These days, just about every news channel is spending a lot of time talking about terrorism and the next big plot, and Rucka's new story dovetails nicely with that newfound emphasis, examining another possible terrorist threat and how much pressure is on the intelligence services to prevent it before it happens. Because while this story arc is about a lot of things, from the politics involved in worldwide espionage to the tit-for-tat negotiations between agencies to the dangerous relationship between two agents, what is is really about on a core level is how hard it is to do a job when the pressure is on and the end is important, and how much more dangerous this political climate is for those in the intelligence business.
Once again, Rucka proves that espionage can be just as interesting when it takes place in a meeting room as it is when it takes place in a high-rise full of terrorists. Tara's meeting with Youssef is fraught with perils and tension, but the two of them rarely move from their seat. Tara is playing a dangerous game when she intimidates her way into the communications room, even though no one is pointing a physical gun at her. And the danger to the emotions of Tara and Ed Kittering is made very clear throughout their unusual courtship in this issue.
Queen & Country is also a political book, which is fitting given how much of espionage revolves around politics. For all the shadowy budgets and operations and "need to know" that makes up the rules of engagement for intelligence services, the fact of the matter is that the political climate has an enormous effect on spies. Seeing Paul Crocker negotiate with Angela Cheng, his counterpart in the CIA and friend, is always entertaining, because both of them are ultimately playing the politics of their own countries while trying to protect their own people, and also maintain a good working relationship. It's an example, in microcosm, of the kind of games that espionage agencies must play every day. The pressure and the complexity has only increased since 9-11, and Rucka has subtly changed the book to match that tone.
Less subtle has been the change in artists for this arc, as Leandro Fernandez has given the book a darker and more realistic look than it has previously had, and I have found the change very much to my liking. He still has elements that I find a little cartoonish for the subject matter, including the exaggerated hook nose of Youssef, the unbelievably low-cut blouse that Tara wears to work and the over-the-top bluster of Hodgson, but for the most part this has a detailed and shadowy style that is reminiscent of Eduardo Risso, who I believe is one of Fernandez's studio mates. The opening and closing sequences, done completely in silence, are particularly impressive, as they have a sinister feel and show off important story points without any dialogue or narration cues.
The bottom line, as always, is that Queen & Country is one of the strongest books that Oni or Greg Rucka have produced. And given the immense respect and appreciation I have for the work of both, that is a fairly strong statement to make.
