Green Arrow, Vol. 2: Family First

Joshua Williamson, Sean Itaakse (Artist), Phil Hester (Penciler), Eric Gapstur (Inker), Carmine Di Giandomenico (Artist), Trevor Hairsine (Artist), Tom Derenick (Artist), Romulo Fajardo Jr. (Colorist), Troy Peteri (Letterer)

Joshua Williamson’s stint on Green Arrow closes off with, sadly, more of the same. While Williamson – this time accompanied by Green Arrow mainstay Phil Hester – deliberately intends to put the street-level arrow family in the unfamiliar territory of science fiction as a challenge, it becomes quickly apparent that the writer has lost steam and gravely misunderstands the potential with the many contradictions of Oliver Queen. It is very evident – and by his own admission – that the writer is pretty much burnt out, pretty much retelling the first arc in no innovative manner beat for beat save for a different art direction. He certainly does make an effort to bring together the Arrow family once again on the same page, but sadly does nothing with them except slam them like toys with a mild aesthetic reinvention against one another. They in fact remain a blur throughout, making no effort to distinguish them or have them play off of each other in any lasting or meaningful way.

It is very saddening, in particular, that the writer has clearly had a particular interest in reinventing the GA archfoe Malcolm Merlyn for the umpteenth time, trying to reconcile his story to the many reboots of DC these past few years.

But that is the problem; simplicity is bliss, especially in a character like Green Arrow who thrives in street-level adventures and politics. It would have sufficed to play on the extremely politicised figure of Oliver Queen and play him off of the cold assassin with too much time and money on his hands that is Merlyn. This, I feel, is the biggest missed opportunity of DC with the characters especially in the political climate around CEOs in America with the Mangione-Thompson affair.

These two are designed to be arch rivals to the tune of Batman and Joker, both being major industrialists in the DC universe but both using their many resources to contrasting use. But nowhere are their contrasting natures played against each other or even touched. In fact, it isn’t even very clear what Williamson is trying to say about Merlyn’s relationship to Oliver at all. It is maddening, especially knowing what he has done with other characters.

But let us be charitable; it is by the writer’s own admission that he has hit a barrier of overwork. Perhaps this is a minor slump in his career that can easily be salvaged once he is given the break he deserves. Let us hope that the author finds the time to do so, and upon his return, I am confident that he is able to bring something fresh once again to the playing field that is DC.

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