The comic itself has a broad appeal, as reflected in the cover, where elements of fantasy, adventure and horror collide. The overall product is staggering for what is in many ways, a first wavy step into a new chapter of Riftworld.

Overall, its that same connection which makes Riftworld Legends one of the comic books of the year. The cover art for this issue is very three-dimensional, but while this may catch an eye or two in store, its the dimensions found inside the pages of this story that truly sell it for me, and will surely have me coming back for more!

Thats how issue #1 leaves us, with a quickly scribbled note from Analia informing Detective Coffey that the coyotes are real. For a story grounded in reality, its a poignant moment, and no doubt the first of many in what looks to be a very promising series from Image Comics.

But with Ser Aaron accused of stealing, and the alarm raised that the dungeons have been breached, will issue #4 bring us even more excitement than we bargained for?

The opening narrative is evocative, a series of trade-offs of Andy in war versus her intimate experiences in the bedroom. Fernndez gives us a wealth of battle images from theatres such as the Mediterranean, Persia and mainland Europe, the only consistency between them all a fine use of black, of a nothing-colour, to bring Rucka's story to life.

By the time we reach the last panel, we understand that the Church want more from Roderick and his men than they may have signed up for. Yes, they survived the Crusades. Now, they have to survive the Black Death.

Overall, Issue #1 of "The Realm" is akin to the pilot episode of any large scale series, with the camera at best panning over the cast of characters. But while this initial instalment fails to explore the protagonist Nolan or his fellow survivors in much depth, there are suggestions that the narrative will become more focused with each entry.

Perhaps the most fascinating aspect of Riftworld Legends, which I've mentioned more than once in my reviews, is how it balances pacing across these three viewpoints. Rather than deal with each separately, as many other fantasy comics opt to do, writer Williams weaves his plot wholly together, creating the ever-blurred effect of a story happening all at once.

In terms of plot, Unholy Grail has been layering pieces of the story over each other one by one, though perhaps not all transitions across time have been as smooth as the artists would have intended. Importantly, Issue #5 stays fixed in one timeline across the entirety of its page count. As a result, it checks the back-and-forward narrative in terms of pace, allowing us to in a sense breathe despite the chaos of action it still manages to offer.

Husband and wife duo Nunzio DeFilippis and Christina Weir team up once again to write the second instalment. While their opening narrative was gripping, their pace almost breakneck, here the pair opted to delve further into Vaea's past. At first it seemed a strange move, as they had this reader so hooked I hadn't even paused to consider a backstory. Very quickly however, they justified their choice, with each whisper from the past paired cleverly with an action sequence in the present.

And if this issue promises anything, it's a great harmony between artist Christian DiBari and the rest of the team. Gone are the glossy, lick-your-lips images of Magdalena we've seen before. Instead, DiBari scratches at the page, draws a world as grainy and as weary as the reality Patience wakes up to. It's what makes this re-boot stand out for me. Change is good, change is hard. But I'm excited to see what's in store next time for our heroines.

Overall, the pilot issue of Oblivion Song has a slightly weaker hook than we might have expected. But with promises of monsters and alternate dimensions, its fair to say our journey into the world of Oblivion has likely only just begun.

Instead, the issue draws to a close with our heroes surrounded on all sides by spear-points and shields. Well have to wait until issue #3 to see can they fight their way free!

And with Sebastians palace descended into chaos, can even Vaea and the famous Ser Aaron get out alive?

Issue #2 feels less like a tidal wave of action, more like a bridge over troubled waters.

Confined to the prison of Captain Sebastien's home and the company of his elitist daughter, Thora shows strength and determination to escape. Given the more passive role she has played in the storyline to date, it's an exciting twist in her character arc.

In these opening panels in particular, rich earthen tones are set against light-soaked backgrounds to good effect, grounding the reader in the world of Valhalla just as easy as any mention of Thor, Odin or Freyja ever could. All the same, the Norse Gods give the plot a certain flavour, an air of mysticism DC fans will feel treads the border of popular fantasy. What is perhaps a weakness is that Grevioux fails to put that same pedal to the floor when it comes to dialogue.

Ultimately, fans of blood n gore may not find much to their liking. But while SOTG is peeled back in this sense, it is very much one foot in the grave when it comes to churning up suspense and leaving readers with too much to think about. Richard Corben wields the pen with a sort of poetic justice that isnt always found in the horror genre, and so perhaps throws up more surprises than we expect. All in all, its not the anthology that readers are likely to lose sleep over, but certainly one which will add to the legacy Corben has established in his adaptations of Edgar Allen Poe and H.P. Lovecraft.

Overall, while the Empress has only one country left in her path, it would appear Eternal Empire at large has many more battles to fight before it can claim to a crown in the fantasy genre.

Ultimately, Morvan pitches a sprawling sci-fi universe, akin to BioWares Mass Effect. He populates this with a sparse cast, yet still achieves the feel of something greater. But while the poem behind the comic may be epic too, theres something about this Hercules story that seems to have been lost in translation.

Overall, issue #4 packs the punch the Predator: Hunters series needs, if only by the character development and action sequences alone. But its a punch that may have landed too late to really hallmark this as one of the memorable fights in the Predator story.

Ultimately, the mouthful that is Xerxes: Fall of the House of Darius and the Rise of Alexander fails to deliver in its first issue. With a lack of development in both the artwork and characterisation, Miller relies heavily on his ability to write a good fight scene and pace his pages well. Whether those skills will be enough to give us another classic like 300, however, remains to be seen.

Overall, it's a series that's no longer gnawing on bones as it once was. Instead, it seems as if the monster is retreating. I'll likely read on until the comic finishes, but in this case, perhaps Spread just had one too many twists in its red tale.

Unfortunately, a story is only as good as its weakest links, and while further issues may offer more compelling narratives, so far PoE fails to stand out from amongst the crowd. Even the setting of San Francisco, which should harken us back with some nostalgia to classics such as "It came from beneath the Sea" or "Invasion of the Body Snatchers", tastes a little stale in our mouths.