Not That You Asked, But …

Green Arrow (2011) 35-40
DC Comics
Andrew Kreisberg and Ben Sokolowski, writers
Daniel Sampere, Jonathan Glapion, Gabe Eltaeb and Daniel Henriques, artists

OK, I'm behind on my reading. If you're a regular follower of this blog, that isn't news to you.

So why am I talking about these issues that are nearly a year old? Since the launch of the New 52, Green Arrow has been hit or miss with me, a miss more often than not. I talked more about that here. And I also raised the hope that the return of Andrew Kreisberg to the title might mean an upswing in the title's likability for me. Thus, here is the post where I answer that burning question I left you all hanging with.

Kreisberg and scripter/co-plotter Ben Sokolowski continue the trend of bringing elements from the hit CW show "Arrow" into the mix. They keep Diggle, introduced in a previous arc, and have added other television show elements such as Felicity Smoak. Katana, too. I like "Arrow," but I don't want my monthly dose of Green Arrow comics to too closely copy the television program. Well, that isn't what Kreisberg and Sokolowski are doing here. These characters aren't exactly the same as their TV show counterparts.

Also, Kreisberg and Sokolowski have re-introduced elements from past comic incarnations of Green Arrow, helping to further differentiate the comic from the TV continuity. The setting, for one, is Seattle, not Star City or Starling City. This story arc, "The Kingdom," also introduces the New 52 version of Mia Dearden and brings back Tommy Merlin, now a dark archer named Merlyn. Further cementing this continuity as different from "Arrow" is the inclusion of a number of DCU guest stars, including Lex Luthor and Batman from Justice League and Arsenal from the New 52 title he shares with Red Hood.

All of that adds up to a very enjoyable story arc that gives me renewed hope for the Green Arrow title. I still have the two-month Convergence titles to read, but this creative team seems to finally have gotten this title on track, reminding me why I like the GA character and making me look forward to each new issue of his title.

But then I remembered that the creative team once again changes with the issues post-Convergence. I hated the frequent creative team changes on this title before. And it looks like they haven't stopped. Maybe DC doesn't want me to like this title. I swear I'm about to give up trying to like it. But hey, if you get the chance, pick up these issues or the likely trade collecting them. This story, and this creative team, at least, are worth the price.

Turn The Key And Unlock Greatness

Locke & Key Vols. 1-6
IDW Publishing
Joe Hill, writer
Gabriel Rodriguez, artist

Finishing a really good book or series is always a bittersweet event. There's the joy of having experienced the story, the satisfaction of having completed the journey to its end. But if you really enjoyed the book, connected with the characters, then there's also a bit of sadness that their story is over and there will be no more.

That's how I felt after finishing the entire Locke & Key series at long last. I borrowed the first three volumes from my local library. You can read what I thought of those volumes here and here. But in short, I liked them enough that after the third volume, I decided to just buy the series, which I did after doing a little bargain hunting. But then, due to the craziness of life putting me quite behind on my reading, it has taken me a while to get back to the series.

Because of that delay, I decided to re-read the first three volumes. I still remembered the basic story of the Locke children — Tyler, Kinsey and Bode — and how they came to stay at their ancestral home, Keyhouse, in Lovecraft, Maine. But I wanted to refresh my mind on all of the details of the story before beginning the second half of their journey.

The highest recommendation I can give Locke & Key is that I did connect with the characters. I did enjoy the ride they took me on. And I can look forward to re-reading favorite parts again. After all, I just re-read the first three volumes of Locke & Key for this pass through, and I enjoyed them just as much the second time through as I did the first time. This is definitely a series I intend to read again at some point.

You may have figured out by this point that I am not going to share any story specifics. There are plenty of early story and set-up details in my earlier reviews of the first three volumes if you want to know more about the series before trying it. I don't want to spoil anything more for anyone who might be coming to the series fresh, like I did. But I will share one more personal reaction to Locke & Key.

As I started the sixth book, I realized I was uneasy. A number of characters die along the way; would anyone make it out of this story intact? This is a horror story, after all, and it might not end well for any of the characters. I haven't spoiled the ending by sharing that detail; I haven't told you if my fears were realized or not. But what that sentence does reveal is that this horror story scared me. It left me with a sense of dread for the characters and their fates. How often does that happen that a scary story really scares you in the reading of it?

If you've never read Locke & Key but you like a good scary story, then check this series out. You don't have to be only a horror fan to appreciate this story, though. Anyone who loves a good story, a gripping drama that unfolds slowly and pulls you in deeper with every page, will find something to enjoy with Locke & Key. Do yourself a favor and seek it out. I haven't heard from anyone who has read this book and didn't like it. That alone seems like high praise!

Well Worth The Price Of Admission

El Diablo 1-16 (1989-90)
DC Comics
Gerard Jones, writer
Mike Parobeck, John Nyberg and Paul Fricke, artists

I completely missed this series when it was new on the stands. I don't remember seeing it on the shelves, although I was buying similar "new format" DC books at the time and was also buying the 1990 relaunch of Green Lantern — also written by Gerard Jones — that debuted a few months into El Diablo's run. In fact, I didn't even know anything about the original El Diablo character whose adventures were serialized in All-Star Western beginning in the 1970s, or the modern New 52 version of the character from Suicide Squad.

But more than once I've heard Michael Bailey on one of the many podcasts he appears on praise this short-lived series. If memory serves, Bailey touted the strong characterization and writing Jones brought to the Rafael Sandoval version of El Diablo. I've also heard Bailey praise Mike Parobeck's clean, dynamic art style from this series as well as his short run on the phenomenal 1992 Justice Society of America (sadly, only 10 issues). So, I decided to seek out the back issues and give the series a try. I was not disappointed!

Readers never learn much about Rafael Sandoval's back story or his ties to the previous version of El Diablo, if any. In the first issue of the series, Sandoval has recently been elected to the city council of his home, Dos Rios, Texas, with the backing of the town's amiable mayor. Sandoval has accepted the position because he hopes to improve things for the Hispanic population of Dos Rios, a border town seemingly made up of mostly whites, a generous number of Hispanics and also some black residents. When issues come up that can't be handled in council chambers, Sandoval adopts the El Diablo identity for a more hands-on approach to problem solving.

There are familiar elements of superhero fare in the pages of El Diablo, but most issues of the series tackle much more "real-world" social ills, from drug peddlers to child abductions, political backstabbing to racial tensions. There wasn't a super villain in any of the issues. But there was plenty of peril, excitement and drama.

The title avoids the "preachy" problem so many relevant comics can fall into, too. Jones does an excellent job of presenting both sides of some tough issues without making either side wholly evil or genuinely pure. All of that careful scripting gives El Diablo and the members of his supporting cast multiple dimensions, fleshing them out like real people, not one-dimensional caricatures. The entire creative team makes this book a joy to read. So much so, I wish the title had been able to sustain itself for a longer run.

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Obviously, I'm back trying to post on the blog. I greatly appreciate those of you who have continued to check in here even though there haven't been new posts in quite a while. I can't promise even a weekly schedule yet, but I'm going to try to post here when I can. I never did do regular reviews on the Facebook page either, but I did recently post a little something about Dark Horse's Ghost Vol. 1. If you want to check it or any of my other non-review posts out, you can visit the page here.