Despite the many names on this cover, including a Created By Robert Johnson and Story By Robert Johnson & John Alvey (and a smaller development credit for Jason Spire right at the bottom,) the number one reason most people, myself included, will pick up this comic is the name Oscar Isaac, emblazoned top and bottom over a stylized portrait of someone who looks a lot like the actor himself, in a beat-up Poe Dameron sort of way.
Ofc, if you’re a comics nerd like me, there’s a strong chance you’ll see Christian Ward’s name on the art and think “rad!” Frankly, the art is one of the strongest aspects of the actual book. Mr Ward’s pencils and inks are loose on the figurative, non-background aspects (and get looser as the book progresses) but dang, his colors and light effects are tremendous. And in fairness, there’s a lot going on, with a lot of people running around. Kudos to him and Brian Buccellato for storyboarding that makes it clear who exactly is in the spotlight in any given panel, even when the art gets a bit, well, sketchy is likely the best word. Like, if you pulled individual panels out and asked me to identify characters, I’d be pretty stumped, but contextually, I was never confused as to who’s who, which is a lot more than I can say for a lot of books out there today. Did I mention that the cast here is huge? It feels very action-movie cinematic in scope.
It’s also very Catholic, with imagery of angels and redemption and damnation, that almost but doesn’t quite go all the way round to approaching the weirdly Protestant atheism of Garth Ennis (particularly in re Preacher.) I mean, it’s set in New Orleans, and in addition to corrupt cops, there are cults and purgatorial battles while angels and demons hover around pronouncing over the lead character’s soul. I was actually kinda hoping that the weird phenomena assailing said lead was due to (insert meme) Aliens, but a quasi-religious battle for the guy’s soul also makes sense, even tho this is, at this point in time, very well-covered territory.