My Initial Thoughts On The Peril Of The Brutal Dark #3
The Peril of the Brutal Dark #3 truly, finally, and thankfully has now become an Ezra Cain story. The narrative focus has shifted away from the broader mythic mysteries—such as the Mystery of the Brutal Dark (Karl Meyer) and the Anvil of Hephaestus—to focus more on Ezra's personal journey and past life. These elements have all converged, impacting Cain both literally and figuratively. While previous issues emphasized the grander mythology, this issue turns inward, offering an intimate, character-driven perspective that allows us to understand Cain more deeply. As a result, the world feels larger and richer for Cain and the rest of the characters in The Peril of the Brutal Dark.
The Peril of the Brutal Dark #3 is a slower burn than the first two entries by Chris Condon and Jacob Phillips, but it remains an engaging noir mystery. Cain's case with Karl Meyer and the Brutal Dark brings back faces from his past who will likely shape the rest of the story. Each character adds new depth and reminds us that, even in comics, it's a small world. This issue focuses on world-building and exposition, but the story moves smoothly and continues to leave breadcrumbs for readers.
What's In-store For Ezra Cain?
What happens next is anyone’s guess, as Condon keeps us on our toes. That is the sign of a good mystery—nothing has jumped the shark or become redundant. Even though this issue is more Cain-centric, the ending phone call from Karl Meyer gets us excited for the next issue. The Peril of the Brutal Dark #3 was purposefully written on a smaller scale, likely in preparation for something bigger. Excellent scaling from Condon and the creative team.
However, the most important question still left is, will Ezra get punched again? I'm sure he will.
It's a Small World After All
My main takeaway from Peril #3 is how Condon subtly and incrementally expands the world, making it feel both big and significant to the Brutal Dark and Karl Meyer. Although the story’s scale shrank, it retained the stakes because Condon smoothly wove Exra’s personal world into the broader narrative. New details—Sandy Williams, Commissioner Dicky Winston, and why Cain was fired—are revealed effectively in this issue.
However, my favorite things from this issue are the small details that show Condon did his research on the time period and topic, among other things. The two examples that come to mind are the extent to which World War I actually played a major role in the creation of World War II. A history major, or buff, might know this, but this detail could be lost on someone not fully educated in the subject.
Ezra faces daily horror after fighting in WWI. Each scene showing him asleep reveals the nightmares shaped by his wartime experiences, now tied directly to the Great War. These subtle touches add emotional depth for historically-minded readers like me.
The social justice angle is intriguing. In Peril #3, Cain is fired from the NYPD and labeled a cop hater after stopping a fellow officer from killing a kid. These timely themes are explored through a 1930s crime noir lens—very well done.
I also enjoyed the distinct voice of Ezra Cain, which reminds me of Humphrey Bogart in Casablanca. I hope this was intentional, as it fits perfectly.
I Wont Lie, This One Is A Slow Burn
If you found the first two issues boring, you won't enjoy The Peril of the Brutal Dark #3. This issue focuses on Cain and his world, delivering exposition and worldbuilding rather than action. While the story is more peripheral than before, there are enough macro-story revelations to keep us interested in the Brutal Dark and Karl Meyer. I think this is essential to the main story, though I understand why some may prefer a faster pace.
If you want a fast-paced story, Peril of the Brutal Dark #3 isn't for you. The only action is Ezra getting punched by a former police colleague, and even that isn't shown. This is a slow burn, but that's not a flaw. If you don't enjoy slow-building mysteries, this series likely isn't for you. But if you thrive on tension, this will suit you perfectly—just as it suits me.
However, this is a great reason we have Vertigo or DC Black Label for more mature, nuanced storytelling. I believe that The Peril of the Brutal Dark will gain steam moving forward as the mystery starts to unravel.
The Darkness Is Alive And Well In The Peril Dark #3
The art from Jacob Phillips continues to be exquisite. My favorite part of the art thus far is Phillips' use of the color black as a character. This world is dark, dingy, and mysterious. The shadows, darkness, and barely lit areas are constantly creeping up on the characters. I think the best use of darkness as a character was during the opening interrogation scene. To start a comic book issue like that was a punch in the face and got you ready for the rest of the story. Hans Huber, who owns Cain, was snooping around, was molded by the dark — almost like a 1940s Bane — and as the light kept swinging on and off, he explained his robot legs. A great mix of sci-fi and noir. And when his face was shown, it was the look of a maniacal monster. Great storytelling.
However, it wasn't just Huber’s face that was controlled by the light--or lack thereof. Cain’s face, particularly when he was talking to Meyer, was almost completely blurred out by the darkness. It emphasized how unimportant the conversation was, almost as if he wasn't there at all. The darkness from Phillips is a fantastic storytelling tool and has been its own character in The Peril of the Brutal Dark.
Final Verdict
Peril of the Brutal Dark #3 is the weakest of the three chapters so far, primarily because exposition and world-building overshadow the narrative, slightly diminishing the story's momentum. Despite this, it remains a well-rounded and engaging issue. The darkness of the world is a major highlight, vividly conveying the bleakness and hopelessness Cain and others endure. This chapter also showcases Chris Condon and Jacob Phillips' genre-blending talent and dynamic art.