The minute I finished the first Abbott book by Saladin Ahmed and Sami Kivelä it became my go-to recommendation for people looking to get into comics. It still holds that position. A lot of it is due to how much like a contemporary comic it feels like, as if you were reading something that couldn’t have come out any other time, despite it being set in 1970’s Detroit while also borrowing ideas from the political thrillers and horror movies of that decade.

To say I was anxiously awaiting the first issue of its second arc is an understatement of the highest order. Following the investigations of journalist Elena Abbott—“a  detective for the people,” as the comic proclaims—feels like taking a journey through the underbelly of America’s unique version of systemic racism, a brutal trek through it with the intention of deconstructing all of it with dark magic thrown into the mix to further power the metaphors at play in the story.

The second arc seems to be operating on the same wavelength, with Abbott facing yet another supernatural threat fueled by racial animosity, only this time the powers of corruption are looking to dismantle the candidacy of a Detroit mayoral candidate poised to become the city’s first black person to take up the position.

Set in 1973, Ahmed and Kivelä keep the titular journalist from straying from her old-school investigative methods, echoing movies like All the President’s Men in terms of how it develops a sense of danger that bubbles up with each attempt at shedding light on the potential sabotage of the black mayoral candidate. Each new sliver of information dug up through her investigation raises the stakes not just for the story she’s working on but for her very own sense of safety.

Ahmed and Kivelä achieve this in the first book, which focuses on elected officials dabbling in dark magic to keep black communities in a constant state of chaos and instability, a tactic that allowed the ruling class to justify anti-black measures in the name of public safety (not to mention precious votes).

In Abbott 1973, the protagonist is now well aware of the dark influences that are trying to disrupt Detroit’s political structure while also being conscious of the fact magic and journalism have a complicated history with the public standard of veracity and reliability.

While these ideas are difficult to separate from the character and her story, Ahmed and Kivelä manage to complicate Abbott’s daily grind even more with an added focus on social notions of femininity in the public arena and in the professional workspace.

The comic dives into these obstacles through a new black character that comes into Abbott’s newspaper organization as its latest publisher, a man called Mr. Manning. This new figure of authority insists on keeping up appearances concocted by male-dominated notions of etiquette and behavior, instructing Abbott on how women should dress and behave in the workplace.

Given the story’s focus on change, and how the election of Detroit’s first black mayor stands as a plea for it, Abbott 1973 #1 looks to the country’s past to reflect on the current state of politics, be it racial or otherwise. Just how deep the comic will go to comment on this remains to be seen, but it’s well on its way to add something to the conversation (especially in the context of a very divided United States that’s growing further apart on a daily basis).

Kivelä’s art continues to favor that 1970’s grittiness prominent in that decade’s movies, deftly weaving realism with supernatural sights that carry a kind of violence to them on mere presence alone. Each character looks storied, the result of a long line of personal experiences that carry over into their overall looks.

Mattia Iacono’s colors complements the seventies vibe of the story beautifully with muted colors that make the darker elements jump out of the page even more when they manifest themselves. It creates a heaviness around the more horror-inclined sequences and can feel downright oppressive when Abbott as at the receiving end of them.

On the dark magic side of the story, Abbott 1973 is careful not to allow it to get lost in the social commentary that’s clearly in display in every page. Be it in hints of paranormal activity or outright terror, the hauntings Ahmed and Kivelä have cooked up for Abbott feel like an organic element of the story and they do their fair share of the worldbuilding. They are integral to the comic’s message and are smartly implemented.

Abbott 1973 #1 is a perfect continuation of Elena Abbott’s investigations into how magic has been taken over by racists bent on keeping America divided. Ahmed and Kivelä have one of the best characters in comics in their hands and they seem to be well aware of it. Abbott is the kind of creation one hopes becomes an industry staple, producing hundreds of stories for years to come.

Script: Saladin Ahmed Art: Sami Kivelä
Color: Mattia Iacono Letterer: Jim Campbell
Story: 9.0 Art: 9.0 Overall: 9.0 Recommendation: Buy and brush up on Detroit history

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