Yeah, Ennis’s rehabilitation of Annie continues big time. So does McCrea and Burns’s terrible rendition of her–at one point her eye is in front of her hair. Very creepy.

After going too slow the last issue, Ennis goes too fast this time. There’s the whole English guy who hangs out with Hughie, there’s stuff with his parents, there’s a lot with Annie… not to mention the smuggling subplot coming to a head. Or starting to come to a head, just in time for a cliffhanger.

It’s just too much and it hurts some of the better moments in the book. Ennis doesn’t pull off whatever he’s trying. The bad art has a lot to do with the failings, but he’s also got too many pots on.

His attempts to resolve the various subplots doesn’t leave enough time for any of them. Hopefully he’s got a good finish planned. Hopefully.

CREDITS

Wisdom of the Ages; writer, Garth Ennis; artists, John McCrea and Keith Burns; colorist, Tony Aviña; letterer, Simon Bowland; editor, Joseph Rybandt; publisher, Dynamite Entertainment.

Ennis backtracks on quite a bit here with Annie. It appears she was never really the good Christian superhero Ennis wrote her being. Instead, she’s always been aware she’s a corporate product and a successful one.

If he always meant to do this revelation, he sure didn’t write for it. There were a lot of times Annie had her own story arcs in the main series and things don’t fit anymore.

Besides her telling Hughie all about herself, there’s a little with the bad guys. Those scenes are kind of pointless, especially since Ennis is working on the flunkies being unreliable. The flunkies aren’t characters, so they give them a subplot all their own?

All of a sudden Highland Laddie has become a Boys arc. Not a bad thing to be, but very unfortunate since the series started out as something completely different.

The weak art continues to hurt it.

CREDITS

A Young Man’s Fancy; writer, Garth Ennis; artists, John McCrea and Keith Burns; colorist, Tony Aviña; letterer, Simon Bowland; editor, Joseph Rybandt; publisher, Dynamite Entertainment.

Another excellent issue, save the art. When Annie shows up at the end, I didn’t even recognize her. I thought for a minute Ennis was bringing in one of Hughie’s childhood crushes.

Otherwise, like I said, excellent. Even with the flashes to Boys events, the series feels completely removed from it. If Highland Laddie does actually exit Hughie from the main series, it’d be kind of perfect. Ennis built up a character in a fantastical world, only to send him off into reality.

But I doubt Hughie’s going anywhere.

There are a couple really nice flashback scenes, if occasionally disgusting. Ennis does try a little hard to show Hughie’s awareness at his demeanor and what he blames for that situation; the nice relationships with friends and family make up for the obviousness though.

It’s a shame Ennis doesn’t have a better artist. McCrea doesn’t begin to convey the script’s depth.

CREDITS

Beware the Jabberwock, My Son; writer, Garth Ennis; artists, John McCrea and Keith Burns; colorist, Tony Aviña; letterer, Simon Bowland; editor, Joseph Rybandt; publisher, Dynamite Entertainment.

No doubt about it, Ennis is having a good time on Highland Laddie. The most fun is trying to remove all the superhero stuff from it mentally; the story works just as well. Makes one wonder what the main series would be like if Ennis started with characters and story and added all the superhero nonsense to it later.

This issue’s a lot of talking heads, which McCrea and Burns don’t do a particularly good job of illustrating, but the dialogue is all so strong it doesn’t matter. Hughie makes a new friend, hangs out with his old friends, has some flashbacks. The flashbacks are awesome–particularly the revelation of young Hughie the detective.

There’s also the big subplot, involving drugs (and superheroes, sort of). Ennis uses it to give the story some danger. Otherwise the biggest concern is Hughie discovering he doesn’t really like his childhood friends while sober.

CREDITS

Great Glass Elevator; writer, Garth Ennis; artists, John McCrea and Keith Burns; colorist, Tony Aviña; letterer, Simon Bowland; editor, Joseph Rybandt; publisher, Dynamite Entertainment.

If it weren’t for the art from John McCrea and Keith Burns, Highland Laddie–the first issue anyway–would be the best Boys in a year or so. Even with it, the issue shows off Ennis’s actual writing abilities, not how many jokes he can make about superheroes.

Hughie goes back home to Scotland, reuniting with his mother and father and his mates. Ennis doesn’t exactly give a look into what Hughie was like before The Boys, but he definitely is setting up a place where Hughie can take the lead.

There’s some humor, but Ennis plays it more for a smile than an actual laugh. He’s taking his time and having fun.

Unfortunately, the art’s a mess. It’s too rushed, which is especially obvious when Burns gives up on even inking in eyeballs. One panel the characters have them, the next it’s Bill Watterson.

Ennis’s script makes it work.

CREDITS

The Harbour at the World’s End; writer, Garth Ennis; artists, John McCrea and Keith Burns; colorist, Tony Aviña; letterer, Simon Bowland; editor, Joseph Rybandt; publisher, Dynamite Entertainment.

Ennis is tying some stuff up–or at least buying the laces–with McCrea and Burns on the art. It’s not the right issue for them, it’s all way too mundane.

Butcher finally finds out about Annie, Frenchie tries to get the Female hooked on 2000 AD, we find out Mother’s Milk has some issues from his childhood. I think that list about covers it.

The best writing Ennis does in the comic is for Annie though. Hughie’s got bad dreams, but it doesn’t amount to much. Ennis saves all the good lines for Annie–and a couple for Butcher, obviously–and one has to feel bad she’s not a more central character.

I mean, he writes her not just the best arc for the issue, but the comic lines are just amazing. Hughie doesn’t deserve her. Ennis has done amazing things with her character.

Anyway, it’s good but problematic.

CREDITS

What I Know; writer, Garth Ennis; artists, John McCrea and Keith Burns; colorist, Tony Aviña; letterer, Simon Bowland; editor, Joseph Rybandt; publisher, Dynamite Entertainment.

I really wish I could remember the name of the Wonder Woman analog because Ennis does some great stuff with her this issue. He also does something interesting with the Homelander–setting him up to attempt being a superhero. But those developments are on the Seven side of things….

On the Boys side of things, Butcher goes against the rest of the lame heroes, rather viciously. These guys aren’t particularly reprehensible so at times it seems excessive, until one remembers what they’ve done (Ennis never directly references it, just makes the scenes long enough the reader does it on his or her own).

Hughie and Mother’s Milk regroup and plan out their next steps too. The next issue needs to be a doozy.

John McCrea and Keith Burns take over on art, which gave me slight pause. But they go ahead and keep up the violent intensity without any humor.

CREDITS

The Self-Preservation Society, Part Three; writer, Garth Ennis; pencillers, John McCrea and Keith Burns; inkers, Burns and McCrea; colorist, Tony Aviña; letterer, Simon Bowland; editor, Joseph Rybandt; publisher, Dynamite Entertainment.