![]() Betrayed by partners in crime both business and romantic, and believed dead, he's come back to settle the score. Really, that's all you need to know. Parker's a shark, constantly moving through an ocean of betrayal and murder. If he has redeeming qualities, they aren't on display. Save for a tiny bit of narration and two lines of dialogue, several pages go by before we get so much as a glimpse of Parker's face. Cooke takes his time establishing the setting, time period, and disposition of the main character simply by using smart, fluid layouts. His decision to go with understated blue tones instead of full-color or black-and-white is an interesting one, and it pays out huge artistic dividends. It helps seal the pulpy, aged quality of the narrative as if this were a look at a tourist brochure of the underside of NYC, a vacation guide gone horribly wrong. Much will be said in reviews and future analyses about the outstanding opening sequence. ![]() (Image credit: Darwyn Cooke (IDW Publishing)) ![]()
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