Writer: Brian Azzarello Artists: Eduardo Risso, Paul Pope, Joe Jusko, Mark Chiarello, Jim Lee, Lee Bermejo, Dave Gibbons, Tim Bradstreet, Jordi Bernet, Frank Miller, and J. G. Jones
Publisher: DC/Vertigo
Plot: Mr. Branch tells a Prostitute about the relationship between the Trust, the Minutemen, and the various characters we’ve met in the first 25 issues.
Comments: I really was looking forward to this issue. This issue was supposed to be a “starter” issue for new readers and also a treat for continuing readers with interesting artwork and further revelations. The issue fails on both counts. Two sentences with a general plot summary would have told new readers everything they learned in this issue and the artwork is fairly spotty except in terms of accenting how powerfully Risso’s work complements Azzarello’s gritty writing.
Our French expatriate, Mr. Branch meets up with a prostitute who he believes only speaks French. Thus, he feels safe in telling her in English the details of the Trust. The problem is that he doesn’t reveal very much except that the Minutemen are there to keep the families in the Trust from killing each other, Graves refused to work with the Trust on a new crime of the millenium, Shepherd is a shadowy figure, and Dizzy is going to have a future pivotal role. New readers will not really understand the one page layouts displaying the various characters without having read the previous issues.
The only reward I think I have gained in life from studying French is being able to understand the French exchanges Branch has with the prostitute in this issue. A little parlez-vous francais is nice but there is too much French to make any sense of its inclusion in this issue. The scenes between Branch and the prostitute are wonderfully handled by Risso with all the sleazy sensuality that has been a staple of this series. Paul Pope’s rendition of Benito Medici and Joe Jusko’s of Megan Dietrich are nice but there is no explanation as to who they are and no plot development in their characterization. Take a look at Gibbons’ depiction of the Minutemen and you immediately see why Risso’s artwork fits perfectly with Azzarello’s writing. Gibbons’ artwork is somehow flat, colorful as opposed to Risso’s incredible detailed drawing of facial expressions and beautiful sensual shadows.
We also learn that Graves is rebelling against the Trust and refuses to carry out another mega crime for them, but no further explanation is given other than that. Frank Miller’s depiction of Graves is first rate but belongs in Sin City not the world of 100 Bullets (of course not completely dissimilar worlds).
Final Thoughts: Not a very satisfying issue. The artwork is interesting but only underscores how central Risso is to this series. New readers should go out there and read the trades and then leap in and enjoy what so far has been an intriguing crime series best compared to the conspiracy action of the X-Files during the first years.
