Lou dreams of days in the club and awakens to a visit from Fat Tony in the prison. Elsewhere, a family gathers around a dead loved one as the wife cleans the body. Still elsewhere, Holt is tortured brutally. Back in the prison, Lou and his compatriots struggle under the prison warden.
Admittedly, that may not be one of my best plot summaries, but, in my defense, this is my first time with Moonshine and the characters aren’t often namedropped.
My inexperience with a lot of the story aside, I did find myself enjoying this comic quite a bit. The early 20th Century vibe is quite enjoyable, and Lou is an interesting character with enjoyable quirks.
As a first-time reader, I was able to parcel out much of the plot with relative ease. Even the supernatural elements made themselves clear thanks to some close reading.
The scenes in the prison are the highlight of the comic. Lou and the other prisoners make a motley crew, and they share some good lines and funny jokes. You get the sense of camaraderie through hardship, and it’s hard to not feel bad for them. It almost channels O Brother, Where Art Thou? in many parts.
Eduardo Risso’s artwork is quite brilliant and can take two very distinct styles throughout the comic. The opening dream sequence is very near photorealistic with heavy shadowing and looks amazing. The remainder of the comic is a gritty style more in line with what people picture when they see comic book art. It still looks great, and the color palette is atmospheric and well-suited to the story.
Moonshine #10 is an intriguing Prohibition Era comic with a supernatural twist which serves to hold up an engaging Coen Brothers-esque read. Brian Azzarello does solid work on this one, and Eduardo Risso’s artwork brings the comic to life well. This one gets a recommendation. Check it out this Wednesday.
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