Gail Simone and her hyperactive creation return for another light, entertaining one-shot that will appeal to an audience of all ages. The formula we saw in the first three Gus Beezer one-shots earlier in 2003 is still in place, but what sets this new one apart is a shift in the art. The same wide-eyed, cartoony tone is at play, but there's a more polished look to the world of Gus Beezer this time around, and I have to admit, I like these visuals a little better. While Gus Beezer isn't exactly going to set the industry on its ear, it does serve as a fun celebration of youthful imagination and energy.
Gus Beezer is the scourge of evil, a hero to millions and the king of the schoolyard. Sadly, he's earned all of these titles solely inside his head. While he worships the Marvels that populate the New York City skyline, he can't even seem to beat his own sister at a footrace. A special trip into the city to visit his cousin, a certain freelance photographer with The Daily Bugle, opens Gus's eyes to the answer to his problems... and to a dream come true. Meanwhile, Gus illustrates the adventures of Marvel Dog, also known as his dog, Zabu.
Gurihuru's art strikes me as something of a cross between the styles of Udon Studio's Eric (Sentinel) Vriens and Darwyn (DC: The New Frontier) Cooke. The irreverence and innocence that Jason Lethcoe brought to this property before is intact, but there's a cleaner look at play that's attractive. Another element that the artist maintains from Lethcoe's run is the crude look in the backup story (which runs along the lower third of each page). Just as Lethcoe did before, Gurihuru captures a look that really makes it seem like a kid is crafting his own comic-book story.
The highlight of this issue is the two-pronged scene that see Gus face off against the ultimate denigrator of all things Spidey: J. Jonah Jameson. It's not just Jameson's bewildered reactions that makes the scene work, though. The conflict that unfolds in the background is thoroughly entertaining. The action is well choreographed, and there's a delightfully playful tone to the super-hero dynamics.
The main plot is quite accessible, but it's also fairly predictable. It's nevertheless entertaining, but I keep thinking there's more life in this property, especially if some more unconventional plotting were incorporated to really set it apart. Of course, Simone's emphasis here is on innocent fun, and I wouldn't want to see that strength sacrificed in order to bring something new and offbeat into the picture.
