Review by Frank Plowright

Gavin Miller is due to hang for crimes committed, but escapes and immediately commits a further atrocity. When the victim is identified it’s apparent Miller is taking his revenge on former gang members who sold him out. Along with the literal title, that tells you pretty well all you need to know about 1903: Manhunt.

Federico Geleotti ensures we realise Miller is sadistic and resourceful enough to escape one horrific situation after another, and the only diversion from the manhunt is a flashback to a middle-aged Sheriff’s encounter with the notorious Black Devils. As characterisation is minimal, the only real tension is who will walk away from the final showdown.

The story is ordinary and predictable, but what makes it stand out is the artwork. Franceso D. Mazzoli has a deceptive style, with Jordi Bernet seemingly an influence, although Mazzoli’s backgrounds are tighter and more refined. His faces are relatively simply constructed, given depth via some shadows and lines, but despite a looseness to people and movement, he also supplies full surroundings, and goes the extra mile for any technology. Guns and carriages are lovingly rendered, and there’s a widescreen sweep to his pages. Miller’s path is bloody, brutal and shocking, and Mazzoli doesn’t hold back from showing the results, so this isn’t for the faint of heart.

Mazzoli’s cover of the looming face with beast’s teeth suggests 1903: Manhunt slots into the category of supernatural westerns, but that’s not the case. Miller has a particular look and a preferred up close method of murder, and that’s how he’s represented on the cover.

While the art dazzles, shock added to a stock cinema scenario isn’t enough. The story needed greater characterisation, and extending for the addition of a subplot or two. What’s here stands on the art alone.