Rucka offers up an issue that captures the action and excitement of the spy genre with the uglier reality of real-life espionage. There's a quiet professionalism that dominates this issue, but what makes it truly interesting is the underlying emotion. That restrained, emotional quality brings tension to the story, and it creates the drama, as one cannot predict how the characters will behave or react.
The mission in Georgia undertaken by Minders Two and Three -- Tara Chace and Brian, the new guy -- has gone horribly wrong. Tara Chace is on the run, and the safe harbor she's able to find is only a temporary one. Meanwhile, section chief Paul Crocker is informed of the snafu, and he gathers his people 'round to help decide on the next step. Crocker's determination to rescue the son of someone he failed years before comes into conflict with his professionalism and concern for his people, and Crocker himself comes into conflict with the deputy director... who has some news that will shake up how MI-5 operates.
Carla Speed McNeil's work here really puts in mind of the word of another writer/artist whose carved out a niche market and strong reputation in the small-press market: Terry (Strangers in Paradise) Moore. There's a softness in McNeil's style that emphasizes the characters' vulnerabilities, but there's also a maturity that drives home the drama of the plot. There's some meticulous detail in the action and Tara's deliberate movements in this issue, and McNeil prevents clearly without sacrificing the dark mood. I think my favorite element in the art is the peaceful, amused look McNeil casts over Tara's face when she's presented with her means to escape.
I love how Rucka takes us behind the scenes and invites us to witness the process and progress of espionage. He never talks down to the audience, though... never spells it out too obviously. The dialogue comes in quick little bursts, and that -- along with the professional terminology at play -- gives the scenario a genuine quality. Mind you, the dialogue isn't so far "in" that those of us on the outside can't follow along and play as well.
Perhaps better than ever before, we can see the parallels between Crocker and Tara. Their determination, willfulness and susceptibility to their emotions shines through in this issue. Crocker's driven here because he failed Karpin's father years ago, and Tara's determination stems from her perceived failures in the form of two dead colleagues. The difference here is that Crocker's experience has brought with it a greater appreciation of self-preservation, an awareness of what battles he can win and those he can't. Tara seems to lack that insight.
