I, Witness

August 13, 2012
While rooting through a dumpster, teenager Robbie witnesses a murder and flees the scene with his friend Boone. They agree to tell no one, but the murderers have different plans. First Robbie, then their friend Andre are picked off by the killers, but Boone refuses to finger the perpetrators for local police. Despite the pleas of his murdered friends’ family members, classmates, and the investigator trying desperately to crack the case, Boone remains adamant that his safety lies in saying nothing, even if he is branded a coward in the process. The idea of stepping forward and telling the truth is a worthy one, but in McClintock’s story, the concept feels like it is on a tape loop. Each character reminds Boone every other panel that he has refused to reveal who the murderers are, and that he is a bad person for not doing so. This trope only deepens as Boone becomes witness to several more murders. Deas’s illustrations at their best feel like on-the-spot sketches at a crime scene, but sometimes feel rushed, giving crucial scenes involving murder and emotional awakening a slapped-together feeling that does not do justice to the rest of the story.

October 1, 2012
If it means putting yourself in danger, do you have to come forward as a witness? Teenager David Boone and his friend Robbie witness a brutal murder. Boone talks Robbie out of going to the cops, and a few days later, Robbie's killed in a drive-by. Boone and their friend Andre witness Robbie's killing, but neither is willing to talk to the cops. When Boone is wounded and Andre killed at Robbie's funeral, Boone is well and truly scared. Boone's classmates call him coward; his dad sends him to a therapist. Detective Rylander practically begs him for help, but it takes another, unrelated murder to prompt Boone to come forward as a witness. Award-winning, Canadian writer of teen thrillers McClintock tries her hand at the graphic format with mixed results. Boone's reasons for not coming forward are complex and interesting, but most of the supporting cast members are one-dimensional. The mystery Boone solves surrounding the unrelated murder will engage more than Boone's repeated resistance to being a witness. Deas' scratchy, mostly black-and-white panels look more like sketchbook filler than finished work; the characters are often hard to identify, and their emotions, not to mention ages, are difficult to gauge. However, the use of red as an accent in moments of violence is effective. Bodies pile up around Boone like he's some teenage Jessica Fletcher, straining credulity but not sparking much interest. (Graphic thriller. 13 & up)

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January 1, 2013

Gr 7 Up-Robbie witnesses a murder, and his friend Boone convinces him not to go to the police or tell anyone else. When Robbie is killed soon afterward, Boone has to decide if keeping silent is really the best thing to do, especially since it didn't save his friend. This book is filled with mixed messages that will be loud and clear to teens. On the one hand, if you see something, you should say something or suffer the consequences. But on the other hand, if you do say something you might get killed anyway. Little by little, readers start to get some insight into why Boone is so reluctant to speak out-his mother tried to right an injustice (telling the cops about her boss) and was killed soon afterward. But this insight might come a little too late for readers to find sympathy for Boone, who spends most of the story lying to everyone. Deas's rough artwork is predominantly in black and white, with occasional jarring splashes of red. The action is fast paced, and even the drawings feel frenetic at times. As more and more characters die, the mixed messages ultimately resolve into The Thing That Boone Is Supposed To Do, which he ultimately does. But by then, several characters (and perhaps also some readers) have already judged Boone for the deadly consequences of his inactions and decided that he is past the point of redemption.-Andrea Lipinski, New York Public Library

Copyright 2013 School Library Journal, LLC Used with permission.

November 15, 2012
Grades 7-10 McClintock, author of a variety of well-plotted and easy-to-read teen novels, turns her hand to writing a graphic novel that shows her customary concerns with character development, fast and abrupt action, and the effectiveness of showing different viewpoints. Deas' dramatic black-and-white artwork is splashed with a bright blood red spilled across those panels where violence occurs. The story demonstrates the dark power of eyewitnesses who, either through a code of silence or fear of reprisal, don't share information when murder is committed. As McClintock and Deas show, however, the perpetrators of the violence hold the greatest power when they experience uncontested dominance over both the direct victim and the silent witness. Deas doesn't quite get facial or other physical characteristics distinguished among the teen boys and girls here, but the text provides evidence of who is speaking and how the characters differ in outlook and motivations. An effective thriller that raises questions about the complicity of silence on violence.(Reprinted with permission of Booklist, copyright 2012, American Library Association.)