Kudranski’s attempts at the profound only occasionally brush against something other than cliche.
All in Horror
Kudranski’s attempts at the profound only occasionally brush against something other than cliche.
Layman rides a pretty fine line between lighthearted situation comedy and something altogether darker.
Cady takes his time slowly advancing into the site.
It’s really just one conversation.
He’s a monster, but Lemire cleverly engenders sympathy for him.
The heavy sketches of Porter’s work are well-suited to a nightmare realm.
Ravager feels like one of the more sophisticated treatments of the nightmare realm.
Ilhan and Morales openly embrace the garish nightmare.
Cox puts Kong firmly in the background.
A sharply clever job of articulating bewildering complexity.
Percy has the basic elements of horror action done remarkably well
The writing team focuses on the street-level aspects of the supernatural.
Lemire tackles the drama with a solid sense of mystery.
Liu’s work is deep and resonant.
Starks gives Gabby and Trudy a suitably enjoyable end.
Prince has a poetic sense of darkness.
Mignola and Roberson handle the story in a straight-ahead fashion.
Tynion has a way of twisting cliche until it confesses some kind of strange truth.
Segovia shows some talent for pushing around the demonic muscle.
Pires and White have a clear and definite idea of where they’re going with the story,