Brubaker works three points of view into this issue. He opens with Beezer’s girlfriend, Sophie, who’s writing in her journal about the issue’s events so she’s supposedly the primary. But Beezer runs off and he’s the protagonist for a while. Then Beezer disappears for a bit and the story shifts to an omnipotent third person.
But Beezer’s really the protagonist, especially given all the flashbacks. Brubaker’s giving the reader information he or she needed last issue… all the fantastical stuff happening to Beezer? It turns out he already knew about it, which changes how those early scenes play.
And once it becomes clear where Brubaker’s going with the plot, the issue runs into some trouble. Sophie’s adventures trying to track down a friend’s drunkard father are a lot more interesting than Beezer’s machinations. They shouldn’t be more engaging… but they are.
Brubaker’s passive writing is better than his active plotting.
I had comepletely forgotten about this series, being an important one in Brubakers development at DC, along with Catwoman and the Sleeper stuff.
Great comic wonder years.