Review by Ian Keogh
Into the Woods was a re-boot for Green Arrow, spinning from the events of Brightest Day. His home city has been devastated, Oliver Queen has lost his company, and despite being Star City’s protector he’s been run out of town into a mysterious forest area that grew overnight after the devastation. J. T. Krul sets this up over a series of explanations with all the subtlety of a punch to the face, also introducing the new owner of Queen Industries, an imperious woman covered from head to toe in a distinctive hood and red dress.
It’s a pity the execution over the opening chapter is so unwieldy and verbose. That it’s greatly off-putting does no service to the interesting ideas Krul feeds into the remainder, and much of what clogs the opening chapter isn’t greatly necessary to what happens going forward, with one character in particular rapidly disposed of. The woman in red is seemingly Oliver Queen’s mother, usually absent from his origin stories, the mysteries and capabilities of the forest are genuinely surprising, and new character Galahad is intriguing, while guest stars from the Justice League have presence.
Whether by inclination or instruction, artist Diógenes Neves constructs his storytelling across spreads wherever possible, and they don’t serve him particularly well. Those with Green Arrow in action ought to look dynamic, but movement is lacking and presented as a succession of stiff figures. When a form of reality isn’t a factor, such as the monsters who appear, Neves is far stronger. Given the predominance of green, colour is very important, and Ulises Arreola places the emphasis in the right places. However, the final chapter is drawn by Mike Mayhew, and while acknowledging he doesn’t have the same monthly deadlines, it really looks so much better.
That final chapter is a real heartbreaker and a change of pace in what has started well, but rather become bogged down as moving in increments. Star City’s problems and the mystery of the forest aren’t intended to be solved in a day, but there’s a feeling of too many detours. The series concludes in the slightly longer Salvation, a theme it’s become apparent is needed in more ways than one.
