Josie is a hitwoman for hire in the '60s, and her cover is that of an everyday housewife. In one world, she deals with unsavory people, in the other she has a husband and two kids. She loves both worlds equally, and this second series has done what was inevitable: brought the two worlds crashing together. Josie has allowed the worst of humanity to become a partner - a Nazi - and that Nazi has infiltrated her life.
The last few issues have been a push and pull between Josie and “Uncle Irving,” as Josie has decided what kind of killer she wants to be. It’s been both entertaining and intensely masterful balancing Josie’s inner turmoil with the external threat on her family. In issue #5, Irving and Josie face off and it’s some of the most beautiful violence you’ll ever see put to the page.
Jones already has a masterful eye as an artist, but her natural abilities as a writer shine through which allows every panel to tell a story. You’re not just reading a story, you’re experiencing it. From the details in the curtains, to the emotion presented on the faces of the characters, this world springs to life in the most visceral of ways.
There’s a two-page spread in particular that blows out Josie’s house, where the final confrontation takes place. It looks down from above, a la Alfred Hitchock, to peer into every room as Josie sprints through while Irving stalks behind her. Her house has become a battle ground - her normal life is being attacked by an old white man - and she literally uses that life, that feminism, to fight back. The feminist undertones are a strong current under the enjoyable storyline, bringing another layer to an already complex world.
Visually, it’s so methodically laid out down to the wrinkled pattern in a rug to the decorations on a Christmas tree. Some might say there’s no need for that amount of detail, but it really just makes this book that much more special and shows Jones to be one of a kind in this superhero-laden industry.