The tanned, voluptuous body of Cheri Sanchez is a thing to behold. With her super-tight, Daisy Duke-type shorts and her thick, long black hair, the woman is a definition of temptation inducing curviness. It's no wonder then that when Sonny Gibson shows up at the place where his roots lie, he's once again smitten by this Latina beauty, their romance a quick blast from a much more hopeful past (it's no wonder that whenever they touch, sparks fly - literally). Now, having to flee together from a scene of an "accidental" crime, chased by both the law and some very shady characters, Sonny and Cheri are the modern South (Eastern) version of Bonnie and Clyde, their plight perhaps not quite as tragic, but their trail sprinkled with blood and corpses nonetheless.
Writer Jason Latour (Southern Bastards) returns to the steamy American South once again, and this time his storytelling is illustrated by the talents of Chris Brunner and Rico Renzi. Their four-issue story arc, Loose Ends, is a work that's been long in progress, and it is evident just how passionate both the writer and the artists have been in bringing this noir saga to life. The murky artwork supports the story's shadowy tone, a world in which everyone either drinks or smokes or holds a gun in every single frame. A product of Latour's imagination, it could very well occupy the same universe as his much acclaimed Southern Bastards series.
Loose Ends is ultimately a steamy noir drama, deeply rooted in a specific time and place, and occupied by personalities both amiable and atrocious. It is also - and perhaps more than anything else - a tragic romance between two people whose poor choices in life have led them down a lousy path that could only culminate in a fatal dead-end. Now, long after I've turned the last page, the only uplifting image my mind can hold on to is Cheri and her curvaceous legs. I imagine that was Sonny's farewell thought as well.