If you’ve been following either the comic or the NRW reviews, you’ll know that we left off with Locke barely surviving a car crash before being apprehended by an ominous dialogue spouting figure and separated from Spencer his comfort item/panther partner. Spencer & Locke #3 utilizes the Bill Watterson-inspired cold open that the previous two issues have made standard for the series. These openings have become progressively more disconcerting as the series goes. This is partly due to the clash of the lighter art style with the narrative heaviness, but perhaps more due to the fact that the reader is becoming conditioned to see that there were no good old days for Locke, and that, perhaps, the hellish noir world in which he lives is kinder to him when his only human connection is stuffed panther. This opening shows Locke killing his mother in self-defense in an upsetting sequence. One other common thread of these flashbacks is the frequency with which they portray Locke’s pivotal moments with women. For a character that does not come off as a misogynist, and who has over the course of #2 and #3 solidified that his desire to help the few women in his life is at times his primary motivation, it is interesting that his history is littered with so much trauma surrounding women.

Anyway, on to the really fun stuff. A few reviews back, I mentioned how Spencer as an anthropomorphic detective partner panther is a natural progression of the imagination that made him the Hobbes-esque figure in Locke’s past. Locke, much like Calvin before him, incorporates several elements of pulp science fiction into his imaginative play, calling himself Rocketman Reynolds when he does. The way that Pepose reintroduces this aspect of the character into the present is nothing short of glorious. After being captured, he is subjected to a strong dose of heroin, amphetamines, and psychotropics, and if you listen very closely, you can hear Jorge Santiago Jr. and Jasen Smith cracking their knuckles. They’re about to have some fun.

The bulk of the comic rapidly cuts between Locke’s aggressively weird psychosis, the real world impact of what he’s doing, and the flashback introduced in the open. He sees the world around him as a hostile distant planet, and the people trying to attack him as monsters. As he commits more acts of violence, he’s taken back to when he killed his mother. The art team absolutely nails two splash pages in the middle of the comic, the first of which is a collage of the violence that Locke is committing and the second being a beautiful page turn to Locke’s drug addled imagining of Sophia. All of which is perfectly paced and given a real sense of urgency due to the constant presence of Locke’s heart rate.

There is real ambiguity to the ending that would have felt cheap were this the last issue of the series. Since there is one more left, that makes the ending interesting and most likely worth revisiting once the entire series is finished. If you haven’t been reading Spencer & Locke, you’re really missing out on what is easily one of the best series of the year, and definitely missing out on the best single issue.

Spencer & Locke #3

5 / 5

One of the best components of the debut issue of Spencer & Locke was the artistic shift between a grittier contemporary comic art style and the clearly Calvin & Hobbes-influenced Sunday paper strip aesthetic. Rather than being a spontaneous artistic flourish, it had an unsettling effect that really reinforced the kinds of behaviors that made protagonist Locke who he is in the present. Within a few pages, Spencer & Locke #2 does an exemplary job of using the same stylistic shift in a brand new context, using the Watterson style as a cold open. Instead of highlighting the moderately unhinged aspects of Locke’s personality, this open goes a long way in giving the character whose only confidant is a plushy doll a great deal of humanity, enough so that the character is likable and sympathetic as he beats the hell out of the former bully and forced informant Stanley. The scene is a microcosm of the relationship between heart and brutality that writer David Pepose uniquely excels in and which artist Jorge Santiago Jr. consistently reinforces. 

The comic picks up with Locke’s continued investigation into the murder of childhood sweetheart Sophie Jenkins, referred to in narration as “my girl”. In my review of the first issue, I mentioned how Locke never grew out of stuffed plushy panther Spencer as a comfort item. In a lot of ways, his tight grasp on Sophie’s memory serves the same function. It’s a remnant of a simpler, Watterson-drawn time, albeit one that flashbacks are revealing to be increasingly dysfunctional. Upon breaking into the boss’s suite of the Red Rose gentleman’s club, Spencer evaporates at the re-introduction of Ramona, Locke’s sexually abusive babysitter. To be clear, Pepose is playing with some highly flammable content in both this scene and the cold open. Writing about sexual abuse, especially in the case of minors, can very easily become offensive or cause a reader to just nope out of the rest of the series. The comic handles the scene of Locke experiencing PTSD with uneasy grace, showing it side-by-side with Sophie’s daughter Hero being kidnapped and screaming for help. The narration of Locke exclaiming “The kid!” and cutting off Ramona’s unwanted advances mirrors the opening scene of his abuse so perfectly that it genuinely feels like David Pepose is showing off. Ramona is still Ramona, but now Locke is the boyfriend, and Hero is the kid who desperately needs saving. Jorge Santiago’s illustration and framing of Ramona in what is initially a seductive, femme fatale light is an interesting choice in the context of this scene. The tropes of the genre gear the reader to expect sexual tension out of the scene and for there to be a, for lack of a better word, shipping of the cynical anti-hero and damaged femme fatale. Making the latter a sexual predator and making the former the victim is really interesting and takes noir in a thematic direction that it has never been before, which in 2017 is no small feat. 

Spencer & Locke fan art by Sean Von Gorman, how could I not share this? 

Santiago lets loose with noir aesthetic in this issue, reveling in the under-discussed noir staple of Dutch angles. They never become overbearing or nausea-inducing with overuse, but rather reinforce the foreboding and oppressive atmosphere. His style is more cartoon oriented than realistic, which serves the comic well. The panels where he’s given room and doesn’t have to worry about accommodating dialogue or narration are particularly gorgeous, with the page of Locke’s car flipping over a panicked Hero being the best in the issue. Jasen Smith’s color work is equally effective in reinforcing the mood of the comic. Smith’s use of blues and reds in particular throughout the issue give it a visual sense of flow that makes subversions of that palette, like when Locke shoots Ramona, extremely effective. 

A lot of the marketing and reviews for Spencer & Locke include phrases like “for fans of Sin City and Calvin & Hobbes“, and while that is certainly fair, Spencer & Locke #2 establishes the title as something that is not just a blend of its influences, and puts it on the track for future comic titles being described as “for fans of Spencer & Locke“. This is easily one of the best comics of the year and is definitely a comic worth seeking out and jumping into. 

Spencer & Locke #2
4.5 / 5