There's something about the American Southwest that lends itself perfectly towards crafting effective neo-noir stories, including within the comic book medium. Sort of a logical creative progression from the western genre, the sprawling landscapes and sun-soaked countryside is a prime location for hardboiled crime stories, blending shady characters with bloody action. And in the latest Image Comics original graphic novel Write It in Blood by Rory McConville and Joe Palmer, takes full advantage of this setting while throwing in a surprising amount of black comedy in for good measure to make its narrative carnage all the more palatable and make it stand out from other crime comics currently out on the stands.

Cosmo and Arthur Pryce are two brothers that work together as hitmen in Texas, with Cosmo looking to get out of the contract killing life for good, with his aspirations to escape from a life of crime threatened by his impulsive brother. When the two assassins are contracted to transport an infamous figure known as Little Harkness to their mobster boss, they run into violently unexpected complications that not only threatens to overturn Cosmo's quiet retirement plans but also has the two brothers find themselves on the run and wanted by even deadlier figures that want them to put down permanently.

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Both McConville and Palmer have more than cut their creative teeth on crime stories before, albeit ones largely set within 2000 A.D.'s Mega City-One. Here, the creative team is given the room to really stretch out and breathe, both in regards to their environment and story. This is ultimately the tale of two brothers whose dark occupation is literally pursuing them through those backcountry roads across Texas but McConville is slyly weaving a story that explores family dynamics and the nature of loyalty as much as he's writing a crime comic. The violence is definitely there, often serving as punctuation within the graphic novel's chapters, but McConville is scripting a tragedy with humorous flourishes to provide a narrative spoonful of sugar to help that medicine go down.

And that prodigious blend of bloody violence, crime drama and pitch-black humor is all brought to gripping life by Palmer, working with colorist Chris O'Halloran. From sun-baked country roads to shadowy back rooms, Palmer really delivers those noir sensibilities in the graphic novel, elevated by a clean-lined, minimalist approach to the artwork; there is a beauty in how elements like facial are rendered, effectively emotive while leaning into the straight-laced pulp possibilities keeping readers' attention from tense conversations to long country drives. Elmore Leonard feels like clear inspiration to this graphic novel and the art team's visuals make that association all the more clear. And when the violence rises, Palmer's work is unflinching and yet never particularly unsavory; the artwork certainly lives up to the title but isn't graphic for the sake of being visually gruesome.

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For those looking for a crime comic that reads like an Elmore Leonard paperback, it doesn't get much closer than Write It in Blood. McConville and Palmer craft a timeless neo-noir that leans into its southwestern setting and plays up the mix of humor and family drama to create something truly special. And with the creative team poised to work with cover artist and designer Declan Shalvey on the newly announced Image series Time Before Time, readers can look forward to more thrilling comic book tales that honor their pulpy influences in the very near future.

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