Review by Ian Keogh

In a prologue we’re introduced to Witchcat Urfi, Princess of the Wyrdrider Zone and see how she offers her heart to the angel Urbina who nonetheless believes she will break their heart and the world will end. With the stakes set, we journey further into the disturbingly imaginative mind of Donya Todd for a fractured fairy tale eventually developing into a battle for existence itself.

The suspicion is that how far anyone will delve into The Witch’s Egg is dependent on reaction to Todd’s art, which is going to be something you’ll immediately love or immediately hate. It’s definitely from the naive school, illustrative and far removed from traditional panel to panel continuity, and the vivid colours impact from the start. What’s lost in discarding conventionality is gained in the exuberance of the new.

Todd frames her story as a myth from beyond time when people act as foretold despite others also being aware. Having saved her last egg from her predatory partner, Urfi wants to ensure the survival of what’s been born from within. To this end she journeys through assorted areas protected by forms of godly wildlife, and we learn snippets from her past. However, events move rapidly, and it’s not long before Urfi is accompanied by her daughters, each with a different gift, and with a destiny to fulfil.

Despite the mythical tone, Todd brings a very modern outlook to her cast, none ever overawed by reputations or stature. Elements mentioned early, such as a promise to the Hare of the South Road, can come to fruition as The Witch’s Egg progresses through a fair number of years, and there’s never sight lost of the potential for the world to end.

If you like the art, the chances are you’ll enjoy the diversions on the way to Urfi’s final battle.