Writer: Jimmy Palmiotti & Joe Quesada
Artists: Lee Moder, Chris Garcia(c)
Publisher: Dynamite
After learning something about herself, Jane returns to her Fire Island vacation retreat. Meanwhile, crime literally rocks Maureen's city, and the international criminal web has a connection to Jane's would-be paramour.
The opening scenes offer the reader warmth and friendliness that hides an undercurrent of complexity. Jane's inner monologue, distinguished by a personalized red font courtesy of letterer Simon Bowland, gives the reader insight into Jane's libidinous memories as well as her growing acceptance of her sexuality.
Palmiotti and Quesada eschew gutter dialogue in favor of character-specific word imagery to alert the reader that Jane did indeed follow through on her desires last issue. Loaded dialogue between Jane and Ajira indicate that her sexual adventure was not just an isolated incident. If there's one thing I hate, it's coyness to satisfy religious sphincters that demand the world be adjusted to their liking. Everything in Painkiller Jane serves the story and characterization not the puritanical bend of idiots.
The writers set the opener at a local tropical-flavored restaurant bar. Lee Moder's art is unique, and in a good way. Lifeless, homogenous, boring art has become the rage again, but Moder creates a cast that's filled with all sorts of differently composed characters. Jane is lank as well as often pleasingly gawky. In one scene, she and Ajira note Seth's reaction to their tattooed server's massive breasts. The difference is that only the server's proportions are huge, and likely pushed up by the design of the clothing. The style of dress often determines shape, shapelessness as well as animation and that's reflected in Moder's attentive art. The backgrounds are filled with a wide range of humanity. Ectomorphs, endomorphs and that in-between laugh, walk and fill the panels.
There's more to Moder's art than attractive and varied design. Jane's supposed to be sexually interested in Ajira. As a result Moder generates electricity between the two that doesn't spark from Jane and the man she "should" be interested in Seth. Moder's art visualizes Jane's feelings toward each character and as a result gives her greater depth.
From the friendliness of the bar scene, Palmiotti, Quesada and Moder segue to a brief moment of betrayal that serves as the motivation for a hellacious, brutal fight. A catfight this is not. Blood flows readily, and only a doctor's morality keeps Painkiller from going too far. Despite this, the reader still stays on Jane's side. Although her actions are startling, such is the weight of the character and our understanding of her motivations, that we cannot help root for her.
Painkiller Jane does not sugar coat the violence, or the frank sexuality being explored. The book doesn't talk down to the reader. There's a reason behind every scene in the story, and this makes the book a smarter read than most. While Palmiotti and Quesada claim that Jane isn't a super-hero. I beg to differ. Jane is indeed a super-hero, and a most substantial one at that.
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