It may not add much to the B.R.P.D world, nor feature much of Abe himself, but this is a devilishly good slice of occultist history and myth wrapped up in a spectacularly stunning 22 pages.

And so the hunt for the Witch begins. There are oodles of familiar tropes here, some may annoy, some are fresh. But this comic is filled with the finest pickings from good horror comics: the dead rising, hideous creatures that go krak, ravens, churches, graveyards…the list is endless and the art work is clean and bright. I loved the creature burning on page 10. The look of the comic reminds me of the nights under the blankets reading horror comics as a kid. Too often horror comics are dark and grainy but cmon, we love a bit of crimson blood and orange fire against the grimness.

You don't need to be a feminist to like it"but it helps. Here's a non-compliant being compliant about a great new comic.

Balboni's artwork is great too; I appreciate solid, clear lines, especially when the story touches upon the fantastical. There are some truly stunning pages here; when a train chases down Tom, when he jumps through worlds, when he meets the other characters at the cabin. I suggest you raise em to Black Jack Ketchum.

The artwork ranges from Sunday comic strip style to old school monochrome. Its fitting but nothing special and to be honest that pretty sums up this collection. I just dont think it earns its place in your library. It doesnt work hard for you and thats pretty disappointing.

The artwork by Mitten is solid; bold, clean lines, as dynamic as Cals wings coupled with dark, Gothic-inspired colours and bright red blood. I like it. Admittedly, and perhaps controversially because a lot of people dont like his suggestive, ethereal art, I do prefer Ben Templesmiths art for Criminal Macabre. I would love to have seen what Templesmith made of Cals raven wings. Its almost the perfect marriage " Niles and Templesmith. But you cant have everything and Mittens work is pretty good. One to keep up with.

Issue 2 sees the residents of L.A. turn on each other. Its a dark, gloomy, bloody massacre. Cal doesnt know how to stop it all but knows that a war between human and monster is looming. Hemlock returns to take down Cal and his band of the undead. Its a bloody, gore-filled issue, one in which we see Cal did up his fathers body for advice. Brilliant stuff. Steve Niles is the master of true, proper horror and there are a handful of truly horrific scenes in this comic that completely satisfy the ghoul in us. As Cal says, Were all potentially monsters. I think were all about to find out who is and who isnt.

This is a fast-paced read with artwork to match. As the story becomes more frantic so does the art work and fingerprints litter the frames. Glass covered in fingerprints, creator fingerprints in the inkiest of frames, cross-hatching and sketching going out of control " all with a measured and carefully organised hand. I really can't recommend this read enough. It should be trite. It should be unoriginal. But it's just not. Napton, Fahey and DiBAri know exactly what they are doing and have a clear vision of where this little town/revenge story from beyond the grave is going and they are desperate to take you with them.

Wow. I don't really know what to say about this comic " well, I do, but it's not nice. The cover page should give ample clues as to what you are about to read, but it gets worse.

A very welcome comic book with a hugely positive female character. If I had a daughter, shed be getting this to read.

The artwork is solid and stern. Scenes by the beach and in the diner are particularly well realised. I think we might be in for a treat here.

Overall, while its ambition and scope may actually be hindering the storyline focus somewhat, at least for the time being, Sirens still serves as an impressive opening salvo from one of the true giants of this industry. The artwork is fantastic, the character design is varied and rich, and in spite of the minor flaws, its terrific to be able to see a creator like Perez pouring his heart out into a project he clearly cares to passionately about. Count me in for the rest of this series.

The artwork by Perkins is dynamic and clean. The monotone layout of cool blues and and the odd hot pink is good. A nod to the pink blood spatter that casts a void spelling KRAK is well earned " it looks pretty cool, guys. I hope they do something original with this as the idea of Gregory is pretty cool " essentially an AI 007. Then it will be worth a series.

This book is magical. It reminds me of so many stories and yet manages to be wholly original. Be good to your heart and grab this comic with both hands.

This book is magical. It reminds me of so many stories and yet manages to be wholly original. Be good to your heart and grab this comic with both hands.

Imposter is messy and likable, much like the artwork therein. Each realm is distinct and has its own impressive visual style. Imposter shouldnt necessarily succeed. On paper, its a terrible mish-mash of silly nonsense, but credit to the creators, it feels like there are hands tightly around the story. Lets just hope that they are going to be safe hands.

This was kind of fun. It probably shouldn't be - to me, anyway - but it is. It's a great gateway comic for young girls, y'know, before we hit them with Preacher. It's bright, colourful and has a great wee story at its heart. I fear Jonesy may become a (whisper it) feminist. That's a pretty awesome lesson for our little girls.

Memetic is fantastic and I am genuinely excited to see where Memetic goes. Or takes me. Now hand me a Ibuprofen.

This series has been getting stellar reviews and while I did hear one dissenting voice – you know who you are – Ive got to say I love this series. As far as I am concerned the serial killer is an infinite quarry. Couple that with lots of blood and gore and gruesome modus operandi and I am pretty much sold. The plot isnt too complex, granted, maybe a little scooby-doo but interesting characters and schlock horror make for a cracking read. And look at the art work; bold, bright and frenetic. I am biting my nails for the next issue.

This is a fun read and while I hated the modern, teen lingo " really, hated it " it does serve a purpose. There's nothing more irritating than teens and their spectacular use of English. There's definite feel of teen slasher flicks when you just know those carefree smiles and obsession over trivialities are on a ticking clock.

Steve Niles, for me, is the best horror comic writer and along with Ben Templesmith or Damien Worm you get the perfect marriage of writer/artist in the genre. Damien Worm and Steve Niles recently collaborated on the excellent Monster and Madman and they have continued the feel and atmosphere in October Faction. The pages are dirty and grimy, splashed with blood. Everything is showcased gothiciky, shadowy loveliness. It is a veritable banquet for the gothic horror lover. There is a touch of Templesmith here but Worm details so much more and the comic shines because of it. I loved it.

Again, Niles and Worm prove to be the ideal team for a horror comic. The pages look like relics, the frames like long-lost pictures of a scarier time. Blood-soaked, worn by time and weather, they are as monstrous as the story being told. Niles gets straight to the point in his dialogue which feels both timeless and timely without being clichd. Highly enjoyable horror.

And honestly, who screams impending doom better than Niles and Worm? I have spoken lovingly of the gothic grime of their work together but I wanted to draw attention to the frames in which Vivian is attacked by Robot Face. In contrast to the usual fire and brimstone colouring of this book, we get sub-zero blues and whites. I shivered. Silhouettes of trees and park benches are stark and sinister. Great stuff.

This is a comic that deserves a few reads. There is too much dialogue, highly detailed panels and waay more concepts that I can keep straight. I suspect that you will be rewarded as this promises to be a solid series. The artwork straddles the Industrial Military feel with space and other-worldliness rather well – think Starship Troopers. But with more colour.

At one point, Abigail admits "I am so out of my element here" and to be honest, I've got to agree. This space-age splicing of The Island of Dr Moreau is so detailed and so complex, with overlapping intertextuality and referencing, that I felt as lost as the IDCJ. What is here is enough to tell me that fans of this genre will absolutely adore Onyx " it is solid, beautiful, ghastly and with quality story-telling but I am just out of my element.

The comic is a bright, modern horror work. Sinuous bodies look like pulled pork, bones left in. Its great. We have admittedly seen this story a lot – haunted ship on the high seas – but this one looks as if its going to be fun sailing.

Sci-fi / fantasy fans, youll love it. Youll need to be dedicated though. Die-hard. Determined. Others? Dazed

Overall, theres just not enough blood spilled for me. Now thats monstrous

Rosenwieg's art is excellent; dynamic and a touch old school. Chiselled jaws and dark shadows. I especially liked the frames of the museum at night contrasting with the warm glow of Ancient Egypt. There are a lot of close-shot frames emulating the stealth of the heist which are particularly successful.

The only darkness is the storyline as this comic bursts with city glow. Imagine Las Vegas only not so colourful. This urban landscape is always lit with a warm eerie glow, casting shadows for the reaper to hide. The cast are quirky and bizarre. Rumble looks like its going to be fun.

I love the whole look and feel of the Silent Hill franchises – they are genuinely scary and unsettling. Once Mr H scared himself silly playing the game and couldnt bear to take himself up the stairs to bed so slept on the sofa – and thats the secret to the success of Silent Hill. Visions, fog, murderous danger and uncertainty make for genuine scares. The artwork doesnt allow for sure-footing either as you walk around the fog of Silent Hill; dark, shadowy, ethereal watercolours, reminiscent of the work of Ben Templesmith. Its just not fair – we dont stand a chance.

The art is solid and clean " nothing special, the story is just another story " nothing special and the novelty of having an anachronistic character is always good for a few jokes. But novelty runs out pretty quickly.

I'm left thinking, what does this add to the SOA world? Nothing much unfortunately.

I absolutely adored this comic. The art, the dialogue, the characters, the beagles and the denouement. I simply cannot wait to read the next issue.

Its a fun read but for me, too far from the turtles world. Too far from Splinter. And only the boys should speak utter nonsense. Its what sets them apart.

The artwork though, I liked. What begins sketchy and indecipherable becomes frantic and exciting. Like the worlds in tries to portray it comes from nothing to become something. The very opposite of the story really.

This story is safe in James Tynions hands. It feels very much like a solid story with the momentum to keep propelling forward. Focusing on the First Lady is a bit of a treat and she is most certainly not a 19th century wife, ready to wither at the prospect of a small fright. The artwork is clean, classy and when needed, horrific. The marriage of a modern, elite sphere and mystical, ancient one is handled deftly. Definitely a series to be possessed by.

This comic pulls off something impressive. Sure, it treads familiar territory, it treads familiar characters, human history is still leaving its mark, but in Z we have a fully fleshed character who makes us want to go along for the ride. He isn't slick, he isn't approachable but goddamn if he doesn't make you want to keep reading.

Its an enjoyable read that moves at a good pace and the art is solid too with some truly gorgeous panels with superb attention to detail. If it sounds as if I am damning with faint praise, Im not. My words just cant beat the last line. Now? Now were fucked. Youll want to find out why.

I am going to give it 3/5 because I think kids will find it hysterical and us adult just won't get it.

An interesting idea in theory, but unfortunately, I missed the point. And I dont mean Vamps teeth.

I absolutely love the artwork in this comic. These days it is often difficult to see that artists hand in the panels. Sure the figures and colours may be great, may tell the story satisfactorily but a little of the raw passion, the movement, the artists actual creation gets lost in translation. Not so here. Markers, pen and ink; white, blue, yellow show every movement of the artists hand. You can see where the marker leaves the page. You can see where the pen has travelled which translates directly to the characters: the faces are visceral, pained and stoic. The result is a furious story furiously told.

As I said in review of the second issue, the artwork is fantastic. Fans of Templesmith will appreciate it but it has its own specialness, a genre of its own. Nappis urban landscape is grimy, dirty, squalid, dusty, frantic and disturbing. In the midst of of the blues and blacks of the city, flashes of yellow are sickly and scary, reds are bloody, demanding attention. It amazes me that the panels, the artwork, can be both dense and layered and transparent. Some areas are heavily worked, some barely touched. I fear here lies the truth of our hero Ness.

Anyway, I am looking forward to having all my questions answered and will be sticking with the series. You should do the same.