Tag Archives: emma rios

Small Press Expo Announces Julie Doucet, Emma Ríos, Max de Radiguès, Liv Strömquist, Jérémie Royer, Fiona Smyth, and Kelly Kwang

Small Press Expo has announced more International Guests for SPX 2018. The festival takes place on Saturday and Sunday, September 15-16, at the Bethesda North Marriott Hotel & Conference Center and will have over 650 creators, 280 exhibitor tables and 22 programming slots to introduce attendees to the amazing world of independent and small press comics. Additional Special Guests will be announced shortly.

SPX 2018 is honored to have the following creators as International Special Guests to this year’s show:

Julie Doucet

Julie Doucet was born near Montreal in 1965 and is best known for her frank, funny, and sometimes shocking comic book series Dirty Plotte, which changed the landscape of alternative cartooning. In the 1990s, Doucet moved between New York, Seattle, Berlin, and Montreal, publishing the graphic novels My New York Diary, Lift Your Leg, My Fish is Dead!, My Most Secret Desire, and The Madame Paul Affair. In 2000, she quit comics to concentrate on other art forms. From these experiments emerged the collection of engravings and prints Long Time Relationship; her one-year visual journal, 365 Days; and sassy collages from fumetto comics, Carpet Sweeper Tales. Her post-comics artwork includes silkscreened artist’s books, text-based collages, sculpture, and animation films.

Julie Doucet arrived in comics in the 1990s as a fully formed cartoonist. The Complete Dirty Plotte collects the revolutionary and medium-defining comics of a legendary cartoonist.

Emma Ríos

Emma Ríos is a cartoonist based in Spain. She shifted her focus to a mix of both architecture and work with small press publishers until she started working on comics full-time in 2007. Having worked for BOOM! Studios and for Marvel Entertainment (Doctor Strange, Amazing Spider-man), she returned to creator-owned comics in 2013, thanks to Image Comics; where she recently published I.D., a solo graphic novel. She currently co-creates Pretty Deadly with Kelly Sue DeConnick and Mirror with Hwei Lim.

Max de Radiguès

Max de Radiguès (b. 1982) is a cartoonist from Belgium who also runs the publishing house L’Employé du Moi. His previous work has been translated in English by Conundrum and One Percent Press. His books in English include Moose, Weegee (with Wauter Mannaert), and Bastard. He lives in Brussels.

In his Fantagraphics debut, Bastard traces the deadly escape of May and Eugene as they crisscross the United States, encountering mysterious truckers, ambitious bandits, and senior citizens living off the grid in the Southwest. Both bloody and tender, de Radiguès focuses on the familial relationship as much as the exhilarating plot elements, and his clear-lined style adds depth to the brutality as well as the moments of maternal love.

Liv Strömquist

Liv Strömquist was born in Sweden and lives in Malmö. She is a radio host with a degree in political science. An activist, her left-leaning, award-winning comics have been published in zines and magazines. Her feminist graphic novel Fruit of Knowledge has sold 40,000 copies in Sweden and has since been published worldwide.

From Adam and Eve to pussy hats, people have punished, praised, pathologized, and politicized vulvas, vaginas, clitorises, and menstruation. In her feminist graphic novel, Fruit of Knowledge, Swedish cartoonist Liv Strömquist calls out how genitalia-obsessed men have stigmatized women’s bodies, denied their sexuality, created a dubious gender binary, and much more. Her biting, informed commentary explores history and taboos from the darkest chapters (the Salem witch trials) to the lightest (when menstrual blood was used as a love potion).

Jérémie Royer

Jérémie Royer is a French illustrator and designer. He grew up in Nice surrounded by the sea and the mountains. After studying art there for 2 years, he specialised in comic book art and illustration at the École Supérieure des Arts Saint-Luc in Brussels and is now based in Brussels.

Audubon, On the Wings of the World by Fabien Grolleau and Jérémie Royer is about John James Audubon’s epic ornithological quest across America, with nothing but his artist’s materials, an assistant, a gun and an all-consuming passion for birds.

Fiona Smyth

Fiona Smyth is a Toronto based painter, educator, illustrator, and cartoonist. Her feminist artwork has exhibited internationally. Fiona collaborated with writer and sex educator Cory Silverberg on the kids’ series What Makes A Baby in 2013, and Sex Is A Funny Word in 2015, published by Seven Stories Press.

Somnambulance collects a career in comics from 1983-2017 by a joyous, feminist contemporary of Julie Doucet, Seth and Chester Brown. A comics collection by Canadian cartoonist, painter, and illustrator Fiona Smyth. Over thirty years of comics that feature Fiona’s world of sexy ladies, precocious girls, and vindictive goddesses is revealed in all its feminist glory. This is recommended reading for sleepwalkers on a female planet.

Kelly Kwang

Kelly Kwang is an illustrator and cartoonist who spends half her time in Toronto and the other half on the net. She is the proud founder of the Space Youth Cadets, and the (also proud) co-founder and lead artist of a budding games studio known as Gloam Collective.

Her current project, don’t tell me not to worry, i’ll worry all i want will be published by Czap Books this coming year.

Mirror Embarks on New Story Arc This Wednesday

The intensely collaborative creative team of Emma Ríos and Hwei Lim will launch a new story arc in their ongoing fantasy series Mirror this March.

Mirror #6 steps a half a century back from the events of the first arc. Fifty years before the human colony on Irzah took its first stumbling steps, in the utopian dreamlands of Synchronia, a young artist woke something—something that had long slept in ancient stone ruins.

Mirror #6 (Diamond code: JAN170710) arrives in stores Wednesday, March 15th.

If/Then: If You Liked Hidden Figures Then Check Out These Comics!

When it comes to suggesting comics for individuals to check out, it’s often good to start with what they like in other media like television, movies, books, or video games. Enter If/Then, where we’ll throw out suggestions for you to check out! First up, the film Hidden Figures which opens in wide release this coming weekend!

Hidden Figures is the incredible untold story of Katherine G. Johnson (Taraji P. Henson), Dorothy Vaughan (Octavia Spencer) and Mary Jackson (Janelle Monáe)-brilliant African-American women working at NASA, who served as the brains behind one of the greatest operations in history: the launch of astronaut John Glenn into orbit, a stunning achievement that restored the nation’s confidence, turned around the Space Race, and galvanized the world. The visionary trio crossed all gender and race lines to inspire generations to dream big.

If you enjoyed the film, or interested by the subject matter, here’s five comics for you to check out and why!


marchMarch – The celebrated and award-winning graphic novel by Congressman John Lewis, Andrew Aydin, and Nate Powell recounts Cong. Lewis’ experiences during the Civil Rights Movement. A first-hand account of pivotal history brought to life through graphic art, the graphic novels consist of three volumes taking you through the turbulent times and delivering an educational and emotional read.

Each volume seems to improve on the next not just taking you through history, but is presented in such a fashion that’ll leave you speechless as you ride through the emotional roller coaster within.

This is a prime example of the power of comics and graphic novels in helping preserve and teach history.

Buy it Now! Digitally Vol. 1 Vol. 2 Vol. 3 | Physical


shechangedcomics-1CBLDF Presents: She Changed Comics – If you want to learn some history about women in comics, check out CBLDF Presents: She Changed Comics which was put together by the Comic Book Legal Defense Fund.

She Changed Comics is the definitive history of the women who changed free expression in comics, with profiles of more than 60 groundbreaking female professionals and interviews with the women who are changing today’s medium, including Raina Telgemeier, Noelle Stevenson, G. Willow Wilson, and more! She Changed Comics also examines the plights of women imprisoned and threatened for making comics and explores the work of women whose work is being banned here in the United States.

The Comic Book Legal Defense Fund has also put together a web page as a resource where you can find out more about women in the comic book history.

Buy it Now! Digitally Digitally | Physical


the_unstoppable_wasp__1The Unstoppable Wasp #1 – A superhero comic might feel like an odd choice for this one, but hear me out as to why. Written by Jeremy Whitley with art by Elsa Charretier, the comic features the newest Wasp, Nadia Pym, as she attempts to find her way in the superhero world.

What makes this comic make the list is the focus on STEM, women in science, and smashing the patriarchy. The comic has Nadia finding her role and throws it out there that until recently the Marvel Universe was dominated by men (and mostly white men) until recently and it’s time to get some women recognized when it comes to the smartest people in the Marvel Universe.

What’s also great is each issue will feature real women who work in STEM fields in real life through a Q&A. The comic not only entertains but also hopefully will encourage more women to enter this world for a career.

Read our review and our ten reasons to get the first issue.

Buy it Now! Digitally Digitally | Physical Physical


cmpursuitcoverCaptain Marvel Vol. 1: In Pursuit of Flight – Ace pilot. Legendary Avenger. One hundred percent pure bad-^&*. Carol Danvers has a new name, a new mission – and all the power she needs to make her own life a living hell. As the new Captain Marvel, Carol is forging from a challenge from her past! It’s a firefight in the sky as the Banshee Squadron debut – but who are the Prowlers, and where has Carol seen them before? And how does secret NASA training program Mercury 13 fit in? Witness Captain Marvel in blazing battlefield action that just may change the course of history! Avengers Time Travel Protocols: engage!

Written by Kelly Sue Deconnick with art by Dexter Soy and Emma Rios, the story is fun action, but also explores the little known history of the women who attempted to join the Apollo program.

Buy it Now! Digitally | Physical


laika_bookcover1Laika – Laika was the abandoned puppy destined to become Earth’s first space traveler. This is her journey.

Nick Abadzis masterfully blends fiction and fact in the intertwined stories of three compelling lives. Along with Laika, there is Korolev, once a political prisoner, now a driven engineer at the top of the Soviet space program, and Yelena, the lab technician responsible for Laika’s health and life. This intense triangle is rendered with the pitch-perfect emotionality of classics like Because of Winn Dixie, Shiloh, and Old Yeller.

Abadzis gives life to a pivotal moment in modern history, casting light on the hidden moments of deep humanity behind history.

While the graphic novel isn’t perfect when it comes to the history it’s a great introduction to this part of history of space flight and great for kids who may be interested in learning about it and being entertained.

Buy it Now! Digitally | Physical


What did we miss in our suggestions? What would you suggest? Add yours in the comments!

 

 

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Preview: Hexed: The Harlot and The Thief Vol. 3 TP

Hexed: The Harlot and The Thief Vol. 3 TP

Publisher: BOOM! Studios
Writer: Michael Alan Nelson
Artist: Dan Mora
Cover Artist: Emma Rios
Price: $16.99

Series conclusion! Following the shocking death in Volume 2, Lucifer has become the Keeper of Secrets and sets out to kill Madam Cymbaline once and for all. Raina and Bob aren’t going to give up on Lucifer’s humanity, though, and set out to save her with help from the most unexpected source—the now-human Harlot. Collects issues #9-12.

Hexed_HarlotAndThief_v3_TP_cover

Review: Pretty Deadly #10

PrettyDeadly_10-1A young man dies. A war ends. The moon waxes full. And where does it all land? Well, it turns out that this ending is neither good nor bad. It just is.

Pretty Deadly #10 opens with Ginny at war with herself after being run through by Fear and War. Bones Bunny narrates to Butterfly as she comes to, watching from a distance in The World Garden. War does not keep Ginny down for long though. He just makes her angry.

Where the past couple of issues of Pretty Deadly have been all about action, this issue is about resolution. About necessary ends and times of peace. It’s easily the most emotional issue of the series so far, especially when we return to Verine and Clara by Sarah’s bedside. While it won’t last forever, the way Kelly Sue Deconnick writes this time of peace is moving and serene in a strange way. Like this is a well earned rest at the end of a hard road.

Emma Ríos and Jordie Bellaire knock it out of the park on art again, this time with less focus on brutality and more on ghostly images. The way the human reapers are drawn, dark and celestial against the soft moonlight or daylight of the trenches, is especially stark and lovely. Not as much though as when the Reaper of Courage stands with Fear and Grace to deliver Sarah to The World Garden as the sun rises. That might just be the most beautiful scene yet.

At the end of the book, Deconnick talks about how one must embrace their fear in order to be brave, and that seems like the overall arc of this particular story. It especially comes through in this issue, with the extra nail being a young nurse declaring “God bless the cowards” as she recovers the bodies of our fallen heroes. Pretty Deadly has always been a book about facing fears, but #10 is a reminder that courage does not exist without fear and to have the former, you must embrace the latter.

Between the beautiful art and the bittersweetly serene story, Pretty Deadly #10 is a masterful conclusion to a brutal and emotional arc. This final chapter of “The Bear” shows just how far the story has come and evolved, how the story has come to stand on it’s own in individual issues, and makes me even more excited for where the story will go when we meet up with Clara in the early days of Hollywood in the third arc.

Story: Kelly Sue Deconnick Art: Emma Ríos and Jordie Bellaire
Story: 9.0 Art: 10 Overall: 9.5 Recommendation: Buy

Image Comics provided Graphic Policy with a FREE copy for review

‘I.D.’ is a wonderfully composed tale regarding identity

ID2Emma Rios is one of the most talented creators out there that has proven her worth at both the writing (Mirror) and illustrating (Pretty Deadly) side of the comic book world. In I.D., Rios handles both the words and art, confidently presenting a story that is thought provoking and emotional with a respectable amount of research put into it; due in additional thanks to Medical Doctor Miguel Alberte Woodward whom writes a back essay to add more into the reality of the topic at hand. I.D. is about three individuals, Noa, Charlotte and Mike, whom apply for an experimental procedure in which your brain, mental capacity and self are maintained as you are placed within a different body. Through the five chapters, originally printed in Island Magazine, the three characters discuss and question their own motives towards making this process a reality.

What immediately jumps out in terms of the visual style of the comic is Rios’s use of a contrasting palette of warm, glowing, hues of red. As much as the story digs a little bit into questions regarding the binaries of gender, whether it is intentional or not, using red instead of playing with black and white, creates a sort of neutral space for the words and images to breath out from. Rios consistently does a great job at creating a tone and atmosphere that is melancholic but also slightly unnerving and tense at the same time. Whether it’s the rain dropping outside the coffee shop where Noa, Charlotte and Mike discuss their reasons into wanting a new body or inside the apartment of Charlotte, Rios puts purpose behind the easy flow of pages. She sketches out wider, detailed frames to settle in on the three characters, utilizing the space to capture their unified journey, and closer, sometimes round panels to focus in on particular sections of dialogue or pointing at the various body parts (eyes, mouths, ears, noses, etc.) as if these are partly what makes each of them insecure.

“Well, it’s obvious none of us feel very proud of who we are.”

“I disagree. Hating your body, or your life, doesn’t mean you hate yourself.”

ID3These quotes are taken from a statement made by Mike, commented back by Charlotte. Questions of having pride in yourself can change on a day to day basis. When the pride of realizing that your true self is inside you but not reflective of your physical self cannot possibly be put into the proper amount of words unless someone identifies directly with wanting to or having gone through a physical transition or an acceptance of ones true self. And, what Charlotte responds with is something that she appears to take on as an attribute to her reasoning into wanting to make this body transplant. She is a writer and is the most cryptic into her reasoning. She continues to make remarks that appear to reveal her own insecurities regarding the nature of the transformation: “Being unhappy with what we are, or have, may sound frivolous but is inherently human. There’s nothing to be ashamed of. It’s our restlessness.” Restlessness may be the wrong way (or perhaps right way) to describe feeling trapped in a false vessel but what these statements made by Charlotte reinforce is the strength in which Rios writes these characters as three-dimensional human beings who are far from perfect, and that is totally okay.

The fact that all three are, for the most part, sure that their true selves are not reflected on the outside is perhaps the most truly felt from Noa. She plain and simply admits that she is a man. She is upset at being weak and how her metabolism won’t allow her to be the man she really wants to be. After storming off from a heated discussion within the coffee shop, she barges into the women’s bathroom; Rios leaves a single panel to focus on the symbol on the bathroom door. These signs and symbols for gender pervade society and tend to ignore other identities that aren’t considered ‘traditional’ or a ‘patriarchal norm’. Rios doesn’t dig too deep into this conversation but her imagery and dialogue does point towards this consistently relevant topic of how and where identity can be influenced.

Another moment that shares Noa’s confidence in making the transition is when her and Mike begin questioning Charlotte’s motives towards the body transplant. The conversation goes like this:

ID4Mike: “I wonder if just being bored, or lonely, is enough to do this…”

Noa: “It’s better than suicide.”

Mike: “Perhaps…didn’t think of it that way.”

Noa: “I did.”

This establishes not only the unfortunate conclusion that many come to when it comes to people questioning their identities (as a mental illness) and Noa having gone through a potential slew of mental battles, but most importantly that Mike didn’t think of the alternative as being suicide. It is a sad realization that this thought carries over to our own reality. It’s this thought, or lack of, that doesn’t get through to people. Sometimes the mental battles become too much; whether it is the shame imposed by others, the mere costs to transition, or the hypnotizing by various institutions, these are but a few of a fair list that many individuals can come up against. What Rios really captures here is the sense of unity and togetherness from three albeit different personalities with three different reasons that confide in each other to solidify what matters most: the confidence in accepting who they really are.

This wonderfully well-crafted story by Emma Rios is also notable for its taking place during a demonstration that takes place outside one of the comic’s settings. Its presence is felt through a select few frames showing outside the coffee shop but at one moment (minor spoilers) the physical fight that takes place between a few of the demonstrators and police gets brought inside. The police threaten Noa, Mike and Charlotte, physically assaulting the three. However, instead of cowering away or witnessing one of the characters run away, the three, together, fight back and manage to escape to live another day. This moment really encapsulates a strong theme in I.D. in that what may appear as a mental, individual battle on the inside, is something that can be shared and understood to strengthen ones identity. Many battles are lost but the war is won as a collective. Just look at the support that went on behind the LGBTQ community recently through the hashtag #QueerSelfLove that trended on Twitter. As much as I.D. provides more of a futuristic setting to body transitions, there is also a comfort being addressed in finding a way to love yourself just the way you are. Judging by the phenomenal response to #QueerSelfLove, love will reign over hate.

Written and Illustrated: Emma Rios
Technical Assistance and Back Essay: Alberte Woodward MD
Flat Assists: Roque Romero
Story: 9.5 Art: 9.5 Overall: 9.5 Recommendation: Buy

Image Comics provided Graphic Policy with a FREE copy for review.

Preview: Irredeemable Premier Edition Vol. 2 HC

Irredeemable Premier Edition Vol. 2 HC

Publisher: BOOM! Studios
Writer: Mark Waid
Artists: Peter Krause, Diego Barreto, Paul Azaceta, Emma Rios, Howard Chaykin
Cover Artist: Designed by Michelle Ankley
Price: $29.99

We continue with collecting one of our most popular and critically acclaimed series, Irredeemable, into oversized, deluxe hardcovers. This volume collects issues #9-15 as well as the Irredeemable Special #1. The members of Paradigm continue their search for Modeus, The Plutonian’s nemesis, who they think may have the key to stopping the former superhero. But new players enter into the fray, some who may stand to gain with the destruction of The Plutonian. An apocalyptic superhero tale by the author of Empire and multiple Eisner Award winner Kingdom Come, Mark Waid! Includes the special issue featuring art from Paul Azaceta, Emma Rios, and Howard Chaykin.

Irredeemable_Premier_v2_HC_cover

I.D. to hit Paperback this June

Emma Ríos will release her dystopian tale I.D. in trade paperback this June.

I.D. analyzes the conflict between perception and identity through the struggle of three people who consider a “body transplant” as a solution to their lives.

I.D. TP (ISBN 978-1-63215-782-9) hits comic book stores Wednesday, June 22nd and bookstores Tuesday, June 28, and will be available for $9.99.

I.D.

Review: Pretty Deadly #9

PrettyDeadly_09-1Pretty Deadly #9 picks up where the previous issue left off with the same question on everyone’s tongue. “Good luck? Bad luck?”

Cyrus is dead, with dear Melvin and Theo not far behind, for that is the way of war. Alice faces off with Johnny Coyote and Ginny’s battle with the Reaper of War doesn’t seem to be going in her favor. In fact, it seems as if none of our reapers except War might make it out of this alive.

Emma Ríos and Jordie Bellaire stand out in this issue once again as the atmosphere takes a more grey tone as the action begins to die down on the battlefield. The red of War is still overwhelming and Bellaire does an amazing job in immersing the world in his color, but also finding subtle ways to tone it down from the last issue, mixing it in with grey and white as the revelation of the nature of the Reaper of War comes to light. The most striking part of this issue though is how Ríos uses the eastern tiger swallowtail butterflies that make up Big Alice to frame panels, and how even a mass of butterflies feels so incredibly detailed. That, and the way Bones Bunny and Butterfly act as shadow puppets in the beginning of the issue as Bunny retells the story of The Lucky Farner.

This issue in pace seems to move a lot faster than the issues before it. I’m not certain if it’s because of the story beats Kelly Sue Deconnick hits in this issue or because there’s a lot less battlefield movement this time, but it seems that #9 is zipping along to the inevitable conclusions of #10. It doesn’t mean that there still isn’t weight behind the actions though, especially when Cyrus’s soul confronts Fear right in the face, or as Alice and Ginny face their own mortality. It just seems like the story isn’t content to rest there too long. As it shouldn’t, since there’s still one issue left to finish the story.

Have our heroes hit a string of bad luck? Or has everything that happened here been a blessing in disguise? It’s hard to say now, but the penultimate issue of Pretty Deadly’s second arc doesn’t rest long to answer the question, but rather chooses to let the action play out. Whether fortune or folly, it’s all set up to go down here.

Story: Kelly Sue Deconnick Art: Emma Ríos and Jordie Bellaire
Story: 7.5 Art: 9.0 Overall: 8.25 Recommendation: Read

Image Comics provided Graphic Policy with a FREE copy for review

Review: Pretty Deadly #8

PrettyDeadly_08-1“The needs of the bear are not the same as the needs of a bee.”

This quote from Bones Bunny opens Pretty Deadly #8 as he and Butterfly watch a bear steal from a hive in the world garden. Not only does it inform the issue as a whole, but what the arc has been working towards as well. When you see the Reaper of War, it’s not hard to imagine why this giant imposing figure of blood red mist is the bear to Sissy’s figurative network of bees.

As the focus shifts to the battlefield, it ends up being one of Pretty Deadly’s most brutal issues yet. With a sickening color palette of green and red courtesy of Jordie Bellaire, the violence in the trenches grows as Ginny and Alice watch War, a reaper with no face that feeds off of fear and “will consume all that remains” once that is gone.

War is probably one of the most terrifying designs that Emma Ríos has come up with. A rider on a giant red horse, he seems to be created of tendrils taken from the spirits of these men, shaping himself into the rough approximation of a man. When Ginny confronts him and we see his form for the first time, I felt ill looking at his “face.” It’s more like veins bundled together into a shape. This is also building a bit more of the lore of Pretty Deadly. If there are reapers out there who are less human looking than Ginny and Alice, just what kind of shapes do they take?

This issue blends the battlefield with the world of War in mind-bending ways. These kind of concepts often sit on a razor’s edge, easily falling into incomprehensible if one is not careful. However, Kelly Sue Deconnick and Ríos handle it gracefully as the issue ebbs and flows between those two worlds. The backmatter of this issue goes into just the kind of process the two go through to make that balance work, specifically focused on the scene where Alice is talking to Cyrus as his commander barks orders at him. Ginny and Alice are essentially ghosts to everyone else in this issue and striking that balance was essential. It feels morbid to say “how the sausage gets made” in an issue with multiple headshots, dismemberments and blood splashes, but it’s a definite read if you’re interested in the behind the scenes stuff in comics.

Speaking of those headshots and dismemberments, the way Pretty Deadly handles that extreme amount of violence is something I haven’t seen done in comics or most media for that matter. It’s extreme, but it has weight. It isn’t there to build up how gritty and dark the story is, but to show the reality of World War I. It’s senseless, but in the way war is senseless. This isn’t violence to be excited about, it is disgusting and cruel. The way the team of Deconnick, Ríos and Bellaire work in tandem to show this is part of why Pretty Deadly works so well as a book.

Much like the midpoint of the first arc, the buildup and the climax of this particular part of the arc revolves around a story, this time one Molly Raven tells Johnny Coyote as the walk the battlefield to find Cyrus. As French and American soldiers alike accept their death on a soil that grows Frenchmen, Molly tells the tale of the Lucky Farmer, which echoes through the battlefield. The construction of this scene both in writing and art is lovely and heart-wrenching as the tension builds further towards the final page. The matching of a more Chinese style of art and coloring with the dark and dingy settings of the western front is disconcerting, but it blends well as it rides into the last page, which might just be the darkest page of all. If everything up to that final declaration of “Good luck, bad luck, I don’t know” was like the climb on a roller coaster, that last page is the split second before the drop off, where the world goes silent, the breath escapes your lungs and your body prepares for the drop.

And of course, the moon is full. Time is up in more ways than one in this part of the story, but it’s a question now of how everything will land. The first instinct is to think “not well,” but perhaps we as readers can take a lesson from The Lucky Farmer. Is this all good or bad? I don’t know.

Story: Kelly Sue Deconnick Art: Emma Ríos and Jordie Bellaire
Story: 10 Art: 10 Overall: 10 Recommendation:  Buy

Image Comics provided Graphic Policy with a FREE copy for review

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