I'm sure it comes as no surprise to say, in conclusion, this bittersweet finale is fantastic in so many ways. I could not be sadder to say this is my final opportunity to review an issue of C.O.W.L., but if this has to be it, it was certainly a great one to go out on.

Ultimately, this is not only a great continuation of the series' overall plot, but it also stands on its own with a strong story and fantastic artwork. Other than the weak beginning"which lasts, literally, just a few panels"the only real complaint I have about this serves more as a declaration of fear. A few decades ago, the question was asked, "Who watches the Watchmen?" With Dream Police #7, we're forced to wonder, "What scares a Nightmare?" I cannot answer that question"or the former, for that matter"but I can tell you one thing: I am quite fearful it's going to be another four months before we even get the possibility of an answer. I hope, by that time, I haven't forgotten the question.

Dream Police #8 also pads the series' usually lacking back matter with an intriguing sneak peek at Black Road.

Without another series to promote, we're back to no back matter this issue, but that has been the case for the majority of this series, so no problem there.

From its first page to its final panel, this issue tells a story self-contained enough to pick up and read but also so well-connected to everything we've already seen from Dream Police that it would be a crime to do so. I don't believe this is officially an "arc finale", but it most-certainly feels like one; a hell of one, too.

With foreknowledge this issue is to be the penultimate outing for Dream Police, I was expecting it to be good, but its charming humor, beautiful artwork, and surprising answers to questions we thought we no longer had help it outperform even the loftiest of expectations and become one of the series' best issues.

The combination of Rod Reis' artwork with the storytelling of Kyle Higgins and Alec Siegel is now two-for-two.

This issue certainly did its job in filling in most of the gaps we had, concerning Esaw's life. I do look forward to when we get to see more of his back story which is alluded to here; something tells me learning more about his history just may be even more entertaining/horrifying than that of Coach Boss. The next issue promises to introduce a character referred to only as "The Bowhunter", so that sounds pretty freaking ominous, doesn't it? That issue could see the series calm back down just a bit, or we could come to realize the time we saw Esaw's heehaw was only the beginning.

With its standalone plot that also manages to find intriguing ties to the overarching story of the series, beautiful artwork that combines with the plot to evoke powerful thoughts, and dialogue that is scarily real, this issue is arguably the best the series has yet to offer.

After such an amazing issue as Southern Bastards #11, there was bound to be a step-down, but it's made less noticeable with the infusion of an interesting shakeup to the creative team for this issue. Jason Latour shows he's, of course, more than capable of writing, and guest artist Chris Brunner brings a great style to an issue that ultimately feels like a ramp-up for what's bound to be a hell of a next issue. The back matter here is thin, presumably because of the preview for The Goddamned, so it's a good thing the preview is great.

With the homecoming game finally upon us, Southern Bastards manages to throw a curveball (or a lateral? Audible?) in having this issue actually NOT be about the game on the field. The plot of this issue is perfectly structured with layer-upon-layer of symbolism, emotion, and desperation.

The proper introduction to Roberta Tubb brings several allusions to the memory of her father, Earl, and a reminder that she is her father's daughter. As usual Jason Aaron's dialogue marries incredibly well to Jason Latour's artwork, with Latour's artwork taking a step even further with its ability to evoke voluntary and involuntary feelings.