What a lousy comic. I mean, I didn’t even care about Steve Dillon’s artwork. His lines get thick during action sequences and lose all fluidity. Dillon’s precise line work always implies movement, entropy, never static. He looks like he’s doing pin-ups this issue. Punisher pin-ups. Is it 1993 or something?
I can’t figure out who Marvel is targeting with this Punisher variation. Let’s go through all the pieces of the pie. First, Steve Dillon’s back. He hasn’t been on the book for a while, right? And he was on the book during multiple good new (or post-Angelic) Punisher titles. So Dillon alone might be a sale. Except now you need a writer–Marvel should’ve just gotten Dillon a ghostwriter for the book, it couldn’t have been any worse and probably would’ve been better–but it’s 2016 and Marvel has a diversity problem. So get Becky Cloonan to write the book. Name female creator. It’s almost an event comic.
Only bad Punisher comics aren’t events, they’re the standard. Cloonan and Dillon turn in a lame issue. Cloonan writes Frank with less personality than a slasher movie villain, only Dillon draws him very superhero, very compensation Frank. Cloonan’s got these moron DEA agents who would have been lousy cop characters in the early eighties, much less now. Her dialogue’s thoughtfully written but it meanders in exposition land. Or she just has terrible editors.
Finally, this Punisher is the first series since regular people started caring about the Punisher, thanks to the “Daredevil” TV show. Shock of shocks, a “Punisher” show got announced just a few days before this issue came out. It’s buzzy. It’s Disney (and if Disney just means nostalgia-based brand synergy, so be it). Anyway, buzzy says it needs to be accessible as well as notable. Cloonan’s there for her buzz cred, not because she has some great Punisher story to tell.
Or maybe she does and it really is just another Lethal Weapon riff with war buddies selling dope and one of them having to stop it. But I’m giving her the benefit of the doubt.
Marvel apparently thinks they need it to have mass appeal, which is admirable but impossible. The Punisher is pulp, it’s exploitation. For it to succeed, it’s got to have an edge–it can’t be bland. And this book couldn’t be blander.
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