So… Alfred’s somebody’s baby daddy. That little detail is sort of overlooked in this issue. Not only is he a baby daddy, he’s an emotionally disconnected one (he financially supports her, but won’t tell her his identity–I think they almost used a similar thing in Batman and Robin to explain Alicia Silverstone’s Batgirl’s history). It’s actually a neat development….
And the comic needs all the neat developments it can get because the mystery aspect is exceptionally lame. Of all the cops in France, Batman doesn’t just get a corrupt one, he also gets the one who’s had plastic surgery to disguise his identity (he was a Nazi collaborator) and he’s the killer Batman seeks.
Kind of nicely coincidental.
Batman also discovers Mlle. Marie didn’t die–but he doesn’t investigate that revelation.
The Batgirl backup is so-so. She easily overcomes her adversary, kind of making it all pretty pointless.
CREDITS
Who Shot Mademoiselle Marie?; writer, Gerry Conway; penciller, Don Newton; inker, Dan Adkins; colorist, Adrienne Roy; letterer, Ben Oda. To Live a Nightmare!; writer, Cary Burkett; penciller, Jose Delbo; inker, Joe Giella; colorist, Gene D’Angelo; letterer, John Costanza. Editor, Paul Levitz; publisher, DC Comics.
The Stop Button 
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