Green Lantern #20: Green Lantern and the Hammer of Rage

Green Lantern #19 was an effective breath-catching issue. There were a few bow-tying conversations, and a standard team forming sequence. But now it’s time to get serious again, and that’s what Green Lantern #20 does. The issue sets off on two story threads, one tragic and the other fun, in pursuit of fixing the emotional spectrum. Despite a strange tonal shift or two, Green Lantern #20 largely succeeds at what it sets out to do.

Everyone on Alteon-X disrespects Erastus the blacksmith. His customers, his wife, his fellow citizens–they all walk all over him. Until he is overcome with rage in Green Lantern #20, another victim of the fractured emotional spectrum. Hal Jordan arrives in an attempt to stop Erastus’ rampage. Meanwhile, Kyle, Kon, and Odyssey go on a treasure hunt at the Source Wall.

Adams splits focus in Green Lantern #20. The serious Hal story and more carefree Kyle and co. story don’t intersect literally or thematically. The result is more than one abrupt shift in tone when the issue cuts from one story to the other. An emotional and unrestrained battle sequence suddenly jumps to a gag that might be copying Indiana Jones and the Temple of Doom. It’s a somewhat uneven construction.

Most effective is the treasure hunting B story. Kyle, Odyssey, and Kon turn what at first looks like a channeling of Indiana Jones (or any other treasure hunting escapade) into a funny subversion of the style. It helps that Adams hasn’t roped Kyle into the emotional spectrum turmoil and instead allowed him to be a part of the bantering dynamic established between this trio of characters.

Less effective is Green Lantern #20’s A story which should be more about Erastus the blacksmith. He is well-developed in a short span, and it’s his emotional distress that kicks off Hal’s actions. The issue’s biggest weakness is that the focus shifts off Erastus the moment Hal arrives on the scene. What is it like to be consumed by the emotional spectrum in this way? Adams doesn’t explore that. This story is told through Hal’s eyes, and its conclusion is presented more as a tragedy for Hal’s failure than what happened with Erastus.

That said, despite the missed opportunity with Erastus and the abrupt tonal shifts, Green Lantern #20 mostly works. The story featuring Kyle and co. is fun, and in a way it serves as a useful respite from the more intense Hal sequences (even if getting there is a little rough). And even though Erastus’s point of view could have been more interesting, Hal’s point of view is well told and communicates the emotions it sets out to.

Adding significant weight to Hal’s story is Herbert’s art. Herbert uses slightly thicker lines for character outlines, but most character features and expressions result from very thin linework in shading. In closeup, this manner of shading adds considerable detail to characters’ faces and is most apparent during Hal’s fight with Erastus. Herbert’s work on Hal throughout Green Lantern #20 drives home much of the emotion that Adams’ script seeks to convey. This provides a definite enhancement to Adams’ script. When the issue’s emotional arc transitions to Hal, Herbert’s art captures the character’s emotions very effectively.

The final page of Hal’s story is a noteworthy example of pure visual storytelling. Hal confronts the end of his encounter with Erastus over a series of five panels, all of them without text. Hal stares at the hammer connected to Erastus’ rage. At first Hal is the panels’ subject. But the focus shifts to the hammer as Hal departs over the final three panels. Herbert expertly captures Hal’s emotional turmoil in those first two panels. And finally, to the extent Green Lantern #20’s emotional core turns back to Erastus, Herbert’s art is responsible for changing direction.

Fajardo Jr.’s coloring, as is so often the case with his work, adds considerable dimension to Green Lantern #20’s art. His ability to add levels of depth resulting from implied light sources or character movement combines very effectively with Herbert’s style of shading. This extra level of color detail enhances Erastus’s outburst of rage, his fight with Hal, and the treasure hunting expedition Kyle, Kon, and Odyssey are on.

The colors associated with the emotional spectrum remain the most vivid, of course. By comparison to most of his coloring, the red and green of Kyle, Hal, and Erastus’ constructs stands out above all other coloring on the page. 

Sharpe’s work on sound effects is always strong. His color and font choices complement the surrounding art. Green Lantern #20 is no different. His choices give the fight between Erastus and Hal added heft.