Review by Frank Plowright

Sirens of the City supplies a 1980s New York where unknown to the general public supernatural beings exist alongside them. Some resemble humans and walk the streets freely, while others have to hide away. The way into this world is via Layla, sixteen years old and pregnant, yet wanting nothing to do with her parents or the equally young father of her child.

Layla is an instantly sympathetic character, being lost and troubled, disguising her vulnerability with an aggressive front calculated to deter potential predators, yet also shunning those who can help her. Beyond the usual fears associated with pregnancy, the child within seems to be able to affect the behaviour of others.

Joanne Storer is supplying a variation of the X-Men with a supernatural twist, which is a viable starting point, but Sirens of the City never develops beyond that and a catchy title into anything more than re-running scenarios familiar from horror drama. Layla runs from one dangerous situation to the next, meeting many who consider her prey and a few who want to help, perpetually concerned about what she’s becoming.

Khary Randolph supplies the what distils to the most creative aspect via black and white artwork with extremely effective use of spot colour. This is coded to signify affiliation and increases as greater power is used, extending to the backgrounds. Randolph’s people are emotionally strong, and he recreates the 1980s extremely well in deliberately grimy environments.

However, the longer Layla’s troubles continue, the less they make sense, with violence always the answer. Randolph holds his end up, but Sirens of the City is otherwise pulled down by a lack of imagination.