Robertson really drops the ball this issue. I mean, Ennis still gets some bounce out of it, but Robertson’s art is so lazy I went back to the credits page to make sure it’s him. He’s really loose with his lines, his perspective and his placement. The Female gets lost at the beginning and I wasn’t even sure the dog was along.

Hughie comes into his own, however, which is a nice sequence. Art could’ve been better. Ennis gets on a soapbox–or puts Hughie on one–about prejudice and goes a little too far. He almost makes it convincingly part of the story, but pushes too much. It still works, especially given the ending with Butcher.

There’s a hilarious postscript with TekKnight and it makes up for a lot of the issue’s problems. Or not, actually. Ennis’s script for it is superb, save the PSA. Robertson just got lazy.

CREDITS

Get Some, Conclusion; writer, Garth Ennis; artist, Darick Robertson; colorist, Tony Avina; letterer, Simon Bowland; publisher, Dynamite Entertainment.

Ennis ups the absurdly “adult content” level of the series here, ending the issue on a scene both hilarious and uncomfortable. It sort of hides the fact he’s only got five scenes in the issue.

He brings together his two story threads–the Boys and TekKnight–and then abandons the TekKnight one. Instead Hughie gets a scene to himself and then… wait, Ennis only has four scenes this issue. I think.

There’s a lot of humor, except with Hughie’s investigation scene, but not much story. In fact, Ennis constricts the story arc quite a bit here–and not just with TekKnight becoming supporting cast. He goes for the joke instead of expanding the story.

The ending alone can sell the issue, but it’s hard not to see it as filler. Ennis easily could have folded the first and last scenes together (wait, there are five scenes) without any narrative bumps.

CREDITS

Get Some, Part Three; writer, Garth Ennis; artist, Darick Robertson; colorist, Tony Avina; letterer, Simon Bowland; publisher, Dynamite Entertainment.

So the Female and the Frenchman are the comic relief and Mother’s Milk is the revelatory exposition. M.M. does have some character otherwise, but not a lot. The situation works–supporting cast and main cast–but Ennis doesn’t even bother to disguise it. The Female and the Frenchman are just here this issue so readers don’t forget about them before the next big fight.

Ennis keeps the split between Batman (sorry, TekKnight) and Butcher and Hughie. Butcher and Hughie are doing an actual investigation, which gives this issue of The Boys a different flavor. It’s a detective book–and a good one–all of a sudden. Ennis is very careful with his colloquial conversations. He does a great job naturally dropping references.

There’s a great bit with the Alfred stand-in. Besides the rather adult content, Ennis is basically riffing on the goofiness of the Batman franchise.

It’s good stuff.

CREDITS

Get Some, Part Two; writer, Garth Ennis; artist, Darick Robertson; colorist, Tony Avina; letterer, Simon Bowland; publisher, Dynamite Entertainment.

Ennis has worked out his pacing issues. He splits the issue between The Boys figuring out their next case and the Batman analog confessing he’s compulsively raping them (mineral and animal). His first issue away from Wildstorm–and DC–Ennis really seems to enjoy sticking it to DC. The Batman analog is hilarious and rather mean-spirited.

Of course, Ennis is mean-spirited to superheroes in general so it’s not only targeted slights. The Boys lets Ennis have a whole lot of fun, but it’s hard to say if he and Robertson homage anything. The little old comics man at the end–he sort of looks like the Tinkerer but he might just be a little old man.

While it’s a rather amusing issue–there’s some great exposition with the Boys–it’s just a bridging issue. Ennis does a good job hiding the finish, but there’s nothing substantial about it.

CREDITS

Get Some, Part One; writer, Garth Ennis; artist, Darick Robertson; colorist, Tony Avina; letterer, Simon Bowland; publisher, Dynamite Entertainment.