The basic gist of Lady Killer is this: a housewife and mother named Josie superficially seems just that, but in reality is a trained assassin. She has a boss, she has regular jobs, and she is ruthless and efficient. She also has a husband, an overbearing mother-in-law, and two daughters.
By issue #2, while Josie hasn’t exactly cracked, she does seem to be showing the stress of maintaining the façade of perfection. In the world of the early 1960s, being a wife and mother came with a great many expectations, and unsurprisingly, so does being a trained assassin. Still, Josie is a consummate professional who has been at this job for years and years. The story follows Josie as she struggles with increased demands from work and problems at home.

Jones’ art really soars in this book, and it’s clear this is a project from her heart. As we discussed a few weeks ago, she took inspiration from places as varied as ads from the era and Milt Kahl. Her Josie is all knowing smirks, perfect winged eyeliner, and elegant clothes. She’s sexy, but not ever, ever objectified. Jones has taken pains to keep Josie in period-appropriate clothing, and all of the backgrounds are also perfectly in place according to the era. As I said, while it’s possible to enjoy this book with no knowledge of the era, if you are familiar with the lifestyles and designs of the 1960s, you will be especially rewarded.

The art really emphasizes and perfects the story, which is engrossing and full of solid characterization, particularly for Josie. While many of the characters have a cartoony edge and wouldn’t be out of place in animation from this era, there’s a grit to the art that gives it depth. Every page has ink splatter and rich shadows that keep it from ever feeling too light.


Read More: 'Lady Killer' Brings Feminist History to Life | http://comicsalliance.com/lady-killer-review-jones-rich-dark-horse/?trackback=tsmclip