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Road to Perdition (1998) - OGN SC
"Road to Perdition"
Paradox Press (DC Comics)


Change this cover
or add a variant
  Writer(s):
Max Allan Collins

Penciller(s):
Richard Piers Rayner

Inker(s):
Richard Piers Rayner

Colorist(s):
(Story is monochromatic)

Letterer(s):
Bob Lappan

Editor(s):
Andrew Helfer

Cover Artist(s):
Richard Piers Rayner
 

Rating (out of 10):
9.4
from 7 votes

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Cover Date: September 1998
Cover Price: US $13.95

Issue Tagline: None.

Format: Black & White; Original Graphic Novel; 296 pages

There are other versions of this issue in the database:
Road to Perdition (1998) OGN SC 2011 Edition
Road to Perdition (1998) OGN SC First Edition - Second Printing
Road to Perdition (1998) OGN SC Movie Edition
Road to Perdition (1998) OGN SC Third Edition

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Synopsis:
It's the story of Michael O'Sullivan, a feared and religiously inclined mob hit man who's brutally betrayed-and the fierce vengeance he wreaks. It's 1930 and O'Sullivan works for the Looneys, an Irish mob family with a stranglehold on the politics and businesses of a small Midwestern city. Curious about his dad's mysterious "job," Michael Jr. stows away in his car to see what he does for a living. He inadvertently witnesses his father and one of the Looneys murder a crooked cop and his partners. Fearing what the kid saw, the Looneys set the O'Sullivans up to be killed. They murder O'Sullivan's wife and younger son, leaving him stunned but determined to have his revenge. The Looneys go into hiding, and O'Sullivan and son set out to find them, encountering the celebrities of gangland Chicago along the way.

Reprinted/Collected in:
Les Sentiers de la Perdition (2002) #1
Les Sentiers de la Perdition (2002) #1 (2011 Edition)
Road To Perdition (2002) nn
Road to Perdition - Matkalla Perditioniin (2002) OGN SC

Notes:
Originally published as a single-volume graphic novel in 1998, this is the comics work upon which the Tom Hanks movie is based. Collins writes a good gangster yarn based on historical personalities and full of crisp dialogue, violent action and brooding overtones of religious redemption. But O'Sullivan is essentially a superhero in a fedora, and his ability to kill an overwhelming number of adversaries with nary a scratch to show for it is a bit ridiculous. Though Rayner's b&w drawings can be static, they are precisely rendered with strikingly delineated faces. Like movie posters, his drawings capture the action with a combination of slick draftsmanship and the bleak and shadowy forms of cinematic noir.

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Angel Of Death
Eliot Ness
  Frank Nitti

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