Smooth Transitions in Kill Or Be Killed 15

By Ryan Desaulniers

Kill or be Killed 15

This article contains SPOILERS. If you haven’t read the issue yet, proceed at your own risk!

Despite all of the guessing and theorizing which this title forces upon the audience in regards to the narrative, after fourteen issues of KOBK, it was safe to say that readers know at least a little about the world and its rules. We know there’s a haunted young man who lives in New York who spends time with his on-again/off-again girlfriend who also runs off to murder mob bosses in town. We’re used to some big swerves at the end of any given issue regarding the nature of the Beast that plagues Dylan by now, too. What caught me completely by surprise in issue fifteen, however, is the transition out of New York City, and how cleanly the creative team handled it. Continue reading

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Kill or be Killed 14: Discussion

By Drew Baumgartner and Ryan Desaulniers

Kill or be Killed 14

This article contains SPOILERS. If you haven’t read the issue yet, proceed at your own risk!

Remove everything that has no relevance to the story. If you say in the first chapter that there is a rifle hanging on the wall, in the second or third chapter it absolutely must go off. If it’s not going to be fired, it shouldn’t be hanging there.

Anton Chekhov

Drew: I feel like we tend to talk about Chekhov’s Gun backwards: we often frame it as “a gun introduced in the first chapter must go off in the third,” but that “must” kind of scrambles the causality — guns don’t go off in narratives because they’ve been introduced; they’re introduced because they need to go off. If the gun doesn’t go off, it’s as irrelevant to the narrative as the rings of Saturn. It’s an essential concept for narrative efficiency, but my awareness of it undoubtedly influences my own understanding of what a story is. While a child may think of a story as “everything that happens to the characters between the beginning and the end” (I know I did), anyone familiar with Chekov’s Gun must recognize that a good story is, at the very least least, pared down to only the relevant events transpiring between the beginning and the end. It’s a notion that assures us that whatever we’re reading is important, which in turn provides some clues about what the narrative finds important. 14 issues in, one might think that we’d already have a great handle on what Kill or be Killed finds important, but this issue managed to surprise me with the details it chose to focus on. Continue reading