There’s been a murder and the world’s most renowned detective is on the case. This time it’s not up to a little elementary crime solving or Dark Knight daring do. It’s Hercule Poirot exercising his little grey cells. Having stepped out the pages of Agatha Christie’s novels, he has shown his prowess on both film and television. His latest incarnation, however, is in graphic novels based on the original mysteries.

Interestingly, for such a quintessentially English writer, it’s surprising it has taken a French team to adapt them in a style reminiscent of the other Belgium hero, Tintin. The stories have, of course, been translated back to English but they retain their original charm. The added beauty of this format is that the action can move swiftly onwards with the scene setting established from those initial panels. As for the portrayal of Poirot himself, again it is the artist’s interpretation and not intended to resemble any film or TV actor, even if David Suchet remains foremost in the mind.

The first three tomes that needed solving are Murder On The Orient Express, populated by a host of suspects who have all been mysteriously obsessed with a notorious society kidnapping and murder. The confines of the carriage work well in creating a stage for the drama of Samuel Ratchett's death and it’s equally tough for the artist Silodor to draw all the suspects whilst retaining an air of whodunit. He does , however, evocate the mounting claustrophibia of being stranded in the Siberian snow, especially with the narrow design of the panel layouts and the shadow shading of the colours.

Likewise, in Death On The Nile, this hugely popular tale tells of a spurned lover finding rivalry in the heat of the Egyptian sun and English society where Linnett Ridgeway's wealth and beauty lead to a fatal crime of passion. Sites of the Sphinix and the pyramids adds to the atmosphere without being overladen with text. Indeed, Solidor relishes the setting which gives it a richer feel

As for The Murder on The Links, a lesser know tale where the great detective is summoned to France by a rich client, only to arrive too late to prevent Renaud's murder with the body buried on the nearby golf course. A second murder proves the killer is still around and the sibling secret of sisters Dulcie and Bella Duveen could be a hinderance more than a help. It’s more rounded and unfussed under Marc Piskic's pencils, the colours muddier and more muted, meaning you can almost taste the seaside air of Merlinville-sur-mer

From these three stories alone, it seems that Poirot, like that globe-trotting adventurer with his snow white dog, has a passion for the travelling to a whole range of exotic locations. The covers are striking and seem more in tune with the murder-mystery TV credits as symbolic silhouettes establish each title across a luridly bright colour. The beauty of each story is the clarity of the images, uncluttered and not lost in shadow which obscure the characters or indeed the clues. Not something you would expect Frank Miller to take on. There’s a good linear consistency to the storytelling, with panels progressing in a uniform fashion, but with a roving point of view that echoes cinematic techniques.

The delight of all the stories is that no matter how familiar you are with the stories, Christie's murder gain a refreshingly new edge in comic book form. It has always been a popular genre and whilst literary detectives have made it to the funny pages, a whole host of super sleuths have been crime solving in their own unique way through blindness, forensics, or supernatural means. These Poirot tales retain their original charm and simplicity that have ensured they remain worldwide bestsellers. Watch out, mon ami, Brian Michael Bendis, there's a new crimewriter in graphic novel town, and her name's Agatha Christie.