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Writer: Chip Zdarsky
Artist: Jacob Phillips
Colorist: Pip Martin
Letterer: Toben Racciot
PUBLISHER: IMAGE COMICS
The walls are crashing in with this issue of Newburn. Throughout this series, Newburn has been showcased as the ultimate fixer. One of the few people the crime families entrust to solve crimes to limit the bloodshed. Being in that position he had to make some tough calls and now some of those calls are coming back to haunt him.
Procedural storytelling is underappreciated with how beneficial it can be when done right. One of the perks of procedures is they make you comfortable. You know what to expect and those expectations are consistently met.
For the majority of issues in this series we got the story of something bad happening, Newburn being called in, and him finding a way to fix the issue. Now with that procedure broken, it aids in the atmosphere of uneasiness before the bullets start to fly–and oh do they fly.
This issue opens strong with some intriguing color choices by Jacob Phillips and Pip Martin. Having a limited color palette with mostly shades of blues and purples as if the world has become cold and distant. Slowly the color returns as we enter the Black Castle as if it is the beacon of normalcy that will go on beyond Newburn’s tenure.
Is that a byproduct of the reality of the situation or a sign their hubris will soon lead to their downfall? Time will tell/ Control seems to be in the hands of these crime lords as they hunt for Newburn, but who is hunting who?
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Much of this issue is hinged upon the question of how far Newburn will go to protect himself and his friends. Last issue we saw what drove him to this life and the bodies he left lying. As stated throughout the man is a killer but is there a line even he won’t cross?
Animals are often most dangerous when they are corned, and Newburn is as corned as he has ever been. Seeing him trying to work his way out provides a great deal of excitement and concern.
Emily Walker is another wildcard in all of this as her allegiance is being tested. Is she willing to turn on Newburn or is she simply following the plan?
With the events of the last issue, the answer to that question is a bit obvious despite the way the story treats it. Although the twist of Mario Albano is one I did not see coming and completely loved.
It is one of those choices that recontextualizes so much of what came before making a reread even more enjoyable and necessary.
Jacob Phillips continues to impress with his skills as a storyteller. This is a tension-filled issue and nearly all the tension comes from people having conversations in small rooms or over the phone.
His knack for crafting emotion along with the lettering of Toben Racciot sell the anger, fear, and distress. Racciot choices with the phone call moments were especially strong.
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The balloon designs along with the font choices give you a sense of what is being heard and the power behind those words.
When the action does come it does not disappoint either.
Now we are not getting John Wick-like fight sequences here. That would not be fitting for this story anyway. Everything is much more true to life–quick, brutal, and without remorse. Coloring goes a long way once again as the use of yellow enhances the chaos.
Darkness fills much of the panels but bright yellow lettering signifies guns firing and knives slowly cutting. This entire series has been leading up to this scene and it did not disappoint.
Issue fifteen of Newburn works because of everything that came before. Seems like that should go unsaid but at first this did not appear to be a book that was telling one unified tale.
Slowly that began to change as Newburn’s world began to get smaller. With one issue to go, we will finally see just how small it will get.
