I’m sure most people are pretty turned off by the idea of spending full price on a part of the story that is just setting up another part of the story that will also be full price, but far more interesting (huh…I think I just described the sales model of the modern game industry). Regardless, it’s a necessary evil that comic fans are all too familiar with; every event, no matter how large or small, requires an adequate backstory to maximize impact and interest. It may not be the most downright entertaining part of the story being told, but your experience is made richer by it’s inclusion. Case in point, Arrow Season 2.5 #10. While it doesn’t get down and dirty as far as action, it’s still a competent issue that sets up some significant events that will happening later on in the comic. Now, it’s not by any means bad or even all that uninteresting; the only thing I can say about #10 that some *might* consider a flaw is that it isn’t action packed. HOWEVER, it’s not by any means empty. So much is going on in #10, and a lot of it is quite subtle, so there’s a significant percentage of the readership that’s going to see it as sort of boring; but what I was really impressed by is how the events of the comic are starting to shape in to connectors to the season three pilot. Oliver is starting to think seriously about getting his company back, so there’s a precursor to where his mindset puts him at the beginning of the season. It’s a detail that may seem insignificant considering how quickly that subplot was swept under the rug, but it still links the show and comic and presents a strong case for considering it to be canon.
But the story just flows better this time around. It’s less formulaic, and more natural in it’s transitions to allow a steady stream for the narrative to follow without getting too predictable or becoming overly dependent on a specific rhythm. There’s a lot to love, as far as setting up future plot points with both the Brother Blood and Suicide Squad arcs getting proper headway to give both a proper jumping off point. There’re also plenty of fan goodies with the final member of the new Suicide Squad taking his place, Roy donning his red hood for the first time, and even a cheeky reference to another major company of the DC comics universe. There’s a lot going on in #10, but it’s not Arrow at it’s *absolute* best because Arrow is at it’s best when people are being punched or shot with uh…arrows. The art does a pretty excellent job of detailing even the most minute of scenes, and Guggenheim writes the comic just like an Arrow episode, so it’s still got a quiver-full of great content. In other words, don’t skip over #10. It’s not bursting at the seams with in your face…face kicking; but it’s such a meticulously organized segue story that does it’s job by getting the readers pumped for the next volume.