AN AWESOME ASSEMBLY OF ASSASSIN ACTION AS ONLY THE HOUSE OF IDEAS CAN PROVIDE!
Elektra Natchios has a reputation for being as intelligent as she is deadly - and on the seedy streets of the island called Madripoor, a drifter named PATCH is about to discover why!
PARENTAL ADVISORY
Elektra: Black, White & Blood #2 is a strong entry in the anthology series with a general focus on treating Elektra as a force of nature or a plot device rather than as a central character. The art is generally good in all shorts, but nothing particularly stands out as a clear winner in the bunch. In other words, this issue is just okay. Read Full Review
This is easily one of the most cohesive, well-rounded, and visually impressive Marvel anthology issues yet in this format, and here's hoping the momentum continues next month, because if so Elektra fans are in for a treat. Read Full Review
Well worth a look if you are a fan of this character or just want something cool to look through. Read Full Review
In “Verit” a couple of New York Police Detectives work to try to solve the murder of a witness against the Kingpin who was killed so quickly that the murder wasn't caught on camera (funny, I didn't know Elektra was a speedster?). And in“Yokai,” set in Japan, Elektra fights a legendary creature who has stolen a small child. Read Full Review
The first story by Peter David and Greg Land was fine. The whole point of this series, really, is the art. Greg Land doesn't make good art. The second story by Al Ewing and Rod Reis was actually very neat, although I have some problems with how it was lettered. White on white literally doesn't read. The final story by Greg Smallwood is the best part of the issue. I read it digitally so none of the art changes were present, thankfully. Greg Smallwood's art is top notch and it's really fun to see him draw a yokai.
Most of the strips are gimmicky, and only Greg Smallwood's beautiful no-dialogue demon-hunting C strip really works. The gimmick's too flimsy in the B strip. The A strip is almost a complete story, but it's also a demonstration of the fact that Greg Land's art just gets worse when you take the color out of it.
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