Corrigan’s off to the sunny Caribbean this storyline, where he discovers the bad guys aren’t helping fugitives escape the States but rather stealing their money and making them do hard labor.

That situation, the criminals doing harder labor than they’d ever do in a real prison, isn’t one Goodwin explores. Actually, Goodwin doesn’t explore much with Corrigan, but his lack of ambition isn’t a bad thing. It’s a diverting spy slash thriller comic strip. Even when Goodwin’s got overly expositional panels (to bridge), it’s always fast paced.

One problem though… I don’t believe an FBI agent is going to give a bunch of fugitives pistols, even if they are all in a work camp. These guys were just trying to kill Corrigan a few strips earlier.

Williamson’s art is good. He matches Goodwin on the pace. Corrigan reads very fast. So fast plot holes don’t cause any stumbles.

CREDITS

Writer, Archie Goodwin; artist, Al Williamson; publisher, King Features.

Archie Goodwin does this fantastic job setting up the story—a defected Soviet scientist is being pursued by the bad guys because they want to ransom her. Meanwhile, she doesn’t like being stuck in protected custody and dreams of getting free for even a night.

It’s a great setup and the character is really compelling. Then Goodwin reveals the bad guys are using a circus as a front and they’re traveling around the country grabbing people up.

A circus.

While Goodwin does keep enough of a pace one doesn’t exactly dwell on the circus detail, but it’s definitely present and definitely absurd.

Even though it does lead to a great finale involving a Ferris wheel.

While Goodwin’s dialogue’s good and his narration is nice and sparse, the draw is Al Williamson. It’s an exceedingly well-drawn comic strip. Williamson brings anxiety to ever panel, which works great for a thriller.

CREDITS

Writer, Archie Goodwin; artist, Al Williamson; publisher, King Features.