Initial Thoughts On The Peril Of The Brutal Dark #4
The Peril of the Brutal Dark: An Ezra Cain Mystery #4 finally brings together the sci-fi, detective noir, historical fiction, and Greek mythology elements that Chris Condon and Jacob Phillips have set up, propelling us toward the final arc of this fantastic series. This issue has been the most substantial so far, where we finally stop looking for the clues and start acting on them. Ezra Cain is the reluctant hero New York needs, as his morals and views align perfectly with what the city needs during this very complicated time in U.S. history.
Each issue of The Peril of the Brutal Dark thoughtfully expands on the genre elements introduced in the previous installment. This fourth issue is where Condon and Phillips' efforts to weave together the narrative threads—sci-fi, noir, historical, and mythological—come to full fruition, with the art and panel flow highlighting scenes where these genres intersect. This genre-blending both advances the plot toward its climax and enhances the intrigue, making it an ideal start to the series’ endgame for Ezra Cain and the Brutal Dark.
Everything Is Coming Together
The Brutal Dark are about to attack New York City with robot nazis who have the power of an ancient Greek god, and when Ezra finally got Karl Meyer to spill the beans, he got shot by one of those robot Nazis. The more things change, the more they stay the same, huh? In something that could be ripped from today’s headlines-- or 1941-- Ezra Cain is now tasked to overcome the odds and defeat an ancient power that is being wielded by Nazi Robots. How can you not love this premise?! The most action we have gotten from a Peril of the Brutal Dark title yet. I didnt know Ezra had it in him like that. To surf that car all while being shot at by the Brutal Dark was a great visual.
On top of all that, Ezra is now accused of the murder of Karl Meyer, and you know that the cops, who are already against Cain, are not going to let him rest easy. It wouldn't be a proper showgum mystery noir story without our protagonist being an enemy of the city. I'm already looking forward to the final action sequence where the cops are chasing Ezra while he chases Nazi robots is going to give me an extra 5 years of life. We will see how this ends, but I have high hopes that Condon and Phillips will stick the landing.
The Peril Of The Brutal Dark Continues To Be One Of The Best Books Out
The Peril of the Brutal Dark has been an exquisite and consistent comic book series from the very start. Chris Condon and Jacob Phillips have built this deliberate and intriguing world, which, at least for me, has me rushing to read every new issue. Peril #4 might be the best issue of this run thus far, with two issues to go. All of the breadcrumbs, names, and genres were melded into one car chase, so seamlessly that I had to double-take to make sure I didnt skip an entire issue. I love the fact that they did this with two issues to go. It will give the ending that much more time to breathe and explain over two issues, instead of just one.
While there was the most action we have seen out of this Condon book, there was still quite a bit of storytelling involved. Fortunately, the exposition did not feel forced. I think the balance between the action and the phone call scene (where a lot of exposition happened) worked really well and flowed perfectly into a scene where we could catch our breath from the car chase. Something that will probably go unmentioned in many other reviews is Sandy's agency as a character. Yes, she used to be Ezra’s former fling, but Sandy is not just a damsel in distress; she is a vital character who has helped further the plot and is essential in how Ezra got from point A to point B.
The story isn’t obvious but isn’t subtle, either. The reveal that the person who shot Karl Meyer has a robot leg is when everything clicks. I enjoy the book’s pacing; this felt like a natural uptick in the story. We’ll see if the last two issues keep up this pace or slow down.
The More Thing Change, The More They Stay The Same...
There is not much I can complain about this issue. The Peril of the Brutal Dark #4 is in clear competition with the first issue of this series as the best chapter of this run so far. This has been such a solid series that it makes me kind of sad this is only a 6-issue mini-series. The more I think about it, though, I would LOVE an anthology series, almost in the style of Knives Out, where Ezra Cain goes around New York--or even the country-- in this time period and solves different cases. I think, if Vertigo/DC wants to keep this title alive, they can find a way to keep Ezra busy in the 1930s and 40s.
Popular culture has always been a gateway to look at the current events of this time. Look across the spectrum of art and media coming out today, and you can see what is going on in the world. The more things change, the more they stay the same. American Nazi sympathizers are here to mess things up. Even though this book is set in pre-WWII America, many of its themes apply to today’s society. It is comforting, and sad, to be honest, that we have been at this historical point before. Condon clearly did his homework before starting this project, and it shows. That's a compliment I have levied before, but as the series continues to chug along, it is admirable that, as the story gets more pieces, the accuracy of the time and its connection to current events remain impeccable.
The Art Continues To Be Used Exquisitely
I think more than any other issue, Jacob Phillips' use of contrast to the dark coloring has been the best. For example, consider the shift from the scene of Cain visiting the doctor for help, where the environment is subdued and tense, to the factory explosion sequence, where light and fire dominate. In both instances, Phillips uses color as a character in the book, applying highlights and accents to emphasize the cold and dark world. I can't help but compare the Meyer/Cain scene to the interrogation scene in issue #3, where Hans Huber had Ezra tied up in the warehouse.
The contrast in the use of color was purposeful. In the scene with Meyer and Cain, their environment was almost fully lit, which lulled you into thinking everything was going to be fine—until, suddenly, Meyer was shot dead. In contrast, in the earlier scene with Huber and Cain, the lighting was completely dark, leaving only enough light to see facial features. This darkness built tension, leading you to expect something dramatic, only for Ezra to leave unscathed. The words and plotting are important to the story, no doubt, but when you find someone who can masterfully use elements like color as a character, it adds a layer of storytelling that rounds out the world.
It wasn't just the coloring, but the scale of the world. The Brooklyn Bridge, the warehouse, all were made to look giant. Just like the camera in a movie or prestige television show, zooming in on our characters in this lived-in world makes it feel gritty and casts the City of New York as a living, almost breathing character. The art continues to be fantastic, and I'm excited to see what else Phillips has up his sleeve.
The Final Verdict
The Peril of the Brutal Dark #4 finally introduces what the Brutal Dark and their intentions are: to destroy New York City through fascist robots. As intriguing as that already sounds, the flowing dialogue and sprawling art from Chris Condon and Jacob Phillips really make The Peril of the Brutal Dark one of the best titles on the market right now. The story, although set in 1940s pre-WWII America, seems timeless and is very topical, making it a hook that everyone can relate to. The art for the book continues to be used as a character and a storytelling device, making it almost impossible to put down. We are now on the homestretch of the book, and Ezra Cain now has to pick himself up after he was close to being blown to bits. This will be the exciting last chapter for The Peril of the Burtal Dark.