Batman & Robin: Year One

Batman & Robin: Year One #1-12

by Mark Waid, Chris Samnee (Artist), Matheus Lopes (Colorist)

Billionaire Bruce Wayne is grappling with his new role as guardian to orphaned Dick Grayson, while Batman faces the challenge of unleashing Robin on Gotham's ruthless underworld!

Join superstars Mark Waid and Chris Samnee as they explore the earliest days of the Dynamic Duo!

The early years of Batman and Robin were anything but smooth sailing. Join fan-favorite creative duo Mark Waid and Chris Samnee as they explore the first year of Bruce Wayne and Dick Grayson’s partnership, both as a newly minted father and son in the eyes of the public and as the crime-fighting Batman and Robin to the criminal underworld of Gotham City! Dick may be capable and enthusiastic, but does he have what it takes to stand up against the deadliest costumed villains the city has to offer? And Batman may be prepared for anything—but is he prepared to be responsible for the life and safety of a teenage sidekick?

Collecting Batman & Robin: Year One #1-12

Genres: Comics, Graphic Novels, Dc Comics, Batman, Graphic Novels Comics, Superheroes, Fiction

320 pages, Hardcover

First published December 16, 2025

About the author

Mark Waid is an American comic book writer widely known for shaping modern superhero storytelling through influential runs on major characters at both DC Comics and Marvel Comics. Raised in Alabama, he developed an early fascination with comic books, particularly classic stories featuring the Legion of Super-Heroes, whose imaginative scope and sense of legacy would later inform his own writing. He first entered the comics industry during the mid 1980s as an editor and writer for the fan magazine Amazing Heroes, before publishing his first professional comic story in Action Comics. Soon afterward he joined DC Comics as an editor, contributing to numerous titles and helping shape projects across the company. After leaving editorial work to focus on writing, Waid gained widespread recognition with his long run on The Flash, where he expanded the mythology of the character and co-created the youthful speedster Impulse. His reputation grew further with the celebrated graphic novel Kingdom Come, created with artist Alex Ross, which imagined a future DC Universe shaped by generational conflict among superheroes. Over the years he has written many prominent series, including Captain America, Fantastic Four, Daredevil, and Superman: Birthright, bringing a balance of optimism, character depth, and respect for comic book history to each project. Waid has also collaborated with notable artists and writers on major ensemble titles such as Justice League and Avengers, while contributing ideas that helped clarify complex continuity within shared superhero universes. Beyond mainstream superhero work, he has supported creator owned projects and experimental publishing models, including the acclaimed series Irredeemable and Incorruptible, which explored moral ambiguity within the superhero genre. He later took on editorial leadership roles at Boom Studios, guiding creative direction while continuing to write extensively. In subsequent years he expanded his involvement in publishing and digital storytelling, helping launch online comics initiatives and advocating for new distribution methods for creators. His work has earned numerous industry awards, including Eisner and Harvey honors, reflecting both critical acclaim and enduring popularity among readers. Throughout his career Waid has remained a passionate student of comic book history, drawing on decades of storytelling tradition while continually encouraging innovation within the medium. His influence extends across generations of readers and creators, and his stories continue to shape the evolving language of superhero comics around the world today through enduring characters imaginative narratives and thoughtful reinventions of familiar myths within popular culture and modern graphic storytelling traditions.

Reviews

[Dan · Rating 5 out of 5]

95% of everything is crap, as a wise man once said. However, when I heard the creative team for my favorite Daredevil run in recent memory was doing a Batman& Robin book, I jumped on it. Was it was good as I thought it would be? No, it was better. Waid and Samnee tell a fun story about the early days of Batman and Robin taking on Two Face and a new crime lord, General Grimaldi. Samnee's art is top notch and Waid took his game to a high level. Realistically, the only gripe I have is that it's "only" twelve issues.

[Molly™☺ · Rating 4 out of 5]

An early Bruce and Dick adventure that sees the iconic duo take on Grimaldi, a new player on the board, who aims to disrupt the Gotham crime families in a bid for power. Batman and Robin must also attempt to hide their identities both from the criminal underground and social services. Waid and Samnee have teamed up and proved, once again, that they are a creative force to be reckoned with. There's a lot of heart that pours from the writing and the art, and the tone and style lend itself well to the time period that is being explored. A colourful journey that makes really good use of its twelve issues, this is definitely worth a read.

[James DeSantis · Rating 3 out of 5]

This book is honestly fine, but it sure doesn't tell us anything special, which is a real letdown for a "Year One" story.

Let's talk about the good stuff. The art is fantastic. It's just so fun with great coloring, and the style absolutely fits this kind of origin tale. It’s simple at times, but it stands out and is incredibly energetic. Waid also really nailed the characters. His writing for Bruce and Dick is stellar, the dynamic feels incredibly well done and is easily the best part of the whole book.

Now for the bad. The plot feels completely lifeless. I seriously dislike the Two-Face storyline they went with, it just wasn't compelling. The biggest killer is the pacing, which is unbelievably dragged on. It feels like this entire story could (and should) have been a tighter six-issue arc, and it would have been way better for it. As it stands, it's a decent addition, but it's nothing to write home about. A solid 3 out of 5.

[Sean Gibson · Rating 5 out of 5]

Waid and Samnee have always made beautiful music together and Batman & Robin continues that grand tradition, even if Robin's costume remains one of the most proactively weird in all of comicdom (and that's saying a lot (emphasis on "dom")).

[Khurram · Rating 5 out of 5]

I loved this book. I did not particularly like the Batman Year One series, but this one was perfect.

Bruce Wayne had adopted young Dick Grayson. Joined by a familiar tragedy but these two could not be more different and the differences will force each of them to change.

A new player has entered Gotham. However an old player could be pulling the strings. Gotham is a city at war and Robin has been enlisted. Is Batman ready for the responsibility of not just a partner but a son?

I am so used to seeing Dick Graydon as the together hero he has become. It is interesting to look at the transition he has made from his circus to society. He is raw and hyperactive. He leaps before he looks and never worries about the fall.

This is a great book. Loved all twelve chapters/issues. Great artwork, great story and character development. The book finishes with a varient cover gallery.

[Machiavelli · Rating 5 out of 5]

Batman & Robin: Year One is everything I want from a Batman story: confident, joyful, character-driven, and absolutely gorgeous to look at. Mark Waid nails the tone, capturing the early dynamic between Bruce and Dick as they learn how to operate as a team, balancing mentorship, trust, and the sheer thrill of being out in the city together. It feels timeless without leaning on nostalgia, classic without being stiff.

What truly elevates this book, though, is the art. Chris Samnee is operating at the top of his craft here. His storytelling is crystal clear, kinetic, and expressive — every page flows effortlessly, with action that feels dynamic but never chaotic. Samnee’s Bruce and Dick are instantly readable emotionally, whether it’s mid-fight or in quieter character moments, and his Gotham feels alive without being overcrowded.

Matheus Lopes’ colors are the perfect complement, adding warmth, depth, and mood without overpowering Samnee’s linework. The palette gives the book a classic sensibility while still feeling modern, using light and shadow to guide the eye and reinforce tone. Together, Samnee and Lopes create pages that are not just beautiful, but a masterclass in visual storytelling.

This is a book that understands Batman and Robin as a partnership built on trust, momentum, and shared purpose — and it delivers that understanding with clarity, heart, and style. An instant favorite and an easy recommendation.

[Lashaan Balasingam · Rating 4 out of 5]

What an absolutely pleasant tale ! Mark Waid and Chris Samnee deliver a very authentic relationship-in-the-making between Bruce Wayne and Dick Grayson through this Year One story, as they both try to figure out how they can work together in their nocturnal activities. While the pacing could've benefited from a slightly shorter comic book run, the characterization and the artwork make this so lively and gripping to get through !

[Axel · Rating 5 out of 5]

(read it as it was released)

Absolutely perfect from beginning to end. I'm so sad it's over but so glad I got to read such a beautiful comic featuring my favorite characters!!!! The dynamic duo!!!! And what a duo they make. Batman and Robin are such iconic characters and have so many comics retelling this first few years of Bruce and Dick's partnership, but I think I can say this one is a worth reading one for everyone trying to get into these characters and their stories (I know for sure I'm going to recommend it to all my friends! very beginner friendly hehe).

It feels so fresh and really fleshed out for only 12 issues. It doesn't shy away from showing the early conflict between Bruce and Dick and just how different they are despite sharing their trauma and grief. And it also shows, in such a beautiful and tender way, how important they are to each other, how much they care and how much they need each other. And you are shown this all throughout the 12 issues! Bruce protects Dick and Dick protects Bruce. They learn from each other. They learn to communicate and find common ground. And it's so so beautiful.

I love that it is such a human story in that sense. This is not just Batman and Robin fighting Two-Face and Clayface to protect Gotham. This is Bruce Wayne and Dick Grayson getting visits from Child Protective Services; fighting to stay together; becoming something better because they have the other. There are many beautiful conversations throughout all the issues (with each other, with Alfred, even with Gordon!) that highlight this beautiful relationship and that go into both characters' feelings with each other and parenthood. Parenthood is treated in such a beautiful way. This comic both honors Dick's parents and how much they loved him and he loves them and also Bruce's struggles with raising a son. I really loved the involvement of CPS because I haven't seen it a lot in other comics I've read -I'm sure it's there and I just haven't read that much yet- but always wondered how that whole process was, so it was sooo interesting and gratifying to see it! Especially in the last issue (spoiler warning here until the end of this paragraph) with Bruce mentioning he actually wants to adopt Dick instead of "just" being his legal guardian. As I said, so so tender and sweet.

Alfred was great as well, especially that lovely scene he shares with Dick during Dick's mother's birthday. A beautiful highlight of how Dick processes and expresses his feelings and a scene I've found myself rereading quite a bunch of times!

Another thing I loved (this is just a list of that at this point): the constant mentions of Dick's circus upbringing! THANK YOU, MARK WAID!!!!! He walks a tightrope, he juggles 7 tennis balls, he trained with Dibny the Contortionist, he uses circus slang that no one else understands!!! There are soooo many details that paint the picture of who Dick Grayson is! You can't take the circus out of him and have the same character, and this comic paid respect to that in such a beautiful and constant way. He's a performer, he's a traumatized ten year old fighting crime, he's the light to Batman darkness (yes, he's also my favorite Robin, but what can I say? This duo is so iconic).

Now, villains. They were really good and compelling and made the story great! I was kinda skeptical about having three main villains for a 12 issues long story but found no big problem with the execution (some small ones but this is mostly about Bruce and Dick so I'm focusing on that). Also I may be biased because Two-Face is my favorite rogue and I LOOOOVED him in this.

To end this (frankly very long) review I am going to (once again) name something that I've loved about this comic. The art. The art is P.E.R.F.E.C.T. The art is so good that after reading a bunch of issues it made * me* feel like drawing for the first time in MONTHS. It's so expressive. The movement, the facial expressions (extra kudos cause Dick Grayson actually looks like a 10 year old and Bruce Wayne looks the most Bruce Wayne any Bruce Wayne has ever looked). The use of shadow and the contrast is so perfectly done. And the colors are so evocative and just work perfectly. I just feel like I could learn so much just by analyzing and looking at every single illustration in this comic. Chris Samnee and Matheus Lopes MY GOATS

Anyway. Loved this comic. Will 100% reread. Will 100% recommend it to anyone. Loved it.

[Reece · Rating 4 out of 5]

A welcome addition to "The Essential Batman" reading list. Waid and Samnee have created a timeless story that could exist in just about any era of the caped crusader. Something I don't think has been nailed since Loeb and Sale created The Long Halloween.

The introduction of General Grimaldi as a new batman villain is seemless, where other creators ham-fist their OCs into the plot without grace, Waid created a villain so fitting I had to double check he wasn't a reinvention from a previous era. The only other great example that comes to mind is Mime and Marionette is Geoff John's (terrible) Doomsday Clock.

The style of Samnee's art means the Batman, Gotham and, it's citizens have a style out of time. It doesn't evoke the 40s, 70s, or the 00s, but it does evoke Gotham as a unique modern gothic entity. Something that is often forgotten is that Gotham is part of the insanity, its layered, modern on old, supervillains layered over the mafia layered over lunacy.

It's impossible to not compare this story to Dark Victory which was previously the defacto Robin origin story, and while I don't think it's as iconic as that story, it does a much better job exploring the intricacies of Dick Grayson and Bruce Wayne's relationship. It wasn't an overnight change, introducing Dick to a life of crime fighting, especially when inheriting the Wayne family's unresolved trauma.

This goes on the shelf with Batman Year One, Long Halloween, Knightfall, Killing Joke, etc. A very welcome addition to Batman history.

[Chris · Rating 5 out of 5]

"Robin: Year One" is one of my favourite Batman comics so I was a little wary coming into this. Did we really need another origin story for the character?

Not really, but it's written by Mark Waid, a writer who has been almost solely responsible for me continuing to read DC Comics over the last few years with his perfect balance of storytelling and character development. He understands the relationship between Bruce Wayne and Dick Grayson is just as important as that between Batman and Robin.

The art is by Chris Samnee, another artist who is responsible for keeping my DC flame alive. I love his cartoony style of art, and it suits the outgoing Dick Grayson perfectly. There are several references to Batman '66 from Dick's civilian outfit resembling that of Burt Ward, to him slamming his fist into his cupped hand. It references that universe without being too blatant... well except for that one "Holy x, Batman!" which I'll allow.

The book does tread over some familiar ground but it is nice to see Waid's spin on the origin of the dynamic duo, especially as it focuses more on the emotional beats of what Bruce and Dick are going through and how they help each other.

What can I say? I'm easy to please when it comes to Mark Waid writing these characters and to throw in such a fun, dynamic artist like Chris Samnee this was always going to be a top read.

[Izabela Lewalski · Rating 5 out of 5]

Baby Dick Grayson was such a menace, I love it

[Vincent Darlage · Rating 5 out of 5]

This was an excellent book and I enjoyed it a lot. It's early in Robin's career (hence the "year one" in the title), but it smartly does not start with his origin. They've dealt with the death of the Flying Graysons and took out Boss Zucco already. Comics readers are well aware of Robin's origins, so this book begins some time after that - but not a lot of time. Commissioner Gordon is still uncomfortable with Robin because Robin is obviously a child.

Dick Grayson was always my favorite Robin. Dick Grayson teaches Batman how to be human again. Dick brings joy, movement, and trust back into Batman’s life. He proves that partnership does not weaken Batman and that heroism can include warmth without sacrificing discipline. This book captures this WONDERFULLY. Dick represents competence without cruelty and warmth without naïveté. He is capable, ethical, and emotionally functional, which aligns with my preference for characters who carry darkness without being consumed by it. Dick does not wallow in trauma, and he does not need to advertise his suffering to justify his heroism. That quiet confidence and moral clarity fits my sensibility very well.

The villains in this book were handled quite deftly. Two-Face, largely an instigator of the story, is already established and assumes we know him (which I imagine anyone reading this would). Clayface is making his first appearance in Gotham in this chronology, but also does not go into his origin. There are mob bosses galore and the villainous plot was ingenious given Clayface's power - and one of the bosses is trying to recreate Clayface but en masse. It's all tragic and mildly horrifying, perfect for the story.

I like how the author eschewed origin stories. They simply were not needed for this story and would have halted the plot dead in its tracks. Batman may not know Clayface here, but Clayface has been around long enough to know his own powers and how they can be useful.

Some other things I loved was the attempts and hints at the 1960's television Robin (portrayed by Burt Ward), such as smashing one fist into an open palm, and saying "Holy [something], Batman!" occasionally (not enough to irritate, but enough to make me smile), and included a joke that Commissioner Gordon should use a "Batphone" to call Batman instead of using the Bat Signal.

I wish more movies would eschew the origin story of very familiar heroes, and just give flashbacks when needed for the more unfamiliar ones. James Gunn is excellent at this, with Peacemaker, Superman, and Guardians of the Galaxy. I thought the MCU Spiderman did this well, as did the MCU Incredible Hulk movie, which gave the origin quickly during the opening credits. I do wish we could get a credible Robin in the Batman films, but I think there is a reason Robin works better in the comics (or on Television, in regards to the 1960s Robin and HBO's Titans). If he does appear in the movies, I hope they do not include an origin story. We don't need it.

One of the reasons Batman and Robin works so powerfully in the comics, and why a book like Batman and Robin: Year One understands the character in a way most films do not, is that Robin is not an optional accessory to Batman but a necessary one. Robin transforms Batman from a solitary symbol of trauma into an active force of responsibility, mentorship, and moral continuity. In the comics, Robin is proof that Bruce Wayne does not merely relive his own loss but deliberately intervenes to prevent another child from being consumed by it, and that act of care strengthens rather than weakens Batman’s myth. Film adaptations, however, tend to resist this idea because they are invested in presenting Batman as isolated, damaged, and emotionally sealed off, a figure whose power comes from loneliness rather than growth. Robin complicates that fantasy by requiring Batman to teach, to trust, and to function as something resembling a parent, all of which push against the grim realism and psychological austerity modern films favor. Cinema also struggles with the heightened logic that allows a young partner to exist meaningfully in a superhero narrative, often mistaking Robin for comic relief or reducing him to a symbolic gesture rather than embracing him as a fully realized character. As a result, Batman films repeatedly avoid, dilute, or sideline Robin, not because the character does not work, but because he forces Batman to evolve, and evolution is precisely what many filmmakers are unwilling to allow. Robin is hard for filmmakers because he proves Batman isn’t broken beyond repair. And many Batman films need him to be.

Dick Grayson works in long-form storytelling where growth and trust can unfold naturally. Films rush his arc or reduce him to symbolism. Jason Todd requires time, emotional investment, and aftermath. Films tend to skip straight to shock without the foundation. Tim Drake is introspective and analytical, qualities cinema often undervalues in favor of spectacle. Damian Wayne risks alienating audiences without careful tonal control, something television handles better than film.

I would love it if this author, Mark Waid, wrote a Year One for each Robin, because I think that'd be an excellent series to have. Each Robin brings something different to the Batman story:

1. As I mentioned before, Dick Grayson teaches Batman how to be human again.
2. Jason Todd forces Batman to confront failure and limits. Jason exposes the danger of Batman’s mission when compassion curdles into rage. His death is the moment Batman realizes that intention is not enough and that his methods have consequences.
3. Tim Drake (my second favorite Robin) stabilizes Batman after loss. Tim becomes Robin not because Batman chooses him, but because Batman needs him. He represents emotional balance and rational restraint, preventing Bruce from collapsing inward after Jason’s death.
4. Damian Wayne (my least favorite Robin) challenges Batman to be a father, not just a mentor. Damian forces Bruce to reconcile his ideals with blood ties. Teaching Damian restraint becomes Batman’s most personal moral responsibility. He's the Reverse Dick Grayson. Batman has to be to Damian what Dick Grayson was to Batman - a humanizing effect.

Anyway, I am digressing. I'm a huge fan of Robin and I like the Dynamic Duo. This book was everything I could have wanted out of a Batman & Robin story. It had heart, great villains, a solid plot, good artwork, easy to follow layouts, and presented Dick Grayson the way I think of him. It felt modern and Golden Age at the same time. It was a wonderful book.

I think this is the first time I have ever five-starred a comic book. This book helped me to really think about Robin as a character, made me think about what I want from a Batman story, and was just fabulous. I'm sad it's over, actually. I looked forward to reading it (I was reading it one chapter or issue a day) every day. I don't five star books willy-nilly. They really have to get at the core of who I am, and I felt like this one did.

Five stars. A thoroughly unqualified recommendation for anyone who likes Batman, Robin, or comic books.

[Rory Wilding · Rating 4 out of 5]

Although he has been around for almost as long as Batman, there have been times when his sidekick Robin has received backlashes. For a good section of the fandom, they prefer Batman as a lone, brooding vigilante who doesn’t hang out with a child whose brightly coloured costume resembles that of a circus performer. Considering that Batman as a comic book character was made for children from his 1939 inception, the creation of Robin was a way of maintaining that youthful audience. As the mantle of Robin would be passed down over the decades, Dick Grayson will always be the one that most would turn towards as the favourite, since he was the one that started it all.

From the creators of one of the best Daredevil runs in recent Marvel memory, writer Mark Waid and artist Chris Samnee reunite for a twelve-issue limited series that puts its own spin on the Dynamic Duo’s first year. Usually when it comes to DC’s comics that are subtitled “Year One”, it is usually to tell an origin story of one of the publisher’s most iconic superheroes, starting with the seminal Batman: Year One. However, we’ve already had titles like Batman: Dark Victory and Robin: Year One, both of which are their own take of Grayson’s origins from an orphaned circus acrobat to the Boy Wonder.

While there are brief flashbacks to the tragedies that defined both Bruce Wayne and Dick Grayson, from the first issue of Batman and Robin: Year One, Waid jumps right into the first night of the Dynamic Duo, which starts with Commissioner Gordon questioning why Batman has this kid sidekick, to then battling Two-Face, which doesn’t pan out well. As Bruce is learning to adapt with a young partner fighting crime alongside him, as well as becoming a legal guardian to a boy who went through the same tragedy as he did, there is also a new threat in the shape of the General who is planning to shake up Gotham’s criminal underworld.

Usually with Year One comics, they range from four to six issues that are structured into a narrative that spans across an entire year. But in the case of this twelve-issue series, you could argue that Waid is being loose with the one-year structure as by the time we are in issue #4, it is September, in which Dick reluctantly gets ready for his first day of school. That said, these twelve issues never lost interest in balancing a story that is both a crime epic appropriate for Gotham, as well as a character piece about family and grief.

If you know anything about Mark Waid, he is not a cynical writer, even when tackling a character like Batman as evidenced in his currently published series Batman/Superman: World’s Finest, which feels like a modern update to the Silver Age adventures of the two titular heroes. In the case of Year One, it owes a debt to DC’s Golden Age through the main narrative of Batman and Robin investigating General Grimaldi and the gang war he’s orchestrating in Gotham.

As a new creation, Waid does a great job in establishing Grimaldi’s presence as an outsider who went from a dishonourable discharged soldier to a crime boss doing a power play on all the city’s mob bosses, all of which seems driven by a hatred towards his own father who is left in a frail state on a wheelchair. That said, Waid makes a strange decision later in the series to sideline the character in favour of more appearances of classic villains who are used well but does suffer from a lack of ambition that really challenges the dynamic duo on a personal level.

However, the family soap opera is simply wonderful in exploring how the relationship between Bruce and Dick changes throughout and how they influence one another, both with and without the mask. Whilst you have supporting characters like Alfred serving as a witty but touching third wheel and Laura Lyn from Child Protective Services who refreshingly doesn’t become a love interest for Bruce, it is that dynamic (no pun intended) between the two leads that is the heart of the story. Waid elegantly examines important questions like whether or not Bruce is actually a responsible adult by mentoring Dick as a crimefighter, whilst Dick himself learns what it means to be a crimefighter who never loses sight what is at stake but never loses his playful side.

Even with the dark crime stuff sprinkled here and there, Waid and Samnee never forgets the absurdist fun that reminds you Batman can be a character of superheroic theatrics. Samnee’s art, in particular, brings a refreshing visual style that fits well with the story’s noir aesthetic with a strong emphasis on black ink, although Matheus Lopes’ colouring pops out in spectacular ways. In fact, that visual contrast is also apparent in both Batman and Robin themselves, with the former presented almost entirely in a black silhouette with white slits for eyes, whilst the latter whose costume pops with colour and you can see his eyes through the domino mask.

As well as touching upon Golden Age lore, Batman & Robin: Year One is a tribute to the eighty-year-plus history of the two characters through comics and other media, from the aforementioned Batman: Year One to the 60s Adam West TV series, though its references never feel like empty fan service. It may not be perfect, but Mark Waid and Chris Samnee put their own singular spin on Batman and his world that is fun and moving, without having to go down the typical route of dark and gritty.

[Vane ;) · Rating 5 out of 5]

No puedo describir lo feliz que me hizo este cómic.

Es muy tierno, me hizo reír y es el ejemplo perfecto de como debería ser una historia de Batman y Robin: profundiza en su relación y lo importantes que son el uno para el otro, al mismo tiempo que los vemos como iguales al momento de luchar.

Ahora me va a costar leer una historia de Batman si no hay un Robin, porque amo muchísimo al dúo dinámico.

[doubleokay · Rating 5 out of 5]

Chris Samnee my beloved

[Paul · Rating 5 out of 5]

4.9 stars

[Andrew · Rating 5 out of 5]

Incredibly fun book on Bruce and Dick’s bond. The crime story involving a new gangster trying to take over the Gotham crime world was fun (especially as Two-Face and Clayface get involved) but the true highlight is Bruce becoming a parent to Dick. And wouldn’t you know, they both have stuff to learn from each other. The Chris Samnee art is fantastic. Perfect for this book. Overall a must-read for Batman fans!

[FrontalNerdaty · Rating 5 out of 5]

This is an excellent year one story. It starts a little after Bruce has adopted Dick and shows the early stages of their relationship. Over the 12 issues a lot is covered and there’s a fair bit of nuance to how things are handled. Dick is never presented as overly bratty but instead shown to be struggling with grief and how Bruce sees himself in Dick. Their relationship isn’t wrought with arguments and you see how Batman often treats Robin with respect. Waists writing goes hand in hand with Samnee’s sublime art work that throughout. Samnee is able to convey so much emotion/ vibe with subtle facial expressions - it’s really enjoyable.
Waid and Samnee are very much their own dynamic duo yet again!

[Graham Barrett · Rating 5 out of 5]

(4.0 - 4.5 rounded up)

A Batman comic that is written and drawn by the creative team that gave me one of my favorite runs of Daredevil?!!? Please & Thank You!

Mark Waid and Chris Samnee team up for “Batman and Robin: Year One”, which explores one possible Year One of the Dynamic Duo crimefighting team. A new crime lord arrives in Gotham to shake things up, all the while Bruce Wayne is still learning how to be a mentor and father figure to Dick Grayson’s Robin. The crime lord plot is sufficient enough, it's mostly an excuse for a gang war to happen although I don’t think Grimaldi ever did enough to make himself memorable before classic Batman foes take over as the main threat (and I don't quite get the point of Grimaldi's catatonic father). The true draw of the story is the various Bruce and Dick moments as they both deal with growing pains from their new partnership/family. That plotline IMO had a better antagonist than the gangsters or supervillains in the form a competent Child Services case worker who has Dick’s best interests at heart and has realistic concerns about Bruce’s decision to foster the orphaned acrobat. I’ve been reading a lot of darker Batman stories lately so it was a nice break to see the humor of 10-year old Robin treating this all like a game/circus performance which conflicts with Batman’s seriousness. Still just because there’s this source of humor and other lightheartedness doesn’t mean this story won’t get serious. Much like with Waid’s Daredevil run, there’s plenty of darker moments (the mob hits on innocent father & child duos and the fate of experimental Clayface goons) and the Dick and Bruce storyline leans into the emotional heaviness of two orphans trying to comfort one another (with help from Alfred) in an out-of-the-ordinary surrogate family. It makes B&R Year One a very poignant story and is much more memorable than some of the series’ crimefighting scenes.

Beyond the story itself, the miniseries has plenty to enjoy. I particularly liked Samnee’s artwork much as I had with his Daredevil work. It’s not exactly Jack Kirby or Darwyn Cooke's art-style but something about it does remind me of those artists’ works which gives the story a stylized timeless feel, and in turn helps sell this story as one that could have happened in the Golden, Silver or modern age of comics. Samnee also has a lot of fun with the use of shadows (appropriate for Batman) and other unique art choices, he plays around with the panels but it all flows together nicely and is easy to follow. There’s a particularly fantastic underwater scene partway through with no dialogue, just letting the art and color scheme tell the story instead.

Overall I just enjoyed what Waid and Samnee were trying to do with this Dynamic Duo’s story and version of Gotham. I’m assuming this is supposed to take place in a different continuity than “Batman: Year One” had been set in and feels like an amalgamation of different Batman continuities and projects (ie Carmine Falcone resembles his “Long Halloween” depiction, Rupert Thorne and Clayface look like Batman The Animated Series depictions). I’d say Adam West’s Batman is the biggest influence story, it lacks the West campiness but there’s assorted references (at one point Batman & Robin climb up the side of a building like the classic recurring joke). Finally, I thought it was cool how this used Two Face and Clayface as the main Batman rogues to supplement the normal gangsters. Two Face because in some continuities he’s linked with Dick’s origin story and Clayface because he’s not used too often and I liked how he was used to impersonate rich men around Gotham without it just being another body horror story (although that is part of his storyline).

I wouldn’t say this was a complete homerun like I thought Waid and Samnee could deliver but it comes close. Time will tell if “Batman & Robin: Year One” will become a new Batman classic, for the moment it's just a fun look at a potential first year of their partnership.

[Roman Zarichnyi · Rating 5 out of 5]

«Бетмен і Робін: Рік перший» від Марка Вейда та Кріса Самні — це динамічне та глибоке переосмислення початкових кроків культового дуету. На перший погляд це класична історія походження одного з Робінів, але Вейд і Самні роблять акцент на тому, що за масками стоять двоє людей, кожен із яких проходить власний шлях трансформації. Брюс Вейн, звиклий до самотності та контролю, несподівано опиняється в ролі опікуна й наставника, тоді як юний Дік Ґрейсон намагається знайти своє місце в новому світі, де біль втрати стикається з можливістю знову відчути родину.

Сюжет розгортається жваво та гармонійно, підкреслюючи контраст між «Брюсом і Діком» та «Бетменом і Робіном». Удень це двоє людей, які вчаться довіряти один одному, долати власні страхи й будувати контакт, що нагадує батьківсько-синівський. Уночі партнери, які вимушені діяти в жорстоких умовах Ґотема, де ніхто не збирається поблажливо ставитися до підлітка в яскравому костюмі. Саме ця напруга між турботою й небезпекою формує емоційну основу історії. Ми бачимо, як Дік, сповнений енергії та природної харизми, прагне довести свою здатність бути героєм, тоді як Брюс, часто мовчазний і стриманий, вчиться приймати факт, що він відповідальна особа в житті хлопця.

Кріс Самні майстерно вибудовує візуальну мову коміксу, створюючи ефектний ритм кадрування, який підсилює як емоційні сцени, так і екшн-послідовності. Його лаконічний, але виразний стиль дозволяє легко відчитувати настрій персонажів, а обмежена, продумана палітра робить атмосферу більш глибокою.

Вейд і Самні пропонують історію, яка не лише розважає, а й дозволяє заново поглянути на становлення одного з найвідоміших героїчних дуетів у коміксах. Це оповідь про довіру, відповідальність, молодість і важкі уроки, які неминуче супроводжують дорослішання. І для юного акробата, і для закритого мільярдера. Комікс залишає яскраве враження й однозначно вартий того, щоб його прочитали як давні шанувальники Бетмена, так і нові читачі, які хочуть зануритись у витоки цих героїв.

[Tom Duffy · Rating 4 out of 5]

Pretty fun! A lot lighter in tone than I was probably expecting from something deliberately using the "Year One" title/iconography but still a ton of fun. The villains could've probably been juggled a bit better. One kept hitting the same note over and over and then there was a bit of a cop out twist toward the end but Waid is one of the best writers in the business so he made it work. The real star here is Chris Samnee. For years we've all dreamed of him drawing a Batman book and he really brought his A-game for his first major chance. His takes on Batman, Gordon, Two-Face and the rest are phenomenal and his and Matheus Lopes' Gotham City feels instantly familiar. I only wish this team could draw a book like this on a more long-term ongoing basis. I didn't completely gel with some of the characterizations here but overall this is so up my alley it's insane. Here's hoping this team reunites sooner rather than later.

[Lina · Rating 5 out of 5]

4.5

[✶ · Rating 5 out of 5]

<3
(reading at its released)

[Mike Gutierrez · Rating 5 out of 5]

Another great read from the minds of Mark Waid & Chris Samnee. This story is about Batman and Robin's first mission taking on a new crime boss in Gotham, a familiar villain in Two Face and a new villain in Clayface. Waid & Samme chronicle not only the mission but they also explore the beginning of Bruce & Dick's relationship at the beginning of their partnership. Samnee also does an outstanding job with the art in this story. Highly recommended to any Batman & Robin fan.

[Arlanda · Rating 5 out of 5]

dare I say my favourite comic until now

[Gary Sassaman · Rating 5 out of 5]

What a joy it is to finally see Chris Samnee draw a Batman book, at least for an entire year. Samnee regularly picked Batman as his go-to character for his Inktober sketches each October, so to finally see him unleashed on the Caped Crusader—and with his old Daredevil partner, Mark Waid, doing the scripts—resulted in one of my favorite series of 2025. The storyline takes place right after Dick Grayson—Robin—joins Batman in his crusade against crime in Gotham City, and includes Two-Face, Clayface, and a new villain, The General, who tries to take over Gothem. I think this is Samnee’s best art in years, too, since his long stint on Daredevil a decade ago. His lean, graphic style is totally suited for the Dark Knight and his and Waid’s story collaboration is one of the better Bat-stories of the past decade. Totally worth picking up in the TPB version, but I’m hoping for a deluxe hardbound volume further down the line. In the meantime, this'll do nicely, thanks.

[Bryan Fischer · Rating 4 out of 5]

Really solid book, but did disappoint me a bit. Not because I didn’t enjoy it, it was just SUPER hyped up and it’s by a creative team I really like - Waid and Samnee.
The story was good, but standard. Nothing that hasn’t been done before, it was just done well. The dialogue itself was a bit bland. Handful of funny moments, and emotional moments, which I wish they included more of to show more character progression. Felt like they more or less started and ended in the same spot emotionally/as a team.
The artwork was very good throughout. Only thing that bugged me was sometimes the panelling was a bit small and hard to understand what exactly was happening. Was never crucial moments, but did disrupt the flow occasionally.
If you’re a fan of Dick and/or reading Batman chronologically, I’d recommend this book very much, as I understand this is the new canon for Dick’s inclusion in the BatFam.

[Tim Nash · Rating 4 out of 5]

Had an absolute blast with this.
Enjoyed it so much, it really made the ongoing Batman series seem lacklustre in comparison.

Loved Waid's characterizations, loved Samnee's art. And thought Matheus Lopes' colours did a fantastic job of making the story feel like a throwback, without completely reverting to just completely flat colours.

I feel like if I were to go back and read some Golden, Silver and Bronze age Batman I'd get even more out of this - especially because there was much for this fan of the 66' TV series to enjoy.

Plus it's just a solid story - part mafia gang wars, part classic Batman villain, and definitely part family drama. And all three facets were excellent.

Would be over the moon should Waid and Samnee choose to keep playing in this particular sandbox.

[Liz.Loki · Rating 5 out of 5]

The art style is SO CUTE I get cuteness aggression every time I look at Robin.

I love how the relationship between Bruce and Dick is written here, with tired parent Bruce who doesn’t know wtf he’s doing, and hyperactive child Dick who rushes into danger without a second thought and drives Bruce crazy. Perfect.

“Look out, Gotham! Here comes the dynamic duo!”

The ending got me smiling so wide my cheeks hurt!! I love Batman and Robin so much. This comic did them justice and has become one of my favs!

[Giancarlo Marquez · Rating 4 out of 5]

I had my doubts about this because the comic book industry has been on the ropes for several years now, but it caught my interest as soon as it was announced, so I waited until it was fully released to read it.

So?

What a great story! Batman works better when he is facing simple crime and not hyper super humans, besides, I'm tired of the Joker. Also, it was excellent to see him acting like a human and father figure to Dick, instead of just "Batman". Again, Batman works better when he is Bruce Wayne in a mask and not the contrary.