Green Arrow #20 continues a fascinating shift in the titles core textual and visual aesthetic, playing up the simmering tensions of vigilantism and corporate greed. Condons script is a strong contender for building tension and establishing a moral complexity in the current version of Oliver Queen. That peppered in with Montoss stark, noir linework and smart blocking, results in inducing a second layer of fraught dynamics between Queen and his supposed allies. Lucass coloring plays up the atmosphere established by the writing and art while queuing up Otsmane-Elhaous bold lettering choices, allowing for a distinct weariness to much of the dialogue. With three issues now under the belt, this creative team is shaping up Green Arrow as a book for crime fiction and innovative lettering fans alike as they for their next hit. Read Full Review

Green Arrow might be a Justice Leaguer and a colorful adventurer, but his roots are dark as dark as Batman's in some cases. And similarly to the iconic Mike Barr run that created many of the character's most iconic elements, this run looks to take him right back to those dark corners. Read Full Review

Chris Condon, Montos, Adriano Lucas, and Hassan Otsmane-Elhaou deliver an outstanding chapter in Green Arrow #20. Its a story that honors the Emerald Archers legacy while offering fresh, modern perspectives. Read Full Review

Overall, Green Arrow #20 is a powerful and thought-provoking issue that tackles important real-world issues. While the pacing could be improved, the emotional impact and the strong message make it a worthwhile read. Read Full Review

Wow, this issue marked a big downturn in the writing for me, though the art remains a strength to the storytelling. This issue was incredibly padded with lots of exposition, pontificating, and restatement of the obvious, with little to no action occurring. In the 22 pages, we get a plodding interrogation room sequence, followed by a 5-pages exposition dump on a phone call with Black Canary (who at least is doing something), followed by an internal monologue during a rooftop target practice and a pages-long journey back to his apartment, ending with a surprise attack by the (real?) killer. This script could have been easily told in 7 pages, not 22.

The old adages of “treat every issue like somebody’s first one” and “show us, don’t tell us” are nowhere in sight. You can practically hear the sales on this book in free-fall after this issue, which is frustrating considering both the hard work Josh Williamson put in to get the book extended to an ongoing run, as well as the good work Condon did with the first couple of chapters in this story. more