“Greek Street” is a series that’s interested in the long game. Early issues were middling and somewhat disappointing as pieces were slowly moved into places, issues too fractured amongst its cast, none receiving enough space or time to make a lasting impression. However, as the series has progressed, the events of those early issues have formed a solid base for the book, making the continued fractured narrative approach work better and better with each issue, the connections between characters becoming more and more apparent, giving the impression that the disparate, seemingly wide open world of the beginning of the series, is really a closed, narrow one.
In this issue, violence continues to be a driving force of “Greek Street” as Eddie, the modern day Oedipus, is arrested for his various crimes, or seeming crimes, and finishes the job of emulating his Grecian basis. It’s a shocking moment that comes with little warning, but stays within character since Eddie has always been a man (boy?) of impulsive passion and the exposure of what happened with his mother drives him to yet another extreme. Meanwhile, his girlfriend, the oracle Sandy, is reunited with her father, Lord Menon, and accuses him of being the true cause of her mother’s death, not Eddie.
And that’s just the beginning of Menon’s problems in the issue. Things get worse when he’s blackmailed by a man he hired to kill some people. Menon’s response is equally extreme to Eddie’s actions earlier in the issue, but even more shocking given his character. Milligan’s writing is chaotic in this issue, jumping from scene to scene, character to character, piling horrific acts of violence upon one another, all driven by passion, by spur of the moment decisions. Given how much of Greek mythology is based upon the passions, it’s a good way to call back to the inspiration for the series.
While the chaos gives the comic a sense of energy and freshness, it also makes for a scattered read. Even ten issues in, it’s still hard to say exactly what the series is about. It’s entertaining on an immediate level where things change quickly, but a sense of the larger picture is still missing. Guided by Greek myths and stories, the series has something to build on, but there’s no indication of the direction. The unpredictability is a positive and negative, this issue being executed well enough to make it a positive, but that’s something that can vary from issue to issue.
As the series has grown, so has Davide Gianfelice’s art. His blocky style has a mix of cartoonish appearance and sketchy line work that’s very effective, particularly in an issue like this where events move quickly and the visuals have to show the emotion and passion of the characters to convey how they can commit such horrors. His work on Lord Menon is particularly good in this issue as he flies wildly between emotional states, all apparent on his face. Gianfelice is very at home with these characters now and that comfort comes through. The bland coloring still holds the art back somewhat, but Gianfelice’s improvement with each issue is stunning.
Those that have stuck with “Greek Street,” hoping that the patience would pay off are rewarded in this issue and the last as the series is coming together. While a true sense of direction isn’t readily apparent, enough of a connection with the characters has been established that Milligan can play with expectations and their actions carry weight. It’s rare that you can say that a comic improves with each issue, but this one does.