Eddy Barrows takes over the pencils. Kirk’s absence is definitely Bloodhound’s loss. About the only thing Barrows does right is show Clev as a giant. Otherwise, he’s mediocre. Except maybe his panel composition; it’s weak.
He does manage to do the small town stuff pretty well though. He doesn’t ruin that aspect, let’s say.
The mystery continues–though Jolley pretty much gives it away by the end, which makes no sense (it’s separate from the main narrative). There’s a little more development between Clevenger and Bell, but a lot more with the angry townsfolk.
There’s also the guest appearance from Batman villain Zeiss, who’s rather annoying. Jolley has a lot to tie together next issue and the Zeiss knot seems like it’ll be the hardest. The guest appearance screams corporate synergy.
Still, Bloodhound has enough going for it to survive the art and the guest star. Jolley’s handling it.
Demons; writer, Dan Jolley; penciller, Eddy Barrows; inker, Robin Riggs; colorist, Moose Baumann; letterer, Rob Leigh; editor, Ivan Cohen; publisher, DC Comics.
Almost there… almost there. Higgins’s Nightwing writing is improving by leaps and bounds. Though the soft cliffhanger is weak and there’s a big irregularity in the timeline (Dick’s parents were alive “five years ago,” meaning Batman’s been through three Robins in four years in the new DC universe?), it’s a decent issue.
Barrows and new co-penciller Eduardo Pansica help a lot. Though it’s still too static in the regular people talking scenes, there are some good pages in this issue. One sequence has Dick tripping out and hallucinating; it looks great.
As far as the plot goes, it’s still old Robin comics recycled, but Higgins earnestly presents it all. Sure, Dick probably won’t take over day-to-day control of a circus and be Nightwing in his off hours, but this issue convincingly presents it as a possibility.
I’m almost onboard, but still wary–Higgins hasn’t exactly proven himself reliable.
Nightwing might be a little better. I mean, not a lot, but a little. Barrows, for example, gets positively ambitious when it comes to page layouts. Maybe he’s been reading some eighties Batman, since Higgins is still ripping them off.
Two big developments this issue—first, Dick Grayson now owns Haly’s Circus. Not sure if he owns the pre-Flashpoint Haley’s Circus too, or just the one with the inexplicably changed name. Second, Haly’s Circus has a secret.
Now, I’m pretty sure Dick once owned Haly’s in the eighties and, if he didn’t, he at least solved its big secret. It’s a shame DC didn’t just reprint the old eighties Robin backups covering the same material, as the art and writing were, you know, good.
Another strange element is all the gratuitous sex in the new DC Universe. Dick hooks up with a bimbo. Yippee.
Still, better than last issue.
From the cover of Nightwing, it looks like DC’s employing everyone in the Rob Liefeld school of not understanding human anatomy. Of course, at least Eddy Barrows gets a little better in the comic itself. Not much, but a little.
The problem with the book isn’t Barrows, of course. It’s Kyle Higgins. He read some Batman comics from the seventies and eighties and he’s regurgitating the Dick Grayson Robin backups and DC’s calling it “new.”
Worse than the predictable plotting is the narration. Higgins’s first person narration for Dick Grayson is badly written, more than a little moronic and also fails to make Dick likable. He seems rather inane from his narration; I don’t think he has a single interesting observation.
Nightwing might be my least favorite DC relaunch book so far. Higgins is trying to turn Dick Grayson into Peter Parker at times. It’s uninspired and just plain dumb.