Perry frees Bartlett, and the pair escape through the woods. When they get to a hiding spot, Perry demands that Bartlett tells her what she is and how she came into this family. Bartlett reveals the dark story to her.
Perry’s origins in Redneck #11 are harrowing indeed, and you get new insight into her relationship with Bowmans. In fact, it makes you wonder who the real “heroes” of this story are.
Most of the story is that origin tale, with the last portion being the direct and violent aftermath. That aftermath is mostly made up of an awesome superpowered action sequence reminiscent of the various times Jean Grey has cut loose in the past.
It’s impressive when a revelation can truly recontextualize a story like this while being believable within the story’s universe. It’s even more impressive that it can make you feel some level of sympathy for the violent white trash vampires who’ve been wrecking shit for the past few issues. Donny Cates pulls of a cheeky maneuver in this issue of Redneck.
You can still sympathize with the Bowmans despite what happened to Perry. However, as I implied above, it makes things far more muddled and gray than they already were. It also foreshadows an epic showdown for next issue (even if Redneck #9 also foreshadowed this to be happening immediately).
Lisandro Estherren’s artwork is dirty, gritty, and perfectly suited to the story of Redneck. The world is grody and messy, the characters are rough and weathered, and it all suits the southern-gothic-with-vampires premise of this series. The faces can be odd at times, especially around the eyes, but even that works most of the time. Dee Cunniffe’s color art is similarly rough and grimy. The story takes place at night in dark basements and shady woods, which allows the red-dominant finale to stand out even more.
Redneck #11 is a hard-bitten issue of betrayal, lies, and macabre origins. Cates, Estherren, and Cunniffe do some great work here, and it leaves the reader riled for the next issue. This one earns a recommendation. Check it out.
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