The Bowmans have survived Asilo Del Muerto and come out the other side. Will Asilo Del Muerto survive the Bowmans, though?
Remember when I said Perry was the key to survival in Redneck? Yeah. Go ahead and check out these preview images. Believe me yet? That kid is a savage, and, at at least by the beginning of Redneck #24, she’s probably the most powerful vampire we’ve seen. There’s a lot of flexing in this chapter, though, so it’s close.
Greg is off to end the world with Carrona. When Perry shows up to “save” him, it actually pretty much throws a wrench in the whole plan. Not sure exactly what’s going through Greg’s mind, but at least some of the reason he’s on this path is to keep JV off it. Someone was going to have to pay the piper in order save Bartlett. Now, Perry’s naiveté may cost them everything. She’s powerful as hell. Still a kid, though. She’s got a big ass hammer, and every problem is a nail.
Donny Cates promised some big things and hinted at some other things way, way back. This is where he delivers and breaks the whole thing wide open. All the cards are on the table. Probably. With Cates at the helm, though, who knows? This is one of those stories where each arc really stands alone just as well as part of a larger set. The Bowman saga keeps evolving in ways that are fresh and genuinely startling.
This is a violent issue. Lisandro Estherren and Dee Cunniffe get to cut loose, pop some heads, and blow up some cars on that crazy road trip, but some of the coolest imagery is back at Asilo Del Muerto. Not a whole lot to say about that without major spoilers, so just…it’s cool.
Redneck #24 is ridiculous. This is the most insane turn yet, in a story filled with insane turns. There are at least four MAJOR pops in this one chapter, and the cliffhanger promises the next installment is going to be just as violent, shocking, and absolutely bonkers.
Redneck #24, Image Comics/Skybound Entertainment, released 09 October 2019. Written by Donny Cates, art by Lisandro Estherren, color by Dee Cunniffe, letters by Joe Sabino, edited by Jon Moisan, cover by Lisandro Estherren and Dee Cunniffe, logo and production design by Andres Juarez, produced by Carina Taylor.