Richard Stark's Parker: The Outfit

by Darwyn Cooke (adaptation and illustration), Richard Stark (a.k.a. Donald Westlake, original novel), 152 pages

Parker's just trying to enjoy getting back to his old routine of periodic thievery and living off the spoils between jobs, but the Outfit, the syndicate from which earlier he extorted his rightful share of a past heist (originally withheld and used by a backstabbing partner to pay off his own debts to the organization), won't just let bygones be bygones.  Silly Outfit.  They didn't think Parker was serious when he said if they didn't leave him alone, he wouldn't leave them alone, either.

Sneaky, clever devil, that Parker.  This second adaptation of one of Westlake's classic crime novels is just as cool and dark as the first, with perhaps a few more giggles courtesy of some newly introduced associates and a fun segment in the middle of the book depicting the breakdown of a series of Parker-inspired hits against the Outfit.  The art (with more blue than grey, this time) is nicely old-school in a way that doesn't feel dated in the least, as it so perfectly fits the story and its iconic lead.

Richard Stark's Parker: The Hunter

by Darwyn Cooke (adaptation and illustration), Richard Stark (a.k.a. Donald Westlake, original novel), 140 pages

Betrayed by a partner and left for dead following a successful heist, career criminal Parker goes on the cold, methodical warpath to exact his revenge.

Ooh, this is fun--if dark, dry, noir-ish stories of morally less-than-upstanding anti-heroes who don't (generally) go out of their way to kill people but aren't too concerned if they do sound like fun to you.  Cooke was granted permission by the now-late Westlake to adapt in graphic novel form a handful of his classic gritty crime novels with the title character's name intact (the only time such permission was ever granted--all other adaptations have had to change "Parker" to something else).  I haven't read the original novels, but I'm enjoying the graphic versions for their atmosphere, tone, stony protagonist, unpredictable plots, and impressively period-appropriate artwork.  The first Parker novel takes place in 1962 New York and the three-tone visuals (all in heavy black ink, yellowish white space, and blue-grey washes) never let that just-out-of-the-50's feeling fade.  Parker's a square-jawed, thick-eyebrowed, broad-shouldered tower of a man and I would not want to mess with him.  Nor would I like to be anywhere in his general vicinity, as just being in the wrong place at the wrong time can get people around him killed--and he doesn't seem bothered by this in the least, except as it puts crimps in his carefully laid plans.  And yet I still root for him....