Detective Migdalia Torres investigates a vicious strangling on a Boston subway car with no feasible leads. As potential evidence produces dead ends, Migdalia inadvertently takes in a vagrant named Yusef who may have a supernatural connection to the crime at hand.
o Writer Paul Maybury and illustrator Sam Lotfi bring a horrific murder mystery to Dark Horse!
A dark mystery that will have you aching for more while at the same time filling you with titillating dread. Read Full Review
Last Stop On the Red Line #1 is off to a good start as a mystery series, but not as a horror one. The pacing and art style mostly removes the scary elements. Still, I can't help but enjoy what I just read. Paul Maybury's characters and premise are solid, while the artistic team has created a charming world to look at. I'm not sure if this tone will continue onto the second issue, but for now, Last Stop On the Red Line is worth checking out. Read Full Review
Last Stop on the Red Line #1 is an interesting debut issue. For those who really enjoy a supernatural thriller, it's one to pick up. The fact it's being released as a monthly comic seems to hamper the debut. This is a case where the trade may be the better read so it can be enjoyed in one sitting. I hate to say trade wait but this might be one worth doing exactly that. Read Full Review
Look deep into this story and the real nightmare will reveal itself. It isn't the Lovecraftian beasts that stalk the Boston subway. It's the fear, the prejudice, the hate, the danger, and the unknown of people who don't know what life is anymore. It all amounts to an interesting, if not exactly clear, read. The horror won't scare the pants off you as much as the sentiment of the issue should. Read Full Review
Last Stop on the Red Line starts off competently enough - although it makes some very questionable narrative decisions, the overall journey is compelling and the art is fantastic and creepy to match the intended mood. I'm looking forward to seeing how the mysteries raised in this first installment are solved in future issues. Read Full Review
worthy concepts at the reader, none of them quite stick yet. It's a bummer, frankly, because there's a cool story in here begging for better execution from some very promising creators. Read Full Review
Featuring beautiful art and colors by Sam Lotfi and John Rauch, Last Stop on the Red Line #1 is a creepy and intriguing beginning in spite of some wonky pacing and unclear moment-to-moment storytelling. Read Full Review
What the Last Stop of the Red Line wants to be is a question I'm left asking. A pastiche of imagery which draws from the horrors that have called Boston home, from the stories of Lovecraft to the Boston Strangler, to the racial violence to the Marathon bombing. Yet it has no voice of its own and doesn't even draw on its inspiration particularly well. The comic format doesn't give the story room to breath, there is no tension in the horror. The artwork is serviceable and some panels truly impressive, but it feels at odds with the story at large. This is just the first issue of a four-part series, and there's still time for the story to find itself, but for now, the readers are left with questions and a vague, lingering sense to not ride a subway car alone. Read Full Review
There are elements to Last Stop on the Red Line that I think could set this story apart, but one can't help but feel like this creative team's eyes might have been too big for their stomachs " there's a hodge-podge of different concepts and ideas all fighting for the spotlight in this debut issue, and as a result, this launch winds up being less accessible than its high concept would lead you to believe. Read Full Review
I liked the art style, which reminded me of Matt Wagner, but the panel-to-panel storytelling was so awkward that I kept stopping to try to figure out what the story was trying to convey. The writing has to share the blame on that point; it jumps around, never offers enough hints to make its meaning penetrable, and sometimes almost feels like sentences have been sprinkled into the panels like a cut-ups project. It's a very confusing debut issue.
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