It’s a bridging issue but in the best possible way. Since Ennis is now writing so much narration from Frank, the functional bridging feels a lot more organic. Frank’s got a problem—his leads have run dry because of the cluster last issue—and he needs to figure out a way to move forward. Literal bridging. And yet, completely effective chapter in the arc. While Frank’s trying to turn up new leads (the issue opens with him interrogating a pimp at knifepoint), Ennis is also working the B and C plots, though at this point they both seem on the same level.
In the B plot, the two cops—Miller (the White lady) and Parker (the Black guy)—who Frank messed up in the first issue go talk to the guy he messed up last issue so they can compare notes about how the department has used them to further this new anti-Punisher thing the NYPD’s got going on. Of course, it’s all twisted and corrupt so Miller and Parker end up getting beat down by their brothers in blue because… well, White lady and Black guy cops aren’t really really part of the club.
The C plot has the trafficking son deciding his dad has gone too far—he wants to go after Frank, not listening to reason; it’s time for some patricide.
The issue also introduces social worker Jen Cooke, who helped Viorica with her escape and got the baby killed. Frank goes to talk to her after a lecture, giving Ennis two more spots for completely natural exposition. Ennis is very thorough in how he lays out the trafficking information and presents the problem. No one has any solutions, not Frank, not Cooke (who Ennis sets up as a “shallow liberal” only to give her enough depth to hold up opposite Frank)—Frank doesn’t even know how to approach the problem. Terrorizing street pimps for information doesn’t work and, once he’s got the information he needs, he’s left trying to figure out how he’s going to get an amoral, apathetic Eastern European killing machine to talk. It’s new territory for him, more of Ennis’s subtle character development; thank goodness the writing’s there, in the narration, in the talking heads sequences, because once again Fernandez and Koblish render a very wanting Frank Castle. So many shadows too. Like, guys, putting Frank in the shadows for effect is just showcasing you not being able to draw him well.
Ennis ends the comic on a combination of soft cliffhanger and threat. Something’s coming. No one—except maybe Frank—has any inkling, but the future’s there, taunting everyone.