Vecchio’s art engages in some interesting dramatic renderings.
Vecchio’s art engages in some interesting dramatic renderings.
There’s a delicate balance.
Ayala is using some very clever narrative techniques.
Williamson is able to show a true darkness in the villains.
McFarlane is telling a pretty simple supernatural drama.
Slow and soulful thoughts … mix in with over the top combat brutality.
Schultz is doing a really good job of rendering her own little corner of everything.
Loveridge has a lot going on.
The finer points of what is going on here are kind of lost.
Cafaro delivers a very moody sort of action to the page.
Adams firmly establishes everything that’s going on in Arthur’s life.
Schultz does a very sharp job of putting it all together.
Fiffe is exploring the darker end of human emotion.
Sorressa and Atlansky manage a remarkably tight rendering of the script.
Orellana narrows the focus of the second issue to just and only the relationship between Sara and Max.
Craig manages just the right mount of dialogue.
Ashley Allen cleverly constructs a very sharp progression.
Foxe seems to have a solid handle on how it is that these things work.
Sarraseca has a good eye for layout.
Grønbekk moves through the darkness of dueling energies with a clever eye.