Poison Ivy #43: Bad Business Under Gotham

A flashback opens Poison Ivy #43. The issue’s first three pages depict the split between Ivy and Harley, a pragmatic move made by Ivy lest her association with Harley cost her the newfound power she has as mayor. Ivy’s dialogue pushes things just a little too far, making it sound not just that this has to happen for pragmatic reasons but that Ivy is actually ashamed of Harley in a broader sense. It’s a good way to establish that acquiring power does have a cost. Additionally, the scene adds an emotional backdrop to what is otherwise a fairly businesslike affair (or at least as businesslike as Ivy can be while threatening a corporate big whig).

Wilson’s larger plot in Poison Ivy #43 sets Ivy up with a major political decision: does she rubber stamp the same company to handle the city’s plumbing that has handled it for a century? Rather than rubber stamp the contract to continue, Ivy takes the head of the company, Mr. Grasp, on a tour of Gotham’s sewer system to evaluate it.

Poison Ivy #43’s story ties nicely into real world discussions about big business. Here is a company that, if not outright ripping Gotham off over for many years, doesn’t have the city’s best interests at heart despite what it’s supposed to be doing. Wilson crafts a situation where Ivy’s actions in the matter, despite not being sympathetic, are almost understandable from a certain point of view.

Save Catwoman’s arrival where she tackles Ivy, there is no action in Poison Ivy #43. Infante’s art shines in character presentation, especially in the more emotional scenes. The opening Harley/Ivy scene is the highlight–Harley in particular. The issue’s first panel is a half page with an emotional Harley with makeup smeared with tears running down her face. Infante doesn’t oversell it. Harley’s eyes are still about halfway open, her mouth suggestive of biting her lower lip. Harley’s pained expression, which recurs during as the two characters’ conversation goes on, is a far more emotional display than anything Ivy presents. As is the case with Wilson’s writing, there is a sense that Harley is suffering more in this situation than Ivy is.

This same high level of character detail works later in the issue Ivy takes Grasp on a tour through the sewer. The longer the tour goes, the more stressed Infante makes Graps look. Wide eyes, dabbing his forehead with a handkerchief, pulling at his collar–Infante captures all of these very effectively thanks to the more liberal line work on the character’s face.

Infante and Priato create a very moody setting in the sewers beneath Gotham. Infante draws the immediate area, but throws a lot to shadow as the setting extends further away. Prianto doesn’t just cover these more distant areas with straight black. Instead, Printo uses a small range of colors, from black to a dark purple/gray, to maintain a sense of depth and add a little spookiness to the whole affair.

The red Prianto uses for Ivy’s hair is a more vivid color than anything else Prianto uses. It ensures that Ivy pops off the page in virtually every panel.

Hassan-Elhaou’s use of irregular shaped dialogue bubbles and squiggly tails does a good job emphasizing Grasp’s growing fear as the issue goes on. It’s a nice way to add to the issue’s overall moodiness.