The thing I like the most about this issue of Take a Chance is how the plotting detours from formula. As a result, the storytelling becomes less linear and gains verisimilitude.

While other publishers revel in realism by crippling, raping or killing super-heroes, C.E. Murphy considers the context of the little things. She explains why a super-hero would wear fingerless gloves. The rationale makes perfect sense. How would a real costumed vigilante operate and survive in a world that has super-villains? Why doesn't a super-hero ever retrieve her line after she swings from a building?
These small elements provide the gravy for the meat of the story.

Chance becomes involved in a drug-user's life. She tries to use her to track down her connection to wipe out some bad people that are making sorry lives worse. This laudable goal becomes hampered by a lack of knowledge. Chance is neither stupid or soft. Her need results from Murphy taking Chance out of the typical costumed vigilante arena. Chance really doesn't want to be known or seen. She doesn't want people to be afraid of her like Batman. She isn't there to inspire. She simply wants clean the streets of human refuse. She's not even an urban legend. She's a rumor.

Chance's aims produce believable limits. She's a human being. Although tough, she cannot simply go into a bar and roust information from plug-uglies. She can't throw thugs through windows. Chance mainly watches, waits and gathers evidence. When she does attempt a classic move from any detective novel, it blows up in her face, forcing her to rely on a well placed friend to extricate her from a holding cell. Convenient, but it's a coincidence that happens all the time in real life. Therefore, it doesn't hurt the story.

The art also doesn't damage the strength of Murphy's tale. It's a little scratchy for my tastes, but Syaf is still impressive. He draws Chance as an attractive body builder. Her expression consistently appears to be one of hurt, which reflects the trauma she suffered: witnessing the murder of her son. There's a roundness to his artwork that distinguishes it from his clear inspiration: nineties Image. The layouts per page are sturdy, but I'd like to see a better sense of space. The characters fill the backgrounds up more often than not, and this can lead to a cluttered group in one setting. Syaf needs to spread out the characters. Also he needs to vary the fashions once in a while. You can perpetuate the idea of a favorite look without relying upon monotony. Jason Embry's colors are decent, but I would prefer a more darker palette. Such a change would make the overall product look much better.

Take a Chance is a surprisingly well-constructed exploration into how a costumed vigilante might actually ply her trade in the real world, which exists as a kind of underground to the super-hero and super-villain. Despite the realism, Chance still takes names. She acts heroically, and there are crowd-pleasing moments in this subtle character's life.

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