Good grief–Ennis end the comic with a big Dubya is an alcoholic moron joke right before 9/11. Did they change the reveal for the trade?

It’s a dumb joke too. Instead of giving the Punisher an actual enemy, it gives Ennis a scene. He has lots of scenes this issue, some better than others, some pointless like this one. The big finale with the Russian is sort of pointless because there’s a predetermined finish to it.

Or maybe Ennis is keeping the Russian around even longer, because it’s easier for him to do absurdist humor than to write the comic.

There are a couple okay moments in the issue, like when the Punisher stands off against the big villain. The villain’s a mercenary general who has a long speech. Ennis goes for a cheap finish.

It’s a tired finish but it works okay… just like the comic itself.

B- 

CREDITS

No Limits; writer, Garth Ennis; penciller, Steve Dillon; inker, Jimmy Palmiotti; colorist, Chris Sotomayor; letterers, Richard Starkings and Saida Temofonte; editors, Kelly Lamy, Nanci Dakesian and Stuart Moore; publisher, Marvel Comics.

Ennis has lost track of any real person–by real person, I mean the bartender from the first couple issues or maybe one of Soap’s cop antagonists–and he’s back to having a jolly old time. Lots and lots of pop culture references. Some day you’ll need footnotes to understand all the references and then further footnotes to explain why they’re funny.

Oh, Sixth Sense plot twist jokes. Let me wipe the tear from my eye.

Still, Ennis is taking Frank a little more serious this issue. He’s the protagonist for his scenes in the issue, not the subject, not the butt of wry jokes. And Ennis does give him some vaguely interesting things to do. Not inventive so much, but diverting.

The problem is the lack of content and the villain. The villain is lame and boring, which even Ennis seems to accept.

Dillon does well on the art.

B- 

CREDITS

Dirty Work; writer, Garth Ennis; penciller, Steve Dillon; inker, Jimmy Palmiotti; colorist, Chris Sotomayor; letterers, Richard Starkings and Wes Abbott; editors, Kelly Lamy, Nanci Dakesian and Stuart Moore; publisher, Marvel Comics.

It’s the Punisher on an island of dumb mercenaries. Or the next issue will be–and Ennis even goes so far as to promise it’ll be a good one for the soft cliffhanger. Actually, this issue is mostly exposition.

There’s exposition at the beginning while Frank hangs some corrupt cop off a roof for information, then it’s Frank narrated exposition about Mr. Big, then it’s Frank’s pilot with a bunch of exposition; all the action comes at the end on the island.

The strange part about the comic is how engaged Ennis gets with the material. There are a few times where he almost seems like he wants to be serious. Then he remembers he can’t be too serious, but the intention is definitely present.

The result is a mediocre comic in a lot of ways, but also the best issue of this Punisher series so far. Ennis’s finally interested.

B 

CREDITS

American Ugly; writer, Garth Ennis; penciller, Steve Dillon; inker, Jimmy Palmiotti; colorist, Chris Sotomayor; letterers, Richard Starkings and Wes Abbott; editors, Kelly Lamy, Nanci Dakesian and Stuart Moore; publisher, Marvel Comics.

More funny stuff from Ennis. He’s got some cheap jokes but he sure does thoughtfully arrange them. He’s even for a bunch of Marvel puns in the comic–referencing Giant-Size Man-Thing and Marvel Team-Up, though he could have gone further with the pun about the latter.

But the comic itself? The Punisher and the new, improved Russian duking it out on the Empire State Building. Spider-Man shows up. Foreshadowing. There’s not much else to it. It’s an amusing read; if Ennis had any good observations about Marvel comics, it’d be better, but it’s amusing enough.

The many misadventures of Martin Soap continues as well. Ennis doesn’t try hard with Soap either. He doesn’t have to try hard.

The Spider-Man cameo is sort of wasted and it doesn’t help Dillon can’t draw the costumed figure well.

But it’s fine. Painfully unambitious and disinterested and totally fine.

B- 

CREDITS

Does Whatever a Spider Can; writer, Garth Ennis; penciller, Steve Dillon; inker, Jimmy Palmiotti; colorist, Chris Sotomayor; letterers, Richard Starkings and Wes Abbott; editors, Kelly Lamy, Nanci Dakesian and Stuart Moore; publisher, Marvel Comics.

Garth Ennis takes a rather strange approach to this issue–and presumably this Punisher series. He does it as a comedy. There are levels of mocking, with the Punisher getting the least and Soap getting the most. There are some actual criminals in there and their stupidity gets mocked, but they’re at least aware. Soap isn’t even aware.

Meanwhile, Steve Dillon does some pretty good art on the issue. He’s not drawing anything particularly fantastic, subject-wise, but he’s doing good work.

I just read the comic and I can’t remember much about it. The cliffhanger is a big one, but not as big as the reveal of the villain. Ennis is going for Preacher-level absurdity without any justification. It’s goofy, but he thinks it’ll be funny, so he’s using it. Not just logic be darned, but sense of reality be darned.

He’s not trying, but it’s still okay.

B- 

CREDITS

Well Come On Everybody and Let’s Get Together Tonight; writer, Garth Ennis; penciller, Steve Dillon; inker, Jimmy Palmiotti; colorist, Chris Sotomayor; letterers, Richard Starkings and Wes Abbott; editors, Kelly Lamy, Nanci Dakesian and Stuart Moore; publisher, Marvel Comics.

Why is the only good scene in the issue–besides the apartment cast’s send-off, of course–when Soap meets the Punisher? The rest of the stuff with Soap is dumb, as are the other subplot resolutions, but there’s something about that scene. Maybe Ennis thinks of the reader as Soap, someone dumb enough to be amused even after a seagull tags you’re forehead.

Because The Punisher is pointless. There’s no story for Frank, not since the first or second issue. There’s no story for the mobsters or the cops. The story for the apartment cast would be more amusing than this comic but only because Ennis actually worked on them.

The series has had some very high points, but Ennis failed to follow through on anything. He introduced ideas, did some development, then forgot them.

Even Dillon seems to have given up a little, especially with his figure drawing.

D 

CREDITS

Go Frank Go; writer, Garth Ennis; penciller, Steve Dillon; inker, Jimmy Palmiotti; colorist, Chris Sotomayor; letterers, Richard Starkings and Wes Abbott; editors, Kelly Lamy, Stuart Moore and Nanci Dakesian; publisher, Marvel Comics.

Ennis continues with the goofy issues. The dialogue out of this one is hideous. Ennis is going for cheap one liners. It’s awful.

But, hey, the detectives might have something to do next issue. Maybe for a minute or two. Though Ennis could have given them something to do this issue; instead he reminds the reader of their presence, which he’s been doing for the last few issues. Promising they’ll eventually pay off.

Kind of like the other idiot vigilantes. It’s not good comic relief or anything else at this point. Ennis tries to rationalize the absurd way too much in this comic. He goes for humor in those rationalizations and it gets old fast.

The supporting cast all get their page time this issue and Ennis continues to protect them.
Like everything else, Ennis has no idea what to do with them but at least they are likable characters.

C 

CREDITS

Any Which Way You Can; writer, Garth Ennis; penciller, Steve Dillon; inker, Jimmy Palmiotti; colorist, Chris Sotomayor; letterers, Richard Starkings and Wes Abbott; editors, Kelly Lamy, Stuart Moore and Nanci Dakesian; publisher, Marvel Comics.

An issue long fight scene with the Punisher mostly getting his butt kicked. Ennis goes for light, edgy humor from the Russian. Nothing too far, but some of the jokes are still smart.

Then there are detectives Molly and Soap. They get a talking heads scene and then it’s off to the vigilantes teaming up. Unfortunately, Ennis doesn’t have anything for the detectives to talk about because they’re not doing anything anymore. They’re sitting around.

The vigilantes are not sitting around, they are driving around. Ennis goes for a lot of humor with them. It’s the worst he’s done with the Elite one and Mr. Payback. This issue brings them down to the level of the priest. It’s really too bad.

As for that big fight scene… it’s only the first round. There’s another round; hopefully Ennis will have mercy and cut to the best parts instead of plodding through.

C 

CREDITS

Glutton for Punishment; writer, Garth Ennis; penciller, Steve Dillon; inker, Jimmy Palmiotti; colorist, Chris Sotomayor; letterers, Richard Starkings and Wes Abbott; editors, Kelly Lamy and Nanci Dakesian; publisher, Marvel Comics.

Enter the Russian and Ennis bringing in another weak villain, but one he can try to use for humor. Why use him for humor? Apparently there’s not enough comedy with the Punisher caring about his neighbors. The scenes with the neighbors are all soft, sensitive scenes. I thought Frank was going to tell the overweight guy to eat healthy.

The villain gives the mob story some freshness and then the detectives get some freshness and it feels like something might be happening. But it’s not really happening, it’s just Soap and Molly talking and Ennis trying to figure out the most rewarding moments. Rewarding to the reader, not to the story, which is the big problem.

Even the good scenes don’t hold up. Ennis has Frank too jaded, given though he’s clear about the series not being too jaded. They’re probably supposed to be black humor moments but they flop.

C 

CREDITS

From Russia with Love; writer, Garth Ennis; penciller, Steve Dillon; inker, Jimmy Palmiotti; colorist, Chris Sotomayor; letterers, Richard Starkings and Wes Abbott; editors, Kelly Lamy and Nanci Dakesian; publisher, Marvel Comics.

It’s kind of a talking heads issue. There’s some action with Frank having to save Dave and he bonds a little with Joan. Ennis has problems working Frank into the humor. He’s the Punisher is the punch line to too many of Ennis’s jokes.

There’s also a lot with Soap and Molly. They don’t serve a purpose in the story at all, so Ennis just fills out with them. They’re another enjoyable part of Ennis’s big Punisher story, which ostensibly should have been about him getting Ma Gnucci.

She’s not a good villain though. So Ennis has to do really awful things around her to make her seem like a good villain. The secret of this series is its shallow depth. Ennis is just doing enough character work to make it seem substantial, but he’s really just trying to get done with his twelve issues.

And he’s doing relatively fine.

B- 

CREDITS

Desperate Measures; writer, Garth Ennis; penciller, Steve Dillon; inker, Jimmy Palmiotti; colorist, Chris Sotomayor; letterers, Richard Starkings and Wes Abbott; editors, Kelly Lamy and Nanci Dakesian; publisher, Marvel Comics.

Should I call this a bridging issue or maybe I should call it a highway interchange issue because Ennis is bringing so much together. This subplot meets this other subplot and leads into the connection to the next subplot. It goes on and on.

It’s amusing. Ennis writes it well. The stupid priest thing has the detectives in it and they’re still funny. Whenever Ennis writes loser guys and their female partners who don’t want them romantically, it’s good. He should really do a series of just them.

Oh, yeah, Frank’s neighbors–who he mocks in his first person narration–once again get the kid glove treatment from Ennis. Dave and Joan are protected characters. Ennis coddles them; it’s a strange thing, since they’re the most obvious characters for him to coddle.

Still, it’s pretty good. Mr. Payback and the Elite are both funny. Ennis’s clearly exercising entertainment over ambition.

B 

CREDITS

Bring out Your Dead; writer, Garth Ennis; penciller, Steve Dillon; inker, Jimmy Palmiotti; colorist, Chris Sotomayor; letterers, Richard Starkings and Wes Abbott; editor, Joe Quesada; publisher, Marvel Comics.

The issue starts so much better than it ends. It opens with everyone but the Punisher and the serial killer priest. There’s a little with Frank thinking about how he needs to move and some comedy with his neighbors, but not a lot. Ennis almost makes it seem like he’s switching over during that comedy and then pulls away again. The two cops are getting a lot more important.

Then comes the big action scene and Dillon doesn’t do great with it. He does okay, but not great. All the first person Frank stuff is comparing his current life to Vietnam and it doesn’t work. Ennis is making fun of the character at this point. The whole issue has had a wink about Frank. But no one else. Everyone else Ennis takes seriously.

The result is less rewarding than it should be… but it’s still amazing how hard Ennis works.

B 

CREDITS

Spit out of Luck; writer, Garth Ennis; penciller, Steve Dillon; inker, Jimmy Palmiotti; colorist, Chris Sotomayor; letterers, Richard Starkings and Wes Abbott; editor, Joe Quesada; publisher, Marvel Comics.

Ennis develops Frank this issue and it’s unexpected. He’s fully aware of his mental state. He knows he kills criminals to feel a little better, a little more in control, whatever. He’s even mad at Giuliani for lowering crime in New York.

It’s an odd line. Even with all the odd stuff with Frank walking around the city bemoaning his situation, the Giuliani thing is still odder. Maybe it’s because all these other murderous vigilantes, each attacking different segments on the community. The priest hits the sinners, the Payback guy hits Wall Street crooks, the Elite guy gentrifies with a vengeance. I feel like there’s another one.

Maybe not. It doesn’t matter. Ennis is playing up the comedy, even though he still stays respectful of certain things. His principal supporting cast for Frank–the lovable apartment dwellers–Ennis doesn’t quite sell them out. Soap and Molly are seemingly safe too.

B 

CREDITS

Even Worse Things; writer, Garth Ennis; penciller, Steve Dillon; inker, Jimmy Palmiotti; colorist, Chris Sotomayor; letterers, Richard Starkings and Wes Abbott; editor, Joe Quesada; publisher, Marvel Comics.

I wonder if Molly the detective wears sunglasses so Steve Dillon gets a little less to draw. I assume they’re also there so she looks too cool to hang out with Detective Soap, but still. It’s disconcerting having a character without expressions.

This issue, save the killer priest scene, which is particularly crappy, is rather good. Ennis sets up the detectives teaming up and does a little comedy relief with Soap. But most of the issue is real time with Frank on the run through Central Park. Some of the exposition is odd–Frank pauses to watch polar bears eat a bad guy and Ennis all of a sudden introduces the idea he’s a sadist for sadism’s sake. It’s brief, all by itself and very strange.

There’s a gentleness to how Ennis handles some of it. Frank’s oddly gentle, even when vicious, and Ennis handles Soap gently.

It’s good stuff.

B+ 

CREDITS

Wild Kingdom; writer, Garth Ennis; penciller, Steve Dillon; inker, Jimmy Palmiotti; colorist, Chris Sotomayor; letterers, Richard Starkings and Wes Abbott; editor, Joe Quesada; publisher, Marvel Comics.

Ennis brings in Daredevil for what seems like a bad idea cameo and turns out to be a great one. It’s a lot of talking heads with Frank and Matt Murdock arguing about what’s justice and whatnot. Only Ennis makes sure to bring in some action every few pages so it doesn’t get boring.

Elsewhere, Ennis is building up the black comedy adventures of the cop. There isn’t much to the scenes, but they’re fine. All of the issue, except the serial killer priest, is fine. Ennis doesn’t get ambitious, except maybe with the Daredevil twists; he and Dillon are selling a deliberate product.

The rest of the issue has just Ennis setting up for the Daredevil confrontation. It figures into the big mob family plot tangentially. I think they just wanted to have the cameo. Or guest star. Daredevil’s in here a lot.

It’s a shame about the priest.

B+ 

CREDITS

The Devil by the Horns; writer, Garth Ennis; penciller, Steve Dillon; inker, Jimmy Palmiotti; colorist, Chris Sotomayor; letterers, Richard Starkings and Wes Abbott; editors, Joe Quesada and Palmiotti; publisher, Marvel Comics.

Everything is going swimmingly until the end. Sure, Ennis doesn’t write Frank’s threatening dialogue as well as he writes his narration, which continues to be sublime, but the plotting is phenomenal. Frank methodically goes up the food chain on the mob family, with Ennis showing the steps in Frank’s investigation.

Ennis also brings in some of the supporting cast. He uses them for humor–the poor, unlucky cop and his peers. It’s a good relief valve for the Punisher story. While Frank’s got a certain sense of humor, it tends to make things more tense.

The end, however, is a disaster. Ennis breaks the reality he’s creating for the comic, introducing a villain more appropriate for Preacher. At this point, the comic goes from being Garth Ennis writing Punisher to Ennis writing his “style” in a Punisher comic. Ennis even changes the way humor works for that ending.

Rather unfortunate.

B 

CREDITS

Badaboom, Badabing; writer, Garth Ennis; penciller, Steve Dillon; inker, Jimmy Palmiotti; colorist, Chris Sotomayor; letterers, Richard Starkings and Wes Abbott; editors, Joe Quesada and Palmiotti; publisher, Marvel Comics.

Garth Ennis has a real sense of exuberance with The Punisher. Steve Dillon not as much–maybe he realized how round Jimmy Palmiotti’s inks would make the pencils–but the art’s still good. Every line of Ennis’s narration from Frank is enthralled, though. Even though nothing happens this issue, that narration makes it worth it.

Until the end maybe. Ennis has to address recent changes in the character history and the lines recounting the Punisher’s days as an angel are too jarring. Ennis can get wrapped up in Frank’s worldview but there’s no way to make that angel stuff sound good.

The narration is tempting; Ennis brings the reader over to Frank’s side. The way Frank thinks, the way he plans out his attacks, the mindset–it almost immediately makes perfect sense. Probably because of the awesome opening sequence.

It’s commercial Ennis. He’s funny and tender; any viciousness is superficial.

B+ 

CREDITS

Welcome Back, Frank; writer, Garth Ennis; penciller, Steve Dillon; inker, Jimmy Palmiotti; colorist, Chris Sotomayor; letterers, Richard Starkings and Wes Abbott; editors, Joe Quesada and Palmiotti; publisher, Marvel Comics.