Marvel Comics

Al Ewing reinterprets the Hulk as a horror comic. Radical premise: by day Banner is dead, by night he returns. Mixes body horror, existential reflection, political critique and superheroic action in one package. Art by Joe Bennett in line with Bernie Wrightson on Swamp Thing. Multiple Eisner awards and contemporary cult work.

Al Ewing's Loki: Agent of Asgard and the surrounding material represent one of the most ambitious character studies Marvel has produced in recent decades. Taking the young Loki established by Kieron Gillen, Ewing asks a deceptively simple question: can a god of lies become someone different? The answer unfolds across some of the most formally inventive Marvel comics of its era. It includes the Secret Wars tie-in material that concludes Ewing's arc.

X-Men by Al Ewing Omnibus — Synch, Wolverine (Laura), Polaris and Havok on Arakko. The Children of the Vault, Ewing's science-fiction complexity applied to mutantkind's post-Krakoa identity. X-Men by Al Ewing (issues #1-25 collected here) is one of the most intellectually ambitious X-Men runs of the Krakoa era. Synch, Wolverine (Laura Kinney), Polaris, Havok, Cyclops and Marvel Girl operate on Arakko (Mars), the mutant planet. The Children of the Vault — immortal post-human beings who evolved in an accelerated time-chamber — are the recurring antagonists. Ewing applies hard science-fiction concepts to the X-Men universe with Stefano Caselli and Pepe Larraz providing clean, dynamic art.