It’s an okay issue, which–for Cinema Purgatorio–usually means there’s something lacking.
First, Alan Moore and Kevin O’Neill’s feature is the history of Felix the Cat “creator” Pat Sullivan, who was a scumbag both professionally and personally. O’Neill does a fine job on the art, but Moore’s script feels like he’s just hitting various details.
Garth Ennis has a similar problem with Code Pru. There’s a long setup involving ghosts for a full page visual gag payoff. Fine art from Raulo Caceres; there’s just no depth.
Gabriel Andrade takes over the art on More Perfect Union. He does all right, though he’s a little too fixated on human character design and not enough on giant ant action. Though the Max Brooks script doesn’t really offer any good giant ant action, just boring giant ant action.
And Modded is a lot less annoying than usual, maybe because Kieron Gillen’s script goes for brevity. Nahuel Lopez’s art is awesome.
Finally, The Vast. Boring, poorly paced, but with excellent art from Andrade. Very different from his Union art; he puts time into Vast. The other was a rush. The Christos Gage script is all right, I suppose, just disposable.
When Cinema Purgatorio doesn’t have a great Moore and O’Neill feature, the whole issue feels a little too rote.
Cinema Purgatorio, And the Blackness Moved; writer, Alan Moore; artist, Kevin O’Neill. Code Pru, Somethin’ Weird, an’ It Don’t Look Good; writer, Garth Ennis; artist, Raulo Caceres. A More Perfect Union; writer, Max Brooks; artist, Gabriel Andrade. Modded; writer, Kieron Gillen; artist, Nahuel Lopez. The Vast; writer, Christos Gage; artist, Andrade. Letterer, Kurt Hathaway; publisher, Avatar Press.