The book centers around the two supernatural workers meeting at the titular pub, getting drinks and smoking cigars. They take a trip "downtown" because the angel wants to see a death metal show, a kind of music the demon despises. There are also lengthy interludes with Lucifer, aka Samael, for whom the demon wrote his latest speech. Upon meeting the "boss", the demon notes this, only to have Samael deny this. The scenes in hell are hilarious, as they are not unlike living in the worst parts of New York City, with a shitty roommate, terrible bartenders and surly convenience store proprietors. Dunston does a great job getting at each character's underlying sadness: the demon just wants his work recognized, while the angel is angry with religion in general. Dunston does an especially impressive job with getting to the root of Lucifer's sadness by way of both flashbacks and the final scene in the book. It emphasizes that this book is really about love that's been betrayed, and Dunston indicates that because Michael (the eventual warrior angel who would best Lucifer) didn't have a purpose before Lucifer's betrayal, he knew all along that Lucifer would betray him. It's an awful trick, even as one can sense that God was not happy to have to do this while still completely emphasizing with Lucifer that he was being replaced. The book also emphasizes the public self and the private self, and how those two frequently don't line up.
The problem with the book is Dunston's art. The slick style that's similar to much webcomic-style genre art looks flat-out ugly in the greyscaled black-and-white art. Compare that to the cover's vivid colors that fully inhabit the thick, rubbery line. On the page itself, the characters simply don't have the same life. While I'm not crazy about this sort of computer-drawn art in the first place, it seems obvious that this style needs color to be effective. Hopefully, a future edition of the book will be able to correct this.