In a world of genetic engineering, rampant corporations, gentrification, and political corruption, a love affair between a luckless community activist and a biotech executive leads to the creation of Hypermutt, a bio engineered mass of primal dogginess.
Hypermutt is like a monad (or franken-archetype, if you will), a dog so mixed in its ancestry, it transcends space and time, becoming the very formative blueprint from which all dogs in all times and all places arise.
That’s the starting point for a series of rather oddball, careening stories. Mystery, kidnaps and time travel abound.
The artwork, too, seems to constantly be in a state of play with the idea of form and formlessness, creation and flux, regularly breaking up into cubist planes and abstract geometry before coalescing back into more familiar representation. It’s something of a theme, I reckon.
This visual dismantling and reconstitution leads to moments of satisfyingly expressionist cartooning. Observe below the villainous figure’s shadowed face as it suggests an executioner’s hood, also his victim’s wretched countenance.
You read Ryan Carey’s review of Hypermutt 1-4 here.
You can purchase copies of Hypermutt via Max Huffman’s site.