Hawkman, like Green Arrow and the Atom, is one of those second-string JLA guys who I've always had a fondness for, but have rarely actually been a fan of their comics. The one time I was a big Hawkman fan was when John Ostrander and Tim Truman gave the character a huge revamp for the underrated (and continuity-busting) Hawkworld series, and the current incarnation is about as far away from that science-fiction/political take as you can get. Instead, Palmiotti and Gray open up with a book that feels more in tune with Hawkman's pulp roots, keeping up the focus that Geoff Johns established on his multiple reincarnations and throwing in a femme fatale, all the while playing up some more modern crime stuff with a serial killer and a group of whacko environmental terrorists. It's an interesting mix, with terrific artwork by Ryan Sook and Mick Gray, similar to what Johns had going on but different enough to maybe attract some new eyeballs.
Palmiotti and Gray open with a story of a hostage situation gone wrong, which allows them to set up some instant backstory for their lead character. They're still sticking with Carter Hall's more brooding, violent persona, a subplot that Johns had been developing, but they add in a bit more of a reason for why he's so on the edge, a personal failure that reminds him of the many times he's loved and lost throughout the years. It's all a bit angsty for me, but I can't deny that it's an interesting take on the character. However, I found myself more intrigued when we see Carter's lighter side later on in the story, as part of an introduction to a new character who seems tailor-made to be his new love interest.
There's definitely a sense in this issue of pieces being moved into place. The structure is sound, although I did find it a bit disconcerting that the intent behind the story was as clear as the story itself. The setup of a new antagonist on the police force and a new lady love both come off as a bit sudden, and the new woman's relation of some sort to the serial killer has me worried about another too-coincidental connection. That said, too many first issues these days don't establish anything, so it's nice that, even if the structure is a little obvious, Palmiotti and Gray have one.
One of my other common complaints about first issues (which this essentially is) these days is that they tend to eschew action for characterization. While Hawkman #28 is heavy on character, however, the creative team does not skimp on the action. In fact, Ryan Sook, whose work throughout is pretty impressive, does his best stuff when Hawkman comes crashing down on a carful of villains and crunches their front end with his mace. It's the kind of physical displays of power we don't tend to get from the character, but it fits his modern-day barbarian image pretty good. Sook started his career as a Mignola clone, but he's developed his style since then, and his work now has more of a Paul Smith vibe mixed into it as well. At any rate, the artwork here is terrific, with a dark and realistic look that perfectly fits the tone of the script and features a knockout of a femme fatale singer, one of the most imposing versions of Hawkman that I've seen and a lot of believably detailed regular people.
Palmiotti and Gray have taken off from where Geoff Johns started with a take that is consistent with the first 27 issues of the book but noticeably different as well. The focus on the reincarnation angle remains, but the globe-trotting adventurer angle seems to have been dropped in favor of focusing on more of a gritty street feel set in St. Roch itself. This still isn't my ideal version of Hawkman, but it's a smart, well-written and beautifully-drawn version that fans of the character would do well to check out.
