Alex Spencer

Likewise the visuals, which take every opportunity to present moments in an unusual, cinematic or just plain cool way.pic.twitter.com/S3oThBN0VH

There’s a drug trip sequence that is basically an excuse for Foreman, colourist @gibsoncomics and letterer @ferrandelgado to just cut loose for four pages, switching up approach slightly for each new panel. [chef kiss]pic.twitter.com/SuSTrNU237

Style = substance, fig. i: Three pages of panels slipping off their neat grid (note the contrast with the rows of dominoes), as Misty breaks free from mind control. The third layout references one in an earlier story, where Colleen did the same.pic.twitter.com/89v2j43SVx

Style = substance, fig. ii: Three tall thin panels with a fixed angle is an eye-catchingly weird way to lay out a page, but it’s not a great use of space, especially when the top of a panel is left essentially empty. So, when the baddie appears and fills the void, it feels right.pic.twitter.com/Xh3XB49Y0N

Style = substance, fig. iii: Title pages are always a welcome addition, as far as I'm concerned – but more importantly, they set up a pattern that the third story can break, in order to establish ‘something’s wrong here’.pic.twitter.com/9hH4WQIKGj

Style = …actually, naw, this trunk shot is just a Tarantino homage, one that makes perfect sense given how close DotD’s style feels to the genre-hopping excesses of Kill Bill.pic.twitter.com/PMvIQLTkUd

One thing I don’t love about the art is that, at least to my eye, Colleen is drawn as a white woman. It's a common issue with the character, and how East Asian women in comics are drawn generally, but – the best-known version of the character is unambiguously Asian. No excuse.pic.twitter.com/p5kvCEE89I

This is a nice use of panels as a replacement for comedic timing, in a medium that doesn't have time among its toolset: beat… beat… punchline.pic.twitter.com/FN7C354Es3