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Review: Kill or Be Killed #19

In the penultimate issue of the series, Kill or Be Killed #19 ties so many threads together as Detective Sharpe finally realizes that Dylan, not some random guy who got shot, is the masked vigilante. But the main event, or basically double feature, for Ed Brubaker, Sean Phillips, and Bettie Breitweiser is a ethics debate between Dylan and Sharpe about why he is a vigilante that is bookended by a tight corner, white knuckle shootout in the ironically named Serenity Oaks. Kill or Be Killed is smart and visceral and beautiful too with a blanket of snow covering the whole issue.

Sean Phillips uses different grids for the “interrogation” sequence in Kill or Be Killed #19 going wide when Dylan realizes that Sharpe has no jurisdiction to arrest or charge him and going skinny when he opens up after Sharpe brings up him killing his drug dealer, Rex, the only “innocent” caught in the crossfire. It doesn’t involve any intense violence, but has all the weight of a great reveal as Dylan gives up everything while also justifying his actions and even asking for thanks from the police officer. Phillips adds a nice level of subtext using the motivational posters in the room like “It’s okay to ask for help” when he opens up. The scene is a setpiece in and of itself with Dylan and Sharpe playing all kinds of emotional and moral trump cards when Dylan decides to go back to his room. However, Sharpe isn’t there to make an arrest; like Clarice in Silence of the Lambs, she’s interested in the psychology behind this vigilante killer. And Dylan finds a little bit of catharsis, and Phillips eases the wrinkles on his face for a bit until Kill or Be Killed kicks into action mode featuring its favorite baddies: the Russian mob. This scene plays out a lot like your favorite director just letting a couple great actors loose in a room as Phillips’ facial acting and use of gutters and Breitweiser’s fluctuating use of shadow play out a second act that is one hell of a moral drama.

With the help of a few panels in the beginning of Kill or Be Killed #19 that show how Dylan has been planning to be a better vigilante while on new meds, the fight between him and Sharpe and the Russian mobsters show how far he’s come since a freaked out, Brooklyn hipster shooting bad people to make a demon shut up. Brubaker and Phillips give him one-liners that would be badass without the context of the series, has him coolheadedly direct a plan of escape,  and even has him make a heroic play towards the end, but scenes that would be “Hell yes!” in any other comic or action movie are downright tragic in Kill or Be Killed. Dylan doesn’t need a gun; he needs help. He may make some valid points about how the United States is a plutocracy, but solves this problem by shooting people in the head. However, Brubaker and Philips don’t make any black and white judgments on him (Even though this is how Dylan says he sees in the world in a sequence reminiscient of Heath Ledger’s Joker with less grease paint.) and make the Russians’ arrival at Serenity Oaks the result of a corrupt cop, not vigilantism. This book loves its moral conundrums, which is great, and places it in the well-earned company of Brian Garfield’s original novel Death Wish , not the Charles Bronson and especially not the 2018 remake directed by Eli Roth.

When reading Kill or Be Killed, I either think that Dylan makes some good points about systemic injustice, is a total violent fuckboy, or is somewhere in between. He isn’t a conventionally likable protagonist, especially in an age of white male mass shooters, even though Ed Brubaker gives him the political views of a frustrated progressive. However, towards the end of Kill or Be Killed #19, he and Sean Phillips start to give Dylan a real, guns a-blazing redemption arc. But his actions with Sharpe against the Russians show how numb he is to killing compared to the police officer who is in shock as the snow swirls around them providing Phillips and Breitweiser a visual shorthand to her emotional state.

With beautifully staged debates about justice and corruption and a chilling, closing action sequence, Ed Brubaker, Sean Phillips, and Bettie Breitweiser turn in virtuosic shadow drenched and snow blown work in Kill or Be Killed #19. I can’t wait to see how this grounded lofi (at times) approach to the vigilante genre ends…

Story: Ed Brubaker Art: Sean Phillips Colors: Bettie Breitweiser
Story: 9.5  Art: 10 Overall: 9.8  Recommendation: Buy 

Image Comics provided Graphic Policy with a FREE copy for review

New Story Arc of Kill or Be Killed an Electric Shock to Readers and Goes Back to Print

The highly anticipated new story arc of Ed Brubaker and Sean PhillipsKill or Be Killed is on fire with fans eager to pick up where the Volume Three trade paperback’s jaw-dropping cliffhanger left off. Kill or Be Killed #15 is being rushed back to print in order to keep up with the overwhelming demand.

A departure from Brubaker and Phillips’ noir leanings, fan and retailer support has positioned Kill or Be Killed as one of the hottest series on shelves. The addictive ongoing series hooks readers with monster-of-the-week style storytelling and gut-punch plot twists.

The series is currently in development for the big screen with John Wick Director Chad Stahelski and producer Basil Iwanyk on board the project.

Kill or Be Killed follows a young man who is forced to kill bad people and how he struggles to keep his secret as it slowly ruins his life and the lives of his friends and loved ones. In this cannot-miss issue, Dylan is forced to confront the reality of his violent actions and his sanity…and nothing will ever be the same again.

Every issue of Kill or Be Killed contains extra content and articles only available in the single issues.

Kill or Be Killed #15, 2nd printing (Diamond Code DEC178235) will be available on Wednesday, February 21st. The final order cutoff deadline for comics retailers is Monday, January 29th.

Kill or Be Killed #16 will be available on Wednesday, February 14th.

Brubaker, Phillips, and Breitweiser’s Kill or be Killed to the Big Screen

The John Wick team of director Chad Stahelski and producer Basil Iwanyk are working to bring the comic Kill or Be Killed to the big screen. Dan Casey is attached to write the script. The comic is by Ed Brubaker, Sean Phillips, and Elizabeth Breitweiser, and published by Image Comics. Casey has previously adapted Icognito by Brubaker.

Producers for the film include Iwanyk, Erica Lee, Jeff Waxman, and Brubaker will be an executive producer.

The story revolves around a college student who survives an attempted suicide due to a demon. The demon informs the student for every life he takes he may live for one more month.

(via The Hollywood Reporter)

Review: Kill or Be Killed #11

Killed or Be Killed #11 kicks off with a tantalizing flash-forward of our protagonist Dylan as a millennial Charles Bronson in the Death Wish sequels in a brutal action sequence that the series opened up with. However, this is just a tease from Ed Brubaker, Sean Phillips, and Elizabeth Breitweiser, and the comic settles down to poke around Dylan’s mental state and hint at the tiniest slivers of redemption before taking a sharp, violent left turn in its final scenes. This lull, then storm plot structure makes for entertaining reading as Brubaker and Phillips make Dylan a likable young man trying to get his friend Kira back, pass grad school, and find some semblance of normal in his life until he decides to kill again.

Kill or Be Killed #11 definitely looks at the “psychological” part in psychological thriller, and there’s an extended scene where Dylan half lies and half tells the truth to his therapist, who reprimands him for going off his meds. Breitweiser’s colors sink to a nice medium palette, and Phillips draws Dylan’s body language as moving away from his therapist instead of listening to what he has to say. It’s nice to see Dylan working on his mental health, but his lack of engagement with his therapist and lies to him makes it seem like he’s just trying to tick off a box on a list and return to “normal” without dealing with the consequences of his murders. Dylan isn’t contrite at all; he just wants to avoid the consequences of his actions, which is why it’s hilarious that he wears a Richard Nixon mask to his friend Kira’s Halloween party towards the end of the issue.

Brubaker, Phillips, and Breitweiser continue to make the reality of the demon that supposedly saved Dylan’s life and forces him to kill fairly ambiguous with a couple pages done in pulpy, painted art style showing that his father’s artwork of the creature. Nonetheless, like clock work, Dylan gets deathly ill two months after he killed a Russian mob member and his drug dealer, and the cause isn’t just undercooked falafel. But he doesn’t immediately go into vigilante mode until he hears a young man in a Russian accent asking for his friend Kira and her “boyfriend” Dylan at a coffee shop, and the demon never speaks to him in Kill or Be Killed #11. The ending of the issue started to really make me question the “devil made me do it” motivation for Dylan’s actions and returns to the desperate final issues of the second arc where Dylan was just out to save his own ass through violent, yet sloppy means. Just when readers start to like Dylan more, he goes off and murders someone.

Ed Brubaker continues to treat Dylan’s mental health with empathy without justifying his actions in the slightest. Sean Phillips and Elizabeth Breitweiser kick in a little romance and add more light to their usual shadowy art when Dylan interacts with Kira, and the story shifts gears from Death Wish meets Zodiac to a less insufferable early Zach Braff film with two young people rekindling a spark in Greenwich Village after dealing with a host of relationship issues. That tone is short lived when Dylan gets sick, and the art becomes more painterly and apocalyptic. There’s a tension between wanting Dylan to feel better, not wanting him to kill again , and a third, liberating door that it’s an imbalance in brain chemistry telling him this. It’s a moral muddle, and Dylan’s own internal struggle is more riveting and infinitely more relatable than the Russian gangsters on his tail.

After an insanely compelling and action master class of a cold open, Ed Brubaker, Sean Phillips, and Elizabeth Breitweiser so straight slice of life for most of Kill or Be Killed #11 examining Dylan’s post-vigilante motivation and relationship with Kira. But cue the last few pages, and the comic is back to be one hell of (a heavy on the anti) an antihero with a Richard Nixon mask starring thrill ride. (Fingers crossed that he runs into someone in a Hunter S. Thompson outfit at next issue’s costume party.

Story: Ed Brubaker Art: Sean Phillips Colors: Elizabeth Breitweiser
Story: 8.0  Art: 9.5 Overall: 8.8  Recommendation: Buy 

Image Comics provided Graphic Policy with a FREE copy for review

A Cup Tea & A Few Comics Issue Three: The Marvels Project

In what may or may not become a new feature – although with this being the second post under that tagline, it’s looking more likely that it will be – I decided to make a cup of tea (PG Tips again) and sit down and read a comic or two whilst I drank said cuppa. My intention isn’t to read review copies, or digital copies if I can help it, but either graphic novels, TPBs, or floppy comics because I much prefer to relax with a physical comic. I may have read them before, or they may have been on my To Read pile for far too long.  Whether this happens monthly, weekly, daily… never again… will depend entirely on the time I have.

This week, I sat down with Marvel’s The Marvel Project graphic novel.

 

I should probably switch up my cup for these pictures sooner or later, eh?

Anyway, I really enjoyed this. It’s told from the perspective of The Angel, a long forgotten hero from the Golden Age of superhero comics, and set in the year or so before the U.S.A. entered into WWII. Despite Captain America featuring on the front cover, this isn’t a Captain America story. It’s a tale of the time during which Americans were aware of the war in Europe but had yet to enter the fray. The Marvels Project is a genuine page turner – I devoured the entire trade in a single sitting, bar a bathroom break, and never actually touched my tea until I was several issues in.

Reading about superheroes and vigilantes from the late 30’s to the 50’s or so has always been a (not-so) guilty pleasure of mine. I love the that time period in American history, and as most of the pulp novels and superhero stories set in that time are typically based in New York or Chicago, it’s always a win-win for me. But with my misgivings about Hydra-Cap prevalent in my head as I finally decided to read this TPB, I was worried that I’d not enjoy the story – and I’ll admit they did cloud my judgment initially when Steve Rogers appeared in the comic, but after a few pages I was reminded just how great a character he is when written well, and consequently I was able to enjoy Captain America’s presence in the remainder of the comic.

For me the highlight was the way the story was presented; by having The Angel as both the narrator and the closest thing to a central character in the comic. The story telling style was very reminiscent of Hollis Mason’s autobiography snippets in Watchmen adapted to comic form. Every page was a joy to read, and thankfully the TPB is a completely standalone story.

I picked this up for $5 at my LCS. It’d be a bargain at twice the price.

Writer: Ed Brubacker Art: Steve Epting Colourist: Dave Stewart

Review: Kill or Be Killed #9

Kill or Be Killed is Ed Brubaker, Sean Phillips, and Bettie Breitweiser’s ongoing crime/vigilante comic about a Dylan, a young man who attempts suicide and survives because he makes a deal with a demon to give him one dead body each month. What follows is a 21st century equivalent of Death Wish except Brubaker and Phillips are more self-aware at exploring Dylan’s relationship with his family and friends, mental health, and privilege.

Kill or Be Killed #9 is a particularly thrilling installment of the series and is paced like one of the better episodes of Breaking Bad starting with an image of violence or tension in the opening pages, parsing the context for the image, and then ending on a hell of a cliffhanger after Dylan thinks he’s in the clear. Except he’s in deep shit from page one onward with a reveal that the Russian Mafia has been onto him for a while. A routine pickup of anti-anxiety meds from his dealer Rex (Because the American healthcare system sucks.) turns into a shootout with bodies literally dropping and a bullet riddled van careening from Brooklyn to South Jersey.

Sean Phillips and Bettie Breitweiser’s approach to action is less stylized and more frightening and gut wrenching in Kill or Be Killed #9. The gun fight isn’t something out of a Tarantino or Woo film, but bodies and bullets falling awkwardly. Dylan knows what he’s doing a little bit more than the first issue when he got the stuffing beaten out of him, but he bests the Mafia’s fairly dumb hitman, Bogdan (His phone passcode is “0000”.) through sheer luck and fear. He’s no Chow Yun Fat, and unlike Walter White in the early seasons of Breaking Bad, it’s a lot harder to evade getting caught by the police/organized crime in New York City versus New Mexico as Brubaker’s captions, Phillips’ drawing of awkward body movements, and Breitweiser use of pedestrian colors like grey and brown keep the story grounded. Dylan isn’t cool at all; he’s a messed up dude, and this entire issue is riddled with the mistakes he makes even as he blows up a van and talks trash about Bogdan’s lack of phone security.

One thing I enjoy about the way Ed Brubaker plots Kill or Be Killed is that there are always consequences and ripples to Dylan’s action. For example, in the previous issue, the presence of a vigilante in New York leads to the return of stop and frisk by the NYPD, but white males wearing hoodies are profiled in a dark bit of satire. He doesn’t get off scot-free like Charles Bronson in the five or so Death Wish films, but getting driven by a Russian cab driver after killing a Russian stripper was a bad idea and comes back to bite him and drive issue nine’s story. And there are more immediate consequences too as throwing a near dead Rex in front of a hospital on a crowded New York street while wearing a mask  is a boneheaded idea, but Dylan still has a bit of a conscience and feels bad for accidentally shooting him. However, Dylan is in a steaming pile of trouble as the final issue of the arc draws near, and Brubaker and Phillips put his metaphorical feet to the flame. Phillips especially adds a lot to the complexity of Dylan’s character with some of his close-ups showing him as a fearful, anxiety ridden boy manipulated by a demon while others portray him as a an iron jawed, unrelenting killer, who pulls the trigger on Bogdan without hesitation because he must.

Kill or Be Killed #9 is a master class in creating suspense through a non-linear narrative as Ed Brubaker, Sean Phillips, and Bettie Breitweiser use the context of flashbacks to deepen the feeling of terror that Dylan feels, and how close he is to getting pinched/whacked. He is one paranoid drug dealer away from being murdered in his bed, and the varied angles that Phillips uses in his panels unpack this uneasiness as Dylan is royally screwed going into issue 10.

Story: Ed Brubaker Art: Sean Phillips Colors: Bettie Breitweiser
Story: 9.5  Art: 10 Overall: 9.8  Recommendation: Buy 

Image Comics provided Graphic Policy with a FREE copy for review

Review: Kill or Be Killed #8

KillOrBeKilled_08-1

*MINOR SPOILERS BELOW*

Kill or Be Killed #8 brings us back to following the misadventures of Dylan. We get to watch the insecurities and realities begin to surround and almost smother him, and paranoia sink in. Sure, there is still some part of him that thinks he will get away with this, and while I don’t know the ending to the tale, the chips are certainly stacked against him.

As with most of the issues in this fantastic series, the end always sets up something huge for the next issue, and this is no different. This story has been an awesome slow burn that has added so many layers that you can tell will all certainly start intertwining soon, and that is what makes Ed Brubaker such an incredible writer, and storyteller.

Of course, a comic book is not just words, and the art is just as important as the script. Thankfully, Sean Phillips and Elizabeth Breitweiser draw and color the hell out of this series. They are some of the most consistent creators in comics, and together with Brubaker, make this one of the best comics out there.

As I have pointed out in my previous reviews of this series, Kill or Be Killed is something everyone should be reading. It is one of my favorite comics every month, and I don’t expect this to change anytime soon. I have the highest expectations for this story going forward, and the ending we will someday get to. I don’t expect it to be a happy ending, but I do expect it to be brilliantly written, and beautifully drawn.

Story: Ed Brubaker Art: Sean Phillips Colors: Elizabeth Breitweiser
Story: 9.0 Art: 9.0 Overall: 9.0 Recommendation: Buy

Image provided Graphic Policy with a FREE copy for review

Review: Kill or Be Killed #7

KillOrBeKilled_07-1MINOR SPOILERS BELOW

To put it simply, this is one of the best comic books out. That’s doesn’t mean it is one of the best non-superhero books, or best crime or noir books, it is one of the best comic books out in the entire medium right now. This is the type of story made by masters of their craft, and this crack team are certainly that. This isn’t their first comic together, or even their first crime comic together, and it shows. You always hear act like you’ve been there before, well these three have, and it shows in Kill or Be Killed #7.

The story does not start off or even touch much on Dylan’s situation much until the end of the book, and even then it is all seen through Kira’s eyes. If you do not remember or know who Kira is, she is the old friend and former lover of Dylan, oh and the ex-girlfriend of his roommate. Yeah, sometimes life is messy, and this story nails real flawed people, and how crazy life can be. None of this odd love triangle or square at this point feels forced, cliché, or unbelievable. This issue felt earned because I have been with these characters on a journey. Kira’s return felt real, and something I have seen in my own life, where an ex returns out of the blue because they want the other person back, or have some other plan. Let’s just say that when Kira does return, she finds some things that she does not like, including that other woman.

Ed Brubaker made an issue that I think could have been pretty boring and while it took me a bit to get into it the way I did, I then realized what he was doing. He took an entire issue and put a ton of character development into it. I feel like I know Kira so much more, and I am so excited to see where this story goes with her back in it. This issue also set up some big things for future issues with what she finds that I won’t spoil. The world seems to be ready to come down around Dylan, who thinks he’s still pulling all of this off, but we know in the real world, things don’t work this way. Dylan is not some expert assassin. He’s not The Punisher. He’s someone in over his head, and he now has a curious and scorned ex as well as a detective looking at things he doesn’t want or know are being looked at.

Sean Phillips and Elizabeth Breitweiser are the other half of this crack team. They have been with Brubaker on other classics, and they absolutely blew me away with this issue. From the brilliant use of panels showing Kira and her psychiatrist, which again helped so much with her character development, to the photo album filled with old pictures of Kira’s family members that had died, which by the way was a very haunting idea that her family did that. You can see many layers to Kira, as if she was a real person because that’s how real people are. I know I have repeated that quite a bit, but to me it’s one of the most impressive things about this book, and this team. The hard to look awkward scene at the end of the book where Kira is let’s just say eavesdropping on Dylan was depicted so well. From the dialogue, and having it told through her eyes and her ears was a fantastic use of storytelling.

You should read Kill or Be Killed. I think it’s a book that anyone can appreciate. You don’t have to just like crime books, or detective books, this is about real people in real situations, and in real trouble real soon. Dylan is on a crash course for a bad ending, but the book keeps me guessing, and I love it for that. It is continuously one of my favorite comics every month, and I highly recommend to everyone.

Story: Ed Brubaker Art: Sean Phillips Color: Elizabeth Breitweiser
Story: 9 Art: 9.5 Overall: 9.25 Recommendation: Buy

Image Comics provided Graphic Policy with a FREE copy for review

Review: Kill or Be Killed #6

img_0487Kill or Be Killed #6 fires off a shotgun blast of craziness and moves much quicker compared to the slower paced issue #5. That isn’t to say #5 wasn’t good because it was. It was just a slower paced book that ended with a big cliffhanger. That cliffhanger is where we start this issue obviously, and it doubles down by adding a few other levels of intensity and claustrophobia to what used to be a guy who was in over his head, thinking he is doing the right thing, and killing bad people because “a demon is telling him to”. Yes, I wrote that in quotes, because I wonder if the demon is a real demon at all, or something Dylan is either seeing or his brain is manifesting as either a self-defense mechanism or another condition. I trust Ed Brubaker as a writer and am excited to how far he takes this. This book explores what would happen if an everyday civilian tried to be The Punisher. Spoilers: it isn’t sustainable.

Just as Dylan thinks he is actually pulling this whole crazy vigilante plan off, a new detective is on the case. Enter Lily Sharpe, a young female detective who is beginning to connect the dots to random murders across New York City. Now that a masked vigilante made the front page of the paper, Detective Sharpe begins to put the pieces together to a previous case she worked on, the unsolved murder of man that had a laptop filled with child porn. If you’ve been reading this series, you should know who that man was, since it was Dylan’s first target. It’s funny how one thing can lead to another, and then all of a sudden a young, hungry detective is connecting murders that you committed. This is going to get crazy, very, very soon.

img_0486Sean Phillips and Elizabeth Breitweiser do such a good job to make a modern story feel classic. Like the rest of this series, the all-star pair give this issue the pulp noir treatment, but with a bigger color palette. They have both worked with Brubaker on his other books, and it shows. They are a fantastic team that only continue to get better. They not only compliment the story, they are a large part of it. The panel work gives the feeling of scenes from a cop television drama and helps keep the narration spell out the plot clearly and give the book a nice easy to read flow and pace. Whether it’s original ideas like using first person viewpoints on evidence or a newspaper or the believable portrayal of human emotion on the characters, they do a great job making everything believable.

If you have not read Kill or Be Killed, you should check it out. The first volume is out containing issues #1-4 and it would be a great story to read in trade. Dylan is relatable in so many ways, well he was at least. Now you just want to yell “STOP!” at the book with every decision he makes, but I still feel like I am rooting for him. Even with the things he is doing, I believe he thinks he is doing the right thing. However, Dylan is no longer the man we knew in the first arc. He is becoming some super confident version of himself, and it definitely reads more and more like a cautionary tale. I can’t see a good way out of any of this for him, but as we know with good writers, not everything is as it seems, so let’s see where this book and Brubaker take us. For right now, there’s someone who is convinced he has to kill someone on a regular schedule to keep himself from dying because of what a demon told him. Also, there is a determined detective and an angry Russian mob after him as well. Everything is coming home to roost for Dylan. Maybe. Will he continue to kill or will he be killed?

Story: Ed Brubaker Art: Sean Phillips Color: Elizabeth Breitweiser
Story: 9 Art: 9 Overall: 9 Recommendation: Buy

Image provided Graphic Policy with a FREE copy for review

Review: Kill or Be Killed #5

killorbekilled_05-1It feels like too long since we have followed the nail-biting and tense adventures of Dylan. Thankfully, Kill or Be Killed #5 gives us a new entry in the fantastic crime drama from the best team in the business. If you have not read the first four issues, this week also gives us the release of the first volume, collecting those. So if you have not caught up yet, you should, because this series is fantastic.

This issue is good, I just do not think it was as good as the first four. That isn’t a bad thing, as it does a lot to set up the next arc within the overall story, and it does cover some solid ground. The story is moved ahead a few months, and we see Dylan training to defend himself, how his relationships have changed with his friend and the girl that he loves, an old flame, and his next target. Overall, this issue is a solid entry in the series and moved things forward a bit. We will see how much that pays off, but I trust Brubaker as a storyteller.

The story is told by Dylan as the narrator as if he was telling a friend everything that had happened the last few months. There are a lot of oh and then this happened moments that makes the story hop around, and I felt it didn’t have the usual flow of the comic that I enjoy. Again, it isn’t a bad thing, it just felt different, and I had gotten used to the intensity and the craziness that Ed Brubaker has given us so far. That isn’t to say there isn’t any of those moments because the book-ending moments of this comic left me with my jaw hanging open. Things ramp up very quickly for Dylan, and you get left with a cliffhanger. I need to know what happened here, and I do not want to wait.

killorbekilled05-review3Sean Phillips and Elizabeth Breitweiser continue the rock solid artwork in their pulp style which surprisingly really works well in this modern setting. The layout is fantastic too, as there are pages that allow Brubaker to write some prose down the sides of the artwork. It is a nice detraction from how the traditional comic page can be and makes the book stand out aside from the fantastic story. The panel work is also fantastic and helps show emotion or action from our characters sometimes without the need for dialogue or narration. It is effective storytelling and compliments Brubaker as they have so many times before.

Kill or Be Killed is a series that you should check out. If you like crime dramas, thrillers, and gritty street justice, then this book is for you. You are following the story of a man who is figuring everything out as he goes along, and you feel like you are on the journey with him. He makes mistakes, especially in this issue, and the reader can vicariously live through him. How long can he keep this up? And if he stops, will he truly die like the demon told him? If that last question makes no sense to you, then you should buy the first volume that releases the same day as this issue and catch up.

Story: Ed Brubaker Art: Sean Phillips Color: Elizabeth Breitweiser
Story: 8 Art: 8.5 Overall: 8 Recommendation: Buy

Image provided Graphic Policy with a FREE copy for review

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