CODENAME: KNOCKOUT #15
"Amok in America"
Not Recommended (2/10)
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DC Comics/Vertigo imprint
Writer: Robert Rodi
Pencils: Ed Benes
Inks: Alex Lei
Colors: Wildstorm FX
Letters: Clem Robins
Editor: Will Dennis
Price: $2.50 US/$4.25 CAN |
Last month, I was surprised at how much fun I had while reading Robert Rodi's parody of the espionage genre, and I realize now just how crucial the right visual style -- in the casre of #14, Amanda Conner's -- is to the success of the sendup. Here, Ed Benes's straightfoward, Jim Lee-inspired style fails to capture the inherent goofiness of the book's emphasis on sexuality, and as a result, it just comes off as sleazy... and not in a good way either.
Something big is brewing in the world of espionage. Every major international agency -- from G.O.O.D. to E.V.I.L. to H.E.L.L. and more -- is abuzz with activity; recruitment efforts are made. G.O.O.D. headquarters is alerted to the escape of a special prisoner, a woman to whom an entire prison was dedicated to incarcerating. Meanwhile, Angela starts looking for answers about her father and the possibility that she is not his only child.
Rodi's humor in this series is far from the most subtle in the world, and that's fine. I love the insane names he hatches for his outrageous characters. Fiorella Fiasco? John Thomas, freelance dick? Obvious, but hilarious. Mind you, the rest of this issue plays things straight, and given the inherently superficial nature of the characters, it just doesn't work. The attempts at suspense and melodrama fall flat.
It doesn't help that Rodi fires a barrage of characters are the reader quickly, and he never really identifies them all that clearly, not even the chief protagonist, Angela. On top of that, the women are only distinguishable by their hair colors and skin tone. Otherwise, all are identical, even in personality.
Panties, pelvic mounds and perfectly perky pompoms are the order of the day when it comes to the visual side of this book, but with Benes, it doesn't come off as funny. Mind you, it doesn't come off as titillating either. It's blatant and obvious and unappealing. The male characters are almost glossed over when it comes to the art. Benes thrusts breasts and butts into the reader's face, demanding that we look and laugh. I don't care to do either.
And in the real world, I'm a big fan of breasts and butts.
Honest.
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