The police have surrounded the Landry house. Phil Bowman offers to talk down the Landry’s, whom are becoming more restless by the minute. Phil makes a ploy which causes all hell to break loose, pushing the Landry’s into both the police line and the eldest Bowman’s sniper fire. Is that enough to turn the tide?
The standoff between the Bowman’s and Landry’s finally reaches its climax with this installment of Redneck. Cleverly enough, no one trigger really pushes the situation to a head. While Phil’s actions certainly accelerated things, this tense scenario was going to blow.
Redneck #12 leaves you on edge and eager to see how it all shakes out. There are a lot of bloodshed, bullets, and people making rash decisions. It is an excellently composed plot explosion of what has come before in the book.
The finale is understated all things considered. It leaves the door wide open for another bloody issue of a Redneck, but it’s more focused on the emotion of the situation than the potential for more death.
Players on all sides of the conflict die, including some I personally didn’t expect, and that’s refreshing too.
Lisandro Estherren’s artwork continues to impress with its infusion of a gritty style, subtly emphasized details, and proficiency in depicting bloodshed. Characters can blend together from time to time, but this is thankfully a rare problem in the comic book. Dee Cunniffe’s color work is dark and grimy like the narrative itself, and that adds a lot to the book as well.
Redneck #12 is a solidly written climactic installment to the series with enough death, bloodshed, and family-inspired violence to quench even the most vicious palette. Estherren and Cunniffe continue to provide great visual work to the comic to boot, and this one earns a recommendation. Give it a read.
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