Elektra deserves a serious, action-filled, beautifully drawn comic. In Elektra #2, Blackman, Del Mundo, and D’Alfonso show that their combine strength can expose Elektra’s potential as a headlining character. Sure, Frank Miller and Bill Sienkiewicz showed the potential Elektra has as the star of her own book almost 30 years ago in Elektra: Assassin. That, however, was an eight issue mini-series. Blackman and Del Mundo are here to prove that Elektra can be the star of her own ongoing series, and they deliver.
In issue #2, Elektra journeys to Monster Island, hot on the trail of her target, Cape Crow. When she arrives other bounty hunters meet her head on. While one might expect a straightforward clash of assassins to erupt, Blackman opts to emphasize Elektra’s confidence. Elektra’s arrogance never waivers as she sizes up the threat presented by Scalphunter and Lady Bullseye. She, justifiably, ignores Scalphunter, who has his hands full with a monster, and turns her attention to Lady Bullseye. The ensuing fight is short and sweet but captures Elektra perfectly.
The issue takes a plot turn as Elektra finds Cape Crow’s son on the island, which eventually shows that cashing in the contract on Cape Crow is no longer Elektra’s main focus. Each moment and each panel in the issue fluidly connects to one another, allowing the reader to sink into each page and become involved in the story. The action captured one aspect of Elektra, while this sequence captured an entirely different side of her character.
Blackman’s plot is perfectly paced, yet it is Del Mundo’s art that places this comic on a pedestal. There’s a surreal quality to the way that some pages have no clear structure, while others are logically laid out with traditional panel breaks. The opening page provides a full-page splash of Bloody Lips, a cannibalistic assassin who is hunting both Cape Crow and Elektra. While the artwork on the page is stunning, it is Del Mundo’s ability to carefully place different scenes into the splash that move the story forward, yet still provide a sense that you are looking at one moment in the story.
There are also moments, like the scenes with Bloody Lips, that the combination of Blackman’s writing and Del Mundo’s art provides a much more horrific tone to the story than is expected. Bloody Lips is so well portrayed as a methodical, completely rational, yet savage assassin that the reader can’t help but continue the story.
Overall, the spectral artwork with its fluid organization and multi-faceted tone works so well with Blackman’s writing that this issue is hard to forget. The series may only be two issues deep, but this issue proves that the most interesting stories can happen where a person least expects it.