Ok, my first observations about the artistic team of Carlos D'anda and Henry Flint . . . was wrong. These two are working very well together. And there really are some amazing panels in this book. I guess I jumped to judgement because of how different the style was from the other stuff Carlos has done of late. But now . . . I really think it works for this book. Michael is working with this dogie militia right now. I'm not sure why. Maybe it was because Mr. Jiminy was nice to him when the Govt. put him up in the apartment with his fake wife and kids. Maybe it was because Mr. Jiminy warned him that his kids were actually assassins in young looking bodies. Or maybe Michael just likes dogs. Anyways, he's working with them, and this issue they go after a doctor. They want to kidnap him for some reason. But before they can, a gen-active, who looks like a homeless guy, pops in and takes the doctor for himself. Later he comes back for Michael because they want to know who he's working for " . . . us or them?". The guy talking to him works for the UNDERGROUND. I'd tell you what the acronym stands for . . . . but it's way, way to long. But the Govt. is watching their meeting place, and when they realize it, the UNDERGROUND guy, and the teleporter take off. Which leaves Michael alone in the tunnel with a hoard of combat ready . . . rats. That's all we get for now though. You'll just have to carry that image of the rats crawling all over him in your head until next issue comes out. This was a great story by Brian Azzarello. And like I said, I'm really starting to dig the art.
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