G.I. Joe #4 // Review
The heroes of the rebellion are given a rest as the narrative switches to address the villains in the latest issue of IDW’s new G.I. Joe series. Writer Paul Allor explores the politics of the globally dominant Cobra organization from the perspective of Major Bludd in an issue drawn by Niko Walter. The background of the organization is seen from some of its highest levels. It’s a new view, but it doesn’t entirely show the villainy of an organization meant to be the bigotry evil in the series. The menace might not be delivered completely, but Allor and Walter smartly render the complexity of Cobra and those who work for it in the fourth issue of the series.
Major Bludd may not owe any loyalty to anyone else but himself. He’s a control freak who happens to also be a pet owner. He’s a mercenary who started working for Cobra back when people could still remember it as a tech company. Cobra Commander seemed like a reliably selfish person...then the despot’s idealism showed him to be unstable. Now Bludd is ready to act on suspicions about Cobra in an autocratic power structure with certain inner conflicts that begin to reveal themselves.
Allor is wise to spend an entire issue exploring the nature of Cobra from the perspective of an ally who has come to distrust it. The complexity of the politics of Cobra is engaging enough. Far from a hero in waiting, Bludd is shown to be a very, very vicious man in a chapter that reveals intriguing dynamics. One of Allor’s more interesting treatments is that of the Cobra Chief of Staff Daemon. All too often, evil autocratic organizations in heroic action fiction focus exclusively on the action. A soulless paper pusher, Daemon is given the same love for control that Major Bludd has...she prefers it from behind a desk, which makes for a fascinating villain In an action serial. Allor could do some exciting things with her.
Walter has a respectably streamlined sense of dramatic characterization with the largely reserved body language of a highly skilled merc. Walter’s rather narrow focus on Bludd DOES follow the script quite well, but the atmosphere suffers a bit. Life in the Cobra-occupied US isn’t given much detail around the edges of the drama, which is a bit of a missed opportunity in an issue that gives the villains the center of the panel. The interpersonal drama between members of the Cobra inner-circle comes across in Walter’s art. Still, there isn’t enough detail on the rest of the world in which the despotic Cobra autocracy rests. Walter’s work is clean and well-defined. It’s a pity more detail isn’t present.
This issue provides some key background on Cobra while also moving the plot forward as political intrigue begins to emerge. As an early chapter in the series, Allor and Walter have delivered a solidly entertaining fourth issue. The overall momentum of the serial still hasn’t quite reached dramatic equilibrium as the full reality of the villains still haven’t been brought to the page yet.
