The art changes so much in the first few pages I thought Goran Sudžuka either left the book or got an inker. Nope, he’s just doing a slightly different style. His lines are thinner, sharper, and with less personality.
The end of the issue promises we’re going into “Book Two” next, which will apparently be more of the same. Again, FBI agents running around an empty warehouse, discovering various horrors, convinced it all has something to do with a probable child murderer.
The issue opens with a new character, Goss, who we’ve seen in some flashbacks. He’s the dopey white guy FBI agent with the Black partner, who tries to go along and get along, putting him at odds with the protagonists. Well, McGregor anyway. Goss probably doesn’t get along particularly well with Shaw because she’s a lady. Though it actually never comes up, just the other FBI agents make fun of Goss for not hating Twitter.
Profound cultural observation from writer Garth Ennis this issue. Hell’s about as deep as a puddle.
We find out Shaw’s big secret, which comes with Sudžuka’s skinny lines. The lines aren’t at fault for the scene, which is a ho-hum, heavily foreshadowed reveal. Ennis wasn’t saving anything for it. Ditto Goss, who’s running through the warehouse scared of unimaginable childhood horrors. Sudžuka eventually imagines them. They’re not particularly exciting, kind of interestingly designed, and not poorly executed, but not an unimaginable horror.
Most of the issue is Goss running and the narration explaining he’s a coward. Or it’s McGregor and Shaw bickering about their current situation, including Shaw very obviously lying to McGregor, which doesn’t help her confession seem legit.
I think we’re far enough to assume Ennis is never going to crack Hell. There’s nothing to crack, just a product to churn.
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