Where Tiede's technique really shines, though, is in the composition of his pages and his creative use of different panel shapes and formats to advance the story. It seems like it's just an excuse for some kickass fight scenes, although there are hints that it will tie into the other storyline by the end. This part of the story seems to be a case of form over function-there are great fights, chase scenes, the interrogation of a hospitalized suspect in Mandarin, all beautifully drawn, but the underlying plot lacks enough detail to be convincing. Similarly, the interrogation scene, in which Tiede uses symmetrically arranged panels to show Kate and Mike questioning the two suspects in separate rooms-is beautifully laid out, but they seem to be fishing around. It’s a great scene-Tiede’s scattered, slanted panels made me feel like I was hurtling down 12 floors-but at the end, when they haul the bad guys off to the police station, I still wasn’t sure what anyone had done. A pal comes to the door, Alfonse warns him off, and the detectives chase him, Mike taking the stairs, Kate taking the elevator. Kate’s protestation aside, renting a fancy apartment is not probable cause for anything. Kate and Mike find out that Alfonse, a known bad guy, is living in a posh building on the Magnificent Mile, so they go pay him a visit. Tiede is an excellent storyteller, and the central mystery is a good one that he develops well, but the subplot (which begins the story) is flabby.
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