Review: Midnighter #4 (no spoilers)

[baldeaglecomics]

Midnighter #3 left me so bored, I actually did a cartoon yawn at the end. The series was off to a strong start in the first two issues with a lead character unlike any other in the DC Universe (a combination of his attitude, sexual orientation, morals, etc.) and a plot arc that was refreshing after the absolute monotony of Convergence. Unfortunately, the third issue fell into a major rut and I wasn’t excited for the series to continue until the very last page, when Grayson became involved in a storyline so far out of his domain I knew it had to go somewhere fun. And fun it was. Midnighter #4 was everything that #3 should have been and I commend the creative team for getting the series back on track.

Storytelling

Superman, Batman, and Justice League may be the crown jewels of DC but Midnighter writer Steve Orlando has one of the best jobs in the company. He’s tasked to start from a blank slate with a character that has only a basic history, a complex and fascinating persona, and a supercomputer built into his brain. M (as Midnighter is called when not wearing a mask) is one of the only gay lead characters in the DC Universe and Orlando seamlessly incorporates his sexuality into a type of humor only found in this series. Self-deprecating one-liners are easy and can be found across most titles; this book has found a way to craft self-empowering humor that shapes M into a hilarious, outwardly confident, and oddly eccentric individual. The jokes, many of which forced me to stop reading to catch my breath, are vulgar but Orlando manages to keep them politically correct and non-offensive. M’s nonchalant attitude during fight sequences is a major highlight and the reason that I was so excited to see the chemistry between he and Dick Grayson, which had already worked so well during Midnighter’s 2014 stint in “Grayson.”

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As the first Robin and eventual hero of the second gloomiest city in the country, Dick Grayson always managed to stay jovial despite external pressures. His transformation into a secret agent in self-titled “Grayson” has allowed his persona to thrive, transitioning from comic relief to the center of attention. Although Midnighter’s attitude towards his work is similar to Dick’s, his means are completely contrasting, which creates a challenge for Orlando: how can two major players that are simultaneously so similar and so different exist in this book. The answer was constant banter and emphasis on differing methods, which kept this book paced exquisitely, sometimes moving quickly and other times slowing down to allow the reader to fully internalize the characters’ struggles. When the storyline cut to a Grayson-less flashback, I found myself missing the banter, which served to emphasize the weight of that particular scene. At times, though, Grayson’s involvement seemed forced and wholly unnecessary; it still isn’t clear why Midnighter kidnapped him before this issue and I yearn for a method to the madness. We’ll just have to see if this is further explored in Midnighter #5.

The entire script is very well-crafted but the plot in particular, which I won’t spoil for you, is masterfully written. The story is exceptional, resembling something I would expect to find in the among the best episodes of TV’s Supernatural, not in a revamp of a character struggling to secure his place as a B-lister. Orlando explores human tendencies and inner darkness through satellite characters and reserves self-exploration for the leads. The combination of M’s inner struggle with his mysterious past and relationship failures mixed with commentary about humanity’s senseless thrill-seeking results in deep analysis about trust, ethics, and self-preservation. I’m enthralled with this story and the book’s end allowed me to realize that there is an exciting macro-level plot in play that elevates the series above the disappointing dead-end it found in the previous issue.

Art and Colors

The series’ art makes a noticeable change in this issue as we move from one-named Aco to Stephen Mooney, a relatively unknown artist that had previously done a couple of Grayson one-offs and is absolutely the right choice for the future of this series. Grayson and Midnighter both have a level of swagger that is unrivaled in their universe and Mooney is able to perfectly capture their exuding confidence. Midnighter’s street attire is given the style bump it deserves, now matching his personality and giving the feeling that he actually belongs in the real world.



One really impressive scene involves a fight sequence while Midnighter and Grayson are nude save for towels. Comic book artists become so familiar with how a character’s costume should look that it becomes second nature to imagine their movements during action scenes. A greater challenge comes when characters brawl in street clothes but this scene is especially telling of Mooney’s talent because 90% of the characters’ skin is on display. The positioning of every limb, every flap of the towel (never revealing anything M-rated), and every intricate acrobatic motion are orchestrated impeccably. Aside from this scene in particular, the action sequences throughout the issue are all beautifully drawn, providing an ample sense of dynamicity that are characteristic of both leads’ fighting style.

Although Mooney gets a lot right, he seems to be very lazy when it comes to facial expressions. Aside from extreme close-ups, there’s not a strong display of any particular emotional reaction, even when the writing calls for an obvious grimace or cheeky smile. Toward the end of the issue, the faces lose their shape all-together, widening and thinning at whim without any care for angle or consistency. Another small issue is the use of relative size to convey depth, which Mooney has not yet mastered. Some positioning of characters is extremely unclear because they aren’t drawn to scale based on where they should be situated in the environment.

Color themes are ever-present throughout this book and colorist Romulo Fajardo, Jr., has done a fantastic job of creating commentary of his own. Grayson's bright whites and blues contrast beautifully against Midnighter's black and dark grays. When juxtaposed correctly, the coloring work allows Grayson and Midnighter to appear as angel and devil respectively, perfectly following the actions and dialogue of the characters in those sequences. In frames just before the characters ruin some victim's days, the leads are given the exact same neutral color theme, which draws interesting analysis about their parallel violent natures. Midnighter likes to make his prey bleed, so his opponents are naturally covered in red. Grayson, on the other hand, inflicts minimal permanent damage but his blows throughout the issue are surrounded with the same dark red hues, furthering the visual analogy. Directional shadows are weak throughout the issue but these are mostly minute details that do not interrupt the otherwise thoughtful work.



Conclusion

I’m ecstatic that this series has made a quick recovery from the last issue’s stumble. It’s clear that Orlando and Mooney are more creatively aligned than Orlando and Aco and I really look forward to seeing where they go with this stimulating plot. Midnighter is a character that deserves a rise from obscurity and the vision of this creative team offers the opportunity to achieve this goal.

A-