ACW #634 - Black Canary

Action Comics Weekly #634 (Black Canary)
"knock 'em Dead, Part 11"
Writer - Sharon Wright
Pencils - Randy DuBurke
Inks - Pablo Marcos
Letters - Steve Haynie
Colors - Gene D'Angelo
Editor - Robert Greenberger

Hey now, today marks the first (of three) final farewells hitting us this week!  Today Black Canary takes her final ACW bow.  While she'll technically appear during next week's The Crash of '88!... it won't be as the star of her own feature.

I thought I'd be a lot happier about this... hrmm... I must be going soft in these late numbers.

--

We open at "act" the Contemporary Theatre where much of the second-half of this story has taken place.  There, Cat has Ken strung up high above the stage in some rigging.  He ain't dead or anything, though... well, not yet.  Nearby, Black Canary, who figured everything out after her trip into the sewer last week, looks on.  Somehow Cat doesn't notice that there's like a mile of blonde hair just a few yards away.  Before Cat can cut the cables and send her ex-husband plummeting down to the stage, Dinah swoops in... asking the all-important question, "How did your daughter die?".  I mean, this broad's pretty unstable... might wanna wait til you're on solid ground to begin the interrogation.

This leads to, of all things, a flashback scene.  Ya see, Cat's totally cool with Ken spilling the beans right now... and so, he does.  The thing of it is, Ken while married to Cat, but screwing around with The Deb, found himself in some pretty risky situations.  This is when he somehow contracted AIDS.  I say "somehow" because we don't know if this was a sexually-transmitted or needle-sharing sort of situation.  Whatever the case, he got it.

Fast-forward about a decade... Ken, along with Dannie (his daughter with Cat) were out biking, when there was an accident.  Dannie broke her arm, and lost a lot of blood.  Ken just happened to be a match (AB Negative)... bingo-bango, the kid's now got AIDS too!  She dies not too long after.

With the story told, Cat decides it's time for Ken to take his final bow.  However, before she can send him to his final splatting place, Dinah produces a sack... from which it looks as though she's dumping Dannie's ashes all over the stage.  Wow, that got dark--er.

Over the course of the next couple of pages, Dinah battles an enraged Cat.  This is kind of what we've been waiting for for the past near-dozen weeks... however, the way it's rendered... it's nigh on impossible to actually follow.  The art is veers into the, uhh, "hyper-experimental" at this point?  It looks like the fight ends with a spotlight either blinding Cat... or literally exploding.  It's quite "out there".

We wrap up this chapter, this arc, this feature... with Cat, dead... splattered all over the stage.  Dinah produces the actual urn full of Dannie's ashes, so we know she didn't actually callously dump a child's remains all over the place.  Ken's alive... and is going to be okay, ya know, AIDS notwithstanding.  After a "witty" Law and Order style closing-line from Dinah... that's that!

--

So, all's well that ends well.

Such a strange story... I'd say "strange little story", but this sucker ran for eleven weeks.  Let's talk nuts and bolts for a bit, since that was my main takeaway (and problem) with Wright and DuBurke's first run-up at telling a Dinah story.  This one meandered far less... and, most importantly, introduced us to our cast early on.  If you were following along during Dinah's first arc... we were still meeting major characters in like the penult--er, second-to-last chapter!

This story was, like the one before it, sorta-kinda "torn from the headlines"... at least thematically.  The AIDS epidemic was hyooge news back in the late-80's.  It was like one of the three certainties in life.  It was like everybody was out to get you 1) hooked on drugs, 2) initiated into a gang, and 3) infected with AIDS.  It's up there with quicksand as one of the things I was sure would eventually take me out.

Here's where this arc differs from the last... in the first arc, we met the Librados... illegal immigrants, who did some rather unsavory stuff just to make ends meet.  We got this sorta-kinda "Robin Hood" vibe from them... doing bad things, but for all the right reasons.  Ya know?  Real Philosophy 101 "ethical dilemma" sorta stuff.  Here, Ken Glazier... for all intents and purposes, a "good guy"... he cops to his unsavory prior actions.  He regrets them... laments them, takes responsibility for them... and has been "broken" ever since.

There isn't like this neon-arrow pointing at him telling us he's who we should be rooting for, like there was with the Librados last time out.  I guess what I'm trying to say is, Ms. Wright was far less heavy-handed and agenda-driven this time out... and the story was much better for it.

On the other hand.  Mr. DuBurke?  Mistuh Mistuh Mistuh Mistuh... DuBurke.  I wanted to love this art.  In fact, it was just about the only thing I was looking forward to while this arc loomed on our Action Comics Daily horizon.  Like I've said a few times already... this art is fine to look at, but no good at telling a story.  I mean, look at our big climax here... I haven't the foggiest idea which way the characters' heads are screwed on, much less what's actually going on!  We've waited nearly a quarter-year for this scene, and I can hardly make heads or tails of it.  That's not good.

What I'd really like to see is like a "Director's Cut" of this story... because, I feel as though there is a very tight and solid story hidden somewhere here... underneath the weird ACW schedule, without any repetitive nothin' happenin' scenes, without waiting until the last minute to spill all of the beans.  There's something good here.  This isn't to say the story, as delivered, was bad... because I don't think it was.  I just feel like it could've been better.

I get that's a pretty broad thing to say... I mean, every story (and every thing) "could've" been better.  What I'm trying to say is, this arc showed promise and potential, where the first outing did not.  There's a feeling that if nudged ever so slightly, this could have been a very special Dinah-centric story... in a time where Dinah-centric stories really weren't a thing.

Would I recommend knock 'em Dead?  Hmm... if given the choice between Librado's Way and knock 'em Dead... definitely choose the latter, but... ya know, I dunno.  It's not bad... maybe check it out?  Howzat for riding the fence?

Tomorrow: A Series of Very Convenient Events!

ACW #633 - Black Canary

Action Comics Weekly #633 (Black Canary)
"knock 'em Dead, Part 10"
Writer - Sharon Wright
Pencils - Randy DuBurke
Inks - Pablo Marcos
Letters - Steve Haynie
Colors - Gene D'Angelo
Editor - Robert Greenberger

Wow, this one's still going on, innit?  Well, not for long, because if I'm not mistaken, today's piece covers the penultimate chapter of this Black Canary tale.  Eleven parts for a story is pretty weird, but... I wanna say there was a lot of weirdness going on behind the scenes at Action Comics Weekly around this point in time.

--

We open with Ken Glazier... having something bad happen to him... I think.  Looks like he's either just had his brains blown out, or he was slapped in the face.  It's somewhere on that spectrum.  Meanwhile, Dinah is having her wounds tended to by an EMT.  She claims that Cat's stab (with a prop-dagger, no less) didn't sever any tendons, just gave her a big ol' bone bruise.  The check-up is interrupted, however, by an officer who reports they just found a body bobbin' in the sound... a body whose description matches that of The Deb.

We hop over to the pier where our worst fears are confirmed... well, they're bound to be somebody's worst fears... The Deb is Ded.  The question about how or why anyone would dump her body into such a heavy-trafficked waterway lingers.

This gives Dinah a sneaking suspicion, and so she disappears around a bend.  There, she finds an opening to the sewer system, and decides to have a look around.

She is almost immediately greeted by the word "Whore" being scrawled on a wall... not sure if this was written in paint, lipstick, blood, or ketchup... but, it's red.

Dinah continues... and comes across a closed door.  Upon entering, she finds quite the scene.  It's a shrine of sorts... to a little girl.  There are empty boxes of Kentucky Fried Somethin'r'nother strewn around the joint, which makes me figure that "Whore" we just saw must've been writ in ketchup... maybe barbecue sauce.  Amid the ramshackle altar, Canary finds an urn... which she peeks into.  Suddenly all the pieces fall into place.

In a nearby chair, where it appears as though some torture had been taking place, Dinah can see some fresh blood.  At the foot of the chair, she spots a wallet... belonging to Ken Glazier!  Now that's awfully convenient.  Looks like we're finally headed into the end-game!

--

I've said it before, but as many of you know, I often take any opportunity to repeat myself here... this really feels like they're doing their damnedest to add pages to this arc.  While at the same time, it feels like we're not getting enough information!  The past several chapters could have easily been condensed into like half the pages... and included some clear, concise storytelling in regards to the final fate of The Deb.  Not that we necessarily need to see her get whacked, but none of this really needed to be so nebulous.

I think many of us figured out where this story was going about 4-5 weeks ago... so, a lot of these "revelations" are falling pretty flat.  I, personally, don't think every reveal needs to be an "A-ha!" moment, but this arc seems to think that's the way a story is told.  There would be nothing wrong with playing this straight.

Despite the clear-as-mud art, this is a mostly linear story... the twists and turns are manufactured to be twisty and turny... the story never gets the opportunity to grow and evolve "organically"... which only makes the reveals feel all the more forced, hackneyed, and cliche.

Not sure how much of this we can lay at the feet of the storytelling team... or if the editorial team did the ol' Uri Geller spoon trick on this story to make it fit better into the publication schedule... but, it's getting weaker by the week.  Still, it's leagues better than Wright and DuBurke's first try with the character!

Tomorrow: Back in the U.S.A.

ACW #632 - Black Canary

Action Comics Weekly #632 (Black Canary)
"knock 'em Dead, Part 9"
Writer - Sharon Wright
Pencils - Randy DuBurke
Inks - Pablo Marcos
Letters - Steve Haynie
Colors - Gene D'Angelo
Editor - Robert Greenberger

It's Canary Day... and there's not a whole lot to say.  I can't believe this has been going on for nine weeks... and still has a few to go!

--

We open... in that sewer, where we found out The Deb was being held a couple weeks back.  She is being held captive by Cat... and, now has bleach blonde hair?  She pleads with her captor that she didn't kill anybody... to which Cat is all, "Yeah, I know... I did."  Meanwhile, Dinah and Company are at the Contempo-Theatre devising a plan if Cat were to show her face.  Remember, she's supposed to be playing the lead role of Peter Pan in... uh, Peter Pan.  Shock of shocks, she shows up!

Her fight scene with Captain Hook... who, actually kinda looks like V from V For Vendetta, goes a bit off-script.  The action gets a bit too close to the crowd, which prompts Dinah to spring into action... and the art... oh boy, it gets weird... er.  A woman in the audience might've been stabbed in the neck by an errant blade?  It isn't clear... I mean, it really isn't clear.  It's like Sienkiewicz on mushrooms.  Whatever the case, Cat manages to swipe at Canary before giving her the slip.  Oh boy, am I just now noticing the "Cat and Canary" aspect of this story?

Dinah realizes that Cat likely escaped through the men's room... because, well, the door is still swinging.  While she confers with the officers... rather than, ya know, giving chase... we wrap up with the revelation that Cat is actually hiding in the back seat of Ken Glazier's car!  She holds him up, and instructs him to drive...

--

Now, this is more like it... and by "more like it", I mean... more like that first Black Canary arc.  This ain't great, folks.

It's a shame... up to this point, I've genuinely enjoyed this!  Here though?  Everything kinda falls apart.  The art has been my primary complaint for this arc, and again, it's not as though it's bad... it's just not very good at telling a story.  Up until this point, the written story has been what has holding this one together... this week, however, the seams are beginning to show.  Add to the fatigue that we're now nine weeks into this story... and, it's just a recipe for disinterest.

Here's hoping this one's able to pull it all together in its final weeks!

Tomorrow: The power of Superman compels you...

ACW #631 - Black Canary

Action Comics Weekly #631 (Black Canary)
"knock 'em Dead, Part 8"
Writer - Sharon Wright
Pencils - Randy DuBurke
Inks - Pablo Marcos
Letters - Steve Haynie
Colors - Gene D'Angelo
Editor - Robert Greenberger

Hard to believe this is the eighth chapter for this one... and we're not done yet!

--

We open with Black Canary walking past the Paper Lantern... pub?  Restaurant?  Whatever it is... and it appears as though she is being followed.  We shift scenes to a date between a Ron Thompkins and a "Peter Barrie", who is really a very unconvincing Cat (the character, not the animal) in men's clothes.  They confirm my suspicions from last week... this is going to be an AIDS story.  Looks like both Ron and "Peter" have it, so it ain't as big a thang if they hook up.  Back outside, a car barrels toward Dinah, only stopping at the last moment when the driver (Ken Glazier) realizes it's not The Deb in his headlights.

Inside, "Peter" mixes Ron a drink... and those of us following along know exactly what that means.

Back outside, Dinah demands answers from Ken.  We learn that The Deb was a woman he was having a fling with... and also, who he'd gotten AIDS from.  This got as ugly as you might imagine, and wound up costing him his marriage.  Dinah asks who might be next on The Deb's hit-list, and, as luck would have it... he mentions Ron Thompkins!

Back inside, Ron feels the effects of the Chloral cocktail... but before he ultimately succumbs, he learns the true identity of his killer.  Duh, it's Cat.  With his dying breaths, he lunges for her.  We do learn something particularly interesting here, though... according to Ken, he didn't transmit the virus to her.  There's a "but" to punctuate this sentence... but he doesn't get the opportunity to elaborate.  Just then, the body of Ron hits the pavement right in front of them.

Inside, Cat changes out of her fella clothes and makes an escape.  At this point, Dinah chats up a security guard and kinda puts two and two together.  This wasn't The Deb... but a woman who has experience playing a man... maybe one currently starring in a production of Peter Pan.

--

I hope this doesn't sound like a cop-out or anything, but... if you're following my coverage of this Black Canary feature, you can almost just reread any of the (repetitive) wrap-up thoughts from this arc, and it could apply to this chapter as well.  The story is solid, storytelling is a bit all over the place, and the experimental/stylized art does the narrative no favors.

We do manage to learn a thing or three this time out, however... so, let's pull out the bullet points and itemize our discoveries.

• Ken Glazier was trying to kill The Deb, after really mucking about in her life.
• Ken Glazier might've also been the guy sending out the ransom notes?
• The Deb transmitted AIDS to Ken... who did not then transmit it to his ex-wife, Cat.
• But... 
• ... might've transmitted it to their child?  Maybe?
• Cat is seeking revenge on everybody tied up in Ken's affair... and is a very unconvincing fella.

I think that's where we're at.  I feel like if I am reading this right (which, honestly, I may not be), it's going to be pretty academic from this point on.  I guess we'll all find out together!

Tomorrow: The Phantom Stranger Combats His Greatest Foes!

ACW #630 - Black Canary

Action Comics Weekly #630 (Black Canary)
"knock 'em Dead, Part 7"
Writer - Sharon Wright
Pencils - Randy DuBurke
Inks - Pablo Marcos
Letters - Steve Haynie
Colors - Gene D'Angelo
Editor - Robert Greenberger

No time for a preramble today... let's get into Dinah-day!

--

Picking up where we left off last time, Black Canary is looking into that convenient warehouse skylight, where she sees The Deb being held up down below.  I'm still not entirely clear if these dudes are police officers conducting a potentially-fatal sting, or just a bunch of guys who dress alike.  Whatever the case, they threaten to kill her... and Dinah makes her move.  She beats up the maybe-cops, while The Deb beats a hasty retreat.

We shift scenes to a payphone outside a diner, where a short-haired woman, who I initially assumed was Dinah herself, is speaking to somebody about Deborah Tilden's vanishing act.  Inside the diner, this same short-haired woman (Anna?) runs into Cat... ya know, "Peter Pan".  Looks like they're old friends... both in Seattle "visiting".  Anyhoo, Anna alludes to the fact that a "terrible disease" took someone named Dannie.  Gonna go out on a limb and assume the Dannie was Cat's daughter?  Ya know, the one in those pictures?

Cat cuts the convo short when see notices a bus stopping nearby.  On it... The Deb!

We shift scenes again to Ken Glazier showing off the latest ransom note he received to a his buddy on the b-ball court.  Not totally sure what to make of this... there are allusions made to Ken's ex-wife... there's some connection to Rich (from It's Instrumental) and Walt Sarno... should we go out on that limb one more time, and assume that his ex-wife might be Cat?

Later, over at "a contemporary theatre" called "act"... ya know, the place where the Pan play's happenin', Dinah runs into Lieutenant (I actually spelt that right on my first try!) Cameron.  They exchange pleasantries, and the daughter of the latter excitedly rushes up to show off her Peter Pan and Hook autographs.

They consider where The Deb might've gotten off to... just as the camera pans down to reveal that she is currently bound and gagged among the pipes.

We close out with Glazier putting on a glove... Cat spiking the ever-loving hell out of her hair (when is it spiked enough?), and Dinah striking a pose like she's modeling for the Sears catalogue... as they all prepare to enter the end-game.

--

Stop me if you've heard this one...

This was okay, but the art really makes it difficult to follow.  Well, the art, and the random introductions of side characters who may-or-may-not be of any consequence.  Not sure who Glazier was shooting hoops with... however, they made a point of letting us know he's gay.  Why bother with any details if he ain't gonna come back?  Also, Anna.  A lapsed pal of Cat... who knows of some tragedy that (we assume) befell her.  It's cool to include chance meetings in a story, but for Pete's sake, can we make this character not look exactly like Dinah?!  Feels like a red herring... but, like the laziest kind of red herring!  I mean, are we supposed to be confused while reading that scene?

Oh well.  Let's look all the way over to the very edge of those limbs we've spent the last eight pages creeping down, and make "asses out of u and me".  It's time to make some predictions!

• Dannie was Cat's daughter, who tragically passed away from a "terrible disease"
• Cat is Glazier's ex-wife
• Glazier mentioned he couldn't give blood last issue... so, perhaps he's HIV positive?
• Maybe Ken, Deb, and Cat used to be into the drug scene, and did some needle-sharing
• Bada-bing, bada-boom: AIDS... and Cat's going to exact revenge on anyone she can?

Thing of it is, we've still got four more chapters of this to go... so, there's still plenty of time for me to be proven 100% wrong.  The fact that this ended so "penultimately" made me think we were actually approaching the end-game.  Heck, I said as much in the synopsis!

Overall... this is still a ton better than the first Black Canary arc, though seven chapters in, it's beginning to show its age.  The art, while nice to look at, is horrible to "read".

Tomorrow: Sayonara Secret Six!

ACW #629 - Black Canary

Action Comics Weekly #629 (Black Canary)
"knock 'em Dead, Part 6"
Writer - Sharon Wright
Pencils - Randy DuBurke
Inks - Pablo Marcos
Letters - Steve Haynie
Colors - Gene D'Angelo
Editor - Robert Greenberger

Well, we've had us a, in my opinion, pretty strong run of Black Canary over the course of the past few weeks.  In that time, it was almost as though artist and writer swapped positions on the "annoyance meter".  Throughout the original run, I simply could not stand the writing... and the art was decent enough.

This time, I'm kinda digging on the writing (though, it still has its flaws) while feeling as though the art is dragging it down.  Not that I haven't enjoyed or appreciated the art... it's just not very good at telling a story.

Let's check out Chapter Six.  Chapter Six... already?  Wow, where does the time go?!

--

We open with Dinah being pounced upon by a Bill Sienkiewicz drawing.  Turns out, while attempting to deliver some floral arrangements to a local rehearsal of Peter Pan, she accidentally wandered on stage.  Whoops!  We shift scenes to that Ken Glazier, who is on the phone with the Red Cross.  They want a donation of his rare AB Negative blood... but he knows he can't be a donor.  Not sure if this is an allusion to AIDS or him being a junkie.  On the news, he learns of the death of Richard Malone (of Rich's It's Instrumental).  He calls in what he thinks he knows to Seattle's Silent Witness Hotline.  Oh, and it's confirmed that Rich was a victim of the Chloral Hydrate.  I'm tellin' ya, this is a packed few panels!

Back at the theatre, we learn that Dinah instinctively socked her would-be attacker on reflex.  It's not entirely clear here exactly who she punched.  It might be the Severe-Looking woman, who spent some of last chapter spiking the ever-loving hell out of her hair?  Ya see, she's actually Ellen "Cat" Jamerson, and she's playing the titular role of Peter Pan.  It's, admittedly, been a minute (several, in fact) since I've ever seen Peter Pan... I can't remember him ever wielding blades.  Maybe this is the "Seattle Cut"... or, maybe I've just never actually seen it!

Dinah sits through rehearsal, chatting up the director.  She's mesmerized by Cat's performance as Peter... and decides to talk to her a bit more while the actors are on break.  It's a... weird, and wildly convenient conversation.  Dinah compliments Cat's mannerisms on stage... then, immediately asks if she has kids?  Yeah, that's a natural progression of conversation, right?  Anyhoo, we learn that Cat indeed does have a daughter.  I mean, we've seen the framed photos, right?  Though, I might've thought those were of "The Deb".  Man, this art really needs to be a bit tighter if it's going to be our guide!

We jump ahead to Black Canary loitering outside of Rich's It's Instrumental.  She overhears some neighborhood kids talking about the fate of the shop's owner...

... before... oh, Lord... what in the... Good God, this is one ugly panel.

Izzat Throw Mama From the Train?  Yeesh!  Dinah cuts this character off as they're leaving the building, and corners him (and his impossible hair) for questioning.  At first he ain't too keen on spilling what he knows, but Canary's able to persuade him with threats of sharp and pointy violence.  She wants The Deb... and so, this creep (Rich's roommate) points her in the right direction.

Speaking of The Deb, our final scene takes us to a United Food Distributors warehouse... where our Dragon Chaser has wound up.  She's let inside, but immediately held up at gunpoint.  I can't be too sure, but it kinda looks like she's been set-up.  This might be a Police Sting.  Whatever it is, Black Canary looks on from a skylight... and is very surprised that The Deb doesn't have blonde hair.  Man, what would these urban vigilantes do without skylights?!

--

Man, but there was a lot going on here.

I hate to make assumptions about "experience levels".  Here we have Ms. Wright, who notably ghostwrote some issues of Warlord for her then-husband Mike Grell when he was unable.  I couldn't speak to the quality of those issues... but, the point I'm trying to make is, this Black Canary experiment isn't her first time writing comics.

That said, however, the pacing and storytelling are kind of all over the place.  There are flashes of competence... but then, we get something like today's feature.  We get four panels to start that run the gamut of several of this arc's subplots.  I feel like those four panels could've been blown up to fill four pages... though, admittedly, I probably would've complained about that too.

There's also that oddly convenient dialogue.  Everything seems to fall into place, however, not as naturally or organically as it perhaps should.  Dinah chatting up Cat, and with her second question asking if she has any kids?  That's a stretch.  Hell, maybe it's not... maybe this is how real people talk.  I know I don't just chat up strangers and immediately ask for particulars on the size and shape of their families.  I'm guessing the kid will be the crux of this entire endeavor... so, we had to have it confirmed somehow.  All's I'm saying is, there had to be a better way.

I mentioned the art being "our guide" during the synopsis.  This is the only ACW feature to this point where I almost feel required to go back and reread everything that came before just to be "on track" for the current chapter.  These faces keep blending into one another... and, there is a distinct lack of clarity.  It might be by design... it might be artistic license... but, what it's definitely not, is easy-to-follow sequential art that tells a story.

In the first Black Canary feature I complained that we kept getting new characters added to an already bloated cast.  DuBurke did his damnedest to keep up, but, there are only so many ways you can draw a "generic white male".  Here, I feel like we have a decently-sized cast... characters who ought to be memorable enough... but, they're just flailing in the miasma of crosshatching, emote lines, and weird "lens flare"-affect.

Then of course, there was that panel.

Oh man, I don't think I've seen a panel quite that damn ugly in a very long time... hopefully I won't see one like that again.  Looking at this, I was actually reminded of that little ditty they'd put in the back of a lot of Marvel books back in the mid-eighties, starring Meatloaf.  Ya know, this one:

Besides the overall pained and ugly look, however, it's not much of a match.  Close enough for my addled brain though!

Overall, perhaps a step back from the last few weeks... which is to say, still worlds better than the first arc.  The art is my main drawback... and, again... I don't dislike it, I just feel as though it does a poor job of conveying story.

Tomorrow: Penultimate Sixing!

ACW #628 - Black Canary

Action Comics Weekly #628 (Black Canary)
"knock 'em Dead, Part 5"
Writer - Sharon Wright
Pencils - Randy DuBurke
Inks - Pablo Marcos
Letters - Steve Haynie
Colors - Gene D'Angelo
Editor - Robert Greenberger

It's pretty strange to be saying this, but... I've actually kind of been looking forward to this week's "Black Canary Day".  Dunno what it is, but the past few installments haven't been half bad!  Maybe I'm anxious to see that "other shoe" drop, and for this to become as bad (if not worse) than the first arc?  Or, maybe I'm just waiting for it to cross over the line from "okay" to "actually good"?

Let's see which direction that pendulum swings today!

--

We open with Dinah getting booked... or, at least that's what it looks like.  It's made pretty clear that our Canary has some friends on the inside, one of whom is that Ken Glazier who we've met a few times already.  They exchange information on what they know about this Barfly Killer.  Turns out they found blonde hairs on the scene, and an Unfiltered Lucky cigarette butt... which, Ken surmises isn't the most ladylike of smokes.  Dinah hands off her leads, which includes a list of music stores, and the names Rich and Deborah.

Ken returns to his office, and receives a piece of mail.  It's actually a note written up ransom-style.  Worth noting here, and I won't be drawing much attention to it throughout today's discussion, but this time out Ms. Wright is using this gimmick where she ends a scene with someone starting to say something, and starts the next with another character elsewhere either finishing the sentence or repeating what the person in the previous scene said.  It's... okay.  If you look at the above image, you'll see Dinah saying "I didnt--" and the picture below has Glazier saying "--Sleep worth a damn last night."  Like I said, it's... okay.

Next, we shift scenes to the severe-looking woman, who is spiking the absolute living hell out of her hair.  As the gimmick goes, she repeats the last thing Glazier said in the previous scene.  Looks like she's headed off to watch a production of Peter Pan?  Maybe... eventually?

We shift scenes over to Rich's It's Instrumental, where Deborah has just returned "home".  Rich, a rather creepy little bald fellow, quickly greets her, but excuses himself to attend to an interview.  Turns out, the interviewee is the Severe-Looking Woman.  She claims to be a fan of his work in theatre productions... and he seems to really dig having praise heaped upon him.  She thanks him for the coffee, and leaves.

Following the interview, Rich and Deb get down to the nitty-gritty.  He tells her that the Police have been sniffing around, and suggests she find a new place to dwell.  He claims to have not told them diddly squat, but still thinks Deb ought to be on her way.  He gives her an address where she can pick up her next fix of "horse".

Rich then takes a sip of his coffee... and, uh-oh... it's been poisoned!  Rich... dies?

Back at Sherwood Florist, Dinah checks with Bob (who I still don't trust) about a recent delivery.  Looks like the local production of Peter Pan ordered a boatload of arrangements... and since they're rehearsing this evening, that'd probably be a great time to drop 'em off.  And so, we follow Dinah over to the theatre, where... she finds herself leaped upon by... a radioactive Bill Sienkiewicz drawing?!

--

Hol' up, y'all.  Has Black Canary actually become... good?  Like ferreal?  Naw, couldn't be... could it?!  Did we get us a new creative team'a somethin'?!

All kidding aside... I actually quite enjoyed this!  The past couple of chapters had shown some uncharacteristic promise, and I'd say I "trepidaciously" enjoyed them for what they were, but this outing was especially solid.  I can say, without any trepidation, that I genuinely dug this!

That said, and it's just me being nit-picky, the scene-shift "gimmick"... I feel like if you're going to use something like that, you need to commit to it for the entire chapter.  They only used it for the middle section here, and it kinda feels uneven.  But really, I think that's my only real complaint... and, like I said, it's nit-picky at best.

I think I've had Kelley Jones on the brain, because I've been saying "Kelley Jones-lite" in reference to Randy DuBurke's new style.  It's with this chapter that I can see how wrong I was to think that.  The new style is actually "Bill Sienkiewicz-lite"... and, ya know what... it really has its moments.  While the final panel is a bit much, I really liked Rich's death scene... it really looked like something we'd see in a Sin-kev-itch book.

So yeah, overall... this one quite surprised me!  Hopefully it can keep up this level of quality throughout the rest of this arc!

Tomorrow: The Harpers travel by train