The writing in this issue is adequate, if a tad uninspired. It seems to me that Furth was so concerned with making sure all the moving pieces in the plot wound up where they needed to be by the end of the book that she forgot to make it fun. Likewise, Jason Masters artwork is decent, if not awe-inspiring. He may want to take it a little easy on the inks, however, as there were several panels where, despite the scene taking place in a well-lit room, Beast was more black than he was blue.

A Voice in the Dark is the third critically acclaimed series released by Top Cows Minotaur Press (following Echos and Think Tank), an imprint focusing on the darker side of the human condition. For more information, click HERE.

Heady stuff, indeed, but a delicious read, made all the better by letters section at the end of the book, Grey Matter, where Taylor himself talks tough issues (he spoke gracefully about suicide with a reader in issue #4 a delicate topic regardless of what platform its discussed upon). Its all rather meta, considering how it mirrors Zoeys own Voices in the Dark radio show, but like everything else in this book, its almost assuredly intentional.

Expect things to end messily. Regardless of how things wind up panning out, A Voice in the Dark remains one of the most fun and surprising ongoing series in graphic storytelling currently on the market, and it deserves every bit of attention afforded to it.

The only critique worth mentioning is that, although I suppose it's necessary to actually show Zoey murder Dawn and Brock after building up to for so long, it felt a bit anticlimactic as a result of the flash-forwards used beforehand in the issues that preceded it. That, combined with the fact that this is by far the least dialogue-driven issue so far, plays directly into my rating of the issue, as both “Story” and “Dialogue” are key points of criteria.

I'll venture to say that Taylor's clean, refined line work has never looked better than it does in this issue. The addition of Jay Savage's coloration, which combines multi-tone watercolors with staining effects, provides additional depth without drawing attention away from any of the attributes which made the first arc as captivating as it was. All in all, A Voice in the Dark: Get Your Gun #1 is yet another brilliant installment in a series that has deservedly earned almost universal acclaim from comic fans and journos alike.

As always, Hawkins writing is complex enough to provoke the mind but flowing enough that its hard to get confused. Stjepans art style, which has morphed from its early CG-enhanced painting into a more illustrative style with CG flourishes, is just frickin beautiful. Their work together is quite excellent, and its perfectly paced and exceedingly exciting. This issue marks yet another turning point for the titular character of Aphrodite IX, and its definitely worth picking up and spreading the word about.

Im actually rather glad that this is a standalone issue rather than a blending of both books. Though I enjoy Cyber Force, reading Hawkins and Sejics joint work has become something I truly look forward to every month. Together, they are developing a brilliant science fiction saga that, with the artful inclusion of keystone elements of the universe in which their story takes place, has the potential to elevate the Top Cow universe to heights previously unreached.

For fans of the series, it must be an absolute treat, however for those hoping for a good hop-on point, its quite confusing and not much of a comic. Hawkins and Cady did a splendid job and creating a fascinating and well-rounded universe, and Stjepan Sejics artwork is jaw-droppingly gorgeous. If youve followed the series, this should be a no-brainer, but for those with no prior knowledge, be prepared to do a little head scratching.

Despite this obvious zaniness, the story is more than coherent. Think of it as a PG-13 rated Preacher in terms of Fred Van Lentes storytelling style. Pere Perezs artwork is sharp and attractive, and David Barons understated color work fits perfectly with the overall style of the book. My friend Xavier over at A&M Comics has been a fan of this series since its re-launch and its easy to see why; Archer & Armstrong is a riotously fun book, and this issue entitled American Wasteland Part One is a perfect jump-on point. Ill be keeping up with this one.

The line work and inking from both artists is great, but when the comic suddenly switches from Blake to Oeming halfway through, its jarring how dissimilar their styles are. It was like jumping into another book all of a sudden. Besides the abrupt changeover and a couple graphic continuity issues, this is a fun little one-off thatll hopefully mark the beginning of a fruitful career in comics.

If this sounds like a fun, intriguing read, thats because it is. Wickline has definite writing chops, both in creating believable and character-unique dialogue and in pacing the story so that every turned page bears a development that propels the story forward. Of course, credit is also owed to the very oddly-named Rom- Darkness Et Folly, whose angular painting style and inventive perspectives add a dynamism to the story that keeps everything kinetically moving. Unlike last months issue a standalone story by Top Cow 2013 Talent Hunt Winner by writer Hannibal Tabu this book leaves off on a bit of a cliffhanger, and I, for one, will be there to find out what happens next.Artifacts #36 hits all the sweet spots an issue can hit: accessibility, a great pace, gorgeous artwork, an intriguing storyline and an enormous world to play around in. It's a winner.

Artist Isaac Goodharts line work is both detailed and uncomplicated, conceding the stage to Wongs writing in lieu of trying to wow the eyes of readers. That said, every page offers up a little something new and interesting.

Yes, this is essentially Japanese samurai and romance fiction mixed together with a healthy scoop of vampirism, and yes, that may be a little goofy, but this is a comic book, people, and if Levin and Sutthi can keep delivering the sweet katana vs. fang and claw action over the course of the next four issues, sign me up, folks!

And sure, as I mentioned earlier, these themes have been explored before, but so what? If something is done once, should we just close the door forever on that subject? I think not. With this great first issue, City: The Mind in the Machine shows a ton of promise and, considering Garcias track record, we should expect great things to come.

Along with a revolving group of talented artists that includes Drew Moss, Javier Fernandez, and Michael Montenat, he has delivered yet another terrific entry into an already impressive body of work that includes Matchstick Men, The Repossession Mambo and the Anonymous Rex series.

Readers will no doubt draw comparisons between Complex and obvious influences such as The Prisoner and The Stepford Wives, and although those associations are appropriate, there is still so much left to uncover, so many questions raised, that it is still far too early to pass off any hasty equations. As it stands, Complex is a puzzle box of brilliant potential, complementing a masterfully written script with absolutely gorgeous artwork, presented in a highly digestible package of delicious intrigue that should have fans of great storytelling salivating over its next installment.

The book is a tad confusing for those uninitiated, and although the issue generously provides readers with a synopsis of what has happened thus far, it still is a bit disorienting. That being said, the pacing, framing and gravity of the story is done about as deftly as one would expect from one of the premier independent publishers out there.

First issues are crucial when it comes it an upstart series success. Misfires, poor execution and errors only serve to bury a comics positive points, of which Dead End Boys has a few. Although this was less than an ideal start for the series (and a textbook example of falling in love with ones original script at the expense of clarity), hopefully theyll right this ship within the next few issues to make this story intriguing enough to earn it an audience.

What brief research I did yielded some unfortunate information: it appears that, since this issue came out in 2012, only one other issue has been published. Now, it would be unreasonable to expect Mr. Flores to be as prolific a workhorse as, say, a Dave Sim, but its still disheartening news considering how exceptional this book is otherwise.

Lets just hope he doesnt take so long this time.

Death Vigil doesnt appear to have set out to reinvent the wheel, but when you have art this gorgeous, characters this likable and a story this well developed its difficult not being at least a little interested in seeing where it takes us. The limits of Stjepan Sejics talents have yet to be determined, but if Death Vigil is any indication we may have only touched the tip of the iceberg, so to speak.

The characters are likeable, relatable and distinguishable from one another. The writing is funny, informative and non-pandering. The pacing is pitch-perfect. The action set pieces are imaginative and grand in scale. The potential for this book is high. There is absolutely zero reason to miss out.

EGOs wears its influences loosely. Equal parts Watchmen, Fantastic Four and Green Lantern, Moore and Storms do an exemplary job of combining the classic cornerstones of the team book with the fantastical elements of sci-fi space fiction while holding the reins just tightly enough that none of it feels like a retread. The art alternates between cartoony and gritty, the writing is playfully confessionary (our narrator, though not one of the book's protagonists " yet " has close ties to them nonetheless) " both great elements " but what makes this book more intriguing than anything else is something I refuse to spoil for you.

Quirky, violent, full of potential and gorgeously illustrated and colored, EGOs is a book that Im growing more and more certain that Ill be glad I began reading a year from now once things really start rolling. As it currently sits, this books a blast already.

This is the third and final installment of EGOs initial three-issue arc, and it ends with a bit of a whimper. I was underwhelmed with its conclusion, and I truly hope things begin picking up soon. The book itself has style to spare; Gus Storms has eschewed the traditionally bland space sci-fi palette in favor of a gorgeous mix of bright blues, purples, pinks and grays to an absolutely beautiful effect, while Stuart Moore has proven to be quite inventive in his character-creating process. In my review of the first issue, I noted how EGOs seemed heavily influenced by Watchmen, Fantastic Four and Green Lantern, and I stand by those observations, however after spending three issues with Deuce and co. its been made rather obvious that this is a horse of an entirely different color, and now that the group itself has more or less congealed, itll be interesting to see what Moore and Storms have in store for us over the next few story arcs.

This issue has a bittersweet conclusion, one that deserves mention not only because of its unconventionality but because of its noticeable confliction with the rest of the story, which focuses on triumph and protection. Its sorrowful, and it sets forth a wealth of possible routes for future issues.

In between the previews are brief articles, interviews and letters of intent pertinent to the company and its plans for the future. Aside from misspelling artist Diego Bernards name in the table of contents page, everything else comes across as highly professional, creatively inclined, earnest and positive. As a longtime fan who fell in love with these characters back in the 90s, its great to see them up to great stuff so long afterwards.

Then, of course, the twist came and everything got turned on its head. A flawed setup, sure, but the payoff was well worth it. It'll be interesting seeing where they go from here.

A few revelations are made, a few additional questions are raised, and things finally start to get moving by the end of this issue, however with only three issues left, Im interest in seeing how the Halpins and Moyano wrap things up. The time they took between publishing the first book and now (roughly a couple months, by my estimation) shows; the artwork is crisper, the dialogue rings truer and the pacing feels far more in tune with the story theyre trying to tell. Whether or not that will remain consistent through the end of the miniseries is yet to be seen.

A freelance MMA, entertainment and business journo born, raised and residing in Miami, FL, Jesse Scheckner is a musician, cinephile and recovering neer-do-well who still believes Mickey Rourkes finest days in film have yet to come. He isTuffGnarl.coms editor-in-chief. Follow him on Twitter:@JesseScheckner.

As Im sure my father regretted consuming weird cookie-looking turtles, youll regret not catching on to possibly the most irreverent and zany comic book ever:God Hates Astronauts.

With great pacing, clear line work and true-to-life dialogue driving an intriguing story, Harbinger #22 serves not only as a great story but as a fantastic jump-on point for new readers.

Granted, those are some lofty expectations one book deep, but it has the potential. One of three debuting series from Darby Pop Publishing, a new publishing division from IDW, this sets the bar quite high for what should be expected of their other offerings: the futuristic cyber thriller City and the sci-fi samurai romp, 7th Sword. With great pacing, an excellent plot, interesting characters, snappy dialog and artwork that conveys all of those assets soundly, Indestructible is an absolute winner.

In the world of Indestructible, superheroes are revered as celebrities, and Gregs newfound fame makes for several odd interactions (many orchestrated by Barry) with people in public. As in the last issue, the dialogue is spot-on, the pacing is exceptional and there is a growing cast of likeable characters to become invested in. The art has improved some as well; Garron and Garcia get to show off their action chops a bit. Though an undeniably ominous last page hints at a more somber tone in the next few issues (hint-hint: villains!), the ride has been a blast of hilarity thus far.

Currently, Jeff Kline, Christopher Johnson and Alejandro Sanchez are doing an awfully good job at keeping us all guessing as to which of those two territories well wind up in and, for the time being, Im totally fine with not knowing which it is.

All in all, however, its a worthwhile book that youd do well to pick up, not just for the beautiful artwork inside but for the unique narrative that shows a great deal of promise.

As I mentioned earlier, despite its being enumerated #1, no other issues of Love Stories (to Die For) have been published since September 2013. Its a shame, too, because these one-off yarns are incredibly fun to read. Hopefully Manning and co. will put out more in the future. Until then, if you havent read this, you might do well to rectify that.

Overall, this books positive points outweigh its negative ones and the story, setting, artwork and the potential all those ingredients, combined, present should make it worth your while, provided you have an extra $4 laying around somewhere.

FIngerman, whose work has been nominated for both an Ignatz Award and has twice been considered for the Eisner, has been at it since the mid-80s (check out the cover of The Toasters debut LP), working for comic luminaries like Harvey Kurtzman; producing material for magazines like Cracked, Screw, Penthouse, Hot Talk, The Village Voice, Heavy Metal and National Lampoon; writing and drawing comics including Teenage Mutant Ninja Turtles, Skinheads in Love, Bloodsucker and White Like She; and putting out novels including Bottomfeeder and Pariah. His most definitive work, however the one that people point to when asked who Bob Fingerman is is without a doubt Minimum Wage, and its great see Rob Hoffmans story continue after all these years and, even more than that, that its still really fucking good.

As with last issue, Fingermans artwork, dialogue, pacing and story are all pitch-perfect. Though some of the dialogue appears to be referring to past occurrences current readers may not be knowledgeable of, its of little concern, as they do nothing to derail the current story but probably enhance the experience of longtime readers.

This is an independent book, so the rate at which issues come out isnt necessarily on a monthly basis. Since March 2013, only two other issues have come out, but the good news is that the third issue just came out today, meaning Loniewski and Lauer still have their noses to the grindstone, which is always a good thing to know when considering picking up a new series.

This isnt for everyone, but most people will get a kick out of it, as I did.

As far as the writing is concerned, there isn't anything particularly wrong with it, however there also is nothing outstanding about any of it either. Then again, this is only the first issue. As far as first issues go, Ragnark #1 gets more right than wrong and, in laying down a decent foundation upon which to build a sturdy ongoing plot, that's more than enough to call this initial step a victorious one.

This issue also serves as an introduction to another character the publisher appears high on promoting the subversive superspy Spylocke, who is something of a folk hero among the residents of Japan.

Despite being a new book, I can already tell that this story is ripe for adaptation. Its a fun universe (which will undoubtedly draw comparisons to the Harry Potter world not bad company to keep) filled with likable characters and a good degree of intrigue. This is one to watch.

As far as all-ages stories go, few comics on the shelves currently exhibit the promise that Rise of the Magi does. Each issue thus far has propelled the story forward at as fast a click as possible without sacrificing any essential narrative elements. That all three books issues #0, #1 and, now, #2 all close out with gangbuster cliffhangers only goes to further show how on top of their game Silvestri and co. currently are.

This comic deserves attention.

The game is henceforth wide open, and what happens next will surely be one for the books. Stay tuned, dear readers.

This is Linsner at the top of his game, ladies and gentlemen, and considering the self-contained nature of Sin Boldly, its a must-buy for any past or present fan.

The self-contained nature of the stories make this an attractive option for the casual reader who doesnt have time to regularly check in on a series to keep up with whats going on, and with its light-hearted humor, cartoonish violence and immense back catalog, Sinister Dexter could once again gain traction with readers. Essential reading, however, it is not.

Maybe its just because he has more room to work with, but the series creator and writer Dan Abnetts script especially the dialogue is worlds better than in issue one. Its also much, much funnier. A running gag involving the customizable language function of Mangapores taxis is especially amusing so much so that Im even beginning to enjoy the word funt, if you can believe that.

This may be one to keep on your radar, folks.

Now, I'm not huge on military science fiction. This isn't by choice " I'm just not particularly well versed in the genre (I think Ender's Game is about as deep into it as I've gotten), however Tales of Honor #1 was just a delight to read, with great characters, a three-dimensional universe and a generously deep source from which to derive material. It's also rather exciting to be able to acquaint myself with the series long before it becomes something much bigger down the line, which, if everything else is done as well as the comic, is a practical certainty.

The first book in a 12-part series, Terminator Salvation: The Final Battle gets off to a terrifically intriguing start. As long as the series keeps up the momentum it has set forth with the first book it may very well end up being among the best in the franchises illustrated library.

So yeah, I just sort of gave away two pages in a 22-page comic. Theres so much more interesting stuff going on. Multiple narratives spanning three time periods, a serial killer, a time door, amusing paradox ironies, mini Terminators this book has all those things and more.

What I wont do is sing this books praises as loudly as I had earlier, because, as we all know, the T-1000 already was able to protrude swords and the like from its form (thereby eliminating the need for this inferior version), and the logic going into designing a Terminator that spews gas and somehow can control its hair follicles as an elephant would its trunk is functionally and logically ridiculous.

My gripes, though few, involve what I mentioned in this reviews first paragraph: it isnt particularly imaginative considering the current trends in pop culture, particularly on television. Now, just because Game of Thrones, The Walking Dead and other like products have managed to turn fantasy and horror staples into mainstream forms of entertainment fit for weekly mass consumption, that doesnt mean they have the market cornered on such stuff, and The Black Hand deserves a shot at spinning a new yarn without it getting tangled in other creators needlework.

For those looking for a story rooted more deeply in reality, whose fantasy, sci-fi and superhero quotas have been maxed out, this book might be right up your alley.

But it's also exceedingly interesting, brilliantly paced and, even better, there are answers at the end of the issue. Unlike other stories which keep viewers/readers aloft on intrigue alone, doling out answers like they're the last few singles at a nudie joint (I'm looking at you, LOST, you mammary-loving dollar-hog), Evan Young and company aren't interested in keeping readers guessing; they're interested in telling a good story.

The book ends rather abruptly after 19 pages " a somewhat meager amount of content, if we're being completely fair. The final panel, which is just a black background with white text, synopsizes the story's subsequent events. It feels almost like a rush job after being pulled so deeply into a story that was, until that point, very engrossing.

Vicious Traditions is not for the faint of heart, as there is gore galore within its tight 19 pages. One specific image involving a cauldron, a bunch of severed heads and some hot oil will stick with me for a while, I think. That being said, none of it feels gratuitous or unnecessary, and the story benefits from this grim, crimson conveyance.

Frankly, I dont understand why some comic companies and/or creators are so reticent to do this. Ive never had an issue with a comic Ive read for a long time making sure that new readers are up to speed and, on the flipside when Im a new reader completely unaware of what is going on, I really appreciate it when Im given a synopsis of the storys prior happenings (especially in cases where a publisher has overwritten an already-established narrative).

The Delinquentsis a pitch-perfect cocktail of fun, fan service and social commentary – perfectly paced and stylistically realized – and whether you're a fan of one series, both or neither is truly a non-issue; there is fun to be had in these pages and it's so infectious that it's almost impossible you won't be affected one way or the other.

This book may remind you of cop dramas like Law & Order, The Killing and The Wire, it may have you waxing nostalgic about Brian Michael Bendis' initial Powers arc " and it should; writer Anthony Johnston gladly proclaims these influences, as well as others including Judge Dredd, Star Wars, Alien and, the granddaddy of them all, Sherlock Holmes. Like Bendis showed us earlier (and Alan Moore definitively demonstrated years before him), mysteries " namely detective stories " are tried-and-true formats for a reason: they ask a question, provide clues, a protagonist (or protagonists) to relate to (who, despite personal flaws, usually has a steadfast moral compass), and they tell a story of good vs. evil, right vs. wrong, truth vs. lie and light vs. dark.

What remains undeniably good is Kirkmans writing, Adlard and Gaudianos artwork and the overall feel of the book. Ive been away from the series for a hot minute, but it still feels like the book I originally fell in love with. Considering how much Mr. Kirkman is juggling now, thats massive.

As usual, the writing, artwork and pacing of this book leave little room for improvement. This is still one of the best ongoing series in comics.

Despite having never been swept up in the fervor that surrounded The X-Files, I am a child of my era and therefore felt its current regardless of my own personal interests. From what I can tell, this is a just continuation of the show, and I want to believe itll keep us interested on through to its conclusion.

Visually, the book is gorgeous, with highly detailed watercolors creating a dense, colorful and dynamically imagined world. The shot where she emerges from the subway is particularly stunning; it'd feel at home on any art collector's wall. As far as the writing is concerned, it's a little early to tell. Though Veil herself is an interesting character, she hasn't done much besides spout odd freestyle poetry, and every other character presented thus far is essentially a street-level archetype. It's Rucka, though, so he gets the benefit of the doubt, always.

Like the majority of the stuff coming out of Top Cow, the artwork is quite good and the writing is pretty excellent. Making a story like Witchblade, which has been around for more than 15 years at this point, resonate with readers is quite an undertaking, and Marz manages this task deftly. In the books addendum, Ryan Cady Top Cows production assistant has written a great little informational area called The Witching Hour with the intention of getting readers up to speed regarding some of the more complex subjects in the book. Its a terrific supplement to the book, taking its lead from Matt Hawkins similar stuff in Aphrodite IX and Think Tank, and for people like myself who have been out of the Top Cow loop until recently, its greatly appreciated.

At the end of the issue, a few things are established, though none likely as much as this: if youve been out of the loop for a while, now is a pretty good time to start picking up Witchblade again.

Longtime fans of the series should be very proud to have stuck with it for as long as they have. After so many years and so many stories, Witchblade is just as beautiful and vital a comic as it was when it first kicked off back in 1995.

Laura Braga's line work is still rather great, though there are some inconsistencies in this issue regarding fine details. To her credit, much of this issue relies on dialogue, and I suppose there are only so many angles you can show one person talking to another person. As usual, Pezzini is absolutely gorgeous, and there is one scene in particular " where she recalls how she lost her daughter while holding a teddy bear " that was pure brilliance.

Laura Braga continues to elate my graphical sensibilities every time a new issue drops. Her clear line work, bolstered by Top Cow editor Betsy Gonias colors, just makes for some of the most consistently enjoyable artwork in the biz. Ron Marz, whose run on Witchblade stretches back to 2004, clearly still has many stories to tell within this universe, and its an absolute treat to be able to watch his work unfold with such capable and enabling collaborators.

I didnt feel lost once as a result of being unfamiliar with the novel. Were it not for some information about the story at the end, I wouldnt have known the comic was a prequel at all. Is this required reading for horror fans? Hardly but its a good jump-on point to what seems to be an interesting yarn. I may just tune in for its second installment.

Considering how early Wraith is in developing its story, it would be a smart move for anyone interested in indulging the voids pull to start reading this phenomenal tale sooner rather than later. Something tells me were only sinking deeper into the abyss.

Joe Hill's script keeps the creepy factor balanced precisely between the absurd and the unnerving. Every character's voice, now two issues deep each, has grown more defined, and you can almost hear the reedy timbre of King Geek's taunting interjections, Hansom's growly baritone and Manx's gravelly enthused double entendres.

Were left with quite a cliffhanger, however, and despite my occasional exception taking, this book remains a blast to flip through and Im eager to see what Hill and co. have in store for us.

Amid a landscape of regurgitated ideas, reboots and spinoffs, a story like Wynter is a much-needed breath of fresh air. Graphically, Aaron Elekes puts many books from major publishers to shame, his detailed paintings offering up warmth in a comparatively cold world. Story-wise, its high-brow concepts, pitch-perfect internal monologues and exemplary pacing blow its contemporaries out of the water. The marriage of these two ingredients is a shining example of what can be accomplished when creators create for the right reason. Plainly put, Wynter is among the finest books this comic book reviewer has read in a very, very long time.

Bonus pages offer up pinups and character/armor profiles. Whether or not youve been privy to this series current run, now might be an ideal time to jump on again and take this story for a spin. Its amazing how familiar yet novel it feels amid the regular stuff the big two (or three) seem to be churning out on the reg.

The writing is where I take the most umbrage with. Dialogically, no character has a distinctive voice " a very important facet of a good comic. Furthermore, the editors " editor in chief Shawn Gabborin and associate editors Chad Cicconi and Colleen Boyd " should be ashamed of themselves for letting a book on their imprint come out with "it's" and "its" being both used incorrectly in the same issue. There's three of you, for Pete's sake, get with it!