Butcher’s suspicions–instead of him just resolving them–play out with spying and so on. It makes him less of a character. Ennis is now playing him for laughs. It’s a very strange misfire.

The best scene in the comic isn’t actually with any of the Boys. Well, except a funny flashback. Otherwise, the best scene is when the sincere den mother of Super Duper talks down the team’s new leader. Ennis is actually really good at sincerity, though he seems embarrassed about it.

Also trying is all the dating stuff with Annie and Hughie. Way to suck the life out of the characters. She’s thinking of quitting and is now boring. Hughie’s just his regular wholesome self, which is similarly boring.

The arc isn’t shaping up well. Ennis would have done better with just a Super Duper limited series. They’re a whole lot more interesting than a suspicious Butcher.

CREDITS

The Innocents, Part Two; writer, Garth Ennis; artist, Darick Robertson; colorist, Tony Aviña; letterer, Simon Bowland; editor, Joseph Rybandt; publisher, Dynamite Entertainment.

Ennis takes the Butcher finding out about Hughie and Annie thing in an unexpected direction. It makes Butcher suspicious Hughie’s a double agent, which leads to a couple lengthy talking heads scenes of Hughie being normal and Butcher being suspicious.

The first such scene is fine. The second’s practically unbearable. It just goes on and on.

There’s also some stuff with the bad corporate guys talking about the Homelander. Ennis is setting up for something big down the line and not being coy about it.

And he introduces another super team–Super Duper. They’re his riff on the original Legion of Super-Heroes. Lame powers, innocent minds.

There’s not much to the issue. The Super Duper heroes are apparently sweet, Butcher is suspicious–he talks to the Legend about it for another lengthy talking heads scene–and so on… but Ennis really doesn’t do anything.

His plotting seems checked out.

CREDITS

The Innocents, Part One; writer, Garth Ennis; artist, Darick Robertson; colorist, Tony Aviña; letterer, Simon Bowland; editor, Joseph Rybandt; publisher, Dynamite Entertainment.

Lots of jokes for the Female’s origin too. Frenchie has to tell it to Hughie, but there’re a few implications it’s an accurate retelling.

Ennis plays it for violence and for laughs. The Female ingests the superhero juice as a baby, which leads to her being a caged killing machine from birth. She escapes, learns of the world, gets recaptured. During one of those outings, Ennis does an homage to Aliens with one of the fire team repeating all of Bill Paxton’s memorable lines.

Very funny.

He opens the issue with humor too, about the Female’s family history. Those parts are probably the best, as Ennis is examining the nature of the origin story and its uses. It gets one in the right mindset to digest the issue.

There’s some great gross art from Robertson–I don’t think the Female’s methods have been visualized before–and an unexpected, solid ending.

CREDITS

The Instant White-Hot Wild; writer, Garth Ennis; artist, Darick Robertson; colorist, Tony Aviña; letterer, Simon Bowland; editor, Joseph Rybandt; publisher, Dynamite Entertainment.

Ennis tells Frenchie’s story, which he does mostly for laughs. Robertson gets the humor well–the setting, a tranquil French village, helps a lot.

There aren’t any surprises–Hughie even goes so far as to doubt its veracity–and only a couple real standouts. The first is short but awesome. As Frenchie recounts a touching summer love affair, Robertson’s art shows its baser reality. Might also be funnier because Frenchie’s mom and dad are in the room.

The second bit comes at the end, a little in-joke for Ennis readers. He repeats a moment from “Preacher,” only this time the Frenchman is the good guy and the American is the bad.

It’s a cute little done-in-one but there’s really nothing to it. Frenchie’s comic relief and Ennis doesn’t try to stretch him into something else. Ennis doesn’t even take the time to properly wrap up the flashback.

CREDITS

La Plume De Ma Tante Est Sue La Table; writer, Garth Ennis; artist, Darick Robertson; colorist, Tony Aviña; letterer, Simon Bowland; editor, Joseph Rybandt; publisher, Dynamite Entertainment.

Once again, Ennis avoids the big question the flashback raises. Hughie and Mother’s Milk are still talking–I think Hughie went for coffee–and there’s a bit more back story. Not a lot. Ennis skips about fourteen years. He does get in a big fight scene, which Robertson draws quite well.

But the issue–as none of the Mother’s Milk stuff really matters–is about the plans to put up the Freedom Tower in New York. Or whatever it’s going to be called. Ennis is using The Boys to talk about it being a dumb idea; given the last page, one would assume he’d go for rebuilding the World Trade Center.

As Brad Pitt once put it… “But you make it one floor taller.”

It’s an interesting use of a periodical and a love letter to New York City from an aficionado. Shame there isn’t a compelling story too.

CREDITS

Nothing Like It In The World, Part Two; writer, Garth Ennis; artist, Darick Robertson; colorist, Tony Aviña; letterer, Simon Bowland; editor, Joseph Rybandt; publisher, Dynamite Entertainment.

Ennis gets to Mother’s Milk’s story–and hints at something to do with the Female’s. M.M.’s story is a doozy. Ennis takes a somewhat traditional story–the giant corporation knowingly poisoning people with toxic waste–and adds the superhuman element.

It’s devastating at times, even with some of the more amusing visuals. It’s like Ennis and Robertson are setting up jokes, then knocking the reader for being shallow enough to prepare for them.

The only real problem is how Mother’s Milk tells the story. He just tells Hughie. It’s not just without prompting, Hughie’s busy asking about other things. M.M. just ignores those questions. The lack of a good delivery system is what hurts the story–especially since there’s no resolution to the big question the story raises.

Still, it’s a darn good issue. Robertson does some outstanding art; additionally, Ennis’s thoughtful 9/11 observations need airing.

CREDITS

Nothing Like It In The World, Part One; writer, Garth Ennis; artist, Darick Robertson; colorist, Tony Aviña; letterer, Simon Bowland; editor, Joseph Rybandt; publisher, Dynamite Entertainment.