Practitioners 6: Patricia Mulvihill

As a catch up for all new visitors to Beyond the Bunker, we’ll be representing the original Practitioners series 1-55 (Simon BisleyChris Bachalo and featuring the most influential comic creatives in history). Thoroughly incomplete but featuring legends like Stan Lee, Jack Kirby, Frank Miller and Alan Moore already more will be hitting the site every two alternate weeks. For now though, sit back every Tuesday for a run-down of the men and women who created the comic industry we know today. (Or check the full list in the menus above). This week: 100 Bullets and Loveless clourist and long-running Azzarello creative partner, Patricia Mulvihill.

Admittedly, occasionally there is a pecking order in comic books. The content and context attributed to the writer and the visual acuity always attributed to the artist (penciller) with the remaining accolade available to the inker- presuming its not also the penciller. However, one relative unknown in the comics industry enhanced the shape of an already exceptional series created by Brian Azzarello and Eduardo Risso. While her name never appeared on any front covers of the 13 Graphic novels generated by its run, 100 Bullets would never have been so affecting and impressive a read for the reader without the skills of Patricia Mulvihill.

Taking the lines of Eduardo Risso – and taking on the torch passed by Grant Goleash after issue 15 of 100 Bullets (that ultimately ran for a further 85) – Mulvihill emellished and enhanced the contours and shapes formed by the stark black and white detail of Risso’s inks. With a simplistic and uncluttered layout it is perhaps too easy to overwhelm and distract from the artwork but Mulvihill brought the artwork into even greater focus with an advanced and misleadingly simple-looking palette of colours. A profound understanding of the correct use of opposing shades and colours – simple environments – even those rendered by an artist such as Risso – were converted into emotional spaces. Ignoring conventional lighting and tonal rules a powerful display of colours was applied generating tension, clarity, danger, fear, wonder and languishing emotion and lust. It is a true professional who makes something so delicate and precise look so infinitely simple and I believe Patricia Mulvihill deserves recognition for her contribution.

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Practitioners 4: Brian Azzarello

As a catch up for all new visitors to Beyond the Bunker, we’ll be representing the original Practitioners series 1-55 (Simon BisleyChris Bachalo and featuring the most influential comic creatives in history). Thoroughly incomplete but featuring legends like Stan Lee, Jack Kirby, Frank Miller and Alan Moore already more will be hitting the site every two alternate weeks. For now though, sit back every Tuesday for a run-down of the men and women who created the comic industry we know today. (Or check the full list in the menus above). This week: 100 Bullets and Before Watchmen: Comedian scribe Brian Azzarello.

Brian Azzarello has written for Batman (‘Broken City’, with Eduardo Risso and Batman/Deathblow: After the Fire) and Superman (‘For Tomorrow’, with Jim Lee). Prior to his rise as a writer he was best known as the line editor for Andrew Rev’s incarnation of Comico, a middle American publisher responsible for Robotech, Jonny Quest, Mage; The Hero Uniscovered and Grendel before going bankrupt in 1990.

But his greatest works are the investigation and subsequent revelling in the murky underbelly and imagined clandestine power houses of the american continent in the incredibly indelible and affecting 100 Bullets – which ran from August 1999 to April 2009. It was a masterwork.

It was initially presented as a set of episodic, self-contained storylines, an occasional appearance by the seemingly omnipresent Agent Graves the only connecting detail but by its completion it made clear a nationwide network of criminal empires resting behind the accepted powers-that-be that touched (and consumed) the lives of everyone inside it.

The Series won the 2002 Harvey Awards for Best Writer and Best continuing series (as well as Best Artist for his long term creative partner Eduardo Risso) and 2001 Eisner Award for Best serialised story, and in 2002 and 2004 Eisner Award for Best Continuing Series.

Although diffuse, the main reasons for this success were most likely Azzarello’s uncanny capacity for realistic use of regional and local/dialects as well as often oblique use of slang and metaphorical language in his character’s dialogue. His capacity for subtle and accurate characterisation and his capacity for dynamic and often potentially debilitating plot twists while never losing control of the inherent details that made it so gripping.


He had worked with Eduardo Risso on Jonny Double and went on to work with him on Batman: Broken City applying the same noir and pulp principles reminiscent of the best Miller, Janson and Varley. The intuitive sense of layout and pacing between them formed one of the most effective partnerships in comics history, underpinned by Azzarello’s understanding of provocative and engrossing storytelling.

His dabble into self publishing was (and still is) a rip roaring success with Loveless; a noir Spaghetti Western following the trials of an outlaw couple in the desolate and uncertain years following the American Civil War.

His most recent work of note is Joker for DC comics in which Azzarello brings the long standing image of the DC’s comic book Joker closer to that of Christopher Nolan and the late Heath Ledger’s version from The Dark Knight (2008). He represents far less an ethereal and spiritual threat to Gotham than he does a more potent and vicious one with real verve and clarity in his criminal intent. Something that in the hands of other writers might lessen a long beholden character, but in the hands of Azzarello (aided ably by Lee Bermejo) it finds greater potency in its compactness. An affecting writer, well worth a look if you get the chance.

Practitioners 4: Brian Azzarello

Brian Azzarello has written for Batman (‘Broken City’, with Eduardo Risso and Batman/Deathblow: After the Fire) and Superman (‘For Tomorrow’, with Jim Lee). Prior to his rise as a writer he was best known as the line editor for Andrew Rev’s incarnation of Comico, a middle American publisher responsible for Robotech, Jonny Quest, Mage; The Hero Uniscovered and Grendel before going bankrupt in 1990.

But his greatest works are the investigation and subsequent revelling in the murky underbelly and imagined clandestine power houses of the american continent in the incredibly indelible and affecting 100 Bullets – which ran from August 1999 to April 2009. It was a masterwork.

It was initially presented as a set of episodic, self-contained storylines, an occasional appearance by the seemingly omnipresent Agent Graves the only connecting detail but by its completion it made clear a nationwide network of criminal empires resting behind the accepted powers-that-be that touched (and consumed) the lives of everyone inside it.

The Series won the 2002 Harvey Awards for Best Writer and Best continuing series (as well as Best Artist for his long term creative partner Eduardo Risso) and 2001 Eisner Award for Best serialised story, and in 2002 and 2004 Eisner Award for Best Continuing Series.

Although diffuse, the main reasons for this success were most likely Azzarello’s uncanny capacity for realistic use of regional and local/dialects as well as often oblique use of slang and metaphorical language in his character’s dialogue. His capacity for subtle and accurate characterisation and his capacity for dynamic and often potentially debilitating plot twists while never losing control of the inherent details that made it so gripping.


He had worked with Eduardo Risso on Jonny Double and went on to work with him on Batman: Broken City applying the same noir and pulp principles reminiscent of the best Miller, Janson and Varley. The intuitive sense of layout and pacing between them formed one of the most effective partnerships in comics history, underpinned by Azzarello’s understanding of provocative and engrossing storytelling.

His dabble into self publishing was (and still is) a rip roaring success with Loveless; a noir Spaghetti Western following the trials of an outlaw couple in the desolate and uncertain years following the American Civil War.

His most recent work of note is Joker for DC comics in which Azzarello brings the long standing image of the DC’s comic book Joker closer to that of Christopher Nolan and the late Heath Ledger’s version from The Dark Knight (2008). He represents far less an ethereal and spiritual threat to Gotham than he does a more potent and vicious one with real verve and clarity in his criminal intent. Something that in the hands of other writers might lessen a long beholden character, but in the hands of Azzarello (aided ably by Lee Bermejo) it finds greater potency in its compactness. An affecting writer, well worth a look if you get the chance.