Batman and Robin (Vol. 2), Issue #7 – “Driven”

* Part 7 of 8 of the Born to Kill storyline *

Welcome to Loneliness & Cheeseburgers Presents: Batman and Robin (Vol. 2), Issue #7 – “Driven”! In the previous installment, we finally get the whole Bruce-Wayne-Morgan-Ducard-Fallout backstory and it’s not that exciting! Bruce Wayne was duped into helping murder a known terrorist, and instead of being sniped by Morgan he instead almost murders Morgan. This is the story he never wanted to tell Damian. How very scandalous.

Meanwhile, the ambassador was kidnapped and tortured for information. As he’s getting dunked into acid, Robin activates a GPS to let Batman know his location and then reveals that his loyalty to NoBody was a ruse the entire time. This pisses off NoBody, who starts beating Robin so that Batman can hear through the GPS.

Batman is not happy. Morgan Ducard is going to fucking bite the curb.


Batman and Robin (Vol. 2), Issue #7 [May, 2012]
Written by: Peter J. Tomasi
“Driven”

Batman and Robin (Vol. 2), Issue #7

KRAK! “And that was the sound of your son’s fingers fracturing.” says NoBody. Batman is on his way to find Robin via the GPS tracker, and as he’s making his way there NoBody is allegedly torturing Robin so that Batman can hear every sound. Robin isn’t yelling or screaming or anything, which leaves me suspicious, but this is a comic book! You can’t hear comic books! Unless you flip the pages really fast, then it’s like “fwip”.

THREE MILES TO TARGET” chirps the GPS. Why, that’s still so far away! Ducard NoBody has time to break half of Robin’s brittle little bones by the time Batman gets there! He can even break the little ones in his ears! In the background, the ambassador is halfway dunked in the acid. “Do what you need to do, Father!” yells Robin with the clarity of someone whose bones aren’t getting broken at all, methinks.

Batman and Robin (Vol. 2), Issue #7

Fuck his ass up, sir!

Batman is chasing him down in his Batmobile, and I guess the Batmobile can fly? NoBody continues to taunt Batman through the GPS, letting him know that he’s going to “leave Robin broken and bloody just like you left me that day in England”. How very poetic, except not really because it would have to be Henri Ducard breaking Robin’s fingers for it to be a matching scenario. Oh well, the cleverness was almost there at least.

Right before NoBody grabs Robin’s chest and liquifies his organs into liquid paste with his super cool soundwave gloves, Batman crashes his Batmobile right through the motherfucking ROOF of the boat, bitch! “YOU TRY TO MURDER MY SON — AND EXPECT TO LIVE?!” Batman yells furiously, taking time to cloak the front of himself with his cape in a menacingly intimidating pose. And NoBody just kinda shrugs and says “yeah, kinda, actually”. And then Batman says “NOOO!” and throws his bat boomerangs at him. lol

Batman launches at NoBody and starts tearing his ass up a bit. When NoBody tries to launch his sound waves at him, Batman tells him that he modified his suit to handle his attacks. I can’t tell what happens next very well, but it looks like NoBody stabs Batman in the back with six razor-sharp daggers that he had hooked around his fingers? I dunno.

Batman and Robin (Vol. 2), Issue #7

It’s a tale as old as time. It’s called “being born”.

As Batman and NoBody fight, NoBody loudly betrays his deep daddy-issue insecurities (oh wow, the running theme). “Morgan disappeared the day you threw me across Ducard’s table like a piece of garbage! In my father’s eyes I was dead after you beat me — I was nothing — I was nobody!”

Why wouldn’t Batman use those words against him? What’s with these villains just speaking out loud their deepest shames to their mortal enemies? Batman tells him that he’s still an insecure little boy trying to please his father. “YOU STOLE MY FATHER, SO I’M STEALING YOUR SON. QUID PRO QUO.” NoBody says, taking a moment to display his dead language knowledge while he slashes Batman’s cheeks with his dual-wield NoBody Blades.

“The world doesn’t need a ‘Batman’, it needs a ‘Nobody’! It’s always been a nobody who rises from the masses to make things right!” NoBody says triumphantly, not aware of just how absolutely, horrifically lame that really sounds. “And it always takes a somebody…TO SHOW THEM THEY’RE WRONG!” Batman retorts, really letting NoBody have it with a full-page spread headbutt to the bread basket. Then he hoists NoBody up over his head and fuckin’ tosses him right into the vat of acid. He even submerges his arm in there to hold him down. Some splashes up into his face, so he unmasks.

Batman and Robin (Vol. 2), Issue #7

Nickelodeon has gotten way more brutal with their slime in the last couple of decades, huh?

He and Robin lock eyes. Robin looks numb. Bruce looks exhausted.

Finally, Bruce hoists NoBody out of the acid before it kills him (even though, uh, acid kinda keeps working even if you’re covered in it still, but ok). “Let’s get the hell out of here, Damian.” he says. They share a touching moment.

*burp*

“Did you think I betrayed you, Father?” asks Robin. Bruce says no…and then admits kinda yes. The boat is still sinking, as it has been since a goddamned Batmobile crashed through it, so the next step is to figure a way out. Morgan is currently shackled to a rolling lab cart. While Bruce goes over the plan to escape, dump Morgan off with the harbor patrol, get back to the Batcave, debrief with Alfred, Morgan surreptitiously threatens to kill Robin and his family. This doesn’t sit well with Robin, and before Bruce can truly stop the little lad, Robin gives Morgan the ol’ one-two-buckle-my-shoe! Some real poetic justice, finally! He delivers a lethal blow between the eyes, the very move that Morgan taught him when Robin crossed over to the dark side.

Batman and Robin (Vol. 2), Issue #7

This is the way the world ends. Not with a bang, but with a “POK-SLARK”.

He, in fact, hits him so hard that most of his hand is embedded in Morgan’s skull. Gross!

Final Thoughts

One issue left! The denouement, as it were! Lots of action in this one, lots of full-page artistic flexing. The next one will be the cool-down, the heart-to-heart, the realization that some real shit will go down now, and it’s only the beginning.

Perhaps.

But hey, twists everywhere, right? As a reminder, at the end of Issue #4 I gave my prediction about how it was all going to play out:

Looks like Damian’s going to the dark side for an issue or two, he’ll learn the error of his ways, he’ll come crawling right back to Bruce crying about how wrong he was, Bruce will jab him with an I-Told-You-So before they decide to team up as a real team and fight this villain. Respect will be earned both ways.

Well, none of that happened! Damian was faking it! Bruce had to go on a manhunt! Damian was the one who ended up killing the villain!

In short, I don’t know what to expect at all with the final installment. I’m horny with suspense!

Haha, what! Crazy.

2021 Year-End List Analysis – Pitchfork’s Top 50

Pitchfork

This guy right here has told you what to like and not like for the last 25 years.

Here it is, the only list that anyone really cares about anyway. Let’s just get it out of the way now. Continuing my series of year-end list analyses that I started last week with the Quietus’ Top 100, here’s my similar Pitchfork writeup. The Tastemaker! The publication that put Radiohead on the map with their perfect-10 OK Computer and Kid A reviews from the turn of the millennium. Or perhaps those albums put Pitchfork on the map? Either way you slice it, their relevance 20 years ago was astoundingly important for independent and fringe rock music, and their relevance today is shaped entirely by their relevant past. The smoldering embers of their actual past relevance still burns brighter than the rest of the publications today do combined. Still. To this day. Everyone complains about Pitchfork being washed-up, but people still talk about Pitchfork anyway. It doesn’t matter how washed-up they get, they’re finding new ways to be talked about no matter what they do.

Enough of my inane rambling, good god! Embarrassing! Condé Nast, the notoriously mainstream corporate-minded mass media company, acquired Pitchfork in late 2015. Ever since then, their year-end lists have a had an unmistakable, odious funk of blatant pandering to popular opinion. Some may say that the opinion of the publication as a whole had started gravitating toward the safer options for favorable criticism: Taylor Swift, Lana del Ray, Lil Uzi Vert, Solange, Tyler, the Creator, the kind of music that they normally, historically, wouldn’t touch otherwise. I DISAGREE! They’ve always been this way. Kanye West, Drake, Lil Wayne, Charli XCX, the Flaming Lips, I could go on. I think there are just MORE new artists emerging these days than there ever have before, and people start to feel out of touch when they see too many new names pop up on any official “MUSIC YOU GOTTA KNOW GODDAMNIT” type roundup.

I will say this, though: 2021 is the first year in about five years where I feel like the Pitchfork year-end list isn’t a carbon copy of twelve other publications’ lists with the top 15 slightly rearranged. I’ll go one step further: 2021 is the first year in about five years where I feel like EVERY year-end list isn’t a carbon copy of everyone else’s lists with the top 15 slightly rearranged. So, for right now, I’m guardedly giving Pitchfork the benefit of the doubt, but I think it’s just been a very strong and varied year for music in general. Plenty of artists got their post-Covid lockdown musical epiphanies and it has shown through in spades this year.

Here’s the list: Pitchfork’s “The 50 Best Albums of 2021”. Here are the points I feel compelled to jot down on my shitty blog:

The Top 10

Jazmine Sullivan - Heaux Tales

Meh.

Yeah, I suppose I don’t have anything to completely rage over like some Reddit incel about the top ten. The Weather Station at #7 is surprising; I predicted that they’d be a lock for #1 this year, considering that it matched Floating Points / Pharoah Sanders for the highest score of 2021 with a 9.0. Plus, ever since 2016 when Solange was the first woman to secure the top spot in a decade (and skipping the Kendrick Lamar circlejerk of 2017), Pitchfork has given the honor to a woman every year since: Mitski in 2018, Lana Del Rey in 2019, Fiona Apple in 2020, and now Jazmine Sullivan in 2021. I think The Weather Station was the predictable option this year, and I’m relieved that they aimed to surprise this time.

I don’t think that Heaux Tales is anything that special anyway, though! Weird pick for #1, but if they were gonna stick with a woman this year then it was as good a choice as any, I suppose Underwhelming, though. I would’ve gone with Black Dresses! The other top ten picks are a diverse grab bag at least, with no blatant genre repeats whatsoever, and nothing that stands out stupidly overrated.

That Playboi Carti album, though? The one at #9? The one that was released in 2020? That’s fucking dumb of them.

Pitchfork’s #15: Snail Mail – Valentine

Snail Mail - Valentines

Feh.

Pitchfork was all over this lady’s debut in 2018, and they were similarly all over this lady this year as well, so placing Valentine at #15 seems uncharacteristically low. By comparison, her debut Lush was #5 on Pitchfork’s 2018 list. Snail Mail could have been a contender for the publication to round out their top three with a trifecta of disparate female solo artists, but alas! Hell, even Japanese Breakfast beat her out at #14, and they didn’t even give Japanese Breakfast a “Best New Music” distinction!

Other than, yeah, 22-year-old Lindsey Jordan sounds like a 45-year-old woman singing a style reminiscent of a time before she was even born, I don’t fully understand the collective mass indie appeal for her music. She has all the building blocks of an indie darling: focused, honest lyrics, consistency to a fault, a great voice, a complex open-book emotional presentation, yada yada yada, but I’ve heard Valentine eight times and there’s not much I can find to take away from it except for the catchy title track. I just wish there was more diversity. There are plenty of other albums that came out this year that scratch the same itch for me, but better! JAPANESE BREAKFAST! WOLF ALICE! TORRES!

And that’s my dumbass two cents!

No Metal

Carcass - Torn Arteries

A heart made out of vegetables? Come on, that’s high art!

No metal! NO METAL! Once upon a time, Pitchfork used to embrace a few token metal bands per year. Sunn O))), Deafheaven, Mastodon, Kylesa, and many others, have all made the list in the past. The last album that made a Pitchfork year-end list was Blood Incantation’s overrated 2019 death metal album Hidden History of the Human Race.

So what do I think would be appropriate for an upstanding indie rag such as this? The Converge / Chelsea Wolfe collaboration from a few weeks ago was pretty good, but Pitchfork didn’t like it! Carcass! Torn Arteries! They could’ve been all over that one, the classic stalwart death metal band that keeps churning out the goods? How about King Woman, the female-fronted post-metal outfit, with their solid sophomore effort? Perfect! How about I’ve Seen All I Need to See, the January release from the noisy, industrial experimental band The Body? All excellent, easy choices. All adequate picks for the clean-cut hipster edge needed to fit the bill.

But no, I guess there’s no place for headbangin’ in the COVID world. Sad!

Notable Omissions

Taylor Swift

Sorry, Taylor. Gotta be more swift next time.

BESIDES THE METAL??! All right, so when it comes to Pitchfork the only “notable omissions” that you can hold them to are any albums that they flagged with the coveted “Best New Music” award in a review. Usually, this is any album that achieves an arbitrary score of 8.2 or higher. There are certainly many albums that DON’T get Best New Music and end up on the list anyway. That’s fairly common, it happens every year. The highest ranked album this year is Jubilee at #14, from the aforementioned Japanese Breakfast, which got a 7.8. Even rarer, though, is the reverse situation, where Best New Music winners are completely absent. Here are the albums that got Best New Music but didn’t crack the Top 50 in 2021:

Taylor Swift – Red (Taylor’s Version)
Granted, this is a rerecording of an existing album in order for Swift to reclaim rights to it, but Pitchfork treated it like a new album instead of new reissue and slapped an 8.5 score on it. Maybe it was their way of sucking Taylor Swift’s dick while still adhering to a possible policy that a rerecording wasn’t eligible? It happened with Car Seat Headrest’s Twin Fantasy rerecording too a few years back. Still curious, though, these jobbers love Big Swifty.

Arca – KicK iii
Again, a technicality. Arca dropped four albums in four days during the week after Thanksgiving. Still though, KicK iii was available on December 1st and Pitchfork’s list went out on December 7th. Plenty of time to add it in, right? It’s not like that one year when Baroness dropped Purple right before Christmas and they were like “oh shit” and added it to their BEST METAL ALBUMS consolation page. Still a weird oversight. Maybe they’ll include it in the 2022 list since they obviously have no problem adding albums from other years to the list *cough* Playboi Carti *cough* *cough* *wheeze*. Try putting your list out at the END of the year and maybe this won’t happen, dumbfucks.

Iceage – Seek Shelter
Yeah, this was a straight-up snub. Best New Music in May with an 8.3, not on the list. However, I thought this album was an absolute turd so maybe they wised up. Good. Every single one of Iceage’s albums have gotten a terrific score and half of them are unwarranted. HOWEVER, if you are an Iceage fan, seek solace from the fact that Pitchfork included it in their 31 Best Rock Albums of 2021 “whoops we forgot” consolation page! Typically, a year has at least a small handful of Best New Music albums that don’t make it. Iceage being the only legitimate Best New Music omission of 2021 is very hilarious to me! Merry Christmas!

So That’s It?

Yeah, bitch, that’s it. I don’t write finales.

Ultimate Spider-Man (Vol. 1), Issue #8

Ultimate Spider-Man (Vol. 1), Issue #8 – “Working Stiff”

* Part 1 of 6 of the Learning Curve storyline *

Welcome to Loneliness & Cheeseburgers Presents: Ultimate Spider-Man (Vol. 1), Issue #8 – “Working Stiff”! And so begins a new story arc of an established Loneliness & Cheeseburgers feature! We left off from the previous issue in a state of befuddlement and uncertainty! An epic battle at the school between Spider-Man and the Green Goblin ended with the Green Goblin jumping off a fucking bridge and into the water below! Harry Osborne suspects that it’s his father seeking revenge on somebody for some reason! Peter Parker feels bad for Harry, and too wonders what happened to Norman Osborne and if it’s related to Peter’s newfound powers. Peter suspects the Green Goblin is dead, but Issue #7 ended with a close-up of the bubbly water below!

I can only imagine what kind of hijinks will happen in this new storyline! Does “Working Stiff” refer to a penis that will bone MJ? Whose penis will it be? Oh boy! I can’t wait!


Ultimate Spider-Man (Vol. 1), Issue #8 [June, 2001]
Written by: Brian Michael Bendis
“Working Stiff”

Ultimate Spider-Man (Vol. 1), Issue #8

These Ultimate Spider-Man comic book covers sure leave a lot to be desired so far. With only an exception or two, it’s all been Spider-Man in generic, provocative poses or swinging around on his ropey spider cum webs. The covers aren’t telling me what to expect! I want the fucking cover to SPOIL THE STORY for me, damnit! Why should I have to read the contents to know what happens?? I’m not made of time!

The opening scene shows a grinning bad guy with the kind of sunglasses they give you at the optometrist after they dilate your pupils. He is attempting to rob an armored “Krink’s” security truck when SPIDER-MAN SWOOPS IN TO SAVE THE DAY!

Final Thoughts

Just kidding! But he does swoop in to save the day, so that part was correct. He does it with ease too, like he’s been doing this for almost seven issues now! After stopping the bad guy, the armored truck guards think that now Spider-Man is the one robbing them. They offer him big bags of money with dollar signs on them. Now, obviously Spider-Man has his scruples and he’s clearly a better man than I, because I probably would’ve taken just ONE bag of money, but Spider-Man does some flips away from the scene.

Ultimate Spider-Man (Vol. 1), Issue #8

Kong lifts two fingers in the universal symbol for “I’m gon’ lick that pussy”.

Spider-Man’s big triumph is the talk of the school the next morning! With hushed voices in the library, Flash Thompson’s pussy haha I mean posse talks about the heroic event. Kong regrets not being at the scene, because there have been mutterings around the city that a certain newspaper being run by a certain Spider-Man-crazed editor-in-chief is offering BOOKOO bucks if he gets BEAUCOUP photos of the spidery little nerd. Peter Parker overhears all this with a wicked glint in his eye, and later we see him decked out as Spider-Man staging his own photoshoot in a back alley somewhere. “Why shouldn’t I get a little bling bling off this whole superhero thing I got goin’ on?” he says, posing for some action shots with an anime smile in his eyes. And, of course, he reminds the audience of his altruistic intentions to give the money to Aunt May. How about you rob a Krink’s truck instead, doofus?

Parker shows up at the Daily Bugle dressed quite smartly in a crisp, magenta button-down and a blue plaid tie, positively beaming with wonky-eyed enthusiasm! The place is bustling with activity in a way that a real news building probably never actually ever is. J. Jonah Jameson is chewing out a journalist for having the audacity to provide him with non-Spider-Man stories! This is a newspaper! We report the news here at the newspaper! Spider-Man is news! Nothing else is news!

Ultimate Spider-Man (Vol. 1), Issue #8

Look what my brother found in a box in the woods! But I have to bring it back home, ok?

As the writers start complaining that Spider-Man is too elusive, they catch Parker in the hallway grinning and seductively holding up crystal clear shots of the local celebrity crime-buster. Jameson starts grilling Parker about how he got these photos, starts rifling through them with disdain over the picture quality ready to shove this kid on his ass back outside, but then he finds one that makes him cream his J. Jonah Jameson Jeans. He offers Parker $50 for it, and Parker was just about ready to shove this guy on his ass back outside when one of the copy editors has an issue with the paper’s website that she shouldn’t be tasked with working on because she’s, and I quote, “not a freakin’ web designer”. BUT GUESS WHO IS? Parker throws out some Year 2001 computer knowledge on their collective cornholes. Jameson offers him a job at the Daily Bugle. Looks like we got a regular Clark Kent on our hands, folks.

That night, Parker has an Uncle Ben nightmare where Uncle Ben gets murdered (spoiler alert). Get over it.

Parker has trouble concentrating at school the next day, probably because the teacher is giving abstruse classwork instructions like “design a poster that identifies the voting practices in your home country of Nationality”. He hatches an idea to use the Daily Bugle’s database to search for the identity of Uncle Ben’s murderer. In his research, he discovers a New York City crime boss named Wilson Fisk. After asking a coworker why no one seems to be going after this kingpin, his coworker basically tells him “Look, Sparky, ain’t no motherfucking way that anyone’s going after the motherfucking kingpin. Idiot.” Well, looks like Spider-Man is going to go after the motherfucking kingpin.

Ultimate Spider-Man (Vol. 1), Issue #8

In other words, “go fuck yourself, pint-size”.

Final Thoughts, For Reals This Time

The end here seems like a drastic shift into a who-cares bunch of nothing. Suddenly Peter Parker cares about some sort of crime boss that he didn’t know about 10 minutes ago? YOUR UNCLE’S MURDERER STILL ROAMS FREE. DIPSHIT. GRRR. Come on, Parker, focus. Take your ritalin.

I like the idea that Parker will eventually take a picture of Spider-Man wearing nothing but his mask, a gold chain, and a codpiece. Jameson’s gonna give him a corner office.

Aborym, Courtney Barnett, and Wavves

List season, list season, it’s list season again my friends! But who cares about that? I have three albums that are on nobody’s lists this year. Put that in your pipe and suck on that shit.


Aborym – Hostile
(February 12, 2021)

Aborym - Hostile

It’s hard to explain. About 500 years ago, around the year 2001 or so, Aborym played a very strange blend of black metal and industrial music. It was like if JG Thirlwell from Foetus was throwing pots and pans against the walls of Scrap Brain Zone from Sonic the Hedgehog. It was like if Ministry eschewed the danceable bits and focused on gritty, macabre, howling atmospherics straight from the desolate, wintery, tip-top of Norway.

Aborym’s from Italy, though, which is warmer and, uh, pleasant. I can’t speak for Aborym’s transition to a straight-up industrial rock outfit since I haven’t heard anything from them since 2006’s Generator, but Hostile presents a rather dull facet of the band’s character. My guess is that each successive album treaded closer and closer to this alternative rock, grunge, industrial rock hybrid sound. I hear a lot, and I do mean a lot, of Nine Inch Nails and Alice in Chains in here. “Stigmatized (Robotripping)” is essentially a KMFDM song. “The End of the World” ends with a soft, smooth jazz finale, the hallmark of an washed-up experimental metal band trying to throw a predictable curve ball.

It’s a weird album, but not in a good way. It’s hard to excuse the flaws of the eighth album from a band when it so blatantly borrows elements from many bands that came before. Especially when they used to be unique. Especially when their attempts are so blatantly half-hearted. Sorry.

Early Verdict:


Courtney Barnett – Things Take Time, Take Time
(August 20, 2021)

Courtney Barnett - Things Take Time, Take Time

When Courtney Barnett dropped one of my favorite albums of last decade, her 2015 debut Sometimes I Sit and Think, and Sometimes I Just Sit, it was like I had finally discovered my gay female Australian counterpart. Just a deeply neurotic, insecure, overthinking, humble, completely anxious mess of a person. She’s even just a month younger than I am! So much in common! That album was full of self-deprecating honesty, shrouded with self-aware attempts at projecting that she doesn’t really give a shit even though she definitely gives a shit. She gives a whole LOT of a shit, actually. The grungy melodies, the tired incredulity, the fretful ruminations. It was like a snapshot of my own headspace. I couldn’t get enough; oddly, it has been one of the most personally meaningful albums of of my adult life.

Certainly, that does (and did) set the bar high for the future output. 2017’s collaboration with Kurt Vile, Lotta Sea Lice, wasn’t exactly my bag, but I appreciated their chemistry. 2018’s Tell Me How Your Really Feel was enjoyable, but I got none of the same highs that I did from Album #1. And now there’s this. The nine examples of shades of blue on the cover made me nervous, left me expecting something that dipped further into the Mellow Side of the Moon, but I was pleased to find a lot of this music jaunty and immersive. It splits the differences between the predominate power rock of Sometimes I Sit… and the pop-happiness of Tell Me How You Really Feel in a manner that makes the music feel refined and effortless. My personal favorite bit is the last half of “Turning Green”, which takes a lackadaisically messy and crunchy garage jam template and peps it up with some punctuations of bongo and castanet percussion.

I’ve seen criticisms that this album feels short, but I think it’s just the right length for Barnett to relay exactly what she needs to relay right now. As the album title suggests, she’s moved on from hopelessly lost and she’s slowly on her way to acceptance. It shows her getting a little farther out of her own head, which may not be a boon for her creativity, but at least it’s a boon for her mental health. The music is perfectly fine. It’s not top shelf material, but I’ll take it over many other albums that don’t have a fraction of the sincerity.

Early Verdict:


Wavves – Hideaway
(July 16, 2021)

Wavves - Hideaway

I tried one Wavves album back in the day, when they were huge for about five minutes, and I wasn’t impressed. I think it was King of the Beach from 2010, but I don’t remember anymore. All I remember was a band which seemed like a watered-down, diet version of psychedelic garage surf rock. I lump them in with Cloud Nothings, No Age, Yuck, and other similar groups of post-Yeah Yeah Yeahs and post-Flaming Lips lo-fi “happy tough wimp” music. The kind that’s supposed to recall memories of early ’90s indie rock, but it misses the mark entirely. That’s Wavves. I don’t like Wavves.

But this is fine enough. It’s not what I remember from ten years ago. I remember fuzzy, distorted bullshit, but this is well-recorded and, like, musical! And, like, wide-ranging. “Thru Hell” is bristling pop punk. “Hideaway” is a brawny Parquet Courts-esque rock number. “Help Is on the Way” is pure, straightforward indie pop with one of the more nettling earworms you can find in 2021 (“HELP IS ON THE WAAAAAAAAY!“). “Sinking Feeling” is familiar surf rock. “The Blame” is countrified cow-punk. And so on, and so forth. And, honestly, all of it is over in 29 minutes. So even if it feels like a waste of time, it’s really not that big of a waste of time. I probably listened to it 15 times all the way through. It’s easy to throw on, turn off your brain, and let the hooks…well, hook you.

There’s just something so sad about a household indie name releasing their seventh album with so little pomp and/or, dare I say, circumstance. But that’s the way it goes, I guess. It’ll stop being sad when they reach Album #15. Then you have a “respectable body of work” even if no one has heard half of it.

Early Verdict:

Batman and Robin (Vol. 2), Issue #6 – “The Real Me”

* Part 6 of 8 of the Born to Kill storyline *

Welcome to Loneliness & Cheeseburgers Presents: Batman and Robin (Vol. 2), Issue #6 – “The Real Me”! “CAN YOU SEE THE REAL ME, DOCTOR? DOCTOR! CAN YOU SEE THE REAL ME, MAMA? MAMA!” In the previous installment, Robin agrees to do bad crimes with NoBody and now Bruce has to find his son to take him away from the big bad man. That’s about it. We saw some backstory about Morgan Ducard’s dad, Henri, but that’s boring and I won’t talk about it again!

Oh yeah, NoBody and Robin ambushed an embassy and now Robin is going to shoot an ambassador in the head. We’ll see if he does just that!


Batman and Robin (Vol. 2), Issue #6 [April, 2012]
Written by: Peter J. Tomasi
“The Real Me”

Batman and Robin (Vol. 2), Issue #6

“ABOVE THE SKIES OF GOTHAM… …DARK KNIGHT BATTLES DEMON SEED!” What’s this now? Who the shit is Demon Seed? Sounds like Evil Cum. That’s not very threatening…well, maybe it is.

Maybe it’s some really threatening evil cum.

Aaaannnnd, we pick up right where we left off: Robin pointing a gun at some poor little bitch’s head! And NoBody is trying to goad him into killing the ambassador by taunting him a little about still being Bruce Wayne’s daddy’s boy. “Show me you’re beyond his reach, Robin. Show me you TRULY understand.” NoBody demands as this ten-year-old is about to shoot a goddamned ambassador at the embassy for no real reason.

Robin brings the gun to the ambassador’s temple, point blank, and pulls the trigger.

Batman and Robin (Vol. 2), Issue #6

When you get to Hell, tell the devil that I’m coming for him next.

As the smell of the ambassador’s poopy pants fills the room, Robin throws the gun down in disgust. “I’M NOT HERE TO PLAY GAMES, DUCARD!” he whines like a child who showed up for no other reason than to play games and someone told him that he doesn’t get to play any games. Ducard claims that he isn’t playing games either, and then in the very next sentence tells him that this was a test to see how committed Robin was. That sounds like a game to me. And Robin won the game. So now Robin has Ducard’s trust, and they’ll haul the smelly ambassador over to some other location for questioning about his alleged “slave trading”. Ducard shows Robin how to incapacitate a motherfucker using only two fingers, and he lets Robin do the honors. Robin boinks the ambassador Three Stooges-style.

Batman and Robin (Vol. 2), Issue #6

POK! Take that you hoser politician! Nyuk nyuk nyuk.

Batman, meanwhile, is still combing the city looking for his estranged, troubled, murderous fruit of his loins. I don’t know why this kid is so hard to find, he found him quickly the first time. Didn’t Alfred put a tracker on the little whelp? Well, at any rate, Batman was able to pinpoint the embassy as Robin’s possible location so he gets some brownie points there, I suppose. Alfred briefs him that all the embassy’s security cameras are malfunctioning, so Batman takes this opportunity to plow right through the fucking window like he not only owns the place, but is happy to break the windows at the place he owns as well!

After busting into the embassy, Batman takes a moment to reminisce about the past again under the guise of telling the story to Damian…which we all know isn’t actually happening because he hasn’t found the kid yet! Stop telling the story, Bruce, it doesn’t count if he’s not there to hear it! Bah.

So we flashback to Bruce and Morgan training under Henri Ducard’s watch. Fighting, blindfolded weapon disassembly/reassembly, hiking through the woods, lectures from Henri Huggins himself, all for the purpose of taking down this Hassan terrorist kinda guy. They worked on tracking him all over the world as a unit of three, traipsing through deserts and riding big hulkin’ jeeps through sandstorms.

Batman and Robin (Vol. 2), Issue #6

Take it all in, Bruce! Get to know the feces. Be one with the feces.

And, eventually, they track him down to a hotel room.

And what a SNOOOOZE of a story this is!

So, in an adjacent building, Bruce and Morgan stakeout and keep an eye on Hassan while Henri moves in on him. Morgan says that his old man has been waiting for this moment for years! Finally, he’s going to close the chapter on the Hassan Hunt!

“Ducard,” Bruce radios out to Henri, “Hassan’s going to the door. He’s got a gun.”
“Where exactly is he?” Henri asks.
“He’s at the peephole.” says Bruce.

Batman and Robin (Vol. 2), Issue #6

POK!

BAM. And just like that, Hassan gets shot right through the head like a dumbass. Bruce finds this surprising. I guess he thought they were going to ask Hassan nicely to stop being a terrorist and then they would have a nice chat over tea? Instead he gets all pissy at Morgan, like he was duped into being involved with killing a terrorist. It’s very strange to me.

“What happened to seeing this evil bastard brought to justice and put on trial in front of the world court–I thought that was the goal, Morgan?!” Bruce spits at him. Look, Brucey, how can you be so smart and cunning and jacked and brave and jacked and resourceful and fearless and jacked and NOT know that this was the plan all along? You naive slut? Bruce strolls on out of there. Scruples! OHHH, BRUCE HAS HIS SCRUPLES ALL RIGHT! SCRUPLES OUT THE ASS, DUCARDS.

“Wayne’s a loose end that needs to be cut. See to it personally, son.” says Henri while taking a sexy drag from his cigarette.

And now, in a fight scene that is as clear as mud, Morgan attempts to snipe Bruce Wayne as he gets into a taxi. The bullet still hits him (?), Morgan thinks Bruce is dead, he heads down to his car and drives away, a cinder block crashes right through Morgan’s windshield, Bruce leaps down from above through the windshield (“MORRRGGAAAAN!”), Bruce grabs Morgan out of the car and throws him around for a bit. Eventually, Bruce throws Morgan’s broken body through Henri Ducard’s skylight, right on top of him while he sits at his desk doing bounty hunting desk work or whatever the hell Henri Ducard needs a desk for.

Lo’, there’s the story of how Bruce Wayne ended his relationship with the Ducards! What a great story that a) Damian still hasn’t heard, and b) wasn’t a fucking big deal of a story to begin with. Why didn’t he want to talk about this with Damian in the first place? So stupid.

We’re back at the embassy. Police have shown up, including Commissioner “Mustache Bandit” Gordon. Batman tells him that an ambassador was STOLEN from the BUILDING, and then Batman says “I’ll help you out but I’m gonna do other stuff too, BYE!” and leaves.

Gotham Harbor. NoBody has a secret Crime Boat where he’s got the ambassador ball-gagged so they can do Crimes on him. Using “truth serum” they were able to get “all they need” from the “ambassador” so they can “take apart his human trafficking system” within “a matter of days” and then they can all “go home” and enjoy their “Hungry Man Dinners”.

Batman and Robin (Vol. 2), Issue #6

I remember this scene from Pulp Fiction!

As NoBody wraps up, he turns to Robin and goes “…so…did….uh…did your dad finally tell you about the time he almost killed someone?” and Robin says “you’re lying you old bag of horseshoes” and then NoBody goes “yeah well ‘fraid not, it was me, he almost did murders on me” and Robin says “you’re lying you stinky sack of dog bones” and then NoBody does “yuh-huh”. They go back and forth in this vein while the ambassador gets dangled over some lovely acid. Robin realizes that he’s standing next to an Olympic swimming pool-sized vat of acid and says “YOU’RE DUNKING HIM IN ACID!”, proving again that Robin’s a sharp little guy. Robin protests this barbaric behavior, and NoBody starts justifying his actions while attempting to subdue Robin with his special fancy pulse palms, but Robin is too quick. He shoots the fucker with his grappling hook.

NoBody goes berserk. Robin had activated a GPS, which NoBody noticed, and now Batman has a lock on Robin’s location. “I thought you were on MY side! But you BETRAYED me, just like HE did!” NoBody whines. Robin unveils that this was all an elaborate ruse this whole time! And NoBody, when he asks Robin why he’d throw away all that he was offered, Robin responds with “Because he’s my father, you idiot.”

Touching. Is that a tear in my eye?

NoBody isn’t going down without a fight. He uses the GPS to transmit a message to Batman. He tells him that Damian pulled the wool over both of their eyes, it seems. And since NoBody is all pissed off at this betrayal, he starts breaking Robin’s bones or something so that Batman can hear it.

Batman is displeased.

Final Thoughts

Morgan is fucked. Even if he pretended to hurt the little twerp over the GPS loudspeaker, Batman is still going to punch him so hard in the face that he’ll push Morgan’s teeth through his asshole.

And what the hell is Demon Seed? From the cover. That was never addressed! Oh well.

Shit’s going to get real. Two issues left! Stay tuned.