Nathan Edmondson’s second Punisher collection, Border Crossing, begins shortly after the conclusion of the first, Black and White: Frank Castle, wounded and on the run from the enigmatic special forces team, the Howling Commandos, has made his way to Southern Mexico. Problem is, there’s no way Frank can get the medical attention he needs without tipping off a multitude of wannabe-killers, and small and big-time crime bosses. He’s “a prize, being bought and sold,” and worth far more alive than dead. He succumbs to unconscious, prepared for hell upon awakening: and when he next opens his eyes, he’s in the custody of El Diablito, who plans to have his fun with Frank, then auction him off to Crossbones, who’s working freelance – for who?
The narrative expands from there, shifting locales, and crossing over with another Edmondson series, Black Widow, before returning to Frank’s new habitat, Los Angeles, where things have spiralled horribly since his disappearance: the Del Sols have allied rival gangs and taken control over the city. The police have been paralysed, and while Frank’s allies have done what they can to stem the inevitable, the city needs the Punisher.
Edmondson briefly partners with bestselling author Kevin Maurer for the first two issues of this volume, diluting Edmondson’s voice in the process, and revealing the prose author’s lack of experience with the comic format. The pacing is slightly off, and the dialogue relies too heavily on Special Forces acronyms and terminology. The story itself is uninspired, ending with a cliché, as Frank’s partner, the Special Forces operator also in El Diablito’s custody, thinks: “We might be in different wars, but we’re both in the same fight. I will always consider Frank part of the team. And I’ll always feel like’s he’s got my back.” The artwork in these initial issues is solid: Carmen Carnero packs a lot of action into the pages, and does his best with a stuffed script, but there’s little here to get your blood pumping.
The team-up between Frank and Black Widow is deftly handled; it helps having the same writer scripting both components of the story. It’s a fun storyline, as Frank and Natasha infiltrate a cargo ship, both seemingly operating with opposing agendas. The climax sees Frank end up in prison, where we’ve seen him before, but it’s always amusing watching Frank exist among the rats, and still dealing out his form of justice. Mitch Gerads returns as artist for the final four issues in the volume (while the Black Widow issue is handled by Phil Noto) and his art has taken on a distinct flavour, becoming increasingly reminiscent of Gorlan Parlov (who worked with Garth Ennis on the eminent Punisher Max). His style remains perfectly suited to the grounded nature of the Punisher, though it would be interesting to see him tackle a high-flying hero. The coolest moment, by far, is the volume’s final image, as Frank finally returns to LAPD. No spoilers, but it’s the kind of scene that deserves to be displayed alongside rousing kick-ass music that screams, Shit is about to go down!
Border Crossing is an enjoyable follow-up to the outstanding first volume, but doesn’t quite reach its heights. It has the distinct feel of a middle act – The Punisher gearing up for his next (and presumably final) showdown with the Del Sols – and feels overstuffed with redundant material. Plenty to like; it’s just saddled by unnecessary detours. But when the action is focused on Frank’s exploits in LA, Edmondson and Gerad’s Punisher rivals the best runs in recent years.