It’s no secret that Rafael Grampá brings the goods when it comes to delivering stories with action and message—  and that goes double when it comes to his Batman (as evidenced by his work on Dark Knight Returns: The Golden Child). But personally, as someone whose curiosity is piqued by subversive approaches to art and is even more spoiled when the direct idea of “ugliness as beauty” comes into conversation, Grampá is someone whose work rides the line between the grotesque, textured mayhem of the underground comix and the palatable grace of the mainstream – a line that few have managed to tread successfully over the years, and line that leaves me always asking for more in ways I rarely experience when reading a comic from one of the Big Two publishers.

So luckily for, well, anyone with a lick of sense, the same off-kilter taste, and