For two decades, the Goon’s adventures have thrilled fans, critics, and creators with their bold creativity, classic style, and irreverent humor. This volume contains Eric Powell's highly anticipated return to his flagship series for its 20th anniversary. The next era in the legacy of The Goon starts here and takes the series to its humor-based roots as Goon & Franky return from strange adventures abroad to find a horde of unsavory characters that have filled the void left in his absence from Lonely Street.
Eric Powell has contributed work on such comics titles as Buffy the Vampire Slayer, Angel, Hellboy: Weird Tales, Star Wars Tales, The Incredible Hulk, Black Panther, The Avengers, The Hood, MAD Magazine, Devil Dinosaur, Swamp Thing, the Avengers, She-Hulk, the Simpsons, Arkham Asylum: Living Hell and Action Comics.
Although eking out a meager living in the comics field since 1995, Eric didn't find true success until he launched his critically acclaimed dark comedy series The Goon. The Goon was subsequently picked up by Dark Horse Comics and boasts a diehard cult following.
After the exciting events of Lords of Misery The Goon gets forced to once again return to the town he thought he saved. It's basically a soft-reboot of the series as the town is once again over run by monsters, the Goon starts spending his time in Norton's Pub yet again.
Well worth picking up for fans of the series. Powell's artwork is still incredible. I think the soft reset was good for the series. There's some really clever and funny stuff here.
There's a fun story of Goon trying to buy a house from a zombie realtor but each property has a Death Curse. A Nosferatu battle ensues. A giant mummy cursing a man has a battle with The Goon (the premise is pretty funny). A man who just wanted to fish and earn a living comes to haunt the town.
Old review A fairly decent return to The Goon by Eric Powell. He did this 4 issue run, then handed off art chores, then eventually writing duties as well. Until returning for issues 13 and 14 (the latest so far).
It's alright stuff. Some of the art seems a bit rushed. The story is just a retread of a retread at this point. Hmm, I don't know - I'll keep reading because I enjoy Eric Powell but it could be time to retire the character.
I've loved Eric Powell's Goon since I first picked up The Goon, Volume 1: Nothin' but Misery twelve years ago. While not every volume has been perfect, they've been, at best, Very Fucken Good.
I was worried that his long hiatus would sour me on the story, or that his art would evolve or devolve into something I didn't find as special as his previous work. I was further worried because I wasn't a huge fan of Chimichanga or Spookhouse.
My worry was in vain.
Powell's art has changed a bit during his hiatus. It's even stronger. His color pallete choices are as essential and brilliantly inconsistent as ever. And the story works as both a return to form in his writing, and as a great jumping-on point for new readers.
This book even contains the first piece of Alex Ross art since 2004 that I haven't hated.
For those unfamiliar, The Goon is a supernatural fighting comic that takes place in a city similar to Depression Era American cities. There are rival street gangs that often, but not always, include hordes of zombies. There are taverns, and orphanages, and swamps. But mostly there's adventure and fighting, and a steady stream of well-paced one-liners. Think, a funnier Hellboy with a finer focus, or The Walking Dead where the zombies are wilier and The Governor is the hero.
It's also an art title. Powell mixes things up from issue to issue, and seems to always be refining and improving his art style without ever losing its heart.
I recommend everyone check it out, in particular Hellboy fans, and horror enthusiasts with a sense of humor.
I've only read two Goon collections and they were both Volume 1, but unlike Marvel shenanigans, these were published decades apart. Did the gap cause any difficulties in following the story? Not remotely. This is still the tale of a big lunk getting in fistfights with absurdist noir undead while his weaselly sidekick provides what might be called comic relief were the main thread not already pretty comical. "So what you're saying is the toilet mysteriously clogged itself with cream cheese and nudie mags again?" "Why is it so hard for you to accept the complexities of an abstract world?" Utterly ludicrous, and enormous fun. I must get around to reading a Volume 2 at some point.
Soft reboot of the Goon, back to basics. I get why The Goon works best on Lonely Street, but I feel like the stories there may have run their course. Still fun, and it's refreshing how much the characters are joking around again after such a dour stretch, but I dunno man...I'm a little tired. That being said, no one is supposed to read as much Goon as I have over the past six months.
The Goon is pure fun; a mash-up of horror, gangster, and camp. Lotsa laughter, hideous villains, and big punches. Eric Powell delivers slavering monsters that run protection rackets and an unlikely hero-thug all with a unique art style that is not to be missed.
Review is for three Volumes of the second Goon series read consecutively.
New numbering but the same old spirit, picking up right where the first line left off. (and with two uncollected issues hanging, I'm both eagerly awaiting more and fearing what the hold-up might be)
I am very glad I saw the author at Comic-Con as this was a fun reintroduction to The Goon as I hadn't read him for quite a few years. Fun stories as usual.
THEY'RE BACK!! Much as I loved HILLBILLY and wanted it to continue, it is great to see The Goon and Franky again. You could feel that Powell needed some time away from them by the end of the original run, but now he's had that time and they're back and feeling as vivacious and darkly hilarious as ever.
Of course Powell is a master illustrator, and this book lives in corners of his style I particularly adore. But this also reminded me what an incredible writer of dialogue he is. Franky gets some great awful Franky lines, and The Goon and his supporting cast all have this grimy noir movie poetry to them that I just can't get enough of. A delight!