Review: Grimm Tales Of Terror Vol.5 #12
From Zenescope Entertainment
A new one-shot horror story is out this week, with Grimm Tales Of Terror Vol . 5 #12 from Zenescope Entertainment.
An ambitious and unscrupulous documentary filmmaker follows a group of self-proclaimed “monster hunters” into the Pennsylvania wilderness in search of the legendary, local cryptid known as The Squonk. Now, at the mercy of the unknown, they’ll discover that some mysteries are best kept hidden.
Writer: Noah Mitchell, Artwork: Babisu Kourtis, Colours: Juan Manuel Rodriguez, Letters: Taylor Esposito (Of Ghost Glyph Studios), Editor: David Wohl, and Production & Design: Christopher Cote
Only a brief cameo from Keres in this issue!
Cryptids are always fascinating, and I’ll admit that, most of the time, the ones that show up in stories tend to fit the classic Bigfoot mould. That’s why I was especially intrigued going into this issue—there’s a sense right from the start that Zenescope is steering us somewhere a little different. And honestly, just one glance at that cover is enough to make you pause. It has that immediate, visceral “something-is-wrong-here” energy that grabs you before you even turn the first page. It’s unsettling in all the right ways.
But this is Grimm Tales of Terror, after all, so you know going in that there’s going to be a twist lurking somewhere beneath the surface. What impressed me is how cleverly this issue brings you to that twist. It doesn’t rush. It doesn’t telegraph too much. Instead, it guides you along with just the right amount of tension, letting your imagination fill in the gaps until the story is ready to spring its trap.
As usual with Zenescope’s horror one-shots, the human element is a big part of what makes the payoff work. And here, they do a fantastic job of presenting characters who are… well, let’s say not the most sympathetic bunch. They’re intentionally unlikable enough that you’re not exactly rooting for their survival, which adds a certain guilty thrill as the story progresses. The real enjoyment becomes less about what happens to them and more about how the narrative manoeuvres us into that dark, inevitable place.
The dialogue deserves special mention. The build-up to the central event has some wonderfully sharp, believable exchanges—lines that feel like things you might overhear from real people in similar situations. That grounding makes the more fantastical elements land even harder when they arrive.
Artistically, the issue is a treat. The shift from the more grounded town setting into the shadowed, oppressive forest works beautifully. The atmosphere tightens as the scenery changes, and the gory details in the woods are handled with just the right mix of shock and style. It’s a slow burn, but an intentional one, and the moment when everything is finally revealed is placed precisely where it needs to be to maximise impact.
The conclusion ties it all together in a way that’s both entertaining and satisfying. It has that cleverly executed final punch that makes you think back to the little hints dropped earlier on—breadcrumbs that you may not have fully noticed until the ending clicks them into place. It’s the kind of finish that leaves you with a wry smile because, even though you saw part of it coming, the delivery is just too good not to appreciate.
Overall, this issue delivers exactly what I want from Grimm Tales of Terror: atmosphere, tension, a clever twist, and a payoff that feels earned—a thoroughly enjoyable read.
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