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100 Bullets: Brother Lono, Vol. 1 #1-8 (2014)
100 Balas: Hermano Lono
El último miliciano en pie.
Hace tres años, ese hombre mutilado y hecho una ruina llamado Lono se topó con la iglesia de padre Pérez en las afueras de Durango, México. Lo que salió del confesionario del padre ya no era uno de los asesinos más temidos del mundo... pero tampoco era ningún santo.
El recién bautizado hermano Lono se quedó para ayudar al padre Pérez a cuidar de la iglesia y de los huérfanos que vivían allí, mientras se pasaba las noches encerrado porque la bestia en su interior amenazaba con liberarse.
Que Lono encontrara a Dios no significa que se fíe de él. Y tiene motivos de sobras para estar paranoico. Las Torres Gemelas, el cártel de la droga más despiadado de Durango, está expandiendo su territorio, y los terrenos sin urbanizar de la iglesia son un premio muy tentador. Mientras, la DEA está buscando la manera de infiltrarse en esa operación. Hay sangre en el ambiente, y la bestia puede olerla.
Las cosas pueden terminar en el clásico duelo mexicano, con todo el mundo apuntando sus armas hacia el hermano Lono. Pero ninguno de ellos es consciente de lo que están a punto de provocar.
El galardonado equipo formado por el guionista Brian Azzarello y el dibujante Eduardo Risso regresa a la saga que los convirtió en superestrellas con 100 balas: Hermano Lono, una historia completamente nueva sobre confianza quebrantada y venganza sangrienta.
Hace tres años, ese hombre mutilado y hecho una ruina llamado Lono se topó con la iglesia de padre Pérez en las afueras de Durango, México. Lo que salió del confesionario del padre ya no era uno de los asesinos más temidos del mundo... pero tampoco era ningún santo.
El recién bautizado hermano Lono se quedó para ayudar al padre Pérez a cuidar de la iglesia y de los huérfanos que vivían allí, mientras se pasaba las noches encerrado porque la bestia en su interior amenazaba con liberarse.
Que Lono encontrara a Dios no significa que se fíe de él. Y tiene motivos de sobras para estar paranoico. Las Torres Gemelas, el cártel de la droga más despiadado de Durango, está expandiendo su territorio, y los terrenos sin urbanizar de la iglesia son un premio muy tentador. Mientras, la DEA está buscando la manera de infiltrarse en esa operación. Hay sangre en el ambiente, y la bestia puede olerla.
Las cosas pueden terminar en el clásico duelo mexicano, con todo el mundo apuntando sus armas hacia el hermano Lono. Pero ninguno de ellos es consciente de lo que están a punto de provocar.
El galardonado equipo formado por el guionista Brian Azzarello y el dibujante Eduardo Risso regresa a la saga que los convirtió en superestrellas con 100 balas: Hermano Lono, una historia completamente nueva sobre confianza quebrantada y venganza sangrienta.
192 pages, Hardcover
First published April 15, 2013
11 people are currently reading
349 people want to read
About the author
Brian Azzarello
1,296 books1,106 followersBrian Azzarello (born in Cleveland, Ohio) is an American comic book writer. He came to prominence with 100 Bullets, published by DC Comics' mature-audience imprint Vertigo. He and Argentine artist Eduardo Risso, with whom Azzarello first worked on Jonny Double, won the 2001 Eisner Award for Best Serialized Story for 100 Bullets #15–18: "Hang Up on the Hang Low".
Azzarello has written for Batman ("Broken City", art by Risso; "Batman/Deathblow: After the Fire", art by Lee Bermejo, Tim Bradstreet, & Mick Gray) and Superman ("For Tomorrow", art by Jim Lee).
In 2005, Azzarello began a new creator-owned series, the western Loveless, with artist Marcelo Frusin.
As of 2007, Azzarello is married to fellow comic-book writer and illustrator Jill Thompson.
information taken from http://en.wikipedia.org/wiki/Brian_Az...
Azzarello has written for Batman ("Broken City", art by Risso; "Batman/Deathblow: After the Fire", art by Lee Bermejo, Tim Bradstreet, & Mick Gray) and Superman ("For Tomorrow", art by Jim Lee).
In 2005, Azzarello began a new creator-owned series, the western Loveless, with artist Marcelo Frusin.
As of 2007, Azzarello is married to fellow comic-book writer and illustrator Jill Thompson.
information taken from http://en.wikipedia.org/wiki/Brian_Az...
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Displaying 1 - 30 of 71 reviews
October 20, 2025
An eight part limited series dealing with psychopath Lono trying to control himself and serve penance in an orphanage. How long can he hold himself back whilst drug traffickers almost rule the town? I read the comic books collected in this volume. A Three Star, 6 out of 12 read for me, not as good as the main series.
2017 and 2014 read
2017 and 2014 read
June 4, 2015
Have you heard the one about the assassin/tough guy, seemingly on his last legs taken in by kindly strangers, recovers, and who then resolves to change his ways, but something happens and, kerpow, it’s back to the old drawing board?
The movies Shane, Unforgiven and the Bourne stuff spring to mind, but I’m sure you can come up with a few more.
Here Brother Lono ends up in a small church/orphanage in Mexico, smack in the middle of drug cartel country. Lono knows his limitations and when he starts feeling particularly punchy he asks the local cop to lock him up until he calms down. The local cartel eyes the land the church is on and before you know it – Blam, Pow, Kersplat.
This is Brian Azzarello, so the reader can expect lots and lots of scenes of stomach churning violence.
For what it is, it’s not particularly bad, it just has that ring of familiarity, with only the very end providing any sort of revelation.
Don't leave this around for the kiddies!
Lono! Come back, Lono!
The movies Shane, Unforgiven and the Bourne stuff spring to mind, but I’m sure you can come up with a few more.
Here Brother Lono ends up in a small church/orphanage in Mexico, smack in the middle of drug cartel country. Lono knows his limitations and when he starts feeling particularly punchy he asks the local cop to lock him up until he calms down. The local cartel eyes the land the church is on and before you know it – Blam, Pow, Kersplat.
This is Brian Azzarello, so the reader can expect lots and lots of scenes of stomach churning violence.
For what it is, it’s not particularly bad, it just has that ring of familiarity, with only the very end providing any sort of revelation.
Don't leave this around for the kiddies!
Lono! Come back, Lono!
November 10, 2014
As nice as it was to see everyone's favorite sociopath who seems incapable of fucking dying, Lono, this stand-alone adventure doesn't come close to living up to the noir masterpiece that was the 100 issues of 100 Bullets. Seriously, that series was such a fucking trip. It starts out with what seems like a nifty framing gimmick to tell short 1-4 issue mean-spirited, ultra-violent and often nasty crime stories, but the dedicated reader is duly rewarded for their patience as all the seemingly disparate narrative threads coalesce into a dizzying, baroquely plotted epic that defies reader expectation. Peopled with a rogue's gallery of ingeniously original professional killers and the people who control them, 100 Bullets slowly delivered as a long, intricate panoramic character-study of gargantuan magnitude; all of it building up to a thunderstorm of 30 final issues that culminates with a ruthless final issue and a truly unforgettable last full-page splash. Yes, those were the days.
As for Brother Lono? A quick, ultra-violent romp in Mexico, featuring an oddly tame Lono defending orphans from a brutish and bloodthirsty criminal cartel. Fun but not particularly memorable.
As for Brother Lono? A quick, ultra-violent romp in Mexico, featuring an oddly tame Lono defending orphans from a brutish and bloodthirsty criminal cartel. Fun but not particularly memorable.
March 9, 2019
I thought .Didn’t you? I guess not. There’s always another comic to sell. Right?
Right off the bat, I knew something was wrong. On the first page it says translated from the Mexican. Shouldn’t that be Spanish? Right? Read on.
So far, while staying true to the original ethos and their corresponding visuals (perhaps a little rounder and wider in application here) nothing approaching the gargantuan scope of its predecessor floors across the introduction. In fact, other than a dash of the garish (quite tepid in comparison to its predecessor’s analogue) things trot forward at nothing more than a mild jog.
And its this watered-down quality that truly matches the compression of character and worldview. No longer a struggle for the seat of a country’s power, the trade here is for something a little more banal, just narco shit to sum it up simply. And strangely enough, its our ferocious man beast Lono from the predecessor taking the drivers seat and in something of a repentant role. What?
After slaying untold men in Bullets, a complete lack of thematic bridges dumps our slayer into… a mission. Sans a transparent connection from the last, the growth and development of Lono is painfully non-existent. Akin to imagining that the Joker would suddenly have turned a new leaf after A Death in the Family – its that kind of bafflement. And while I have to give the creative team props for at least trying something new, Brother Lono feels akin to Jackson’s Hobbit following up to LOTR. From epic to kids story – the devolution of such is perfectly matched to bizarre decisions that are unexplained as they are bland.
Anyways, when the middle point is reached, you’ll probably start yawning (like I did). Not because its bad. Which its not by any means. But on the flip side, there’s nothing to write home about. When contrasted with its predecessor, even the most jaded anti-comic cynic would have (some) compliments for it. Saturated with filler here, its all just a bunch of hot air propelling something exquisite in its lackluster.
But thankfully the stale air builds up enough compression for a semi-stunning, no matter how flawed ending that at its very best merely hearkens back to the successes of yore. but anything along the lines of a stronger and more tethered conclusion is less born of a well thought out connections rather than various ancillaries merely getting bumped off along the way toward its inevitable telos.
In conclusion, Brother Lono is a sore disappointment. Just like its epic predecessor, it’s even more so held up by style than proper substance. In fact, with out its superb style (expertly developed before) it would have fallen flat from the get-go.Best Only propped up by its visuals, everything feels quite cardboardy under any purview by critical facilities.
Right off the bat, I knew something was wrong. On the first page it says translated from the Mexican. Shouldn’t that be Spanish? Right? Read on.
So far, while staying true to the original ethos and their corresponding visuals (perhaps a little rounder and wider in application here) nothing approaching the gargantuan scope of its predecessor floors across the introduction. In fact, other than a dash of the garish (quite tepid in comparison to its predecessor’s analogue) things trot forward at nothing more than a mild jog.
And its this watered-down quality that truly matches the compression of character and worldview. No longer a struggle for the seat of a country’s power, the trade here is for something a little more banal, just narco shit to sum it up simply. And strangely enough, its our ferocious man beast Lono from the predecessor taking the drivers seat and in something of a repentant role. What?
After slaying untold men in Bullets, a complete lack of thematic bridges dumps our slayer into… a mission. Sans a transparent connection from the last, the growth and development of Lono is painfully non-existent. Akin to imagining that the Joker would suddenly have turned a new leaf after A Death in the Family – its that kind of bafflement. And while I have to give the creative team props for at least trying something new, Brother Lono feels akin to Jackson’s Hobbit following up to LOTR. From epic to kids story – the devolution of such is perfectly matched to bizarre decisions that are unexplained as they are bland.
Anyways, when the middle point is reached, you’ll probably start yawning (like I did). Not because its bad. Which its not by any means. But on the flip side, there’s nothing to write home about. When contrasted with its predecessor, even the most jaded anti-comic cynic would have (some) compliments for it. Saturated with filler here, its all just a bunch of hot air propelling something exquisite in its lackluster.
But thankfully the stale air builds up enough compression for a semi-stunning, no matter how flawed ending that at its very best merely hearkens back to the successes of yore. but anything along the lines of a stronger and more tethered conclusion is less born of a well thought out connections rather than various ancillaries merely getting bumped off along the way toward its inevitable telos.
In conclusion, Brother Lono is a sore disappointment. Just like its epic predecessor, it’s even more so held up by style than proper substance. In fact, with out its superb style (expertly developed before) it would have fallen flat from the get-go.
May 4, 2014
Not the epic crime tale it's predecessor was, but it still managed to scratch my itch. Brother Lono picks up with one of the few individuals that managed to survive Azzarello's magnum opus "100 Bullets". Lono was a favorite of mine from that series so it's natural that I would enjoy Azzarello and Risso's follow-up. Lono's pilgrimage leads him south of the border in an attempt to find redemption for what has gone on before. Not for the faint of heart kids. Azzarello draws inspiration from the horrifically violent and all to real history of Mexican cartels and really amps up the brutality in this one. Not something that I have a problem with, but it will almost certainly offend the sensitive. Has a spaghetti western vibe with religious undertones that worked for me. Risso's artwork continues to impress and if your a fan of his previous work, you'll enjoy it. His unique use of perspective in his drawings is ridiculous. Gotta mention Dave Johnson's covers too. Sugar skulls, Nuns with guns, and stained glass. Wow. Love his stuff.
March 21, 2015
Brian Azzarello’s dialogue is some of the only dialogue that I don’t mind having to reread, if only because the payoff is usually worth the extra effort. Also, its inherent difficulty might be a sign of, like, real literary merit, right? All in all, when it comes to Azzarello's dialogue, it's kind of like David Mamet’s dialogue, you understand it better with experience. What’s more, when Azzarello’s scripts start getting a bit convoluted or overly dense Eduardo Risso’s art comes to the rescue, generously drawing out the story’s themes while helping you grasp the subtext in a more intuitive way. This reader appreciates it.
Indeed, coupled with Risso’s innocent but brutal touch (richly augmented by Trish Mulvihill's colors), Azzarello’s "100 Bullets" scripts are repelling yet seductive, knotty and deep, contrived yet truthful, ironic and tragic. There’s seemingly nothing coincidental in them. Every marginal detail ultimately matters or at least counts in these yarns, which inevitably come into focus in brutal resolutions that seem intent on making us all feel a little bit sadder but wiser, like some of Mamet's best crime films.
“100 Bullets: Brother Lono” is no exception. Preoccupied with the main series' distrust in God and fear of The Enemy Within, and with seemingly everything else in between, “Brother Lono” would be an almost seamless addition to that series if it weren’t for its unlikely premise, which plays almost like a What If: turns out that one of the original Minutemen is looking to form a partnership with God. Not just any Minuteman at that either, but the worst, most incorrigible of them of all—namely, Lono, aka “The Dog”.
When we first see Lono here he’s sleeping in a rickety Mexican prison in the town of Durango. This prison seems to be more of a sleazy, make-shift motel than a prison for the inmates, however, in that said inmates seem free to come and go as they please. Strangely, though, none of these inmates seems very eager to leave, including Lono, but they're forced to do so anyway by the powers that be. So what gives? Who is Lono working for? Drug cartels? Is he really a prisoner? What’s going on?
We soon learn that Lono is actually working for a local priest, of all people. Father Manny, who runs a mission that doubles as an orphanage on the outskirts of town, to be specific. Hence, the “Brother Lono” of the title. Lono tends to spend the night at the local prison because he doesn’t trust himself enough to set up residence at the mission (or around God). Following the bloody denouement of “100 Bullets”, which saw Lono get riddled with bullets Marv-From-Sin-City-Style, a bloody and dying Lono somehow ended up in said mission where he was taken in after deliriously confessing his sins to the aforementioned priest, who remains horrified by Lono’s confessions.
Nonetheless, Father Manny is as good of a man as he seems. A man who trusts in people. So much so that he has Lono running around like an errand boy. Conceptually speaking, Lono's situation here is sort of reminiscent of that of Michael Madsen's character Bud from “Kill Bill: Vol 2”, a once elite assassin for hire who is now a sad sack alcoholic reduced to performing penance one menial chore at a time.
As such, "Brother Lono" is sort of what would result if an entire movie had been dedicated solely to Bud but framed as a contemporary western co-written by Tarantino and David Webb Peoples. However, where Bud takes refuge in his dilapidated RV, Lono sleeps in a corrugated prison. Further, where Bud works as a stooge bouncer in a Texas strip bar, Lono works as a kind of pet errand boy in a Mexican Mission/orphanage. This being a Brian Azzarello book, however, the differences between these settings aren’t as great as you might think, because check this out:
Lono is soon dispatched by the priest to pick-up a smoking hot, red-headed nun freshly arrived from Africa or somewhere. Maybe it’s the thong and the skimpy Daisy Dukes, or those coquettish green eyes, but this missionary Sister June clearly doesn’t appear to be what she seems. I’ll be damned if Azzarello doesn’t manage to introduce a stacked, thong-wearing potential femme fatal into a religious orphanage setting. In the form of a nun, to boot. Azzarello it seems is daring us to assume the worst here, I think, in that Lono is on his best behavior.
Similar to Bud’s crass, retired alpha-assassin in “Kill Bill”, then, the preternaturally powerful and once demonic Lono infuses this unlikely tale of redemption with a bizarre, darkly comical tension that increases as the story unravels. Oh, and speaking of demons, while all of this is going on, a demonic drug enforcer named “Craneo” is murdering and torturing members of a rival drug gang (which seems to belong to a thinly disguised version of a very infamous, real-life Salvadoran gang) on behalf of a Mexican drug cartel; cryptically named “Las Torres Gemelas,” or the Twin Towers, this cartel is represented by one man, a dandified and smarmy Mexican kingpin who sports a mullet and who is referred to only as Cortez. He might be also be nuts.
Indeed, for some weird, cryptic reason having to do with orphaned twins, Cortez maintains a tense, philanthropic relationship on behalf of Las Torres Gemelas with Father Manny, who doesn’t take kindly to the latter’s monetary contributions to the orphanage. To make matters worse, more trouble arrives in the form of a venomous drug distributor from Chicago who hopes to goad Las Torres Gemelas into expanding its drug business in the States. Soon, a series of ironic, surprising, and often bizarre plot turns take place that will increase the tensions between Cortez and Father Manny whose mission will figure into events. Thus, as the inevitable confrontation between God and the Devil comes to a head, the real question becomes if brother Lono will end up getting caught in the crossfire or if everyone else will end up getting caught in his?
As Azzarello’s scripts tend to do, the storyline slowly, inevitably, sucks you in, seducing you with its unsettling themes, beautiful grotesques, bizarre subplots and marginalized characters who prove to be more pivotal to the story than previously expected, often tragically so. I savored this series, gladly going back to reread dizzying blocks of pun-filled dialogue and sometimes entire chapters.
They make it look easy, but something tells me that Azzarello and Risso go out of their way to deliver great, thought-provoking comics that will relentlessly kick your ass. This one definitely delivers. Beautiful nuns with guns, deformed babies in glass cases, tortured dogs, blind priests, demonic saviors, cartels and orphanages, it all comes together in the twisted ending. Although, by the second chapter I was already engrossed. A very worthy addition to “100 Bullets”.
Indeed, coupled with Risso’s innocent but brutal touch (richly augmented by Trish Mulvihill's colors), Azzarello’s "100 Bullets" scripts are repelling yet seductive, knotty and deep, contrived yet truthful, ironic and tragic. There’s seemingly nothing coincidental in them. Every marginal detail ultimately matters or at least counts in these yarns, which inevitably come into focus in brutal resolutions that seem intent on making us all feel a little bit sadder but wiser, like some of Mamet's best crime films.
“100 Bullets: Brother Lono” is no exception. Preoccupied with the main series' distrust in God and fear of The Enemy Within, and with seemingly everything else in between, “Brother Lono” would be an almost seamless addition to that series if it weren’t for its unlikely premise, which plays almost like a What If: turns out that one of the original Minutemen is looking to form a partnership with God. Not just any Minuteman at that either, but the worst, most incorrigible of them of all—namely, Lono, aka “The Dog”.
When we first see Lono here he’s sleeping in a rickety Mexican prison in the town of Durango. This prison seems to be more of a sleazy, make-shift motel than a prison for the inmates, however, in that said inmates seem free to come and go as they please. Strangely, though, none of these inmates seems very eager to leave, including Lono, but they're forced to do so anyway by the powers that be. So what gives? Who is Lono working for? Drug cartels? Is he really a prisoner? What’s going on?
We soon learn that Lono is actually working for a local priest, of all people. Father Manny, who runs a mission that doubles as an orphanage on the outskirts of town, to be specific. Hence, the “Brother Lono” of the title. Lono tends to spend the night at the local prison because he doesn’t trust himself enough to set up residence at the mission (or around God). Following the bloody denouement of “100 Bullets”, which saw Lono get riddled with bullets Marv-From-Sin-City-Style, a bloody and dying Lono somehow ended up in said mission where he was taken in after deliriously confessing his sins to the aforementioned priest, who remains horrified by Lono’s confessions.
Nonetheless, Father Manny is as good of a man as he seems. A man who trusts in people. So much so that he has Lono running around like an errand boy. Conceptually speaking, Lono's situation here is sort of reminiscent of that of Michael Madsen's character Bud from “Kill Bill: Vol 2”, a once elite assassin for hire who is now a sad sack alcoholic reduced to performing penance one menial chore at a time.
As such, "Brother Lono" is sort of what would result if an entire movie had been dedicated solely to Bud but framed as a contemporary western co-written by Tarantino and David Webb Peoples. However, where Bud takes refuge in his dilapidated RV, Lono sleeps in a corrugated prison. Further, where Bud works as a stooge bouncer in a Texas strip bar, Lono works as a kind of pet errand boy in a Mexican Mission/orphanage. This being a Brian Azzarello book, however, the differences between these settings aren’t as great as you might think, because check this out:
Lono is soon dispatched by the priest to pick-up a smoking hot, red-headed nun freshly arrived from Africa or somewhere. Maybe it’s the thong and the skimpy Daisy Dukes, or those coquettish green eyes, but this missionary Sister June clearly doesn’t appear to be what she seems. I’ll be damned if Azzarello doesn’t manage to introduce a stacked, thong-wearing potential femme fatal into a religious orphanage setting. In the form of a nun, to boot. Azzarello it seems is daring us to assume the worst here, I think, in that Lono is on his best behavior.
Similar to Bud’s crass, retired alpha-assassin in “Kill Bill”, then, the preternaturally powerful and once demonic Lono infuses this unlikely tale of redemption with a bizarre, darkly comical tension that increases as the story unravels. Oh, and speaking of demons, while all of this is going on, a demonic drug enforcer named “Craneo” is murdering and torturing members of a rival drug gang (which seems to belong to a thinly disguised version of a very infamous, real-life Salvadoran gang) on behalf of a Mexican drug cartel; cryptically named “Las Torres Gemelas,” or the Twin Towers, this cartel is represented by one man, a dandified and smarmy Mexican kingpin who sports a mullet and who is referred to only as Cortez. He might be also be nuts.
Indeed, for some weird, cryptic reason having to do with orphaned twins, Cortez maintains a tense, philanthropic relationship on behalf of Las Torres Gemelas with Father Manny, who doesn’t take kindly to the latter’s monetary contributions to the orphanage. To make matters worse, more trouble arrives in the form of a venomous drug distributor from Chicago who hopes to goad Las Torres Gemelas into expanding its drug business in the States. Soon, a series of ironic, surprising, and often bizarre plot turns take place that will increase the tensions between Cortez and Father Manny whose mission will figure into events. Thus, as the inevitable confrontation between God and the Devil comes to a head, the real question becomes if brother Lono will end up getting caught in the crossfire or if everyone else will end up getting caught in his?
As Azzarello’s scripts tend to do, the storyline slowly, inevitably, sucks you in, seducing you with its unsettling themes, beautiful grotesques, bizarre subplots and marginalized characters who prove to be more pivotal to the story than previously expected, often tragically so. I savored this series, gladly going back to reread dizzying blocks of pun-filled dialogue and sometimes entire chapters.
They make it look easy, but something tells me that Azzarello and Risso go out of their way to deliver great, thought-provoking comics that will relentlessly kick your ass. This one definitely delivers. Beautiful nuns with guns, deformed babies in glass cases, tortured dogs, blind priests, demonic saviors, cartels and orphanages, it all comes together in the twisted ending. Although, by the second chapter I was already engrossed. A very worthy addition to “100 Bullets”.
April 21, 2014
After saying farewell to 100 Bullets five years ago and being somewhat let down by its finale, it felt great to revisit the 100 Bullets universe again. Brother Lono is a standalone violent epic that delivers its story with Azzarello's classic noir panache. Teamed with Eduardo Risso's gritty artwork, Brother Lono does not disappoint. It is as if the series never ended and we are getting a brutal continuation of the events that took place in Miami in 2009.
Three years after the fall of the Trust, Lono stumbles into a Mexican church in Durango, near death. He confesses his sins, as he has many of them––being one of the series' most violent and brutal characters, this is believable––and is nursed back to health and good faith by the priest who runs an orphanage there. Now more of a saint than a cold blooded murderer, Lono chooses to be the better man, locking himself up in Mexican jails if the inner beast is getting too close to being unleashed, only to return to his holy work by day at the Mission.
Meanwhile, the DEA and the local cartel are interested in the vast expanse of land the Mission sits on, and the Twin Towers (Las Torres Gamelas) are going for a power grab, dispatching one of their most ruthless enforcers to silence the competition and gather information about the Mission and potential DEA threats.
These two storylines converge as Lono finds himself trapped between two sides, as well as his own inner urges that try to reawaken the savage beast he worked so hard to tame.
Being that Lono was a seemingly irredeemable character in the original 100 Bullets storyline, it was very interesting to find myself rooting for him to do the right thing. His calm demeanor is perfectly executed and his inner monologues present such duality that keep the reader enthralled and in the story's grasp. The content is very violent, plenty of cartel-style executions that juxtapose themselves with the peaceful innocence of the Mission that is attempting to do God's work in a hellish landscape. There are layered characters, both hero and villain, each with a story that draws even more intrigue into the mix. By the story's end, it will feel as if we had never left Azzarello's crimescape.
Three years after the fall of the Trust, Lono stumbles into a Mexican church in Durango, near death. He confesses his sins, as he has many of them––being one of the series' most violent and brutal characters, this is believable––and is nursed back to health and good faith by the priest who runs an orphanage there. Now more of a saint than a cold blooded murderer, Lono chooses to be the better man, locking himself up in Mexican jails if the inner beast is getting too close to being unleashed, only to return to his holy work by day at the Mission.
Meanwhile, the DEA and the local cartel are interested in the vast expanse of land the Mission sits on, and the Twin Towers (Las Torres Gamelas) are going for a power grab, dispatching one of their most ruthless enforcers to silence the competition and gather information about the Mission and potential DEA threats.
These two storylines converge as Lono finds himself trapped between two sides, as well as his own inner urges that try to reawaken the savage beast he worked so hard to tame.
Being that Lono was a seemingly irredeemable character in the original 100 Bullets storyline, it was very interesting to find myself rooting for him to do the right thing. His calm demeanor is perfectly executed and his inner monologues present such duality that keep the reader enthralled and in the story's grasp. The content is very violent, plenty of cartel-style executions that juxtapose themselves with the peaceful innocence of the Mission that is attempting to do God's work in a hellish landscape. There are layered characters, both hero and villain, each with a story that draws even more intrigue into the mix. By the story's end, it will feel as if we had never left Azzarello's crimescape.
February 25, 2024
Risso's artwork seems a big step up in the volume. To my eyes, he's blending the FM Sin City style with Richard Corben. Regardless it's clear he had more time to work on each page than the monthly 100 Bullets.
Lono seemed left for dead in 100 Bullets, but ends up in Mexico and decides to amend his ways and decides to live out his days as a member of a church. Of course things don't go to plan! There's a cartel nearby that get involved. A member of the church turns out to be an undercover DEA officer. Like most Azzarello comics I've read... the plot in this becomes complicated with so many moving pieces. What at first feels like it's going to be a simple Reformed Lono vs the drug Cartel story get bogged down.
Lono seems like a deranged Wolverine in this book. Brooding, deadly, and seemingly impossible to kill.
Lono seemed left for dead in 100 Bullets, but ends up in Mexico and decides to amend his ways and decides to live out his days as a member of a church. Of course things don't go to plan! There's a cartel nearby that get involved. A member of the church turns out to be an undercover DEA officer. Like most Azzarello comics I've read... the plot in this becomes complicated with so many moving pieces. What at first feels like it's going to be a simple Reformed Lono vs the drug Cartel story get bogged down.
Lono seems like a deranged Wolverine in this book. Brooding, deadly, and seemingly impossible to kill.
September 23, 2015
Redemptive tale in the tone of classic Westerns.
May 26, 2017
What a welcome return to form for Azzarello and Risso! Turns out I had no idea just how much I missed the 100 Bullets universe, and this one-off, self-contained sequel really reminded me of just how cool it can be.
After 100 issues of hard-boiled, viscerally violent noir, Azzarello and Risso make a slight left turn into Western territory with Brother Lono. This is a classic setup straight out of Unforgiven: a formerly demented murderer (Lono) has sworn off his old life, instead taking a vow of peace and living out his days in a Mexican church. Over the course of the series, as a drug cartel becomes increasingly brutal to the residents of the town, Lono's resolve is tested and he's gradually dragged closer to falling back into old (murdery) habits.
The thing that I think makes this work so well, though, is the context. When you watch a movie like Unforgiven, you're only seeing Clint Eastwood through the lens of the present. He's reformed and kind, and it's almost hard to believe he was every a cold-blooded killer. With Brother Lono, we have all the proof we need thanks to the entirety of 100 Bullets. In that series, Lono is a full-blown psychopath who essentially kills for pleasure. He has almost no redeeming qualities. So to see him reformed years later instantly builds tension. We know this dam is gonna break. It's just a matter of time.
Beyond Lono himself, Azzarello and Risso do a fabulous job building out the severity of the drug cartel in Mexico. The same mystique and slightly elevated reality of 100 Bullets finds its way into this small town, with some truly upsetting sequences and a subtle mystery playing out regarding who is actually running everything behind the scenes.
Overall, this is a great entry in the 100 Bullets canon, and a thrilling crime story to boot. I definitely recommend reading all of 100 Bullets before diving into this, though.
After 100 issues of hard-boiled, viscerally violent noir, Azzarello and Risso make a slight left turn into Western territory with Brother Lono. This is a classic setup straight out of Unforgiven: a formerly demented murderer (Lono) has sworn off his old life, instead taking a vow of peace and living out his days in a Mexican church. Over the course of the series, as a drug cartel becomes increasingly brutal to the residents of the town, Lono's resolve is tested and he's gradually dragged closer to falling back into old (murdery) habits.
The thing that I think makes this work so well, though, is the context. When you watch a movie like Unforgiven, you're only seeing Clint Eastwood through the lens of the present. He's reformed and kind, and it's almost hard to believe he was every a cold-blooded killer. With Brother Lono, we have all the proof we need thanks to the entirety of 100 Bullets. In that series, Lono is a full-blown psychopath who essentially kills for pleasure. He has almost no redeeming qualities. So to see him reformed years later instantly builds tension. We know this dam is gonna break. It's just a matter of time.
Beyond Lono himself, Azzarello and Risso do a fabulous job building out the severity of the drug cartel in Mexico. The same mystique and slightly elevated reality of 100 Bullets finds its way into this small town, with some truly upsetting sequences and a subtle mystery playing out regarding who is actually running everything behind the scenes.
Overall, this is a great entry in the 100 Bullets canon, and a thrilling crime story to boot. I definitely recommend reading all of 100 Bullets before diving into this, though.
October 6, 2019
I'm probably a decade away from reading 100 Bullets, but I still have faint memories of Brother Lono. This story doesn't depend on having much knowledge of the original series - all you need to know is that Lono is a powerful force for anyone he serves, and in this case it's an orphanage in Mexico. His story is one of a number, revolving around a Mexican gang, a DEA agent, a powerful torturer, and an American interested in expanding his drug empire. There are probably too many characters and stories, all of which interact but not necessarily directly. I found myself confused by some of the names and characters, although I still got the major plot. Lono has his moments, but Sister June seems more pivotal to the plot. This ends up almost a Mexican noir story, with no good guys and everyone turning their guns on each other. The art is gritty and often brutal, as is the story. It doesn't feel to me like it's a vital piece of the 100 Bullets story, but it's a decent addition to the line.
February 16, 2023
6.5/10
Después de haber disfrutado enormemente con la relectura de todo 100 Bullets, esta aventura de Lono en solitario ha resultado bastante decepcionante.
La verdad es que, aunque lo leí en su momento, no me acordaba de nada, lo que nunca es buena señal. Y ahora que lo he terminado de nuevo entiendo a qué se debía.
Si la despojas de brutalidas varias, es una historia de cárteles de la droga, "fronteriza" y violenta,muy normalita, vista unas cuantas veces en pelis de Schwarzenegger, Stallone o similares.
Lástima.
Después de haber disfrutado enormemente con la relectura de todo 100 Bullets, esta aventura de Lono en solitario ha resultado bastante decepcionante.
La verdad es que, aunque lo leí en su momento, no me acordaba de nada, lo que nunca es buena señal. Y ahora que lo he terminado de nuevo entiendo a qué se debía.
Si la despojas de brutalidas varias, es una historia de cárteles de la droga, "fronteriza" y violenta,muy normalita, vista unas cuantas veces en pelis de Schwarzenegger, Stallone o similares.
Lástima.
October 4, 2015
The most surprising thing about Brother Lono is that Azzarello and Risso do such a good job of replicating the 100 Bullets style. The weird side stories, the weird art, the noir feel, the good people caught up in the violence, it's all here.
Unfortunately, Azzarello doesn't do much with all this. He writes a nice enough story. It's got many of the elements that made 100 Bullets successful ... but much of the joy of 100 Bullets was in the larger story: the big cast, the conspiracies, the things slowly coming together, and you just can't have that in this little story of crime and revenge in Mexico.
However the worst flaw of this story is that it's so darned clichéd. Lono has made a life of peace and redemption in Mexico, following the climatic events of 100 Bullets. So, what do you think is going to happen at the end of the penultimate issue, after he stands strong for seven issues against the violence and tragedy invading his new life. Yep, it happens. Just like you'd expect.
Still, this is closer to 3.5 than 3 stars. It's a good enough story, just not a very memorable one.
Unfortunately, Azzarello doesn't do much with all this. He writes a nice enough story. It's got many of the elements that made 100 Bullets successful ... but much of the joy of 100 Bullets was in the larger story: the big cast, the conspiracies, the things slowly coming together, and you just can't have that in this little story of crime and revenge in Mexico.
However the worst flaw of this story is that it's so darned clichéd. Lono has made a life of peace and redemption in Mexico, following the climatic events of 100 Bullets. So, what do you think is going to happen at the end of the penultimate issue, after he stands strong for seven issues against the violence and tragedy invading his new life. Yep, it happens. Just like you'd expect.
Still, this is closer to 3.5 than 3 stars. It's a good enough story, just not a very memorable one.
March 10, 2015
Gratuitous violence in a story and setting that’s been done a million times before. I’ve read better, but then again, it could be much worse.
That said…
It’s very well written and illustrated with dynamic action and intriguing characters.
The plot moves along at a pretty quick pace that seems to skip steps and often required a look back at how we got to a particular point. It might just be me though.
There’s no need whatsoever to know a thing about the 100 Bullets storyline to enjoy what Brother Lono has to offer, so it’s good for someone looking for a quick read without having to commit to the entire series.
That said…
It’s very well written and illustrated with dynamic action and intriguing characters.
The plot moves along at a pretty quick pace that seems to skip steps and often required a look back at how we got to a particular point. It might just be me though.
There’s no need whatsoever to know a thing about the 100 Bullets storyline to enjoy what Brother Lono has to offer, so it’s good for someone looking for a quick read without having to commit to the entire series.
December 3, 2014
So...Vertigo never disappoints! Superlative outing and a fine addition to the 100 Bullets mythos.
Hardcore, dark and defiant. Brother Lono dares you to join his epiphany-in-progress and bluntly tells you to f off if the action is too bold to handle.
Hardcore, dark and defiant. Brother Lono dares you to join his epiphany-in-progress and bluntly tells you to f off if the action is too bold to handle.
August 20, 2014
Brian Azzarello - writer
Eduardo Risso - illustrator
Great follow-up to the amazing 100 Bullets SERIES by Azzarello and Risso. Classic slow-burn Mexican standoff starring the biggest, baddest minuteman of them all.
Highly recommended. 5/5
Eduardo Risso - illustrator
Great follow-up to the amazing 100 Bullets SERIES by Azzarello and Risso. Classic slow-burn Mexican standoff starring the biggest, baddest minuteman of them all.
Highly recommended. 5/5
October 5, 2014
3.5 stars. I got this because I enjoyed 100 Bullets so much. I wouldn't recommend this to anyone who hasn't read 100 Bullets first. Terrific artwork in this one. Decent story. Very violent and appropriately sick in parts. But that's Lono for you.
May 5, 2023
(Zero spoiler review) 3.5/5
First off, screw DC for not including this in the 100 Bullets omnibus volume 2. It was solicited. It was in the catalogue, it was listed, and then when the books finally arrived in peoples hands, ooops. DC doing what DC does best, disappoint and infuriate their customers. Whether this omission was down to incompetence or because someone thought they could extract some more cash for a deluxe edition from buyers somewhere down the line, I don't know. What I do know is, this was meant to be, and should have been included int he omnibus.
I saw the currently middling score for this book before reading it, hoping and praying that it wouldn't be accurate. 100 Bullets is one of my favourite Vertigo series, and one of the most consistently outstanding books across a very large run that I've ever read. I wanted this to be great. I needed this to be great. I needed this to be more of the 100 Bullets world I came to know and love. Unfortunately, it wasn't really any of those things. It certainly wasn't hot garbage by any means, but a minor graze to the nuts can hurt just as much as a rollicking hard kick.
This shouldn't have been a 100 Bullets book. Apart from featuring Lono, there is nothing else even remotely tying this to be world of 100 Bullets, apart from Eduardo Risso's iconic art, which if I'm being honest, maybe wasn't quite up to the level of the series proper. This really felt like a decent noir story, averagely told, that Azarello thought to slap a 100 Bullets logo on it, put Lono in their and sell more copies than an unknown IP would likely sell. I could be wrong, but that's what it felt like. This didn't even feel like Lono from the original series. I get they were going for the redemptive thing with him, but it all rang so hollow. No body is really the star of this book. It simply features a bunch of people doing things, and then it ends. The events are not terribly well paced. I really thought it was building to something pretty cool in the beginning, but it descends into some pretty generic action fodder two thirds of the way through, rendering a lot of the build up as fairly pointless filler in order to pad the length of the book. This easily could have been 6 issues instead of 8, and probably should have been. Especially if you just want to abandon interesting plot threads and go B movie action for the last bit. It really felt like Azarello was trying just a little bit too hard to push the boundaries in this one. It felt forced and unnatural, whereas the series itself came across more effortless and believable.
I've criticised this book quite a bit, but there still is plenty to like about this book, even if it does give off more than a whiff of unnecessary nostalgia. The prizefighter who fought on just that little too long. That last paycheck coming somewhat at the expense of their legacy. I love 100 Bullets so much, it both worked for and against this title. I can't wait for the day when I reread 100 Bullets, but despite it still being pretty decent, I can't imagine I will ever want or need to revisit this. 3.5/5
OmniBen.
First off, screw DC for not including this in the 100 Bullets omnibus volume 2. It was solicited. It was in the catalogue, it was listed, and then when the books finally arrived in peoples hands, ooops. DC doing what DC does best, disappoint and infuriate their customers. Whether this omission was down to incompetence or because someone thought they could extract some more cash for a deluxe edition from buyers somewhere down the line, I don't know. What I do know is, this was meant to be, and should have been included int he omnibus.
I saw the currently middling score for this book before reading it, hoping and praying that it wouldn't be accurate. 100 Bullets is one of my favourite Vertigo series, and one of the most consistently outstanding books across a very large run that I've ever read. I wanted this to be great. I needed this to be great. I needed this to be more of the 100 Bullets world I came to know and love. Unfortunately, it wasn't really any of those things. It certainly wasn't hot garbage by any means, but a minor graze to the nuts can hurt just as much as a rollicking hard kick.
This shouldn't have been a 100 Bullets book. Apart from featuring Lono, there is nothing else even remotely tying this to be world of 100 Bullets, apart from Eduardo Risso's iconic art, which if I'm being honest, maybe wasn't quite up to the level of the series proper. This really felt like a decent noir story, averagely told, that Azarello thought to slap a 100 Bullets logo on it, put Lono in their and sell more copies than an unknown IP would likely sell. I could be wrong, but that's what it felt like. This didn't even feel like Lono from the original series. I get they were going for the redemptive thing with him, but it all rang so hollow. No body is really the star of this book. It simply features a bunch of people doing things, and then it ends. The events are not terribly well paced. I really thought it was building to something pretty cool in the beginning, but it descends into some pretty generic action fodder two thirds of the way through, rendering a lot of the build up as fairly pointless filler in order to pad the length of the book. This easily could have been 6 issues instead of 8, and probably should have been. Especially if you just want to abandon interesting plot threads and go B movie action for the last bit. It really felt like Azarello was trying just a little bit too hard to push the boundaries in this one. It felt forced and unnatural, whereas the series itself came across more effortless and believable.
I've criticised this book quite a bit, but there still is plenty to like about this book, even if it does give off more than a whiff of unnecessary nostalgia. The prizefighter who fought on just that little too long. That last paycheck coming somewhat at the expense of their legacy. I love 100 Bullets so much, it both worked for and against this title. I can't wait for the day when I reread 100 Bullets, but despite it still being pretty decent, I can't imagine I will ever want or need to revisit this. 3.5/5
OmniBen.
December 30, 2019
Turns out you can't kill an enormous hard-arse that easily.
[image error]
I mean, we're talking about Lono here – assassin, arsehole and walking slab o' beef – so it shouldn't be surprising that he's still alive. He wasn't exactly comprehensively erased during the course of 100 Bullets, so it makes sense that his story didn't conclude in the dying issues of the series.
In Brother Lono, we discover that the human headbutt staggered into a small church in Durango, Mexico, bloodied and beaten. He gives the padre a shocking confession, and proceeds to spend a couple of years under vow: working for the church and attached orphanage, a dogsbody with fists the size of one's head, trying to forget his past, or at least work on why he should be.
Of course, being Lono, there's no way trouble can avoid him. And in a world of cartel cabals and gang-bangers who rule the roost with multiple murder, you know trouble's coming in a big way. Secret agents. Drug deals. Wife-fucking threats and a copious amount of blood.
Ultimately, despite Azzarello's gleeful exploration of the thug's fistic arts, there's an underpinning of questing to this work: to figure out why the world is who it is, and to figure out who deserves punishment – whether they receive it or not. Hubris looms large in the fates of several characters, and the idea of redemption is always by the ropes, goading on the leads as they work towards their ends.
Is it as good as the mainline 100 Bullets entries? That all depends on what you're looking for. If you're keen on backstabbing and devious planning, then that's here, sure. It's not as sophisticated as other Minutemen-heavy storylines, but it's present. Are you looking for intricacy, for a tangled web? Not so much. But if you're looking for some ridiculous violence, and a sense of Bad Dudes Getting What They Fucking Deserve?
Oh yes.
Enough time has passed since I finished reading 100 Bullets earlier this year for me to approach this book on its own merits. It's throwaway, sure, and certainly a little bit of fan-service, but fuck, who doesn't want to see the inhuman Lono crack heads? It's what he's for, after all.
(He's certainly a more interesting character to follow than some of the others in the series. Admit it: you know it's true.)
Get down in the dirt. You're already grubby if you've read this far.
[image error]
I mean, we're talking about Lono here – assassin, arsehole and walking slab o' beef – so it shouldn't be surprising that he's still alive. He wasn't exactly comprehensively erased during the course of 100 Bullets, so it makes sense that his story didn't conclude in the dying issues of the series.
In Brother Lono, we discover that the human headbutt staggered into a small church in Durango, Mexico, bloodied and beaten. He gives the padre a shocking confession, and proceeds to spend a couple of years under vow: working for the church and attached orphanage, a dogsbody with fists the size of one's head, trying to forget his past, or at least work on why he should be.
Of course, being Lono, there's no way trouble can avoid him. And in a world of cartel cabals and gang-bangers who rule the roost with multiple murder, you know trouble's coming in a big way. Secret agents. Drug deals. Wife-fucking threats and a copious amount of blood.
Ultimately, despite Azzarello's gleeful exploration of the thug's fistic arts, there's an underpinning of questing to this work: to figure out why the world is who it is, and to figure out who deserves punishment – whether they receive it or not. Hubris looms large in the fates of several characters, and the idea of redemption is always by the ropes, goading on the leads as they work towards their ends.
Is it as good as the mainline 100 Bullets entries? That all depends on what you're looking for. If you're keen on backstabbing and devious planning, then that's here, sure. It's not as sophisticated as other Minutemen-heavy storylines, but it's present. Are you looking for intricacy, for a tangled web? Not so much. But if you're looking for some ridiculous violence, and a sense of Bad Dudes Getting What They Fucking Deserve?
Oh yes.
Enough time has passed since I finished reading 100 Bullets earlier this year for me to approach this book on its own merits. It's throwaway, sure, and certainly a little bit of fan-service, but fuck, who doesn't want to see the inhuman Lono crack heads? It's what he's for, after all.
(He's certainly a more interesting character to follow than some of the others in the series. Admit it: you know it's true.)
Get down in the dirt. You're already grubby if you've read this far.
April 8, 2024
This is the first 100 Bullets installment—though, to be honest, it's 100 Bullets adjacent at best—that doesn't earn a 5-star from me.
The art is still up to the usual calibre, the colouring is glorious, and the writing is sharp and witty. Unfortunately, in this one, the story is a somewhat tired one that's been used time and time again. It doesn't help that Lono was never even close to my favourite character from the group that ran through the series. I always found him a bit more of a caricature than a character.
Still, we see Lono trying to, if not atone for his sins, at least leave them in his rearview. So, of course you know that resolve is going to be tested. I think, for me, the thing that was missing was the agonizing over falling back into that old lifestyle. If he really wanted to change, we should have seen more struggle at falling backward.
Just me, though.
Overall, a vicious yarn, and quite cinematic, but it didn't seem to hold the same crackle as the main series.
The art is still up to the usual calibre, the colouring is glorious, and the writing is sharp and witty. Unfortunately, in this one, the story is a somewhat tired one that's been used time and time again. It doesn't help that Lono was never even close to my favourite character from the group that ran through the series. I always found him a bit more of a caricature than a character.
Still, we see Lono trying to, if not atone for his sins, at least leave them in his rearview. So, of course you know that resolve is going to be tested. I think, for me, the thing that was missing was the agonizing over falling back into that old lifestyle. If he really wanted to change, we should have seen more struggle at falling backward.
Just me, though.
Overall, a vicious yarn, and quite cinematic, but it didn't seem to hold the same crackle as the main series.
September 25, 2018
Mixed feelings. I really don't like violent stories, but Brother Lobo gripped me and I couldn't get rid of it. So, I allowed it to carry me and now I smell the dirt and the blood mixed, a terrible stench of death in the deserts of Mexico. Drug cartels that destroy everything they touch, even from a distance.
Brother Lono was there, though, a wolf in sheep's clothing or a sheep in wolf's clothing? Is he waiting for right time to act and actually change something for the best, at least temporarily? I am glad Azzarello returns to tell a little more about him, a lonely man with a heart. We just don't know who controls it, God or the Devil.
Brother Lono was there, though, a wolf in sheep's clothing or a sheep in wolf's clothing? Is he waiting for right time to act and actually change something for the best, at least temporarily? I am glad Azzarello returns to tell a little more about him, a lonely man with a heart. We just don't know who controls it, God or the Devil.
September 12, 2021
вона сподобалася мені навіть більше за основний цикл, тому що вразиоа більше.
отже, спойлери: Лоно вижив і розка'явся, вирішив, що так більше не можна, але він не просто "став іншою людиною" - він щодня бореться з тим, ким він є за того, ким хоче бути.
аж тут справи стають дуже поганими і в нього є вибір - стати таким чудовиськом як він є, щоб "боротися зі злом його методами", ну або померті в всі помруть
і зауваження з останніх випусків, що бог задумав тебе саме таким і саме такий ти й поторібен, воно грає тисячею нових барв коли стосується саме Лоно. Досі про це думаю у вільний час
отже, спойлери: Лоно вижив і розка'явся, вирішив, що так більше не можна, але він не просто "став іншою людиною" - він щодня бореться з тим, ким він є за того, ким хоче бути.
аж тут справи стають дуже поганими і в нього є вибір - стати таким чудовиськом як він є, щоб "боротися зі злом його методами", ну або померті в всі помруть
і зауваження з останніх випусків, що бог задумав тебе саме таким і саме такий ти й поторібен, воно грає тисячею нових барв коли стосується саме Лоно. Досі про це думаю у вільний час
November 28, 2020
If you are already well into the world of 100 Bullets there are no surprises here. In that way this feature of Lono is a little disappointing. Really don't learn much more about him (but maybe there's not much to know). Nor does this story generate much in the way of sympathy for Lono's character. I found the dialogue confusing and difficult to follow at times. So I spent more time trying to figure shit out than being immersed in the story like I wanted. (heavy sigh)
December 21, 2016
Awesome side story about a main character from 100 Bullets by same Azzarello and Risso. If you loved Lono in mentioned series (even he's acting kind of villain) you'll love him more now when he becomes full of empathy.
Die hard at its finest to not spoil much and use the tag that I hate. Must read right after 100 Bullets.
Die hard at its finest to not spoil much and use the tag that I hate. Must read right after 100 Bullets.
September 15, 2020
Following a popular series years later is a difficult endeavor. This series does a great job of capturing the feel of 100 Bullets while still being different and new. Eduardo Risso's art captures the environment of a location so well, the atmosphere of different locales is always different.
April 15, 2024
pick this up at the local library, and..... i dunno, it's a overly told story with lots of murder, torture, blood, violence, maybe some scat. I have to ask why are we as humans so entertained with these ideas?
August 25, 2017
Ultra-violence, little character growth. Unnecessary continuation of 100 Bullets.
September 29, 2019
Reminiscent of Breaking Bad in terms of subject and quality.
June 17, 2020
I was happy to be back to the world of 100 Bullets. The story here is ticking all the right boxes.
January 17, 2021
Przewidywalna fabuła, ale znakomicie wykonana. I dobrze wrócić do jednego z ciekawszych bohaterów "100 Naboi". Mimo to fabuła jest samodzielna, nie trzeba znać tamtej poplątanej historii.
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