With the first ten issues of Green Arrow (vol 3) delivering the title character with a long and memorable story, it was only natural for Kevin Smith to slow it down for his final five issues of his stint on the title. Smith had successfully reinvigorated life into Green Arrow, but his time at the helm was coming to an end. I guess he thought that he had served his purpose as the title’s rejuvenator. For all of its positives, one of my criticisms of Quiver was that it was so full of plot and character development that some heroes didn’t even get a look in. Well, this is what Sounds of Violence is for.
Kevin Smith had brilliantly brought Green Arrow back to life in more ways than one, but did he have the power to keep it afloat?
Green Arrow (vol 3) 11-15 was published from February to September 2002. The stories were written by Kevin Smith with art by Phil Hester and Ande Parks. I’ve read the stories in the Green Arrow: Sounds of Violence trade paperback.
Ultimate Speedy
Quiver introduced us to characters, old and new, who are part of Green Arrow’s team. Think of characters like Connor Hawke, Black Canary, and Arsenal all members of Green Arrow’s Bat-Family. Mike Grell’s stint on the title moved Green Arrow away from the Batman-esque qualities of his character as he acted as a lone vigilante. Here, Smith brings things back home with Mia, a character created in the previous story who was heavily hinted to become a future Speedy. It all begins with a dream. Mia wakes up after dreaming of becoming Green Arrow’s sidekick as they fight against crime in the streets of Star City. The reality is far duller. Instead, Mia has to go to school as Oliver Queen is now her official guardian and, as you’d expect, he is not a big fan of her streetwalking past. However, Oliver grows curious when he finds a crossbow behind Mia’s bed. Oliver discusses his findings with Connor as they work to feed children in the local youth centre. In short, Connor doesn’t think it’s such a bad idea that Mia becomes the new Speedy because there are superheroes out there who are younger than her and Green Arrow has, curiously, attracted children to his cause to fight for justice. Before his resurrection, Green Arrow was written as a hard-headed vigilante who was willing to take risks. Kevin Smith writes Oliver here as a much more anxious character as his inner-softie is shown in full-force. His own death has made him realise how precious life is and he doesn’t want anyone to experience what he went through. Oliver’s words of advice to Mia don’t change anything however, as he and Connor still discover Mia using her crossbow on the roof. In the end, Green Arrow explains that the superhero sidekick trend of the golden age was a product of the past. Times were simpler. Villains were less violent. Fighting crime that young can ruin a life, Oliver tells her as he mentions Roy Harper. Although Smith writes a good story that focuses more on character and features more of Mia, who sort of came-and-went in Quiver, the story doesn’t really change anything. Even after all the entertaining dialogue, great action, and deep discussion, it still seems clear that, one day, Mia will become Speedy and fight by Green Arrow’s side. But perhaps that is how it was always going to be?
Story: 9.5/10
Art: 8/10
Feast and Fowl
One of Quiver’s most unique aspects was the apparent amnesia suffered by Oliver Queen. Of course, we discovered that this Green Arrow is an Oliver Queen from a past long before his tainted days in Seattle. Therefore, he was entirely confused by Dinah Lance, better known as Black Canary, and when she fell out of love with her Oliver Queen. With the memories returned and Green Arrow a changed man, it is time for the couple to reunite. As Black Canary prepares for her date in the JSA Headquarters, she is told that Oliver has arrived and is speaking with Hawkman. In a state of panic, Dinah runs down the stairs expecting shouts and punches to be thrown; instead Oliver and Hawkman are laughing like two old pals. Smith’s writing is brilliantly referential here. Back in the Len Wein era of the Justice League of America in the early bronze age, JLA members were only just starting to get their own definitive and unique personalities. Green Arrow was most probably the first as writer Dennis O’Neil provided him with a hippie-makeover. When Wein arrived however, he created a famous rivalry between the liberal Green Arrow and the conservative Hawkman. The two would both fight over politics and just wouldn’t get on generally. But in the present, the two laugh about the past and even Hawkman’s warning to Oliver about taking things slow with Dinah seems like a joke. The date itself doesn’t exactly go very well as Oliver fails to understand the hurt he caused Dinah all those years ago. However, his fortunes rise as the Riddler invades the restaurant and the two heroes work together to take him out. With that, the two realise why they loved (continued)
each other, and they return home in one another’s company. Here, Smith solves the final piece of the puzzle. The relationship between Oliver and Dinah is seemingly repaired, even if the solution does appear somewhat rushed as, in essence, the Riddler is the reason for their rekindled love. Overall, Feast and Fowl may be an introductory issue to the following story, but it is both emotional and entertaining in its own right. Smith’s writing of Hawkman here is hilarious as a friendship is created between the two characters. It will be long-lasting, I am sure…
Story: 9.5/10
Art: 8/10
The Sounds of Violence
At the end of Feast or Fowl, we are introduced a brand-new hero named Virago. Her story as an upcoming new heroic force appears interesting, but it is cut short when an even more intriguing villain blows her brains out. Enter Onomatopoeia, a masked gunman who, as his name suggests, speaks every sound he creates. For instance, the word ‘bang’ substitutes a bullet being fired. But before Onomatopoeia’s tale continues, we go back to the JSA Headquarters; the newly found friendship between Oliver and Hawkman didn’t last long. Hawkman argues with Oliver for advancing too quickly on Black Canary and it degrades into a slagging match between the pair. In the end, Dinah herself appears stark naked and angry at the two of them. It makes for an entertaining introduction, made even better by some of Smith’s jokes. Meanwhile however, the Onomatopoeia story continues as a supervillain murderer named Panacea is killed by the masked enemy. The next day, Oliver is at home making breakfast when another of Mia’s jokes sends him into a liberal storm. At the same time, she asks Connor about his love-life and whether he has had a girlfriend or not. Readers of Chuck Dixon’s Green Arrow (vol 2) run might remember that, unlike Oliver Queen, Connor is much more conservative with the use of his lekker nerve. Recent comics have made Connor an asexual character in contrast, but the point here is that Connor Hawke is starting to feature more after barely appearing in Quiver. It seems like the father-son relationship is only going to grow stronger with Smith’s writing. Green Arrow and, well, Green Arrow as Connor is known as, head out onto the streets and fight against crime. But as the two split from one another, Connor finds the decapacitated body of a criminal seconds before he is shot by, you guessed it, Onomatopoeia.
The next thing you know, Oliver bursts into hospital grasping his son’s bloody body. The news reports vaguely that Green Arrow has been shot, but as Black Canary and Mia arrive, they think it is Oliver. That’s slightly insulting to Connor, who took up the reins of Green Arrow for Oliver when he died. But at least Smith gives Connor some of the limelight here. As Oliver pledges to head out into the night and find Onomatopoeia, the doctors tell him that he must help his son with a blood transfusion. With that over with, it appears that Connor will live. Suddenly, Onomatopoeia turns up to try and finish the job, but Oliver intervenes and threatens the villain. He points an arrow in the villain’s mouth, telling him that he will die if the doctors fail to save Connor’s life. Green Arrow (vol 3) 14 is action-packed and tense as the death of a main character appears very real. It’s almost too quick; this is Kevin Smith’s penultimate issue on Green Arrow (vol 3).
For his final issue, Smith continues the drama. Oliver’s silent threat loses its power when Connor is saved and Onomatopoeia, despite several arrows through his body, escapes. He appears to leap from a building to escape Green Arrow, but his corpse is nowhere to be found. In the end, Green Arrow (vol 3) 15 proves to be a quick but personal read as the final pages depict Oliver, Dinah, and Mia surrounding Connor with sympathy as he recovers from his injuries. Kevin Smith begun his title with Green Arrow alone and the world believing that he is dead. Now, Onomatopoeia may still be out there, but Oliver Queen is part of family once again. Smith ties up his run neatly and beautifully. Smith writes a memorable and unique villain in Onomatopoeia and while his whereabouts may be a mystery, it is clear that one day he will return and face Green Arrow once again. Overall, The Sounds of Violence is action-packed, dynamic, and emotionally charged.
Story: 10/10
Art: 8/10
Throughout Smith’s run, I’ve been surprised by Phil Hester and Ande Parks. Most artists who possess a cartoony style of artwork often fail to convey different themes and moods which any story needs to work emotionally. For example, Joe Staton can do very animated action scenes, but his moments of emotion and drama leave much to be desired. However, Hester and Parks achieve lots with their art. Despite its often-ugly appearance, the pencils are animated enough to show comedy while darker and more dramatic moments work just as well. Green Arrow (vol 3) 15 is a classic example of this, as Onomatopoeia is a visibly mysterious and sinister character. As I said, it can sometimes look quite crude and unrefined, but Hester and Parks remind me of Bruce Timm in being able to use a cartoony art style flexibly.
VERDICT
Overall, Green Arrow: Sounds of Violence is a great addition to Kevin Smith’s Quiver storyline. It focuses on characters who were missed out or barely used in the run’s first ten issues. Smith’s writing of Mia, Black Canary, and Connor Hawke is great because, in the end, it creates a sense of family for Oliver Queen. The world he wanted after returning to life is almost taken from him by Onomatopoeia and it makes for a memorable and enjoyable read.
Looking at Smith’s fifteen-issue stint on Green Arrow (vol 3), he successfully brings the character back with a unique story and some dialogue which is genuinely either entertaining or emotional. Quiver deserves to stand tall as a classic Green Arrow tale. His final five issues, however, are just as important. Smith proves that the Green Arrow title can be sustained, and his use of the extensive cast provides an excellent basis for the next writer to begin their run.
Stories: 9.5/10
Art: 8/10
Next Week: Just Imagine: Batman. Written by Stan Lee and Michael Uslan with art by Joe Kubert and Mike Kaluta.
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