![]() ![]() Dead Space Salvage breaks with that conventional wisdom. That’s why even though a comic isn’t as realistic as a movie, it works because the reader can place themselves in the comic. Like when you look at an AC outlet and see a face, humans are just self centered enough to see themselves EVERYWHERE. Like a book, when the reader cannot immediately picture a full rendering of the main character, they have a tendency to immerse themselves into the art, and therefore become more invested into the work itself. In Scott McCloud’s classic comic treatise Understanding Comics: The Invisible Art, one of the ideas he puts forward is that comics work because the reader can identify with the character. In addition to having to contend with the previous tenants (the Necromorphs), the crews have to fend off the Oracles, mysterious authorities that seem to be experienced in dealing with the monsters. ![]() As they board the Ishimura and try to see what can be salvaged, they soon encounter pieces of the Marker and become affected. If you’ve read the first volume (and you really should), then the reader would know that this ship was the final resting place of the second Marker. The plot revolves around the Magpies, a group of space miners that discover the long missing USG Ishimura. Having written both the first Dead Space series and the dialogue for the initial EA game, Johnston is well versed in the mythology. Like the previous volume, Dead Space Salvage is written by Antony Johnston. ![]() This is a reissue from Titan, reprinting the series initially put out by IDW. ![]() Set between the first Dead Space game and the animated film Dead Space: Aftermath, Dead Space Salvage is the 2nd salvo in the Dead Space comic universe. ![]()
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