His soul is escorted to the next world by a crow; but when a spirit is unhappy there because of unsettled business on earth, sometimes the crow will bring him back again.
That’s about all there is to the story. Flashbacks recreate the original murder, and then Eric, led by the crow, treks through the mean, rainy, midnight streets on his lonely quest. He has fashioned for himself some death-head makeup, and since he is already dead, of course bullets cannot harm him.
The camera swoops high above the city, or dips low for extreme-angle shots. Shadows cast fearsome daggers into the light. Buildings are exaggerated in their details, the comic books were not simply drawn versions of film noir; for one thing, the films tended to use their extreme-angle shots for atmosphere and storytelling, and would hold them for a time, while comics are meant to be read quickly, and give the equivalent of cinematic quick-cutting. The Crow, with its fast pace and countless camera set-ups, evokes comics excellently. It also reflects a bleak modern sensibility. The actors are adapted in appearance to this graphic noir vision.