The strangeness of Kinski continues. Hardman sort of wraps the narrative around itself, with the protagonist going back to the same motel from the previous issue, having another encounter with one of the dog’s actual owners. But these similar situations play fresh, thanks to all the character work Hardman does on his protagonist.
And that character work, which Hardman is doing mostly in art, not in dialogue, is one of Kinski’s most striking qualities. It’s a character study masquerading as a more traditional epical story, with Hardman doing the former in the art and the latter in the narrative. Hardman’s not a mad scientist, but he’s definitely experimenting with traditional comic storytelling.
For the most part, the art is outstanding. Hardman never rushes himself; the panel compositions and layouts are great. Until the last scene, where he ends with a full page spread after rushing the previous page.
Writer and artist, Gabriel Hardman; publisher, Monkeybrain Comics.