Dick Grayson has a sister? Who is also the daughter of the man who killed his parents? How could this have happened? He may be the son of the World’s Greatest Detective, but Nightwing’s completely in the dark about this. For answers, he’s led through a trip to the past – to the heyday of the Flying Graysons. Nightwing #82 is written by Tom Taylor, pencilled by Bruno Redondo, Rick Leonardi and Neil Edwards, inked by Bruno Redondo, Andy Lanning and Scott Hanna, colored by Adriano Lucas and lettered by Wes Abbott.
You know, the more I think about it, the more I want a travelling circus-themed comic book, and the latest issue of Nightwing makes me upset I don’t have it. It’s such fertile ground for the weirdness DC’s got tucked away – and room for that heartwarming tales of found family. Speaking of which, Nightwing’s found family in unexpected places, and thankfully, the series isn’t going to make us wait too long before giving us answers. [P.S. My most excellent editor Matt Lazorwitz has just told me about the Flying-Graysons-centered The Lost Carnival YA graphic novel and I am delighted].
The Heyday of Haley’s Circus
It’s a simple issue. After a simple one-page gag of Nightwing’s superhero family freaking out over his kidnapping and going overkill on his rescue, Dick Grayson is introduced to Melinda Zucco’s mother, Meili Lin, and is told the story of how she and Dick’s father first met, were separated, and how Melinda ultimately got the Zucco name.
Ordinarily I’d’ve had a few concerns about a secret family member showing up like this, but the creative team on Nightwing has earned a little faith, and happily, that faith was rewarded. What we’re given is not a sordid tale of John Grayson’s affair with Meili, but instead a bittersweet glimpse into the lives of the Flying Graysons at their best – before Dick’s parents had even gotten together.
Adriano Lucas’ colors fade in this flashback, along with a change in art style that has just as much emotional impact as Redondo’s, if not his ingenuity with the comics format. It’s a charming and straightforward tale, but where it really popped for me is the action scene where Mary bounces off of a trailer to fend off Zucco, landing neatly into the arms of her husband with flair, but seriousness.
It’s showmanship that’s used to both intimidate and show off. I have been enjoying the attention to detail paid to this comic’s action, the differences in body language between fighters and how much it says about who they are, and it’s a joy to see that continued even with an artist switch. It’s a moment that sells just how much Nightwing is influenced by his parents, despite his years being raised by Bruce Wayne – he is absolutely his parents’ son.
Another Flying Grayson
Of course, that’s not the only thing that’s enjoyable about the art. There’s joy there, too, which mixed in with Lucas’ faded colors paints a perfect picture of nostalgia, and makes the darker moments hurt all the more. There is a moment showing the Graysons falling into a safety net as a family, which immediately transitions to Dick kneeling by their bodies after his parents’ fatal fall, and it feels like a knife in the gut to see.
There’s little time to dwell, as Blockbuster soon comes knocking, and you realize how much story and action has been packed into every issue so far, making this one feel relatively short in comparison. It looks like the action continues next issue, though, because Blockbuster looks like he means business.
While the story is a lovely look at golden times past, one thing that does feel missing is what Melinda herself feels about all this. We’ve seen her conflicted in her position as mayor, but only in glimpses – despite knowing where Melinda came from, we still know very little about what makes her tick. Still, faith in this comic has proven to be rewarded time and time again, so I’m confident that her story will be told in the best way possible, at just the right time – with as much flair as there is impact.
