with colors by Matt Hollingsworth and letters by Hassan Otsmane-Elhaou.
There’s no escaping the fact that Ian Bertram’s art is far and away the most arresting aspect of this project. The best way for me to describe it would be horror manga through a 70s psychedelic lens, as a far-future America where body modifications are the norm is beset by religious strife. Mr Hollingsworth’s colors do a terrific job of turning the volume both up and down on the gore where necessary, but if you’re squeamish when it comes to body horror, this is probably not the graphic novel for you. If you’re okay with a significant amount of gore and grotesquerie tho, then the panels very much reward extra scrutiny. Biology is gross, y’all, and none of the art in these pages felt like it was being any more nasty, brutish and short than life in the natural world actually is. Most of it felt, in fact, like an extrapolation of scientific advances that are more concerned with function over form.
The story itself revolves around a tracker named Max Weaver, who’s hired to find and return what’s basically a runaway enslaved person who’s about to be absorbed by the Twelve, a death cult that worships a deity cobbled together from flesh. What Max doesn’t expect is that the target is a kid, who is both deadly and engenders a weird feeling of kinship in Max. Not wanting to snatch the kid only to hand him over to one of the most notorious and powerful gangsters of New Empire, he takes off with the target instead.








