John Le Carre’s The Circus: Losing Control #2: More Chessboard Than Gunfight

One thing I genuinely appreciated was John le Carré’s creative naming within “The Circus.” The internal arms of the agency are cleverly labeled — like “The Nursery,” which serves as the training ground for new agents. It’s a simple idea, but it fits perfectly. New recruits being shaped and trained, almost like infants being raised. Then there’s the “Reptile Fund,” untraceable money that slithers around quietly, hidden and hard to track. It’s smart, subtle world-building that adds texture without overexplaining itself.

That said, this is a very dialogue-heavy issue. If you’re jumping into this without prior experience with le Carre’s style, this probably isn’t the easiest entry point. The story leans heavily into procedural espionage and political maneuvering rather than physical confrontation. There’s very little action, especially in the first half. Instead, the tension comes from conversations, shifting loyalties, and quiet power plays. If you’re expecting a fast-paced spy thriller, this isn’t that. It’s slower. More methodical. More about the chessboard than the gunfight.

Visually, the artwork carries a strong, almost nostalgic feel. It reminded me of the cel-shaded style from the old XIII video game — bold lines, sharp contrast, and a graphic novel aesthetic that fits the espionage tone well. The art gives the book personality, even when the pacing slows.

However, there were moments where several characters looked almost interchangeable. Similar hair, similar suits, similar expressions. Even with name plates during introductions, it can be tough to keep track of who’s who once the conversations get rolling. In a story driven almost entirely by dialogue, that kind of confusion matters. Clear character distinction would have helped me follow the political maneuvering more easily. In comics, clarity is king — especially when the stakes are subtle.