Creative Team:
http://www.dcindexes.com/features/comic.php?comicid=134302
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Writer: Kyle Higgins
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Penciller: Andres Guinaldo
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Inker: Mark Irwin
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Colorist: Peter Pantazis
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Letterer: Travis Lanham
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Editor: Brian Cunningham
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Assistant Editor: Katie Kubert
Detailed Impression:
The
cover to issue # 11 of Nightwing gives us a pretty good
preview of the opening battle Dick faces in the first few pages. Once
again Barrows and Reis are sans inks on the cover, the pair's only
contribution this issue and one of the weakest covers the two have
provided so far in the series. Portions of the drawing just seem much
less refined than what Barrows has put forward in the past and the
colors appear a bit too washed out, although the use of white
highlights to define the folds in Paragon's trenchcoat is a very nice
touch.
Inside
the book, Kyle Higgins starts things off with a bang. Picking up from
where last issue left off, Nightwing is kind of on his heels. He got
caught snooping around the Republic of Tomorrow's clocktower HQ by
their leader, Paragon, and attempts to trash-talk his way out of what
he anticipates will be a massive fight with the small but
heavily-armed army. Needless to say but the attempt fails miserably.
Instead, he lights up taser charges on his escrima sticks and jumps
into the fray against the members of the Republic taking a brief but
damaging advantage before Paragon gets him from behind with his
plasma ring/whip weapon. When the gunmen recover and start firing
wildly, Nightwing loses the momentum of the fight. His attempt to
utilize a sonic weapon in order to return the tide of battle to his
favor backfires when Paragon knocks the entire clock loose of the
building to fall onto any unsuspecting bystanders on the street
below. Nightwing destroys the clock before any civilian can be
injured but loses track of the Repulic members in the process. The
overall fight lasts for almost half of the issue.
Higgins
sheds a little more light on Detective Nie and why he has it in for
Nightwing. He also enlightens us as to the Republic of Tomorrow's
motivations and shows what happens when those motivations are no
longer enough to keep members from wanting to leave. A brief
interaction with Damian in the Batcave gives us a glimpse of
Nightwing employing his skills as a detective wherein he appears to
solve the mystery behind the murders he has been investigating
recently. Lastly, Higgins expands on the budding business
relationship, and maybe a little more personal as well, between Dick
Grayson and Sonia Branch, aka Sonia Zucco, daughter of his parents'
killer.
The
art team for the issue puts forward a satisfying effort. Andres
Guinaldo's cartoonier style works better at some points in the issue
than others. As with his previous work on the series, faces are the
least successful aspect of Guinaldo's pencils mostly due to their
inconsistency. Guinaldo catches a break for a few pages since the
Republic of Tomorrow wear helmets that fully cover their faces. All
the characters seem to fluctuate between solidly
caucasian
and vaguely Asian at various points throughout the issue. On the
other hand, his figure work is excellent. The backgrounds get a
little sparse here and there, but very few panels are totally lacking
in this department. The washed out appearance of the cover continues
through the majority of the issue even with a different colorist.
Someone might want to remind Mr. Pantazis that all the characters'
costumes in the book skew more black than grey.
Overall Impression:
Issue
11 does its job well as the middle issue of a three part arc. Higgins
advances all of the subplots pretty nicely even though we don't get
much, if any, resolution in the issue. The only things we learn for
certain are that Paragon holds little attachment to his followers,
being all-too-willing to kill them himself, and that Dick and Sonia
will be working more closely with one another over the coming days.
The latter fact brings with it a surprising revelation that could
have some interesting character implications.
On
the art side, Guinaldo proves he can handle the action and emotion of
the book very well. Both are communicated nicely, even though I'm not
totally on board for his facial work. He might get a little more
punch out of the action by emulating Eddy Barrows' non-standard panel
layouts as Geraldo Borges did last issue, but his cartoonier style
shows the beginnings of some of the strengths I highlighted in Trevor
McCarthy's work from issue # 4. I would also like to have seen what
impact Rod Reis could have had if he'd colored a few of the pages. I
think it might have worked to give a smoother transition between the
art teams from issue to issue.
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