K.L.Murphy Comic Reviews

Tramps of the Apocalypse is nothing short of hilarious and insightful. Every time I read through these three issues, I find something new to laugh at.

Darrow displays an excellent sense of depth and composition in her work, and the character designs are delightfully funny. The limited color palette accentuates the lively pacing while allowing the eyes to linger on bold lines, and the lettering flows nicely with the comic. No joke was left untold in this issue. I look forward to reading more.

The art in the fight scene between Baby and Belladonna flows particularly well.

The storytelling, pacing, coloring, and lettering are consistently on point in this series. The opening double splash pages are a stand out. These are masterfully composed pages that contain an embedded narrative that flows from corner to corner in a way that propels the story forward visually and provides excellently placed foreshadowing. This splash section is just one example of how the Remender, Azaceta, Lopes, and Wooten are firing on all six as a team.

Now that the carnival has broken into their house twice in one day, it seems like things are heating up while Spring is losing her chance to keep her sisters safe. I can’t wait to find out what happens in the next issue.

The coordination between the artist, colorist, and letterer is on point. Azaceta, Lopes, and Wooton are tightly coordinated. Just as in issue one, the pacing is quick, the story is delightful, and the artwork and colors make me want to linger.

Caitlyn Yarsky manages to tell a mountain-sized story in a bite-sized portion, and Clayton Cowles’ lettering is well suited to the job.

This team works together with a maturity that leaves me eager to see issue two.

Writer Justin Jordan and artist Chris Shehan interplay well and keep the pacing steady in this slow-burn horror. I’m left wondering about the strange things that happen in Briar Falls. What happened to Harley’s wife? And who cursed him? How many people will he murder? And will he make it?

The coordination of this creative team is firing on all six cylinders.

Cowles’ lettering is clean and clear, balanced and consistent. It is always clear which character is talking. Even on pages with a lot of back-and-forth dialogue, the word balloons and tails are clean and uncluttered and complement the artwork. For example, as Felix becomes more and more drunk throughout Jerome’s work shift, Felix’s balloons become more stylized in accordance. The lettering is carefully crafted to the context on each page, and the stylizations throughout fit the artwork like a glove.