FOREVER EVIL #2

Writer: Geoff Johns
Artist: David Finch
Publisher: DC Comics
Reviewer: Optimous Douche

This will be a quick review, folks, because not a lot of words are needed to convey the central themes of FOREVER EVIL 2. Honestly, I only need two: carnage and Bizarro.

I’m not slighting the issue by any means. Watching the world get razed is a glorious treat, especially under Finch’s deft hand. There’s simply not a lot in this issue that begs to be analyzed. The Crime Syndicate is still doing their business to make Earth Prime a mirror darkly more akin to Earth 3. Luthor is still on the lam, but now has his secret undercooked clone that was teased in BIZARRO #1 a few weeks ago. The Titans make a move on the fallen Justice League watchtower with some disastrous results, and finally, Batman returns from his Syndicate-imposed exile with some very grave news…and what looks like a carburetor. All right, maybe some explanation is in order after all.

First and foremost, FOREVER EVIL #2 crystalizes Villains Month beyond the obvious cash grab. Many criticized that the stories didn’t have any weight or impact on the overarching event since a majority of the titles were origin in nature. I felt this way about BIZARRO. “What the hell does this have to do with the event?” was all I could mutter. Now, it seems that each villain will have their moment to shine in the title; we just need to have a little fan patience. I was never a fan of Bizarro’s prior iteration. The backwards speak felt hackneyed and was frankly just outright confusing after a while. When looked at beyond the words uttered, the old Bizarro made no fucking sense. Thankfully, he is now just a half-baked clone taken out of the lab five years too early. Biz-boy gurgles, mutters and shuffles behind Luthor following his every whim as Lex prepares his first volley against the Syndicate. Perfect.

So it seems that all was not lost on Villains Month; it drew in a few new readers and actually looks as though it will tie into FOREVER EVIL, and not completely tangentially either.

As for the rest of the issue, Johns keeps it all at a brisk pace. We learn a little bit more about the politics of the Crime Syndicate, like Super Woman and Owl Man’s love child, Evil Flash and Atomica’s creepy love and the bromance between skeletal Deathstorm and Power Ring. Frankly, I want more, though. I consider it a huge loss the only dalliance with the Crime Syndicate in FOREVER EVIL was SECRET SOCIETY #1. For anyone who never read EARTH 2 by Morrison, this lack of insight into motivation is a huge blind spot that needs to be course corrected in issue 3.

I also want a bit less jumping around. After a bit, it’s easy to get desensitized to even the most revered landmarks being burned, destroyed and otherwise defiled. The white noise effect is hard to ignore after about the fifth pile of rubble in the middle of the city. Again, nothing bad here; just my personal preference for the slow burn Johns versus the wham, bam, thank you ma’am.

The Titans battle was spectacular, as was the way Evil Flash took the team out of the equation. Using some speed force “science,” Baby Flash Bart along with the rest of the team are going back to whence he came.

I’m enjoying FOREVER EVIL; its Michael Bay level destruction is the stuff of pure fluff, but it’s fun to watch, as is the Machiavellian back-stabbing within the Syndicate itself. Hell, the heroes might not even need to come back--simply let the dark souls of these characters devour themselves from within. I also appreciate FOREVER EVIL for the huge crater it will inevitably leave in this shiny new universe. Crime Syndicate is delivering the ass whooping Darkseid simply could not. The only thing I need now is a bit more insight into the Crime Syndicate as people--I would love for the next issue or a side book to address their lives prior to Pandora skullfucking Earth Prime.

Optimous Douche has successfully blackmailed BottleImp to draw purty pictures for his graphic novel AVERAGE JOE coming out in 2013 from COM.X. When not on Ain’t It Cool, Optimous can be found talking comics and marketing on robpatey.com and just marketing on MaaS360.com.

RAT QUEENS #1

Writer: Kurtis Wiebe
Artist: Roc Upchurch
Publisher: Image Comics
Reviewed by Humphrey Lee

I listen to enough comedian-hosted podcasts to have had the basic gist of “Comedy is hard” fed to me enough to come to think of it as fact. Hell, I know of its truthiness because I try and crack enough jokes here and probably have a 90% failure ratio running for me. Thankfully, no one pays me here to be funny… or at all… shit (see what I mean, folks?). Funny time in comic books seems like an ever harder task to take on because of the nature of the format: you don’t have sound or motion to let tone or exaggerated movements carry the joke or moment--you’ve got to compact a lot of funny into twenty or so pages and hope it carries momentum until a month later when the next issue hits instead of the following week like with a sitcom, and on and on and on. Diverse as the comic book medium is, there are very few books that sell themselves based on the funny bits first instead of them being something that adds to the appeal. And the thing of it is, I don’t even think RAT QUEENS here is being promoted as a “comedy book” or anything (I don’t really pay attention to press cycles), I just happened to think the book was witty as hell and the distinction could be made. The other distinction that could be made – all the fantasy hack and slash stuff – is just as promotable, and the combination of the two makes for a highly enjoyable debut.

Drawing more monikers that I again don’t know if people are penning (fuck you press cycle!) RAT QUEENS is picking up the gauntlet that SKULLKICKERS and I’m sure many a web comic have thrown down in being a high fantasy, high action, high chuckle-your-knickers-off affair. The so-called “Rat Queens” are your standard foursome of alcohol swilling, bar fighting, wisecracking female adventurers always looking for a good time and a payday. Also, thankfully, it’s not a book aiming to channel “Grrrrrl power!” and get cheap heat by pandering to a gender (a gender that supposedly doesn’t read comics and are poseurs and my god you fucking nerds just get along!!), it just wants to kick ass, tell crude jokes, and play around with/make fun of some of the fantasy tropes we’ve come to read, watch, and play in the rise of the video game era. And that’s why it works: because it knows what it is and does what it does and enjoys itself while knowing and doing.

Now, plot-wise, this first issue does not seem to have much of a story arc per se; it’s mostly a crash course on the tone and energy that will drive the book and a very foul-mouthed intro to our quartet of double X chromosome-bearing leads. They get drunk, they get raucous and arrested, and then sent on a quest to kill some good old goblins for a “Get Out of Dungeon Free” card. Violence and shenanigans and character establishing ensue. Betty is the unassumingly tiny one with the (usually perverted) mouth, Hannah is the one that likes to punch things (more than the others, at least) and casts spells, Violet looks to be the straight woman, and so on. These gals bouncing words off each other and fists off other things are the bulk of the issue, but that’s fine because it’s entertaining as hell. The book keeps bouncing back between quick-witted and foul-mouthed dialogue and keeps it coming. And then there’s a solid run of ultraviolence interspersed between the f-bombs and references to indecent sex acts that I could only imagine in my most lucid of states. The only real plot thread sewn is that the big shadowy badass that spends the last third of the book trying to kill our leading lasses is probably part of some big plot to make with the deads on the girls but, again, this number one is about establishing characters and energy and it really hums.

It’s redundant to say it again here, but RAT QUEENS really kicks some ass. Besides the action - which is super dynamic in its rendering – the book just oozes quick wit and laying out some really off the wall lines. The only hang up I really have (or maybe had, as I continue to flip through the book a couple of times) is that all these words are very modern. It’s fantasy tropes done through the lens of an MMO chat space, with terms like “dickcheese” and phrases like “count the number of fucks I give” bandied about pretty regularly. It’s somewhat distracting, but once you grab onto the irreverence of the book – somewhat like SAGA and its modern internet dialogue despite the fantasy meets sci fi setting – it fades into the background pretty easy. And a beautiful background it is, too, as Roc Upchurch’s art renders everything fantastically, pardon the pun. It’s lush and vibrant and all those other adjectives we reviewers throw around to say “colorful and pretty!” As I said before, the action is great and the overall work is very expressive from the visceral act of, say, some poor elf bastard getting his head cut in trine to the childlike glee Betty gets on her face when she pulls out “dinner,” which ends up just being a bag of candy and drugs. It’s a very complimentary style to a book that deserves to be complimented, as I hope I have done sufficiently here. Comedy may be hard, but Wiebe and Upchurch make it – and the art of comic booking – look oh so easy.

Humphrey Lee has been an avid comic book reader going on fifteen years now and a contributor to Ain't It Cool comics for quite a few as well. In fact, reading comics is about all he does in his free time and where all the money from his day job wages goes to - funding his comic book habit so he can talk about them to you, our loyal readers (lucky you). He's a bit of a social networking whore, so you can find him all over the Interwebs on sites like Twitter, The MySpaces, Facebookand a blog where he also mostly talks about comics with his free time because he hasn't the slightest semblance of a life. Sad but true, and he gladly encourages you to add, read, and comment as you will.

NOVA #8

Writer: Zeb Wells
Artist: Paco Medina
Publisher: Marvel Comics
Reviewer: Masked Man

It's been one of those weeks for me, where I've just passively enjoyed my new comi cbook stack. Nothing was all that bad, nor was anything all that great. Take NOVA #8, for instance: it has yet to really get better than fair. In Wells and Medina's third issue they have to deal with an INFINITY crossover, too (note to INFINITY readers: you don't need it). Nearly as an afterthought, Thanos sends a thug (an anime-looking female Fury called Kaldera) to kill Nova. But moreover, this was just a set-up issue, so not much really happens there. Meanwhile Nova (15 year old Sam Alexander) runs into old Nova's (Rich Rider) New Warrior teammates Speedball and Marvel Boy/Justice (or whatever he calls himself now). Speedball wants to put the band back together, but no one else is really excited about it.

Overall, though, Wells just doesn't seem to have a handle on any of these characters, beyond a simple one note (or he hasn't gotten to it yet). His humors works, most of the time--I enjoyed Carrie recognizing Sam as Nova--but was rolling my eyes at other parts. I really hope Wells can get this book into shape and show that fun, superhero kid tale doesn't have to be as bad as the ULTIMATE SPIDER-MAN cartoon. Paco Medina's work is pretty much the highlight of the issue-- just a great-looking superhero book. Everything is well drawn, with a great attention to fun and detail. Mind you, I'm not too impressed with his rather lame-anime inspired design of Kaldera.

NOVA is really close to being a great book; I sure hope Wells and Medina pull it off.

Learn more about the Masked Man and feel free check out his comic book GOLD STAR, CINDY LI: THREE OF A KIND and CAPAIN ROCKET at www.Toonocity.com

JUPITER’S LEGACY #3

Writer: Mark Millar
Artist: Frank Quitely
Publisher: Image Comics
Reviewer: Optimous Douche

While the comic purists like to deride Millar’s work as superficial pastiches, I challenge them to spew their vitriol at JUPITER’S LEGACY. Yes, it’s another story of comic commonalities taken to hyperbole, but now Millar is putting these themes under indictment – and us as well.

I don’t mean “us” as in the comic community (that was 1985), I mean the collective us that is society. This tale of the Great Generation of heroes being dethroned is as much a cautionary tale for now and tomorrow as it is a tale of what never was.

Western culture is in trouble, whoever doesn’t want to admit this fact better be on the ATF watch-list to survive the great thud when our recessions become full depressions (personally, I ordered my ass some Chinese Rosetta Stone). Western culture is in the same malaise in JUPITER’S LEGACY, but this world has capes to slap them out of the mire – whether through old-fashioned tactics or the modern-day pill popping culture-inspired “quick fix.” And therein lies the rub and the overarching theme of JUPITER’S LEGACY. The oh so Kryptonian-like Utopian is fighting for truth, justice and the American way (including an unwavering belief in “the system”), while his Brother Walter and all of the “kids” in the book truly believe the heroes have the answers to what ails humanity, politics and petty squabbles be damned. Of course the problem with this, as explored in countless Elseworlds, is that the rest of humanity will need to be subjugated and willing to abandon free will.

So how does this book differ from a KINGDOM COME-type tale? The answer is simply generational. There was a proactive nature in KINGDOM COME, where those Gen X heroes looking to supplant the Golden and Silver Age heroes went after what they wanted with gusto and fervor. Now, the kids are lazy as shit. These twenty-soemthings live in a malaise of media consumption and passive debauchery until someone tells them…wait, make that shows them and guides them down the path of succession.

As for this issue itself, this is truly the climax of Freytag’s pyramid. Chloe ends up on the run after a brief visit to move back home turns into an attack on Mr. and Mrs. Utopian from Walter and the rabble rousers. Chloe escapes with her baby daddy through some clever teleportation jumps and some hilarious carnage. The fight between the Utopians and their usurpers is a brutal bag of carnage cleverly played out thanks to Walt’s ability to control the mind. Whether the favorite son of Utopian, Brandon, is being controlled by Walt remains to be seen, but for now the appearance is just that: Walter is a Rasputin merely whispering kill words to inflate Brandon’s ego and incite him to fry his father’s face off.

While Quitely draws some stark images during the battle, what really resonated was the quiet before the storm when Utopian was talking to Chloe’s baby daddy about the plethora of reasons he won’t let a drug pusher raise his grandchild. Again, it’s another societal theme we see all too often these days. How many Baby Boomers are day-care for their kid’s kids or just outright raising them because this generation can fuck, but certainly can’t live with the repercussions?

Another theme that came to light before the lights went out for the old guard was the need of a secret identity. The Utopian is a garage mechanic completely unknown to the world at large, living in a quiet suburb. This is different than the Clark Kent model where he was almost as famous as his secret identity. Utopian lives a true dual life as a simple auto mechanic. I think this makes way more sense than being a reporter. It’s much easier to duck out from a carburetor repair than during a press conference given by the President. He does this as much for sanity as for safety, as he so eloquently describes to the man courting his daughter.

Next issue promises to jump us ahead 9 years into the future, and herein is my only complaint with this book and I guess Millar as a whole. There is a certain lack of depth to the Millar World oeuvre. I would say JUPITER’S LEGACY is the “deepest” piece to date given the material, but I know the ride will be over shortly, and thus my skin in the game is just as shallow. I would like to see Millar challenge himself at some point with his own consistent and persistent universe, one where it feels as though there’s a long haul instead of just a pitch for a TV series or movie. I think Millar could truly take his already astounding success to the next level if he just follows the advice of Saturday Night Live by “simmerin down now” just a little bit.

Indie Jones Presents!

SIX-GUN GORILLA: LONG DAYS OF VENGEANCE #2

Writer: Brian Christgau
Art: Adrian Sibar
Publisher: Self Published
Reviewer: Ambush Bug
Not to be confused with BOOM!’s sidearm-toting simian, Brian Christgran and Adrian Sibar’s SIX-GUN GORILLA is a mad mix of genres that doesn’t forget to add some heart into the mix. I have nothing against BOOM!’s version, but for some reason I preferred Christgrau’s first issue over Joe Casey’s because the characters were more likable and the influences, though obvious, had a lot of fun potential. Though it’s taken a bit more time than I’d like, issue #2 of LONG DAYS OF VENGEANCE is available and it’s well worth the wait.

The story follows our pistol packin’ gorilla through the Old West. When we last saw him he was performing in a Wild West show and also, as the narrative was jumpier than a frog on a skillet, standing and ready to draw steel on a no good hombre Clint Eastwood-style, leaving us to how the ape made the leap from sideshow performer to outlaw gunman. Issue two fills in a little more story, and like all good second issues do, expands the story as well.

While not all answers are given, the gap between the present gorilla with the pistols and the past with the Wild West Show is lessened here when an Italian rogue escapes wounded but alive from a lynch mob and ends up recuperating in the same cabin car as the gorilla, but when the mob finally tracks the rogue down, it’s the circus that pays the price.

As with the first issue, Christgrau does a fantastic job of imbuing the ape with personality without making him a Disney character. There’s a tragic story Christgrau is not telling yet, but it can be seen in the finely drawn lines of the ape’s face by Adrian Sibar. Though some of the panels are somewhat rough and sketchy at times, Christgrau’s tight story keeps the whole thing afloat.

SIX-GUN GORILLA is an unconventional, yet an infectious and addictive read. Though it’s obvious from issue one that the gorilla is going to be tracking down these scurvy outlaws for gunnin’ down his circus, I still can’t wait to see it happen. And with amazing covers by Wes Huffor, this is a series from outside of the norm that engages better than most from the Big Two due to strong storytelling and characters you can care about.

Ambush Bug is Mark L. Miller, original @$$Hole/wordslinger/writer of wrongs/reviewer/interviewer/editor of AICN COMICS for over 12 years & AICN HORROR for 3. He has written comics such as VINCENT PRICE PRESENTS THE TINGLERS & WITCHFINDER GENERAL, THE DEATHSPORT GAMES, & NANNY & HANK (soon to be made into a feature film from Uptown 6 Films). He has co-written FAMOUS MONSTERS OF FILMLAND’s LUNA: ORDER OF THE WEREWOLF (to be released in October 2013 as a 100-pg original graphic novel through Hermes Press). Mark wrote the critically acclaimed GRIMM FAIRY TALES PRESENTS THE JUNGLE BOOK from Zenescope Entertainment & GRIMM FAIRY TALES #76-81. Look for GRIMM FAIRY TALES PRESENTS THE JUNGLE BOOK: LAST OF THE SPECIES available in February-July 2013 and the new UNLEASHED crossover miniseries GRIMM FAIRY TALES PRESENTS WEREWOLVES: THE HUNGER #1-3 available in May-July 2013! Follow Ambush Bug on the Twitter @Mark_L_Miller.

TOM STRONG AND THE PLANET OF PERIL #3

Writer: Peter Hogan
Artist: Chris Sprouse
Publisher: DC Vertigo
Reviewer: Masked Man

For all of Tom Strong's comic book, pulp and science fiction goodness, it can often fall into the trap of just going through the motions. I feel bad for saying this, since Hogan's plot is really good and Sprouse's art is really good as well. Still, the overall execution of this issue is: and this happened, and then this happened, and then this happened. I should be more excited than this, right?

To bring you up to speed, Tom's daughter is about to die in childbirth, unless Tom (with son-in-law Val) can retrieve an invulnerable serum from Tom Strange (on a parallel Earth). But once getting there, they discover the planet is in the middle of a worldwide plague, and Strange is in seclusion. Strong hooks up with the science heroes of the world (as he has in the past) to help combat the plague, find Tom Strange and then get the serum. Peter Hogan definitely has some fun showing off these heroes (mostly updates of Golden Age heroes now in public domain), but it's all rather clinical. Oddly enough, Chris Sprouse's sleek minimal style kinda adds to the sterile feel of the issue.

Overall, like most comic book stories, I think this issue is suffering from the need to make each story six issues long, so it's probably just dragging in the middle. I still find the parallel world and all its heroes very cool, and I still enjoy watching Tom Strong do his thing- as one of the last of the classic good guys in modern comics. I'm sure as the story continues, things will become much more rousing.

EAST OF WEST #6

Writer: Jonathan Hickman
Art: Nick Dragotta
Publisher: Image Comics
Reviewer: Joseph Wallace

It seems to me that the general consensus about this book is “Yeah, it’s a must read. No brainer. Look at this thing. It’s great. It takes itself serious enough to successfully build a world that is both familiar and totally original in itself. It might be the best thing that Hickman is currently producing and that is in no way a knock on any of the work he is currently producing at Marvel.” You know. Stuff like that. At least, that’s what I can only assume everyone is saying about it.

Well, all that is very true, and the proof is in this serving of delicious comic pudding. EAST OF WEST #6 solved a problem I was having with this series: how do you keep it engaging when the main character is death incarnate and cuts through every obstacle like...like...like…I don’t know what to compare it to that would properly illustrate how easy it is for him to cut through. Don’t get me wrong, I love this about the protagonist of EAST OF WEST because his actions aren’t ‘normal superhero stuff’, and that leads to the story unfolding on a higher playing field then just, say, New York City under distress.

This issue benches Death, but don’t worry, it is still littered with fatalities. The story begins with The Chosen meeting and trying to flush out a traitor. We get a first-rate scene here that continues the tension set up between Bel Solomon and Chamberlain from last issue. If you have enjoyed the character of Chamberlain from previous issues it will be no surprise to you that he is his normal, duplicitous self and manages to steal all of his scenes. It’s great to have a semi-main character that occupies such a grey area. Chamberlain’s an exceptional catalyst for conflict, and his opportunistic nature, mixed with fun dialogue, keeps me guessing as to what final role he might have to play in Hickman’s futuristic/western/apocalyptic tale.

Chamberlain throws Solomon under the bus (incredibly unshockingly) to The Chosen, and Solomon is forced to go on the run. After a shootout between The Chosen there is a first-rate action scene with a sleekly designed sand monster (hats off to Dragotta for capturing such a interesting sequence so clearly and with a vivid handling of motion); Solomon manages to escape and reaches an old friend. This old friend is kind of like a Mad Max/Judge Dredd composite that, despite being reminiscent of established characters, feels compelling and unique. By the end of the issue we find out that Solomon has sought this friend out to ask him to stop the message that The Chosen are trying to spread.

This new protagonist is looking like he will meet the vulnerable standard that will be necessary in keeping this book top notch. Hickman delivers a brief origin of this new Ranger character and then leaves the end of the issue with the promise that we will be seeing a lot more of his wandering badass self. I loved this addition to the world of EAST OF WEST because, well, who wouldn’t love a tough futuristic Ranger who acts as judge, jury, and executioner for the wicked, no matter how powerful they are, and oh, did I mention he has a robo-dog companion that he can wear as a backpack?!?!? Yeah, that’s the kind of awesomeness this series is dishing out on a issue to issue basis.

At times EAST OF WEST reads like a hypothetical extended plot out of the Warren Ellis opus PLANETARY. Like PLANETARY, EAST OF WEST is able to construct great stories that are a patchwork of pop culture and history and come together to form an incredible and unique whole. For me, this is comics at their best because it’s a book filled with larger then life ideas and fantastic art, and manages to be familiar while staying away from cliches that would normally plague a futuristic Western yarn. My only complaint about this title is that the issues cannot come out fast enough, but I can forgive that.

BATTLESTAR GALACTICA #4

Writesr: Dan Abnett and Andy Lanning
Artist: Cezar Razek
Publisher: Dynamite Entertainment
Reviewer: Masked Man

Fan fav writers DnA continue their take on the classic TV series, and I'm starting to ask: Is this trip necessary? Should your first story arc really be an alternate reality tale? While yes, this is a classic series and everyone knows who everyone is (though I wouldn't take that bet), it just seems odd to show off an alternate version of the cast before we really get to see the cast. Mind you, the story in and of itself is fine, but I feel DnA are weakening the drama by not giving us time with the characters first.

Bringing you up to speed would simply take too long (it's a frick'n alternate universe/timeline story!); suffice to say Starbuck and Apollo, while trying out some temporal weapons, jump into an alternate timeline. Here the Cyclons are doing an even better job of killing humans, and now to make matters worse, they have the temporal weapons! (Wait, have we all been in this alternate timeline for three months now!?). Again, good plot, nice action, good stakes, but part of me is just waiting for this story to end, so we can start the 'real' stories of the Galactica. I mean, will any of this matter in the next story arc? I doubt it.

Artist Cezar Razek is doing his usual good job. Actor likenesses are decent, layouts and action are all well drawn. But overall he still has a clunkiness to his panels. It's like his trees are nice, but his forest is lacking. And it kind of sets my feelings for this issue and last week's stack: it was nice, nice.

Advance Review: Available today from Comixology!

THE BUNKER Chapter 3

Writer: Joshua Hale Fialkov
Art: Joe Infurnari
Publisher: Find out more about this book here!
Reviewer: Ambush Bug

Complex, yet easy to follow in its down to earth manner of storytelling, THE BUNKER is a sci fi time travel-esque story about a group of people who find a bunker in the exact spot they decide to bury a time capsule and, to make things even weirder, the group finds messages from their future selves telling them that they are destined to fuck up the world. So while the story deals with time travel, an aspect of sci fi that I am usually not attracted to, the TWILIGHT ZONE-esque aspect of present selves finding a message from their future selves is too appealing to pass up.

The first two chapters of THE BUNKER focused mainly on the here and now and the past, with one of the main characters sending a letter to herself with information only she would know in order to prove she is who she says she is. Writer Joshua Hale Fialkov peels back long scabbed-over wounds making new scars in the mind of the reader with Chapter Two of this tale, as harrowing a tale as one could imagine. I’ll let you guys find that out the gory details yourselves, but you’ve been warned. Chapter Three juts us into the future to show a future version of one of the girls, this time writing the message that will be read by her past self. I know me writing this doesn’t do the story service, but THE BUNKER is one of those stories best experienced rather than reiterated.

That has a lot to do with the art, which in this chapter is kinetic and vibrant despite the fact that it’s in black and white. Be it a simple scene of a woman and man in bed with the woman brushing her hair back or a fast-paced car chase, artist Joe Infurnari makes it all look effortless and beautiful. Infurnari’s scratchy style fits the mood, which is filled with jagged emotions and tightly wound tension.

Three chapters in, and THE BUNKER is already one of my favorite series of the year. From a winning and most importantly inviting concept to the pitch perfect artwork, this is a series worth following. Released in chapters at the beginning of every month, THE BUNKER can be found on Comixology and should not be missed.

Editing, compiling, imaging, coding, logos & cat-wrangling by Ambush Bug
Proofs, co-edits & common sense provided by Sleazy G
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