Romancing The Stone: The Simplicity of Form And Language

I haven't read the Parker books - I’m putting that right out here so you’ll know that this commentary will not be comparing and contrasting Richard Stark’s “The Hunter” with Darwyn Cooke’s illustrated adaptation. I will say that I would have to imagine that a fan of Stark would be immensely pleased and satisfied with Cooke’s version, if only because I can't imagine a reason they wouldn't be.

Illustrated using only black, a muted blue and cream color tones as a palette, the first 13 pages are completely without text (except for a few lines on the first page). If you can, you should read the inside cover bit “Donald Westlake on Parker" before launching into the book. It was the perfect set-up for me to then watch, or rather “read”, as Parker staunchly, heavily, and cold-heartedly walked across the George Washington Bridge. Can a person really draw someone walking cold-heartedly? Apparently Darwyn Cooke can. 

It’s funny. I’m not one to read noir, or pulp, or crime. Given a choice between those sorts of novels and some sort of relationship-y Oprahesque book (yes, I just made up an adjective; and you know exactly what it means, don’t you?), I would usually pick the latter. But when it comes to comic books, when given a choice, I always reach for the most noir type book available. And I’m always pleased. When I was writing The Virgin Read, I probably read at least 100 comics. Often, when it came time to pick something I'd never read before for the new week's column, I’d make a selection and then hear, “you’ve read that already.”“I have? Are you sure?” My point isn't an, "of course, how forgettable some of the things are, what trash". I'm bringing it up, because just the other day, someone was talking about The Spirit and they started to give me hints to remind me about it. But I didn't need hints. I remember reading The Spirit. The cover had that woman in a red dress, and she was being dipped by a man in an overcoat, hat and mask. I remember that comic perfectly. I loved that one.

So, you’d think I’d read noir more often than I do. So when the opportunity to check one out, one that happened to be by the same person (Darwyn Cooke) who came up with that issue of The Spirit, I went for it.

I was fascinated and drawn in by those first 13 pages. Most of it is drawn either from Parker’s point-of-view, or from a camera or person just behind him, and I couldn't wait to talk about it, I emailed my editor (husband) right away just to tell him about it. I was sitting there thinking about what to say about that part, because I feel like I overuse the word “cinematic” in describing comics. So, in an effort to tell you my experience using a different word, I found each and every frame - observant. I’m especially fond of the series of panels depicting a waitress behind the counter at a diner which begins on the bottom of page 13 and through page 14. I learned so much about Parker from those frames, and the only part of him in those panels are his hands. I learned that he’s good looking enough that a waitress would immediately start flirting with him. I learned that he’s not only uninterested in that sort of thing, but wholly unapologetic about it, when he selfishly, coldly deals with her by taking her cigarette, ripping off the filter, and blowing smoke in her face as he takes off. I fell for that page hard.

And frankly, I fell for the rest of the book, too. I love that we finally see him on page 20, right after he washes his face and looks at himself in the mirror. I love the details, like the stains on his shirt that he covers when he closes his jacket, and then tracing every moment of his journey as he scams his way through banks and slowly buys his way back to life. 

I won’t take this whole post to eke my way through all the pages and tell you all of my favorite moments.  But I’ll tell you that I was continually entertained by how Parker’s cold, calculated way of operating was so clearly illustrated, not just by the text, but by the pictures. I’m specifically thinking of when Parker tells Bronson that if he says “no”, Parker will kill Carter. The series of frames of Bronson saying no and Parker reaching for the gun and immediately shooting Carter in the face are stunning. I love that we don’t see the gore, just a shooting from the back of the chair. It that doesn’t make the moment and less powerful and shocking, if anything, it makes it more so. It's so fast, so simple and direct.

 
In fact, I like that most of the violence is illustrated from faraway or in the dark. Because the actual moment of violence isn’t what makes this story....it’s the tension, the build up. The illustrations of each person’s facial expressions, their body language and mannerisms are what kept me interested and on the edge of my seat.  The violence itself is just the end result and release of all that tension. I think it’s a perfect choice to focus on the build-up instead. I’m sure hundreds of artists could have made a version of Parker where the focus is all pf the blood and guts and violence. I’m so happy to enjoy the book this way instead.

And I just loved the ending. Is it the writing or the art that I love? I don’t know how to pry them apart at this point. Parker’s wits and cunning while he dismantles each and every planted person who was out to get him, and the way they are each shown - the guy not drinking his coke or the woman with her Pan Am bag - I couldn’t wait to see what happened next. I honestly didn’t know how it would all end, and every single move was thrilling. I loved being able to “watch” a chase. In other comics, I often get lost when chase scenes are drawn. I don’t know if it’s just me or the illustrations in those cases, but things become unclear very fast. That wasn't so here at all.

The clarity in each and every frame of the whole book is what makes this so fun to read. What I am supposed to notice and “get” in each frame is obvious in a way that isn't patronizing, but it's so direct that I ultimately recognize that I'm not used to comics that read this effortlessly. Each frame has a point to make, but it moves the story along. When the text is more sufficient then a picture, there’s more text.

It’s the perfect blend, and perhaps the perfect book for the comic book form. I'm in this one, and I'm in as deep as it gets.

-Nina Stone, 2010

Comments

[Adrian Johnson]

Nina,

First off, fantastic article and review.

Your description of the first 12 or so pages are spot on and should sell anybody on the rest of the book. I've told anybody in earshot that Cooke is a master storyteller and if those first 12 pages of The Hunter don't prove it, I'm really not sure what will.

'The Hunter' is fantastic! It's one of my favorite comics and I let him know as such in person recently: http://inazumastudios.blogspot.com/2010/09/now-were-cooke-ing.html

I cannot wait for 'The Outfit'.

[LurkerWithout]

I haven't read the books either and I am a fan of pulp/noir fiction. But I had seen at least 3 movie versions of the story and this book was still visually stunning...

[AComment]

But he's such a dick! I don't want to have to pay money to watch someone be a dick, I already have the Internet!