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Batman and Robin Eternal #4 Review

Comic Books

Batman and Robin Eternal #4 Review

The fourth issue of Batman and Robin Eternal is here and the creative team is switching up again with a new lead writer and artist. Is it good?

Batman and Robin Eternal #4 (DC Comics)


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Lead Writer: Steve Orlando
Other Writers: Scott Snyder and James Tynion IV
Artist: Scot Eaton


Bruce Wayne is under attack at a party by several people wielding mini-axes, ready to hack him to pieces at the orders of Mother. However, Dick Grayson and a few heroes arrive to save the day…

Spoiler Corner:

As Grayson fights off a group of axe-wielding crazies (with no help from Red Robin due to odd com interference), the Robins (from We Are Robin) and Batgirl rush in to provide backup. In just a short amount of time, the heroes have taken down all of the baddies and saved the day.

Elsewhere, Harper Row has followed Cassandra Cain deeper into the depths of the Batcave/underground. She has no idea what is up, but Harper cautiously follows Cain nonetheless.

After the whole incident at the party and the mysterious interference, Grayson decides to go off the grid for a bit and check out a lead… involving a certain Drake residence.

As Red Hood and Spoiler yell at one another for letting Harper and Cain disappear, the issue ends with Tim Drake taking a private call… from Mother.


This issue is an odd one. While the story developments are just fine (like the cool twist at the end), most of the issue is just one big fight scene with a few continuity flubs. I’m not just talking about the ones you get from series to series, like Batgirl’s attitude towards the Robins, but also the ones within the comic itself. The last issue ended with Bruce Wayne being led into the kitchen to get attacked, but the issue opens up with him looking puzzled and holding a tray of Jell-O, like the guy just wandered in by his own accord and is just now surprised by the sudden attack.

The issue also has Scot Eaton doing all of the artwork for better or worse. His art is perfectly acceptable and gets the job done, but his action sequences and body compositions are off looking a lot of the time; over-inflated arms and legs, limbs missing in some areas, completely goofy and odd looking faces, and weird angles oftentimes make for some confusing panels. His work here is still better than what he was doing in Futures End, but not by a whole lot.

Best Moment:

This single panel sums up all the artwork in the book quite nicely.

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