Green Arrow’s back in action! Fresh off his stint as Amanda Waller’s double agent (a ruse, as seen in Absolute Power, Ollie ditches the spy game and returns to his roots: patrolling the streets and taking down small-time thugs. But things are about to get a whole lot bigger. A string of CEO murders has rocked the city, and wouldn’t you know it, our favorite emerald archer has a personal stake in finding the killer. Writer Chris Condon and artist Montos deliver a thrilling start to this new mystery in Green Arrow #18.
Joshua Williamson’s recent run on Green Arrow has been a treat, revitalizing the Arrow Family and strengthening Oliver Queen’s supporting cast. However, the sheer number of Arrow-related characters sometimes felt overwhelming, with as many as eight appearing in a single issue, and the storylines occasionally veered into the outlandish, sending Green Arrow on cosmic adventures and time-traveling escapades. In Green Arrow #18, writer Chris Condon wisely grounds the series, returning to the core of the character: a modern-day Robin Hood. This back-to-basics approach is exactly what many fans have been craving.
The issue presents a compellingly realistic scenario: chemically contaminated water poisoning children in a playground and CEOs being targeted by a mysterious vigilante. Artist Montos and colorist Adriano Lucas masterfully blend superhero dynamism with gritty realism, perfectly complementing the grounded narrative. Lucas’s use of dark shades and muted colors creates a mature and unsettling atmosphere, making this issue feel remarkably relevant to our times.

Credits: DC Comics
The story begins on a school playground, where the discovery of buried chemical barrels hints at a larger problem. We then catch up with Green Arrow as he thwarts a robbery, delivering his signature quips before vanishing across the city rooftops. Back in his apartment, a news report reveals the death of Horton Chemicals’ CFO, the latest victim in a string of related murders. Donning his suit once more, Green Arrow investigates the deceased CFO’s penthouse, uncovering a surprising connection. We then meet the detective investigating the case. The two immediately clash, with Green Arrow displaying his usual smug charm. The scene ends with the revelation that the killer has struck again, this time targeting another of the Emerald Archer’s past acquaintances.

Credits: DC Comics
Chris Condon perfectly captures Green Arrow’s charm and voice right from the start. His righteous indignation toward the Horton Chemicals CFO highlights how corporate and government greed can devastate ordinary people’s lives. This book feels grounded, as much as a superhero story can. Green Arrow shines when he’s the Robin Hood figure we know and love, fighting for the underdog rather than cosmic threats. The detective looks like a fantastic foil, and I can already sense the love-hate dynamic brewing between them. Montos’s art perfectly fits this gritty story with its shadowy, grounded aesthetic.
Adriano Lucas’s colors are equally impressive, the black ink seeping into the pages, making Green Arrow’s green costume pop while still feeling appropriately dark. Hassan Oltsmane-Elhaou’s lettering is superb, with clever uses of onomatopoeia (“Fwhiip” for the grappling hook, “Kreee” for the penthouse door) and a willingness to ditch speech bubbles for impactful lettering. In short, there’s a lot to love about Green Arrow #18.
Green Arrow #18, by Condon and Montos, grounds the series in gritty realism, focusing on Ollie as a modern-day Robin Hood and, thankfully, fewer cosmic adventures and time-traveling shenanigans. It’s a welcome return to form, with compelling art and a story that feels ripped from today’s headlines.
‘Green Arrow’ #18 Review: A Gritty Return to Star City!
Green Arrow #18, by Condon and Montos, grounds the series in gritty realism, focusing on Ollie as a modern-day Robin Hood and, thankfully, fewer cosmic adventures and time-traveling shenanigans. It’s a welcome return to form, with compelling art and a story that feels ripped from today’s headlines.
