On the hunt and on the run, can the Green Hornet clear his name and save his city from corruption in the final part of this six-part tale?

WRITER: Ande Parks
ARTIST: Ronan Cliquet
LETTERER: Marshall Dillon
COLORIST: Kristy Swan
EDITOR: Joe Rybandt

Previously in The Green Hornet: The Green Hornet has been framed for murder and abandoned by the people. Now, he’s fighting his way to the top of a conspiracy to destroy himself and Century City.


Vicious thugs, crooked cops, megalomaniacal officials and a mysterious masked man to put them all in their place—a pulp story if there ever were one. Or is it? The book is set in the present day rather than the post-Prohibition period of the Hornet’s origin, so it didn’t feel pulpy enough for my tastes despite having all the tropes of the genre.

Unfortunately, this issue was my first foray into the title and there was no recap page, so I had some trouble with the details of the plot. The writing, however, is unambiguous and functions as a gestalt with the images so it’s easy to pick up the thread of the tale even without specifics—I may not know one guy’s name, but I know he’s a villain and needs to be put down. All-in-all, some kind of “story so far” paragraph would have been an immense aid, though you’re likely not going to buy this issue unless you’ve been keeping up with the story.

I didn’t care for the dialogue—it felt too natural, if there can be such a thing. In my perfect world, the Green Hornet doesn’t run around saying “sonofabitch,” but, then again, in my perfect world everyone in even the most vaguely pulp the comic should sound like one of Murrow’s Boys with a voice booming over the wireless.


This issue is, thankfully, about 90 percent beat-em-up. Thankfully, because the art shines brightest when there’s bang-crash action splashing across the page. It suffers, though, during still sequences of dialogue and exposition; the fight action brings the characters to life and pops them off the page, but whenever the movement lags, the art sags with it and looks more cartoonish.

The amount of onomatopoeia from panel to panel occasionally reached Adam West-ian levels and that might turn off some, but I thought “THWAKS” and “KRAKS” lent the story an archaic vibe it desperately needed.


The Green Hornet is an unreconstructed 1930s pulp character and, as such, he doesn’t fit well into the modern world. Perhaps I’m prejudiced, but I can’t square the Hornet with a world of cell phones and Internets. I’m going to try to get the next issue and start fresh with another story line in case I’ve misjudged the book. Taken as a single issue, though, it’s got fun action and street-level super heroics, but it’s only worth picking up if you’ve been following the arc or are at least a fair-weather fan of the title. Two and a half stars.

Rating: ★★½☆☆


About Author

Brandon lives his life by the three guiding principals on which the universe is based: Neal Peart's lyrical infallibility, the superiority of the Latin language and freedom of speech. He's a comic book lover, newspaper journalist and amateur carpenter who's completely unashamed his wife caught him making full-sized wooden replicas of Klingon weaponry. Brandon enjoys the works of such literary luminaries as Thomas Jefferson, Jules Verne, Mark Twain and Matt Fraction. "Dolemite" is his favorite film, "The Immortal Iron Fist" is his all-time favorite comic and 2nd Edition is THE ONLY Dungeons and Dragons.

1 Comment

  1. Honestly, this title has been on a steady decline since Phil Hester left the book behind. Totally agree the writing is far from ambibiguous, but its also not very ambitious. Would love to see some take a Bendis/Maleev style approach to this character, that could definitely make the Pulp in a modern era work.

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