100 Bullets Vol. 1: First Shot, Last Call [Paperback]

Brian Azzarello (Author)

Book Description

Series: 100 Bullets | Publication Date: February 1, 2000

What would you do if you were given the opportunity and the means to get away with murder, scot-free? Thats the question posed in 100 Bullets, a new graphic novel that combines elements of hard-boiled crime stories and paranoid espionage thrillers. The mysterious Agent Graves offers his clients a gun and immunity from prosecution, enabling them to get revenge against those who ruined their lives. Suggested for mature readers.

Product Details

• Paperback: 128 pages
• Publisher: Vertigo (February 1, 2000)
• Language: English
• ISBN-10: 1563896451
• ISBN-13: 978-1563896453
• Product Dimensions: 6.7 x 0.4 x 10.2 inches
• Shipping Weight: 8.5 ounces (View shipping rates and policies)
• Average Customer Review: 4.0 out of 5 stars  See all reviews (44 customer reviews)
• Amazon Best Sellers Rank: #97,357 in Books (See Top 100 in Books)
  • #7 in Books > 4-for-3 Books > Comics & Graphic Novels > Graphic Novels > Mystery
  • #84 in Books > Comics & Graphic Novels > Graphic Novels > Mystery

Customer Reviews

Most Helpful Customer Reviews

48 of 51 people found the following review helpful:

5.0 out of 5 stars The best current ongoing comic book series, October 14, 2000

By 

Christopher Griffen "Commitment to mediocrity!" (Pleasanton, CA United States) - See all my reviews
(REAL NAME)   

This review is from: 100 Bullets Vol. 1: First Shot, Last Call (Paperback)

Brian Azzarrello's 100 BULLETS is the best, most intriguing and most well-thought-out comic book series currently in publication. It starts out seemingly as an episodic series of revenge stories but quickly becomes part espionage thriller and part conspiracy theory yarn. This TPB collects the first two story arcs, both of which are fairly well self-contained. I fully expect readers will find it enjoyable enough that many sequels will follow.

The basic premise is that a mysterious man by the name of Mr. Graves arrives in your life and presents you with a briefcase. In the briefcase is a gun, 100 bullets of completely untraceable ammunition and loads of evidence about the person who screwed you over and why. You're given the choice: use the bullets or not. It's up to you what to do from there. You'd think the answer would be obvious and the series would degrade into a Charles Bronsonesque revenge caper. Far from it. The decisions Azzarrello's characters make and how they go about plotting their revenge never fails to surprise.

The opening tale is about Dizzy Cordova, a Hispanic "girl from the hood," whose boyfriend and child were killed by crooked cops. She meets Mr. Graves and makes her decision about what she should do with this opportunity to "make things right."

Eduardo Risso's art is perfect for this series. He uses darkness and light for maximum effect and is excellent at communicating the emotions of the characters through subtle depictions of body language and facial expressions. I don't know who the Vertigo people at DC Comics found him, but this Argentine (I think that's his nationality) is a serious talent.

Having read 100 BULLETS for a year and a half now, I can say that I honestly have no idea where it's headed but that it's a non-stop thrill ride. Great street-level stories with real, in-depth characterization. Gamblers, hoods, assassins, backstabbing business people, bartenders, dirty cops, you name it. They're all in 100 BULLETS and you'll want to read each and every one of their stories.

17 of 19 people found the following review helpful:

4.0 out of 5 stars Interesting Premise, February 22, 2006

By 

A. Ross (Washington, DC) - See all my reviews
(VINE VOICE)    (HALL OF FAME REVIEWER)    (TOP 500 REVIEWER)    (REAL NAME)   

This review is from: 100 Bullets Vol. 1: First Shot, Last Call (Paperback)

This what might be called a "high concept" series in Hollywood lingo. A mysterious man in black shows up and gives you proof that a particular person has wronged you badly in the past, an untraceable gun, 100 bullets, and license to kill that person. What do you do? The answer isn't as simple as one might suspect, as the first two stories demonstrate. In the first one, we meet Dizzy, a Latina gangster just released from jail and bitter from the death of her man and her son in a drive-by shooting. Back on the streets of Chicago after a few years served, she's sad and seeking to live a straight life. But of course, you can't leave the gangster world behind that easily, and her brother's rise to prominence as a local gang-banger sucks her back in. It also doesn't help that the two cops the man in black fingered as having done the drive-by are in her face, giving her a lot of static. The art is pretty nifty stuff, perfect for the genre, with a great muted wash to the colors. The only lame part is that the women are all comic-booky, with huge breasts and bared midriffs -- pretty cheesy. The dialogue never really rings true, as all the "we got bidness", "knowhumsayin'" and "I ain't playin'" sounds more like something lifted from some tired film than it does real life. The characters are the familiar gangster hoodlums types and none are given any interesting nuances, nor does the story get interesting until the last few panels, which leave the door open for Dizzy to reappear later on in the series.

The second storyline is somewhat stronger, as we meet down and out Los Angeles bartender Lee Dolan. The man in black shows up and offers him the chance to get even with the woman who set him up on kiddie porn charges. It's a more far-fetched scenario, but somehow manages to work in a hard-boiled pulp way, as does Lee's character, a loner whose only conversations are with a stripper. Once again, the art is very assured and good, aside from an overabundance of bursting cleavage. The characterization is a little bit stronger, and the storyline just works a little better. There are some oddities here and there, such as the a strange murder and gun battle that takes place behind the characters at one point. A helicopter is blown out of the sky right next to them, but it's not clear why, nor is it clear why they don't notice. This is all perhaps a setup for another story somewhere else in the series, but interrupts the flow of Lee's story. These two stories collect the first five issues of the comic, and an eight-page story from an anthology rounds things off. The lighter side of the man in black's operation is shown in this, as a little old lady comes in to confess her murder, only to be turned away by the cops, who assume she's batty. Overall, it's not pitch perfect, but it definitely established a nice mood and I'm curious to read on to see what the larger motives of the man in black are.

7 of 7 people found the following review helpful:

5.0 out of 5 stars 100 Bullets continues the excellence Vertigo is known for, March 5, 2006

By 

A. Sandoc "sussarakhen" (San Pablo, California United States) - See all my reviews
(VINE VOICE)    (REAL NAME)   

This review is from: 100 Bullets Vol. 1: First Shot, Last Call (Paperback)

I missed out on the initial release for 100 Bullets, but I'm glad that I've taken up this first volume (First Shot, Last Call) and rectified that problem. Brian Azzarrello's 100 Bullets continues the long line of excellent mature comic titles from DC Comic's Vertigo line. Azzarrello's hardboiled, crime-thriller noir series brings to mind classic detective-noir works by Hammett, Spillane and Chandler. It's a more complex continuation of the hyper-noir series Frank Miller began with his Sin City series. I've heard people say that this series is better than Sin City and to some respect it is. The stories in each issue contained in this first volume (issues 1 through 5) are abit more complex in nature and execution. The five stories in this collected volume also laid the basic groundwork for what'll turn out to be one long-running series. But where Sin City's simplicity in its storytelling and artwork lay its strenght, it is in the complexities in the tales and the detailed, but economical artwork that 100 Bullets works best.

In First Shot, Last Call we're introduced to the gamemaster of the tale: Agent Graves. Looking like an ever-present government agent who has seen all that life has thrown at him and ready for more, Agent Graves picks a recently paroled Latino lass by the name of Dizzy Cordova with a proposition. He offers Dizzy an attache case with a gun and 100 bullets that're untraceable and definite proof that certain individuals caused her heartache and grief that's ruined her life. He only offers her the attache case, its content and the proof within. The choice is Dizzy's to make on what she should do with what's offered her. This set-up and premise is the beauty of 100 Bullets. The story's basically a morality tale of choices to be made by the characters. Will they use the offer to exact vengeance and get away with it scott-free, or will they refuse the offer and live on with their life. The hoice of revenge really doesn't bring back lost time and loved ones and only feeds the need for retribution. Agent Graves doesn't really force Dizzy's hand, but a supporting character knowledgable of the offer does, for his own agenda not yet known, prod, push and guide her to picking the more primal choice. Dizzy's choice in the end was both understandable and in the end inevitable.

The second story arc deals with Lee DOlan who also has had his life turned upside-down by people unknown to him. His life and family taken away by the stink of a child pornography accusation in the past. Agent Graves makes him the same offer of the attache case and its untraceable 100 bullets. Dolan's reaction to this offer is different from that of Dizzy's, but in the end his ultimate choice doesn't give him the same resolution and new life path that Dizzy made. It's a tribute to Azzarrello's great writing that the decision both Dizzy Cordova and Lee Dolan made were understandable when taken into context of their personalities and yearning to fix the problem that led them to their current state in their lives.

To complement Azzarrello's words perfectly were Eduardo Risso's artwork. It would be a misnomer to say that Risso's art style was minimalist like those of Frank Miller's woodcut-engraving style for Sin City or Mike Mignola's chiasroscuro-style for his Hellboy series. There's a sense of the minimalism in Risso's work, but he also adds in detail to his panels that give it a more cinematic look to it. The scenes were always drawn with a mind for action even when it's just people standing around. Risso has quite the filmmaker's eye in how he's drawn 100 Bullets which just adds to its noirish feel. The characters and environment were drawn not to scale and real-world proportion, but just enough not to look cartoonish. I would agree that there's an abundance for cleavage on the women drawn, but Risso doesn't do it gratuitously. Instead he uses this detail to showcase the sexuality of the strong female characters. It paints the female characters like Dizzy Cordova and Megan Dietrich with a sense of both strength and sensuality without pandering to the teenage boy demographic. Plus, he gives these ladies their own personality and character with how he draws them. Dizzy truly has the Latina sensual curves while Megan has the icy-cold Aryan beauty that serves her well.

100 Bullets: First Shot, Last Call was a great discovery and a wonderful beginning to a very mature, intelligent and hardhitting comic series. Congratulations must got to its creator Brian Azzarrello for writing such great characters and memorable stories. I can't forget the work of his artist and partner-in-crime, Eduardo Risso. Risso's artwork has stamped themselves in my mind as the only way to see 100 Bullets in. Both Azzarrello and Risso complement each other well and I hope both continue to work with each other in this series for however long they decide to let it run. 100 Bullets is a great addition to the excellent line of comic titles that's been released by Vertigo. I see only great things to come from this duo.