|
BLACK WIDOW: PALE LITTLE SPIDER #2 (Best of the Week!)
Highly Recommended (10/10)
|
Marvel Comics/MAX Comics
"Part the Second"
Writer: Greg Rucka
Artist: Igor Kordey
Colors: Chris Chuckry
Letters: Comicraft
Editor: Stuart Moore
"The Call of Duty"
Writer: Chuck Austen
Pencils: David Finch
Inks: Art Thibert
Colors: Matt Milla
Letters: Chris Eliopoulos
Editor: Ralph Macchio
Price: $2.99 US/$4.75 CAN |
Pale Little Spider: Rucka continues to poke and prod at the concept of identity, experimenting on a woman who lacks an identity of her own. This is a chilling story that explores that nastier side of the human psyche, and it's got a murder plot to boot. Along with its gritty art from Kordey, Pale Little Spider makes for a haunting read that titillates, disturbs and challenges the audience.
The Black Widow learns about her late father figure's "activities" at the S&M club, and in the process, learns that the only constant in her tumultuous life was not what she thought it was. Meanwhile, Maks, the Moscow detective who was forced off the murder case, continues to investigate, and he pays the club another visit and gets a clearer idea of the sort of thing that goes on there.
At first, you can't even tell that the cover isn't a straight-out photograph; Horn's work is stunning. But it's Kordey's rough-around-the-edges style that really nails the atmosphere of this story. He conveys the title character's confusion, anger and apprehension with crystal clarity, and the neon darkness of the S&M club is shockingly vivid.
There's a powerful scene that demonstrates just how the name "Black Widow" has made the transition from the super-hero genre to espionage. When Maks, the Moscow cop, learns of who usurped his case, there's real fear. The Black Widow isn't just a spy; the name has become legend, something to be feared. It was a great scene.
The real key to this book's strength, though, lies in the mind of Yelena. She plays the role of both submissive and dominatrix here, feeling uncomfortable in both. She doesn't know who she is. The only aspect of her life that she could depend on was her relationship with the Colonel, and that's shattered. The only identity she had has been taken from her.
Call of Duty: The third part of this backup story, running throughout a variety of Marvel titles this month, shifts the focus to characterization, bringing with it a more downbeat but thoroughly human tone. The art remains detailed, but it doesn't boast the same strength it did in the first two chapters of the story, though.
James, the fireman who saw the little girl in the tenement fire but then lost track of her, is ordered off to the hospital. As the ambulance speeds off and he chats up the attractive EMT, they happen upon an accident scene... one with something in common with the fire.
Finch's art, though textured and detailed, isn't as realistic here... at least, not when it comes to the characters. All of a sudden, each figure in the story is a beautiful and handsome vision of perfection, and the tone of Finch's work comes off as closer to the "Kewl" Top Cow approach I used to see in his stuff. Still, he continues to tell the story well. As for the script, Austen steers away from the practice of firefightings and peers into the life and mind of someone who has chosen the dangerous profession. There's a sadness in James that comes off as profound and genuine.
Note: Since the backup story appears in several of this week's Marvel Comics releases, it does not factor into the rating for this review.
Email Don MacPherson comments about this review, or discuss it on the Fourth Rail message board.
|
