Review by Ian Keogh

Kill or Be Killed Volume Three dropped a cliffhanger ending, and there’s no prolonged tease as to how things play out from there. It’s nasty, and Dylan ends up in psychiatric care.

There’s a wonderful economy to Ed Brubaker’s writing. What other writers might viably use as the springboard for prolonged explorations serves its purpose rapidly here as Dylan’s motivations have already been established. To compare the nuance of Kill or Be Killed with the Punisher is hardly complementary, but they’re like flip sides of the same coin, the Punisher certain and definitive, while Dylan questions his own sanity. There’s another touchstone here, as much of this conclusion is a distant echo of times when the Punisher is jailed and considers his prey has merely been corralled in advance. Moreso than in earlier volumes we’re given insight into Dylan’s planning and motivations, and over the first half the supporting cast plays a minimal part, so although Dylan’s has always been the narrative voice, his discursions are highlighted with fewer characters to play off.

Sean Phillips art? Is there ever anything to complain about? Large portions of the story have taken place during a New York winter, which is again gloriously illustrated. It takes a while to realise much of the heavy lifting over these scenes is the work of colourist Elizabeth Breitweiser smudging windows and adding spots of white. Otherwise Phillips has dropped any pretence of Dylan being drawn as the artist looks into a mirror, but that method provides personality, and they’re good drawings.

In terms of concluding a series, everything slots neatly into place, but achieving that requires some manipulation on Brubaker’s part, meaning the conclusion’s not quite as elegant as previous volumes. Detective Lily Sharpe reappears after not being seen for a long while, and what results is thrilling and unpredictable, while the pace jolts up a couple of gears, so a couple of metaphorical sticking plasters on view are no hardship. Nor is an extremely weak couple of pages ending everything, and taking a path well trodden. It’s been set up, but it’s an uncharacteristic dip into cliché. Before then, though, you’ll not have a clue where things are heading. The knowing narrative really pays off in the final chapter as Brubaker takes the meta highway, and offers some last justifications on Dylan’s part.

All in all, Kill or Be Killed is a great story, and that being the case, it’s probably best as the single volume Deluxe Edition.