That’s how I feel about the story as a whole. As a device to deliver some new status quo, this was simply an aimless, pointless exercise in driving circles around itself. I don’t think I’d give Age of Ultron either a pass or a fail. It’s more of an incomplete.

The art from Kotian is fun and serviceable, with a few flashes of real brilliance, like the Sandman-esque decant into dreaming. Altogether, though, I'd have to say that its visual direction, like its narrative one, was entertaining in the same way every C.S.I. spinoff is "entertaining," but otherwise pretty unremarkable.

Boring, trite, dangerously cheesecake, shamefully sexist and just plain terrible, the only reason I'm giving Apocalypse Al #2 anything above zero is because it fulfills the bare minimum of being a comic book. Avoid it like the apocalypse.

At first, I was worried about Art Monster's lack of story, but now I feel it's a sufficient tease of things to come. If the creators can expand that sync they achieved at the beginning of this issue, they could bring to life some very sexy science, indeed. As it stands, while Art Monster may not be that first exhilarating kiss, it definitely enjoys the tension that precedes it.

I know by now it sounds like I'm bashing this book, but I don't mean to be. Like I said, I enjoyed Art Monster #2 when it was given a chance to breathe and allowed both writer and artist to play more freely within their given dynamic, but I think this structure is hurting what could otherwise be published organically as a more luxuriating story. Still, the re-imagined concept is strong, as is the core of its writing and aesthetic, and I for one will be staying on this book to see how it turns out.

I personally prefer my Black Dynamite like I like my coffee: full-bodied and bitter … not to mention unfiltered. So it was a bit of a bummer seeing the voracity of his profanity punch pulled here, but as comic book adaptations of parody blacksploitation films go, this is the best thing you're going to read this week. Dig it, turkey!

I'm really only knocking off a point for Black Dynamite #2 because it's taken three months to release this after the first issue, which frankly is unfortunate in a book this entertaining, but don't let that dissuade any of you Blaxploitation admirers from picking up this book. This shit right here is solid!

See? That's the kind of stuff I'm talking about, but it shouldn't be relegated to the sidelines! It should take prime positioning as the tone throughout the main book. If the creative team can tap that vein, Black Dynamite will again become the hilarious beast it was always meant to be, rather than some mutant freak with tampered DNA.

So there it is, my James Tribute Review gets the high-fives. I hope he would approve, wherever he is…

Altogether, Black Science#7 got me pumped as hell to see this series back from its brief hiatus by hustling along a curvaceous narrative path that may borrow some tried-and-true Remender tricks, but does more than enough to keep me guessing and wanting more.

But you know what? I'm gonna stick this book out for a couple more issues. Like I said, I WANT to believe in it, and the potential is there to make something truly special. I mean, these guys are not fucking bad, they just need to shore up their good ideas, cut the fat and start whipping this story's ass to get it back to where it should be. If it does that, I'll be a regular citizen of BlackAcre, but until then, I'll just keep looking to the comic book Hinterlands for something better.

It reads like someone having a bit of fun with the creative team, who respond with, "zzzzz... Uh, great letter, dude. I did not understand a word. If anyone can translate this shit into English, lemme know," which is pretty lame, quite frankly. Then again, maybe this is just some not-so-elaborate hoax by the team, in which case ... whatever, I'm bored again.

In the end, I do believe in Joe Casey, and I’m willing to stick around to be there when this title (like Zander) finally bounces back from the super-powered yet mundane place it currently finds itself.

The Bounce #4 ends with yet another hollow cliffhanger, and while I sometimes seriously contemplate dropping it altogether, I want to stick with it to see if Casey can turn it around. I want to like this book SO MUCH, but unless it picks up the pace and draws in its focus, The Bounce is going to end up falling flat.

Everything about this book, from its sharp yet gleefully sophomoric wit to its well-manicured yet simple art to its clever lettering of sound effects like "splashnslam" or my personal favorite, "fffwwwSPACEBOOOoomb," is sheer, unbridled fun, and it thankfully has absolutely no allusions to the contrary. It's bright, outlandish and one of the best times you'll have for three bucks ... outside of Tijuana.

Burn the Orphanage #2 will inevitably be remembered as one of those books that is based on a great idea, but one unfortunately squandered by simultaneously trying too hard and shying away from its point. It was a struggle for me to finish this issue, and as far as this book is concerned, it was definitely my final fight.

Some reviewers will tell you that this story isn't for everyone, and I guess I agree, but don't let that stop you from experiencing Change. The words Kot conducts through Jeske's art come together as poetry, so even if you don't "get" the story, just sit back and enjoy the lyrical canter that it consistently trots out. In other words, don't fear Change. Embrace it.

Change will inevitably work better non-episodically in trade format, and I definitely plan on reading it again as such, but for now, Kot and Jeske's journey has been, often despite itself, a thoroughly enjoyable experience.

Chasing the Dead is pretty standard scare fare. If you're a hardcore horror junkie, you'll probably dig it, but Like Sue, I'm not very tempted to take another tour.

Prohibition-era shenanigans involving Eliot Ness, Al Capone, magic bullets and mummies? Bring that shit right over here! But (and that's a big but ... I cannot lie), what begins so promisingly in its first few pages, very quickly devolves into chaos. And not in a good way.

I'm a changed man from Chin Music's first issue and Image can officially count me in as on-board. Last time was an ill-plotted, convoluted mess without much help in its backstory, but in this, its second issue, the series seems to have found its footing. I'm hoping that the third issue will see the art and story congealing more organically and that Niles continues to more purposefully chart his course, as he has done here. If they do, I'll be making sweet music with this book again, sooner (hopefully) rather than later.

In the end, I definitely give Comeback #3 a solid recommend, and can't wait to see what happens next. My guess? Mother. Fucking. Hoverboards.

I'm very much on-board for Comeback's finale next issue and can't wait to see how this whole thing is going to end. It will be a pleasure to reconnect with it one more time.

Allin, this wasn't the best issue of the series, but taking into account everything that led to it, it's a great, if not altogether satisfying reason to come back one last time.

Just like I don't have a clear concept of where it's coming from, I also don't exactly know where Dark Engine is going. Although (and this may be a SPOILER, I dunno), chances are Syn and her belly bomb will end up being the paradoxical engine of humanity's destruction. Regardless, I'm glad I took a chance on this book, which has a style and cadence that grates as much as it amazes.

Still, that is such a marginal complaint, given the enjoyment I am getting out of this book. For my money, it's one of the best things going in terms of superheroes outside of the mainstream, or just in general really. I'll definitely be back next time to see why these folks are imprisoned, how their tensions will further escalate (they come to a "head" in this issue) and just to see where this is all going. I'm so on-board, it hurts.

I'm firmly sticking with Deathmatch, and I strongly suggest you do the same.

Oh, Deathmatch, you clever little cock-tease, you've done it again. Of course I'll be back for more next time, fully expecting to walk away engorged with more story, and I will continue to do so until what I hope will be an epic climax.

The author has previously stated that if we gave him a 5/5, he'd consider making a book for my favorite character, Rat, the anatomical hoarder who takes something of a back seat this time, while maintaining what threatens to be a larger sense of importance to the story. Well, he's definitely earned that score here, coincidentally, in issue five.

So, because Deathmatch is beginning to show signs of being an overpowered, yet stuck beast (much like the heroes within its pages), and this issue isn’t as captivating and incendiary as the blowout that was issue five, I have to drop it a point. Which, if my math is right, takes it down to just being “fucking awesome!”

As ever, Deathmatch was a highlight this month, as issue seven continues the series' build into what I think will be a very satisfying final conflagration. If you're not reading this, it's you who needs to be locked away.

I've said it before, but Carlos Magno and Michael Garland have created something just as visually special as Jenkins has with the dialogue, plot and well-planned pacing. The visual direction of this book remains this deeply textured beast that happily doesn't veer into the stereotypical, overly-sinuous superhero fare. It feels dynamic yet grounded, and it all comes together with such gritty hyper-realism, I almost forgive the team for leaving out the man they call Rat. Almost.

If you are tired of the same ol' in other big superhero events and want to try something with a little different flavor, I couldn't recommend Deathmatch more. As morbid as this is gonna sound, it's the most fun you'll have watching something die " unless you're really, really weird.

Deathmatch ain't over yet, and if you've been keeping up, issue 10 definitely won't be what you're expecting " a few times in a row. If you haven't been keeping up with Deathmatch " change that. Now.

I remain 100% on-board with Deathmatch up to and after issue 11, and if you don't mind swimming through a bit of textual and thematic molasses, I'm pretty sure you're gonna like it, too.

Saying all that, we've been here before in this series, and Jenkins has proven quite adept at proving me very, very wrong, so I will be sticking around until the end. I honestly just hope that he and the team pull the plug on Deathmatch soon and with suitable brilliance, giving it the worthy swan song it deserves.

If you've read her other creator-owned stuff, then it will come as no surprise that Becky Cloonan's Demeter is an exceptional brief retreat from anything else in the industry; and for just 99 cents, it's an absolutely filthy steal. Put simply, I can't recommend this book more highly.

The writing team this issue is an impressive conglomerate consisting of Jeff Mariotte, Kurtis Wiebe and Joshua Williamson, each of whom does a generally pretty darn good job of driving Rossmo's overarching vision forward. This is not even close to my favorite Rossmo book (which is admittedly set at a high standard), but to get a quick, if not completely satisfying fix, it'll do in a pinch.

Altogether, Dia de los Muertos has been a fun read for me - which is impressive for a series about Death - and it’s always nice to salivate over Rossmo’s art. There have been a few hiccups here and there, but nothing too toxic, and I’m looking forward to this (hopefully) coming out in trade format. That’s gonna be a hell of an addition to anyone’s shelf.

I can see how Diskordia made it through the Comixology Submit vetting process, which they promised would be suitably scrutinizing. It’s got a lot of potential, and its first issue definitely hit my sweet spot with a sugary tang of what-the-fuckery, for which I so often jones.

The art is your classic Byrne, which is pretty great, but that’s just not enough anymore, certainly not in elevating Doomsday.1 from a jittery-paced narrative with an almost complete lack of nuance and originality into something worth your money. As with everything, I’ll give this story another shot in its second issue, but I’m not really expecting much. I have to admit, I’m feeling a bit Byrned-out.

Overall, I highly recommend this budding series; it’s a story whose uniquely depressing stifle feels fresh, and whose twists (especially the one at the end of the issue) have already turned me into a regular reader.

Dream Thief is a fantastic read for anyone interested in a supernatural twist on a constantly evolving revenge story with a break-neck progressive pace. If you haven't started reading it, you really need to wake up.

Even though this issue suspiciously taps into Man's love affair with (now televised) card games, Dream Thief #4 exemplifies what makes this series so good: a dark yet absurd premise, a robust cast of characters and a continuous barrage of surprises that always keeps me coming back. Dream Thief's final repose next issue is geared up to be bittersweet and fitful, and I for one can't wait for the rude awakening.

I've really enjoyed Dream Thief, including this issue (blemishes and all), and am very much looking forward to it continuing, which it promises to do in a solicit at the back of the book. It seems like a long way off now, but with its trade dropping on March 12, 2014, you waiters out there will have no excuse but to check it out!

Dream Thief: Escape #1 is a bit chatty at times, but it never suffers from being dull or slow. It is a great setup issue for this new run and a breath of fresh air to the franchise. I'm very happy with its first issue and am pumped as hell to follow this series all over again!

In the end, I'm okay with the fact that Dream Thief: Escape #2 continues the slow-ish rev of its story, but only – as the end of this book promises – if the action picks up next time. Not only will that wake up the story a bit, but it will allow Smallwood's art and layouts to explode in one of his always amazing flourishes. Stick with this one, guys and girls, something tells me there are great things afoot.

Even as the forces of darkness converge against each other and we are left to wonder if there is any real good in this world, I continue to thoroughly enjoy where East of West is going. I'm not sure if I would yet call it one of Hickman's best, but it is at least a good indicator of his style and setup, and that's always a great journey to take, regardless of which direction this book finally takes.

While it is action-laced and perhaps a bit more wily than other examples, as with most Hickman stuff, East of West remains a pretty slow burn;. Of course, given the man's rep, that simmer is bound to bloom into a pretty incredible boil.

East of West continues to be a great, pulsating vein of a story, even when it splits and bends in other directions. Hickman and Dragotta have revealed a wicked new facet in this world of theirs and I for one am all-in for mining its depths further.

With a setting that flashes back and forth not only in the varied appearance of the world and its players, but also tagged and distinguished tonally by Rus Wooton's great use of color, East of West #7 is a beautifully mutilated portrait that is, for me, a credit to the series as a whole.

The composition of this book – and this issue especially – is astounding, conducted by Hickman in a modulated cadence, with a narrative painted from the outside-in and a visual direction that is lithe in style yet sodden in atmosphere. Sure it's an intriguingly in-depth look into a new idea of "The Western," but it's also more than that. East of West #8 is solid gold comic book flowetry, boys and girls, and much like the inevitable apocalypse itself, it cannot be avoided.

Altogether, I'd call East of West #9 another fantastically illuminating detour on its dusty trail, and so long as Hickman, Dragotta and Martin continue to firm its story from the outside in – like a slowly-closing bear trap – I'll be here to get snagged.

I want to say this issue feels like it's getting back on the main road of the East of West narrative, but I'm not sure there is one. Instead, Hickman is showing the creation of a story as it happens, by drawing in all of its little mercurial pools into what is becoming one torrential stream of insane and quite gorgeous death.

East of West is not a book you should be reading. It is a book you need to be reading, especially now that its shit is inching ever closer to its fan.

I'll concede the point that East of West seems comfortable in always pushing the "big event" until next time, and thus could be misconstrued as an unnecessary drawing-out of its story, but once you realize how poised this tense bubble has been set to pop, there's no denying the infectiousness of its tension, and I am absolutely hooked, like a pathetic junkie looking for his next fix. It is the most satisfying cocktease in the business today, and I continue to tap my vein each month for another hit.

East of West #13 was a much more character-based affair than last issue, which was burdened (though not unpleasantly so) with world-building. At the same time, however, it was just a great comic book with beautiful action and Hickman philosophizing: high sentence, but a bit obtuse. Just how I like it.

This is fantastic, high-concept comic bookery at its very best, but if you still don't "get" East of West, come back to Comic Bastards next month; I'm pretty sure I'll be waiting to convince you all over again.

That one scene notwithstanding, East of West #15, like most of the issues before it, stands as proof positive of what makes comic book storytelling so singular. Its collection of frozen moments play off each other so incredibly well, and will lead you to an ending that is blindingly bright and beautiful, but at the same time sickening and hopeless. It's a story that sticks with you, and one that begs you to flip back and repeatedly experience those sections that make its whole so great. What more could you ask for in a comic book?

Maybe because I was not familiar with its creative team and not having heard talk of the title previously, but EGOs has to be the nicest surprise for me this week. It's a fun yet weighty beginning to an adventure that will undoubtedly explore an aging hero's tenuous grasp of relevance and respectability, his willingness to justify ends over means and what that will hold for a universe under the threat of truly cosmic peril, all brought to life visually by a very talented relative newcomer. In the end, I was glad I took a chance on EGOs, and I think you will be, too.

EGOs #2 did not grip me in the same way as the series' virgin issue, but neither did it turn me off completely. I think Moore needs to shore up and condense his story, to focus it and build on the touchstones of his threads, and if he is up to that job (for which he is clearly more than capable) and Storms continues to turn in a good aesthetic lead, then I have high hopes EGOs can rebound into a pretty stellar little book indeed.

EGOs has slid steadily in my reviews from a 4/5 to a 2/5. Now, you might think I'm done with this book, but you'd be wrong. I'm sticking with it for at least one more issue, because I honestly have faith in Stuart Moore and Gus Storms, and believe that they are capable of great things as a team. I'm hoping they can find that spark of staying power and whip it into the flame I expected after issue one, rather than just being extinguished in the vacuum it's quickly becoming.

I have to say, that while I was never a fan of the original Valiant title back in the 90s, I really enjoyed Eternal Warrior #1, and for the first time ever, am quite happy to cross swords with a barbarian book on the regular.

Whether I should or not, I'm holding this title to a high bar because of the creative team and publisher, and for the most part, Eternal Warrior has reached it. So long as this one steers clear of well-worn tropes, I'll be sticking around to see it play through to the end.

I guess I just want more out of Eternal Warrior, which already promises some very interesting concepts. It's not that I don't think it will deliver, which is why I'm going to stick with it, but at the moment, it's not presenting anything that I think could be called original or indeed, eternal.

The above is a relatively small complaint in what is an otherwise great issue, which has really turned me back on to the series as a whole. Good timing, really, since the end of this issue [SPOILER] teases a significant shunt into the future. I'm a sucker for when stories do that, and in general couldn't be happier to be back on-board with this book!

For me, Eternal Warrior #5 stands out as possibly the series' best, whether seen through fresh eyes, or ones more well-acquainted with the story. Pick it up, Bastards!

Still, the overall visual aesthetic of the book maintains well that rusted and disjointed, yet tightly-knit tone that the series has enjoyed here in the middle of its first 10 issue streak, allowing the greatly blossoming story to go down nice and smooth. Just how I like it.

I'm still on-board with Eternal Warrior, but it needs another status change to mix things up again, like that which brought us to 4001 in the first place. I am hopeful that the creative team knows this and is setting something up for next issue. If not, then unlike the titular character, this is going to have a very short life indeed.

There are some great hints at a revelation at the end of this book, and it will be interesting to see where those would go. This feels decisive, but far too abrupt. And I'm not sure that I personally care to continue the journey. It was fun while it lasted, Eternal Warrior, but this is where I check out.

Saying that, this book isn't bad and it isn't great, but I'll stick around for the second issue at least. Somehow, it just kind of misses the mark for me, not ironically, like the space between childcare and floristry.

Simply put, I don't think Five Weapons is for me, even with its Manga-esque feel and video game vibe - it just doesn't do anything or go anywhere, like a really cool-looking ninja who running in place. I said I was going to stick it out until the series' end, but I think I'll holster this sidearm because, for me at least, it's misfiring all over the place.

In the end, Ghost #3 was a fun read, and a title I'm on-board with following to the end ... which is to say, next issue. I wouldn't be at all surprised (or disappointed) if this one got optioned as a regular monthly book. It would actually be pretty sweet to follow Ghost as she rids the world of its demonic interlopers ... which reminds me, I've gotta go put on that ointment.

Thanks, Geoff. You did good. Real good.

In the end, this isn’t a bad start, but as of now, it doesn’t feel like the flagship Green lantern title. Especially with the “not great but serviceable” art from Tan, this reads and looks more like a secondary Lantern book. I’m still going to stick with it because I am intrigued with Relic and what he has done to the Corps’ power, but this is going to have to develop a whole lot more to stay at the top of my mainstream pull list.

Like I said, Infinity #5 isn't perfect, with slightly worrying narcissistic undertones and a pace that is so furious it's almost a blur. And yet, as an exemplar of the penultimate, this casts its shadow well with exciting flurries of action, a depth and tenor of voice that is both tremulous and booming, and a fully-realized artistic direction that has as much in common with an intricate painting as it does a well-carved chopping block. Hickman and co. have a lot to wrap up in a relatively short amount of time after this, but despite how fraught and frenzied this felt, I continue to enjoy the hell out of Infinity's mad scramble.

This bawdy yet reverential pastiche of a late 1950s drive-in British B-movie is quite possibly the funniestdamn comic book I've ever had the good fortune to read. That's not an exaggeration, either. Boultwood has managed to harness the robust yet nuanced humor at the base of his culture with such mastery, his subtle moments are just as hilarious as his boisterous ones, all of them mirroring that razor sharp Brit wit shit we all eat up with such relish. In short, he fucking NAILS it.

Have you been waiting for a solid jab at archaic political incorrectness wrapped in a quirky-ass science fiction-meets-small English town setting? Yeah, well"It Came!

These little touches, along with its on-point sense of humor, make this book (one of many great Titan titles out right now) a firm favorite at the moment. If you too enjoy a ridiculous old British period yarn steeped in science fiction lunacy, where the very soul of Queen and Country is at stake, then set your phaser to F-ZAPPO and pick up It Came!

I could talk all day about what a great, big bright spot this title has become for me, as I often do to family friends and passersby, but suffice it to say that in regards to this book, all I really have to say is, "It Came. It saw. It kicked ass."

Saying that, though, you have to appreciate that Jinnrise obviously doesn’t take itself too seriously. This really is just Genies VS. Aliens so far, so a dusting of hammy subtext at the outset is expected. It’s a fun enough read for me to stick around for at least another issue, especially if they can temper some of the voices into a more realized semblance of believability. But if they don’t make an “I can show you the world...” reference in issue 2, I’m out.

Sorry, Jinnrise, I'm officially out after this train wreck. I like the ideas that no-doubt called this book into being, and I can't wait to attend the Middle East Film and Comic Con in Dubai this year, of which, it is the official mascot. However, apart from some admirably impressive colors from Timothy Yates, and some cool-looking genie drawings from Tony Vassallo, this book exists as little more than a cross-culturally condescending, poorly plotted PR machine.

I'm still not a fan of this book, but it has suckered me in again for at least one more issue, but so help me, if it falls back into its old tricks, I'm out ... for realsies this time.

Altogether, though, I feel like Judge Dredd #3 will come off as pretty muted for old fans, and will have a hard time winning any new hearts and minds, but if you’re a die-hard Dredd-head willing to drop the four-buck price of admission, you’ll probably have a decent enough time.

Same score as last time for Judge Dredd #4, since it misstepped over some interesting things, but based on what I've seen hopefully beginning to develop from the creative team, and the potential in this story, I could definitely see the series as a whole soon going up a notch in my book.

If you’re already sick of Millar’s stuff, this probably isn’t going to win you over again. However, if, like me, you’re not quite at the shunning level, in Jupiter’s Legacy, you’ll find a beautifully-drawn and colored story about the idealogical clash of generations and the dilution of conviction, all within a tight framework that lies somewhere between the Bible, Romeo & Juliet, the Fantastic Four and that moment when people stopped believing in gods.

Despite its delays and its hype, I've really enjoyed Jupiter's Legacy so far, and issue three is by far its best yet. Sure, it may ring familiar at points, but where this book takes this story is somewhere I, for one, have not been before. And I'm liking where we're going.

Honestly, even though it's been done (by Millar) several times before, I like the concept behind Jupiter's Legacy, with "villains" achieving a tenuous sort of victory over their altruistic rivals, and last issue's balls-out overthrow was exciting, fun and gruesome in equally arresting measure. But now, this book – both in the execution of story and the seemingly apathetic approach to its release schedule – feels decidedly like an afterthought.

With things like the end of prohibition and genetically-modified human vegetables afoot, this story of Lobster Johnson (whose name, in a rare yet welcome move, beautifully melds the worlds of crustacean sea-life and male adult film stars) has officially opened up the world for me. I'm not saying this is the ideal place to jump into bed with Mignola, but even this, the 13th part of a series, offers a good enough first bite of Lobster to tempt me for more.

I'm still going to stick around with this book to see if its direction is just a clever ruse on not just the humans that worship Loki, but also the reader. There are enough hints to suggest that this could very well be the case, but just as many (if not more) that make me think it could simply be a poorly-veiled mouthpiece with some action to satiate the masses. I guess I'll find out soon enough, because as big a letdown as this was, I'm still not going anywhere. Yet.

In the end (which comes suddenly, like it was either a panel too long or a page or two too short), Loki: Ragnarok and Roll #3 was fine if all you're searching after is a simple, super goddamn bloody book where gods of every description fuck each other up. Look for anything more than that, however, and you'll probably leave disappointed.

In the end, Lost Vegas is not yet what you might call an exciting book, and it's so far a lot less charming than McCann and Lee's previous collaboration in The Return of the Dapper Men, but it does provide a glimpse at enough hidden prizes to entice me to belly back up to the table and double-down on issue two.

Given the team attached, I know this is bound to become an indie darling, and that a lot of folks will disagree with me, but so far Lost Vegas is, if not completely devoid of its entertainment, then certainly a bit underwhelming.

Lost Vegas #3, like issues previous, isn’t bad, it’s just not breaking any new ground yet, content to be another space story about the last humans making good in the galaxy. That’s fine, but it doesn’t inspire or leave me wanting more, and with so many other space titles out there, this one feels a little lost.

While I have a lot of respect for the team behind it, Lost Vegas just wasn't for me. This first arc seems to be the prologue of some bigger adventure, but I think I'll step away from it, should it continue. Lost Vegas just isn't my flavor of space jam.

I guess I could see this book being great for a young girl who is interested in pursuing volleyball as a means of changing the world, but otherwise, this one is off the mark and way too out of bounds for me.

I feel like I'm the only one who hasn't loved this book, maybe because I did indeed underestimate the number of volleyball enthusiasts within comic fandom, I dunno. Regardless, I'm starting to get a feel of where Wood and Co. are going with this title, and I can see myself picking up issue four out of passing interest, but only because MARA finally served something that didn't feel like a foul. See what I did there? Know when to adapt to your audience, kids.

Much like its lead, Mara #4 proves to be a much more robust being as it goes along than it was during its formative steps, but for me, it's still not anything I would call "super."

To me, Mara, whether it means to or not, feels gimmicky, like it’s an excuse for people to say, “some of my favorite comics are about superpowered homosexual minority female celebrity volleyball players,” because now that’s a thing. This issue leaves off cunningly, at least enough for me to check out where it’s going, but only because I’ve already come this far.

MARA's build has had flashes of brilliance, but in this final issue, it has proven to be unfulfilling, especially after a particularly long delay. Its narrative structure has felt aimless and here "ends" in a weak, noncommittal bow-out and an artistic direction that fails to inspire. However, if you LOVE Doyle's art and don't mind plots that don't really go anywhere, then have at it.

I definitely urge you, under grievous pain, to give into that desire currently bubbling up in you to check out this weird little book. Alternatively, in the words of one Martian, "Surrender now or we shall do unspeakable things to your faces and pets!"

At times complex, at others painstakingly sweet and still others foreboding, Mind MGMT #12 continues to be one of, if not THE best book on the stands today.

Issue 13 may not be the series' best for me, but even with the caveat that it exists without its usual framework, it's still a worthwhile aside in one of comics' most endearing instant classics.

As always, the stories at the periphery of Mind MGMT #14 act as fascinating and telling asides, exploring the unswept cobwebs of its universe. This time focusing on the home-wrecking Matryoshkas agent-in-training, Domino, and the green thumb-minded Mind Management artist known as Jardin, these may not seem directly pertinent to the main plot, but they are integral to the world by nudging it quietly further into a more robust narrative whole. Kindt has proven to be a master tease, showing no exception thus far as to how good he is at drawing the reader ever more deeply into this story

Once again, Kindt's flurry of art and measured yet frenetic writing style is an outright joy to experience, leaving you, its reader, with two equally powerful yet distinctive aches: one in the head, and another that can only be described as a covetous pang for more.

If you've skipped this arc and its two predecessors for whatever terrible reason, then you are missing out on what I truly believe to be the future of comic book storytelling. In short: My god. What a fucking book…

In any event, Kindt's subversive approach to story in his most famed independent book continues to be exceptional in this, the official halfway point in the series (its 36th issue is reported to be its last), and shows how what would otherwise be classified as "filler" material can be re-conceived as something integral to the story.

After I finished the confusing Mind MGMT case file which bookends the issue along with the impressively tidy recap page at its front, I felt absolutely beat. This is not an uncommon side effect of Mind MGMT (consult your local physician if symptoms persist), but this issue in particular felt dense.

Of course, it's those small inclusions and exclusions that always keep you on your toes, that make this an exercise in traversing the "meta." Kindt must be, himself, a Mind Management operative, able to get inside your head with the story he's written while simultaneously eliciting you to write your own to fill in the gaps he teases. It's a clever trick, and one from which I just can't see myself ever tiring.

No other comic book is this purposeful, gorgeous or grotesque in its visual narrative, and if it's anything that its 21st issue proves, it's this: there is simply nothing quite like Mind MGMT. And there probably never will be.

As I said above, I feel like I'm becoming the victim of some or another kind of subliminal advertising with Mind MGMT, trapped in a road hypnosis from which I simply can't pull over or away, and despite where it takes me or where the road eventually leads, I know I'll be here for the crash.

Mind MGMT #23 wasn't the best issue of this incredible Dark Horse book, and it took more time than usual to get me to appreciate its underpinnings. As always, though, it did get there in the end, albeit in the slightly more predictable and forgettable way that someone like The Eraser would approve of wholeheartedly.

That's a rhetorical question, by the way. This article isn't going to veer into the "At least, it was once thought of as being for children, but now..." territory. Because the answer, definitively, is YES. Yes, this is a great book ... for kids. Girl kids. Not. Adults. If you're a grown man of sound mind, and you honestly get anything out of this story other than the satisfaction of not being compelled to stab yourself in the larynx out of sheer boredom from re-reading it to your kids ... you're probably kinda creepy. Sorry to hit you with the tough love there, My Little Brony, but hey, sometimes friendship is tragic.

Before we get lost in translation together, I first want to give the art and writing team some props. The way they chose to start out the comic's first story, "Adventures of the Flying Ace: Behind Enemy Lines," was ... inspired, to say the least. It takes quite the pair to draw Snoopy seemingly doodle-whacking two invisible dudes while thinking hard about a "Fokker Triplane," which I'm pretty sure is bathroom code for an all-male threesome. Better still, to pepper this entire scene to the sound effect of, and I quote, "FAP! FAP! FAP!" ... well, that's just sheer artistry. Solid work, all around, even if it was inadvertent, which is most likely the case.

Still, I liked issue three a lot more than I thought I would, and it brought enough humor and wit to leave me walking away with an overall sense of enjoyment. So, I’ll stay on-board until the final issue ... though I’ll be pretty surprised if this thing doesn’t end in a Beautiful Mind / Shutter Island type deal.

Overall, I found Polarity to be a thematic and character mess delivered by a retinue of uptight and affected scenesters with zero redeeming qualities. Unless you're a die-hard fan of Bemis, in which case you'll have picked this up anyway, I'd give it a pass.

I was never a fan previously of Quantum and Woody (mostly because I wasn't aware of it at the time), and while it does inspire me to go back and check out some back issues of the original, this will inevitably become MY Quantum and Woody. And you know what? I'm okay with that. Very okay.

Armed also with a pleasantly unleaded pace that keeps the story moving quickly yet satisfyingly along as its points begin to coalesce, all of these elements combine to make Quantum and Woody #3 an excellent furtherance of an already fantastic series. While the goat on the cover of issue one has yet to appear visually, I'll be the first to say that this title has already shown that it may very well be Valiant's "GOAT," by which, of course, I mean, the Greatest Of All Time.

Regardless of that, though, this was the perfect cap on the first Quantum and Woody arc, and as a whole, this has definitely become my favorite Valiant book since its relaunch. Although I'm pretty damn hesitant about its new artistic direction, I will definitely be back for more Q&W next month.

Quantum and Woody #5 is a new yet comfortable step in this fantastic Valiant series. It still enjoys its uniquely comedic voice and now boasts an artistic direction that plays well within the book's antithetical nature. Again, I admit that I was worried that this new creative team wouldn't match that which made it one of my favorite books of the moment, but I'll be damned if I've never been so happy to have been so wrong.

Don't listen to the nay-saying sorcerers and their pessimistic ilk; unlike magic, great superhero comic books do exist. You just have to expand your preconceived notions and know where to look. Quantum and Woody may not be what you expect, but it just might be the riotously quick-witted, well-written atypical series you need to relight your superhero fire, and I personally believe it to be the jewel in Valiant's hero-hewn crown.

Quantum and Woody is one of my favorite books out there right now, and even though I'm giving it a lower score than I ever have, I will not stop pushing it as a hilarious, razor-witted alternative superhero title, the storytelling and humor of which are nothing short of infectious. Unfortunately, however, those sincere recommendations will come with the caveat that its art, frustratingly, holds it back from true, cohesive greatness.

If you're not reading Quantum and Woody, well, crap on a Catholic, I don't know what to tell you … other than you're being a real bag of cats' asses! Apart from the substandard art this arc, which again is thankfully over, this very well may be the best thing going in superhero comics right now. True story.

Honestly, you guys, I don't know if I should continue writing reviews for Quantum and Woody. I feel like every time I write one, it comes across like I'm a huge mark for the series … which I totally am, let's be clear. But I don't know what more I can say. Quantum and Woody is quite simply The Shit, and is the most fun, and honestly, the most skill you will see in anything superhero-related. Yes, most get it wrong. But this? This is how you do superhero comic books right.

Quantum and Woody #10, perhaps more even than any preceding issue, is calculated yet cavalier, clever without being condescending or kitsch, and quite simply one of the most unpretentious, unrelenting joys in comic books today.

I know I sound like a broken record – or maybe a malfunctioning VHS player – but Quantum and Woody #11 continues to ensure that this is the odd-ballingest superhero book out there, and unlike the evil doppelgnger of a character played by the acting heavyweight mentioned above, after its reading, you will feel anything but … DISAPPOINTED!

I don't think that under Asmus' direction, Quantum and Woody is capable of being a "bad" comic book, but here it has shown that it can flirt with varying levels of goodness. Like I assume of most of Woody's sexual partners, I was hoping for a stronger, perhaps more robust finish, but I'm still already excited for this book to pick up again. In the meantime, Valiant does a great job of teasing The Delinquents #1 after the end of the issue, and at very least that book looks fucking awesome!

So yeah, I loved Quantum and Woody: Goat #0 … shocker, I know. I wouldn't say this is the best place to jump onto this series (which may throw some people off, given that's another presumed function of the zero issue), but thanks to the twist ending that I, for one, never saw coming, you definitely need to read it going forward.

As always, the bookends and peripherals of this issue afford a tight yet teasing glimpse into the greater world of Mind MGMT, and close about the story proper like itchy trigger fingers around a power-drill. It's still a bit unclear how the stories of an early textual Mind Management assassin, a young Russian counter-agent and the Matryoshkas Field Guide notes (which this time come particularly well-matched with, and juxtaposed against, the action on the page) will come together and combust, but one thing is for sure: I'll be here when they do.

If you’re a fan of Zenescope books, you’ll walk away happy after reading Screwed, because this is pretty much more of the same. Personally, I think that’s a shame, given what I honestly believe this company could accomplish if it sought to rise above its misguided commitment to cheesecake kitsch. It’s really not a bad concept for a story and some of its beats are really fun, but this will never become anything more than the comic book equivalent of a late-night basic cable slasher-skin flick. If that’s your bag, then hey, by all means ... get Screwed.

Look, if you're one of those people who would, without a hint of irony, rent movies with names like Lady-Borg 2, then you're going to like Screwed. Otherwise, I'd steer clear of this weak attempt to breathe some kind of modern, sexy mojo into the Frankenstein story.

In the end, Snapshot gets top marks from me for being a perfect marriage of story and art. These guys are at the top of their game, and I cannot wait to see what happens next.

I have to admit that this book does dip into clich at times, not only in the stereotypically, and oddly-placed "nerdy" characterization of Jake, but also in the openly foolish decisions made by the two leads. But this feels more like setup of form rather than laziness. It also ends very strangely, without any discernible punch, at least not like the last issue had. Yes, there's an element of danger, but its threat is greatly reduced when compared to the end of part one.

Diggle and Jock, probably because they have known one another so long and worked on such high-profile projects together, are seamlessly able to play off one another's sense of timing to turn this series into a sparse story of stark contrast. I continue to love the absolute shit out of Snapshot, and am fully expecting a bittersweet finale next month.

Altogether, I would call Snapshot a resounding success, even if - and in fact especially because - the fallout for its characters is decidedly the opposite.

So...Buttons isn’t for everyone, and unfortunately, I don’t think it’s for me. If, however, you are interested in getting a little slice from the life of Jonathan Michael Baylis, then this one is definitely for you.

So yeah, Spread may have much in common with both The Stuff and my Qubcois lunch (not to mention other stories like The Thing), so it may not be the most original idea, but I'm already engrossed in its world and thanks mostly to the art team, am all-aboard to see where Spread goes next.

I continue to dig this book for its interesting, stomach-churning post-apocalyptic story, Jordan's minimalist approach to dialogue and Strahm and Sobreiro's gnarly art. Spread it on, Bastards!

Regardless of all the different comparisons you can make with it, Spread is churning into a book I look forward to reading on the monthly, and I can't wait to see where it goes from here.

Along with this team, Millar is back to form with Starlight #1. Saying that, he does have a tendency to loosen his grip and his resolve as his series move forward, so I hope he can hold onto the tremendously mesmerizing melancholy he has established in this book, while at the same time capitalizing on the adventures that are no doubt on the way for Duke. If he can keep pace and the art can follow suit, Starlight may end up being regarded as the most rewarding thing he has ever written. To me at least, that's saying a lot.

Saying that, the conceit of this thing – sort of a more fun Tombstone-in-space deal – is still very much alive and can very easily be capitalized upon next issue, which promises the kind of space-based action we've been looking forward to since its announcement. Like with most Millar's stuff, I'm still on-board, but as always seems to be the case with his books, Starlight, like its main character, now teeters on the edge between the bold and the same-old, same-old.

Still, thanks to the old-timey ass beating and general sense of space-based misadventure, I'm much more on-board with this book than I was last time. As I mentioned above, its emotive impact is unfortunately significantly less than its first issue, as I thought, tonally, that's where this series was going, but I have hopes that it might pick up again. Until then, Starlight seems set for a course of becoming an imperfect but still entertaining space oddity.

That all being said, I'm still going to give Starlight a passing grade. It's far from prolapse-awful, but I think that completely unlike its main character, who is looking for redemption and validation through a well-timed space adventure, this old dog has simply settled down.

I don't hate Starlight, and it's certainly not enough to make me dislike Millar or Parlov's work in general, but for a story that started off so powerfully, this has devolved into an unfortunate slog. I'll stick with it to the end, but really only because that will come next issue and because I've already come this far. I just wish Starlight made me feel something other than resigned.

Apart from a few glaring character issues, I think Storm Dogs has some very rich world building going on, with an intriguing mystery brewing therein. If Hine and Braithwaite can find their collective focus by eliminating unnecessary chaff and tightening their grip on outstanding story elements and concepts (like some of the story's tech, for example, which they tend to just breeze over without much explanation), this could become an adequately satisfying book. For now, it's worth a gander.

I know a few readers haven't been satisfied with Storm Dogs - including a few Bastards here at the site - but I'm really digging its increasingly lush environment and mysteries, despite some hollow character representation, both visually and in the spotty establishment of each one's own unique parlance. It's completely sucked me in, though, and I'll definitely be back to see what happens next.

This was a solid issue, and even though it’s an image book, it continues to be a “dark horse” of a series, which I look forward to seeing develop.

As much as I've been enjoying it, I honestly never thought that Storm Dogs would be able to transcend its upper-midcard status to land a five out of five, but I guess that makes me the asshole. This issue acts like a chest separator, ripping open everything Hine has been picking away at, to show you the beautiful complexity of its viscera. This 5/5 is very well deserved, and happily given. If you haven't been following this book, you should change your mind, if for no other reason than to get here.

I don’t think Suicide Risk will ever become a classic, but I do think it has the potential for its world to become fully realized and in general, a good story. Hopefully, the creative team can capitalize on its momentum by exploring a deeper rabbit hole, but either way, I’m pretty damn on-board for this series and am already looking forward to seeing how the electrifying final moments of the first issue will continue in the next and throughout the series as a whole. Check this one out!

With all that said, I am glad that I took over this book for review, and I'm excited to see where the creative team takes it. Although it might not sound like it, I do have faith in them. Going forward, it's hard to tell whether Suicide Risk is going to go for the hot tag " or just hit us in the face with a chair, coconut or worse, a lemon.

I'm still enjoying this series, with the writing in this issue being particularly sly and seductive, and I'm looking forward to seeing how it goes, and where this all fits. I'm guessing somewhere inside Instant Access? OOOOOH!

I do like the ridiculous level to which the Nightmare Scenario aspire in the revelation of their plot, and that could be fun to see turn out, but it feels like this book is being pulled in too many different directions at the moment and is in danger of being pulled too thin in total. Ironically, the title is running a suicide risk if it continues to be crushed under too much premise, but hopefully it can pull itself together before it's too far-gone.

Overall, I'm pretty interested to see where this title goes in the end, but I guess I'm currently not overly enthused with the way it's taking to get there. Saying that, I am divested enough to follow along and to stick with it, mostly because I still think it has (and deserves) a chance to impress, with a premise which has, at very least, continues to pique my curiosity.

Sure, I'm nervous that I'll miss something of significance going forward if I don't first go back and read those old Moore issues, but I'm done with any further research. From now on, I'm just going to approach this with the limited information I already have and enjoy the ride.

f you like dragons, cat-fights, hell dimensions, smarmy nether realm business tycoons and last pages that make you question the nature of heroism and the savior/victim dynamic, then I recommend you have a squizz at Supurbia #3.

Still, Randolph does an excellent job at juggling all of the elements within this complex story, which has been building for some time now, and is able to do so by keeping it fresh with a quick wit and superhuman levels of characterization. Combine that with Dauterman's classic yet cartoony art, and Supurbia #4 continues this title's ability to shine as one of my guilty pleasures.

Supurbia #5 is an interesting one. This definitely feels like a "lock and load" issue, where everyone is getting ready to embark on some adventure, rather than any action taking place, other than Aso's raid on Batu's tribe. Even though there's a lot of story, not a whole hell of a lot happens here. In fact, this is the first time Supurbia has felt cramped to me, with almost too many plot threads bumping elbows to keep up with effectively, and a lack of the oomph in previous issues. Again, I understand that the pace is slowed here to allow new readers to catch up, but I'll be happy when Randolph goes back to exploring the domesticated pathos within these characters rather than worrying about rehashing set-up.

Randolph, as always, employs a writing style that is in one moment witty and quick and in the next, severe. I'm very happy to see that she is able to do this without having the story trip over itself, like I feel it did last issue. The plotting here feels furious, but not wild and uncontrolled and it was once again a really fun read. In fact, Supurbia #6 achieves no small measure of brilliance, and I can safely say I feel rededicated to the series as a whole.

In case it isn’t yet apparent, I really am enjoying Supurbia. Its dealings with such hot-button issues as homosexuality (in everyday life and combat) and gender roles are approached in-depth and respectfully, but also without being too saccharin, as is the case elsewhere in more well-known books. At the same time, it leaves enough space to be what it is: a superhero story ... at least in the margins.

I love this newer, more intense direction for Supurbia - it’s a fantastic contrast to its more subdued build - and you get the feeling that while it may settle down slightly in the immediately forthcoming issues, this series as a whole is going to end not with a whimper, but with a bang.

Despite its invitingly undulating plot, Supurbia continues to be a solid monthly standard for me, and I hope for Boom's sake that they continue to enjoy its positioning as a reliable, always entertaining workhorse.

If you haven't been following this, do yourself a solid and pick this issue up, flip through it and get addicted. I guarantee you it's the most fun you'll ever have in the suburbs, super or otherwise.

If you've been holding out on this series, knock that shit off and catch up: Supurbia is less the mini-van that the name implies, and more the rocket-powered action-mobile you've always wanted to drive.

This is going to be one bitchin' trade, and will inevitably become a firm recommendation from me to anyone else who wants a robust tale of turmoil set between two worlds: one as pliant as human flesh, and the other as ostensibly unbreakable as bulletproof skin, but each benefitting from its own weaknesses and strengths. Kudos to the whole team on a finish, which may feel rushed and crowded at points, but is no less deserving of top marks.

Despite its sometimes identical nature to the debatably imitation-worthy Constantine, I still have to give this book a five out of five. With strong, emotive storytelling and a deepening pool of characterization, met by an artistic direction that remains a full-spectral experience, Ten Grand #4 at least stands apart as some truly exceptional comic booking.

Still, I have to give Ten Grand #5 high marks for rolling with the punches and doing an admirable job in pressing its advantage. As this is a transitional story, I'll be withholding the majority of my judgement while Smith finds his footing in what I think is a deftly-penned story by Straczynski. In short, I'll be spending more time with Ten Grand, and will hope – for now – that this gamble after an unfortunately-dealt hand pays out.

I can't wait to see where this story leads next; whether it's heaven, hell or someplace in between, I'm betting it'll continue to be a fun ride.

Ten Grand #7 was something of a slog for me, weighed down with time-worn religiosity and mythology and slowed with the purpose of same, but I continue to enjoy this series as a whole and am hopeful that next issue will set it back to course as we reach the end of this particular Highway to Hell.

There's a clear tying of loose ends in Ten Grand #8, but it's finally getting back to where it needs to be in terms of story, despite it being a pretty massive departure from how the series started. Still, if it's one JMS book you should still actually read, it's this one.

Thing is, even though I think this issue in particular took some cheap workarounds and felt frayed in its roughly-cut continuity, I'm still interested in seeing where this goes. Again, I'm a big sucker for angelic wars in the afterlife, so I remain on-board to see where the ramifications of this issue take us next time. I just don't like being simultaneously reminded how badly this book apparently suffered after its unfortunate creative shift, or that something this "okay" could have been so, so much better.

It's still early days for this four-part mini-series, so we'll have to see how the story develops, but there are enough unAnswer!ed questions in this book to keep me hooked, like what Apeiron truly is and what their connection is to Devin and The Answer! This issue also ends pretty shockingly, making you question the nature of The Answer!, himself. So yeah, I am all kinds of on-board for sticking with this book and recommend it for anyone looking for ten pounds of comic book fun stuffed into a great looking five pound sack.

In fact, in a post on Comic Bastards last week, Dustin asked for marketable comic book properties outside of the "Big Two", and The Answer! definitely gets my enthusiastic vote. But that may be only because I want an exclamation point belt buckle, so I can, mid-conversation, interrupt family friends and acquaintances by saying "Get to the point," whilst thrusting my hips in their direction menacingly. Yeah. I'm a classy gal.

I continue to love the absolute hell out of this book, and can't wait to see what happens next time at its end. Speaking of endings, there's a wicked little pinup of The Answer! by Francesco Francavilla after this story, which provides the icing on an already delicious cake.

Even though this is #4 of 4, don't come round here looking for tight resolutions. I have to admit, I was a bit bummed that Hopeless and Norton didn't give us a bit more garnish on this four-course meal, in terms of deeper hints to the mysteries they've been building, but something tells me that's just going to make me enjoy the overall flavor of this title in the future. And it does succeed in further whetting my appetite for more Answers!

The Auteur is self-reflexive, turning a mirror not only on the creative process, but the public consumption of that end result. It knows full-well that most people will view it very much like a movie called Death Fist: with derision, passing judgement and indefinable distaste. And that's just fine by me.

Still, that doesn't take away from my overall enjoyment of this issue. If anything, The Auteur #2 has cemented my continued patronage of this series. It is hilarious, disconcerting, gorgeous and bloodthirsty. More than any of that, though, is this: The Auteur is that rarest of things in comics. It is Different.

I've said this before about other books, but I've never meant it so much as I do here: I have absolutely zero idea of where The Auteur is going next. None. And almost despite myself, I have to continue tapping my vein and getting my fix of this sweet, sweet skag … whether I like it or not.

Is The Auteur#4 perfect? No, definitely not; it gets jumpy, nonsensical and will be offensive to the thin-skinned, but you shouldn't come here looking for "perfection." This is ugly, brutal, seeping-wound style writing and art with no reservations and very little in the way of self-censorship. This, friends, this is a comic for bastards!

Love it, hate it or just plain don't understand it, one thing you will have to concede about The Auteur, especially in this final issue, is that it has never been complacent. It has never been the norm, presenting a wholly unique story about creativity, industry, the creative industry and itself as its own pariah. The Auteuris different. And that has made all the difference.

This doesn't appear to be a continuation, at least not directly, of the previous events in Issue 0, and in fact proves to be a better jumping-on point, and in my opinion, a superior issue in general. I'm really looking forward to Issue 2 and the series as a whole, partly to see what happens next, but mostly because I just want to see more of this art and story. This book comes with a STRONG recommendation.

The art in Black Beetle #2 is, again, absolutely stunning, awash as it is in thick atmosphere and shadow, punctured sparingly by bright flashes. Altogether, it's an unbridled pleasure to look at, with even the panels accentuating its visual storytelling, often becoming as kinetic as the story itself. While we're on the topic, is it too soon to ask about Black Beetle apparel? I would rock the snot out of a black shirt with his red symbol, or something more noir-specific, like an old playbill or movie poster. Hell, know what? Just print the damn book on t-shirts. I'd wear them.

I honestly couldn't love this book more if I tried. Luckily, I really don't have to try.

Until then, if you haven’t already, get caught-up with this series. Its richly-textured, atmospherically alive art and simple yet gripping storytelling has been a hallmark of my formative days here at Comic Bastards, and a credit to Dark Horse’s line as a whole. To put it more succinctly, much like a well-aimed bullet in a damp Colt City night, The Black Beetle “No Way Out” is unmissable.

It's probably not a surprise to anyone who has ever read my reviews for Quantum and Woody, where this creative team has joined up before, but I loved this book. It is yet another in a long, long line of stellar achievements from Valiant.

Okay, this is not the first time we've seen living viruses. Even Bunn's current charge, Sinestro, has in his employ a sentient infection (Despotellis), while Sublime of X-Men notoriety is an "aware" bacteria, and even last week in Moon Knight, we got a glimpse of a more fungal type of insanity. However, The Empty Man still has its own special kind of catchy crazy, and I'm more than happy to have caught this bug early.

As long as The Empty Man doesn't metastasize too horrendously and they can keep it contained, this series could be an infectious read indeed.

In the hilarious dialogue of one of his characters, "Space law doesn't allow much wiggle room." Damn, confining "space law." Well, in the same way, good taste doesn't offer much wiggle room, either, and here, it's downright paralyzed. Like I said before, it's really fun to see John Byrne working in outer space, at least visually. I just wish his stories didn't exist in a vacuum these days, too.

I don't think High Ways will ever dig itself out from suffering beneath its wooden dialogue, which knocks it down a couple points for me, but the story in High Ways ... a story by John Mafackin' BYRNE has me hooked. It's good to write that.

It's still not something that I'd stamp with "Byrne is Back!" but if it keeps up its momentum and slows its roll a bit so that we can enjoy more completely its surprises, I'd definitely describe it as being on the right track.

Unfortunately, this whole thing seems like a jumble; big and beautifully drawn and colored though it may be, the artistic achievements don't stop this book from tumbling off into empty space like detritus from a fractured space station. That's a shame, really, given its mid-run turn-around, but overall, this series as a whole, while not being a disappointment, was much less than it could have been.

In closing, let me be clear. If you enjoy reading comics, but you're not reading The Manhattan Projects ... you're doing it wrong. In fact, I may have to rethink my whole stance on perfect.

Just like in the issue before this, and the issue before that ... and the issue before that, ad nauseam, issue ten of The Manhattan Projects proves again why this series is my current favorite, not only as it builds on the same excitement that came before it, but also because it completely, and delightfully, befuddles what might possibly happen next.

In all seriousness, The Manhattan Projects continues to be the best thing in comics right now, and more than deserves the industry and comicdom's accolades, not to mention your undivided attention.

In short, you need to believe the hype around this book. I’m not being hyperbolical when I say that The Manhattan Projects is quite possibly the most original, completely engrossing non-superhero comic book series I have ever read, and if you’re not reading it, there is something fundamentally wrong with you at the subatomic level.

I am ecstatic that this issue has brought this, one of my favorite modern series, back from the brink with which it flirted last time. In short, The Manhattan Projects is back to form with a wet chomp, and I can't wait to see how issue 15's exit wound bleeds out onto the jowls of the main narrative next time.

In issue 16, Jonathan Hickman's Manhattan Projects continues to prove why it is so singular amongst today's diverse library of books. It's the hazardous march toward the dark victory of science, the capture and hostile takeover of higher thinking and the danger-fraught conquest of alien worlds. It's stomach-churning discovery with knives, portals and bloated parasites. In short, it's Einstein with a fucking chainsaw.

Issue 17 may not be the best exemplar of this series by not offering much of anything fresh to the story Hickman and Pitarra are telling, but it's still a solid, if not exactly mind-blowing (despite the four different decapitations), installment to its endlessly consumable misadventure.

In terms of story, this is far from the best The Manhattan Projects has to offer, at least until the last page. For that, I'd give the book an average 3/5, but the way Bellaire and Pitarra bounce off each other here should not be missed, and if nothing else, gives me hope that one of my favorite books might still have it.

My one and only lament is that, given the rather definitive happenstance at the issue's conclusion, this will be our last foray into this fantastic tangent, which has regularly been a way this team has breathed new life into their series. If they can maintain this momentum, however, then this just might become my favorite book once more. Then again, I've said that before.

I am so happy to see The Manhattan Projects back on track again, with this and last issue leading the charge into what is shaping up to be a very interesting arc indeed.

In the end, while it was nice to catch back up with Laika, The Manhattan Projects#21 failed to present an adventure worthy of the series as a whole, with a story that felt a bit narratively phoned-in. Usually it rides the line between not taking itself seriously and offering noteworthy character and story moments, but this issue failed to meet the high standards already set, and while it wasn't "bad," it was far from exceptional, which is disappointment enough.

Actually, I think it's time that Hickman and Pitarra both walk away from this series. Maybe they could give it to someone else to play with, or just come to a logical stopping point, because now it feels like The Manhattan Projects is spinning its wheels and it's a shame to see something that started so great become so dishearteningly stuck.

If you're like me and are an old fan of The Maxx, or simply want to see what all the fuss has been about for the past two decades, it's time to bite down, because you're in for one hell of a wild (and now better-colored) ride.

For something that (somewhat justifiably) has a reputation for being so chaotic, The Maxx #2 really is a well-planned tapestry of tense and jumpy pacing, high-minded pseudo-psychological banter and fights that see teeth and clawed fists clash with bullets, all of which gel to tempt a further tumble down the rabbit hole. I was hooked before, and I'm damn well hooked again.

Some of this story does feel dated – and not just because there's a Butthole Surfers t-shirt floating around – but I feel like that's also part of its charm. This drips with the grunge, attitude and nonchalant aloofness of 90s youth culture, sure, but it's still a timeless story and in my opinion deserves just as much praise today as it did back then. If you're not reading The Maxx as a monthly, you really need to CHUNG! your mind.

Even when The Maxx catches its breath, it does so running, and this issue shows just how diverse and rich this world is, and is going to be. It is one of the best things on the shelves today. Same as it ever was.

It's been a real hoot revisiting The Maxx, and not just because infamous issues like this bring about a heady nostalgia. This is a book – and indeed an issue, as weird is it is -that holds up, even after all these years. It's a strange place to take an already strange series in its fifth issue, but it proves its nerve and resolve to be different. Not a lot of books then – or now – can say the same thing.

This was not a great issue of The Maxx, unless you're looking at it purely as a treatment of the attitudes and style of a bygone, misbegotten era in comics. Give it a flick-thru just to stay with the story, but don't feel the need to dwell. Do, however, come back next month!

The MAXX #7 ends on about four different cliffhangers, and being that my memory is not what it was, I'm excited all over to see what path it's going to take next, even if it does include a telling hitchhiker from a misbegotten age.

I'm very much hoping that the creative team and publisher can stay on target with this book and its forthcoming penultimate and final issues, because while the ending was a bit from left field, I'm very interested in further exploring The Standard for what could be, as a whole, a great multi-period character piece.

I think it’s great that these guys are doing this apparently on their own steam. That type of drive should always be commended, and I want it to be clear that I do so here. I just wish that all the time between issues was spent polishing the art a bit more and bringing together the still-frayed plot threads more satisfyingly. Time Samplers isn’t a complete wash, and its wackiness might appeal to some, but I’m pretty sure this is one for the diehard Paranoid American faithful.

I really did enjoy reading Time Samplers #3, and if you're willing to endure its rather hefty slog, you'll find some very interesting ideas. Like I said, though, this one requires a substantial commitment for its labor to become love.

Much like the most likely ill-advised reference mash-up above, Umbral has been a completely unexpected surprise. I had no idea what to expect from this series, but have been downright delighted by the outcome.

Umbral #4 is the latest great chapter in this outstanding ongoing Image series. If you've been complaining that there's nothing fresh in comics, you haven't been looking here.

Umbral continues to be a great surprise of a series, and one that I look forward to more with each and every reading. Johnston also does a fantastic job of enticing even more with the ongoing cryptic blurbs with which he decorates his back covers, and just like the different fingers of story, I can't wait to see how this will all finally coalesce.

The quiet at the end of the issue, and really throughout it, is deceptive, as the motley crew of gathered goodies, we are told, could be harboring, perhaps without any of their knowing, a rather unsavory sort; the kind that could get them killed. What that means is that, like its cast, even when this book is catching its breath, it continues to be a full-on adventure that I can't put down. With two fairly big deaths and a more focused direction, Umbral #6 proves why this series is a must on anyone's monthly list.

In the end, the content of this issue isn't why I fell in love with Umbral, and I definitely don't recommend it as a starting point. However, there is also absolutely nothing in it that makes me want to drop it entirely. I've had far too good an experience with this title to so quickly put it down. It's just that, in a story about a hazardous travel, this is very middle-of-the-road.

I read all six issues of Uncanny in rapid-fire succession, surprising myself in the process; not because I'm not a big fan of Diggle's (which I am), but because this concept and its chosen nomenclature were so tired. If you, like me, have been holding out on this series, I suggest you pick it up or at very least snag the trade. It'll feel familiar enough to be comfortable yet in a different enough context so as to impress; or, in a word, it's uncanny … for all the feelings that word inspires.

If you hadn’t guessed it by now, I give Uncanny Avengers #3 an emphatic BUY for telling a high-minded story while having the presence of mind to keep its feet on the ground. Color me hooked.

I was really looking forward to Dark Horse's Vandroid, and wanted so badly to enjoy what I thought was going to be an entertaining period romp about cyborgs in the 80s, but this was not that. Maybe it's my fault for levying too much expectation on it before reading it, but this is both my first and last ride-along with this story. Much like a generation-one android, it had a lot of machinery, but no heart.

The one thing Vandroid #2 did do for me, however, was entice me back onto a series I had all but entirely written off. With the caveat that my expectations are once again high(er) – yet still suitably measured – I'm willing to stay on this book at least until next issue, and hope it can finally decide what the hell it's trying to be.

So yeah, color me impressed, guys. Far from being hesitant to admit it, I am honestly happy to report that instead of being a massive disappointment, Vandroid is finally proving to be one hell of a comic book hootenanny. I stand corrected!

Much, indeed, like a faux-sentient automaton built over three decades ago might, Vandroid #4 wanders about clunkily and with all the subtlety of wraparound sunglasses, airbrushed automobiles and murder mullets, but it's also a whole lot of stupid fun for under five bucks. I'll be looking out for its final issue next time, and while I may suggest you hold fire on buying single floppies before its trade inevitably hits, this is one book you'll want to check out, if for nothing else than for great shits and giggles.

Like I said in a review before for Vandroid, I love being wrong. The entire crew here – up to and including the lettering of under-sung talent John Workman, who again proves his name valid here – does a great job of fleshing out this story with a shiny veneer of hype and mania, with this issue particularly standing out for sheer explosiveness. It may not be exactly the 80s robot adventure you were expecting, but this is damn good, unfettered fun in comic book form, and I'm glad as hell I saw it through to its neon-grid-framed end. Vandroid #5 (out of 5) gets 5 (out of 5) from me.

In a way, it's sort of a shame that this book will see a new artist with each issue, but as much as I loved Walsh's stuff here, I'm also looking forward to seeing what Kot's other impending artistic collaborators " Mateus Santolouco, Morgan Jeske and Tradd Moore " will bring to what will inevitably be, both visually and narratively, a very layered story by its end.

I continue to be pretty goddamn enamored with Zero, and am even more interested now in its future given the look this time into its past.

While Zero conveys well what is at the heart of every spy book, it also does so with a delicious sort of insidiousness. As with much of his work, Kot is not in the business of making things easy for his readers, but in so doing, it's a sure bet that the whole of Zero will be anything but the emptiness that its name implies.

While being a bit unbalanced between its text-heavy beginning and action-drenched second half, and suffering from an odd "listen to our hearts" scene, which fell flat for me, I found Zero #4 to be a great extension of this series, further firming it as one of my favorites currently on stands.

All-in, Zero itself has been an impressive title for Image and an ideal showcase of and introduction to Ales Kot's increasingly more daring yet palatable fiction, as well as those artists he has chosen to work with on its telling. But issue five transcends even Kot's most experimental work and becomes, at least in my opinion, a fantastic exemplar of form. For that reason, and because I am infinitely more intrigued with where this story will go and the series of events that has and will take it there, Zero #5 has officially become the issue to beat in the nascent days of 2014. You should be reading this series just to get to this issue alone.

In the end, Zero is a read you should definitely be consuming, but issue six felt like a weird hiccup in an otherwise exceptional feast.

Sorry this is such a short review, but there's not much else to say, other than to reiterate how painfully disappointing this series has become after issue five. Kot's writing style is always lofty, and usually I enjoy the puzzle, but this was a lemon. Maybe it's me; maybe I missed something or perhaps I just don't "get it" anymore, I don't know. But after this issue, I'm not sure that I want to even try anymore.