The first issue of “Dead Body Road” was a solid piece of work, immersing us in a gritty (if conventional) revenge story. This second issue takes us some unexpected places and keeps the plot engaging (enGaging?) as our antihero hits up a diner.
Written by Justin Jordan
Illustrated by Matteo ScaleraWill a standoff in a diner lead Gage one dead body closer to his revenge? Or is it just a pit stop on the highway to Hell?
At the beginning of the issue we interrupt a meeting between Rachel, the wife of our deceased criminal hacker, and the goons Gage is looking for. From here there are some neat Tarantino-esque turns that keep the plot surprising and definitely focus interest on the character of Rachel. When Gage does make his appearance, matters escalate, and a scorching shoot-out is the result.
While there’s nothing terribly out of tune with the events of the first issue, this chapter does advance matters in a appreciable way by introducing a compelling new character to the mix. The beats of the action, meanwhile, are about as smoothly choreographed as you would expect, making the most of the diner setting and the bleak outdoors. And the cliffhanger certainly surprises, upping the ante at an unexpected juncture and making sure this vengeance quest stays bloody.
All of this said, there’s one moment in this issue that is truly awful, and if you’re not prepared for injudicious use of the song title “Move Bitch (Get Out the Way)”, it will hit you pretty hard.
Even a moment that cringey is worth it for Matteo Scalera’s art, which brings out every drop of energy and kineticism in a given action element. Whether it’s an elbow to the nose or a shotgun blast to the chest, the feeling of motion and impact comes across viscerally – which in this case is a fancy way of saying that you really hear the crunch. Even during the quieter moments, some well-placed spatters of ink lends lend matters a violent undertone.
Meanwhile, the characterizations have a nice range to them, getting some nuance out of a concluding conversation between Rachel and Gage that, in turn, makes the final page feel even more abrupt and brutal.
Moreno Dinisio’s colours are impressive, particularly when you consider that this is a Western story, and could easily have stayed in the brown-and-beige spectrum without getting on anybody’s nerves. But Dinisio’s palette choices are refreshing, opting for rich yellow when the dusty setting calls for it and laying out a motel parking lot in sleazy blues and pinks. The way light in general is managed is also noteworthy, with the long shadows of magic hour lending extra drama to the events at the diner.
If you liked the first issue, this one will definitely keep your attention: it’s got all the action you could ever want, and the bleak setting is still being played to the hilt. I imagine the much-needed context surrounding the bank heist itself is on its way, but in the mean time, Rachel as a character is adding a new dimension to Gage’s journey. I don’t think any of us expected this quest for vengeance to run smoothly, but if this issue is any indication, it’s going to take some rough byways indeed.
Final Verdict: 7.5 – Browse
