The historical drama forms a firm of foundation for the horror and the action of that which Sharp is rendering for the page.
All in Drama
The historical drama forms a firm of foundation for the horror and the action of that which Sharp is rendering for the page.
Tynion begins to bring a lot of elements together in the penultimate chapter of the series.
Johns certainly seems to be entering some very interesting territory.
The current state of war coverage echoes into shadows of the past in the latest Department of Truth.
A 1990s zine-like in the comic book with a hand-made feel.
Silvestri’s best work in the issue involves the conversation that Jackie has with the demons
Things get pretty brutal towards the end of the series.
Johns paint the script in broad strokes.
Birks follows the form and fashion of Lovecraft’s writing with a great sense of poise.
It's actually a very well balanced script.
The momentum of the action IS given a great amount of life.
The meeting between Optimus and Duke is handled with the kind of intensity that it really needs.
It’s always a pleasure to hang out with Felicia by way of G. Willow Wilson.
A staggeringly aggressive 9-page fight sequence
Ewing does an impressive job of juggling everything.
Howard and Tarr are a great match.
Bean manages a very sophisticated, little social satire.
Marguerite Bennett delivers one of the single best scripts she rendered for the series thus far.
It all hits the page quite dynamically.
Mora and Spicer have a hell of a lot of work to do with Kirkman’s script.