Since Jason Todd Red Hood was taken from the grave in the 2000s, DC has consistently struggled to figure out what to do with Batman’s infamous dead Robin. This was only exacerbated by a flashpoint reboot when DC tried to sell Jason essentially as a “cooler” trigger happy version of Dick Grayson.
Since then, Jason has been featured in both solo adventure and Batman Family storylines, but has not been in the way of the storyline that determines outstanding runs and characters in the veins of Batman: Owls Court of Scott Snyder and Greg Capro. During the all-in era, DC is trying to change that with a renewal of mature red hoods that is “completely discontinuous.” However, after one issue, it is clear that the story will serve better as an absurd DC Black Label series.
DC Comics
One thing that immediately stands out about Red Hood #1 is that it appears confused about who your target audience is. DC Comics PR initially called the comic “a long-awaited by Jason Todd Story fans,” but the comic itself is not based on development over the past 20 years. At best, it offers the promise that it is an adult comic featuring Jason. But as a story, it doesn’t read like the next chapter, from Jason being a dead Robin to branching out himself as a red hood. Instead, it reads like a neo-noir image comic featuring characters based on Jason. This is also worthy of the DC black label.
One major way the Red Hood has all the features of the DC Black Label series is that it is not bound by events of the main DC continuity. A fatal-shaped character who supports the hero in his case and serves as a love interest (Helena Bertinelli). This creative direction is also reflected in the art of Jeff’s spokespersons highlighting the new Angelique urban environment, and none of the worlds can be easily identified as the main DC universe. Similarly, the use of dark, warm colors highlights the dark tone of the story and the corruption lurking behind the walls.
On every account, Red Hood introduces complete creative freedom and artistic expression more than continuity, but this is not really a bad thing. This approach makes comics easier and more accessible to non-common read audiences and can easily function as someone’s first DC book. But it’s also a story that doesn’t work well as part of the main DC continuity, with direct fans of Jason Todd and Helena Bertinelli expecting a reasonable degree of consistency in the way the characters are used and developed. This also means recognizing the previous stories they introduced to know where they are in their respective lives and avoiding rereading the beats of the stories they have already experienced. Equally important, this also avoids regressing the character’s growth that has already been received from previous comics.
DC Comics
Another drawback of revealing this red hood story for main DC continuity is that it risks alienating fans who easily buy it by not building what came before while taking the character in an exciting new direction. If your priority is to tell a self-contained story that is not bound by the rules of continuity, publishing this story as DC Black Label Comic will give you the best shot of success. As a DC Black Label story, fans can easily expect this, expecting a new take on Jason and Helena, who are significantly deviating from the established Canon, allowing them to enjoy a story where it is little or no expectation. So how does Red Hood work as a real story?
One of the things Red Hood succeeds is to introduce its hero, establish the foundation of his tactics, and establish the murders that drive his storyline. The comic also manages to showcase the supporting cast of the characters in the form of Helena Bertinelli’s Huntress, the shady allies in the shape of the Royale, and the pulsating police allies with Nightwing’s Elise Svoboda and Henrietta Forest. We also introduce the main villain, the Tower, as a serial killer who uses telepathy to kill victims. Before having a powerful “pilot episode” that sets the tone for the rest of the series, Red Hood is off to a strong start. This is also supported by the art of Jeff’s Spokes, giving each page the quality of the film. However, if the mileage is different, it is based on how you use the character.
Fans who are hoping Red Hood will continue to develop Jason’s character from previous Batman and Red Hood storylines, or Jeffremia and Dustin Nuguyen’s excellent Robin & Batman: Jason Todd miniseries may be disappointed from this feeling. Rather than following up on specific story threads or character arcs, Red Hood aims to tell Jason Todd’s story. On that front, writer Gretchen Felker Martin presents Jason as the aforementioned enhanced detective archetype with subtle features. Jason kills people in this first issue, but he doesn’t do “Frank Castle” completely on his first outing in the new city. At least… not yet.
DC Comics
In front of Helena Bertinelli, she is used in a previous portrayal of the Batman comic after the crisis, a way of calling back in a way that is not unsettling about the murder. However, she is also written as a femme fatale, implying that she has a shared history with Jason. This feels like there’s no blue for fans reading Helena Bertinelli’s stories over the past 30 years. Of all the Robbins, Helena Bertinelli has a meaningful history, Dick Grayson, Tim Drake, and even Stephanie Brown.
Dick is Robin Helena has a sexual relationship, and Tim is Robin, who she has a relationship with her “older brother.” She has teamed up with Stephanie Brown before. However, Helena does not justify her inclusion in this comic beyond interacting with Jason in the meaningful abilities of Main DC Canon to share Jason’s views on the murder. So, their interaction here feels completely inorganic about the history of the characters.
Overall, Red Hood #1 is a rather mixed bag of comics. At best, checking if you’re a fan of Jeff Spokes’ art is a great comic and enjoys the neo-noir story covering real-life topics like police corruption in the 2010s Marvel Netflix veins. It’s also a great comic to check if you’re interested in Jason Todd and Helena Bertinelli’s new take. But for fans who want a more traditional take on Jason and Helena, built on the history of standard characters, it may be best to check out the other comics they’ve featured.
“Red Hood” #1 has a solid concept, but in the case of the DC Black Label series
Red Hood #1
DC’s mature red food series has hit the shelves, but the concept it explores works well with the DC Black Label series.
Gretchen Felker-Martin tells a self-contained neo-noa story that is kind to new readers.
Jeff Spokes offers outside artwork with excellent use of warm colours.
Jason Todd’s characterization does not follow up on developments from previous stories.
Helena Bertinelli’s inclusion doesn’t feel organic with characters she doesn’t have a real history.
