Tim Drake: Robin #5 starts with Tim looking for his boyfriend Bernard, who has gone missing. He requires the help of Nightwing, Batwoman, and Sparrow in his frantic search while doubting if he’s really able to go out on his own. When he lastly finds Bernard tied up at the docks, he is overtaken to see the actual mastermind behind all the difficulty he’s been facing…
Admittedly, that is the first dedicated/solo Tim Drake story that I’ve read. I’ve only had a couple of experiences with the character, most of it being from either well-liked media (such as Batman: Arkham Knight and Gotham Knights video games) or from him being a facet character in different stories, similar to Batman: The Court Of Owls run from Snyder, Capullo, and Glapion. And it’s always exhausting to judge an issue when it’s in the midst of a run and you haven’t learn the previous issues to know what’s been main up to the present second within the story.
Overall, I actually have combined emotions about this concern.
The story itself is very intriguing. Fitzmartin does a good job telling the story from Drake’s viewpoint, and I completely love how the callbacks have been written to help show Tim using his detective abilities to reassess the clues he picked up or missed in his reminiscence in order to solve the thriller. The story itself is written to serve as the villain reveal by the end of the issue, and it was done very nicely.
I personally struggled with the art here by Rossmo, who did pages 1-5 and 22. Everyone has their very own preference in phrases of inventive fashion and I know that this fashion may join with a lot of people. But for me, I was too distracted by so lots of the straight and sharp lines in the art to get pleasure from what was happening. People’s jawlines were very boxed and seemed not as natural; Tim’s hair had an odd, flat look to it; and in a quantity of panels, Tim’s cape was drawn with so many straight, sharp traces that it didn’t seem like a cape flapping within the wind to me. The artwork itself isn’t dangerous or unbearable; there have been only a few stylistic decisions that made it exhausting for me to enjoy that didn’t join with me. I found myself connecting with the artwork from Ortiz a lot more as I found it to be more appealing to me with the presentation of characters and composition. But once more, art has extra to do with private preferences, and Rossmo’s abilities as an artist right here ought to still be appreciated for how he helped offered the story in this problem.
I thought the colours by Loughridge were fantastic right here. Much of it was very flat which was highlighted by the shading that made it look really spectacular and helped the viewer with the sense of lighting and visible highlights. The coloring of the background was often dominated by a single shade palette that can typically make it dull but with Loughridge, he made it seem very pure and quietly supporting the story which can go unnoticed for the casual reader but should be appreciated right here.
One final detail about the story that did throw me off slightly was the dialogue boxes for the antagonist, James, when he’s chatting with Tim as he’s escaping from being captured. While James is speaking to him, Tim is getting out of being tied up, taking down the henchmen, and operating to numerous components of the dock to try to get away and to get a bonus on James. While this is occurring, there are dialogue packing containers which are popping up on every panel however it was unclear to me how this was being communicated to Robin. There were moments throughout that dialogue the place James is nowhere near him so I wasn’t certain how this was happening.