Green Arrow #20 - A Review

Green Arrow #20 works perfectly on multiple levels. It satisfies as a thrilling action story in the vein of Dennis O'Neil and Mike Grell, but this is the least of Benjamin Percy's accomplishments as a writer. The most impressive part of this issue is the redemption of Roy Harper.


As I mentioned in my review of the previous issue, Roy's background in The New 52 reality was left largely undefined. The flashback sequences in the past three issues have done much to restore Roy's past and, in doing so, define his current character. Some cosmetic changes have been made - such as the name of Roy's adoptive Native American father and what tribe they were part of - yet all of this, curiously, has helped to restore Roy to his Golden Age roots as an orphaned boy-adventurer.

Another aspect of Roy's past that is finally explored in detail is his history of drug abuse. Given Roy's new status as a homeless youth, this makes sense, with the real world statistics regarding homeless teenagers and drug use being depressingly high. Percy does not go for shock value in this, however, and if there is any justice the same people who gave the atrocious The Rise Of Arsenal an award for its depiction of drug use will give the same award to this story arc.


Another change of note that will interest long-time Arrow-heads is Percy's revamp of Count Vertigo. As with Percy's new take on The Clock King, the changes here are largely cosmetic and limited to a brilliant - but logical - twist on a classic character's modus operandi. In this case, Vertigo uses his powers to help a withdrawn Roy Harper get his fix by simulating a heroin high, in order to convince the young hero - recently abandoned by Green Arrow - to work for him.  On that note, the story also does a fair bit to redeem Oliver Queen for his reactions to his young ward's habit while still leaving Oliver firmly in the wrong.


I must not forget to praise the art team in all of this. Both Eleonora Carlini and Mirka Andolfo do a fantastic job of illustrating this entire story arc. The colors by Arif Prianto are perfectly chosen throughout. Quite frankly, if this story arc doesn't see a few Eisner and Harvey nominations, I will be very surprised!

Bottom Line: If you are any kind of Green Arrow and Arsenal fan, you need to read these last three issues.

Green Arrow #19 - A Review

While many characters suffered from poor characterization and a lack of development in The New 52, it's hard to think of a complex character who underwent greater devolution than Roy Harper. Raised Native American and a proud single-father, his history was scrapped in favor of a vague backstory that hinted at his being a homeless petty criminal whose employment and subsequent falling-out with Green Arrow was never explained... until now.

The story of Green Arrow #19 alternates between flashbacks showcasing the Green Arrow/Speedy relationship and action sequences in the modern day. It is here that Roy Harper and Oliver Queen have crossed paths again, with Roy having come home to aid the tribe that raised him and Oliver tracking the latest crimes against humanity being perpetuated with his company's resources - i.e. building an oil pipeline across sacred Native land.


In just two short issues, Benjamin Percy has done much to negate the damage dealt to Roy Harper. Roy's Native roots have been reaffirmed, though the details of how he came to be adopted have yet to be divulged. And Percy has rebuilt the friendship between Dinah Lance and Roy Harper, albeit under different circumstances than in the original universe. The "big sister looking out for little brother "vibe is there again, even if this Dinah didn't check this Roy into rehab.


Despite there being two separate teams at work in this issue, there is no discontinuity between the pages. Both Eleonora Carlini and Mirka Andolfo utilize a style based around detailed pencils and light inks, so the two complement each other to the point that I'm not entirely certain that one did the flashbacks and the other did the modern day sequences!  Well, whoever did what, the artwork in this issue is fantastic!

Swords Of Sorrow: Red Sonja & Jungle Girl #3 - A Review

Ice continues to plague the mysterious island that Jungle Girl calls home. Only the mystic Heart of the Mountain can repair the damage done by Mistress Hel and her ice wyrm. And only Jana and Red Sonja can guide the witchworker Bel'lok to its resting place.

Alas, what started out as a promising mini-series falls apart in this final chapter. Curiously, Sonja and Jana have no real function in this chapter other than to protect the male protagonist who knows what is going on and must be the one to use his magic to fix everything. This is a decidedly curious message for a series that was meant to be centered on pulp heroines!

Marguerite Bennett's script also goes a bit too far in hanging the lampshade on the silliness of the whole affair, with Sonja praying to "the gods of this absurd island of incongruous mystery" at one point. What is worse, the Sonja and Jana we see in this issue seem to act differently from the characters we saw in the first issue, with Sonja playing matchmaker to her companions and Jana acting, at times, like a teenage bimbo.


The artwork doesn't aid in this impression, with Mirka Andolfo's style leaving everyone looking like teenagers. Still, the artwork is competently rendered and the action sequences are good. Yet I can't help but wonder how this series might have looked with a more traditional pulp artist handling it. Such speculation is pointless, however, and the artwork is good for what it is, though I may question how well it matches the setting.

Swords Of Sorrow: Red Sonja & Jungle Girl #2 - A Review

Sonja and Jana's confrontation with Mistress Hel was cut short, thanks to the actions of a trickster sorcerer named Bel'lok. Wounded and weary, the three make their way back to Jana's village. Unfortunately, Jana's people are less than tolerate of outsiders at the best of times. And with Hel's dark magic corrupting the already xenophobic tribal leaders, this is definitely not the best of times!


I think it's safe to say that most readers are more familiar with the world of Red Sonja than Jungle Girl. As such, Marguerite Bennett wisely uses this issue to explain the rules of Jana's world to both her new outsider friends and, by proxy, the readers. It's an effective decision and the action of the issue seems less like route exposition as a result. Indeed, it's quite enjoyable!


The artwork operates with similarly subtle efficiency.  I am hard pressed to find words to describe the light, airy style of Mirka Andolfo but I do know what I like. And I like this style!  Everything is smooth and sketchy, with an inherit quickness that keeps the story moving briskly.