Hardman brings the story to a satisfactory, if somewhat unreasonable conclusion. He jumps through time a lot–a year total–and skips over the more interesting parts of his protagonist’s experiences. He also stops with the character study aspect of Kinski and treats the whole issue as an epilogue. So while the narrative has a neat tie…

Hardman finds a better mix of the character work and the action, with his protagonist sharing a car ride with the dog’s owner and finding out a little more about her life. There’s nothing more about the protagonist (except his willingness to talk himself into bad situations). Instead, Hardman expands the supporting cast through the…

So now the action moves to the RV park, or RV gathering–it’s unclear how it’s working but the RVs aren’t parked in any sort of sensible way. Not to harp on it, it’s just strange. And the sidekick even says he needs to leave to get back to real life. This issue is when Kinski…

It’s the equivalent of an action issue for Kinski. Hardman resolves the previous issue’s cliffhanger, putting the protagonist and his friend back on the road. There’s some slight character drama–and a way too obvious plea for exposition from the friend–before Hardman gets to the rest stop. Because they’re stuck in traffic; I forgot they were…

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…

Kinski is a strange comic. The content–a business guy on the road doing a pitch and finding a lost dog–is strange. It’s even stranger given Gabriel Hardman’s stark, realistic black and white art. Hardman’s writing also ignores the quirky nature of the story and goes for realism. The awkwardness of the protagonist, now obsessed with…