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Young Justice #3 maintains the healthy momentum of the first two issues. This issue is focused primarily around Conner Kent aka Superboy who has been missing from continuity for a long time. Brian Michael Bendis writes some fantastic young characters as usual and the plots continue to be interesting to read — the overarching story is developing slowly, but doesn’t feel dragged on too long. The art by Patrick Gleason and Viktor Bogdanovic is both fantastic and contrasts each other enough to be noticable. Gleason provides some great moments in the modern sections of the book while Bogdanovic does some great moments of Smallville in Conner’s backstory.
So what’s it about?
The official summary reads:
Young Justice is back, baby! Bendis and Gleason reunite all your favorites in one place! Robin (Tim Drake–the best Robin) and Amethyst (best Princess of Gemworld!) team with Wonder Girl, Jinny Hex and the new Teen Lantern (not even close to the best Green Lantern) to take back the mysterious Gemworld from the evil forces of dark Opal. Meanwhile, the reunited Impulse and Superboy have a lot of explaining to do. Also in this issue, find out where Connor Kent has been all this time. This is a big issue for Superboy fans!
Tell me about it!
One of the most telling things about this book is the way Bendis is willing to ignore some of the awful parts of the New 52 in order to make the book more seamless. The biggest example of this is Conner Kent. Bendis just straight up ignores the fact that New 52 Superboy exists and acts as if the original one has been around the entire time. The backstory section for Superboy shows no sign of the difference between pre and post Flashpoint or a single hint of the previous version that was created within the New 52. I’m sure people will dislike that Bendis has done this rather than magically explain why the other version has been ignored and pushed to the side but honestly it’s for the best rather than wasting page space on that. In times like this, selective canon is extremely helpful in making sure a story actually works rather than being bogged down in details that just cause more confusion.
Gleason’s art looks brilliant as always. He uses the space he has on the page efficiently as he moves from large, half page panels to five tall sections of the page to show some dynamic storytelling through small sections. He knows not to use more space than required, which works out fantastically. Both Gleason and Bogdanovic know when to use splashes efficiently. Bogdanovic works brilliantly for the flashback section, able to show off how suave Conner Kent comes across just though visual storytelling.
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