When it comes to Kyle Higgins's run of The New 52 Nightwing, there has been a share of hits and misses. At its best, Higgins can craft a lengthy story arc that captures the spirit of the titular hero and comes within range of matching the revered Chuck Dixon run that popularized the character over a decade ago. But at its worst, Nightwing has been saddled with short and unmeaningful story arcs that fail to progress the character and feel more like filler to segue into the next big crossover event. It's not often Higgins's fault, as he seems to have ideas for the character that don't always come to fruition. Unfortunately, Setting Son appears to be rather exemplary of the problems what made an otherwise-great series occasionally frustrating to read.
Setting Son collects a number of segregated short stories that take place during different points of Dick Grayson's life, with a number of different artists illustrating. A few stand out enough to make the book worthy of its admission price, and a few are forgettable.
The first chapter ties into the "Zero Year" event, chronicling the adventures of a teenaged Dick Grayson as he leads a group of other teens out of danger. It's a fine story that covers traits that fans often associate with the character: leadership, the ability to improvise of the fly, the sense of camaraderie, and the occasional arrogance that leads him to trouble.
The second chapter partners Dick with his fan-favorite romantic interest Barbara Gordon. There's an unremarkable whodunit story that is supposedly an analogue to the revolving door relationship between Dick and Barbara, but it struggles to hold water. However, the interactions between two crimefighters are the highlight of the chapter, and it's good enough to make one wish that Barbara had appeared more often in Higgins's run, even if their famed relationship from Dixon's run is no longer in continuity.
Following that is a pair of two-part story arcs that take place in Dick's new home of Chicago. It's unfortunate that thanks to Nightwing's involvement in Forever Evil, Higgins had to follow up a strong Tony Zucco arc (covered in the previous volume Second City) with a couple of holding pattern stories. The first is a highly forgettable and sloppily drawn tale that rehashes every Mad Hatter story ever told. The second story, however, is the strongest part of this book. It involves a young girl and Victor Zasz, and feels like a beautiful retrospective to the entirety of Kyle Higgins's Nightwing saga. It hits the right emotional notes, and makes one appreciate what Higgins has done with the character ever since the ill-advised reboot. The art by Russell Dautermann in these two chapters is the best that the series has had ever since the move to Chicago.
The final chapter takes place after Forever Evil. But rather than deal with the fallout, this chapter comes across as something of an extended preview of the new Grayson series from Tim Seeley and Tom King. It's split into three parts. The first deals with Leslie Thompson recounting a story about Spyral, a spy organization that may know Batman's identity. The second part is a highly divisive segment that features Dick and Bruce having a brutal no-holds-barred sparring match in the Batcave. The idea behind it appears to be that Bruce wants Dick to rise up from his defeat during the events of Forever Evil. The execution is, however, sloppy, and laden with awkwardly placed exposition that attempts to sell readers on Grayson but just seems to confuse instead. The last chapter, beautifully illustrated by current Grayson artist Mikel Janin, follows Dick as he travels around the world in search of Spyral. Overall, the chapter doesn't make for a very good preview, which is unfortunate, because the Grayson series itself is one of the best ongoing books to come out of DC or Marvel these days.
Looking back, Kyle Higgins's Nightwing was a series that had a lot of strong moments, but was also hampered by editorially mandated tie-ins and status quo changes. Out of the Batman line of books in The New 52, it was arguably the best title that didn't star Batman himself. Setting Son, while it may be rather uneven, does manage to provide a satisfying end to this run.