If memory serves, this is a project that's been lingering around the sidelines for a long time, and I'm pleased it's finally been released. It features some stunning artwork from Brian Stelfreeze and a wonderful atmosphere that's part noir and almost oddly tropical. The atmosphere extends to the story, and the characters are grounded enough that we can imagine knowing them outside the confines of the idealized fictional setting. But there are cliches here and some leaps in logic that hinder the storytelling. Grayson moves the story along quickly, establishing the basics of the premise without delay, and that's appreciated, and the mood isn't sacrificed in the process.
Detective Isabel Cardona interviews a witness to a shooting, and she begins to realize it's connected to a number of other unsolved cases involving a mysterious gunman who apparently cannot be killed. Her commanding officer is dismissive of her theory of a graceful vigilante whose shootings of criminals form some kind of bizarre dance of justice. Izzy has another problem as well: her social life, or a lack thereof. She longs for a partner, but she's obsessed with one man in particular -- a district attorney who's quite unattainable.
Stelfreeze steals the show with his efforts on this book. The influence of his studio-mates on his art (and vice versa) is apparent here. I'm reminded of Cully Hamner's style and Adam Hughes's as well, not to mention a number of other top pencillers. More important than the strength of the iconic line art, though, are Stelfreeze's colors. He bathes the book in cool blues and greens. The Matador's red cape and Cardona's orange hair slice through that cool atmosphere, representing passion and energy. The color motif shifts in the captain's office as Cardona pleads her case and in her bedroom as she searches for answers.
Seeing Cardona half-naked in her bedroom contributes nothing to the plot or even to her character. We get that she's a sexual being. Her desire for Graves is apparent. The scene here is as gratuitous as J.Lo's ass-shot in The Cell. Another problem is that Cardona sounds ridiculous when she speaks of victims' bodies arranged in some kind of dance-like formation. The reader can't see what she sees in those crime-scene photos, so the reader can't buy into her idea. It's one thing to have the other characters doubting the heroine, but to have the reader thinking she's off her rocker is a slip.
Still, Grayson has crafted some strong characters here. Cardona isn't just a determined female cop who doesn't care what her male colleagues think of her. She's sheepish when it comes to some aspects of her life. Her professional confidence his balanced by an awkwardness in her personal life. Ultimately, the best thing this book has going for it is the mood. The mystery, the colors and the dichotomy of grace and violence in the title character all combine to create an atmosphere that's palpable. 6/10
