Green Lantern Corps: Edge of Oblivion #5 opens with Tom Taylor (Writer) experiencing a rather jarring memory that is revealed as none other than Guy Gardner’s. The memory gives the readers a little insight as to why Guy is the way he is. We all know him as this annoying rabble-rouser, but only now do we get to see where the man we love to be annoyed by comes from.
With Guy at the helm, he leads the attack against the wolves in sheep’s clothing known as “The Blackest Knights.” But only Guy and his small group know the truth, so they must face their own Corps to get to the real threat faced in this book. Without giving away spoilers, Guy enlists the help of a powerful ally to help lift the veil of the enemies and expose them for what they truly are…and they’re true form will make for a grand finale in the next issue!
One thing that struck me about this issue is that I noticed that Scott McDaniel was brought on board to manage layouts. His name should be familiar to hardcore comic geeks: he did a lot of great work in the 90s on books such as Nightwing and Daredevil. McDaniel’s talents really shine in this book, and having a separate person to do the layouts always seems like a good idea to me.
The issue also flows well visually considering that there are many close-ups and conversational focus shifts along the way. Reveals are never too obvious, and as a reader, I am never confused about where my eye should be drawn to next.
This issue focuses not just on the next logical step of plot for this arc, but it also gives readers a little look into Guy Gardner’s past. Guy is generally a character that doesn’t get much backstory, but one well-planned page of this book gives readers a great peek into this character’s background. Continuing that point, Taylor wants this history shown rather than told, and Aaron Syaf (Pencils) delivers in that regard. Furthermore, the team of inkers help capture the dark past we get to see, and they give that page its own style without contaminating the style of the rest of this issue.
Review by Alex Mitts