Moreton continues his sketchbook-cum-solo anthology series and every issue seems to get stronger and stronger. His wispy lines are clean and refreshing; the pieces all have the feeling of a few well-chosen and well-placed stray lines settling on the page to comport an image. In a way, the art style can be described as black on white, not black and white, with bone white pages housing a few flicks of variable line weight. I loved the grays of rain and figures hunkered under umbrellas that capture mood so remarkably and convincingly. It’s clear that these aren’t just mindless sketches or doodles though, Moreton thinks about the imagery, like the squiggle of ink that stands-in for confusion over not knowing how to help a sick bird. It’s this type of visual shorthand for more complex emotion that proves his fluid understanding of what makes the medium so unique. He blurs the line between text and image to achieve superb information delivery. This pairing of mood and execution runs the course of issue, with a sense of isolation in a deserted house, the austere beauty of Stonehenge, or the simple joys of being on holiday. At times, I find myself wanting a longer singular narrative from Moreton, as opposed to these disparate anthology-style entries, but this is admittedly me being greedy with a personal preference. Fans of the abstract work of Aidan Koch might also enjoy Smoo Comics, and with Moreton’s involvement in other publishing projects, I’m glad to see more people getting exposure to his work. Smoo Comics seem to reaffirm faith in our very existence and our belief in the beautiful strengths of comics. Grade A.