Bad Break, Vol. 1 by Philippe Riche

Sometimes names just slow down a crime story. You've got three main characters, you can see who they are, and you know what they're doing. So why do you need names?

That may have been creator Philippe Riche's point, or maybe the laconic style he uses in Bad Break, Vol. 1 - minimal dialogue most of the time, few captions except when showing someone narrating past events, only the minimum explanations required - just meant the names never quite made their way into the book.

Bad Break opens outside a junkyard, somewhere in France. A man removes his bandages, fixes his clothes, walks towards the owner and his helper. He's our main character, though he's the most mysterious: a tall, gaunt, bald man in what was probably once a very nice suit, a dealer in antiquities, mostly of the human-remains kind.

The beefy young assistant at the junkyard helps the dealer find a specific junked car, from a wreck just the day before. The driver was killed. Well, the dealer was the driver, and he's not dead now. But, as we go further in Bad Break, we realize he was killed in the crash. He's probably been killed a number of times, but it doesn't take. The dealer retrieves a briefcase of important material from the car, and asks the assistant to help him get back to the city.

The dealer is being pursued by a gang he calls "head choppers" - large tattooed men, possibly of a different nationality. They want to kill him; they try to kill him. The assistant uses the dealer's gun to kill one of them in a confrontation at the train station.

The third is a porn actress. We see her on a poster that says "Reb X" - maybe that's her name? She has a tattoo, a very specific tattoo. The dealer has been tracing the history of similar tattoos, through an old book. We're not sure why. We don't know how the "head choppers" figure into it. But the three set off together to find out the true history of the tattoos, chasing down an old man the dealer once knew.

This is only the first half of the story; they don't find the answers by the end of these pages. They only just barely get together. We as readers know the vague shape of the mystery, understand that there's something at least mildly supernatural - how else does the dealer keep coming back from death?

Riche draws this in a loose, deeply assured line, with rough panel borders and grey tones. He can draw a lot of specifics: that's clear from the opening in the junkyard, with pieces of cars that experts could easily identify. But his focus is on these people, and their mysterious quest. It's not over yet: there's one more book to come. But this first half of the story is interesting, quirky, compelling, satisfying.