Moench ends on a literal rough point–Batman smacking Deadshot around for information. The scene just feels wrong, maybe because it doesn’t seem like Deadshot should just reveal the information after one hit.

The issue opens with Alfred and his daughter on the run from Deadshot. This section is the best part of the comic, even though Moench drops too many hints about it being Deadshot after them. The cover kind of gives it away.

Batman shows up around halfway through to help them. At that point, Alfred and the daughter take a back seat to Batman going through all the clues. The clues lead to Deadshot and then Moench does these crazy thought balloons where he tries to explain both men’s motivations. It’s more for him, trying to justify their actions.

Not many subplots–Bullock maybe going dirty again, probably not.

Alcala goes overboard inking; otherwise the art’s good.

CREDITS

Target Practice; writer, Doug Moench; penciller, Don Newton; inker, Alfredo Alcala; colorist, Adrienne Roy; letterer, Ben Oda; editors, Nicola Cuti and Len Wein; publisher, DC Comics.

It’s a very simple issue, but Doug Moench really does pace it all out beautifully. It’s goofy even–Moench hasn’t got down how to get his superheroes not sound silly when talking about being superheroes–but it is beautifully paced. The issue features Jason Todd’s first two nights as Robin, which end in tragedy.

Pre or post-Crisis Jason Todd was apparently always a lot of trouble (more like the writers finally realized how nuts it was to have a kid running around beating people up). There’s also a cameo from Dick Grayson and Moench, along with artists Don Newton and Alfredo Alcala, figure out how to turn it into a great guest appearance.

Even with iffy dialogue. There’s just so much texture to the characters’ interplay.

The art’s fantastic, the pacing’s fantastic, the dialogue’s problematic… it’s a pretty darn good comic. Except maybe the cliffhanger, Moench tries too hard.

CREDITS

A Revenge of Rainbows; writer, Doug Moench; penciller, Don Newton; inker, Alfredo Alcala; colorist, Adrienne Roy; letterer, Ben Oda; editor, Nicola Cuti and Len Wein; publisher, DC Comics.

Moench makes an endless amount of strange narrative choices this issue. Only a couple of them are bad, but the rest might go either way.

The lesser bad one is how he handles Poison Ivy’s return. The issue is a direct sequel to her last appearance but there’s no flashback and almost no explanation of the previous events.

The worse bad one is the lame soft cliffhanger. Bruce brings Jason along on patrol and calls him Robin, even though Bruce previously said he couldn’t be called Robin. Big yawn. Moench’s fumbling the pair every issue now. He’s pacing it all wrong.

The strange bits include Bruce’s lack of interest in Alfred’s problems, Gordon’s recovery and the continued presence of Vicki Vale. Moench seems to be building these elements towards more importance, but he’s not giving any hints.

It’s a shame he’s not as effortlessly subtle with Bruce and Jason.

While this issue isn’t bad–the Newton and Alcala artwork is fabulous as always–all the things Moench has been playing fast and loose with build up and collapse here.

The first example is the Joker. Here, Moench’s Joker is a self-aware loon, out to have fun while he kills people and torments Batman. Only he doesn’t really kill anyone so there’s no danger. He’s just acting like a twit… one with a deep understanding of Guatemalan politics.

Next is the whole Jason Todd thing. This issue features Jason Todd in costume, freaking Batman out (because he thought Dick suddenly shrank, apparently) and another argument. There’s an argument every issue between Bruce and Jason about it; Moench’s drug it out way too long at this point.

It’s also unbelievable Jason could leave the country on his own.

However, the two subplots Moench’s been nursing–Gordon and Alfred–are blooming.

Lame cover and predictable villain reveal aside, this issue is pretty good. It’s Batman meets Indiana Jones, with Batman jetting down to South America to save Vicki Vale, who’s on assignment.

Moench takes the time to work on his Bruce and Jason storyline, which is mostly just Bruce giving in on the argument. Though, as he’s Jason’s guardian, it seems odd he should leave him unattended (Alfred’s off on his still unrevealed subplot).

There’s also enough time for some more on the Gordon storyline. And Moench’s trying to make Harvey Bullock sympathetic, but he’s cried wolf too much. It’s impossible to believe. That sequence, which should feature Bruce’s despondence over Gordon’s coma, goes too fast. Moench has trouble juggling the human and superhero elements in the book.

The end, Batman in the jungle, is fine. It’s Newton and Alcala. It’s absurd content, but beautifully illustrated.

The issue works surprisingly well.

In hindsight, there’s not much mystery to Doug Moench’s new villain. He has a limited pool of suspects–though it’s seemingly larger–but his execution of the investigation is so strong it doesn’t matter.

The issue opens with Jason Todd, run off with the old circus, feeling depressed. He’s investigating a series of home invasions in the towns the circus visits. It almost seems like the issue will be his, but Moench contrives to bring Batman in. It’s hard to get upset, because Don Newton and Alfredo Alcala do an amazing job bringing Batman to the circus.

The final half or so of the issue is just a long chase scene. Batman and Jason separately chasing the bad guy. Moench loses track of Jason for a little too long, but it’s a fantastic sequence.

Moench paces out the ending well. He devises a final, unexpected twist and a solid cliffhanger.

Moench gets a lot done this issue. Primarily, he introduces Nocturna (an astronomer turned ghostly pale through radiation and, of course, now a criminal), gets her flirting with Bruce and fighting with Batman. Oh, wait, there’s also the continuing Vicki Vale drama and Jason Todd getting ready to leave since he can’t play Robin.

And more with Bullock and Gordon. Even a passing mention of Gordon’s health problems (but just passing).

What’s even better is how well Moench writes these scenes. He and Newton make Nocturna believable in her hyperbole–she’d be overcompensating to make up for the physical changes. Bruce’s inability to bond with Jason is also salient. Moench’s not spending a lot of time showing his Bruce Wayne, but he is clearly defining the character.

The art’s outstanding. Alcala and Newton jibe here, from the first page it’s masterful.

The issue’s strong. Moench juggles a lot and succeeds.

I was expecting more from the art, with Alfredo Alcala inking Newton this issue. The art’s still good, but Batman’s talking heads scenes with Gordon are off a little. Newton and Alcala position Batman awkwardly in the space.

This issue is a Riddler issue, plain and simple. It opens with Edward Nigma figuring out a good riddle for Batman and Batman dealing with him. Moench is muted when it comes to both exposition and character development. While Bullock’s attack on Gordon’s career continues, there’s zilch about Gordon’s heart condition. I wonder if he just magically got better at some point off page.

As for Batman, there’s a mention of Jason Todd at the beginning, but Moench keeps the story tight. Batman and Gordon are after the Riddler; there’s no time for anything else.

The Riddler’s big riddle isn’t great (it’s lackluster after its first part), but the issue’s still solid.