Arrow Season 2.5 has had it’s high points and low points, but it’s all balanced out in to what I could call a steady medium. It hasn’t been exceptionally ambitious, nor has it played it completely safe, which it proved it the last issue. Besides all that, the stories have been simple and concise. So why break trend?
Arrow #13 keeps things as plain as can be as Oliver and Roy set out to rescue Felicity from the new Brother Blood. The story isn’t without it’s twists, turns, and explosions of course, and there’s even some good old fashioned punching (though it is doled out on a wall…). There’s a definite upwards arc when it comes to Joe Bennett’s pencils, making the characters look just as picturesque as usual but also more telling and expressive in their emotions. Oliver gains from this the most, revealing some vulnerable aspects of his character, making him seem less like Morose Malibu Ken and more like…well…Stephen Amell, I guess (Go figure…).
The banter between Roy and Oliver is top notch, successfully translating the snappy dynamic between Haynes and Amell in the show. It’s just as entertaining to read as it is to hear, with varying degrees of sarcasm, levity, self-depreciation, and sincerity. The true intention of each line is always successfully conveyed thanks to the consistency of Guggenheim’s script.
Final Word: A plot and banter heavy story make Arrow Season 2.5 a straightforward yet entertaining plunge back in to Star City. The conflict is both interesting and convincing, and Roy and Oliver’s banter keeps the excitement and fun at a substantial enough level to keep the attention. Joe Bennett gets a little more expressive this time, making the story have a more empathic connection to the reader. Plus the Suicide Squad chaser is just enough to round out the events of #12, while providing a wide enough opening for another Suicde Squad story. The Arrow comic continues to keep up with the show in quality, action, and adventure. It’s a great companion to a great show.