A little later the same character re-appears a couple of times, once with pivotal effect, and the second time for a neat little throwaway.įrom around two-thirds of the way through Wilt you won’t be able to turn those pages fast enough. Again, few people knew the role the victim played, but that one of them broke ranks sets off an inevitable chain. He carries it out to perfection, and Azzarello then reveals the logic behind what’s occurred.
In one of Dirty‘s lesser chapters a man was hired by one of the Trust for a specific task. The innocent in the opening chapters is another child, a theme Azzarello played on in the preceding Dirty, and is another of his fine meditations on concession leading to irrevocable consequences. It starts relatively slowly with an innocent involved and seemingly doomed, coasts along a while, then ramps up the speed until there’s an inevitable almighty pile-up. Around the midway point there’s a sequence where Ronnie Rome gets into a taxi, and the way that scene plays out is Wilt in microcosm. It’s fitting that we have an extended conclusion in the longest of the 100 Bullets collections, and there’s a substantial amount of ground covered. For the sheer variety of approaches taken by Brian Azzarello and Eduardo Risso, and the bulk of the work, if you only read one series of crime graphic novels make it 100 Bullets. Criminal challenges for that position, and Parkerfalls short only by virtue of fewer books. So here we reach the final curtain for what in terms of sheer consistent quality over a vast amount of pages (around 2200) must surely make it the greatest English language crime graphic novels.
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