Bryan Hill has dropped a lethal wild card smack dab in the middle of 'Postal' who unlike the rest of the shady citizens in town, Molly has no interest in keeping a low profile or blending in. Despite her innocent look she has an unflinching thirst for blood. 'Postal' has been an eerie, sometimes shocking, tale of crime and corruption. It's also been malleable enough to switch gears and incorporate new characters with ease. This latest visitor is already making an impact albeit a negative one.
Hill embraces his pulp-style with crisp, almost rhythmic, dialogue. Scenes between characters are tension-filled as artists Isaac Goodhart and Betsy Gonia frame them soaked in shadows allowing enough light to expose an evil smirk or a damning glance.
Hill sets up the story with the precision of a prize fighter. He constantly jabs us with nuggets of information, an unrepentant Molly, a protective Maggie, a clear-eyed Mark and surprisingly a mayor with second thoughts about being the custodian of such a cesspool of a town. It all leads to something. Once Hill finishes tenderizing your kidneys he goes for the money shot, an uppercut you only thought saw coming and realized it way too late. By the end of 'Postal' #10 you're dazed, angry, gasping for air, while you writhe in pain on the floor.
'Postal' continues to surprise and evolve as a pulpy crime drama with engaging characters and a premise that promises anything can happen. With the arrival of Molly, a town of criminals in hiding has itself a new villain. Hill and company keep getting better and better. Although, I may never forgive Hill for that violent cliff hanger. I don't know we'll see until next month. Make sure 'Postal' is on your pull-list to see what happens next.