Admittedly, occasionally there is a pecking order in comic books. The content and context attributed to the writer and the visual acuity always attributed to the artist (penciller) with the remaining accolade available to the inker- presuming its not also the penciller. However, one relative unknown in the comics industry enhanced the shape of an already exceptional series created by Brian Azzarello and Eduardo Risso. While her name never appeared on any front covers of the 13 Graphic novels generated by its run, 100 Bullets would never have been so affecting and impressive a read for the reader without the skills of Patricia Mulvihill.
Taking the lines of Eduardo Risso – and taking on the torch passed by Grant Goleash after issue 15 of 100 Bullets (that ultimately ran for a further 85) – Mulvihill emellished and enhanced the contours and shapes formed by the stark black and white detail of Risso’s inks. With a simplistic and uncluttered layout it is perhaps too easy to overwhelm and distract from the artwork but Mulvihill brought the artwork into even greater focus with an advanced and misleadingly simple-looking palette of colours. A profound understanding of the correct use of opposing shades and colours – simple environments – even those rendered by an artist such as Risso – were converted into emotional spaces. Ignoring conventional lighting and tonal rules a powerful display of colours was applied generating tension, clarity, danger, fear, wonder and languishing emotion and lust. It is a true professional who makes something so delicate and precise look so infinitely simple and I believe Patricia Mulvihill deserves recognition for her contribution.