Abbott 1973 issue 1 Taj Tenfold featured Reviews 

“Abbott 1973” #1

By | January 22nd, 2021
Posted in Reviews | % Comments

Whether you choose to view it as an exceptionally well crafted urban fantasy or a study in intersectionality, “Abbott 1973” #1 is a brilliant debut. (Warning: may contain minor spoilers.)

Cover by Taj Tenfold

Written by Saladin Ahmed
Illustrated by Sami Kivelä
Colored by Mattia Iocono
Lettered by Jim Campbell

In a new series for fans of “Something is Killing the Children” and “Bitter Root,” Saladin Ahmed, the visionary writer behind “Miles Morales: Spider-Man,” and Sami Kivelä, the acclaimed artist behind “Tommy Gun Wizards,” reunite for this Must Read supernatural thriller. Detroit’s hardest hitting journalist, Elena Abbott, is trying to make a fresh start at a new newspaper…but her deadly past isn’t ready to let go. The city is days away from the historic election of a Black candidate as their new Mayor, but a vicious new group has emerged to destroy him, targeting anyone who supports his campaign or the change he represents. That means Abbott, who discovers the group’s connection to a dangerous dark magic, has been targeted for certain death – unless she embraces her true power as the Lightbringer to save her city.

The first run of “Abbott” remains one of my peak comics experiences. It’s also one of my go-to books when some random hater says, “Comic books aren’t real books” or some such nonsense. To say that I’ve been waiting for the return of Elena Abbott is a huge understatement. Ever since I turned the last page on “Abbott” #5, I’ve been here for the sequel, whatever form it might take.

On the other hand, if you somehow missed out on the first run, no worries. It’s not crucial to have read any of the other issues before diving headlong into “Abbott 1973.” There’s a compact, well done synopsis on the book’s first two pages. Notably, even as it hits all the highpoints of the first arc, it’s surprisingly spoiler free, leaving you the option to circle back to the beginning any time you want.

Arguably, this issue isn’t action-packed and only moves the plot along incrementally, but don’t let that fool you. There’s a brilliant cliffhanger that pays off the book beautifully and the story-within-the-story is as good as it gets. Unsurprisingly, as a black queer woman in 1973, the most stomach-turning monsters Abbott has to face aren’t of supernatural origin.

As the story begins, Detroit is on the cusp of electing its first black mayor, prompting some unknown asshat to terrify white bigots with unabashedly racist flyers. Meanwhile, Abbott’s new creeper boss insists it’s unladylike for a woman to smoke or swear, delivering platitudes about “respectability” and the need to look “appropriately feminine” as he hovers behind her with his hands cupping her shoulders. I’m not sure these are microaggressions as much as they’re straight-up aggressions. On top of all of that, Abbott’s otherworldly nemeses are busy plotting her destruction in the Detroit Institute of arts. As they say, it’s a lot. Even so, writer Saladin Ahmed braids all the strands together seamlessly.

As in the first series, Sami Kivelä’s inks are bold, compelling and energetic. With distinctive black lines, uncluttered backgrounds and great compositions, your eye is naturally drawn to the characters, their body language and their expressions. And that’s where Kivelä shines. Back home on the couch, for example, Abbott sinks into the cushions, worn out from a long day, as her girlfriend Amelia undoes her hair. The angel is off-kilter, flowing perfectly into the sensuous scene that follows.

Elsewhere in the book, Abbott pulls on her coat as she gets ready to head out the door, openly defying her boss who’s in the midst of a meeting, pumping up his “men” for the “watershed year” to come. It’s a simple conversation between people in an office, but it’s full of visual tension and dynamic energy. The others may be content to stand around and talk, but when she’s on the beat, Abbott’s in constant motion, tracking down every lead to see where the story goes.

Jason Wordie’s colors were great in the first series, but Mattia Iocono’s palettes are next level. They’re bright, without being gaudy, and the strategic use of purple is simply outstanding, weaving through the book in unexpected ways. Similarly, Kivelä gives Abbott a fabulous wardrobe, but Iocono absolutely kills it, infusing every outfit with future-retro chic people would die for.

It feels like Abbott’s first run was a lifetime ago. Whether or not the series put writer Saladin Ahmed on the map, it showcased his considerable talent and gave him a ton street cred. Since then he’s gone on to craft iconic, accessible versions of Black Bolt, Miles Morales, Kamala Khan and others. Each of those characters is the kind of protagonist with whom you feel an immediate connection. You’d follow them anywhere. As compelling as those characters are, however, Ahmed’s Elena Abbott feels like his true heart. It’s great to have her back.

Final Verdict: 9.6 Step aside Erica Slaughter, the O.G. monster hunter is back in the stunning debut of “Abbott 1973.”


John Schaidler

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