Kane: Thirty Ninth

Paul Grist’s fondness for comparing now with then leads him to show us more of Officer Kane’s history with his ex-partner and the effects of not being able to trust your colleagues. This book consists of a series of spotlights on supporting characters. (Many of which were introduced in the first volume.)

We follow two cops on patrol, listen to a desk sergeant tell us about past corruption and how it derailed his plan for his life, and flash back to Kane’s partner Katie visiting her dad’s workplace as a girl, where we see younger versions of certain series characters. The volume concludes with a housing project festival turning into chaos as a gung-ho riot cop leader gets taken hostage.

Kane: Thirty Ninth cover
Kane: Thirty Ninth
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As the series continues, the pages become a bit more elaborate than they were in the early days, fleshing out more background detail and setting. Layouts are well-constructed to draw the eye through the scenes. One of my favorite stories is the beat cop spotlight, which uses a fixed camera point-of-view from inside the car. We see only what the cops see and watch them interacting with each other.

Although this is a police story, it’s not slam-bang action-packed, but quieter and more thoughtful. Plus, there’s a lot of comedy and humor used to keep things from becoming too serious. Events are almost farcical at times with changing allegiances among the underworld characters, gangsters running here and there, and different bunches of criminals screwing up.

The most basic message is that things are not always what they seem. This comic requires attention — a superficial reading of the plot won’t tell you what really happened, although there are plenty of easy-to-find clues. Kane remains the best crime comic on the market.


One Response to “Kane: Thirty Ninth”

  1. Comics Worth Reading Says:

    […] Meanwhile, other officers find themselves looking for a missing bag lady and chasing a mischievous monkey. This volume also includes the Fwankie story, Grist’s parody of Frank Miller’s Sin City, told in satiric captions over mostly full-page panels, and the four-page “Taxi” from the 1997 SPX Anthology. The previous book in the series was Thirty Ninth. […]




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