There’s a level of detail in Supergod, not only in Gastonny’s art but Reddin’s often bleakly humorous account of the end of civilisation that begs at least a second read.ĭelivered as a retrospective lecture, Supergod might alienate some readers accustomed to more conventional storytelling. He also juggles the real-world and fantasy elements exceedingly well the scientists and astronauts look like normal people, while his super-deity designs flit plausibly into Ellis’s alternate history. His faces, especially the blue-skinned Krishna’s, are occasionally a little off, but his ruined cityscapes are a sight to behold. Relative newbie Garrie Gastonny didn’t have an easy task in depicting Ellis’s Armageddon, but boy does he deliver. From his retelling of the ill-fated return of England’s alternate-history spaceflight in the 1950s to India’s breakthrough in superhuman creation and Iran’s nuclear man, Reddin’s tale of the fall of man isn’t so much a story of nations forging superhuman weapons of mass destruction as men building gods. Simon Reddin sits amongst the torched remains of London, smoking a joint and dryly recounting the end of the world to an American correspondent.
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