Contrast media, also called contrast agents, are used to enhance the blood and perfusion in tissues. This includes iodine based contrast for on computed tomography (CT), gadolinium based agents for MRI and lipid bubble contrast agents used in ultrasound. Contrast medium, substance comparatively opaque to X ray, which, when present in an organ or tissue, causes a lighter appearance— i.e., a more definite image—on the X-ray film. Some body structures, such as the lungs, show in X-ray films and in fluoroscopic images by virtue of the sharp difference between. Contrast materials, also called contrast agents or contrast media, are used to improve pictures of the inside of the body produced by x-rays, computed tomography (CT), magnetic resonance (MR) imaging, and ultrasound. Often, contrast materials allow the radiologist to distinguish normal from abnormal conditions. Contrast media definition. Contrast media are substances used to highlight areas of the body in radiographic contrast to their surrounding tissues. Contrast media enhance the optical density of the area under investigation so that the tissue/structure absorption differentials are sufficient to produce adequate contrast with adjacent structures, enabling imaging to take place.

Through the Woods is a third-person Norse horror adventure set in a forest on the western shores of Norway that tells the story of a mother and her missing son.

Horror is a genre that suits the comic book medium very well. Perhaps a little too well, judging from how publisher EC Comics bore the brunt of the anti-comic book backlash of the 1950's. Thanks to the basic combination of words and pictures, comics can channel the internalized fear and unease of prose horror with the visceral terror of a scary movie. And even though we're seeing a number of great new comics exploring the horror genre lately, Emily Carroll's graphic novel Through the Woods stands out as a unique and haunting (pun intended) exploration of things that go bump in the night.Through the Woods is more an anthology book than a singular work. It collects several of Carroll's web comics along with some new material. Five short stories are included in all, along with an introduction and conclusion that are, essentially, two additional tales in their own right. Even if there's no direct connective tissue among the stories, the whole book is unified by a consistent sense of style and thematic approach.

All of these horror stories are period pieces. All of them have a distinctly fairy tale-esque approach. All of them deal with the fear of unknown and unseen monsters lurking in the wilderness. So though this may be a collection of individual tales, Through the Woods has a very cohesive feel.

There aren't really any weak links among these five stories, though certain chapters do resonate more than others. 'Our Neighbor's House' feels a bit brusque and less developed than the rest as it examines three sisters left alone in their home and stalked by a strange, grinning man. But it still does its job. Here, the eerie sense of inevitability to the tale is more unsettling than the creature itself. 'A Lady's Hands Are Cold' offers Carroll's own spin on the familiar tale of Bluebeard, though downplaying the murdering husband in favor of the ghost that haunts his halls.

The ending to this story is especially striking. It sets the tone for the rest of the book as it establishes that there are no happy endings for the protagonists. Only fear or loss or death or some combination of the three await. Carroll also shows a tendency to end her tales abruptly. Not to the extent of something like Optic Nerve, but in a way that enhances the tension and dread.

'His Face All Red' is easily one of the standout pieces. It reads a bit differently from the rest in that it revolves around a male protagonist rather than a young girl, and one who is morally dubious.

This tale focuses less on overt horror, instead relying on suspense and building towards a dramatic, very effective conclusion. This tale also happens to be free to read on, so I'd encourage interested readers to check it out. 'My Friend Janna' may be the most unsettling of the stories included.

This chapter focuses on two friends who fake seances and trick others into believing they can communicate with the dead, only for some spectral presence to begin following them. The subject matter combined with the period setting gives this story a strong whiff of classic British horror writer M.R. Which is good company for any storyteller to be in. Finally, the book wraps with another standout tale called 'The Nesting Place.'

This story is the most fully realized of the bunch, as Carroll spends more time developing the protagonist and her family relationships, as well as the horrific monster she faces. This segment, more than many other, left me hoping that Carroll has plans for a more long-form horror project in the future. None of these stories would be nearly as successful as they are without Carroll's art driving them.

The dark fairy tale tone is perfectly encapsulated in her style. The expressive, flowing character designs are dwarfed by haunting, ethereal environments. Carroll shows a knack for using negative space and silhouetted figures to enhance the impact of her stories. Her forests - the source of most of the evil these characters face - are boundless tracts of jagged trees through which no light passes. There's a storybook quality to the imagery, albeit more 'Mister Babadook' than Hans Christian Anderson.

Carroll also deserves credit for sticking to that ever-important rule of horror storytelling - don't show too much of your monster/ghost/creature. Countless horror films have been ruined because they focus too much on flashy special effects and monster designs. No matter how creepy your monster might be, the reader/viewer will always be more afraid of the unseen threat just out of view. Carroll tends to only show readers glimpses of her monsters - a face here or a murky form there - and the impact is all the better for it. Further credit must be given to Carroll's use of color and lettering.

These stories vary in terms of how wide a color palette is applied. At times the pages are almost stark black and white, with red or blue tones used to draw the eye. In other cases the palette is more varied, though still with the ultimate goal of drawing attention to key developments or characters. As for the lettering, Carroll doesn't rely on traditional word balloons. Instead, big, sweeping bursts of dialogue and narration move across the page, often twisting in different directions across the page as if blown by the wind. Not only does this further enhance the storybook quality of the stories, it adds to the sequential flow of the panels.

It should be noted that the reprinted stories don't transition from the computer screen to the printed page entirely unscathed. The panel arrangements have to be modified to fit this format, and in a couple cases the storytelling suffers a bit. The main example comes in 'His Face All Red,' as we see the protagonist descend a hole in the woods. The sequence has more impact when presented as one continuous image.

But to be fair, it's doubtful anyone would notice changes like this without having read the digital versions previously. VerdictAny fan of horror comics would do well to give Through the Woods a read. These five dark, twisted fairy tales are united by their focus on unsettling terrors that spring out of the wilderness. Carroll's words and images combine to instill fear and dread in the reader. This collection is a strong reminder of how well suited the horror genre is to comics.poilib element='accentDivider'Jesse is a mild-mannered writer for IGN.

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