The Punisher #3; Marvel Comics, MAX; April 2004; $2.99, 36 pgs; available collected and digitally.
I guess I technically need a spoiler alert. Frank Castle, The Punisher, did not die at the end of the second issue of his seventh series. Ennis is not going ahead with some kind of New Punisher series. Instead, Micro and the CIA team hit him with rubber bullets; which would have, outside the Marvel MAX universe, been lethal given how close Micro got the barrel to Frank’s head, but whatever. He’s the Punisher, he can take it.
Ennis splits the issue, once again, between Frank, the CIA, and the mob. The Boston mob guys open the issue by taking over the New York mob; they keep the one local lackey around because they need a straight man in the gang. Even the composed leader guy is a little nuts. While cementing their control, they see a news story about Frank getting arrested and go to a dirty cop to find out what’s really going on. The cops don’t know everything, of course, because CIA, but they know enough to put the gang onto a witness.
Meanwhile, the CIA also wants to talk to the witness and tell him to shut up, putting the CIA goof (not the female agent, who’s having conniptions over hearing Frank speak) on a collision course with the gangsters. If he’s lucky, he’s going to survive. But he’s not the cliffhanger. The cliffhanger, which comes off as a hard cliffhanger, is actually pretty soft; it comes at the end of Micro talking to Frank. He’s been working up to this single question, spending the rest of the issue in an interrogation room with Frank, telling Frank why Frank is the way Frank is.
Micro’s clearly thought a lot about it. Though apparently not enough to realize he’s got two mutually exclusive opinions about Frank’s psychological profile. But Micro’s got a hubris problem.
He also thinks Frank’s origin story is Born. Given how that series turned out, it might have been nice for Ennis to have bookended it with Micro telling the story. It would’ve helped.
Frank, however, doesn’t say his origin story is born. Frank doesn’t say much of anything. He speaks once in the issue, bound to a chair in a dimly lighted room (I wish Ennis and LaRosa had shown the CIA guys converting a hotel suite bedroom into an interrogation box). Only on that one panel does Frank get eyes. The rest of the issue, both he and Micro’s eyes are obscured by shadows. It removes the personality from Micro’s exposition, in a phenomenally subtle way, and it makes Frank seem like a caged animal.
When Frank speaks, and we see his eyes… Well. It’s awesome.
And it’s also Clint Eastwood’s face on Frank’s head. Frank’s a gigantic guy, body-wise, muscles everywhere. But when he’s got to look at Micro and tell Micro what’s what, he does it with Clint Eastwood’s face.
It’s not even subtle. It’s awesome, if obviously. And does give some idea what his voice might sound like, if only to support the female agent’s reaction.
The cliffhanger’s a little pat, but otherwise it’s excellent. Ennis presents two (and a half) versions of the Punisher for the reader to consider. Except all those versions come from Frank’s jailers, not Frank. Micro’s seems the most factually informed and therefor accurate (at least from Micro’s perspective), but….
Micro can explain Frank. The CIA boss can explain Frank. Only the half impression doesn’t explain him.
It’s such smooth, such subtle work from Ennis. LaRosa does a good job on the art, but it’s all about Ennis’s script.