Detective Farkas sizes up some unfamiliar faces in the club:
“I had already noticed them. And I had the distinct impression that they were looking for someone too. The 'dark stud,' as the waitress called him, had a dangerous look. The other one was big and strong, a soldier or a policeman too. The first thing he had done when he entered the place was look for the emergency exits and the bouncers. The blonde girl was not bad. Maybe she was the daughter of some family full of dough, and those two were her bodyguards. Then, as expected, trouble arrived.”
Farkas gets tossed from the club because he keeps harassing patrons with the photograph of a missing girl.
“And don't let me see you here again! Understood?”
“To hell with it...”
(Waitress leans against the wall, smoking) “I warned you, handsome.”
When each monthly issue is 94 pages long, it's no big deal to spend 28 pages on backstory before the main character enters the picture. Indeed, European comics have a very different approach than American comics which focus on the protagonist. Instead, the protagonist often becomes just one element of a story already rolling along without him. Examples of this in American comics would include Alan Moore's Swamp Thing and Neal Gaiman's Sandman, both written by Brits of course.
