Gail Simone's story this time gives us a different view of Astrid Mueller's organization but the writing is as engaging as ever. The change in the point-of-view is further enhanced by the contributions of guest-artist Sanya Anwar. While as talented as Walter Geovani and Jon Davis-Hunt, Anwar presents the story in a style that sports a different aesthetic, marking this story as something notably unique but equally enjoyable. Quinton Winter further alters the visual flow, taking over the coloring duties and instituting a subtle palette shift as Astrid's organization moves into Mary's life.
Wednesday, December 28, 2016
Clean Room #15 - A Review
I was happy to see Clean Room #15 on the solicitations for this week. Of course I'm always pleased when Clean Room comes out but after the cliff-hanger ending of Issue #14 two weeks ago, I was particularly anxious to see how things would continue. Imagine my surprise then that Clean Room #15 is an interlude, focused not upon our usual protagonist but on a woman named Mary who - much like Chloe Pierce - is plagued by disturbing visions of a dead loved one.
Gail Simone's story this time gives us a different view of Astrid Mueller's organization but the writing is as engaging as ever. The change in the point-of-view is further enhanced by the contributions of guest-artist Sanya Anwar. While as talented as Walter Geovani and Jon Davis-Hunt, Anwar presents the story in a style that sports a different aesthetic, marking this story as something notably unique but equally enjoyable. Quinton Winter further alters the visual flow, taking over the coloring duties and instituting a subtle palette shift as Astrid's organization moves into Mary's life.
Gail Simone's story this time gives us a different view of Astrid Mueller's organization but the writing is as engaging as ever. The change in the point-of-view is further enhanced by the contributions of guest-artist Sanya Anwar. While as talented as Walter Geovani and Jon Davis-Hunt, Anwar presents the story in a style that sports a different aesthetic, marking this story as something notably unique but equally enjoyable. Quinton Winter further alters the visual flow, taking over the coloring duties and instituting a subtle palette shift as Astrid's organization moves into Mary's life.
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