The Knives: A Criminal Book

The Knives is the latest entry in the Criminal series, a stand-alone graphic novel that works on its own and also displays all the hallmarks of excellence of these comics. This particular volume is one that weaves together several tales and features characters who have appeared in prior stories, operating an as introduction to this world and these comics in advance of the premiere of the Amazon adaptation. One of the main plot threads is about a writer that mirrors some of Brubaker's experiences in Hollywood, and the others involve an orphan being raised by an ex-boxer/current bar owner/keeper of the peace, a kidnapping scheme, a doomed love story, and an ex-soldier falling back into a pattern of violence.

If have ever read Criminal, many of these themes and stories are familiar, but I still feel that good genre work done with skill and craft is worth reading. And this book features exactly that. There are suspense, intrigue, interesting character moments, sex, violence, and questionable moral choices abounding. The artwork is aptly atmospheric and expressive. I have consistently loved Ed Brubaker and Sean Phillips' collaborations, and this one is as good as any of their past work. If you are looking for some entertaining crime noir readings, this book is a good place to start.

The reviews I have read about this book have been mainly positive. Zac Owens called it "a book I truly loved to read." In a starred review, Thomas Batten summed up, "This ambitious and elegiac crime thriller is among the best of Brubaker and Phillips’s highly acclaimed collaborations." Steve Baxi has some issues with this book retreading familiar territory but also admits it is "charming more often than not."

The Knives was published by Image Comics, and they offer more information about it here. This book contains violence, sex, and profanity, and it is suggested for readers mature enough to deal with those things.

Where the Body Was

I am a big fan of and have read and reviewed pretty much every series or book that Ed Brubaker and Sean Phillips have collaborated on, but Where the Body Was is special among a fantastic body of work. It is their most evocative and character-driven work to date, and I not only could not put it down but I was also moved greatly by the plights of its characters. 

The events of this story occur in 1984, and they involve an array of people from the neighborhood. There are juvenile delinquents struggling with drugs and dabbling in theft, a woman who is bored of her marriage with her psychiatrist husband, a guy who likes flashing his police badge and bossing people around, a wandering veteran who camps in the nearby woods, a young girl who patrols the neighborhood in a superhero outfit, and the local neighborhood watch. For some reason, someone has also hired a private investigator to tail one of these people, and soon enough there is a dead body on the street.

Untangling that mystery is one thread in this book, but several more follow the exploits of the various characters. They all have their own sets of surprises and internal struggles, and it was excellent to get to know each of them from the narrative but also from the narration that they provide from the present. The coloring work by Jacob Phillips especially shines here, as he changes pallets to differentiate from the past and present.

The result is not only a compelling and deftly constructed whodunit but most impressively a series of character studies that play out similarly to a true crime documentary series. That all of this emotion, action, and depth was created in the space of 144 pages is nothing short of incredible. I urge anybody who loves a great crime story to check this simply superb book out. 

The reviews I have read of this book have been glowing. Zac Owens stated, "Their work has never been so paradoxically raw and thought out."  Justin Harrison wrote that it "is good comics made by folks who know good comics. It’s a joy to read and well worth checking out." Brad Gullickson concluded, "I'd rank it at the tip-top of their collaborations."

Where the Body Was was published by Image Comics, and they provide more information about it here. It contains profanity, drug use, nudity, and sexual situations and is intended for readers mature enough to handle those things.

Reckless

I have read pretty much everything that Ed Brubaker and Sean Phillips have published. Together they have produced some of the most compelling and well crafted crime/suspense stories of the past couple decades, sometimes melded with superhero tropes, supernatural tales, movie history, or even westerns. Of late, they have moved from producing monthly comic books to original graphic novels, and Reckless is the first of a series.

The titular star of this series is Ethan Reckless, an ex-student radical from the 1970s who has flamed out and taken up residence in a run-down movie theater and who takes on private cases for those he deems worthwhile. For a price. In this book, he runs into a woman from his past and is faced with a case that brings up lots of baggage. I know all of this seems cliche to those who relish a good pulp tale, but the way the story is executed and paced is pitch perfect. 

The artwork clearly displays a love for the recent past, with accurate depictions of old locales and cars, as well as hairstyles and fashions. This book is homage not only to classic pulp authors like Donald Westlake and John D. MacDonald but also past decades. The coloring by Jacob Phillips resembles that of classic paperback covers, adding to the tone and timbre. I loved getting swept up in this story, and there were just enough twists and turns to keep me guessing. It's another winning piece of genre fiction from these masterful creators.

Even the exposition is interesting!

All of the reviews I've read of this book have been glowing. Jake Owens wrote, "Reckless showcases all that the comic book/graphic novel genre is capable of. Exquisite art and skillful dialogue meet in a display of subtlety that weaves together and makes something much larger than the sum of its parts." Zac Owens called it "nearly perfect." Justin Harrison summed it up as "a damn compelling introduction to an intriguing anti-hero."

Reckless was published by Image Comics, and they offer a preview and more about the entire series here. It features violence, drug use, and sexual situations so it is suggested from readers mature enough to deal with those topics. And if you like this book, there are four subsequent sequels.

Pulp

I have read pretty much every comic Ed Brubaker and Sean Phillips have created. Their past series, like Sleeper, Criminal, Incognito, Fatale, The Fade-Out, and Kill or Be Killed, have blown me away with their blend of action and intrigue in noir fashion. In the past, these books have been published serially as comic books and then collected as trade paperbacks, but with My Heroes Have Always Been Junkies, they tried their hand at a stand-alone graphic novel. I really dug that book, and it must have been successful in a number of ways, because the duo has embarked on publishing a series of individual graphic novels. The first is this one, Pulp.

Although it is not set in the same universe as Criminal, it shares that series' feel and tone. The narrative here focuses on Max Winter, an aged writer of western pulp stories. Getting up in years, he is worried about money issues, heart problems, making sure his partner Rosa is squared away in the eventuality of his death, and the rise of fascists who support Hitler in pre-WWII New York City. Facing a lower page rate and also a thinning revenue stream as his publisher hires younger and cheaper writers, Max starts plotting a robbery. It turns out that the westerns he writes are not totally fictional, and what is more, a Pinkerton detective has noticed that these stories smack of crimes he once investigated. 

As you can see from the excerpt, one of the strong parts of this book is its intertwined accounts of different time periods. These shifts are clearly marked with changes in coloring, which is here done by Jacob Phillips. The artwork and storytelling are lean and mean, building a highly detailed and recognizable situation and characters almost immediately. This graphic novel is more of a novella in terms of length, but it's a dense, enjoyable read. Although the story itself may be treading somewhat familiar ground for a pulp-type tale, it is exceptionally well-crafted. Sometimes you just crave a great piece of genre fiction, and this book is just that.

The reviews I have read of this book have been largely positive. Publishers Weekly wrote, "The only disappointment in this tight, fast-paced homage to multiple pulp traditions is that it’s so short." Bruno Savill de Jong concluded, "Brubaker and the Phillips remain a fantastic team for satisfying and compelling crime stories. They might have remained in their comfort zone, but for the moment, they show little reason to move out." Tom Shapira wanted a little bit more out of this book, opining, "It gives you exactly what you expect, without challenging you in any meaningful way, while providing the illusion of challenge."

Pulp was published by Image Comics, and they provide more info about it here.

My Heroes Have Always Been Junkies

If you have read this blog for any length of time, you know I will read any comics Ed Brubaker and Sean Phillips create. I have been blown away by their past efforts, like Sleeper, Criminal, Incognito, Fatale, The Fade-Out, and Kill or Be Killed. Their brand of action and intrigue in noir fashion has captivated and excited me over various iterations. This book is their return to the world of Criminal, only it's in the form of one self-contained graphic novel. Even though it builds on the series, I think that this book is affecting and accessible to readers who might not be familiar with the creators' other works.

The main plot here follows Ellie, who is technically a teenager but has been out on her own for a while. She finds herself drawn to musicians and artists who have addiction problems. When the book opens she is on a beach, ruminating about her life. Then, she flashes back to the recent past to see how she has ended up in her current situation. She was entered against her will into a rehab program, and she is a discontent in various areas, including being a poor participant in group therapy sessions and also frequently sneaking out after hours to have a smoke. She finds a co-conspirator in Skip, a young man in his 20s who is trying to break out of some old patterns.

Aside from the fact that romantic relationships are frowned upon in such settings, the duo has other problems that arise from factors from their outside lives. I am not going to spoil things, but their relationship takes a few turns before the end of the narrative, with a bunch of negative consequences. What I loved about this book was how it played with my expectations about characters and plot by slowly dropping revelations and twists. By the end, I learned a lot more about the story's context that involved characters and stories from the Criminal series, which I found rewarding. Even so, I feel that this tale works for readers who are new to this world, because the plot twists still work with what you do see about these characters. I love a good crime/mystery yarn that keeps me guessing, and this book definitely delivers in that territory.

The reviews I have read of this book have been very positive. Shareca Coleman wrote that it was "incredibly written, drawn, and composed." Anelise Ferris called it "affecting and thought-provoking," and added,  "It’s a perfect read for a quiet autumn afternoon." Chris Terry opined that "Sean Phillips’ artwork is as beautiful as Brubaker’s story is haunting." Joe Gordon called it "
simply brilliant," adding, "And you’re really, really going to want to make a good playlist to go along with your second reading." Derek and I also recently spoke about the book on the Comics Alternative podcast.

My Heroes Have Always Been Junkies was published by Image Comics, and they offer a preview and more information here.

Kill or Be Killed: Volume 1

There are some certainties I can rely on: the sun rises in the morning, the mail gets delivered daily, my son will take an extra long nap if we have an appointment in the afternoon, and Ed Brubaker and Sean Phillips make great comic series. Kill or Be Killed is their latest collaboration, and I have reviewed some of their prior ones here, here, here, here, and here. This latest series has many elements that have appeared in those past ones, but they have been remixed and represented in a fresh and exciting way. And unlike those earlier series, this one is meant to be ongoing.

The premise here is that Dylan, a morose 28-year-old graduate student who is sort of a loser, becomes a vengeful vigilante. He needs to murder a person every month or he himself will die, or at least he thinks that is the case. The reason why I will not reveal, because it is a large part of the suspenseful plot spun out in this first book, which covers the first four issues of the series.

 

The dark themes of this book explore a sense of helplessness against a failed system and one person's extraordinary way to exact justice. As you can see, Dylan gets pretty adept at going after people who he feels need killing. Still, he does not start out so well, as we see in the course of this book. I loved the way that the plot is told in a  nonlinear way that contains lots of twists and cliffhangers. I also very much liked the character work, particularly the love triangle between Dylan, his roommate Mason, and Kira, who is Dylan's best friend and Mason's girlfriend. The best kinds of noir feature characters with questionable personalities and motivations, and the ones in this book surely fit that bill. And as always with this pair of creators, the story and artwork coalesce into masterful comics.

All of the reviews I have read about this book have been positive. Phil Brown wrote that "in increasingly dire and cynical times, it just might be the comic on the stands we need more than any other, a sick punch to the gut by major comics talents who know how to get there through your head." Nick Lafpliotis called it "a mandatory addition to any self-respecting comic reader’s pull list." Desmond Fox pointed out that this book is also very topical and that Brubaker and Phillips "take us to the heart of American depression and vigilantism."

Kill or Be Killed was published by Image Comics, and they have previews and more info about the book and series here. There are violence, profanity, sex, and nudity in this book, so it is suggested for mature readers.

The Fade Out: Act One

I am a HUGE fan of Ed Brubaker and Sean Phillips. Their first collaboration, a combination of superheroes and espionage, Sleeper, was followed by Criminal, a series of  hard-boiled crime tales. Since then, they have created all sorts of crime series, like Fatale, where it was mixed with mystical horrors, and Incognito, where there were superheroes involved with the witness protection program. In The Fade Out, they turn back to a straight noir tale.

The narrative here is set in post-WWII Hollywood. It involves a drunken screenwriter, a dead starlet, a blacklisted screenwriter, a crazed director, and shady studio executives. The drunk screenwriter is privy to information that what was reported as a suicide was actually a murder and that there is a cover-up. Of course, there are multiple interested parties (suspects?) and the entire situation is as clear as mud. One of the strengths of this book is that the plot is extremely intricate and the characters are types of a sort but also intriguing because of their circumstances. I am trying not to spoil things and doing a poor job of describing just how great this book is. I should just say that if you are fan of noir, murder mysteries, or classic Hollywood, you should check this book out.

All of the reviews I have read about this book have been glowing. Publishers Weekly concluded by calling it "a strong beginning to a serial mystery that offers a fresh spin on the genre." The reviewer at Comic Bastards summed up, "you should come to The Fade Out for the plot and the atmosphere, stay for the characters, and never think about McCarthyism the same way again." Sean M. Thompson wrote that it was full of "great characterization, excellent pacing, a great mystery, and brilliant art and color."

The Fade Out was published by Image Comics, and they have more information and previews available here. There are violence, sex, and nudity in this book, so it is suggested for mature readers.

Graphic Novel Speed Round: Sequels and Continuations

I am off celebrating the holidays, but I thought I would do a big follow-up post on a few series I have written about before to see how they have been developing.

The latest installment in Nathan Hale's Hazardous Tales (see one and two), Donner Dinner Party tackles a dark topic, the dire straits of the Donner Party. These ill-fated travelers were going west from Illinois to California, took a "short cut" that led them into treacherous territory, and became trapped in snow drifts in the Sierra Nevada Mountains. In particular, the focus is on the Reed family, led by father James, who makes lots of calamitous decisions. But we also get to see much about his children as they find themselves in very unfamiliar and eventually dangerous circumstances. The tale highlights American ingenuity and enterprise but also pigheadedness and extreme survivalism where people resort to cannibalism to survive.

This volume follows in the tradition of the others, introducing elements of humor into well researched and presented facts and information. It is jam-packed with details, clear and expressive art, and also the sturdy framing aspect of the other volumes. Still, this may be the weakest volume of the three books for me, as I did not find this one as vibrant as the first or as exhilarating as the second. Perhaps the subject matter makes the jokes seem less funny to me, but it is still certainly an excellently presented historical graphic novel that is simultaneously informative and thought-provoking.

Out of all the books here, this one is most appropriate for YA readers. The books ahead are strictly for mature readers.

Next up is Fatale, a series I first wrote about here. In this second volume The Devil's Business, Josephine is laying low in Hollywood as a recluse holed up in a villa. Despite her not taking visitors or even going out into the public for any reason, she encounters a struggling movie star named Miles and a woman he is trying to protect when they end up in her backyard. The duo have stolen a film reel showing some very twisted, Satanic stuff, and the owners will do anything to get it back. Because of Josephine's enchantment (curse?), Miles immediately falls in thrall to her, though he does not quite realize it. The poor sap just thinks he's in love. Of course, complications arise and a body count mounts.

Brubaker's deft plotting and Phillips' atmospheric, evocative art combine to produce another winning volume in this series. They make excellent use of historical context: from the fashions and actor likenesses at various Hollywood parties, the time period is the late 1960s or early 1970s. There are references to Manson Family-type goings on, and this book has a genuinely creepy feel to it. In a style appropriate to its horror/noir precursors, lots of bad things happen within these pages, to the main characters and to the shady characters pursuing them. There are also compelling, dark plot twists as well as a few revelations that kept me yearning to know more about these mysterious characters' backgrounds. Good thing a third volume is now available...

War Torn concludes the epic begun in Volume 1 of Glory, which was one of my favorite books of 2012. Whereas that first volume is all about revelations and twists, this one focuses more on Glory's family relations. Apart from her free-spirited, volatile, violent, and obscenity-spewing little sister Nanaja, we also get to know her and her parents better. Nothing is as pat as it seems in this group of alien angels and demons, and what's worse, their creators, the Knights are coming back to Earth to either destroy or subjugate its inhabitants. Consequently, Glory calls in some favors and amasses a powerful, ragtag army to combat the coming menace, and the proceedings climax in a huge battle.

Although I do not think the plot was as tight as it was in the earlier volume and some of the scenes seemed short and choppy to me, writer Joe Keatinge still did a great job weaving together a good number of plot and subplots into a cohesive whole. The highlight here was the work of artist Ross Campbell (and a few additional collaborators) who produced a visually impressive display full of interesting character designs, dynamic action scenes, and personality. These creators completed a satisfying story in expert fashion, tying up their major plot points and having some satisfying moments while leaving plenty of leeway for a sequel.

I was very impressed with the first trade paperback of The Manhattan Projects, and They Rule continues with the mind-bending, sinister machinations of scientists with access to unlimited power and fantastic resources. This time, the oligarchs catch on to the amazing achievements the scientists are creating and they want to make sure they realize who is in charge still, so they rig computer system FDR to destroy its confederates. The scientists are geniuses, needles to say, and they catch on to this plan before it reaches fruition, and the resulting conflicts are violent, bloody, and spectacularly rendered.

Among the high points in this issue, apart from a very well plotted story by Jonathan Hickman and vigorous artwork from Nick Pitarra are the way-out depictions of historical figures in insane contexts. Crazy Masonic Harry S. Truman is one of my favorites, as are super-charged Yuri Gagarin and Laika. This frenetic and ingenious twist on historical science fiction continues to surprise, shock, and delight me. I am definitely in for future volumes.

The only reason why the first volume of Saga was not on my best of 2012 list was because I had not read it yet (What? I can't get to EVERYTHING in time). This is the series that bookstores advertise with signs that say, "If you have never read a comic book before, you should read this one." And deservedly so, I say. I found the first volume to be fresh, fun, fast-paced, and utterly engrossing, an interesting mix of sci-fi and fantasy.

This second volume is also full of amazing things like an asteroid that is actually an egg about to hatch, and the baby inside is non-too-pleasant. There are also breath-taking cliffhangers, and when the danger, action, and intrigue become most perilous, that's when the in-laws come to visit and everything goes to pot. The plot purrs along, and subplots are deftly woven in and out, as well as flashbacks. This book just keeps surprising and enchanting like a finely detailed tapestry, both in terms of the narrative and the finely rendered artwork. Saga is such a fast-paced, frequently funny, well scripted, and wondrous ride, and this volume is a worthy entry in an exciting series.

Fatale, Volumes 1: Death Chases Me

I read this book because I am a HUGE fan of Brubaker and Phillips' other series, Sleeper, Incognito, and Criminal. I like me some noir and also comics, and here I get those two great tastes together, along with a twist of something else...

Death Chases Me has many great ingredients that add up to a gripping noir thriller. A mysterious and beautiful woman. A shady cop. A reporter who has stuck his nose in the wrong place. A crime boss. A cult. Chases and gunfights through the sewers of San Francisco. Ritualistic, sacrificial murders. An unpublished, tell-all manuscript. And demons. That last feature adds an element of Lovecraftian horror where the evil lurks not only in the hearts of men but also oozes from an infernal pit.

The story mostly involves two intertwined timelines, from the 1930s and the 1950s, and we see how past events dictate those in the future as well as how many different happenings are cyclical up to the present day. Like most noir thrillers, it is difficult to recognize anyone as purely good or trustworthy in these situations, and everyone seems corruptible despite their best intentions. Also, there are definitely a few characters who simply fall into the evil and malevolent categories.

Here is a preview page that I think captures the flavor of the book (originally found here):

This first book mostly sets the scene for what is an ongoing series from Image Comics, and I think it does an excellent job giving out just enough information and shocks to drive a compelling and effective plot while leaving more than enough mystery to keep the reader in suspense and wanting to come back for more. This is another excellent book from an excellent comics-making tandem.

This book's creators are the veteran team of Ed Brubaker and Sean Phillips. Brubaker is probably best known for a long run on Captain America, and Phillips has drawn all kinds of comics, most notably Marvel Zombies.  They continue to co-produce excellent and enjoyable comics. They are both Eisner Award winning creators and frequent collaborators on series such as Criminal, Sleeper, and Incognito. Both creators talk about this series and their collaborative work as a whole in this interview.

All of the reviews I have read about this book and series have been very positive. Publishers Weekly gave it a starred review, calling it an "addictive page-turner." Danny McCaslin praised the book, "Ed Brubaker and Sean Phillips have delivered a truly great series in the form of a hard-boiled detective story that touches on the very edges of a supernatural mystery taking place right beneath our noses." The review from Crime Fiction Lover stated, "This collection is brilliantly done, but will leave you hungry for more."

Fatale is published by Image Comics. There is a brief preview from Amazon here. Because of some sex, violence, and language, I would recommend this book for more mature readers.

Incognito, Volume 1

Incognito is a wonderful mash of noir, superheroes, and pulp fiction. It has evil mad scientists who grow creatures in jars, villains who wear domino masks, and heroes who drive flying cars. The plot revolves around Zack Overkill, a former science villain who has been placed in the witness protection program. He has turned evidence against his former boss, Black Death, and has had his powers chemically removed as part of the program. Unfulfilled with his boring lifestyle, Zack turns to recreational drugs, which he finds out counteract his power-dampening meds. Given the chance to exercise his powers again, Zack takes to clandestine nighttime jaunts around the city, with his old lifestyle luring him to his former habits.

Much like the series Sleeper, Incognito is a fascinating take on the superhero/villain dichotomy. Ed Brubaker and Sean Phillips continue to co-produce excellent and enjoyable comics. They are both Eisner Award winning creators and frequent collaborators on series such as Criminal and Fatale. Brubaker talks about Incognito in this interview as well as this one. This series was optioned to be made into a film or TV series, though it seems to be in limbo.

This trade paperback collects the first 6 issue mini-series originally published in 2008-2009. All the write-ups I have found about it online have been full of praise. Esquire's Eric Gillin called the series "a refreshingly post-adolescent fantasy, filled with bad guys and even-worse guys, a witness-protection plan for super-powered snitches, and damsels who repay heroes with a roll in the hay." The Los Angeles Times' Geoff Boucher praised the noirish plot and Brubaker's "fantastic touch with dialogue." The reviewer at Collector's Paradise called this book Brubaker and Phillips' "third Masterpiece."

Incognito is published under Marvel Comics' Icon Imprint. A sizable preview is available here from Comics Related.

Sleeper, Season 1

Holden Carver is a spy out in the cold, with no hope of going home. He is a superhero who was charged with infiltrating a criminal mastermind's organization, but the only person who knew he was a sleeper agent has been shot and is in a coma, clinging barely to life. Eventually, he rises in the organization to become a Prodigal, one of Tao's chief lieutenants. To make matters worse, Tao, the criminal mastermind, has the ability to control people's minds, and Holden is severely compromised in terms of maintaining his identity. Throughout the series, he vacillates between completing his mission and simply losing himself in the villain's role.

Holden has a unique superpower given to him by an alien artifact that has grafted itself to his nervous system. The artifact absorbs all pain and injury he would feel and stores it. When Holden touches someone, they feel the pain and injury, sometimes with the intensity to kill. The artifact makes it difficult for Holden to feel anything, including emotions, further muddying his circumstances. His associates are similarly colorful, especially Miss Misery, a woman who gains strength, beauty, and invulnerability from criminal, amoral, and libidinous behaviors, and Genocide Jones, his super-strong, seemingly invulnerable friend who is also a muscle-man and assassin.

Ed Brubaker and Sean Phillips created this series. They are frequent collaborators, and Sleeper was their first major undertaking. Since this series, they have gone on to others such as Criminal and Incognito. Brubaker is an Eisner Award winning writer who has also dabbled in being an artist at times. His most well-known works are Immortal Iron Fist, a run on Catwoman, his revitalized Captain America, and a well received series of Daredevil comics. Phillips has drawn a great number of American and British comics and received an Eisner Award for his work on Criminal.

Sleeper, Season 1 was originally published as 12 issues from Wildstorm, an imprint of DC Comics. It was followed by a second season that completes the narrative. It was a popular series, and it has received some attention from Hollywood: Tom Cruise and Sam Raimi are reportedly interested in creating a film version. Reviews have been largely positive as well. For example, Stephen Giordiano commented that the tightly plotted and compelling story really draws readers in. Paul W. Smith wrote that "both books fill the senses with blood and adrenaline, and ensnare the brain in a dangerous web of conspiracy." Jack Bauerstein83 called it a "hit on all counts."

A preview is available here.

Coward: Criminal, Volume 1

Most comic books published in the United States have followed the exploits of superheroes, so Criminal definitely sticks out in a crowd. This series follows in the tradition of two by-gone guilty pleasures, pulp detective stories and the crime comics of the 1940s and 1950s. It revolves around the machinations of criminals and crooked cops who pull a job on an armored car full of valuable evidence. The protagonist of the story is Leo Patterson, the coward who gives the title to this collection. He is a master thief, raised to be one from boyhood, and also a master of self-preservation. He does not go into a job without careful planning, nor with a gun, and he always knows his escape routes. Needless to say, the job brings complications, and the plot follows the twists, turns, and double-crosses that come in the aftermath.

Criminal won the 2007 Eisner Award for Best New Series, and the series writer, Ed Brubaker, is a multiple Eisner Award winner for his pulp-inspired tales. He is renowned for reviving noir in superhero comics, especially the most recent version of Catwoman and Gotham Central at DC Comics. A sought after, hot talent, Brubaker has spent the last few years working exclusively for Marvel Comics where he has written Daredevil, Captain America, Iron Fist, and the X-Men. Sean Phillips is himself a hit artist who is probably most famous for his work on Marvel Zombies, a gruesome mirror of the Marvel Universe where zombie versions of superheroes rule the world. Brubaker and Phillips have a history of collaboration, having also produced the critically acclaimed Sleeper series, as well as another noirish comic, Incognito.

Coward has received a great number of positive reviews online. Here are a few from various sources, including one from Alasdair Stuart, one from Christopher Mills, one from Leroy Doureseaux, and a final one from the Literary Feline, Wendy R.