Batman The Last Halloween Issue 1 page 15

When The Last Halloween was announced earlier this year, I had mixed feelings. On one hand, I was excited for a new story in Jeph and Tim's vision of Gotham City. But on the other, I couldn't imagine The Long Halloween without Tim’s signature artwork. Dark Victory was an excellent sequel (honestly, I even preferred it to the original), but did we really need a final act? If it isn’t broken, why fix it, right?

The concept of rotating artists for each issue was intriguing, though. I read that Jeph Loeb handpicked the artists himself, which added a layer of intention to the project. Eduardo Risso was chosen to lead off with issue one—a strategic decision, in my opinion. Risso’s noir style features stark, moody visuals often depicting dark story lines. One of his most distinctive elements is his expert use of shadows and ability to manipulate negative space, which play a key role in setting the mood and atmosphere of a scene. I would like to think he was chosen first as it would give readers a sense of familiarity, setting the tone for the next 9 issues.

I'm a big fan of Risso's work, so when he was announced as the first artist, I reached out to his son, Nico. This was in May, and the issue wouldn’t be released until September. Only the variant cover was available for purchase at that point, and I decided to pass on it (though I might’ve caved if it had been in black and white with the booking card filled in traditionally). I asked to be placed on the wait-list for the interior pages instead.

Once the issue was out, I got an email saying there was just one person ahead of me on the list and that I’d have 48 hours to decide on any available art once the scans were sent over. My friend Jared was first in line, and I worried he’d snag all the best “moment pages” since we share similar tastes. But he passed, leaving me with free rein over issue one. I rushed home that day, opened my email, and there was the entire first issue in its dark, inky glory. Although I hadn’t read it yet, the sequential storytelling was so strong I could follow the plot perfectly. After much deliberation, I chose two pages.

Page 15 was the second page I picked up. I mean, whats the Last Halloween without a pumpkin and the infamous Holiday .22 pistol? This page is a compelling example of quintissential Risso. He employs high contrast and shadow which helps create a dramatic and tense mood. The shadows add depth, making the eye focus on what he wants you to focus on. Batman and robin have intense expressions which reflect the seriousness of the situation. The page layout guides the reader's eye naturally through the scene. We get a powerful top panel that frames the page, followed by a series of smaller panels that zoom in on the characters and provide a more intimate view of their emotions. The negative space in the fourth panel almost forces the eye to Batman's worried expression. The sequential story telling here draws the reader into the narrative. The rain dripping over the characters and splashing on the surfaces help set the gloom and grit that is Gotham City. Risso's style is a fitting choice in any Batman story.

Sometimes different is good. While it felt different without Tim's art, I thoroughly enjoyed the first issue. I do wonder if the story will feel cohesive with 10 distinct artists and their varied styles. But given how important this title is to Jeph, I trust he put a lot of thought into these choices. And I suspect the context around The Last Halloween will inspire each artist to bring their A-game as a tribute to their peer.