What I don’t love though is my new favorite baddy’s dialogue in that one page. It’s a style I totally unironically love though. There’s probably a pretty good reason we don’t really make movies and comics like we did back then anymore.
You see that first and third paragraph in the Positives section? Yeah, if you’re of a certain disposition just go ahead and move those paragraphs down here, and if you want to do that, I can’t really argue with you. Just look at him and how dumb this whole page is. The thing about this guy is I’m pretty sure he was every third new bad guy in 90s comics. This issue takes a one page detour down to a shack in the gator filled bayous of Louisiana to tease a new mystery villian.
It doesn’t really have any innovative set pieces outside all of the previously mentioned splash pages and big panels, but I didn’t ever not enjoy looking at it. Hey DC! If you’re reading this, can you please start giving artists page credits? The art itself is crisp and perfectly acceptable. Unfortunately, neither last issue or this one listed which pages they worked on in the credits, so I have no idea who was responsible for what. I really didn’t notice much of a difference at all. I don’t know what happened between that issue and this one, but their styles flow into each others much better here. Speaking of the art, I had read the previous issue, also penciled by Silva and Sandoval, and found the differences between their styles to be a huge distraction. It does a great job reinforcing the old school action epic that Lobdell is going for. The non-splash pages only have a couple of huge panels on them. (!), good guy infiltrating the bad guys by wearing bad guy armor (!), good guy entering the plane by breaking the window and jumping in mid flight (!), a dude getting thrown out of the plane (!), and a nuke being disposed of by dumping it into nearby water! All of this is presented in several single page splashes and one double page splash. You’ve got nondescript international terrorists with a giant plane trying to drop a nuke on Washington, D.C. All the great elements of those are here and amped up. Here, he opens his new run with a love letter to the big dumb action movies of the 80s and early 90s. Before there was this weird storyline about ancient demons or something that I never really followed. Arsenal is lurking around behind her with his ever present trucker hat and it’s like Lobdell is saying, “Hey! You thought this book was trashy before? Well Daddy’s back and you ain’t seen nothing yet!”ĭespite Lobdell being back it doesn’t really feel like what he was doing before. It’s got Starfire reclining on a sports car like every bikini model on every car magazine ever. This here is Lobdell’s first issue back (sadly no Rocafort) and he announces it in a big, dumb as possible way. After they left I lost interest pretty quickly and only occasionally checked back in. I was following RED HOOD AND THE OUTLAWS back when Scott Lobdell was writing it the first time and Kenneth Rocafort was drawing it. RED HOOD AND THE OUTLAWS #32, written by Scott Lobdell and penciled by RB Silva and Rafa Sandoval, is excessive and dumb and excessive and dumb and boy do I miss the 80s and 90s.
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