Reviewer: Chris Delloiacono
Story Title: Urban Renewal – Part Three: Marksmen
Written by: Christos N. Gage
Penciled by: Steven Cummings
Inked by: Jimmy Palmiotti
Colored by: James Sinclair
Lettered by: Jared K. Fletcher
Assistant Editor: Michael Siglain
Editor: Joey Cavalieri
Publisher: DC Comics
It’s always a welcome site to see skilled writers from other arenas enter the world of comics. The industry has a multitude of amazing writers, but new ideas are what make the industry grow. A fresh face with a different perspective can often turn the industry on its ear. Best selling author Brad Meltzer is probably the best recent example of a writer stepping into the comic world with brilliant results. Meltzer raised the bar with his work on Identity Crisis and Green Arrow. Kevin Smith, especially if he gets his act together, is writer that adds name recognition to any book he writes. Another excellent example is The Wachowski Brothers. These two world famous filmmakers changed the way movies are made. The comic industry is lucky to have them working in the business regularly. The other aspect that all mentioned bring is a fan base from their respective “day jobs.” Let’s not kid ourselves, the comics industry is at one of the lowest sales levels in its history, so fresh ideas are a necessity.
Christos N. Gage comes to DC Comics via a regular writing gig on Law and Order: SVU. Gage doesn’t have the name recognition of Brad Meltzer, Kevin Smith, or the Wachowskis, but the first three issues of Deadshot prove he’s got writing chops and fresh ideas. For three issues we’ve been greeted with the expected action-quotient in Deadshot, but what is unexpected is how heartwarming, character-centered, reasonably bounded in reality, and most of all FUN this series has been. All told, this story seems like it could happen, and the main character is written as good as he ever has been.
Gage has a solid story structure working with a strong beginning, an engrossing middle, and with this issue we see the start of the final act that should play out over the next couple of issues. As a whole the story is built like a film, which works perfectly for a miniseries. While crafting a larger story Gage doesn’t lose sight that this is a monthly-shipping comic. Gage’s story succeeds brilliantly because it works well as chapters and as a big picture. That takes talent.
While Deadshot is a character that’s been around since the ’70s he’s not a household name by any stretch. Sure his days on Suicide Squad lifted him up from Z-level Bat-villain, but he’s never going to be an A-lister. Gage doesn’t saddle the book with lengthy backstory or a need to update us on everything that’s come before in Deadshot’s career. Gage sums up what the character has beenâ€â€one of the preeminent assassins in the DCU and a pseudo-good-guy with Suicide Squadâ€â€beyond that it’s all forward momentum.
“Urban Renewal” follows Deadshot’s quest to make a Star City slum, known as The Triangle, safe for decent people. Gage’s use of DC’s best hired killer to take out the trash allows a beautiful irony to play out in the story. Floyd Lawton (the man behind one of the coolest masks in comics) has a strong motivation for what he’s doing, so there was no need to suspend my disbelief. It’s all about the four-year old child he didn’t know he had. His mission is to wipe out gang-bangers, drug pushers, and other dregs of society. By the end of issue #2 The Triangle was looking up. As we closed out last month, Green Arrow showed up to put an end to what he thought was Deadshot’s takeover of the slum.
This month we start with Deadshot and Green Arrow engaging in one the most exciting fight sequences I’ve seen in a comic in some time. Multi-page fights can be confusing and seem like nothing more than a page-filler in the wrong hands. These seven-pages are amazingly paced and build up both characters’ talents. The ending is satisfying and leads the pair to have a bite to eat together. The conversation that follows is one of the finest superhero/super-villain discussions you’ll ever see. While different in tone, for some reason, the scene evoked the Robert De Niro discussion with Al Pacino in the fantastic Michael Mann film Heat. That is great company to be in.
Even with the big action sequence and the conversation, Gage has plenty of time to show us how fatherhood has changed Lawton. There are some magnificent moments between Floyd and his daughter, Zoe. Gage doesn’t stop there, though. There’s also further strengthening of the bond Floyd has with Zoe’s mom, Michelle. Plus there’s even time to leave us waiting for next month as the situation seemingly takes a lousy turn for Deadshot. Anything this jam-packed with well-written, character-driven moments is worth the money.
I wasn’t familiar with Steven Cummings when Deadshot began. He’s proven up to the task of translating Gage’s packed-script to visual life. Cummings is especially adept at the seven-page fight sequence between Arrow and Deadshot at the issue’s outset. He adds some strong facial expressions as well. Considering the dramatic nature of the story, without Cummings fine use of facial motion, much of the visual oomph would be lost.
Gage has built a great structure here, he’s spent time developing his characters, and the situation is moving towards a big finish. When you factor in Steven Cummings artwork you’ve got a winner.
