This issue is the culmination of a lot of plot threads and character introductions from earlier issues of The Goon. Which seems weird to say, since The Goon is generally a self-contained book with a comedic approach, and this one feels more like a climactic superhero type confrontation with a touch of EC/Twilight Zone twist horror thrown into the mix. Then again, The Goon has always been about a disparate blend of influences, so none of it feels out of character for the book, and while Powell does have a serious side to the story working here, he's also got plenty of idiosyncratic characters and off-the-wall humor, as well as his always enjoyable artwork.
This issue includes glimpses of just about all the guest stars who have showed up in The Goon previously. The reverse zombie former sheriff, Spider, the Mud Brothers, the prognosticating seal, Dr. Alloy and his '50s robot Bruno, they all show up in what turns into a big 'ol zombie brouhaha. The result is a lot of fun for those who have been following the book, but it'll be just as much fun (if not more) for those who are seeing these characters for the first time. Powell cracked me up any number of times in this issue, most notably when the Goon and Frankie are getting their information from a barking seal (surreal exposition at its finest) but also with the makeover that the Muds have undergone now that they're working for the Goon or our first glimpse of Stella, Frankie's lady love.
However, while The Goon made me laugh as always, Powell also throws in a nice bit of quest storytelling and heroic timing. The scene where Dr. Alloy shows up to help Merle, the scene where Goon rescues Buzzard, and the scene of Alloy facing down the nameless man are all classic heroic moments. Powell does a fantastic job with these big action sequences, and I especially love the size disparity between Merle's werewolf form or Bruno the robot and the zombie. It's not what I would have expected from this book, but this issue really reads like a big, classic superhero teamup.
A gigantic battle between the assembled forces of good and the assembled forces of evil may drive the story this issue, but it's really a story about Buzzard, the sheriff who failed to protect his town from the zombie priest in the first place. Powell gives the character some real dignity in the face of horrible circumstance, and I loved seeing him face down Grave, the zombie priest's henchman. At the same time, however, Buzzard's story is undeniably a tragedy, and the last page has quite a bit of punch to it, a dark culmination for the character that really leaves an impression on the reader.
The Goon is one of the most wildly imaginative and fun comics on the stands, month-in and month-out. This issue is actually more restrained in terms of pure wackiness, but it still has the decidedly unusual sensibilities of Powell flavoring the story. This issue, Powell demonstrates even more of his range, both in terms of writing and artwork, and serves up one of the best issues of The Goon yet.
