This issue is a solemn ode to beloved characters. A philosophical pause in the action of the story, it feels very much like the series is gearing up for an almighty battle. The time taken to reminisce and explore each ensemble character in detail before the altercation asking why they fight – guarantees a richer and more affective experience for the audience. This very human heart of the story also makes the horror much more harrowing. Excellent stuff.

A tale of mortality set against an elaborately woven world of immortal power and notoriety, this is an intricate and intelligent commentary on life vs. legend.

Cannibal is a fresh, fulfilling, and finger licking' good tale for fans of horror and zombie folklore in particular.

A meticulously researched piece, the comic is an account of an incredibly significant group of men and their individual fight in a wider war against tyrannical power and prejudice. Their lesser-known story is one of sacrifice and resilience, and this book is a respectful testament to its importance.

Eclipse promises to be a clever and refreshing science-fiction comic, with the perfect dose of mystery and murder. Not to be missed.

This is illustrated horror at its best. The world of Harrow County is dark, dense and deserves its status as a modern horror classic.

Thus, the reprinted comics are both and a fascinating look at the social and cultural representations of 1950s America through the uncensored medium of comics.

Peter J. Tomasi fuses history with mystery in his narrative mapping of the house and its key character. A touching tale of atonement, loss, and absolution, House of Penance is a fascinating fictional approach to the Winchester Mystery House.

Second Sight is clever, compelling and courageous, tackling taboo subjects and presenting a complex character study that breaks away from all conventions in this genre. It doesnt get much better than this.

Shadows on the Grave is a modern classic in horror, perfectly mastering the macabre, obscure and uncanny aspects of everything that intrigues our curiosity about the supernatural tale.

The Fix is top-notch storytelling and stunning to look at. Its clever and self-referential, with some truly ingenious touches of dialogue that knowingly wink at the reader via jokes that centre on pop culture references.

With its fusion of the police procedural, monsters and cosmic horror, fans of 1950s horror and crime comics, Lovecraft, and television series such as True Detective, X-Files, Kolchak: The Night Stalker and Twin Peaks will adore this clever, witty and comprehensive comic.

Within Black Magick, Ruckas words are greatly enhanced by the stunning artwork of Nicola Scott, which never serves to disappoint. Her rendering of the characters in particular is both incredibly distinctive and detailed. Presented in cold blue chiarascuro tones, which were accomplished by Scott and Chiara Arena, the shading works to sculpture Scotts world beautifully. The magical strands of the story are visualised in cosmic colours and when this occurs, against the muted background, light appears to literally shine from the page; Black Magick is beautifully written and a joy to look at.

All in all, this is an historical treat for fans of action-adventure. The first issue introduces the story arc perfectly, while providing just enough historical context to make this a fascinating and captivating read.

Bearing in mind that the story was conceived fifteen years ago, before various other incarnations of its themes – the 2011 film Cowboys vs. Aliens is a prime example – its a fun, violent series of few words that genre fans will appreciate. In fact, in the extra features (which mostly consist of character art development), Eastman reveals that he would like to take the concept to the big screen, so we may be seeing more of his Western world in due course.

A complex and very human tale of repression, renascence and redemption, the nostalgic artistic style of the comic belies its sombre and dark themes as a detailed character study.

Overall the beautifully illustrated book conjures a comprehensive and complex world and mythology that demands the full attention of the reader. Despite the density of the story, it is very apparent that we have only touched the surface of what is shaping to become an epic fantasy.

Overall, writer Joshua Williamsons pacing is frustratingly good in that you are constantly craving more information and, of course, the next issue. Nailbiter is a comic that is best enjoyed, and most satisfying, when read as a collected volume in regards the overall story arc. In terms of the artwork, Mike Henderson's dark panels and heavy lines bring the nightmarish world to life, along with Adam Guzowski's slashes of colour, with clean lines that create a glowing, cinematic sense of light that bursts from the page, accompanied by gallons of gore. As an ongoing series, this is one of my favourites, and I will be in the front row for the next issue of serial killer theatre.

Nameless is psychological, horrific and incredibly complex in terms of Morrison's layered plot, which is beautifully enhanced by Burnham's art and Fairbairn's colouring. The overall package is a lot of detail for the reader to process in one sitting, which makes for a very re-readable series.

The rich mythology, tone and striking look of the series will appeal to fans of Wytches and Outcast. The Hunt has quickly established itself as a well-researched and culturally rich horror tale with a lot of potential for the development and expansion of its worlds of magic and monsters.

The events of the book really do stay with the reader and the more one dwells on the issues the series raises, it becomes apparent that this is an important and cleverly constructed book that deserves considerable attention and discussion.

Weird, wacky and wonderful, this is one not to be missed.

Outlandishly nightmarish, poetic and beautifully rendered, this is a series that horror comic fans should be very excited about.

All in all, this is an exhilarating ride for horror fans, with a welcome reappearance from an iconic, chainsaw wielding horror staple. Nancy A. Collins has created a simple yet effective opening issue full of anticipation for the adventure ahead. In a word: groovy.

The series thus far is a long-awaited return for our beloved characters and poses some exciting future adventures from writer Joe Harris. More information in regards to our protagonists would be welcome, but the series is still young.

As this is a four-part series, the final cliffhanger – the second literal one of the series – pales in comparison to the reveal that Earth is no more at the end of the second issue. The somewhat open ending means that the series – with all of its potential – could easily act as an introduction to, and be subsumed into, a larger storyline with several narrative threads concerning the key characters, all of whom are unfortunately never really explored. However, it is well worth a trip to Venus even with its searing temperatures, severe pressure and clouds of sulphuric acid.

Ultimately, this introduction to the new mini-series provides more questions than it answers, but in doing so the reader is drawn back into Dancys world and is left wanting more.

Overall, it is always a privilege to become lost in the wonderfully unique and mythical world of Dancy Flammarion – its just more magical when shes in it.

Overall, a successful, fun, and visually pleasing first issue, with a hell of a lot of potential.

Previous instalments of the Death Head series have been criticised for their light touch in regards to the horror elements. The final episode concludes on a striking and sinister note, which acts simultaneously as an absolute and open ending, and may polarise readers. The Death Head series can thus be contained in these issues, with a folkloristic turn via its dark ending, or it could easily be expanded should the creators wish to return to it.

Though the initial instalment of the series suffered from a lack of character and narrative exposition, the second issue is a promising glimpse of a weird and wonderful Wild West. It appears that Pak is slowly zooming out of the immediate action of the comic to reveal the wider world of Kingsway West, with several nuanced mysteries leaving the reader craving more.

Laras latest adventure is a nostalgic feast for firm fans while simultaneously providing an introduction for new, especially younger, readers. I really hope that a younger audience, particularly girls, will find her an inspiration – just like this one did.

If you're after a superhero tale tinged with cosmological, classic creatures, No Angel is for you.

This initial issue ends on a sinister note, hinting at much darker instalments as we journey into Edwyns psyche, and his fragile faade begins to fracture. One for horror hounds with a penchant for darker and more gruesome fare, its a promising start to the series.

Illustrator Becky Cloonan continues to develop her portfolio as a writer with Southern Cross, after co-writing the Gotham Academy series for DC Comics with Brendan Fletcher, and the finale of this instalment delivers in terms of providing a suspense-filled climax while simultaneously leaving the ending open to a variety of possible narrative paths that this reader is very much looking forward to navigating in the next instalment of the series.

Strayer very much lives up to its name; all in all, a simple and fun read that plays upon the outlander aspect of its titular character. We know little about Strayer or why Mala needs him and his strength to help her save the world at this point as well as who she is and why she, with her abilities, is hunted by a seemingly ruling faction but this only serves to stir curiosity in the reader. Dont stray from this one.

Overall, the simple story and nostalgic artwork, combined with a wonderfully gothic Southern setting, create a fun, easy read that will put a smile on any horror fan's face.

The subtle touches in the characterisation of Jennings and his wife, with the very real emotional issues that both are dealing with as new parents, adds a realistic touch that elevates the otherwise simplistic story. The series has set up a dark, underlying thread-a controversial, historical reference is revealed in relation to the murderers at the end of the first comic-that will be hopefully be explored throughout later instalments. It is this provocative nature, in addition to the nostalgic artwork, that pays homage to crime and horror comics from the 1950s while simultaneously providing a sly wink to readers regarding historical arguments surrounding censorship and comics with Seduction of the Innocent's borrowed title.