Nightmares

Clowns as a horror device are relatively new. You can thank Edgar Allen Poe, Ruggero Leoncavallo's Pagliacci opera, and actual clown serial killer John Wayne Gacy for planting the seed and of course, Stephen King's It for nurturing it to get what we have now. You'll be hard pressed to find a person who actually likes clowns.  Anime, like other modes of popular entertainment, has also created its share of sinister jokers, jesters, and pierrots to give audiences the heebie-jeebies. 1. Buggy (One Piece)  You're sailing the high seas in search of treasure while building long-lasting friendships with your rough-and-tumble crew when, all of a sudden, you're ambushed by pirates!  But these pirates aren't the bearded, peg-legged types. No, these circus freaks of every kind answer to a hyper-sensitive clown.  Buggy's sensitivity is tied to his round, red nose. Yes, his schnoz isn't ornamental, it's the real deal, and he's been known to slau

Enter the terrifying and unpredictable comic series based on one of the most hotly-anticipated games of 2017! The game follows six, a young girl in a yellow raincoat, as she explores the horrifying world of The Maw, looking for a way out!

“American Vampire: Lord of Nightmares” #5 completely changes the complexion and crusade of the Vassals of the Morning Star. Through almost three years of stories, Scott Snyder has properly cultivated this universe so eloquently that some of those characters introduced with bit roles couldn’t help but have their stories shared elsewhere while the primary narrative continues in “American Vampire.” Among those characters capable of filling panels with compelling tales are former VMS Agent Felicia Book, her adopted son Gus and VMS leader Linden Hobbes. Hobbes is a frequent visitor to “American Vampire,” but “Lord of Nightmares” (and this issue in particular) serves to change his status significantly. As these characters are Snyder’s creations, he definitely has imbued each with a specific tone and voice. The interactions between those characters are Snyder at his best, bringing humanity to an otherworldly situation as the Vassals attempt to halt the threat of Dracula once and for all.

“American Vampire: Lord of Nightmares” #3 continues the summer tradition of adventures showcasing the Vassals of the Morning Star. In this series, set in the aftermath of World War II, Linden Hobbes and Felicia Book are on a quest to neutralize the king of all vampires with Felicia’s son, Gus, in tow. Although Scott Snyder doesn’t give him even one line of dialog, Dracula exerts influence over his followers and others and proves to be one of the most fearsome villains ever created. As the original vampire — or the Prime Carpathian as Hobbes prefers to refer to him — Dracula has taken measures to ensure his continued existence. Snyder reveals some of those secrets in this issue, all while threading in bits of the literary history and mythological legend for one of humanity’s original bogeymen. Adding to the mystery, Dustin Nguyen’s art is minimalistic, favoring economy and storytelling over detail and clutter. Additionally, Snyder gives Nguyen a couple metaphorical scenes to provide

“American Vampire: Lord of Nightmares” #2 stops the overall narrative flow to drop a 20-page lesson on the intriguing character and story aspects to Scott Snyder’s Dracula. There is an inherent danger in seeding a known quantity when the whole ethos of “American Vampire” usually creates new things. Snyder usually generates his own mythological roots, his own strain of vampire and his own characters. Thus, to suddenly insert the most famous vampire of all time might feel at odds with the title, but “American Vampire: Lord of Vampires” #2 dispels each and every fear. Snyder weaves Dracula into this landscape effortlessly as every page makes you forget what you know about Dracula. Snyder even drops a quick line to say we need to ignore Stoker but he has the chops to give us reasons why this new version is more compelling. The brief interlude to 1888 is exceptionally well played and drops so much in one page that feels like a sneaky wink at the audience — but it’s more exposition for Dra