Review by Ian Keogh

Anyone with an analytical mind who enjoys a crime drama, whether a novel, film or TV show, is forever trying to step ahead of the writer. And the thing is, if they read or watch a second time, the chances are no matter how much enjoyment resulted the first time, they’re likely to pick up on something the writer’s missed, and it doesn’t lock into place so neatly after all. In that way, Ed Brubaker is the Michael Connelly of comics. He’s figured out any possible flaw in advance, and there’s no catching him out. Yes, the clues will there, but not the plot holes. A neat aspect new to his writing with Kill or Be Killed is Dylan, the protagonist, pointing things out in advance, knowing you won’t remember. It’s a form of showing off, but Brubaker’s track record allows him that indulgence in what’s his most self-aware story to date. The challenge for anyone reading is firstly how much to trust Dylan as a narrator, and secondly not to be seduced by his easily swallowed rationale.

While two supporting characters are allocated chapters bolstering their backgrounds, this is Dylan’s story and his views, motivations and possible delusions dominate. When he survives a suicide attempt it’s at the cost of a demon manifesting to inform him that the price for his life being saved is a taking a life a month or he’ll die. As we see Dylan complying, an action thriller is given psychological backing via an intense crawl through his past and his personal demons. For much of Kill or Be Killed there’s uncertainty about if the demon is real, or a product of Dylan not taking his medication. Both possibilities are up for grabs.

Sean Phillips has proved the consummate storyteller for so long it’s difficult to find a superlative not yet used to describe his artwork, but Kill or Be Killed offers him a greater chance than usual to show diversity. This is with lurid SF paintings being a small element, and via Dylan’s narrative dominating to such an extent that the best method of accommodating it is supplying pages featuring a single decorative illustration accompanied by a column of text running alongside. The majority of pages, though are Phillips’ studied naturalism at its best. Colourist Elizabeth Brietweizer’s presence is also high, maintaining a darkness to reflect the bleak tone and working wonders with winter conditions.

Previously available over four volumes (start with Volume One), Kill or Be Killed is a true graphic novel, and as such the tension of Dylan’s vigilante activities and the associated problems are best experienced in this single volume. Track him from life-defining error to the consequences with confidence in two master storytellers. This is better than the sum of its parts and features articles and insights from the original serialised comics absent from the paperbacks.