Jolley writes Firestorm better in this comic than he does in his own title. Maybe because the Bloodhound stuff just runs off. It’s actually a rather successful crossover issue between two books without any reason to crossover.

It doesn’t hurt Kirk and Riggs easily toggle between realistic action violence and superhero stuff. Or how Jolley lets Clev guide the issue–Jolley basically incapacitates Firestorm, which really helps with the plot developments. It reads a lot less silly than it could.

But even good art and good dialogue can’t make the villain any better. He’s one dimensional and boring. The issue needs strong characterizations. For instance, Jolley writes a strange mentor relationship between Clev and Firestorm. Clev is empathetic.

So while Bloodhound is able to develop through this crossover, the whole point of the crossover is undercooked.

The villain can just be a bad guy, but he still needs a personality.

CREDITS

Firestorm; writer, Dan Jolley; penciller, Leonard Kirk; inker, Robin Riggs; colorist, Moose Baumann; letterer, Rob Leigh; editor, Ivan Cohen; publisher, DC Comics.

It’s the conclusion to the first arc–and an astoundingly bloody one–but also the origin issue. Jolley’s able to work in some background information on Clev, which probably provides the issue with most of its dialogue.

Otherwise, it’s Clev and the bad guy beating the crap out of each other. It’s a vicious fight, lots of blood for a DC book. Even for a tough one. It makes for a good read; Kirk and Riggs outdo themselves.

But there’s a downside. Jolley doesn’t reward the reader. He goes for a realistic ending–or maybe one to direct the series to its next story arc–but the result is downbeat. Even with the funny end joke.

Narratively, the move is probably appropriate, but in a populist sense, the finish is undeniably lacking.

The first four issues might’ve worked better as five. Though maybe not. Jolley paces it tight.

Bloodhound’s good.

CREDITS

Catharsis; writer, Dan Jolley; penciller, Leonard Kirk; inker, Robin Riggs; colorist, Moose Baumann; letterer, Rob Leigh; editor, Ivan Cohen; publisher, DC Comics.

For lack of a better phrase, one could call this issue the “eureka” issue. Clev and his partner–Agent Bell–do their investigating and realize what they need to realize. Jolley’s able to make it even more dramatic since Clev is a muscle bound grotesque and just having him talk to people makes for a scene.

Jolley doesn’t give the reader too much information on the bad guy and instead makes the issue’s villain the FBI boss. It leads to some funny scenes and some violent ones, but misguided FBI agents aren’t the best villains. Even temporary ones.

Kirk and Riggs’s artwork is, as usual, fantastic. There’s a great mundane scene at a mall, but also more action-oriented one on a freeway. The Southern scenery helps a lot, giving Bloodhound multiple visual personalities.

And Jolley and Kirk end it with a great hard cliffhanger on a one page spread.

CREDITS

Sphere of Influence; writer, Dan Jolley; penciller, Leonard Kirk; inker, Robin Riggs; colorist, Moose Baumann; letterer, Rob Leigh; editor, Ivan Cohen; publisher, DC Comics.

I like a lot of this issue. Jolley opens it well, the middle part is good, most of the ending is good. He goes out on a joke, which doesn’t work, but there’s some great stuff just before the finish.

In other words, Bloodhound is a good book. Jolley puts it all together quite nicely, as the protagonist reacquaints himself with old friends and his new colleagues.

But the most impressive thing in the issue is the way Kirk and Riggs draw a pair of hands. It’s not supposed to be a subtle panel, it’s supposed to be clear, but the technical drawing skill of it is just wonderful.

Jolley sticks to Clev, the protagonist (and the titular Bloodhound), but he does excellent work with his FBI handler. I can’t remember her name yet, but Jolley’s writing of her is great.

Besides the underwhelming last page, it’s an excellent comic.

CREDITS

(Un)leashed; writer, Dan Jolley; penciller, Leonard Kirk; inker, Robin Riggs; colorist, Moose Baumann; letterer, Pat Brosseau; editor, Ivan Cohen; publisher, DC Comics.

Bloodhound takes a while to get bloody. It has to get bloody–most of the issue takes place during a prison riot with the lead characters trying to survive to the exit. When the issue starts, however, it generally feels like a regular DC comic.

I mean, Leonard Kirk and Robin Riggs’s artwork is–while utterly fabulous–definitely mainstream comics art. Kirk has some beautiful panel composition for the reaction shots during conversations and then more during the action scenes.

Dan Jolley’s dialogue has a lot of information to follow, but he never goes overboard with the exposition. There are little comments as people say things to one another and it passes the information. Some of it doesn’t even stick (though I read Bloodhound back when it first came out so I remember some).

The most startling violence comes late, but perfectly timed.

It’s a good, carefully written first issue.

CREDITS

Greenlight; writer, Dan Jolley; penciller, Leonard Kirk; inker, Robin Riggs; colorist, Moose Baumann; letterer, Rob Leigh; editor, Ivan Cohen; publisher, DC Comics.