THE JOHN BRUNI MUSEUM OF MEDIOCRE (AT BEST) SHIT #9: REVIEW OF SCENE OF THE CRIME #1

[By now you might have surmised my problem. I only read three comic books back then: Evil Ernie, Preacher and Hitman. What the fuck was I going to do for the rest of my time as a comic book reviewer? I had to find new shit. I remember I was in the Wheaton Graham Crackers, and I saw Scene of the Crime #1 was the week’s recommended read. I decided to give it a try. It was my first experience with Ed Brubaker, and it certainly wasn’t my last. I did cringe while rereading this review. I wasn’t old enough to read Chandler’s books. I didn’t get it at the time. I want to go back in time and slap the shit out of the kid I was back then. Chandler is now one of my favorite mystery authors. I also didn’t know jack shit about romantics at the time. I don’t claim to be a genius. I’m pretty sure I’m not. But life is a learning process, and I am lightyears ahead of the stupid kid I was. You’ll probably notice a lot of this shit as the John Bruni Museum of Etc. progresses. This is from the April 13, 1999 issue of the Elmhurst College Leader.]

New mini-series “Scene of the Crime” is an odd addition to Vertigo DC. In fact, one could say it is a mystery. For one, it is a bit slow (not that it is bad—the storytelling is excellent) with a surprising shortage of violence. There is one fight scene and one near-fight. Speaking of shortages, there’s very little Vertigo trademark swearing, and there’s absolutely no nudity despite a high sexual content. This is the story that proves Vertigo can hook the reader without being vulgar.

It’s a crazy hybrid story that is noir-ish, yet breaks the stereotypical private investigator we are used to. The story starts out with a conversation in the middle of the rainy night to set the noir mood, and to supplement it, there are plenty of blinds to look through (the cover sports a nice set). Of course, there’s a stakeout of a seedy motel (always a requirement when it comes to detective noir). As Jack Herriman, the main character, makes his way through his investigation, one can only be reminded of Phillip Marlowe, except Jack has a lot more personality than Chandler’s detective.

Jack is not the private investigator one would expect. He breaks the stereotype set by Bogie in movies like The Maltese Falcon. For one, the immortal trench coat is missing, and in its place is a sweater. He doesn’t even smoke! Not only that, but his office isn’t dark and dirty, littered with empty bourbon bottles. It’s kind of neat, barring a few loose papers on his desk. Jack’s not even a tough guy. The one fight that appears in the comic, he loses, and he confesses that he loses quite often. He doesn’t own a gun (or any other weapon, for that matter). Instead of Bogie’s wise comments made to thugs’ faces, Jack insults them as he drives away.

The one thing that sets him apart from other fictional detectives, which makes this story so good, is that Jack’s a romantic dreamer. When he sees a picture of the woman he is supposed to find, he notices a “quiet sadness” that attracts him. Later, when he actually finds her, he keeps relating the feeling of being on a date instead of working on a case. He’s a very deep character. As for the story, it’s pretty good. The plot is simple: Alexandra Jordan is sent to Jack by an old friend on the police force. She wants Jack to find her sister Maggie. The cops can’t get involved because of her bad record, which leaves Jack on his own.

Writer Ed Brubaker’s strong point is definitely characterization. He’s also very good at the cliffhanger ending. It was so surprising it felt like a punch to the gut.

Artist Michael Lark isn’t half-bad, either. He is at his best when using shadows and placing thoughtful looks on Jack’s face.

Scene still has three issues to go, and with a character like Jack, no matter what happens in the story, it’s definitely worth the two-fifty each month.