Scooter Girl is clearly a black comedy, but it's still difficult to categorize and describe this limited series. While this issue is the most predictable of the run thus far, its entertainment value is undeniable. Chynna Clugston-Major has opted for a strange, fractured storytelling approach for this series, and it's most apparent in this issue, which boasts a strong, character-oriented tangent. Scooter Girl casts the bad guy in the lead role, and the title character remains more of an object than a character in her own story. It makes for a truly original and unconventional comic book.
Ashton Archer, convinced that Margaret Sheldon represents a recurring curse that's plagued the men inhis family for generations, sets out to kill her and end the metaphysical cycle once and for all. There are so many methods of murder to choose from, though, and he gets a chance to try out quite a few of them. Meanwhile, a chance encounter with an old friend -- a drug dealer named Desmond -- provides Ashton with some insight and another opportunity.
I continue to be impressed with the timeless pop appeal of the artwork here. The characters could fit in with just about any modern setting, from the 1950s to the 21st century. The manga leanings in Clugston-Major's style suit the more manic, goofy and over-the-top moments in the story. There really wasn't much of Margaret to be found in this issue, though, and I like I be reminded of the sexy allure that tempts and tortures Ashton.
I'll be honest... had this issue consisted solely of Ashton's failed attempts to put an end to Margaret's life, it would have gotten old in a hurry. About halfway through this issue, I felt the script was already venturing into redundancy territory, but Clugston-Major saves this fourth chapter with two key elements. One is the twist ending, which seems to mock those who might have detracted from the more extreme, supernatural leanings that popped up earlier in the series. After several pages of predictable murder gaffes, the twist proves to be well timed and wonderfully goofy.
The second afore-mentioned story element, the one that really stands out as this issue's greatest strength, are the flashback sequences that revolve around Desmond. Despite the dark purpose for which he's introduced, Clugston-Major paints the character in a thoroughly likable light.
One aspect of the book that gives me pause is its sporadic publishing schedule. It's been three months since we saw the last issue, and while I appreciate the "last issue" blurb on the inside front cover, I still feel like I'm losing touch with this story due to the lengthy breaks between chapters.
