The second outing for the wolf in a police officers skin is even more entertaining and enjoyable that the first, all the heavy lifting of the set up having been done the creative team can concentrate on pushing the story ahead. There are three sections in the book, two comics and a report written by both people who share the identity of Detective Inspector Brian Fisher, all of them work really well.
Tiny Facts of Kindness, written by Jim Alexander, art by Like Cooper, letters by Jim Campbell starts with a small piece of scene setting which sets the tone of bleak humour exactly before moving into the main storyline. When two small time robbers encounter he wolf in a bungled attempt to robs a supermarket the trail leads to a local church. At this point the story actively and consistently diverts away from reader expectations and still keeps within the storytelling boundaries it has set up. Jim Alexander snakes across the possibilities of having the wolf and the implications that his existence is no secret. The presence of one wolf is an indicator of the presence of others and that possibility is used in a very sharp way.
The art by Luke Cooper is confident and his mastery of black and white is astounding. The high contrast art is perfect to give the story the edge and starkness it needs to express the brutal humour and action. The cast are full of force and vitality, they move with power and the tone of disguise and rage is conveyed perfectly. The distinction between the wolf and his host is balanced really well, they look distinct enough to be different, yet retain a sufficient similarity to maintain the tension between the two.
Twisting the Knife, written by Jim Alexander, art by Will Pickering, letters by Jim Campbell picks up a different thread that has been running through the stories, the view of Detective Sergeant Spencer who works for DI Fisher and knows the wolf is real. She reports her concerns about DI Fisher to the Chief Superintendent, specifically about a case concerning the assault on a woman that takes place after she disturbs a burglar in her home. The woman’s family follow the police to find the person responsible and when the wolf emerges he does so much more quietly but just as effectively as ever. The story nicely raises questions without disturbing the flow and creates room for further story possibilities.
Will Pickering’s art is significantly different from Like Cooper’s and placing a text story between them is a good way to reduce if not remove a dislocating change in style. The line work is gorgeous, the fourth panel on page 1 is a stunning and effective transition. The grey tones for the flashback contrast very nicely with the white backgrounds for the interview. This change works to emphasise the formal tension of the interview and the action in the flashback, in the interview the flashback looks to be slightly absurd.
Separating the two are a number of reports from both DI FIsher and the wolf and they showcase Jim Alexander’s talent for bloody, black humour and razor sharp story telling. The reports wander across a number of events, the stand out is a community police lecture at a school where incidents of graffiti spoilers for films has appeared, among other outbreaks. The lecture falls apart as expected in ways that are not as Jim Alexander again nicely shifts out of the way of reader expectations.
Strong plotting, a great cast given the space to establish themselves, fierce action and wonderful art make GoodCopBadCop Casebook #2 a comic to relish.
Chief Wizard Note: This a review copy very kindly sent by Jim Alexander from Planet Jimbot, The first copies ofGoodCopBadCop: Casebook#2 will be on sale at Thought Bubble (the Rough Cut Comics/Planet Jimbot table situated in New Dock Hall). It will be distributed through Amazon at www.amazon.co.uk/gp/aag/main?
