The backup feature centers on the Question. Renee Montoya is the new no-faced crime-buster, and I like her a lot. Hated to lose the previous Question (Vic Sage), but this one has some new chops while maintaining the old schtick.
Cully Hamner’s art, like Williams’s Batwoman strip, is dark, and colorist Laura Martin weaves a lot of reds into the scenes while working the blue of the Question’s costume and the dark night. The breakdowns of the scenes were different and give this strip a different feel, but Greg Rucka is still running his groove with action and investigation.
I’m glad that Tot (Aristotle) is back in this strip. I liked quite a bit of the old run of the Question under Denny O’Neill, and I’m happy to see that not all of Denny’s world has faded away.
The set up with Montoya and Hector Souz at the burrito stand is fantastic. Feels very much like a detective story, and the yellow tone on all the panels against the palm trees and city are good. The dialogue is spot-on and a lot of fun.
The page showing the Question breaking into the suspect house under the light of a full moon is pure cinema. I loved watching the smoky chemical go into action and Montoya go into full Question disguise. The confrontation with the guard dog in pure action, without narrative or dialogue, was also well done. I enjoyed the perspective shifts delineating the action. The Question strip has always been action oriented, and I’m glad to see that hasn’t changed. And, of course, there’s a cliffhanger that guarantees readers will be back for the next issue. Always lots of questions with this hero.
All in all, even though Detective Comics #854 doesn’t arrive on the stands with a new #1, it does herald a new era in the Batbooks. The women are on the scene, and they’re not taking any prisoners either.
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