Ragnarök arrives in Asgard in The Ultimates #23, with Thor, Sif, and Surtur rebelling against Loki, a puppet of the Maker. Deniz Camp abandons traditional panels and, alongside Stipan Morian, deploys double-page spreads that convey the grandeur of the saga. The detailed composition guides the eye fluidly, while Travis Lanham's lettering makes reading easy even without dialogue.
Visual composition as a narrative engine in Morian's epic ⚡
Stipan Morian structures each double-page spread as a continuous flow, where the characters and chaos of Ragnarök integrate naturally. The absence of panels forces the eye to traverse the scene like an epic fresco. The detail in the textures of armor and Surtur's flames does not overwhelm but organizes the visual information. Travis Lanham places the lettering in open spaces, avoiding interference with the action. The result is a style that prioritizes clarity without sacrificing the spectacular nature of the Asgardian conflict.
Loki, a puppet who doesn't even control his own ending 🎭
Loki, the god of lies, ends up being someone else's puppet. Ironic, because usually he's the one pulling the strings. Here, as Thor and Sif confront him, one almost expects him to pull out a manual on how to survive an apocalypse. But no: the Maker uses him and discards him. At least, with such carefully crafted double-page spreads, the trickster god goes out in style. Though, someone should remind Surtur that if he's going to set Asgard on fire, he shouldn't leave the ashes on the comic.