THE BOYS

By KURT AMACKER     August 18, 2006

Garth Ennis clearly hates superheroes. His obvious disdain fuels some of the funnier and more graphic moments in THE BOYS. However, more interestingly, he recognizes the shear illogic behind the whole notion of cape-and spandex-heroes. That recognition provides a sound basis for a story that would otherwise coast on its relentless violence and profanity. Like Marvel's CIVIL WAR, Ennis recognizes that the United States government would never allow thousands of costumed vigilantes to run wild. If some untrained jackass decided to fight crime after getting a talisman that made him super-strong, bad things would happen. Civilians would die. Property would be reduced to rubble. And, Ennis suggests, he might forgo his moral leanings and decide to take over the world. Absolute power corrupts absolutely. Hence, Ennis unleashes Billy Butcher and his team of black-ops hero-hunters in a world full of Marvel and DC look-alikes. They don't wantonly hunt superheroes referred to as "supes" but they keep them in line. But, if Darick Robertson's first page illustration serves as any indication, many cape-wearing do-gooders will die.

As of this issue, Butcher approaches (and penetrates) the female director of the CIA about reassembling his team to face the rising tide of unaccounted-for superheroes. Post-coitally, she agrees though not before calling Butcher "an arrogant piece of sh-t." Ennis has stated that THE BOYS will outdo PREACHER. If he means in terms of graphic violence, black humor, profanity, and despicable characters, he may have underestimated his new series. Anyone with delicate sensibilities might want to stay away. However, Ennis stays afloat by simply writing well. While certainly crass, it's not bad fiction, by any means. And, if this issue serves as any indication, THE BOYS may stand as one of his best works for a major publisher in years.

Darick Robertson collaborated with Ennis on THE PUNISHER: BORN, FURY, and FURY: PEACEMAKER. His art combines lovingly accepted influence from Richard Corben and Joe Kubert, and his penchant for graphic violence is second to none. Robertson's creative freedom on this title shows not only blood and gore, but a level of raw enthusiasm absent from his later work at Marvel.

Ennis's fans will love THE BOYS. Though lacking the theological emphasis of PREACHER, it embodies almost everything else that defines him as a writer. And with Robertson, he works with one of his best artistic collaborators. You can feel the ebullient spirit bleeding off the pages of THE BOYS. It looks like we have a new must-read.

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