It Killed Everyone But Me #3 is written by Ryan Parrott and published by Mad Cave Studios. Artwork is by Letizia Cadonici, colours by Alessandro Santoro, and letters by Taylor Esposito. Main cover art (left) is by Joshua Hixson.
It Killed Everyone But Me #3 is available from today, in comic book stores and on digital platforms where all good comic books are sold. Grab your physical copy from Forbidden Planet or digitally from Amazon Comixology UK.
Synopsis
As the Heathen takes a perverse pleasure in hunting down the children of the Riverton Massacre in the past, Sutton and Ian are forced to reveal their own dark secrets to the Heathen in the present if they have any hope of saving Mason in time.
Review
It Killed Everyone But Me #3 is another cracking instalment in what’s shaping up to be one of the most unmissable horror comics of the decade. It’s dark, it’s shocking, and it’s daring — cut from the same blood-stained cloth as Something Is Killing the Children and other modern classics that have carved their way into the genre.
This issue once again dances between past and present, and we kick things off in the past with our villain — The Heathen — in all his feral, unforgiving glory. Those opening panels waste zero time reminding you exactly who you’re dealing with. He’s a force of nature wrapped in flesh: menacing, brutal, and ruled by a violent instinct that feels almost casual. Eyes, limbs, hope — nothing is safe. He doesn’t just hurt people; he unravels them.
And that’s what makes him terrifying. Not the noise. Not the spectacle. But the ease. The unbothered, almost bored cruelty of a monster who inflicts pain the way other people exhale.
Cut to the present, and suddenly this same nightmare is sitting in a police station — willingly — inviting interrogation like it’s some twisted game. It’s the kind of moment that makes you lean in and ask: Why? Because the Heathen never does anything unless it’s precisely what he wants. And if he wants to be questioned… well, that’s somehow more unsettling than the carnage he leaves behind.
The dual-timeline storytelling remains one of the book’s sharpest weapons. The past enriches the present, the present complicates the past, and together they build this creeping dread that constantly presses on the spine of the narrative. It’s a balancing act that should feel chaotic, but the creative team handles it with unnerving precision.
Issue #3 is atmospheric, twisty, and full of surprises — a fog-soaked descent into a world where every answer only sharpens another question. The story is deepening, the characters are tightening, and the mystery is blooming into something far more dangerous than we thought. If issue #1 hooked you and issue #2 rattled you, issue #3 sinks its claws in and twists.
Verdict
It Killed Everyone But Me #3 doesn’t just keep the momentum going — it escalates it. Leaning into brutality, mystery, and atmospheric dread, this issue tightens the noose around the narrative in the best, most nail-biting way possible.
With razor-sharp pacing, masterful dual-timeline storytelling, and a villain who redefines “menacing,” this chapter cements the series as top-tier horror. Think Hellraiser cruelty wrapped in Yellowjackets tension mixed with the art and flare of Something is Killing the Children — a visceral, unnerving, utterly addictive nightmare you won’t want to escape.
⭐⭐⭐⭐⭐
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