Pop Mhan's artwork proves a perfect vehicle for this erratic tale. Mhan shifts his style expertly to fit the needs of the scene. His action sequences make use of a more traditional style that well-suits the kinetic nature of the conflict. By contrast, the flashbacks in which Harley remembers better days (well, relatively speaking) with The Joker are rendered with a softer, more exaggerated appearance that would look cartoonish even without the inclusion of singing birds circling a romanced Harley's head. Mark Roberts does an equally fantastic job finishing the art with his colors.
The story is the equal of the art. It is worth noting that Chris Sabela does not romanticize The Joker and Harley's relationship at all. The plot by Brian Buccellato makes no bones about the fact that Harley is being abused. This is not the least bit preachy, however, but serves to drive home the central conflict of Harley's character. Intellectually, she knows The Joker is bad but that doesn't matter when the bad feels good. The rest of the issue outside the flashbacks, however, confirm Harley's status as a capable anti-hero and a true icon of the DC Universe.