Dick Giordano pitches in to help ink (or finish) and it’s a small disaster. This issue takes a completely different tone thanks to the art change. It’s the faces, really. The detail is gone from them.
After what’s so far the series peak last issue, Barr returns the comic to a middling affair. Arthur and Guinevere are getting married, which brings in questions about Arthur as the savior of the human race. Barr hasn’t thought it out. He also mucks around with the duality between being a regular person and a reincarnated one. Like I said, middling.
Barr doesn’t even keep up the tension through the comic. There’s a lot of drama, but it relieves, then tenses again. Barr never gives the reader enough information to know what’s going on with all the characters.
Camelot 3000 was DC’s first twelve issue maxi-series; I think Barr needed some more issues.
CREDITS
Royal Funeral; writer, Mike W. Barr; penciller, Brian Bolland, Bruce Patterson and Dick Giordano; inker, Patterson and Giordano; colorist, Tatjana Wood; letterer, John Costanza; editor, Len Wein; publisher, DC Comics.
The Stop Button 
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