Review by Ian Keogh

Conrad was a bad cop, kicked off the Edendale force before the great forest fire in which Karen Littleton’s body was found. Having cleaned up, he’s in need of some personal redemption, so returns to Edendale just before the trial of her father for murder and for setting the fire to cover it up. Fortunately for Conrad Littleton’s lawyer has faith in his investigative talents and Conrad begins using his old contacts to call in favours and dig under stones.

Chip Mosher has Conrad tell his story in hindsight, picking up with his return to Edendale. He’s brutal and with little concern for civil liberties if they get in the way of his investigation, much in keeping with the film cops of the 1970s, when this is set. He’s a fully rounded character with some nuance ensuring he’s unlikeable, but everyone playing off him is single note from the crowing lawyer to the sad sack who likes underage girls.

Blacking Out features excellent art. Everyone has personality as Peter Krause ensures they’re distinctive and suit their environments. He delivers Edendale and its smalltown locations cinematically, and always ensures the story is prioritised over artistic flash.

While Conrad’s narrative and investigations have violent moments, and show he’s not entirely a changed man, Krause’s neat art disguises a standard plot. However, there’s a big shock on the way, and once that’s dropped it’s more apparent how smart the writing beforehand has been. The unfortunate aspect is that it hinges on a memory dropping into place, when a stronger result would have been an entirely irredeemable person responsible rather than what we’re given. Plus, likely coincidentally, it’s very similar to the surprise dropped by 2024 BBC TV drama The Jetty. Up to the revelation that lifts it, though, Blacking Out is readable, but not outstandin.