Creative Team:
http://www.dcindexes.com/features/comic.php?comicid=121105
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Writer: Kyle Higgins
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Penciller: Eddy Barrows & Eduardo Pansica
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Inkers: J.P. Mayer, Paulo Siqueira, & Eber Ferriera
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Colorist: Rod Reis
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Letterer: Carlos M. Mangual
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Editor: Bobbie Chase
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Assistant Editor: Katie Kubert
Detailed Impression:
The cover to issue # 3 of Nightwing
is as well-drawn as the previous two issues. Again, Reis colors
directly over Barrows's pencils. However, this time it looks like
Nightwing was Photoshopped into a circa-1940s picture of the members
of Haly's circus posing outside the tent. Nightwing's sharply modern,
stark black and red costume clashes with the washed out, sepia
filtered look of the circus folk in a way that creates a dissonant,
discomforting effect.
Higgins starts the issue with a
flashback sequence that introduces Dick's childhood circle of
friends. Old-man Haly also appears in the scene cluing Dick in that
Raya might be interested in being more than just friends and telling
Dick that Haly would always look out for him. As we saw in the last
issue, Haly was right about the kids' relationship potential, so it
would not be totally implausible that Dick might need a little more
looking-after although we don't yet know why. The brief glimpse into
Dick's past does a good job of adding drama to the next scene which
takes us right back to the present at the old man's funeral.
Barrows visually conveys the
emotionality of the scene nicely, particularly Haly's son's drunken
breakdown after just accosting Dick over how the elder Haly handed
ownership of the circus to Dick instead of keeping it in the family.
Higgins uses Raya as a mouthpiece to give us his take on Dick's
personality. Dick never looks back; he doesn't concentrate on the
past. He's always moving forward, which tends to leave a lot of
broken and forgotten relationships in the wake. The conversation
feels a little unnecessary and some of the dialogue seems like things
people who are actually interacting with each other would never use;
kind of like the dialogue you hear on a soap opera. (Don't judge, we
all have mothers and grandmothers.)
Higgins also gives us some plot
exposition through Raya who tells Dick and the reader what the other
two members of their old gang have been up to. One is dead and the
other is in Chicago (Higgins's hometown which will become important
later in the series) working as a very successful booking agent for
contract killers. Dick confronts him that night as Nightwing. This,
of course, leads to a fight between the two of them. During the
fight, we finally get a single glimpse of Dick in the Robin suit as
part of an induced hallucination. We also see Dick's parents for the
first time in the series wearing their performance costumes which
happen to be very reminiscent of the 1984 disco Nightwing suit
designed by George Pérez.
The art shifts during this fight
scene. According to an interview Higgins did on Kevin Smith's Fatman
on Batman, Barrows had begun experiencing some health issues that
severely limited his ability to work around this time, so a variety
of art teams would work on the next few issues. Pansica's pencils are
still very good, just not quite so much as Barrows's own. However,
Pansica did not shy away from giving more definition to Nightwing's
physique in the red sections of the costume; something about which
Barrows was maybe a little too subtle. Pansica also trimmed down the
torso just a smidge; just enough that I found it to be more in tune
with how he should be built.
There is a very brief interlude
featuring a much more natural conversation between Dick and Raya. The
improved tone might be attributable to Dick doing most of the
talking. Ladies man that he is, the scene ends up with her pulling
him into her bedroom… Cue the baby-making music! Higgins ends the
issue by showing that the younger Haly might not hate Dick as much as
he let on at his father's funeral. He weeps to the person he is
talking with about how bad he feels for his involvement in the plot
against Dick who turns out to be none other than Saiko!
Overall Impression:
This was a good issue,
though not nearly as action-packed as the previous two had been. The
dialogue gets a little too expository in places and the art shift is
really noticeable, especially coming in the middle of the fight
sequence the way it did. Zane looks shockingly older than Dick and
Raya as an adult. Maybe that has something to do with living the
rough life he had to in order to get to his position, but the
difference seems unnaturally stark. The story is still intriguing and
the art is more than passable. Pansica does a fine job taking over
the pencils where he did continuing
Barrows's excellent visual storytelling. However, the mid-scene art
shift is still jarring. The reason for
the change makes total
sense, but it's unfortunate that we already had
to start getting fill-in artists so early into the series' run.
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