Review by Ian Keogh
The Case of the Unwelcome Visitor has an unconventional start, as the first nine pages conclude the previous case. No, it’s not continued from The Case of the Fire Inside, but throws readers in just before the end, with John Allison playfully attributing the lack of earlier material to failed back-ups. Another reason might be that it’s a fair while before anything else resembling a mystery manifests, and Allison just wants to ensure readers expecting one aren’t disappointed.
They’d be short sighted, because the beauty of Bad Machinery isn’t the mysteries but the character based jokes Allison weaves into them. As ever, the eccentricities and unconventional observations of Lottie Grote steal the show, whether she’s recalling a youthful visit to what’s definitely not Disneyland, vamping her sister’s boyfriend or calling in a sewage emergency.
With the remaining cast on holiday, it’s left to Jack, Linton and Lottie to investigate Tackleford’s divisive vigilante. Those who meet him first hand are left with a glassy stare and rictus grin or thrown screaming into trees, but with the possible exception of no longer so beloved TV entertainer Don Gravy, they’re all up to no good when confronted. Further complications include Lottie’s mother moving in a new partner, changes at the Tacklefield Cormorant, and Linton’s father under pressure after promotion. Reporter Erin Winters is also back, and joyfully manipulative.
For any other creator we might be noting how after six volumes Allison has the formula nailed. Except that’s been the case from the start. Not every page builds toward the bigger story, but most do, and almost every one is a perfectly composed sequence leading to a good punchline, with the best of them hitting the laugh out loud level with their timing or audacity. A few exceptions are surprises actually moving the story forward or revelations.
The last time the mystery took precedence it was mildly disappointing on the Bad Machinery quality scale, but not here. The Night Creeper is suitably menacing in Scooby-Doo style, the silliness reaches sublime heights, and the way Allison ensures the opening sequence is relevant to the eventual solution is masterful. The bonus material is great as well. Don Gravy may only have a small role in the actual story, but he’s used by Allison to satirise celebrity ‘autobiographies’, capturing their style and generally reactionary nature.
A winner all round and The Case of the Forked Road is next.
