Writer: Brian Azzarello
Artist: Eduardo Risso
Cover Price: $2.99

The Definition of a Blackout

Our main character, Lou, seems to have a bit of a problem when it comes to the drinking department. It’s one thing to wake up and not know how you got home, or wake up in your car which Lou has done. It is quite another to wake up surrounded by dead bodies, which is where we find Lou at the beginning of this issue. Beyond confused, Lou is sent packing, after asking if he could take one of the autos and having the tires shot out of them, he begins walking into the woods. While running through the woods Lou runs into Fat Tony and Tony:

Here’s Where the Hole Gets Filled In…

They followed Lou to do the business that Lou was having issues closing: getting Joe “The Boss” the moonshine, when all hell breaks loose. While retelling what happened the wolf strikes taking out some of the goons that were with Fat Tony, while Lou and Tony barely escape.

The Visitor in the Back Room

Back in town Lou retells the experience to Ducky, who is having a hard time believing this story. While, in the background, Big Tony is packing up his stuff and trying to get out of town. With a little strong arm convincing from Ducky, a choke hold from behind, Big Tony decides he is going to stay. This is when Lou is told he has a visitor and has an excuse to leave the room, but when he tries to go to the front door he is directed to the back where we find Deelia waiting for him. She had a dream about Lou’s dead sister and she hands him a knife and leaves.

The Note

After Deelia leaves Lou is given a note that tells him to meet at the hunting cabin where an arrangement can be made. Lou believes he is going to see Tempest, but he meets her brother Enos and receives a beating Tempest does step in and stop her brother. Tempest and Lou go out on there own where Tempest tells Lou about her past and the Lou tell Tempest about his past. The issue ends with Tempest tempting Lou into the woods.

The Confessional

This story is addicting and it keeps pulling you forward. With it being a period piece you have to get use to the racism and weird way of speaking, both of which shock you at first but are easy to get through. I love this art too, it does what any great art in a comic book should, it tells the story and the best panels in this book have no words in it. With both the story and the art keeping the readers interested:

Salvation: ★ ★ ★ ★ ★ ★ ★ ★ ★ ☆

Carl Hamlin | NCR