A God Somewhere is a 2010 graphic novel created by writer John Arcudi, artist Peter Snejbjerg, and colorist Bjarne Hansen.

It tells the story of Eric Forster, the first human to develop superhuman abilities, through the eyes of his friends and family.

Critics gave the story generally positive reviews, but noted that the subject matter was cliché and sometimes found the use of flashbacks confusing.

The concept began to develop when John Arcudi read Kenneth Brower's 1978 book The Starship and the Canoe,[1] which documents the divergent lives of physicist Freeman Dyson and his son George.

[11] The lackluster performance may have been due in part to the $24.99 retail price, which was higher than average for a softcover graphic novel at the time.

The three form a strong, lasting friendship that is strained when Hugh marries Alma, a girl all three boys find attractive.

During the next year, Eric leaves a path of destruction across the United States, killing any soldier or civilian he encounters.

[16] Despite the "well-worn" premise, Multiversity Comics felt A God Somewhere excelled in the presentation of its "complex, layered, and dialogic" themes.

[3] Comic Book Resources liked that Arcudi left Eric's motivations ambiguous, letting readers draw their own conclusions.

The story is narrated in the past-tense by Sam,[6] and Publishers Weekly felt this made Eric's development tragic rather than exciting.

[18] That sentiment was shared by Seattle PI, who felt the believable characters set the work apart from other contemporary comics.

[19] The story includes a subplot focused on the racial tension caused by Sam's friendship with Eric, but it does not build to a conflict or affect the climax.

[6] Critics were torn on its inclusion, with Pop Matters and Multiversity Comics saying it gave the characters additional depth[15][6] and The Outhousers seeing it as an odd choice to increase tension.

[20] The characterization of Alma was criticized by Pop Matters, who noted that her role is limited to an object of sexual desire.

[15] Arcudi used minimal dialogue throughout the book, relying on Snejbjerg to convey important parts of the story through body language and facial expressions.

[15] The transitions were described as "jarring" but effective by The Outhousers[20] and "confusing" by Multiversity Comics, who went on to call it "a novel idea that is ineffective in practice" because Eric does not appear in every flashback scene.