Wilson has a really deft command of intricate, little complexities.
All in Horror
Wilson has a really deft command of intricate, little complexities.
Wijngaard balances the intense and intricate emotions against larger action
A very appealingly paranoid mood.
Thereβs a swiftness to Tynionβs darkness.
The Academy is judged by the Carnival.
The children deal with what theyβve found.
The plot doesnβt thicken so much as...coagulateβ¦
Brutality. Violence. Reanimation. It's all in there.
Romie and Billy make a discovery that changes everything for the group.
Fornes and Bellaire Are working with some remarkably iconic images.
The coin's origin is given greater depth in the tight, little nightmare of a standalone issue.
A unique connection between a living soul and a ghost that strikes the page with beautiful balance.
Every day is exactly the same until it isn't anymore.
There isnβt a great deal of forward momentum in the plot.
The late 1960s play out without much of a central gravity.
Dan Watters dives into stranger, darker territory.
The overall rhythm and shadow of the story feel like a classic story out of EC's Tales from the Crypt.
Forrest and Orson close in on the mystery of the Ghoul.
Watters and Wijngaard manage to hold everything together.
A prison of nine-panel pages inhabited by so much ink and darkness.