Love comes in many shapes.

If you’re like me, you’re baffled by Kevin Smith’s success. You watch his movies and scratch your head, confused why they’re so popular. Sure, they’re peppered with witticisms, but they consistently fail to satisfy. Smith’s movies are ambitious hit-or-miss affairs that rarely live up to their obvious potential. If he’d spend less time on affected cynicism and more time developing his dialogue, he’d move out of the cult dungeon and into mid-range classic land. If, like me, you feel this way, your day has come.

The Obligatory Warning: execution-style shooting, hanky panky, and a load of Robin Hood innuendo. This is a fun issue…if you don’t mind Smith’s obsession with sex.

Green Arrow #12, part of Kevin Smith’s lengthy run on the title, is a gem. Smith’s humor is fresh, and even his corny gags are enjoyable. The story focuses on Oliver Queen and Dinah Lance’s on-again, off-again relationship, and nails the joyful, anxious regret of love rekindled. Smith’s immaturity is transformed into a refreshing playfulness in a hilarious exchange between Ollie and Carter Hall. Oliver Queen is a muse to Smith, a good influence who makes a normally inconsistent writer fire on all cylinders.

Though artist Phil Hester’s blocky, angular style often stifles the impression of movement, he makes the important scenes shine. The key moments are rendered with a grace absent from most of the story. Like Smith’s moviemaking, Hester’s penciling shows a lot of potential, but lacks finish.

Worth the money? Sure. It’s entertaining enough to warrant three bucks.