Only in comic books (and perhaps Arnold Schwartzenegger films) is the concept of death truly a trivial one. Popular misconceptions dictate that characters die and return from death all the time. The truth is actually more horrifying; whether characters die or not is secondary to the overall abundance of death in comics today. Perhaps the biggest example of this is the recent "Death of Superman" storyline, a huge cash cow for DC Comics in which their greatest iconic figure was destroyed in a cursory manner as detailed in the pages of a truly crappy comic book. There was no doubt that Superman would return from death; the only question to be answered was how he would make his way back to the land of the living. Sure enough, the Man of Steel found his way back into physical form, and continued to fight crime almost as though nothing had happened.

It can be said that the impact of a death in comics relies just as much on its consequences as it does on its immediate impact. By these criteria, the story of the death of Jason Todd in the pages of BATMAN #426-429 ranks as one of the most powerful deaths in comics history. Not only is the visceral impact of the actual death a powerful one, but the consequences of this death would see Batman driven into a downward spiral of anger and vengeance over his greatest failure as a crimefighter: his inability to protect the boy taken into his care and placed at risk by the role of Robin. The mortality of both Batman and Robin is central to their appeal as characters, and to see it so violently brought home only emphasizes the risks and possible mental deficiencies inherent in acting as a human vigilante.

Starlin tells much of "A Death in the Family" from Batman's point-of-view, giving the reader a unique opportunity to experience this powerful tale from inside the mind of the character who is closest to the events. Most Batman stories these days include some form of "gritty," first- person narration from Batman, often to their detriment. In this story, it's almost essential; when Batman sees the dead body of his partner lying lifeless in the rubble of an explosion, it's the first- person point-of-view that gives the scene much of its impact.

The story itself takes an interesting spin on the Joker/Batman relationship, putting the Batman in a position where the Joker has committed what may be the ultimate act of vengeance against him, and Batman can do NOTHING about it. The build in tension between these two characters is palpable and exquisite. In the final pages, as the Joker walks up the aisle of the U.N. assembly hall to give his speech, there is a powerful sense of drama. It's something rare to find in comics: a moment when the drama created is legitimately built through the story.

Perhaps the true star of "A Death in the Family" is the pencils of Jim Aparo. The man considered by this reviewer to be the definitive Batman artist of the 1980's truly outdoes himself in this series. His tall, lithe Batman suggests coiled energy in each step, and his realistic style (inspired somewhat by Neal Adams) adds much power to the scenes of death and destruction in this story. Only Aparo could have made the Joker's beating of Jason Todd such a palpable moment, as though you can feel each dull thud of the crowbar. His page layouts enhance the drama as much as his art, especially the aforementioned beating and the tight head-shot panels used during the Joker's speech to the U.N. Once again, the tension is built and the vice tightened, until the climax on the next page, when a large panel depicts the Joker revealing vials of his deadly laughing gas to the U.N. assembly. The book is full of moments like these, in which the pacing and realism of the art create as much tension as the words on the page.

Take the DC Death Challenge; compare SUPERMAN #75 to BATMAN #428, and see which death impacts you more. Is it the staged, panel-to-a-page Jurgens drivel, or the tension- driven Starlin/Aparo work on Batman? I vote for the latter. There is immediate and far-reaching impact in its story and drama. In a medium where death has become the punchline to an industry joke on the fans, BATMAN #426-429 offers a rare example of death made real by true characterization and poignant storytelling.