Synopsis: It’s KICK-ASS versus HIT-GIRL. Old allies become enemies when Mindy screeches into Albuquerque to kill the imposter who’s been running gangs in New Mexico. And as Hit-Girl sets out to avenge Dave and stop Kick-Ass’ criminal operations for good, Patience fights to survive as the target of the best assassin in the biz—and questions whether she could ever kill a child to save her own life.
Since becoming Kick-Ass Patience Lee has gotten rid of major crime in Albuquerque. She has done so by getting rid of the various cartels and becoming the main source of organized crime in town. Furthermore, she has killed her sister’s husband in order to keep her second life as a crimefighter/crime boss Kick-Ass. This story picks things up at the funeral of Maurice. Patience murdered him because he was blackmailing her. It weighs heavy on her conscience.
Meanwhile, Hit-Girl is screeching into town. Her target is Patience Lee the new Kick-Ass.
The cover art on this first issue is done by the legendary John Romita Jr. who worked with Mark Millar in creating the original Kick-Ass comic. The cover shows Kick-Ass facing off against Hit-Girl. This confrontation is not featured in the comic, but it’s a great bit of artwork to sell the premise on. The internal artwork is handled by Marcelo Frusin who does a brilliant job. There’s a big confrontation in the book between Kick-Ass and a group of people who have had a change of heart about working with her. Frusin does a fantastic job of visually selling the mayhem that ensues with a few decapitations, which has become a bit of a trademark of these books.
Hit-Girls introduction sees her taking on a group of bikers with results, which are just as gruesome.
This opening issue sets things up brilliantly. But it also shows me just how much I have missed given that Maurice had only awoken from his coma and just begun his campaign of blackmail when I last read Kick-Ass. Nevertheless, I had little problem picking up the story and was caught up pretty quickly. Steve Niles writing is quick and fast and doesn’t overly rely on exposition. Instead, he uses dialogue and action to move things along, which allows Marcelo Frusin lots of room to use his imagery to push the story forward. In short, this first issue hits really hard and pulls you in, and doesn’t let go. It’s a brilliant opener.
You can get a copy of this opening issue at the Image Comics website.