ASTRONAUT DOWN #2 hits your local comic book store July 6th, but thanks to AfterShock Comics, Monkeys Fighting Robots has an exclusive four-page preview for you.
About the issue: Inter-dimensional astronaut Douglas Spitzer has overshot his destination, and he’s now in a world that is both familiar and different. In his home world, a cellular cancer has destroyed 90% of the planet and the people along with it. But this new, parallel world cured it. And while the green sky and clean air is enough to deal with, there’s another reason Douglas is hesitant to complete his mission…love.
Meanwhile, mission control has to deal with the fallout from another failed launch and the rapidly encroaching cancer outside, all while trying to aid Douglas – who’s the only hope to save their dying world.
The series is by writer James Patrick and artist Rubine, with colors by Valentina Briški, and letters by Carlos M. Mangual. The cover is by Rubine.
Check out the ASTRONAUT DOWN #2 preview below:
Are you reading AfterShock’s ASTRONAUT DOWN? Sound off in the comments!
Love Everlasting is a series that thrives on repetition. Joan, our “lovelorn” protagonist, is stuck in an endless cycle of sappy romance stories. Every time she finally embraces the man she loves, she finds herself back at square one, in a completely different life with another sad sack trying to win her heart. Writer Tom King, artist Elsa Charretier, colorist Matt Hollingsworth, and letterer Clayton Cowles have given themselves a very difficult task: How do they tell the same story over and over, and still keep us interested? Love Everlasting #4 begins to answer that question in a surprising way.
Matias Bergara’s variant to LOVE EVERLASTING #1’s upcoming physical release through Image Comics.
Writing
King is making a point of showing that he’s taking his time with this series. He’s asking us to be patient, or even to feel Joan’s impatience, as he teases a story out of subtle clues and little nods. Yes, there’s an overall arc that’s being crafted, but the journey is more important than the answers to all of our questions. Love Everlasting #4 takes us right back to the beginning. We’re with Joan in a love story and there’s very little sense that there’s anything more to the issue than just that – it’s a love story. Period. Joan isn’t trying to escape, she isn’t fighting against the narrative beats and struggling for independence. She’s resigned to what’s happening.
If we didn’t know better, we’d even think that maybe she wasn’t the Joan we’ve come to know, or that this chapter somehow got shuffled into the wrong place of the series. But that’s the beauty of King’s slow moving storytelling. He trusts that the reader does know better. He trusts that he doesn’t have to tell us what’s going on in Joan’s mind for us to have an idea of it. Yes, we’re waiting for Joan to make a move, but we’re not thinking she’s back to being fooled by these love stories. She’s not just the passive character she appears to be. Yet, in spite of all of these factors, King still manages to make us feel something. He does away with the melodrama and the theatrics and tells a quiet, sad story of love during war. Every emotional beat lands despite the fact that we know it shouldn’t – that this is all some strange prison Joan is stuck in. We’re willing prisoners of this story, just like Joan.
Art
Charretier communicates so much through her placement of characters. The first scene we see, Joan and her new lover (Dane) are pictured amongst a group of people. Smoke clouds fill the room, all blown from the mouths of patrons, and we see men gathered around a table having a drunken good time. Joan and Dane are the main focus of a lot of these panels. But as the scene ends, they’re shown in the background. In the foreground, men share drinks and tell stories, but off in a quiet corner we see Joan and Dane having their own private moment. As the issue progresses, the bar becomes more and more empty. Fewer men are returning from battle with each passing month. But we still get panels of Joan and Dane off on their own. Whether we’re separated from them by happy bar patrons or simply by empty chairs and tables, they’re still given their own space. As readers we almost want to lean in to see them closer or even want to hear what they’re saying, just as they themselves lean their heads closer together and intimately whisper to each other. It’s a stunning use of character placement that actually makes the reader mimic what the characters are doing.
Coloring
Hollingsworth use of color is striking and immediately noticeable. The bar, itself, goes through multiple transformations. At first it’s cast in a deep blue light. When we next see it, the bar looks purple. It almost feels like a nightclub. The richness of the atmosphere is apparent. But when we see the bar again, it’s grey. Some of the life has been drained out of it. And the empty bar at the end of this story is shown in a pale yellow coloring. It feels as though life hasn’t just died in this locale, but it’s beginning to rot and turn. Dane is shown in dark green and you half expect him to keel over at any second. But all through the issue, even in the yellowing bar at the end of the story, we get moments of brightness. Hollingsworth uses the same shade of pink over and over. The first instance is Dane’s face as he’s watching Joan perform. He’s smitten and blushing. (It’s kind of lovely that this color signifies love from this moment on.) When she touches him, the backdrop of the panel is pink. When they embrace, there’s the same pink. It’s a beautiful representation of love surviving in the midst of such dreary realities.
Tula Lotay’s variant for LOVE EVERLASTING #1’s upcoming physical release through Image Comics.
Lettering
There’s plenty of variation to Cowles’ lettering. The dialogue of drunk men is shown in word balloon’s that have wobbly outlines. Joan’s singing is surrounded by colorful music notes. You can hear the silences in the large spaces between word balloons and you can feel the nervous energy in the dialogue that almost overlaps each other. When Dane returns to the bar, drunker than he’s ever been, he sings one of Joan’s songs. The wobbly word balloons make us fully aware of his inebriation, but the surprising thing is we still see the colorful music notes. Cowles does nothing to make the notes seem pale or twisted. They look just like when Joan sings. Cowles shows us that Dane might sound drunk, but there’s also charm to his singing. It’s another great example of this creative team’s quest to find beauty in strange places.
Verdict
Love Everlasting #4 pulls us right back to where we started. But by doing this, it shows us the nuances that have been hiding in the margins of these stories all along. And somehow, despite us knowing that these tales are all a part of Joan’s strange imprisonment, this creative team still manages to reel us in and make us care. In a series that parodies and lampoons, we still get issues like this that are unapologetically beautiful and raw. Love Everlasting #4 is available to paid subscribers of Everlasting Productions and will be available for free in the coming weeks.
Justin Madson’s nine-issue series BREATHERS, originally published by IT’S ALIVE!, will be collected for the first time by Dark Horse Comics (in collaboration with IT’S ALIVE!) and released in comic stores on February 22, 2023. The collection will also be released in bookstores on March 7, 2023.
About BREATHERS: Follow the lives of a small cast of survivors as they struggle to keep going in a world where the air is fatal. A detective battles not only the deadly air, but his own demons; a lost pair of siblings question the supposed apocalypse; a mother and daughter fight tooth and nail to stay together; and a salesman peddles breathing masks, trying to do some good to make up for the sins of his past. They are all survivors—they are all Breathers.
On the reprinting of BREATHERS, Madson said, “Long before the word ‘pandemic’ became a part of our daily conversation, I started work on BREATHERS, a story set in a world where the air was deadly to breathe, so everyone had to wear gas masks when they went outside. Wearing these “breathers” was an accepted part of life since, really, there was no other option. It seemed like a bit of a far-fetched idea at the time, but, as recent years have shown, I was not too far off. I am thrilled to be working with IT’S ALIVE! and Dark Horse to bring my dystopian tale, BREATHERS, to a wider audience.”
In 2019, writer Grant DeArmitt, reviewing for MFR, called BREATHERS “an indie comics masterpiece,” praising Madson’s art and his commitment to the world he created. You can read Grant’s full review of the series here.
The BREATHERS paperback is available for pre-order on Amazon, Barnes & Noble, and at your local comic shop and bookstore, and will retail for $29.99.
Did you read BREATHERS when it was originally published? Will you be picking up the paperback? Sound off in the comments!
The Justice League is no more. As fans of DC Comics, we enter into the Dark Crisis. There may not be a worse time in the DC Universe than right now. The pillars of the DC Universe are dead; who will step up and take charge in this time of need? Joshua Williamson is the architect for this series and the writer. Daniel Sampere lays down the pencils with colors by Alejandro Sanchez and letters by Tom Napolitano.
WRITING
There is a lot to unwrap this issue. Some of this issue deals with Jon Kent attempting to assemble his new Justice League. Williamson handles this part of the issue well. Jon isn’t Clark. His attempt to pull some strings doesn’t have the same weight that Clark has. He’s met with many no’s in his attempts to recruit heroes. Williamson paints a world for the reader where hope and faith are lost. Citizens hold signs saying the end is near. Villains are attacking non-stop. The world needs a new Justice League, and they need hope. This issue sets the tone for what we’ll see throughout the following seven issues. Williamson has laid down the groundwork. From here on out, it should be an action-packed thrill ride that brings new heroes to the forefront of the DC Universe.
ART
Sampere is absolutely on fire this issue. His pencils give us gorgeous panel after gorgeous panel. Action sequences are drawn crystal clear. Yara and Jon punching a demon together is beautiful. Sampere puts everything he has into this issue to make it the best possible book he can. This comes through on the page. No panel lacks quality. Even when multiple characters appear in small panels during the Justice League recruitment, Sampere makes everyone look amazing. The art in Dark Crisis #1 is flawless.
The colors by Sanchez go hand in hand with what Sampere lays down. Sanchez’s vibrant colors allow Sampere’s pencils to leap off the page. Jon visiting the statues erected for the fallen Justice League is colored wonderfully. Sanchez allows the backdrop to have the sun shining on the fallen heroes perfectly. When things turn grim, the backgrounds and colors get darker too. As villains descend on Titans Tower, the sky is dark, and Sanchez uses heavy blues on the page. This shift in color also represents a shift in the tone of the story. Earlier, Wally and Jon took care of low-level villains. The sky was bright, and things were easy. The colors get darker when the heavy hitters arrive and the fights get harder.
The letter work by Napolitano is effective. One of the best-lettered panels in the issue is when Booster Gold and Blue Beetle fist bump. Napolitano uses a “bros” placed right above their heads as they bump. The sound effects are incredible on this issue as well. As Batman chases a car full of criminals, gunshots “bang” fill the page. Insane laughter from the criminal outlines his face. Napolitano fills up pages with the little sound effects we all expect to see in comics. He makes them feel alive, and that makes a massive difference in this book.
Conclusion
Dark Crisis #1 is an excellent start to an exciting event. Williamson is a writer who crafts good stories and can do something great. You honestly can’t say enough about Daniel Sampere’s pencils on this issue. His work is as perfect as you can get in comics. Dark Crisis #1 is on sale at a comic shop near you!
From writer G. Willow Wilson (Ms. Marvel, Invisible Kingdom) and artist Marcio Takara (Incorruptible, Hellblazer) comes a twisted tale of woe, love lost, and parasitic fungi in Poison Ivy #1. Featuring colors by Arif Prianto and lettering from Hassan Otsmane-Elhaou, this opening chapter sends us on a road trip of plant-based death starring one of DC’s greatest villains. With a cutting, delightfully twisted script and staggeringly gorgeous art, this issue is a phenomenal start to this highly anticipated mini-series.
“Pamela Isley has been a lot of things in her life. A living god, a super-villain, an activist, a scientist, and dead. In a new body that she didn’t ask for and with a renewed sense of purpose, Ivy leaves Gotham and sets out to complete her greatest work-a gift to the world that will heal the damage dealt to it…by ending humanity.”
Writing & Plot
G. Willow Wilson crafts a hugely entertaining and emotionally complex script for Poison Ivy #1. There’s so much fun to be had here on the surface, but all the while our titular protagonist has hit rock bottom. This first chapter poses questions about what Ivy has gone through to send her on this lonely road trip of murder and apocalyptic intent. Wilson does a stellar job of having enough flashbacks and self-reflection to raise the emotional stakes, but keep the full story of whatever tragedy befell Ivy obscured for later issues. The event that occurred before this comic not only emotionally broke her, but also affected her powers. As such, she’s on a quest for world-ending vengeance that’s just as harmful to herself as it is everyone around her.
DC has been on a bend these last few years with trying to make Poison Ivy less of a villain and more like her misunderstood antihero lover, Harley Quinn. While this is all well and good, it is truly delightful in a twisted way to see the Queen of the Green wreaking absolute havoc once again – even if there’s so much sadness behind it. Wilson’s narrative voice and dialogue is snappy and brimming with attitude, making the already fun comic even more engrossing. The script maintains a steady, lighter tone while still having genuine emotional weight. This is a brilliantly written comic, and it makes the wait for the next chapter near-torturous.
Art Direction
Any DC comic that involves all the weird and wonderful things The Green can end up requires a true artistic talent. Fortunately, Marcio Takara is the visual mastermind behind Poison Ivy #1. As such, this comic is a mind-boggling joy to behold. Takara’s character animations and details pull readers right into the scene with Ivy and her poor victims. However, as great as his character work is, the best material is of course the plant shenanigans. Instead of the usual crawling vines and man-eating flowers usually found in an Ivy story, this one is full of poisonous fungi. Whereas there is a sort of demented beauty to Ivy’s prior powers, what Takara does in this issue borders more on outright body horror. The end result looks like concept art from Naughty Dog’s The Last Of Us games, and this is intended as a compliment. Ivy has never been this outright sadistic, and the physical torment she’s inflicting upon her victims matches her new mission. It’s impossible not to compare Takara’s work here to that of Stephen Bissette and John Totleben on Swamp Thing. The effects of Ivy’s fungi result is the victim having euphoric hallucinations as they die. The artistic result then is a surprising and rad joy to behold. Never has a comic presented Poison Ivy to be as monstrous as she is in these sequences.
The whole visual experience is brought together wonderfully by Arif Prianto’s colors. His work here paints the characters, settings, and fungal-death sequences in a soft yet vivid palette that leaves Takara’s pencils bleeding with life. The real-world sequences, which make up the majority of the comic, are of course stunning and alive with thoughtful detail. The way that Prianto makes a hometown bar in the middle of nowhere just look and so right is some truly brilliant work. The most notable highlight here though is obviously the hallucination sequences. Pages ooze with psychedelic colors all bleeding into one another in the background of the gore and body horror taking place. Prianto does incredible work with Takara in making stomach-churning horror appear oddly beautiful. The lettering from Hassan Otsmane-Elhaou is as fantastic as ever. He uses a very modern font style and injects it with a liquid, dynamic personality that morphs perfectly with the tone of each passage. Overall, this comic is a piece of high-fidelity visual mastery.
Verdict
Poison Ivy #1 is a deliciously snarky and wonderfully grotesque start to this solo series starring one of Batman’s coolest foes. G. Willow Wilson captures Ivy at her lowest and most enraged, with a complex script that manages to stay even-toned despite its breadth of emotional turmoil. The visuals from Marcio Takara and Arif Prianto are stunning and vivid, using a varied range of visual touches to create a comic that feels conventional at points then gives way to horror and psychedelia. This is an outstanding #1, so be sure to grab a copy when it hits shelves on June 7th!
MOON KNIGHT: BLACK, WHITE & BLOOD #2 hits your local comic book store on June 15th, but thanks to Marvel Comics, Monkeys Fighting Robots has an exclusive four-page preview for you!
About the issue: Another hard-hitting series of tales told in a limited palette of black, white and red, by today’s top creators! Benjamin Percy and Gerardo Zaffino have Moon Knight seek out an odd favor from Doctor Strange! Moon Knight’s four personalities come together to debrief the night’s events in a story by David Pepose and Leonardo Romero! And Marc Spector’s mercenary past comes back to haunt him in an adventure by Patch Zircher!
As stated in the solicit, the issue features stories by Benjamin Percy & Vanesa R. Del Ray; David Pepose, Leonardo Romero, & Chris Sotomayor; and Patch Zircher. Cory Petit letters the whole book, and the main cover is by Ryan Stegman, JP Mayer, & Carlos Lopez.
Check out the MOON KNIGHT: BLACK, WHITE & BLOOD #2 preview below:
Did you pick up the first issue of MOON KNIGHT: BLACK, WHITE & BLOOD? Sound off in the comments!
THE NAUGHTY LIST #3 hits your local comic book store June 29th, but thanks to AfterShock Comics, Monkeys Fighting Robots has an exclusive four-page preview for you.
About the issue: We pick up Santa Claus exactly where you’d expect to find him – in a beat pick-up truck, hundreds of feet in the air, heading to New York City to catch a killer. But before we get there, Nick debunks classic Christmas myths and shares the origin story of RoShamBo – the only known by-product of a troll-human coupling…and the SOB who probably stole the Naughty List.
The series is by writer Nick Santora and artist Lee Ferguson, with colors by Juancho!, and letters by Simon Bowland. The cover is by Francesco Francavilla.
Check out the THE NAUGHTY LIST #3 preview below:
Have you checked out THE NAUGHTY LIST from AfterShock? Sound off in the comments!
HEAVY METAL MAGAZINE #317 hits your local book store today, but Monkeys Fighting Robots has an exclusive five-page preview of WIREMONKEYS written and illustrated by Dan Schaffer. Wiremonkeys is a new high-octane, science fiction horror series with the dirtiest pair of mercenaries you’ll ever meet!
About HEAVY METAL MAGAZINE #317: The final of four interconnected covers by the master illustrator Kim Jung Gi, and a special Steve Aoki Neon Future cover by legendary artist Greg Hildebrandt. The continuing horror serial The Axe by Fall Out Boy’s lead guitarist Joe Trohman and writer/actor Brian Posehn with Deadpool artist Scott Koblish ramps up toward its multidimensional climax! A climactic chapter of Matthew Medney’s intergalactic saga Dark Wing with German Ponce is revealed! And much more!
In stores: June 8, 2023
ABOVE SNAKES #1 — out July 13th from Image Comics — is a thrilling, captivating entry into this world. It’s perfect for fans of westerns, tales of vengeance, and snarky, talking birds from across the netherplane. The series is by writer Sean Lewis, artist Hayden Sherman, and letterer Hassan Otsmane-Elhaou.
This is the story of Dirt, a man seeking vengeance against those who killed his wife while he was away at war. Accompanying Dirt is Speck, a golden vulture who wants to feed on the blood Dirt spills.
Now, a veteran wandering the west hunting for vengeance probably sounds familiar. It’s one of those concepts that’s been done — and done well — plenty of times before. It’s a winning formula, but Lewis, Sherman, and Otsmane-Elhaou take things further. ABOVE SNAKES is anything but old hat. This creative team leans into the tropes of the genre and plays with them in fresh, fun, and interesting ways.
Lewis gives you all the information you need to know about this story in the dialogue/narration of the first few pages. It’s a masterclass in efficiency, quickly introducing you to the world and setting the tone up top so that you can enjoy the ride. The same goes for Lewis’ characterization: through dialogue, we get an immediate sense of who Dirt and Speck are. We know their respective voices and personalities before either of them even enter a panel.
Dirt is the gunslinger you love to root for. He’s broken, cynical, and reluctant, but there’s something else there too. The reader can see more in Dirt, even if he can’t see it in himself. Coupled with Lewis’ snappy, direct dialogue, Sherman’s art cements Dirt’s character in your mind. The artist’s signature raw inks and colors reveal Dirt’s worn and tired face, but still the antihero stands tall. He’s a towering figure in this lawless and violent world.
Sherman’s whole world design for ABOVE SNAKES is first-rate. They’ve largely made their name drawing sci-fi, but damn it all if the artist wasn’t born to draw a western. The world of SNAKES is a barren and dirty place. Sherman’s mashing of fiery reds and soothing blues creates some real stand-out moments in the middle of this issue when the bullets start flying. Westerns are a staple of film history, and there is a true cinematic quality to the way Sherman frames and colors this issue.
Hassan Otsmane-Elhaou is one of the best letterers working today, so it should be no surprise that his work on ABOVE SNAKES stands out as a highlight of the book. From the sound effects, to the style of Speck’s dialogue, to the typewriter feel of the narration, the lettering is such a major part of what makes this book feel unique and special. There are little things, like building a word balloon into a character’s reflection in a knife, that just make you stop and appreciate the thought and care that was put into this comic.
Whether or not you traditionally like westerns, do yourself a favor and pick up ABOVE SNAKES #1 when it comes out July 13th. This is a comic from a creative team at the top of their game.
From acclaimed creators Ram V (These Savage Shores, Swamp Thing) and Christian Ward (Invisible Kingdom, Blood-Stained Teeth) comes a tale of the deep and its king like nothing you’ve seen before in Aquaman: Andromeda #1. Featuring letters from Aditya Bidikar, this DC Black Label chapter is a stunning and thought-provoking blend of scientific adventure, mythology, and philosophy. With a wickedly smart and thoughtful script coupled with medium-breaking visual work, Andromeda is one of the most refreshing releases from DC Comics in recent years.
“Deep in the Pacific Ocean, at the farthest possible distance from any land, sits Point Nemo: the spaceship graveyard. Since the dawn of the space race, the nations of the world have sent their crafts there on splashdown, to sink beneath the silent seas. But there is something…else at Point Nemo. A structure never made by man. And that structure seems to be…waking up.
The crew of the experimental submarine Andromeda, powered by a mysterious black-hole drive, have been chosen to investigate this mystery. But they aren’t the only ones pursuing it. Anything of value beneath the ocean is of value to the master pirate Black Manta…and anything that attracts Black Manta attracts Arthur Curry, his lifelong foe, the Aquaman! But heaven help them all when the doors of the mystery at Point Nemo swing wide to admit them in…”
Writing & Plot
Ram V is taking us under the sea and asking us to pay attention with his script for Aquaman: Andromeda #1. He throws notions of cosmic horror regarding the unknowns of the sea our way almost immediately, connecting this with the potential terrors out in the depths of space. He then tosses in discussions regarding the dual identities of Arthur Curry & Aquaman – a man of 2 worlds. These premises are guided by a plot that feels like an amalgamation of Jules Verne, Lovecraft, and a take on DC’s king of the sea we’ve never seen before. Note that this is a Black Label comic, so this book isn’t limited by the underpinnings of the DC universe proper. As such, Ram has made an Aquaman story in a world where he is an unknown figure, and humanity has not yet met alien life. As such, this issue is a first contact story on two fronts. Like a mix of 10,000 Leagues Under The Sea and James Cameron’s The Abyss, this comic mixes wonder and terror in a carefully cultivated manner, while still having time to also be a book with DC heroes and villains.
If you’ve read Ram V’s works, you should know that he’s a writer that asks a bit more from his audience. He tends to use narrative anecdotes that offer a thematic window into the kind of ground his writing will cover. Andromeda is very much the same, with characters’ internal narration and some conversations having deep thematic significance that will carry weight through the rest of the series. Crew members meditate on their past experiences with the ocean and with death. Arthur Curry contemplates his dual nature as man and god-king of the sea. These sequences in the script are fascinating and in some ways poetic, deepening the comic’s presence between the more brass-tacks plot events. This is not your typical mainstream superhero comic. This is a chapter that asks its readers to pay attention so the text and subtext, so as to glean as much from what the story is doing as possible. If you aren’t the type to like their comics dense and wordy (in the best possible way), this won’t be for you. However, if you’re willing to take the narrative journey Ram is offering here – and it is indeed a journey – I think you’ll find it most fulfilling.
Art Direction
So much of what makes this comic such a unique trip into uncharted waters is Christian Ward’s visual work. The unique blend of aquatic wonder and cosmic horror is brought to life in striking detail by Ward’s painted art style. Every one of his sequences feel carefully planned, with every kind of moment being memorable and thoughtfully presented. Those quiet conversations and meditative moments come off as both intimate and vast thanks to how Ward presents those scenes. Close ups on characters get the audience a better view of their perspective, before Ward changes the scale and focus to remind us just how small these people are. This works in perfect tandem with the words Ram is writing and, on the whole, makes for some of the best writer & artist synergy that can be observed in the medium. The big plot moments feel properly grandiose and terrifyingly thrilling. Ward’s design for Aquaman’s armor here is fantastically alien in an almost classical way. It combines the hostile and mysterious unknown of the deep with Curry’s traditional suit. I’d be curious to see what specific moments in the comic were Ward interpreting Ram’s script, and which were parts just added in by the artist on a whim.
Ward’s use of his sort of watercolor painted approach creates a further depth to the comic’s atmosphere. The ocean is a murky combination of blues and greens, its bottom intentionally unclear. The scenes within the Andromeda and during dreams/flashbacks are dominated by hazy light and atmosphere that makes every moment feel cold and lonesome. There’s a sense of inconsistency in Ward’s character detail that, while it may rub some the wrong way, feels totally intentional. The way Ward crafts his colors to make specific details intentionally hard to parse is what lends credence to that theory. The lettering from Aditya Bidikar is as stellar as one would expect from one of the best in the industry. His work here perfectly captures conversation with dynamic fonts that alter ever so slightly with the tone. His lettering for Verne’s narration/journaling is done in a standard Word doc. style font, and this separates itself from the in-story dialogue nicely. Overall, Andromeda is a deeply atmospheric and complex use of visual storytelling in a comic.
Verdict
Aquaman: Andromeda #1 is a beautiful and tension-filled mix of horror and wonder. Ram V starts this Black Label series off by presenting an Aquaman story for both complete newcomers and longtime fans, focusing on ideas of legend and the unknown instead of super heroics. Christian Ward’s visuals are deep, gorgeous, and complex, crafting an experience that works in perfect synergy with the contemplative cosmic horror script Ram has made. Do yourself a favor and pick up this issue when it hits shelves on June 7th!
