Review by Frank Plowright

Teddy Ruffins moved to Alaska as a baby, and while he’s known nothing else, his parents constantly reflect on how good Louisiana was before they relocated, yet strangely the idea of moving back never comes up. His father isn’t an understanding or supportive parent and can be aggressive, while regular readers of crime fiction will be able to take a good guess at the reason for moving. They’d be right, and the online posting of a picture of drunkenly unconscious Ruffins senior opens the door to a whole new world of menace.

Snow Blind doesn’t have a greatly original starting point for a crime drama, but the success stems from where Ollie Masters takes the journey and in the small details. From the opening narrative captions almost everything centres on Teddy, who suddenly sees his father in a new light. By that point we’ve come to understand the family dynamics and differences. Because his parents aren’t forthcoming despite what’s become obvious to Teddy, he decides to carry out his own investigation into the past. Unfortunately he’s barely begun when he breaks a leg.

That provides a distinctive visual motif for Tyler Jenkins who has Teddy limping about the snow with the aid of a crutch. Jenkins delivers a glorious looking winter landscape in sketched ink and watercolour pastels, and applies the same principles to people and their clothing. It’s different, it’s distinctive and it’s very good. Jenkins also supplies the appropriate mood for a young man whose life turns upside down via the discoveries he makes.

There’s no predicting where Snow Blind will go, and what develops is a fine crime drama with Teddy gradually realising who his father is, but conflicted by love for the man who’s raised him. It’s dark, emotionally strong, and very satisfying.