The Boys 20 (July 2008)

Ennis continues his recounting of superheroes in Boys world. It goes reasonably well–Butcher gets laugh during his chat with the Superman guy–but Ennis is too obvious with some of the other stuff.

He’s got Annie in trouble with one of her teammates, only she doesn’t know it yet. Foreshadowing! Maybe it’s Robertson. His quality is up and down this issue. At one point I thought he was doing an homage to young John Byrne, but after a few more awkward panels, I realized he’s just rushing.

The exposition still works, but the story’s not compelling enough. Ennis needs real wow moments to make the Boys superhero origin special and he doesn’t have any. Especially since he’s taking the time to explain the 9/11 reference. It worked better as a surprise versus a plot point.

It’s a pleasant enough read, but Ennis is dragging it on too long.

CREDITS

I Tell You No Lie, G.I., Part Two; writer, Garth Ennis; artist, Darick Robertson; colorist, Tony Avina; letterer, Simon Bowland; publisher, Dynamite Entertainment.

The Boys 19 (June 2008)

Ennis opens with a war story–well, at least a few pages of one–and it’s nice to see he and Robertson doing it. Ennis’s zeal for the genre (along with his cynicism) play well in The Boys‘s flashback, as the Legend tells Hughie all about the history of superheroes. This issue covers until the Vietnam War and a little beyond, but I was mostly just wondering about the cover date and when Irredeemable started.

You can only do so much with Superman analogues, sure, but….

There’s also some stuff with Butcher facing off with said Superman analogue, which might end up with Ennis going over some of Butcher’s history too. For comic relief, he’s got the big team superheroes who aren’t cool enough to go on the secret meeting to the Boys.

It’s basically an “all exposition” issue, but Ennis and Robertson are gleeful enough they keep it moving.

CREDITS

I Tell You No Lie, G.I., Part One; writer, Garth Ennis; artist, Darick Robertson; colorist, Tony Avina; letterer, Simon Bowland; publisher, Dynamite Entertainment.

The Boys 18 (May 2008)

It’s a little more traditional issue of The Boys. More traditional because Ennis returns to the series being about Butcher and Hughie, which he’s been moving away from a little. There’s still the other stuff, he just focuses on them for the finish.

The cliffhanger resolution is good–Ennis actually paces it over about half the issue. It’s a satisfactory payoff, mostly because of the unexpected ways Ennis extends it. He’s able to make the absurdly, darkly, disturbingly comedic touching. The Boys, so far, is Ennis at his most tender.

There’s a little of the Mother’s Milk subplot; again, it feels like Ennis is trying too hard. It’s too mysterious–it can’t possibly have a fulfilling payoff. As far as supporting cast, the Frenchman and the Female appear for one scene. Annie gets a big scene to herself… odd as she’s not a Boys team member.

It’s an excellent issue.

CREDITS

Good for the Soul, Conclusion; writer, Garth Ennis; artist, Darick Robertson; colorist, Tony Avina; letterer, Simon Bowland; editor, Joseph Rybandt; publisher, Dynamite Entertainment.

Contemporaneously…

The Boys 17 (April 2008)

Ennis is a funny, funny man. Even when he’s being cruel, he’s funny. He’s also come up with a good way–maybe–to excuse Hughie for killing that awful teenage superhero again. The teen hero is now a zombie and pitiful, but Ennis figured it out.

The issue’s mostly split between Hughie and Annie. She’s spying on her teammates, he’s working on his assignment with the teenage sidekicks. They meet up at the park and then Ennis comes up with another hilarious scene. One has to wonder if he just writes them down as they come to him and fits them into stories later.

Mother’s Milk has a mysterious scene, which teases for later. Ennis better be holding out something good for him. After finally giving the Frenchman and the Female a story, Mother’s Milk deserves one too.

It’s another excellent issue… with one of the most frightening cliffhangers ever.

CREDITS

Good for the Soul, Part Three; writer, Garth Ennis; artist, Darick Robertson; colorist, Tony Avina; letterer, Simon Bowland; publisher, Dynamite Entertainment.

Contemporaneously…

The Boys 16 (March 2008)

Something about the Frenchman this issue makes me wonder if he’s supposed to be some kind of homage to Steve Dillon. Robertson draws him, in his big moment–the Frenchman’s first in the series–with a very Steve Dillon-esque nose. He and the Female get a lot of time this issue. The less nice way of saying it is Ennis finally gets around to them.

While the Frenchman and the Female basically share the same plot, Hughie has his own continue with Annie. He’s also got the one where he’s supposed to take out the annoying teen superhero again. Butcher, however, has almost nothing to do. He and Mother’s Milk bicker and watch some surveillance footage; the footage will undoubtedly be important later, but Ennis plays it for humor now.

The Boys is evening out. Ennis finally gets around to emphasizing the supporting players, making for a great read.

CREDITS

Good for the Soul, Part Two; writer, Garth Ennis; artist, Darick Robertson; colorist, Tony Avina; letterer, Simon Bowland; publisher, Dynamite Entertainment.

Contemporaneously…

The Boys 15 (February 2008)

Lots of stuff going on here. Some of it is setup, some of it is cleanup. Butcher sees his lady friend from the CIA–the dog does do something hilarious, even if Robertson doesn’t focus on him like he used to–while Annie (the Christian Supergirl stand-in) has a crisis of faith and Hughie gets a secret mission of his own.

What’s strange is how nice the issue turns out to be. Butcher and the CIA lady, amidst their angry banter, are sort of cute together. Hughie and Annie are positively adorable. Shame the rest of The Boys have to sit the issue out.

There’s also a lot of information in the issue, mostly in Annie’s section. She’s remembering her days as a big time superhero and offering commentary. It paces the issue, which is almost entirely conversation.

The issue is practically genial… as genial as Ennis gets anyway.

CREDITS

Good for the Soul, Part One; writer, Garth Ennis; artist, Darick Robertson; colorist, Tony Avina; letterer, Simon Bowland; publisher, Dynamite Entertainment.

Contemporaneously…

The Boys 14 (January 2008)

Ennis doesn’t go for big action in the arc’s finale. He gives Hughie and the Russian guy a little adventure, then goes for humor when bringing in the rest of the team. The Frenchman does get some time, but the Female could have taken the arc off. Ennis just doesn’t have any use for her. It’d be a problem if the comic wasn’t so enjoyable otherwise.

Snejbjerg returns on the art, with Robertson only opening the issue. There’s a really neat transition between the two artists, where Hughie is looking at something (in Robertson’s pages) and then Snejbjerg takes over with what he’s seeing. It’s excellent.

While the issue’s (pleasantly) perfunctory and doesn’t offer much visceral pay-off–Ennis is laying groundwork for future issues–there is the money shot. Ennis goes for what’s become a traditional indie comics reveal (post-2001), yet it still works. Just like The Boys.

CREDITS

Glorious Five Year Plan, Conclusion; writer, Garth Ennis; artists, Darick Robertson and Peter Snejbjerg; colorist, Tony Avina; letterer, Simon Bowland; publisher, Dynamite Entertainment.

Contemporaneously…

The Boys 13 (December 2007)

For most of this issue, Peter Snejbjerg fills in on the art and it completely changes the tone of the book. It’s most obviously with Hughie, who Snejbjerg gives wide Eisner eyes. The Boys becomes more emotive and a lot more fun. It’s particularly interesting during the dramatic finish, when Hughie’s the only primary cast member present. Snejbjerg captures his panic and makes it joyous to read.

Otherwise, not a lot happens. Hughie and Butcher investigate some things, there’s a little with the bad guys (but not much) and a couple easy jokes. I don’t think the Female has had her face in a panel for two issues now. But it works, partially due to Ennis’s pacing, but mostly because of Snejbjerg.

Snejbjerg draws The Boys like he’s in on the joke. It probably only works because he’s a fill-in. The sharp change from Robertson acts as pressure release.

CREDITS

Glorious Five Year Plan, Part Three; writer, Garth Ennis; artists, Darick Robertson and Peter Snejbjerg; colorist, Tony Avina; letterer, Simon Bowland; editor, Joseph Rybandt; publisher, Dynamite Entertainment.

Contemporaneously…

The Boys 12 (November 2007)

Ennis continues the quiet approach with the Russia story. Besides a bit of violence–and nowhere near the previous issue’s–there’s not much sensational. The Boys is calming down, with Ennis focusing on how the group operates. I don’t think Mother’s Milk has ever had so much to do and he’s just out asking questions here. The Frenchman gets a little scene, which Ennis plays for somewhat for laughs, before getting serious a moment later.

There’s a little with the villains and Ennis makes the Russian villain, Little Nina (she’s tiny), likable. Maybe because the American villains are such jerks, but also because it makes the comic a lot more enjoyable to have another funny character present.

The solid pacing continues. The issue takes place over a couple hours at most and only has a handful of scenes and fewer locations, but Ennis and Robertson make it feel full enough.

CREDITS

Glorious Five Year Plan, Part Two; writer, Garth Ennis; penciller, Darick Robertson; inkers, Robertson and Rodney Ramos; colorist, Tony Avina; letterer, Simon Bowland; editor, Joseph Rybandt; publisher, Dynamite Entertainment.

Contemporaneously…

The Boys 11 (October 2007)

366658 Ennis sends The Boys to Russia, which proves exactly what the series needs. He’s able to emphasize the characters while introducing the new material. Since they’re getting the information at the same time as the reader, the expository stuff is very smooth.

Robertson tones down the sensationalism too. The reason for the Russia visit is gradually revealed and always in dialogue. Hughie’s still the protagonist, but Ennis doesn’t emphasize it as much. The writing is very natural, very organic. The finale, for instance, is a complete surprise since Ennis isn’t raising any expectations.

So, while the issue is fun and well-done, it’s a little light on actual content. Ennis’s scenes are lengthy and full of natural dialogue. There’s really no action.

The most distinctive moment is the introduction of the new villain, which Ennis plays for humor. Actually, Ennis plays the whole issue for humor, even the humorless parts.

CREDITS

Glorious Five Year Plan, Part One; writer, Garth Ennis; penciller, Darick Robertson; inkers, Robertson and Rodney Ramos; colorist, Tony Avina; letterer, Simon Bowland; editor, Joseph Rybandt; publisher, Dynamite Entertainment.