Robertson really drops the ball this issue. I mean, Ennis still gets some bounce out of it, but Robertson’s art is so lazy I went back to the credits page to make sure it’s him. He’s really loose with his lines, his perspective and his placement. The Female gets lost at the beginning and I wasn’t even sure the dog was along.

Hughie comes into his own, however, which is a nice sequence. Art could’ve been better. Ennis gets on a soapbox–or puts Hughie on one–about prejudice and goes a little too far. He almost makes it convincingly part of the story, but pushes too much. It still works, especially given the ending with Butcher.

There’s a hilarious postscript with TekKnight and it makes up for a lot of the issue’s problems. Or not, actually. Ennis’s script for it is superb, save the PSA. Robertson just got lazy.

CREDITS

Get Some, Conclusion; writer, Garth Ennis; artist, Darick Robertson; colorist, Tony Avina; letterer, Simon Bowland; publisher, Dynamite Entertainment.

Ennis ups the absurdly “adult content” level of the series here, ending the issue on a scene both hilarious and uncomfortable. It sort of hides the fact he’s only got five scenes in the issue.

He brings together his two story threads–the Boys and TekKnight–and then abandons the TekKnight one. Instead Hughie gets a scene to himself and then… wait, Ennis only has four scenes this issue. I think.

There’s a lot of humor, except with Hughie’s investigation scene, but not much story. In fact, Ennis constricts the story arc quite a bit here–and not just with TekKnight becoming supporting cast. He goes for the joke instead of expanding the story.

The ending alone can sell the issue, but it’s hard not to see it as filler. Ennis easily could have folded the first and last scenes together (wait, there are five scenes) without any narrative bumps.

CREDITS

Get Some, Part Three; writer, Garth Ennis; artist, Darick Robertson; colorist, Tony Avina; letterer, Simon Bowland; publisher, Dynamite Entertainment.

So the Female and the Frenchman are the comic relief and Mother’s Milk is the revelatory exposition. M.M. does have some character otherwise, but not a lot. The situation works–supporting cast and main cast–but Ennis doesn’t even bother to disguise it. The Female and the Frenchman are just here this issue so readers don’t forget about them before the next big fight.

Ennis keeps the split between Batman (sorry, TekKnight) and Butcher and Hughie. Butcher and Hughie are doing an actual investigation, which gives this issue of The Boys a different flavor. It’s a detective book–and a good one–all of a sudden. Ennis is very careful with his colloquial conversations. He does a great job naturally dropping references.

There’s a great bit with the Alfred stand-in. Besides the rather adult content, Ennis is basically riffing on the goofiness of the Batman franchise.

It’s good stuff.

CREDITS

Get Some, Part Two; writer, Garth Ennis; artist, Darick Robertson; colorist, Tony Avina; letterer, Simon Bowland; publisher, Dynamite Entertainment.

Ennis has worked out his pacing issues. He splits the issue between The Boys figuring out their next case and the Batman analog confessing he’s compulsively raping them (mineral and animal). His first issue away from Wildstorm–and DC–Ennis really seems to enjoy sticking it to DC. The Batman analog is hilarious and rather mean-spirited.

Of course, Ennis is mean-spirited to superheroes in general so it’s not only targeted slights. The Boys lets Ennis have a whole lot of fun, but it’s hard to say if he and Robertson homage anything. The little old comics man at the end–he sort of looks like the Tinkerer but he might just be a little old man.

While it’s a rather amusing issue–there’s some great exposition with the Boys–it’s just a bridging issue. Ennis does a good job hiding the finish, but there’s nothing substantial about it.

CREDITS

Get Some, Part One; writer, Garth Ennis; artist, Darick Robertson; colorist, Tony Avina; letterer, Simon Bowland; publisher, Dynamite Entertainment.

Lots of talking in Ennis’s finish for this arc. Lots and lots of exposition, particularly from Butcher. It’s not bad talking, there’s just a whole lot of it. Butcher’s a fun character, but Ennis hasn’t made him worth spending time with when he’s just rambling. He’s not funny enough and his friendship of Hughie doesn’t have much effect.

Butcher’s best when he’s causing trouble or telling jokes, sort of like how the Frenchman’s best when he’s beating someone up or when the Female is being unexpectedly tender. Mother’s Milk is the character who manages to be the most dynamic and he’s the most underutilized.

This issue opens with a great fight scene, an amusing followup regarding superhero funerals and then a plodding finale. Ennis treats the first six issues more like a TV pilot than the opening of a series. The pacing’s just off.

Still, it’s got some great parts.

CREDITS

Cherry, Conclusion; writer, Garth Ennis; artist, Darick Robertson; colorist, Tony Avina; letterer, Greg Thompson; editors, Kristy Quinn and Ben Abernathy; publisher, Wildstorm.

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Contemporaneously…

• The Ultimates 2 13 (February 2007)
• Chronicles of Wormwood 2 (February 2007)
• Doctor Strange: The Oath 3 (February 2007)
• The Damned 5 (February 2007)
• The Immortal Iron Fist 2 (February 2007)

Ennis brings together his two plot threads–Hughie and Annie–at the beginning of the issue. It’s funny how Ennis can write a more sympathetic Christian nincompoop than anyone else.

He’s also able to sell their meeting as honest and necessary. It feels right, since the two are just bouncing the same ideas off each other. It’s a nice scene.

The rest of the issue is the takedown of the Teenage Kix (an annoying teen superhero group, presumably Ennis’s analog of one of DC’s “tougher” Teen Titan books). It’s very amusing, though the best moment in the issue is still the Female petting the dog.

The cliffhanger, featuring the Kix going after the Boys, is the first great cliffhanger in the series, simply because one would wait any amount of time for whatever’s going to come because it’s clear Ennis and Robertson are going to nail it.

Loads of fun.

CREDITS

Cherry, Part Three; writer, Garth Ennis; artist, Darick Robertson; colorist, Tony Avina; letterer, Greg Thompson; editors, Kristy Quinn and Ben Abernathy; publisher, Wildstorm.

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Contemporaneously…

• Chronicles of Wormwood 1 (January 2007)
• Doctor Strange: The Oath 2 (January 2007)
• Phonogram 4 (January 2007)
• The Damned 4 (January 2007)
• The Immortal Iron Fist 1 (January 2007)

Yeah, Ennis is definitely writing for the trade. He finishes this issue with a little joke he started in the last one. On the first or second page. It wouldn’t have any context if you were reading it a month apart.

This issue continues the split between Starlight and the Seven (the Justice League stand-in, which is probably what got Levitz so upset) and Hughie and the Boys. Ennis again plays the Seven for the humor, even though they’re really mean people–which is why the jokes are so funny–and a relatively straightforward story for the Boys.

Except Butcher’s “date.” I think Robertson’s best work on the series has to be Terror’s expressions. Terror (the dog) is along on the date. Very funny.

As for Hughie, Ennis only remembers the comic’s about him towards the end. It’s too little, too late, but the issue’s so fun it passes.

CREDITS

Cherry, Part Two; writer, Garth Ennis; artist, Darick Robertson; colorist, Tony Avina; letterer, Greg Thompson; editors, Kristy Quinn and Ben Abernathy; publisher, Wildstorm.

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Contemporaneously…

• Doctor Strange: The Oath 1 (December 2006)
• The Damned 3 (December 2006)
• Criminal 3 (December 2006)
• Agents of Atlas 3 (December 2006)

I wonder if Paul Levitz got all upset over this issue of The Boys or if it was something else. Regardless, I’m ahead of myself. But there’s some forced prostitution here and it seems like something someone would get upset about. I love how Ennis effortlessly demonizes superheroes. There’s a real charm to it.

The story’s split between Starlight–a good Christian teen superhero girl (lots of the superheroes are good Christians, something I can’t remember anyone before Ennis coming up with)–joining the premier superhero team and Hughie meeting the rest of the Boys.

While Starlight’s story is awful, Ennis makes it into the comedic one. There’s a little comedy in Hughie and Butcher going through the South Bronx, but not much once they meet up with everyone else. Except maybe the Female. She’s a lot of fun.

It’s excellent stuff… but the ending is a little too abrupt.

CREDITS

Cherry; writer, Garth Ennis; artist, Darick Robertson; colorist, Tony Avina; letterer, Greg Thompson; editors, Kristy Quinn and Ben Abernathy; publisher, Wildstorm.

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Contemporaneously…

• Phonogram 3 (November 2006)
• The Damned 2 (November 2006)
• Criminal 2 (November 2006)
• Agents of Atlas 2 (November 2006)

Ennis introduces the rest of the team this issue, but without exactly putting the team together. He juxtaposes these introductions against Butcher trying to recruit Hughie. He also gets The Boys‘s first huge laugh. More accurately, he and Robertson get the first huge laugh. Without Robertson’s art, Butcher’s dog’s face wouldn’t be so perfect.

As for the introductions to the team members, Ennis runs hot and cold. He opens with the CIA agent going over the files, prepping the reader a little, but the Frenchman’s episode is only slightly amusing. Ennis doesn’t push the humor. The Female’s introduction is practically a sociology piece. Mother’s Milk, in the final introduction, gets the best. Ennis finds the right mix of tones.

As for Hughie? It’s hard for Terror (the dog) not to overshadow those scenes, but Ennis also has Butcher going through a lot of exposition.

It’s an awesome, slightly problematic read.

CREDITS

The Name of the Game, Part Two; writer, Garth Ennis; artist, Darick Robertson; colorist, Tony Avina; letterer, Greg Thompson; editors, Kristy Quinn and Ben Abernathy; publisher, Wildstorm.

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Contemporaneously…

• The Boys 1 (October 2006)
• The Damned 1 (October 2006)
• The Damned 0 (October 2006)
• Criminal 1 (October 2006)
• Agents of Atlas 1 (October 2006)

There’s nothing visually fantastic in this first issue of The Boys. While Garth Ennis does write little asides–mostly from Butcher–deriding the superheroes, it’s Darick Robertson does all the heavy lifting with the visual implications. Robertson’s settings are hyper-realistic and occasionally gleefully mundane. The Boys establishes its reality feel immediately.

Ennis splits the issue between Butcher and Hughie without any explanation. There’s a little third person narration about Hughie, but otherwise Ennis just uses the force of Butcher’s character to move the rest of the issue.

There’s a lot of humor to take the edge of the occasional meanness. but Butcher can’t be too mean. He’s got an adorable bulldog, after all.

Unfortunately, there’s not much content. It’s clear Ennis is writing for the trade, given how many names he drops without establishing the characters. It’s a good comic, but so obviously a chapter versus a real issue.

CREDITS

The Name of the Game; writer, Garth Ennis; artist, Darick Robertson; colorist, Tony Avina; letterer, Greg Thompson; editors, Kristy Quinn and Ben Abernathy; publisher, Wildstorm.

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Contemporaneously…

• The Damned 1 (October 2006)
• The Damned 0 (October 2006)
• Criminal 1 (October 2006)
• Agents of Atlas 1 (October 2006)