The Stop Button

Black Panther (1998) #12 [1999] W: Christopher Priest. A: Mark Bright, Nelson (Nelson DeCastro). Just okay wrap up for the series-to-date. There’s some nice art and some okay jokes. Lots goes unresolved. And there’s a big reveal to change the impact of the story. Priest opens the issue with one eh reveal, and then does a pointless Captain America guest spot. Cap’s just around so they could have him on the cover.

Black Panther (1998) #13 [1999] W: Christopher Priest. A: Bob Almond, Sal Velluto. Priest kicks off the next story arc with elaborate narration from Ross. There’s trouble afoot, not to mention betrayal, and a more sedate than usual Ross breaks it down. Priest gives all Ross’s dorky white boy lines to guest star Justice. It’s a packed issue. Also: Hydro-Man attacka. The new art team is fantastic and they know it.

Black Panther (1998) #14 [2000] W: Christopher Priest, Glenn Alan Herdling. A: Gregg Schigiel, Richard Case, Sal Velluto. After a tedious if well-illustrated Ross introduction, the issue switched over to Black Panther rescuing a plane from Hydro-Man. The passengers don’t know they’re hostages, which gives T’Challa some page time. Must be nice just to have the suit turn on and off. Great action issue. Veluto and Almond’s art, Priest’s writing–the book’s delightfully sturdy.

Black Panther (1998) #15 [2000] W: Christopher Priest. A: Bob Almond, Sal Velluto. It’s a very quick issue. Black Panther is giving a statement to former squeeze Nikki, while her boyfriend Ross is calling for help. Plus a lengthy, very amusing sequence about the Hulk getting radicalized against capitalism. Ross’s bit (he’s on a ceremonial hunt) is a little rote; since the art’s good now, it’s fine. Stable is the new BLACK.

Black Panther (1998) #16 [2000] W: Christopher Priest. A: Bob Almond, Sal Velluto. Panther’s New York side mission now has Nightshade guest starring as the villain. She’s a LUKE CAGE villain, hired by Killmonger to disgrace Wakanda. Meanwhile the actual Killmonger is protecting Monica Lynne and running a capitalist utopia. Someone’s got to be confused, right? The ending is a lot of fun. The Ross gag (dipshit white narrator) is getting tiring.

Catwoman (2002) #18 [2003] W: Ed Brubaker. A: Javier Pulido. It’s another major downer issue, starting with Holly teetering on the edge of the wagon. Then Slam is trying to get lost in work, only for the case to disappoint. His attempt to include Selina proves a poor decision, with Brubaker confusingly setting the story in the aftermath. Lovely, emotive art from Pulido. Hopefully Bru baker’s going somewhere.

Catwoman (2002) #19 [2003] W: Ed Brubaker. A: Javier Pulido. As far as resolutions go, it’s frankly mid. Selina gets more self-destructive; eventually Batman shows up so they can get that sales bump. He’s not in it long enough to matter, just another tool on Brubaker’s narrative utility belt. The art gets too much for Pulido too. He’s great at movement and mood, but definitely not monologues.

Catwoman (2002) #20 [2003] W: Ed Brubaker. A: Cameron Stewart. Selina and Holly hit the road to find themselves and whatnot. First stop: Catwoman’s top secret… farm. There, Wildcat Ted Grant provides sage advice and fight training. The duo is in need of both. Some really good action art. Holly’s letters home provide the majority of the narration. The script’s full of such narrative devices; they’re usually successful.

Catwoman (2002) #21 [2003] W: Ed Brubaker. A: Cameron Stewart. Selina teams up with Captain Cold. He’s got information she needs, he needs help on a heist. Holly wanders Keystone (mostly off-page). The script’s okay, but Brubaker avoids exploring the team-up dynamics for the most part, which is good because they’re problematic. Nice GET SHORTY homage. Great art. The action, the “travelogue.” It’s a good looking book.