Good for Winick. Even though this issue of Batwing is a letdown–it’s too action oriented, not to mention all the outdoor daytime scenes means no interesting backgrounds from Oliver–it’s just a weak issue of a decent series. Opening the comic with one of the series’s most serious looks at African teenage soldiers probably helps it immediately resonate.

But the opening flashback makes promises of a revelation Winick never delivers on. He shows his b plot hand and then turns in an action issue. When established comics “decompress” it’s sometimes more acceptable because the ground situation is so well established (by years of comic books).

With Batwing, the only connection is Batman… and not even established Batman, just the Batman Inc. stuff.

I’m assuming it’s unintentional–a weak issue showing how solid the series has become otherwise–but it’d be funny if it weren’t. If Winick planned it out.

CREDITS

We Have Blood on Our Hands; writer, Judd Winick; artist, Ben Oliver; colorist, Brian Reber; letterer, Carlos M. Mangual; editors, Rickey Purdin and Mike Marts; publisher, DC Comics.

I think this issue is better than the first. Winick all of a sudden decides to start confusing the timeline, mixing flashback and so on. Batwing really does feel like a terrible superhero version of Unknown Soldier.

But Oliver’s artwork is, no question, excellent. It’s precise without being static. Most artists with this much style can’t bring movement to their work; Oliver does.

Winick continues the plot–there’s a supervillain after the good guys, even if they’re retired super heroes. There’s an African Black Lighting in here for a bit.

The protagonist barely figures in, other than to have a eureka moment and go to… Well, not save the day, but maybe to save the day. Winick is going to drag it out.

Batman, when setting up Batwing, apparently decided he needed a cave and an Alfred. These plotting details are way too goofy.

Still, it’s a readable comic book.

CREDITS

First Blood; writer, Judd Winick; artist, Ben Oliver; colorist, Brian Reber; letterer, Carlos M. Mangual; editors, Rickey Purdin and Mike Marts; publisher, DC Comics.

What does Ben Oliver’s art look like without color? I think the colorist adds all the texture to it.

But Batwing does look really slick. It looks very Photoshop, very modern. I don’t know if slick is a compliment. I suppose it’s more of a compliment than anything else I’ll have to say about the comic.

As a Batman in Africa, Batwing is a goofy character. I wish Judd Winick had read Unknown Soldier and ripped it off for this series. Just so the series would have the pretense of being serious.

Instead, Winick does his own thing–Batwing has a cave, an Alfred–but he never explains why this guy is the guy. It’s the first issue; skipping the origin is fine if the reader still gets a recap.

Here, there’s no recap. Winick introduces settings and supporting cast, but these additions don’t reveal anything.

What’s the darn point?

CREDITS

The Cradle of Civilization; writer, Judd Winick; artist, Ben Oliver; colorist, Brian Reber; letterer, Carlos M. Mangual; editors, Rickey Purdin and Mike Marts; publisher, DC Comics.