By Clyde Hall — Easton Newburn’s the Anti-Columbo of investigators. Taciturn, conservative clothing, chauffeured car that’s a reasonably new model. He doesn’t suffer fools gladly nor glibly. His conversations establishing that fact tend to be short and sharp, whether he’s putting a major crime boss, a police detective, or a suspect through their paces or in their places. His reputation as a nearly supernatural boogeyman precedes him and he makes use of it. He doesn’t set traps by making perpetrators underestimate him. He models an eerie level of calm and observation that can’t be overestimated, and when he’s determined who the guilty party is, the game is no longer afoot. It’s up.

This is because he’s not a cop. Not anymore. He’s paid as a private investigator, a consultant, and he works for the largest New York Crime families. In a perfect self-description from Newburn #1, he’s designated by all sides as their U.N. inspector with total immunity while travelling the war zone. He’s neutral, his findings are final, and all the families have agreed to abide by them because he’s that good. Also, and most importantly, Newburn can prevent major dustups between the syndicates before they become serious. That keeps the illegal fund rivers flowing to all parties, and that’s what it’s all about. At the same time, his input can make law enforcement look good, solving tricky mob cases and preventing gang wars.

Between all these powers, he’s walking on the edge of a razor, and he’s so far managed not getting cut. No sides particularly like him, and he isn’t currying favor. Neutrality’s served better that way. But his expertise is a valuable proven commodity and liking him isn’t necessary, so long as all parties prosper from it.

As he’s less than forthcoming left on his own, the reader learns much through a new associate he’s hired as the title began. Emily was involved in a crime and involved very intelligently. Her role was hidden since equally guilty parties were already uncovered, and the case served as a resume. She voices many of our questions, directly and in an ongoing journal about her new employer.

Each issue, writer Chip Zdarsky’s put forth an intriguing murder case involving one or more crime family members, and within the space of that story, Newburn solves it. Larger matters and additional details reside at the edge of the narrative, things about his past and the ever-changing crime-scape he works for. But it’s refreshing that the murder-of-the-moment not only has resolution each issue, but a satisfying one.

In Newburn #3, there’s been a lethal run on mob members. All the families, including Yakuza, Italian, and Russian, have lost people. The murders are performed by a lone killer with no witnesses and the same M.O. each time. Almost as if a single vigilante has taken a dislike to mob members no matter who they work for, and is thinning the herds. Is it a case of our thinking man’s sleuth taking on a Punisher analog? Well, whoever the perp is, the body count’s over two dozen and the clues left are minimal. Newburn’s reputation’s taken a hit. He’s given a deadline of one week, and most likely that’s not random word choice. As precarious as his and Emily’s positions are, unmasking this latest killer proves even more dangerous than walking the mob family minefields.

Zdarsky’s strength in these stories lies in his ability to place clues stealthily or obviously, with their importance indistinct until filtered through Newburn’s perception. Over the course of the series so far, we also feel the currents of crime changing. Leadership has passed to younger family members in some cases, leadership which questions Newburn’s methods. In #3 it’s suggested these interests send along some ‘help’ for their U.N. Inspector. Newburn respectfully declines, and he does deliver the perp. But the sheer number of gang numbers lost across all the families before the crimes are solved is causing reevaluation of their arrangement. Grist for coming issues and not the sort which makes Newburn’s life run any smoother.

The art by Jacob Phillips echoes Newburn’s understated and spartan approach to his work. His life. Likely both are the same to him, and the consistency of Phillips’ illustration bears this out. Whether the scene takes place in a back alley, a seedy apartment or Newburn’s sterile abode, there’s a consistency of angles and, often, balance teetered between darks and lights.

His lettering is smooth and flowing, and Phillips uses a dual balloon variation for dividing the dialogue. I haven’t noticed it in the work of other artists, and it bestows a small personal touch I appreciate. Also noteworthy, Phillips’ use of his art creating sound effects rather than fonts and letters, never more effective than in the final confrontation scene this issue.

Newburn #3 continues the backup feature, “Brooklyn Zirconia”, and writer Nadia Shammas takes us on a flashback ride of how the relationship between protagonist Amir Khoury and his brother, Yaccoub, became so toxic. Amir’s been reaching out since Yaccoub was beaten and his store robbed but he’s been soundly rebuked. Their history gives an interesting perspective on who originally wronged who, and perhaps the crime here’s robbery with a side order of fraud. It wouldn’t be Yaccoub’s first deceit of near-scriptural proportion.

Ziyed Yusuf Ayoub’s art is once again distinctively excellent in telling an NYC tale of family. The line work of it conjures imagery of stylistic street art exactly as you’d expect across the ultimate urban concrete canvas. His renders of youthful Amir and Yaccoub leave no doubt who they are, and with perfect skill, he displays the ill will firmly fomented between these siblings.

Frank Cvetkovic’s lettering, vital in the signs and background fonts of the first, narratively minimized chapter of this story, is once more instrumental in relating the opposite: a tale with more expositional dialogue. His word flow clips along well, and his sound effect fonts are perfect for the pivotal scene of this piece.

Newburn #3 continues giving readers a thoughtful procedural in both main story and back-up. Zdarsky’s use of Emily as our viewport in assessing Newburn and the situations they face is effective, allowing his enigmatic former cop a degree of separation. We don’t yet know a lot about him because Emily’s still learning. In #3 we see him risking his own well-being rather than hers in one instance. Like any partnership, these situations tend toward greater sharing of details for future issues. It’s taken me longer, getting drawn into the “Brooklyn Zirconia” feature, but with this issue it becomes required reading as much as the primary tale.

Overall: Whetting our appetite for more of both these masterful noirish offerings quietly, with less cinematic bravado than restrained realism, the members of each creative team deserve bravas and bravos. 8.5/10

Newburn #3

Newburn #3
Writer: Chip Zdarsky, with Nadia Shammas (back-up)
Artist and Letterer: Jacob Phillips, with Ziyed Yusuf Ayoub (artist on the back-up)
Letterer: Frank Cvetkovic (back-up)
Publisher: Image Comics
Price: $3.99
There’s a serial killer targeting members of every crime family in the city. Can Newburn catch him before he finds himself in the killer’s crosshairs?
PLUS: Amir’s past is revealed in “BROOKLYN ZIRCONIA” from SHAMMAS and AYOUB!!
Buy It Digitally: Newburn #3

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Clyde Hall (He/Him) lives in Southern Illinois. He’s an Elder Statesman of Geekery, an indie author, a comics fan/reviewer, and a contributing writer at Stormgate Press. He’s on twitter at: (@CJHall1984)