Black Panther (1998) #9 [1999] W: Christopher Priest. A: Mike Manley. The cartoonish Manley art hurts immeasurably as Priest thoroughly unravels the conspiracy against Wakanda. Turns out the Avengers’ racist uncle at Thanksgiving was after the vibranium the whole time. If only someone had said something. Lots of (ugly) action, lots of expert exposition, and a little bit of character work. The Manley art hurts the character work the most.

Black Panther (1998) #10 [1999] W: Christopher Priest. A: Mike Manley. The Manley art continues to be terrible, but Priest’s writing is so good it doesn’t matter. I mean. It does but not catastrophically. The story is all about the politics of the situation, but from the Wakandan point of view. Plus lots of action. Some of that action might even be good if the art weren’t terrible. Alas.

Black Panther (1998) #11 [1999] W: Christopher Priest. A: Mark Bright, Nelson (Nelson DeCastro). Bright can draw. Not only can he draw, Priest trusts him to draw. So Priest tries things. They don’t always work–the movie references, which rarely involve the art, flop. But there’s a bunch of character work, even on Ross, and numerous pleasant surprises. Priest does an excellent job with the pacing. More intrigue and action. Finally okay looking.

Catwoman (2002) #14 [2003] W: Ed Brubaker. A: Cameron Stewart, J.G. Jones, Mike Manley. Team Catwoman starts investigating sister Maggie’s missing husband and whoever blew up Selina’s community center. Odd Batman isn’t involved. Odder he doesn’t know Black Mask has been slaughtering rival crews. Marley’s inks kind of spoil things, but the story’s all regulars in great danger so it still compels. Whether Brubaker’s got a point besides cruelty remains to be seen.

Catwoman (2002) #15 [2003] W: Ed Brubaker. A: Cameron Stewart, J.G. Jones. It’s more of the same relentless suffering, along with some torture. There’s also some phenomenal art. And some iffy cheesecake. To discover the mystery villain, Selina goes one way, Holly goes another. One of them is in greater danger by the end. It’s an outstanding finish to a yucky issue. The extreme is too much the point.

Catwoman (2002) #16 [2003] W: Ed Brubaker. A: Cameron Stewart, J.G. Jones. It’s a good finish, but even when Brubaker ties it all together–including the torture and all that jazz–it comes up thin. And he’s got to pivot. And that pivot isn’t any better. It’s just more. Some real good art. The action gets a tad protracted. Then Brubaker punts the POV away from Selina, which stinks.

Catwoman (2002) #17 [2003] W: Ed Brubaker. A: Javier Pulido. Pulido’s art’s controlled but rough; it’s kinetic; every line bursting with potential. Exactly what the story needs. Selina and company are trying and failing to recover from last arc’s heavy losses. Holly’s veering toward using, Selina and Slam are in a drunken, power imbalance hookup spiral. Brubaker gives Selina her time. Pulido draws Robert Mitchum as Slam. It’s awesome.