Review by Frank Plowright

Paramedic Ruth Saran has experienced the tragedy of her husband’s unexplained death, and being called to the discovery of a corpse seemingly ripped open by animals triggers greatly upsetting memories. There are similarities to the way her husband’s body was discovered, but the difference is this time there’s a policeman willing to at least consider further investigation. It’s not enough for Ruth, who begins a trail at the mortuary that eventually leads to a remote cottage in the Scottish highlands.

Novelist Simon Lewis knows how to pace a horror thriller with expert precision, dropping the revelations slowly amid what for much of the book seems a procedural investigation of a terrible crime. Ruth is well characterised as someone already carrying her own demons, but she’s not the sole focus. Unusually, we also see a killer at work, surprisingly casual about their predatory occupation, and legends of historical cannibalism in Scotland also feature. To some that may seem a false trail into the fantastic, yet the more astute reader will realise Flesh and Blood is going to take a turn from a grim reality into something even worse.

As good as Lewis’ plot and storytelling is, there are a hundred ways it might have been drawn diluting the strengths. Thankfully, Chris Geary is the artist. He makes the most of rural winter locations, ensures the cast are visually distinct and is especially astute in using muted colouring for atmosphere. Gruesome deeds occur, and Geary downplays them, leaving much to the reader’s imagination, and the only slight fault in a bravura artistic performance is the occasional panel where what’s happening isn’t apparent. Unfortunately one example opens the book.

Highly recommended for anyone whose horror doesn’t have to be explicit. The creators return with Skin and Bone, but will any of the cast survive to make an appearance?