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Buried in the 24^th December graveyard release slot, the rebooting of Dean Motter’s antihero has been a curiously low-profile affair. In advance publicity for the four issue series, the writer/artist has been at pains to highlight that the idea for a new series featuring the trenchcoated architect came from his publisher. Judging by the strengths of this first issue, however, the creator has been selling himself short. Mister X’s return isn’t yet certain to revolutionise comics in the same manner as his first appearance, but this is still a quality book.

The governors of Radiant City have finally located the source of the mental health issues plaguing the metropolis: the buildings themselves. Unfortunately, the problem is proving easier to identify than cure, with the demolition programme going awry far too often for comfort. The creator obviously sees the character of the city as a key element in the book, using a forthcoming mayoral election to show a range of figures in this introductory issue. We meet politicians, journalists and gangsters, as well as those just trying to make a living in the urban nightmare. The more mature market that Mister X finds himself in appear to suit him, and Motter predictably delays his hero’s appearance until the final page, giving the rest of the cast room to establish themselves. The plot is drip-fed throughout this issue, with details of the out-of-control eviction programme filtered through a variety of interested parties.

Although Motter’s art style is perfectly suited to the title’s retro-futurism, it takes quite a bit of getting used to. Despite working with an extremely small number of panels per page, his medium is the close-up, with the issue being intended to introduce the reader to a cast representing all elements of the nightmare city’s populace. Deliberately drab colouring adds a great deal to the atmosphere of the book, despite the vibrancy of the cover. The artist’s control over his work is remarkable, with not a single line wasted. Although not afraid to omit backdrops where they are not required, he’s able to instantly establish to mood of a location, at times resembling a more focussed Dwayne Cooke.

The crisp and avant-garde ideas alone make this book an arresting proposition in its introductory issue. If Motter also has a compelling plot for his protagonist to grapple with, there’s no reason why he shouldn’t be able to repeat his eighties triumph all over again.

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