Apocalipsis, or Apocalipsis: Harry At The End Of The World to give it its full and proper name, is like walking through a series of medieval bestiary paintings. Poor old Harry sees all sorts of nasty sights on his Orphean descent into Hell to bring back his beloved, and the ones in that header image up there aren’t even the half of it. Before he reaches his journey’s end, he’ll have freed a bird with more heads than a flock of Dodrios, sated the hunger of a strange feathered dog, shot a giant kraken in the tentacle with a canon, and dropped a cage on top of what I can only describe as a horribly thin humanoid thing who has the unfortunate affliction of having their face growing out of their torso.
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