One word: disappointing.
Another word: disjointed.
I don't mean to "dis-" this book but it was kind of a letdown. This was one of the new 52 reboots that I was looking to most of all. What Dan Jurgens gives us is a semi-hero with confusing goals and zero backstory. The plot lines are ridiculously disconnected, and sophomoric, appealing perhaps to 12 year boys but no one else. Gone, definitely are the Mike Grell days -- this book doesn't even strive to live in that shadow of that story run.
Not only do I not care about this new Green Arrow and his crew, I'm almost hoping he'll lose.
My advice to Arrow fans -- watch the TV show. At least those writers care about the character.
The first three volumes of Green Arrow are some of the worst comics I've ever read. Straight up awful. Just ignore them and start at volume 4 when Jeff Lemire comes on board as writer and, combined with the incredible art by Andrea Sorrentino, turns it into one of the best books in the DC stable.
There's pretty much zero plot or character development in the first three volumes. So don't worry about missing anything by skipping them.
I have to admit I was a little disappointed by this book. The character himself feels a little forced in his attitude and humor. It never seems like anything is truly a threat to him because he always has the perfect luck with the perfect arrow for any job. The artwork itself feels a little lackluster. The new design of the arrow himself is a little too "hip". Wouldn't really recommend this to arrow fans or really comic book readers in general.
I'm glad to see someone else comment on the state of art-work in the comic industry these days. A lot of recent comics seem to be drawn by people who are just beginning to learn the rudimentaries of anatomy, among other things, with no concern for field the artist has chosen in life.
In other words, terrible art and a total disregard for the paying public.
The new 52 post reboot status quo for the character. Having had not followed the character before the reboot, I'm not sure what's new and what's not. The creative team has the title character at the figurative helm of his own corporation, with an inner circle supporting his efforts as a vigilante. The character seems ten or fifteen years younger than before the reboot, and the art is more than suitable for the subject (the various artists actually understand basic anatomy, a problem that more than a few comics artists seem to have... Liefeld, for one). This collection establishes where the archer fits into the new state of things, a few villains for him to tangle with, and has a particularly strong moment in the midst of the entire thing: a direct shot across the bow at the pure nonsense that is reality television.
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