I grew up in the 1970s and '80s on Justice League of America comics, so when I think of a stretchable super-hero, I think of the Elongated Man. However, there's no denying that Plastic Man is the original and best known of all the malleable men in comics, and I'm surprised it's taken this long for DC to launch a new series, given the character's prominent role in JLA. Fans of his portrayal in that book might be taken aback, though, by this goofier take on the character. It's not that Plas is goofier, per se, but the world in which he operates and those who surround him.
Baker offers up a fairly basic story, spotlighting the character's powers and origin. I'm reminded of the light but surreal Joe Staton-illustrated Plas stories from Adventure Comics of the 1980s, but this revival lacks the darker edge that made the original Jack Cole stories from Police Comics so memorable and unconventional.
The Federal Bureau of Investigation is charged with the overwhelming but important task of enforcing the law throughout the United States, and the greatest weapon in its arsenal of detection and crime-fighting is the shape-changing and pliable Plastic Man, who's always accompanied by his clumsy and oafish pal, Woozy Winks. But what the FBI doesn't know is that the stalwart of its organization was once a violent crook named Eel O'Brian. But what will happen when Plastic Man's past collides with his law-abiding new life?
Baker is clearly influenced by the styles of a number of classic animation mainstays. The overall tone of the storytelling reminds me of the classic Looney Tunes from four or five decades ago, but I also detect influences ranging from Hanna-Barbera to The Rocky & Bullwinkle house style. Still, I'm surprised by the simplicity -- even crudity -- that creeps into the linework at times. The exaggerated quality of the art is in keeping with the title character's zany nature, but he doesn't stand out as much as he could since everyone around him is zany or goofy in some way. I think Plas works better as a mad and surreal visual in the middle of a normal but dark world.
The same can be said how the script works (or doesn't work). Just about all of the characters around Plastic Man are so dim-witted. Oddly enough, Plastic Man is something of a straight man in his world, but he's always breaking out of that role as well. His jokes fall flat as a result.
Still, there are a number of elements here that I enjoyed. Baker's inventive depiction of Plastic Man's powers serves as a highlight. The image of a groggy, four-armed Plas is a sharp one, as are those moments in the origin flashback in which Eel just discovers his powers. His melting face puts one in mind of underground comics of the 1960s and 1970s. Furthermore, the plot -- which really isn't introduced until the final two pages -- is an interesting one.
