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When doing a review one thing that can be challenging is determining if a story element is a feature or a bug. Is a part of the story that seems incomplete or limited saying something grander for example. With Pine and Merrimac I have struggled with that very thing regarding the character of Parker. Despite being the co-lead he does not have much autonomy of his own. He is described based on the love he has for his wife and his ability to punch hard really well. He is simply there to support her and not much more. Seems like an incomplete character at first glance. But is that the point? Considering Private Eye stories like this one tend to always have a character like him but just of the opposite gender.
In the opening of this issue, I think we got our answer. Parker specifically calls out his purpose making it clear is he is there as part commentary on the genre this story resides within. Simply taking a common trope and giving it a modern twist. It also makes him extremely likable based on how devoted he is to his one true love. Maybe he is too perfect, although we do learn he does get bored easily.
This issue starts with a flashback as we learn why Linnea left the police force. We also learn her stomach does not do well around extreme violence and blood. Something that comes up in the last moments of this issue in spectacular fashion. Not having one specific moment be the reason she leaves is a compelling choice. Seems much more true to life to grow distant from a role through a series of events rather than one specific moment. Once again a small moment in how this is playing with the common tropes of the genre.
We then flash forward to the current time we discover they are at a stakeout to uncover the truth of this secret sex cult. Despite their calls to the authorities, no one is in a rush to help them. So they may be on their own with this one. The reason they pick their current location is to provide one of the funniest and most shocking moments of the series thus far. Fran Galán draws that moment of Yiff like it came straight out of a Disney house of horrors. Will not be able to shake those panels for some time.
Galán has great skill when it comes to rendering characters both in developing their personality and emotions. His facial expressions are distinct and vivid, which is especially important as this is a book where a lot goes unsaid. Often his figures will take up the page giving them heft and life. His best page also comes in th
is issue at the very end. A combination of eventful design and strong coloring make a shocking moment even more effective in how it is rendered. Considering most of the panel work has been relatively standard seeing a break from that format highlighted its importance and shock.
One thing I struggle to get my head around is the pacing of this book. From a plot standpoint, not a great deal has happened in these last two issues. Most of the story takes place in the past as we play catchup so despite the limited story things are moving quite quickly. I again struggle to decide if that is a feature or a bug. You are never lost nor is there time to get distracted, but it does seem like there should be more meat on the story by this point.
At the end of the day, I enjoy being with these characters and learning more about who and what they are. In most noirs, the case is usually just an avenue we go down to learn more about the protagonist and that does appear to be what is happening here. Considering how this has put slight twists on common tropes it makes me wonder if there is more happening than we can realize at this point. Either way, I am enjoying the discovery.
Overall: 4/5
