Carnage and Chaos as Bullseye Takes Centre Stage.

Warning: Spoilers for Bullseye #1

‘The Columbian Collection’

Writer: Ed Brisson

Artist: Guillermo Sanna

Colour Artist: Miroslav Mrva

Issue #1 offers a glimpse into what Bullseye considers “down time.” The issue promised readers an insight into what the famed assassin does for fun and boy it certainly delivers. He bursts into the initial panels with a deadly ace of spades used like a throwing star before a fork to the brain for one unlucky agent. Bullseye takes down multiple F.B.I. agents as if it were child’s play with all the charm characteristic of our favourite psychopath. He takes out his prime target with a literal bang as the fiery explosion entirely fills the penultimate scene of Bullseye’s grand entrance.

“The Colombian Collection” offers bold and harsh line work, with colouring to complement the dark and chaotic world of Bullseye. There’s nothing clean about it, with hard and distorted faces that mirror the narrative and characters. It packs a punch and offers no apologies as Bullseye casually takes out innocent pedestrians with paperclips from an office window. He watches the carnage ensue below as he asks his business contact for ‘Something good. Something big.’ Bullseye’s tendency for the sadomasochistic is drawn out here as he causes a mass murder pile up with mere office supplies. The penultimate explosion fills the page as he saunters out remarking ‘you worry too much. No one knows I’m here. By the way… you’re out of paperclips.’

I personally enjoyed this depiction of Bullseye as we are offered no humanising characteristics that would ultimately soften the character. I find that the villain story is so often humanised and while this can work for some in the universe it does not work for all. We are offered backstory and context to a criminal that has been persistently depicted as psychotic. Like the joker, the reader needs no origin story and our drive to uncover one frustrates me. To uncover the method behind the madness negates the madness itself. It is no longer mad, it is reasoned out, all neatly packed up like an episode of C.S.I.

Bullseye decides to take on a job for Losani, a midlevel drug supplier whose son has been snatched by the Columbian Black Knife Cartell. They hope to cut Losani out of the trade and cut up his son in the process. Bulleye is charged with bringing him back and destroying all those responsible. We see Bullseye set to face Teodor ‘a Sadist, a sick bastard’ who ‘gets off on making people suffer. Makes Gitmo look like day care.’ In the foreground of this dialogue is Teodor looking rather like a butcher, drenched in blood and brandishing two knives. The panels are etched in eerie darkness as Teodor smirks at the reader, drenched in red, while all else is monotone.

There’s more of a menace in Teodor, a desire to strike fear into the hearts of all those he encounters. The final Bullseye panel contrasts Teodor with bright colours and joviality as Bullseye indiscriminately maims innocent people at the airport. I actually think that Bullseye’s carefree killing joy is a sight more terrifying than Teodor’s butcher shop scene. Bullseye saunters through the chaos smirking and stapling his bullseye pamphlet to passers-by. It reads ‘I’m coming for you. Love Bullseye’ a loud warning and grand entrance especially for the Back Knife Cartel.

In ‘The Colombian Collection’ Bullseye dances to his own tune. He is a renegade assassin with a long unquenched bloodthirst; he shows us here that he will damn well do as he pleases. Bullseye has been ‘dead, resurrected, paralyzed. Blind, then dead again, then who knows how long in a S.H.I.E.L.D. prison…’ and if all of that isn’t enough to soften his capacity for understanding then there’s really no changing him. As Bruno Mars sings ‘girl your amazing just the way you are.’

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