The Gulacy art continues, albeit in a far less interesting environment. Batman, the KGB agent and Robin have to stop the villain from poisoning the city. It seems a much simpler story–if it weren’t a Soviet assassin as the villain, it could be the Joker. And some boring looking Soviet guy isn’t the best use of Gulacy.
Moench tries really hard to show the common links between Americans and Russians; it’s warm and fuzzy eighties peace-nik stuff. It’s okay, mostly thanks to Gulacy’s art, but without it I can’t imagine the book being very entertaining.
Where Moench is interesting is Robin. Jason Todd has changed completely at this point, just a background object as opposed to Bruce’s would-be adoptive son. He even calls Bruce “boss” at one point. Moench’s really pulled the plug on the adopting business.
It’s a fantastic looking comic book with a serviceable script.
B+
CREDITS
At the Heart of Stone; writer, Doug Moench; artist, Paul Gulacy; colorist, Adrienne Roy; letterer, John Costanza; editor, Len Wein; publisher, DC Comics.
Some lucky person out there, hopefully, has the original pages to this issue. Paul Gulacy guests and he does amazing work. There’s a lot of design influences, but all of them work. Well, sort of. They’re great, but they lead to the dialogue filling most of them. Moench writes a wordy script this issue and there’s not the right space for the words.
The art continues to slide. Someone took the time to give Green Arrow detailed eyeballs, but the composition is weak. It doesn’t even look like Colan.
I’m not sure how I feel about Jan Duursema inking Mandrake. Somehow the vibrancy of the art is gone; the action scenes feel static. Maybe the best sequence is a car accident, just because of the motion has to be included.
Moench paces the feature pretty well–Batman’s taking Catwoman to the hospital while Robin hangs out around Nocturna’s observatory. Throw in Robin having the save a guy obsessed with Nocturna and Batman having a little dust-up with the Nightslayer again (seriously, terrible villain).
I could kind of guess the finish. Not all of it–Catwoman coming into play is a surprise, especially after Moench gives her a nice farewell with Batman at the open–but it’s predictable. I wonder if it was editorially mandated or if it was always Moench’s idea.
I think Smith’s got to be doing more of the finishing these last few issues. The panels are much smoother than usual Colan panels.
I think Mandrake draws Robin like a chimp in his scenes with Nocturna to show he’s a kid. Or he just draws really ugly expressions for kids. Everyone else has great expressions–this issue is the height of soap opera, yet incredibly effective. The whole “red skies” thing and how it plays into the daily lives of the extraordinary….
There’s some fantastic art from Colan and Smith this issue. Moench’s still got his weird relationship between Jason and Nocturna, but Colan sure does draw it well. When Batman finally shows up–after discovering Nocturna is a crime boss–and Moench’s script has him inexplicably drawn to her… the art is what sells the scene.
Mandrake is getting better. The first half of the issue, except maybe some of the Batman stuff–the proportions are off–it’s good and Mandrake’s got some interesting expressions. They give the comic a lot more depth.