Be careful what you wish for, folks.
Because beginning with Narco #1, I was practically floating when Doug Wagner and Daniel Hillyard had actually slowed down their previous insanity and meaningfully opted for a more deliberate drama. And that sense was even more clear with Narco #2, where our little murder mystery reached peak slow-burn approach, landing in a rather solid story groove in record time.
With Narco #3, Wagner and Hillyard bring things down even further, and the end result leaves us both better off and a little more worse for wear.
ICYMI: Marcus is a young man with an extreme form of narcolepsy, trying to live the best, most measured life he can. But when his neighbor and love interest, Jess, is suddenly murdered, Marcus has to leave his little bubble and find justice. Of course, with Detectives Violet and Dean on the case, maybe Marcus isn’t exactly so innocent after all…
Variant cover by Daniel Hillyard and Dave Stewart. Courtesy of Image Comics.
Throughout Narco, my question hasn’t just been if Wagner and Hillyard could tone things down, but what that might actually look like. So far, it’s been decidedly methodical — issue #2 was, for the most part, one drawn out interrogation scene, and it felt appropriately intense and inviting. Because at the heart of all the duo’s stories are always real people searching for purpose and belonging, and the confrontation between Marcus and Violet-Dean really drew that out to its most intentful and textured apex. But also helping our immersion was the right amount of the absurdity and/or violence, like Marcus waking up in issue #2 in a pool of Jess’ blood. It wasn’t nearly at the levels of Plush or Vinyl, but enough to remind you that our creators were making big moves to extend their craft and their relationship with readers.
But in Narco #3, some of that “bonkers energy” is gone. Sure, we get a really dope layout as Marcus returns to Jess’ apartment to search for clues. (Hillyard has such a novel understanding of layouts that time, space, and emotions collapse together in the best ways imaginable.) Plus, there’s a slightly funny scene with someone holding a knife that’s both an unsavory gag and also the most effective tension-buster I’ve seen in some time. But aside from those, issue #3’s really all about the emotional dissection and warfare, and how a good murder mystery should leave you without solid ground as you assume anyone is pretty much super mega guilty. (It was, in some ways, also a commentary on these kinds of stories, and it also used Marcus’ condition to explore ideas of the reliable narrator.) Narco clearly wanted to be a proper such mystery, and it feels like it’s really, really reaching that stride as we near the midway point.
Courtesy of Image Comics.
On the plus side, Wagner and Hillyard have always known how to craft relatable characters, and that tendency extends in Narco as they crank up our unease and uncertainty. Marcus potentially being the perpetrator remains a central campaign for Wagner and Hillyard, and this is maybe the first time I’ve even begun to doubt our lead and really buy into the idea that maybe he’s more “awake” than he’d let on. But a big part of that comes from Violet and David: Our detectives are playing the best version of “good cop, bad cop,” and it’s so subtle but just obvious and profound enough that we feel like we’re in on the whole game.
Maybe more than anything, that level of immersion is precisely what I want from these tales — to feel like I know just a little more than our lead and perhaps crack the mystery first. It’s also a valuable lesson for Marcus, and if he’s going to prove himself as this big enchilada, he’s going to have to actually live in the world. And that means dealing with people who don’t have his best interests in mind, and maybe who have their own goals beyond supporting/helping him. It’s this aspect that has me most excited, because if Narco is going to live beyond its inherent genre trappings, there needs to be something funneling Marcus toward hard truths and important growing pains.
Courtesy of Image Comics.
Because it surely ain’t his group of friends doing the tunneling — they even hold a sleepover as Marcus is brought in for questioning a second time. If those three ever felt off for some reason, Narco #3 picks up on those sentiments hard. Without revealing too much, one friend is picked out for their potential role in Jess’ murder. Not only that, but Detective Dean tells Marcus in such a way that it feels manipulative and sows even more doubt and tension in the young man’s mind. It’s another lesson about people’s true natures for Marcus to take in, and the youngster is going to have to really learn that his bubble may not exist as it did mere days before.
At the same time, I’m not sure about recruiting one of Marcus’ friends into the case. For one, they’re mostly nameless extensions of our lead, and the “turn” here feels a little underwhelming. Plus, I’m not even sure it’s the direction I want as a reader. Sure, making it even more personal would further test Marcus’ mettle, and show him just how much growing up he still has to do. But it sort of feels a smidgen hokey — a gimmick that feels a little too obvious for a team as creative and weird as Wagner and Hillyard. They instantly dismissed Ben (Jess’ dumb ex) as a suspect, and while that could be a case of a genuine Kansas City Shuffle, I like that it’s not going to be that easy for Marcus.
Courtesy of Image Comics.
Because while the emotional impact of his friends’ involvement would sting above all else, I think it might ultimately feel hollow or cheap. Because if Marcus doesn’t go beyond his immediate circle, it doesn’t feel like he’s really grown up all that much, and that’s really the thing I want from Narco. I want more detective work and more sleuthing and more hard-hitting interrogations. I want him to fight through this all and have to really seek out the truth. I don’t just want him to learn life is terrible without learning he can potentially be strong enough to figure it all out on his own.
And, perhaps as an extension of those wants/needs, Narco #3 reminded me I want a bit more insanity. Again, this doesn’t need to be Plastic levels or whatnot, but with this issue being even more focused (we didn’t even get all that many instances of Marcus passing out!), a lot of those feelings and breathing room was lost. (Again, aside from those standout visuals I’d mentioned earlier.)
Sure, Hillyard did help play with that all-consuming tension by busting out a few strategically-placed looks and some message board “happenings” that introduced added uncertainty in a really interesting way. But without a little more blood and madness, Narco #3 was maybe too slow and too dependent on interpersonal relationships/interactions.
Courtesy of Image Comics.
Not that it’s a bad thing (clearly), but some of that intensity is part of the creators’ inherent charm. Plus, without a dash of the bonkers, we can’t fully contextualize this book with their others (which was sort of the thing that spurred on their development and how it was all tied to Marcus’ own growth).
But as our lead learned across Narco #3, not everything in the world is for you. Instead, real growth means real suffering, and if Marcus is going to be the person he thinks he can become, then it means having to face large, ugly truths. The same goes for us, fellow readers: As this issue made clear, Narco is going to have to dip and weave in a way that not all of it will make sense or feel compelling right away. If it’s going to ultimately stick the landing, then it needs to make hard decisions. That’s something I can respect, and even if this issue wasn’t my fave, I will eagerly stick with Narco as it further puts it all together.
Hey, I wouldn’t dare dream of abandoning a weird-o crime story with this much gut-wrenching potential.
You must be logged in to post a comment.