Quick mention of Maroni - the gangster eventually responsible for creating Two-Face. * The shout-outs to the comics are much more subdued this time. And suddenly a lot of the choices this show has made make sense, re: camp elements. * I see the name of The Tick creator Ben Edlund in the credits as an executive producer. * I am now going to call Riddler "Weird Ed" in honor of the equally awkward character from the Maniac Mansion games. * (As Alfred catches Bruce burning himself) This would be an entirely different show if Alfred had just taken Bruce to a good child psychologist at this point.
Thankfully, the deep shadows fit the story, so in this case it works. The Suicide Squad story drawn by Szymon Kudranski isn't bad, though it is heavily shrouded in inks as is typical of Kudranski's work. Craig Yeung continues to create some wonderful splash-pages and close-ups but his work loses fine detail in the mid-range. The artwork is largely competent but nothing special. The issue closes with the first part of a Suicide Squad mini-comic that promises to be an interesting read, if only for the real world issues it is based around. And there's a fair bit of humor in the opening sequence where we learn just who has been providing Ollie's new trick arrows. One wishes they had kept the secret going a little longer but the story doesn't suffer from the revelation. Little happens here in terms of the long-term plot, save that Ollie learns about Brother Blood's return and we, the readers, learn the secret of Brother Blood's resurrection.
The third issue of Arrow: Season 2.5 is largely a housekeeping issue. And things are becoming harder still, with Brother Blood seemingly returned from the dead and leading a new gang. Money is getting tight and it's getting harder and harder to get all the wonderful toys Ollie needs in his crusade to protect Starling City. Times are tough for Oliver Queen and company. And because I don't think I've ever praised it before, let me say that the lettering by Wes Abbott is quite lovely and easy to read. Nanjan creates some rather impressive effects throughout, particularly the light reflecting off Doctor Fate's helmet. The characters are all well designed and the action of the story flows naturally throughout. The artwork by Bruno Redondo and Xermanico is as wonderful as ever. John Constantine is the perfect central character for this story, being both an every-man figure the newer readers can identify with but also one of the few characters who can play comedy and horror with equal effectiveness - an essential trait in this series!
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Tom Taylor rounds the curve into the new series effortlessly and his decision to focus this year upon DC Comics' magical heroes and their response to Superman becoming a tyrant is proving to be an interesting one thus far. For when John Constantine gets involved in things, it usually means that a bad situation is about to become a whole hell of a lot worse.Īny fears that might have existed about this series dipping in quality as it shifted in gears from super-heroic space opera to street-level mysticism prove completely unfounded. So the rest of the world had best be wary. Throw in a new magical menace that has been awakened by Superman's actions and John has ample reason to get involved even before things get personal. And while he's not one for getting involved in noble causes, John Constantine also isn't one for letting bullies get away with murder. But Superman's war with the Green Lanterns has changed many things and killed a lot of innocent people. When Duty Calls, you can usually find John running the other way. John Constantine has never been one for getting involved in noble causes.
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