Review by Frank Plowright

Pine and Merrimac is a corner junction in Jamesport, a small place that punches above its weight when it comes to producing important people. It’s also the name of the detective agency occupying premises on that corner run by former homicide detective Linnea Kent and her husband, the former fighter Parker. However, go turning up stones and revealing secrets in a small town and not everyone’s going to be in your corner.

That’s of relevance as Kyle Starks weaves a mystery around a kidnapped girl evolving into something even more terrifying and connected with some influential people. By that point we care, as he’s established Linnea and Parker as a likeable and capable couple who try to do the right thing, and expands on that by flashing back to their pasts. We’re in their corner.

Helping greatly with that is Fran Galán’s art providing everything with a sophisticated illustrative sheen. Power couple Linnea and Parker are attractive, while almost everyone else is distinctive, their emotions worn on their faces. It’s great work from a previously unknown artist, and sometimes reminiscent of Dan Brereton.

It’s unusual for the letterer’s contribution to be noticed, but Pat Brosseau has a long career record. Puzzlingly, though, he opts for a font that so often makes Linnea seem to read as “Linner”. It’s the wrong font for the use of that name.

Starks takes a light comedy tone throughout, despite Satanic ceremonies being incorporated, and there’s an occasional feeling that there should have been a commitment to either clowning or straight crime, as the mix provides awkward moments. One is the eventual pay-off for a character who’s appeared nothing more than a comedy irritant. However, the overall balance is positive, surprises pack the a final chapter and the art is sumptuous.