All in all, I have nothing bad that I can think of to say about this first issue. I am greatly looking forward to what comes next, and there's no chance that I'll pass up an opportunity to recommend it to anyone who likes comics, horror, or breathing. It is a unique read, and a no-brainer purchase for anyone who likes their stories more unsettling than “scary.”

I'd recommend this to my friends. All of them. Even people who don't read comics. And the ones that know me? They'll probably give me a weird look but I just don't know what else to do. Somehow, I really like this title. It wasn't laugh out loud funny. It didn't redefine anything. It was just solid, and reminded me of watching Boy Meets World as a kid.

The target audience seems a bit young, but not so much that I would imagine older readers couldn't enjoy it. Refreshingly, the website for The Only Living Boy is incredibly easy to navigate, visually appealing, and provides detailed information on the creators. I would recommend The Only Living Boy to anyone who enjoys fantasy, no question, and in fact, I already have a few people in mind that I'm about to message.

All in all, it's a solid introduction to story for those who know what they're getting into, and know that they want a darker, psychological sort of work. In those respects, there's nothing bad that I can say about this work. As always, I suggest that each comic hook the reader on its own, with or without the context of previous or subsequent issues. For some readers, this might fail to sink that hook. Still, I'll be reading it myself and recommending it to anyone that I can. Issue #1 of Injection is not just a premise, it's a promise of things to come.

Mono is the ape-human hybrid agent of Great Britain, sent to carry out a secret mission of espionage against the Japanese in this title, which is set during the waning months of World War II. The lead character is dispatched to an island, scarcely even known by the Allied Powers to exist, in order to sniff out what secrets might be hid

The art in this title is perfect. The designs feel appropriately classic, like something straight out of the sixties, however the execution is very modern. The lines may follow antique paths, but they're rough and thin. The shading and texturing is dark, almost muddy. The entire color pallet feels colorful but muted, and echoes the autumn season where the story takes place. The layout feels similarly classic, and at times I forgot whether what I was reading was something new, or something I found in a dark attic somewhere.

All in all, fans of the show will find no qualms with this comic, and should enjoy it. Younger children also are likely to find the simple story and bright visuals addictive. However, if you're wanting to introduce someone to Adventure Time or Fiona and Cake for the first time, this is not the gateway you want to use. The ove

Mahfood and Stewart's art is an acid trip, and there's no other way to describe it. Reading this title feels like watching Fear and Loathing in Las Vegas. It's visually stunning, and very appreciable, but occasionally hard to follow. The let

This is something that I'm certain most any of my friends (even those that don't read comics) would enjoy. It's the kind of comic I'd leave a hardcopy of on an end table by my couch. I'd recommend it to anyone looking for something funny.

The art in Tomorrows is appropriately gorgeous. It balances color and grime, realism and impression, to an ideal degree considering its subject matter. Interestingly enough, the artist for Tomorrows is different with each issue, giving different people the chance to show off their work over the course of the series. I can only hope the subsequent art

All in all, I am not sure that I would recommend Trees based on this issue alone. I found it enjoyable, and I am a fan of both the author and the artist. However, I think I will need to keep this one to myself, do a little more reading and form a more well-rounded opinion for myself, before I pass it on to other fans. I definitely wouldn't recommend starting with this issue.

The art in this comic is bright, poppy, and rounded softly. The color pallet, even for the underworld, is well balance and vibrant. The use of textures and shading is at an appropriate level to give detail and flair to the imagery without oversaturating its lighthearted tone. "Endearing" is the word that comes immediately to mind when looking at the designs and character

I would recommend SNARL to anyone who is a fan of mystery, detective titles, or classic noir. It's certainly not the best at anything that it does, but it is in the race and its shortcomings are not so great that I could give it a bad review. This is the sort of comic that performs best as a slow burn, and I would be interested in seeing any future adventures of these characters.

All in all, I can't recommend Zodiac Starforce just based on this first issue. Perhaps with time it will grow into something more, but until such a time as it begins to develop real characters, that will be difficult. Younger children might find the simplicity easy to grasp onto, but to be honest, I don't know that much about children! That's your personal call. If you're seeking any type of depth however, give this one more time to mature.

Each issue of a comic has to hook the reader, has to draw them in and leave them wanting to read more. Issue 10 of Zombie Tramp categorically failed to do that for me. It's certainly not the worst thing that I've ever read, but I would not recommend this comic to anyone, even if they specifically asked me if I knew of any titles that involved tramps, zombies, or some combination thereof.