Ghostbusters International #6 (re-post)

Ghostbusters International #6

Written by Erik Burnham

Art by Rachael Stott

A weeping woman in white and a ghostly guard dog seem to be terrorizing teenagers in Cayey, Puerto Rico. With Peter, Ray and Winston still in Paris after defeating the spirit of a French assassin, it falls to Egon, Kylie, and FBI Ghostbuster Liason Special Agent Melanie Ortiz to investigate the attacks.

You have no idea how tough it was to stretch out the plot of this issue into a nice, thick paragraph. To call this issue light would be a disservice to the term. I've read leaflets with more substantive, engaging, and frankly, relevancy to the overall point of the story that Ghostbusters International seems to be pushing forth. Said story being that of a Richard Branson type wanting to purchase/control the Ghostbusters for as-yet-to-be-determined-but-it-damn-sure-isn't-altruistic-reasons.

Having read the issues #1-5 that made up Ghostbusters International Volume 1 (which is a good read), one could argue that this departure from the main arc of the title is a necessary breather. But I'd disagree mainly because during the first five issues as a subplot, Egon has been looking for a magical maguffin of malicious might and as of this issue has had no luck in finding it, putting it on hold for the events of this issue. With only Egon's story left undone, I would think continuing that story would be the next logical step. Instead we get what amounts to a filler episode. Melanie even brought up in issue #4 that Egon could continue his research and reading while on the flight to Puerto Rico, so there's no reason why there couldn't have been at least a little bit of progress on that plotline.

In terms of humor, the closest thing we get to it is Kylie being insulted by a doctor when she introduces herself, Egon and Melanie as Ghostbusters. Otherwise, her inclusion in the story is to be the comic relief/damsel, which is even lampshaded by Kylie as she's being singled out to be attacked by the ghost because of her age. There's even an odd exchange between Egon and Melanie about how myths with similar stories of wailing, weeping women in white are abundant in numerous cultures and throwing in the words "Cultural appropriation" as if it's some sort of topical snipe. I know it was supposed to be funny or clever, but it got a shrug out of me.

As for the adventure itself, it seemed to be resolved in relatively simple fashion. One of the threats wasn't even considered a threat and was handled in one panel with a caption box, making its inclusion rather superfluous. Now, that's not to say the idea itself is bad or that this story demanded its own arc. We could've easily had an element come into play that could've aided or added a little more weight and meat to the story. Also, while I do maintain the story's placement is suspect, its setup was established and followed through on, which is something many writers don't do until writing the draft or after a couple of rounds with the editor.

Despite the above complaints, writer Eric Burnham maintains a tight grip on the continuity of the overall story. Egon's leg injury from issue #1 still persists, necessitating him to walk with a cane and remark (in pedantic, but very much Egon fashion) during the bust that "Vastus Lateralis" or leg "hurts like a mother." It also has Ray, Peter and Winston still in Paris after busting the ghost of a French Assassin that was haunting the Louvre in connection to a mysterious artifact.

The artwork by Rachael Stott looks very good with clear indication of motion and facial expressions. Though I would say that Egon's hair looks a little more purple than brown in some scenes. I should note that while I am aware that art can change on an issue by issue basis depending on need, it doesn't make the shift of styles any less jarring. It's a nitpick I perhaps shouldn't indulge too much in, because the artwork is the better part of this issue. On the other hand, there’s a bit of placement error with Ray and Winston while sitting with Peter at a café in Paris, but it’s far from atrocious and only noticeable after a good long look.

Despite good, solid artwork from Rachael Stott and a tight, firm grip on the continuity by writer Eric Burnham, this issue feels ultimately like a detour down a bumpy highway when we have a perfectly paved road to choose from.