Publisher's Synopsis
In crimeravaged 1980s New York, a
troubled excop turned unlicensed detective takes on his most dangerous case,
hunting down a serial killerhitman, and ultimately coming facetoface with his
deadliest enemy, himself, in this graphic novel adaptation of the book by
Lawrence Block.
Matthew Scudder is dying, one bottle at a time. A young prostitute named Kim Dakkinen is dying too, her life measured out in tricks. She wanted out, had asked for Scudder's help, but suddenly she wasn't dying anymore, she was just dead. The former cop turned P.I. promised to protect her, but he failed. Now his atonement is to find her killer. But the secrets in the dead hooker's past are dirtier than her living, and searching for a killer in a city where everyone's a victim is a good way to make the role permanent.
Steeped in traditional pulp, Block's writing has a true gift for capturing the art of conversation between his characters. These are the lowlifes of society, for whom Block occasionally finds redemption, but who are more often among the vilest beings in human existence. Snyder's art both encapsulates and elevates these roughcut gems in a graphic, grainy, and moody setting that evokes the dark, noir magazine covers of the period.
Matthew Scudder is dying, one bottle at a time. A young prostitute named Kim Dakkinen is dying too, her life measured out in tricks. She wanted out, had asked for Scudder's help, but suddenly she wasn't dying anymore, she was just dead. The former cop turned P.I. promised to protect her, but he failed. Now his atonement is to find her killer. But the secrets in the dead hooker's past are dirtier than her living, and searching for a killer in a city where everyone's a victim is a good way to make the role permanent.
Steeped in traditional pulp, Block's writing has a true gift for capturing the art of conversation between his characters. These are the lowlifes of society, for whom Block occasionally finds redemption, but who are more often among the vilest beings in human existence. Snyder's art both encapsulates and elevates these roughcut gems in a graphic, grainy, and moody setting that evokes the dark, noir magazine covers of the period.
