I picked up the first three issues of this comic (published by Image Comics) called Change. The art, by Morgan Jeske and colored by Sloane Leong, looks terrific, flipping through it on the stands. The drawings breathe, the colors are slightly psychedelic but not over-rendered enough to get in the way of the linework, and the script, by Ales Kot, puts a lot of panels on the page and gives the artists a lot to do, although the scripting never really gets out of the way enough to let a story be told visually.
The scripting, to keep up with the manic cutting of the layouts, moves between multiple characters, narratives, layers of reality. The closest comparison might be volume 3 of The Invisibles, with the narration in the captions run through the Elektra Assassin filter. Unlike those comics, Change, being a self-contained four-issue miniseries, doesn’t feature characters who previously appeared and were developed in other, less cut-to-ribbons, comics.
So, there aren’t really characters. The comic’s two protagonists are a black man and a white woman, only without any real life to them, it becomes evident that they’re really both white men: Stand-ins for the creators, (or, more likely, just the writer) they bond over geek culture, specifically Shane Black screenplays and H.P. Lovecraft writings. (It should be acknowledged that H.P. Lovecraft is famously racist. Not necessarily within the comic itself, but definitely by me, bringing this up.) These are referenced explicitly, metatextually, because the concept of Lovecraftian “old ones” is a plot point/thing a reader needs to accept and be knowledgeable of.
So, no characters, just a plot, but the plot isn’t really a plot either, in terms of a thing that moves forward and develops- The omniscient narrative voice in the captions makes an argument for the circularity of time, and so the story doesn’t really move develop or surprise, so much as it unfolds at different angles. It’s a fireworks show.