You don’t knock over a bookie joint at 10:35 in the morning without an inflated sense of confidence and that’s exactly what characters are nursing at the start of Oni Press’ Angel City #4.
Alarmed by how Gino’s new partnership with Bugsy Siegel is influencing his enforcement practices, Dolores gets a wake-up call when her remarks inspire him to voice his agitation over her recent preoccupations. Secretly taking up the murder case of her former bestie, Frances Faye, has been distracting. Dolores may have thought Gino hadn’t noticed, but in mistaking his silence for blindness, loses her cushy, inside position by his side.
But here’s what I love about Dolores, as Janet Harvey has written her. Dolores may have been suppressing her better nature when we met her in issue one but it wasn’t because of greed or temptation for the material heights Gino could bankroll. She’d given up. Sitting in a diner booth with Joe after the break-up, tears aren’t shed over Gino’s lost favor. Table cloths aren’t lamented. It’s telling Joe about the work she did for Gino, and the nature of their relationship, that’s got her nervous. Frances was the hopeful one. In searching for Frances’ killer, Dolores isn’t regaining hope but she is remembering what’s important shouldn’t be compromised.
Megan Levens’ art remains cinematic. No photograph memories or movie set visits this time, but there are plenty of classic, mobster moments to absorb. Colored by Nick Filardi, economy really hit home with details like the dress Dolores wears to meet Gino and Joe changing shades of purple. In the opulence of the club, with its red danger accents, the dress takes on a more saturated hue, but when she’s with a friend who bothers to call her “Dolores” and not “Dollface” or “Baby,” the lavender lightens.
Reporter, Aggie Underwood, is the focus of a cliffhanger and the comic’s True Hollywood story this week. A small change in time frame between the two accounts makes a difference, and I wonder why the comic made the alteration. In real life the offer on the table seems out of Aggie’s hands. In the comic, it’s an immediate choice and if Aggie makes the one that matches her namesake, it’s going to be quite the blow to Dolores.
The close-up on Aggie’s legs during her weighted walk up the newsroom stairs isn’t sexual but works as a reminder that, in her skirt and heels, Aggie is both a door opener and an outsider. Dolores once said she’d rather be an honest criminal than a crooked cop. What about a bribed reporter?