Stanton’s bouncy, elastic drawing is impossible to resist. It’s immediately recognizable and overloads the senses like a Jolly Rancher Slurpee on a hot day.
The story starts out as the seeming main character drives to join a cross-country road race, but a suspicious roadblock immediately thwarts this premise. The race and that character fall by the wayside as a series of increasingly outlandish monsters commandeer the narrative. It’s a freewheeling issue that escalates all the way.
Stanton’s hypnotic, swooping lines are backed by exhilarating color. Everything is bright but with a watercolor softness that accentuates the blobby forms.
In reviews I don’t like to say that an artist reminds me of another artist, but as I was reading Road Show the drawings gave me a tingle similar to what I get off Sergio Aragonés. Their styles are completely distinct from each other but they both work the same clump of my cartoon-processing brain cells. I wouldn’t have mentioned it except the feeling was rewarded a few pages later by this bit of chicken fat:
The issue ends without resolution but with a tantalizing panel promising further escalation. I’m braced for Stanton’s next kick to the retina.