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Black Panther: The Client 2001 (SC TPB) 128 pages.

Written by Christopher Priest. Art by Mark Texeira, Joe Quesada, Vince Evans and Alitha Martinez.
Colours: Brian Haberlin, Avalon Colors. Letters: Richard Starkings, Siobhan Hanna, Wes Abott, Comicraft. Editors: Jimmy Palmiotti, Joe Quesada.

Reprinting: The Black Panther (3rd series) #1-5 (1998)

Rating: * * * * (out of 5)

Number of readings: 1

Published by Marvel Comics

The current revival of the Black Panther -- comicdoms first black super hero -- has been getting rave reviews. This TPB collects the first five issues, wherein the Panther, king of the super scientific African kingdom of Wakanda, arrives in America to investigate murder and corruption connected to an inner city charity he established. Meanwhile, back home in Wakanda, turmoil and revolution is brewing.

The Black Panther, when handled well, often plays with ideas that can stray far afield from your average two-fisted adventure comic: global and African politics, identity, honour, all held together by its brooding, thinking man hero. Writer Christopher Priest continues that trend (largely established by Don McGregor during a critically acclaimed 1970s run of Black Panther stories in Jungle Action) but he tweaks it just a little by also making it...funky. There's a hint of someone like Quentin Tarantino in Priest's style.

There's a lot of sassy humour, even absurdism, in this series. The story is narrated by Everett K. Ross, a U.S. government employee assigned to the visting Black Panther (The Client of the title). A fast talking nerd, the white Ross is bewildered by the ancient culture of Wakanda, but seems more confidant about his ability to handle inner city (read: black) America...not that we share his confidence as he gamely tells a hoodlum "Don't start none, won't be none," in his best street patois. He narrates the entire tale to his superior in a mixed up, back and forth, out-of-sequence way that is (intentionally) confusing for the first few issues. A lot of fun, but confusing.

Filtering the story through a white character might raise a few eyebrows. But Priest can get away with it in part because he's black himself, and though Ross initially dominates, the regal Panther quickly re-claims centre stage. By telling the story through someone else, Priest can indulge in the "Iconism" that has become so pervasive in modern comics, emphasizing the Panther's mystery and majesty. And it allows novice readers to be brought up to speed through Ross' reports. Besides, the Ross character gently turns cliches on their head. How many movies have you seen with the heroic white guy, and the comic relief black side kick? Here, Ross is the wisecracking nerdy pal. But what makes him work is that, clearly, Priest likes the little guy. Ross may get the laughs, but Priest isn't making fun of him.

And, as noted, gradually the familiar Panther, the one carrying the weight of the world -- or at least a nation -- on his shoulders, the idealist, the Hamlet-in-a-cat-suit, emerges from behind the self-consciously "hip" sun-glasses and bald pate 'tude and reassures us that Priest hasn't forgotten the character's roots. Although some of the supporting cast is, I think, new. As well, Priest expands the Panther's arsenal, giving him a bullet proof costume, a laser knife, etc. That seems to be the trend with modern heroes: accessorize. The costume has been fancied up a bit, and the Panther occasionally out does Batman on the mysterious front, appearing in locked rooms with no explanation for how he got in. But there was something cooler, more heroic, about the minimalist, self-reliant Panther, the guy who triumphed with skills and wiles alone.

Admittedly, Priest uses the jumbled narrative style to distract from a story that isn't as complex as he makes us think it is...or even as coherent. The Panther investigates a scandal and the murder of a child associated with the charity -- a molestation murder, one infers, though it's never clearly stated. But Priest never explains why anyone thinks the girl's murder is even connected to the charity. And the oblique way Priest alludes to the nature of the crime might seem to trivialize it, Priest not quite dealing with the seriouness of his subject matter. Meanwhile, the Panther's "detective" skills are basically to beat up and intimidate people. Sherlock Holmes, eat your heart out!

That raises it's own issues. The idealistic Panther is a character that has always leaned toward philosophizing, caught between the old world and the new, between what's right and what's practical. We learn he disbanded the Wakandan secret police years ago, unable to contenance their brutality. Yet the Panther beats up and intimidates people to get what he wants. What is Priest trying to say about, well, anything? If Priest wants to tackle big ideas, he needs to gets his head around them, first. Granted, the reason so many super heroes use such methods is probably less intended as an endorsement of torture and brutality, and more because the writers just aren't smart enough to write a real investigation.

Of course, the "investigation" is only part of the story, with the revolution back home being another thread, and the Devil being another.

Yeah, The Devil. Literally.

Seems Mephisto is looking to gain the Panther's soul, the Panther having been elevated to a level of purity previously reserved mainly for the Silver Surfer. The Devil stuff offers the story some delightful...weirdness, not to mention some genuine laughs (many revolving around some pants). The Devil sub-plot delves more deeply into the Panther's psyche, even as the resolution seems a bit...pat. Kind of like the charity investigation.

With all those diverse, but interconnected, plotlines, The Client covers a lot of creative bases, as well as fleshing out the Panther's background and origin, plus various digressions and asides. And maybe the fact that some of them aren't developed as well as Priest's unorthodox style fools you into thinking can be forgiven. And the trouble back in Wakanda, though reaching a stalemate, isn't resolved, leaving this "graphic novel" with a few threads dangling. It's no surprise Marvel rushed a second collection, Enemy of the State, onto the shelves, wrapping up the story (I assume).

The art is noteworthy. I don't know if it's truly painted, or just an elaborate variation on the usual computer colouring process, or whether it's Mark Texeira's rough, smudgy pencils and inks, but the book has a vibrant, painted look to it. Granted, the details aren't as detailed at times, having a (slight) Impressionist look. At the same time, there is a vivid realism, even photo-realism. Unfortunately, the art changes for the final issue. Normally, Vince Evans would be a perfectly fine, realist artist. But compared to what went before, it's a bit of a let down. Of course, Evans is only one man, whereas it's entirely unclear who did what on the first four issues. Texeira is generally credited, but Joe Quesada (who is also the co-editor) gets an ambiguous "storytelling" credit, and Alitha Martinez is credited with background assists. Plus there's Brian Haberlin providing the colour for all the issues. Whoever is fully responsible for the look, it combines with Priest's funky writing to make the story pretty electric at times.

I liked The Client, even though it's not as smart as it pretends, and some plot threads don't cleanly resolve (though most do). But reflecting back on it, I remember it with more fondness than negativity. It's simplistic at times, but so are a lot of comics (and movies, and TV shows). It's funny, and serious, and eccentric. Definitely worth a look and a respectable return of the Black Panther. Now if only Marvel would collect Don McGregor's classic "Panther's Rage" epic in a TPB...

This is a review of the story as it was originally serialized in Black Panther comics.

Cover price: $24.95 CDN./ $14.95 USA. 

Black Panther: Enemy of the State 2001 (SC TPB) 160 pages

Written by Christopher Priest. Art by Joe Jusko, Mike Manley, Mark Bright, with Amanda Connor. Inks by Jimmy Palmiotti, Vince Evans, Nelson Decastro.
Colours: Avalon Studios; Drew and Matt Yackey, Brian Haberlin, Chris Sotomayor. Letters: Richard Starkings, Comicraft. Editors: Joe Quesada, Jimmy Palmiotti, Nanci Dakesian.

Reprinting: Black Panther (3rd series) #6-12 - 1998-1999

Rating: * * * * (out of 5)

Number of readings: 1

Published by Marvel Comics

Considering Enemy of the State on its own is a bit tricky as it directly follows the previous Black Panther TPB collection, The Client. The Client covered the first five issues of the Panther's latest series and, though it was self-contained enough to be worth reading on its own, some plot threads were left dangling. These threads are tackled here. The Black Panther, super hero, and head of an African country, is in the U.S. in a kind of (ill-defined) exile, his throne having been usurped in a (sort of) coup covered in The Client. There's a certain ambiguity at work -- the Black Panther agrees not to return to his native Wakanda, to avoid instigating a civil uprising against the new regime...yet he is still treated as Wakanda's official ruler by the American government.

Anyhoo...

The Black Panther ends up tussling with villain Kraven (not, apparently, the original Kraven who died in Spider-Man: Kraven's Last Hunt, but Kraven's son), and must avert a race riot and temporarily hook up with former teammates the Avengers. But all of this is a pre-amble to the main story, which has the Panther uncovering the international conspiracy that led to the coup, and his attempts to re-claim his throne.

Like in the previous book, Christopher Priest writes with a delirious eye for jumbling and juggling plot threads -- one story doesn't end for another to begin, but all are wrapped around each other, where even scenes that don't seem connected might, indirectly, have an impact on each other later. Also thrown into the mix is the fast-talking Everett K. Ross, the U.S. government agent who acts as The Black Panther's U.S. liaison, who not only provides plenty of comic relief, but narrates in a back and forth, mixed up way. Priest delights in throwing in scenes -- sometimes just an image -- that seems to have no meaning, only to reveal its significance a few issues later. One really believes Priest has plotted things out many issues in advance, which makes for an unusually sure footed read at times.

Added to all this is various relationship and character stuff, as Monica Lynn -- the Panther's on again/off again love interest -- returns, and the Panther must deal withh his ideological opposite, the White Wolf (and learning his history). Plus more minor things crop up, like learning Ross' boss/girl friend, Nikki, has a history with the Panther in a beautifully understated, but poignant scene.

And, of course, there's Priest's sassy humour, much of it courtesy of the bizarrely demented villain Achebe (with his talking hand puppet) and, of course, Ross. Priest is black himself and some of the humour is meant to be a little incendiary -- though I missed it myself (apparently a quip where a character speculates about the Panther ordering some ribs has a racial aspect to it???). There's also some humour in Ross' homophobia -- no, I don't mean Priest is advocating hate against homosexuals. There's merely humour in Ross' discomfort with anything that smacks of homoeroticism. But Priest is also serious, too, when dealing with things, whether it be race or the conspiracy against Wakanda taking the Panther into some unexpected quarters. Not that the book is some heavy tirade. Priest is a storyteller, first and foremost, and the comic is intended for people of all races and colours to enjoy. But it also wants to make you think, too.

All of this also means that both Black Panther TPBs will probably hold up for subsequent readings quite well. The first time through, you're just picking things up as you go. The second time through, you can better appreciate foreshadowing and early clues.

But a problem Priest has is that he's a little too keen to make the Panther...cool. To make him the ubersuperhero. Obviously the Panther is a sharp dude, and part of his appeal is his cool demeanour, his unflappableness. But he should also be human and vulnerable. Priest doesn't mind showing that with the Panther's relationships, and even as a super hero Priest grudgingly allows him a few weaknesses -- such as actually losing his first scuffle with Kraven. But a lot of the time, Priest doesn't permit him the opportunity to be human, with the Panther too often three steps ahead of the villains, so that the suspense is rather...muted. Priest even goes so far as to suggest that the Panther was wise to what was going on from the beginning, which kind of undermines some of the (perceived) emotion in early scenes. Priest seems too much in danger of subscribing to the Iconism of modern comics, where the hero isn't allowed to sweat, or bleed, or be anything less than totally in control. As I say, that's not always true here, but it's enough that it makes some of the later parts of the story seem lacking in a bit of tension. Is the Panther fighting back against overwhelming odds...or just cleaning house?

Priest even goes so far as to re-interpret the Panther's relationship with the Avengers in a way that, frankly, doesn't really jibe with earlier stories.

The art in this TPB is a mixed bag, with three different styles present. Joe Jusko illustrates the first three issues, with a photo-realist style that is captivating, even as it is, at times, a little stiff. Then he's followed by Mike Manley, a cartoony artist at the polar opposite from Jusko, and from the art in The Client. Manley looks like he's auditioning to draw for "Batman: The Animated Series", and though his storytelling ability isn't to be faulted, a lot of the atmosphere, the moody realism, of the comic is lost. Finally M.D. Bright wraps things up. I've become a bit of a fan of Bright's low-key, realist pencils in Green Lantern (circa the early 1990s) -- even if I once described his art as undynamic which, perhaps, it is. It's good comic book work, and I like it, and it allows the story arc to resolve respectably -- art-wise -- if un-extraordinarily.

I try to review books as stand alone works. Having already read The Client, I'm not sure how well this would read on its own. I think reasonably well, with enough of the plot elements relevant to this story introduced in these pages, just as The Client could be read on its own, despite some danging plot threads. But, in truth, the two books are meant to form a single, 12 issue story arc. The series was published under a Marvel imprint, Marvel Knights, then, starting with issue #13, it was published under the regular Marvel banner, a decision that seems to have led all those concerned to try to shape the first 12 issues into its own arc (though even then there're one or two threads left dangling).

After having read both books, I can't decide if Priest's Black Panther is the smartest, sharpest, most audacious and original, most provocative and ambitious (and funniest) mainstream superhero comic on the market...or whether there's a little too much flash with the substance. Priest's stuff is so good at times, there's a bit of a let down when it doesn't all seem to come together as well as you'd like, when there isn't quite the emotional pay off you were hoping for. Still whether it's that good, or whether it just seems that way at times, both books are worth tracking down, but if you can only find one or the other...they're still worth a read.

This is a review of the story as it was originally serialized in Black Panther comics.

Cover price: $__ CDN./ &16.95 USA 

The Black Widow: The Coldest War 1990 (SC GN) 64 pgs.

Written by Gerry Conway. Pencils by George Freeman. Inks by Ernie Colon, Mark Farmer, George Freeman, Mike Harris, Val Mayerik, Joe Rubinstein.
Colours: Lovern Kindzierski. Letters: Ron Muns. Editor: Terry Kavanagh

Rating: * * (out of 5)

Number of readings: 1

Published by Marvel Comics in oversized, tabloid format.

Recommended (very mildly) for mature readers.

On learning her Russian husband may still be alive, the super spy The Black Widow is coerced into pulling an espionage job for her former Soviet bosses.

The Coldest War is kind of a half-hearted effort. I have great respect for Gerry Conway's talents, but it doesn't really seem as though he put much effort into this one, either in the fairly straighforward story, or in the characterization. Natasha (a.k.a. the Widow) is deeply conflicted (understandably) but it's not till we're nearing the end that we're even given a flashback to her life with her ex-husband, portraying the relationship that, after all, is supposed to be at the heart of the story since its memory is what motivates her. There's a long build up to the plot, giving us some flashbacks to previous stories (from Avengers comics in the '60s, I assume) but the story itself is fairly routine and the villains one-dimensional. Though there is a cute exchange between the Widow and a S.H.I.E.L.D. scientist in one scene. Ironically, as recounted here, the decades-old Avengers storyline sounded more emotionally rich, more poignant, than anything in this story.

It's the art by George Freeman that invigorates the story in spots. Freeman's one of those unfairly neglected artists that hasn't really got his due from fandom. Probably still best remembered (by some) for his work years ago on the Canadian comic book, Captain Canuck, Freeman's distinctively moody, organic work is a little bit like Joe Staton mixed with Joe Kubert...nyah, that doesn't really describe it. He's beautifully complemented by Lovern Kindzierski's moody colours.

The art starts out well, inked either by Freeman or someone sensitive to his feathery line work. But as the story progresses, there were some truly ill-conceived choices for a succession of inkers, some who clearly viewed Freeman's pencils as nothing more than a vague guideline, if that, that they were supposed to embellish. Some of the work is downright...messy. Whoever made the editorial decision that some of these inkers would complement Freeman's work should be taken out and shot. Period.

There are also technical glitches, like the story sometimes being labelled as being set in 1988 and sometimes 1987, and some spelling errors. And there was just something awkward about the whole end of the cold war, when writers in all mediums, not just comics, tried to milk one more story out of the "Russian baddies" genre that was rapidly being made irrelevant by real world politics.

It starts out well, but overall it's kind of pedestrian, almost redeemed by Freeman's art...except that even that is manhandled by the inkers in the final two thirds.

Original cover price: $11.95 CDN./$9.95 USA.

The Black Widow: Homecoming
is reviewed here

Brave and the Bold Annual2001 (SC TPB) 80 pgs.

Writers: Bob Haney, Dave Kaler, Jack Kirby. Pencils: George Roussos, Carmine Infantio, Steve Ditko, Joe Simon. Inks: George Roussos, Charles Paris, Rocke Mastroserio, Jack Kirby.
Colours: Lee Loughridge. Letters: various.

Reprinting: Brave and the Bold #50, 67, Captain Atom #85, Detective Comics #76

Rating: * * * (out of 5)

Number of readings: 1

Published by DC Comics

Starting, I believe, last year, DC Comics has released a few "lost" annuals. That is, harkening back to a time when DC would regularly publish 80 page giants featuring reprints of older, hard to find material, DC has released a few mock comics--newly packaged reprints that are meant to feel like the ones from the 1970s. Format-wise, it's also intended to be a kind of middle ground between a regular comic and the Trade Paperbacks common today, being on expensive paper with stiff covers...just not as expensive, or as stiff, as a TPB.

DC had started to slow down on these "lost" comics, but now we have Brave and the Bold Annual #1, 1969 (the 1969 in the title is part of the joke).

The Brave and the Bold was a title that started out as a try out magazine for new characters, but soon was turned over to featuring team ups and, shortly after that, specifically Batman team-ups. That's how the title continued until it was cancelled to make way for Batman and the Outsiders in the early 1980s. Included here are a couple of semi-classic reprints from the 1960s. From B&B #50, there's a team up between Green Arrow (and sidekick Speedy) and the Martian Manhunter, which basically inaugurated the team up format, and the first Batman team up (with the Flash) from #67. Rounding out the comic is a "Boy Commandos" story by Joe Simon and Jack Kirby from the 1940s, and from the 1960s, Captain Atom #85 (which was actually published by Charlton Comics, but DC bought up their catalogue years ago).

The best story in the collection is "The Death of the Flash" from B&B #67, written by Bob Haney and drawn by Carmine Infantino (inked a bit crudely by Charles Paris). It reminds you of a time when comics could be fast paced adventures, where the action was more than just splash pages and 10 page fight scenes, where single issue stories crammed enough into them to fill out two or three issues today. The story ain't particularly sophisticated or ambitious, but the fast-paced plotting could be studied, and learned from, by most comics writers today. Haney even injects some angst and emotion, in that the Flash discovers his superspeed is killing him, and wrestles with the idea of whether he should help Batman track some superfast thieves, thereby risking his life. It gives the story a dramatic core. The writing is a little too sixties at times, trying to emulate the camp Batman TV series, but the underlying story is interesting and entertaining. Infantino's art is also pretty good (Paris' unfortunate inks notwithstanding), reminding you why his eye for composition made him something of a Silver Age legend.

The Captain Atom story, likewise, is a fun, well-paced adventure. Written by Dave Kaler and drawn by comics legend Steve Ditko (well served by inker Rocke Mastroserio) it's nothing classic, but it's an enjoyable, well scripted story, with Captain Atom teamed with sidekick Nightshade (the theme of these stories is team ups) battling supervillains Punch and Jewelee.

The Green Arrow-Martian Manhunter story comes from a slightly simpler age than the other two, with little in the way of characterization or emotion. But writer Bob Haney still delivers a nicely plotted piece. It's a fast-paced, movie serial type romp, with some twists and turns. The opening pages alone set up an intriguing case...though quickly the heroes figure out what's going on and the intrigue dissipates. It's drawn by George Roussos in a simple, but serviceable, style.

The Boy Commando story has the under-age war heroes coming to America and meeting up with characters from other Simon and Kirby strips from that time: the Guardian & the Newsboy Legion and the Sandman & Sandy as well as the even younger Kid Commandos (that may've been an attempt by Simon and Kirby to launch another series). The Boy Commandos get kidnapped by Nazi agents, but the team up aspect is minor, with the other characters in little more than cameos.

There's nothing classic or indispensable here, but the solid Batman-Flash team up is almost worth the purchase by itself, and the other stories are entertaining to varying degrees. Of course DC's "lost" annuals pale a little beside Marvel's recent trend of releasing "Monster" issues. Marvel's gimmick is to randomly pick an on going title, and expand one issue with reprints backing up the regular, new story. Marvel's Monster Issues are roughly the same size as DC's 80 page giants...but considerably cheaper, which is a decided plus. Also DC's decision to mainly reprint material from the 1960s or before is too bad, neglecting worthy stories from the 1970s.

Of course, what this collection also does is remind one of what an under rated title was Brave and the Bold, particularly from the late 1960s and onwards. Throughout the 1970s, the Batman team-ups (drawn by first rate talents like Neal Adams, Nick Cardy and Jim Aparo) in B&B were of surprisingly high quality. It wasn't that these were deep, profound stories (though one or two were genuine classics), but as tightly plotted, breezy adventures, many written by Haney and often self-contained, single-issue stories, the series boasted a baseline readability that a lot of flashier comics can't match. If DC Comics didn't seem to have an editorial aversion to reprinting 1970s-era stories (maybe only a dozen TPB collections contain '70s reprints out of how many hundreds of TPBs DC has published) then they probably would've long ago published a Best of the Brave & the Bold TPB.

Cover price: $9.95 CDN/$5.95 USA.

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