badasses (SARCASM) in their threatening of school girls and their hurling of childish insults.  In fact, once Jiro & Canary jump into the fray, the insults continue to get even more ridiculous and childish:

I mean comparing a vagina to a Tardis is quite clever and insanely insulting at the same time.  This is banter unlike any you would get from the more quippy characters (say a Peter Parker or Dick Grayson) and unlike any I have ever seen in a Batman comic: "The Pink Ranger's Silicon Sisters", and "Better Than Being Built Like A 12 Year Old Boy", or how about "...Her Whole High School Baseball Team"!!!  You aren't getting banter like this in a Spider-Man comic!

Suffice it to say the fight does not go the way of Jiro & Canary, they end up encased in Jiro's riot foam after the bikers steal his version of the utility belt and turn it on him.  In the process of the fight though we learn that the ladies are apparently immune to Canary's cries and that, after Jiro cuts it open, their helmets repair themselves.

Upon Jiro & Canary's return to the Batcave-Japan, the reader is introduced to just why this young man was made part of Batman Incorporated.  Yes he can fight, but we get a look at his detective skills as he analyzes the facts gleamed from his battle.  Canary operates in much the same fashion as a Robin might, working as a soundboard for the hero to talk his ideas out, and she also demonstrates that youthful enthusiasm that might come along with being a sidekick.  Then again, so does Jiro as they banter about the varied locations they hope their foes use as their bases. There is a joy in their mission, a stark contrast to the mission currently being undertaken by Batman in the main arc.

We then learn the link between this side quest and the core story as the biker gang return to their master:

Leviathan!  It has been many issues since we have seen the presence of Talia's organization outside of Gotham but here it is, a Japanese chapter, albeit a chapter that does not seem to rank highly in the larger scheme of things.  One interesting item of note in the big bad's dialogue: her remark that it they have been part of the organization for years.  It adds a larger scope to Leviathan's operations, emphasizing how this has been a long game for Talia, not just some fling. 

Canary and Jiro track down the base of operations, utilizing their combined skills to uncover its hidden location, and when confronted once again by the bikers, Jiro utilizes technology and his brains to get the better of them.  This in turn leads to the unveiling of their unique origins:

Yes, Leviathan tried to use the world of competitive sports to conquer the world...so awesome!

The villains team up with the heroes, the big bad is named Lady Tiger Fist and actually has tiger heads for fists, and we are subjected to some seriously violent death scenes for Canary (stomped to a bloody pulp) and Jiro (ripped apart by a tiger head).  Ingeniously though, and so subtle I didn't notice it until I reread the page several times, Canary injected Lady Tiger Fist with the Internet 3.0 and allowed her to play out these death scenes virtually: another excellent display of Jiro's brains over brawn approach to handling his foes.


The ending comes full circle as Jiro & Canary go on their BIG date, she gets to hold an apple, and we are treated to one terrifying image heading into next issue and our regularly scheduled program:

While it was an overall pleasant visit with one member of the Batman Inc. family courtesy of Chris Burnham & Jorge Lucas, and it did lightly tie into the core story, it was nowhere near the pain-filled, sorrow-extravaganza that is to come next ish:

What a cover with the Bat-Bots and the assorted members of Inc. watching Bruce taking his vengeance against Talia.  You could even interpret this as he's about to break her back a la Bane if you'd like (obviously I do otherwise I wouldn't have mentioned it).  It's another powerful cover in a series filled with them and it is followed up with a powerful first page that encapsulates the very ideal of Batman:

An amazing page of art from last issue's author, and in that final panel, Skull-Faced Talia hits the nail right on the head there, "Why won't he stop?"  Sums up Bruce Wayne in so many ways...

This is another issue where I could really use every single beautiful page to illustrate some of the story points.  From Bruce essentially speaking Bat, to the way the rain falls, to the facials on this monstrous incarnation of Batman, each image is just so powerful that words do not do them justice.

Man that electricity!

The fact the blimp is labeled Damrung which is most certainly a play on Dammerung/Gotterdammerung, which is something Morrison also used in The Invisibles...

...the child-like fashion in which Heretic behaves as Bruce taunts him, everything about this issue is masterful and playing off all the build of what has come before.  Bruce has undergone change after change under the watch of Grant Morrison: father, the Thogal ritual, R.I.P, Final Crisis/Return, and now this Man-Bat Cyborg Revenge Machine.  He has seen his only son murdered by his mother, seen the DNA of that son twisted into the monster who served as the murder weapon, and still her perseveres.  Batman does not break...

We cut to two of his "sons" (Red Robin & Nightwing) on the hunt for the third (Jason Todd/Wingman) who was abducted by and then tracked down by Knight and Ranger. Turns out, according to Hood, that the Assassin's Girl's School that Spoiler infiltrated during the Old DCU-set Leviathan Special was all part of a Spyral operation.  Also the Headmistress of that school, the one we have heard Hood make reference to before, turns out Nightwing recognizes her voice and she in turn seems to know him...

I love the take on the DOUBLE PUNCH that Nightwing and Knight bust out here using their Escrima sticks, and it also shows us all that Batman is far from alone in his quest.  Not only is does he never quit, neither do the members of his extended family.

So it is then, on the doorstep of the Wayne Tower, that Bruce discovers the ugly truth of just what Heretic really is and what Talia, the mother of his son, did to create this monster...

That image is horrifying...truly and utterly disgusting really. A child soldier, the face of Damian Wayne on the body of a forced-grown man, with a bleeding hole in his head.  It's quite grotesque and yet this creation is not yet the the worst thing Talia does in this issue.  Heretic, for his failure, receives the following reward:

Talia's calling card, as it was in Leviathan Strikes! with the head of Jezebel Jet next to the red phone, and the utter destruction of Wayne Tower.  Even with all that, the game still isn't done because Talia needs to put on her party clothes.  Donning her own Bat-Mask, her own cape, she descends into the bowels of the Batcave where Batman is waiting. The endgame is here...

She calls herself Tiamat, Kali, Medusa, and The Wire Mommy. The next issue caption calls her The Devil's Daughter.  Her aim, since she can't be the LOVE of his life, is to now be THE villain in Batman's life. She killed his/her son, blew up his Tower, decimated his city, and now it comes down to the two of them in the heart of the place where Batman was born...

Batman- The Grant Morrison Odyssey: New 52 Style V6

What Came Before:

Part 1: Batman & Son
Part 2: Club of Heroes/Resurrection of Ra's Al Ghul
Part 2.1: Devil-Bats & The Bridge to RIP
Part 3: RIP
Part 4: The Missing Chapter/Last Rites/Final Crisis
Part 5: Batman Reborn
Part 6:Blackest Knight/Batman vs. Robin
Part 7: Batman & Robin Must Die!!!
Part 8: Return of Bruce Wayne Part 1
Part 9: Return of Bruce Wayne Part 2
Part 10: Batman Inc. Part 1
Part 11: Batman Inc. Part 2

New 52 Part 1
New 52 Part 2
New 52 Part 3
New 52 Part 4
New 52 Part 5

This is it...the issue that DC comics elected to spoil in advance in the NY Post after rampant speculation that the story was building to this point. Hell even if they hadn't spoiled in in the Post, the cover alone was as spoilerific as it gets anyway.  With an image like the one above emblazoned on the cover, THIS was an issue that should have been black polybagged, not Age of Ultron #10.  I'll save my tangent on spoilers until after this overview though...ON TO THE STORY!!!

First up, the cover is a great homage from Chris Burnham to the Alex Ross painting for R.I.P:

Then we jump onto the very first page with this image that I just found incredibly cool:

It's the green tint, Damian's words as he sees Grayson, the visual of Dick and Commissioner Gordon battling an army of children, it just stands out to me as quite memorable.  The following page's visual of Damian, in his Robin armor, blasting over the scene and knocking a kid out just adds to the punch of this scene.  The choice of story title, The Boy Wonder Returns, is both sad and triumphant though.  It is quite a logical choice given that Damian has been benched from being Robin since the first issue (hence the Redbird stint a couple issues back) and he's hopping back into his proper tights for this issue.  Yet, because of the choice to go full-on spoiler for this one and knowing his ultimate fate, it is also a title packed with sorrow knowing it is a short term situation.

Damian rockets off towards Midtown where Wayne Tower is located and his father was left sinking to the bottom of a pool while locked inside a safe.

I can't help but use as much of Burnham's art as possible because I do love it so, particularly the last two panels and the way he depicts the raindrops hitting the pool water with the safe visible under the surface.  That love for the art continues with the next page below with the fashion in which Batman is shown trapped inside the safe:

The pool water used as the background, the awkward paneling reflecting the uncomfortable position in which Bruce finds himself trapped, the raw and bloody knuckles, the close shot of his white lensed eyes and bared teeth, plus the safe sitting in the empty corner of the page...it creates a claustrophobic scene.

As for the trap itself, it is a positively "Bond villain" style situation but that is something in no way coincidental.  Talia is taunting Bruce, putting him in a trap she knows he will escape eventually but doing so just to keep him occupied.

Jason Masters steps up for some fill-in work as Red Robin (Tim Drake) arrives at the Leviathan controlled Wayne Tower.  It's Tim's attention to detail (noticing another woman is wearing Ellie's name tag), combined with Ellie screaming, that saves him from an assault but the save is short-lived. Turns out the entire upper balcony of the lobby is ringed with assassins of both the gun-toting as well as arrow-shooting variety and while some fancy footwork on the giant quarter takes some out of the equation, Tim still finds himself at the mercy of Leviathan's members until...

Once again Damian saves the day, gets away with the child abuse since it's kid-on-kid violence, and shows just why he quite the little badass as he takes down kids & adults alike with his fancy armored suit.  Still, Dick gets the chance to throw Damian's opening line of this issue back in his face as he saves him from a volley of gunfire.  This gets followed up with a page that, given the spoiler-context with which most everyone entered this issue, while the page is given an entirely different gravity than if it was being read without knowing how the story would end:

Dick Grayson, though generally known as Nightwing, was the Batman that Damian fought beside.  He was the partner that allowed Damian to grow, not Bruce Wayne.  In some ways, although they would probably think of themselves more like brothers, Dick Grayson was the true father to Damian Wayne.  Well, both he and Alfred I suppose, since it was their joint efforts during Dick's run under the cape and cowl that allowed Damian to become something more than a child of the League of Assassins. Under the tutelage of Dick and Alfie, Damian became the hero we are seeing showcased in this specific issue.  He is still a bit abrasive but the manner in which Damian talks to Dick is a far cry from what it was back in the Morrison's volume of Batman & Robin.  There is respect there now, an admiration for fighting at each other's side, and dare I say it...a genuine love for his father/brother.  Damian sums it up the best in the fifth panel, "So far I'd say you've been my favorite partner".  Sadly, since we know how this story ends, we also know that the "so far" isn't really necessary...there isn't going to be anyone else added to that partner list.

Burnham, in his ever-growing awesomeness, even throws in a few visual callbacks to the Batman and Robin team with the next page:

Compare that first panel to Frank Quitely's work from Batman & Robin (Vol. 1) #1:

The only thing missing from the Burnham page of Batman '66 sound effects is the double punch that was used so frequently during Morrison's B&R work:

 Guess I spoke to soon because enter The Heretic with Oroboros machine in hand:

Didn't quite work out and neither does Dick & Damian's attempt to battle his behemoth clone of Damian. Ellie though, she does her part and sneaks up to steal the Oroboro out from under Heretic as he's occupied with beating his brother/twin to death.

Damian, as he said to Dick before their leap into battle, continues to push that if he can see his mother than he can settle this situation.  He firmly believes, even with this monster in front of him, that if he can just talk to her then the problems can be resolved.  That is the BOY aspect of this Boy Wonder I suppose...a surprising fout of hope is Damian.  Even as the onslaught continues, he pleads for her to stop this.  It's truly heartbreaking to see this child essentially begging for his life to his own mother.  After everything she put him through, after raising him in the League of Assassins, after nearly becoming a vessel for his grandfather Ra's Al Ghul, after using technology to take over his body, even after all of that, Damian somehow still believes his mother loves him.  Maybe she does somewhere inside, but as she allows Heretic to assault her true son, with violence like this...

...it is hard to believe that there is one ounce of love left in her heart.  Her desire for vengeance against Damian's father has utterly consumed her, more completely than even Bruce's desire that caused him to become Batman in the first and continue to push him to don the cape & cowl each night.

The detail in the above page is also brilliant.  Whether it be artist's choice or script, any backbreaking image used in a Batman comic holds resonance for long-term readers (or anyone who watched Dark Knight Rises I suppose) but the beauty of that scene is that, unlike his father, it doesn't stop Damian. Why not?  Likely because of that same surgically repaired spine that Talia and Deathstroke used to co-opt Damian's body back in Batman & Robin.

I also get the sense that, if not for the involvement of the gun & arrow wielding assassins, Damian would have had a fair chance of taking down his clone brother.  Even as he is riddled with arrows and bullets, the only biological son of Bruce Wayne remains defiant to his killer, spitting blood in the face (his own face really since this is a clone) of Heretic, but sadly...weakly...begging for his mother to call it off.

The violence and blood of the page are almost uncomfortable, something at a level we rarely see in a Batman comic but one that has been the norm for this leg of the journey.  Right from the get-go, with the fight through the slaughterhouse in the first issue, this has been a particularly violent and blood-soaked run.

This is why Talia kept Bruce occupied, this is why she figured out how long it would take him to escape the trap, so that Bruce would know he was absolutely powerless to get their in time and save their son from being murdered.  I suppose the same way he was absolutely powerless to save his parents from being executed by Joe Chill (or whoever in the New 52) or to save Jason Todd from his death at The Joker's hands.  I suppose the torture of the moment goes two ways as it's also so Damian dies knowing that NEITHER of his parents helped him.  His father was not there to stop it and the only way his mother could have been more responsible was if she was the one holding the sword.

Visually speaking this is another impressive page from Burnham, somewhat like the shattered glass page from a couple issues back. It's extra disturbing to me that Talia is just a mouth and words in this entire sequence but those words are as painful, in their own way, as the stab wound. Damian has a physical sword through his heart while Talia is driving verbal daggers into that of his father. The fact that she still refers to this as a game is just so...horrid.

If I recall correctly, that image of Damian's death drew heavy criticism for it's level of gore, violence, and I know some were disturbed by how absent Damian's face was from the scene.  Well, after some searching, I tracked down the original image on Bleeding Cool:

Picture that image colored and tell me it wouldn't have been far more disturbing.  The sword has penetrated THROUGH Damian and we see his face, his little terrified face, as life slowly slips away and Damian dies knowing his parents were not there for him.  That is horror...

...and in the midst of the horror, as this stage of her plan finally comes to fruition, Talia shatters like the glass framing the last two pages.  For one brief second she allows herself to feel something for her son's death but it is, as she states, just "..a moment of weakness..."; she really is dead inside isn't she?

And poor Ellie, the former prostitute now Wayne Tower receptionist, the girl that Batman saved from near-certain death on the streets, she sits as observer to the entire tableau.  It's not the first Robin we have seen die but given the condition of Damian's body versus that of Jason Todd's...

or Stephanie Brown...

...it's a violently powerful image of death, brutal.  I think it is a moment that, had I not had it spoiled, would have made me cry. It brought tears to my eyes, that's no lie, but nothing flowing down my face as was the case with Nightcrawler or Magik when they died in the X-Books.  Another fashion in which the NY Post article, and the comic book media blitz that followed, may have ruined some of the experience for this humble reader.

Now in the midst of that heartbreaking image to close the issue there is also fear.  Fear of what's to come as represented by the fade-to-black panels of Batman's face.  Does that represent the death? Does it represent Bruce losing himself to the darkness within?  We only know by picking up the next part of Batman Incorporated!

In the meantime, you can check out my Damian Wayne memorial blog entry here! Or check out my work on Sequart right here!

As for that spoilery stuff, my quick take is that, as I understand the comic book market, while ruining such a monumental plot point as Damian's death will boost your publicity in the moment, it wouldn't do ANYTHING for sales of that issue.  By the time they spoiled it, orders had long been placed by the shops so they've already got the money from the first printing.  I suppose then the desire is to generate revenue from the inevitable reprints? I truly don't know.  Perhaps publicity is the only goal in doing such a thing, such is the world of the corporation...