RED HOOD AND THE OUTLAWS #30

[ SLAMMING THAT SALE, BABY! ] 

Brace yourselves, folks. Brace yourself for one hell of a fight nobody ever, ever, ever, wanted to see. Not Will Pfeifer. Not Rafael Sandoval. Not Philip Tan. And especially not DC Comics, even though they were the stupid gits who started it in May, 2014. Tut-Tut-Tut. And all over nothing as well!

To QUOTE A Crap Title from a Sh*t Film: 'Dude, Where's My Car?'.

THE STORY:

That's twice so far you've made me blow everything up to save your hide, Jason Todd. First when we had to break into Blackhawk HQ just so we could steel one of their super-charged vehicles. And now, whilst we are breaking into SHADE H.Q and doing exactly the same thing once again.

Now by your own accord we needed the first vehicle so we could also obtain the second vehicle. But what I want to know, Jay, is why is that Frankenstein feller stopping us from accomplishing our goal, when at the end of the day we're doing this so we can save our pal Roy from a group of fiends in outer space?

Humans, huh? You can't live with them. And you can't kill the dead ones even if you wanted to.

Kori Starfire, over and out.

THE GOOD:

Overall I'd say this installment of 'Red Hood and the Outlaws' was a fairly decent tale to read. The artwork was very clean looking and bold on the page. And I didn't mind the story-line either, even if it did dart off on a tangent here and there.

Mind you, I personally thought the best thing about it were those roguish elements strewn throughout. Like the how Roy fought back against his captors for instance. As well as how Jay and Kori acted like two jovial thieves just so they could help save their friend.

Furthermore, wasn't it a right blast to see Frankenstein? Honestly. His inclusion was a right sight for sore eyes. And it was bolstered even more so with how he sternly interacted with his opponents.

THE BAD:

There were two aspects about this adventure I wasn't very keen on myself. Firstly, I noticed that certain sections of dialogue felt very exposition-like in tone. And basically said what had to be said just so that the narrative could flow from 'point A' to 'point B'.

And secondly, that whole scenario where Jay and Kori had to steal a spaceship, just so they could steal another one afterwards, well, what the hell was that for, eh? From my perspective that was a needless delay within the plot-line. And wasn't needed at all

THE MUSIC:

On a conceptual level this tale revolved around a scenario where two vehicles had to be stolen so that the perpetrators were able to save their friend. Therefore, with that in mind, I have no doubt but to pair it up with the aptly titled Bruce Springsteen song, 'Stolen Car'.

THE COMPARISON:

Still sticking with my burglary theme, dear reader, and I have to say that I'm now going to compare this comic book to a 'carjacker' for fairly obvious reasons.

THE CONCLUSION:

There were two scenarios I deliberately failed to mention previously, folks, because I wasn't very sure about them myself.

Now the first scenario I want to explain is very difficult without giving too much away. But at a push, let me just state for the record that I wasn't very thrilled with the last page revelation. It was like -- 'What the f*ck is **** doing here? And why is ** involved with this situation?'.

Where as the second scenario I want to explain I can, yet only because it felt kind of disposable in hindsight. Well, did we need that whole battle where Roy fought against his captors? At the moment I would say no. But who can tell without reading the next issue?

Hmmm. Nuff said.