Things haven’t been going very well for Blockbuster ever since Nightwing moved back to Blüdhaven — and when a police commissioner under Blockbuster’s thumb gets caught on corruption charges, things get even worse. It’s time for Blüdhaven’s crime boss to strike back, in Nightwing #94, written by Tom Taylor, drawn by Geraldo Borges, colored by Adriano Lucas and lettered by Wes Abbott.
Nightwing #94 shook me a little. I’ve been singing the praises of Bruno Redondo’s work on the book for every issue he’s on, but right now? I’m beginning to wonder if Geraldo Borges isn’t the man for the job after all — or, at least, for this writer. It’s not that I’ve soured on Redondo’s work, or that I’m saying Borges’ work is the better of the two (I’m generally averse to that kind of binary comparison); it’s a matter of balance.
This issue gives Blockbuster more of a focus. Last issue saw the comically corrupt Commissioner Maclean exposed for his underlings’ attack on Haven, revealing a chink in Blockbuster’s armor. Mayor Melinda Zucco helps set Maclean up for a fall — and ensures he’s carrying a ledger that contains evidence that can help take Blockbuster down. Blockbuster, however, isn’t ruffled…but he is upset.
The latter half of the issue sees Blockbuster do his best Kingpin approximation. Gone is the brute who took three tries to throw a supervillain out a window, we’re back to the sharply-dressed behemoth who reminds people that no one they love is safe; who shows up at your home with a polite smile, and eyes full of calm, pleased confidence in the power he has over you. Who uses his size to lean into an atmosphere of a constantly implied threat.
Borges makes sure to emphasize his size, impressively balancing comedy and intimidation. Suddenly this is a book of shadows and grim interrogation scenes, of the tension of threats unsaid, and the violence behind closed doors. Adriano Lucas’ purples, pinks and ambers lend themselves to breathtaking sunsets when paired with Redondo’s art — here, they’re the mark of twilight, of approaching darkness and the grimness of dying light. I like the mood being drawn here, I love the style.
It’s almost enough to make me forget the ridiculous plot point that Commissioner Maclean is being arrested for having his cops vandalize a park meant to help the homeless. It takes some of the shine off of Taylor’s writing, which can be so idealistically earnest it hurts to read. It’s a much-needed balance to Nightwing’s often saccharine writing — a sweetness Redondo enhances instead of grounds.
Borges doesn’t just make the comic slightly grimier, though — he’s got a great sense of what makes a Nightwing action scene work. Show stealing acrobatics, a jaunty grin, a constant sense of movement, and, every now and again, a shadow in the right place to remind us that this is a man trained by Batman. He’s going to intimidate the superstitious and the cowardly when he has to, too.
We also get a very tender moment between Barbara and Dick as they’re sorting through the evidence against Blockbuster that I enjoyed. The focus of this comic is so scattered that we don’t get as much time between this newly recoupled pair as I’d like, so I’ll take what moments I can get.
Nightwing #94 has left me torn; I want more Redondo art, he draws a Nightwing that is nothing short of magnificent. But Borges has me enjoying the comic in a way that I’ve not been able to for a while. I suppose it’s fortunate for me that that decision is out of my hands…but this is all a strong reminder of how important it is to get an art-writing pairing right.
