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.
The Nocturna art is just gravy. The best part of the issue is Bullock’s theory about Robin being Nocturna’s son–not Jason Todd, but some other kid. He’s ranting and raving and Colan and Smith draw the whole thing with an Eisner bent. It’s just fantastic; full of energy.
Batman and Robin, however, don’t show up much. Robin’s just there for the setup, Batman’s just there for the finish. Nice Batman fight scene though.
The Green Arrow backup is lame; Cavalieri resolves a lengthy subplot and it’s boring. Nice art from Moore and Patterson though.
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.
Janson art again. It’s just phenomenal. He’s even figured out he doesn’t like doing splash panels with bland superhero poses so instead he’s doing complex panels indicating lots of movement. The way Janson draws Robin beats how he draws Batman; he’s very enthusiastic about all the movement.
It’s an issue of amazing art. Klaus Janson isn’t doing a lot of detail on faces, which is not good, but his composition is breathtaking. The way he translates Moench’s script–sort of sapping out the sentimentality and enthusiasm–this issue is a mix between superhero idealism and melancholy cynicism. It’s beautiful. Janson’s also got the best Jason Todd Robin anyone’s drawn so far.
It’s an odd done-in-one, with Moench structuring the issue around an article from Julia (Alfred’s daughter). Poor Julia has never been much of a character, just a third vertex in Moench’s Bruce Wayne love triangle. Except when Alfred sort of pimps her out. Those moments are awkward, terrible and amusing.
There’s something distressing about the art on the feature. It barely looks like the previous Broderick and Smith issues; maybe Broderick didn’t give Smith much to work with. There’s certainly not a lot in the way of inventive composition (something Moore excels with on the backup).
So Moench finds an interesting way to move past all the Jason Todd adoption stuff. He forgets about it. Oh, he mentions it a bunch, especially in the opening scene with Jason eating a snack in the kitchen with Bruce and Alfred. But the character relationships are all different now. There’s banter, there’s teasing Batman about his love life. Maybe Moench decided things had to change with Pat Broderick coming on as the penciller.
Moench partially redeems his amnesia storyline this issue with the suggestion it’s not going to go on for too long. He also does some decent work teaming up Robin and Nocturna, which he doesn’t play out as well as he could–is it really any odder to have a woman and her ward fighting crime than Batman and his ward?
From the start, it’s kind of clear Colan’s rushing on the art. Pretty much everyone looks like Dracula, from villainous Mayor Hill to angry little Jason Todd. Hill’s plotting, Jason’s being mean to adoptive mom, Nocturna, as they’re out for an evening walk.