Tag: Jerome Moore

Detective Comics 532 (November 1983)

5637.jpg
Bob Smith is not the best inker for Colan. He reigns him in way too much. There’s still some great Colan panel layouts this issue though and his Joker has to be seen. Colan’s Joker is hideous with insanity, an awkwardly lump figure, not the usual anorexic. Every Joker panel is great in some way or another.

Moench’s story involves the Joker wanting to start a rival to Disneyland. It’s too absurd and contrived, but the art sells it and Moench’s writing of Batman and the Joker is strong. The humor’s good too. Moench has some good jokes here, especially those involving the Joker.

Alfred’s subplot is revealed and, once again, Moench seems to be rehabbing Harvey Bullock. Both are still too undeveloped to make much impression.

The Green Arrow back-up again has decent enough Moore art, but Cavalieri’s banter is terrible. The seven pages can’t end soon enough.

Detective Comics (1937) #531

Detective Comics 531

One could just read this issue for the art. Alcala beautifully complements Gene Colan. He sort of brings out the lusciousness, but reigns it in just enough. Colan’s never too lush; Alcala is never reductive.

The story’s not bad, but Moench doesn’t quite sell Jason Todd, detective. He investigates, but without any finesse. The scenes where Jason’s talking to potential witnesses flop; no one would talk freely considering Jason’s suspicious behavior.

For the finish, Moench makes an incredibly odd choice–he doesn’t reveal the villain’s face. I had to reread it to make sure I wasn’t missing it.

Moench’s ambition outpaces his skill on the difficult Bruce and Jason character drama.

The Green Arrow backup has decent, if strangely constrained art from Jerome Moore and Mike DeCarlo. Joey Cavalieri makes a funny Superman peanut butter joke. It’s nowhere near as bad as usual.

Detective Comics 531 (October 1983)

5636.jpg
One could just read this issue for the art. Alcala beautifully complements Gene Colan. He sort of brings out the lusciousness, but reigns it in just enough. Colan’s never too lush; Alcala is never reductive.

The story’s not bad, but Moench doesn’t quite sell Jason Todd, detective. He investigates, but without any finesse. The scenes where Jason’s talking to potential witnesses flop; no one would talk freely considering Jason’s suspicious behavior.

For the finish, Moench makes an incredibly odd choice–he doesn’t reveal the villain’s face. I had to reread it to make sure I wasn’t missing it.

Moench’s ambition outpaces his skill on the difficult Bruce and Jason character drama.

The Green Arrow backup has decent, if strangely constrained art from Jerome Moore and Mike DeCarlo. Joey Cavalieri makes a funny Superman peanut butter joke. It’s nowhere near as bad as usual.