During the opening scene of this issue, Kyle Rayner–imbued with the powers of all the rings… well, not really but Bedard misses that plot hole–starts spewing like a Red Lantern.
He spews while speaking Bedard’s dialogue, which proves a nice metaphor for the issue in general and Bedard’s writing in particular. Obviously, not all of the problems are Bedard’s fault. He’s not the idiot who named the Orange Lantern leader Agent Orange, he just works for the idiot who did.
It’s a strange issue in how little happens. The ringless (but still able to survive in space and still possessing superpowers) supporting cast goes to Oa to confront Kyle. Except Kyle thinks they’re on their way to rescue him. Makes a lot of sense.
There’s nothing to recommend the comic.
Wait, there’s a funny fat ghost Lantern. It’s even kind of cute, like an orange Slimer from Ghostbusters.
Ladies and gentlemen… the writing stylings of Roy Thomas! Yay! Yay!
Oh, wait. Umm. No. Not yay.
I suppose if someone wanted to read some really bad seventies young person counterculture dialogue, he or she could read Roy Thomas’s Adam Warlock story. It’s painful to read. And eventually painful to see too.
It’s another issue where Gil Kane’s art falls apart after a certain point. There’s this private detective who Kane draws terribly, but also disturbingly. He looks like an evil, poorly drawn Peter Lorre.
Oh, and the villains. The villains are these giant animals–a rat, a snake–and Kane butchers them. It’s like he can’t draw anything but regular people. Worse, the art all starts good and then plummets.
It’s a confusing story. Thomas loves to overwrite.
There’s a Jimmy Woo backup too, from Jack Kirby. It’s not any good, but it’s mildly interesting as a fifties relic.