People always complain that comics are always about stock characters and there is too much flash over substance.  Unfortunately, for every SAGA, there are too many comics like "Voice in the Dark."  There are too many quality comics with strong writing that don't get the chance to prove themselves.  There is the old adage that a comic should get a good six months to 'prove itself.'  Many new titles don't get this chance.  

Like his writing, Hampton's artwork appears designed consciously to create a unified whole of these different genres, and it looks like he's succeeding. This is definitely a comic that should be getting a bigger audience.

Hampton has clearly found a fascinating but underused niche and populated it with a small but well-developed cast of unforgettable characters.

Don't buy this because it's novel or freaky, like the Archie/KISS or Archie/Punisher crossovers. Buy this for the art; buy this for the story. This is not just some novelty title. It is a solid, tautly written horror comic. Afterlife with Archie is not a novelty comic; this is what horror comics should be!!

Anybody can make you fear a reanimated corpse or a 500 foot tall radioactive dinosaur. Making you afraid of a garage sale takes immense talent.

ALICE COOPER #2 is a different take on ALICE COOPER than most other comics. This is a very different take on Alice than seen in Gaiman's work. In THE LAST TEMPTATION, Cooper was a force of darkness. In Harris' work, ALICE COOPER is a supernatural hero, fighting for his freedom, his soul, and for a little kid he just met. He is fighting for us.

The climactic battle is based on understanding of fear and nightmares; it is only in this realm that ALICE has a chance. He may be the supernaturally enhanced Lord of Nightmares, but he is also a mortal fighting demons.

I must admit a bias here.  I love the Chaos! characters.  I love the recent Alice Cooper revival.  I am a huge fan of Tim Seeley, both as a writer and as an artist.  As such, I was totally prepared to love and sing the praises of this comic.  Fortunately, Dynamite has produced something worthy of praise.   This promises to be an event of truly EPIC proportions.

Miranda has worked on VAMPIRELLA, and although his background is more action/fantasy/horror than Science Fiction, his work on this title indicates that he is very much at home with futuristic settings for ALIENS-style horror.  His work here shows range; he goes from scientifically clinical to dark and almost claustrophobically atmospheric to support the mood and pacing of the story.  His detail work is outstanding. This promises to be an amazing ride.  Reviewed by AD Boorman

This is a fun 'what if' for fans of the original series, and for someone who wants to see a different take on a classic franchise, this is an interesting one-shot.

This represents IDW giving a lot of new artists exposure in the larger market.  Is it Eisner-level material? No, it is not.  IT is important to allow artists to take risks - this is where talent develops, and all of these artists and writers are using this as an opportunity to take risks.  IDW deserves credit to sharing Amazing Forest with a larger audience.

Although Medri's skills are outstanding and his work is top " notch, the lion's share of the credit must go to Easton. This is brilliant writing. Easton was nominated for an Eisner once before; perhaps this time he will get the awards and recognition that he so obviously deserves for this.

This is a moment in comic book history - a major event.  One of the most important Science Fiction writers of the modern era enters the comic book field with a strong and fascinating story.  

In an ARCHIE comic, this could easily have been tacky; instead, it's pretty awesome. There is no 'funny alien' here. People actually die in this comic, and the PREDATOR actually does his hunter/trophy thing. The credit should go to the creative team, but also to whomever decided to keep this in the traditional ARCHIE style. This decision, given the debacle of "ARCHIE/PUNISHER" and the recent success of AFTERLIFE WITH ARCHIE and SABRINA is highly counterintuitive, but it has paid off brilliantly.

If you like horror/action like Hack/Slash, Army of Darkness, Criminal Macabre, or 30 Days of Night, you're going to love this.

Tenorio has a gift for pacing his artwork. He sometimes leaves backgrounds blank or underdeveloped to keep readers moving forward. He is equally adept at creating great arrays of detail that invite the reader to stay with a panel to study the art and look back and forth with the dialogue. Unlike movies or TV or printed text, the artwork and the dialogue encourage the reader tomove through the workat different rates at different points in the story.

This is a great team, one of only a few that could handle this mashup of the Army of Darkness and post-apocalyptic action themes. This is going to be a great miniseries.

This is not a supernatural version of the Walking Dead " nor is it meant to be. This is not meant to be serious. It is meant to be spooky and fun--and it succeeds.

Collins and Baal work together seamlessly to create a world teetering on the brink of ultimate devastation. It is an eclectic and evocative mix of post-apocalyptic survival horror, supernatural horror, and Ashley J. Williams snark. The truly unfortunate thing is that this appears to be the last issue of the series. Collins and Baal have proven to be very adept at working with the Evil Dead/Army of Darkness characters and tropes. Hopefully, they will continue to work with this franchise.

In short, this is a big sandbox; there's room for everybody to play.

Strangely enough, this comic is vaguely reminiscent of another IDW title: ZVR - Zombies Versus Robots.  In ZVR, a diverse group of talented artists and writers all get together to play in the same sandbox - a post-apocalyptic world of Zombies and War-bots. Hopefully, Gale will allow other writers and artists to 'play in his sandbox.'  ZVR has shown that talent writers and artists can add to and make much richer even a well-established franchise.  It would be wonderful to see how other talents would work with the universe of an American 'Time Lord' flying through the time stream, determined to make sure that history turns out right.

The artwork is deliberately very reminiscent of the original television series. This is nowhere more true than in Smith's depictions of the technology of the original series. The technical quality of his artwork is outstanding. His attention to detail is impeccable.

While the creative team has clearly aimed it at older readers (those who remember the 80's,) they have created a style and pace that any fans of the movie will relish.  Even readers unfamiliar with the source material will be able to appreciate and follow the series. 

This first issue is a strong start.It is fast moving and carries the reader long. It will be very interesting to see where this creative team takes the story.

This is an ambitious comic, visually arresting as well as dramatically engaging. Watching two historical vampires fight it out is fascinating - the Freudian dynamic alone is fascinating - even at this point in the series, the creative team has refused to close the door on the allies/enemies question.

Tak and Nahuelpan succeed not only in making the reader think, but in making the reader ask themselves some uncomfortable questions about the world in which we will be living.

This is a great opportunity for readers to encounter Sanderson in a very accessible format. Likewise, fans of Sanderson's writing will find this a great addition to their collections. Beyond that, people who are fans of Dune, Tolkein, Robert Jordan, or other practitioners of High SF/Fantasy will love this.

Most of this work has never been published before.  It has never been published in graphic novel format, and it has never been published in its entirety before.  Alex Toth is a talent who is gone from us, but this opportunity to see original work from him is not to be missed.

I hope that this new team of storytellers can maintain the tone and the feel that have made their first issue so strong.

This is a superior first issue. If Bennet and Fuso can maintain the quality, this will prove to be a phenomenal miniseries. If you like strong female characters, espionage, or noir comics, you will definitely want BUTTERFLY.

McCormack and Sharp have written a tantalizing mystery.  In Charlie, they created an interesting character and created a need for her to discover what happened to the missing title character.  With this impressive  first, the creative team has promised a lot.  Hopefully they can deliver.

If you haven't gotten the first two issues, this might be a hard place to jump in, but it would be worth it to go back and get the previous issues.  If you liked the earlier Dynamite Evil Ernie, or any of the CHAOS! comics characters from before, then you need this comic. 

If you have not been following CHAOS, you need to start.  Go back, get the past issues, and have an EPIC read.

I've said this before, and I'll say this again: CHAOS is a fast ride, and Seeley is not slowing down for new readers. If you are interested, you will need to pick up the earlier issues. This will make a wonderful trade paperback.

There is a climactic end to the battle as ERNIE and SMILEY THE PSYCHOTIC BUTTON are reunited. (NO SPOILERS) Seeley ties all of the ends up neatly in the denouement, and the characters who survived move on to their next battles. Of course, so many of the CHAOS characters cannot be killed - they just go to Hell for some R&R before their next series. This is an exciting and satisfactory end to a fast-paced thrill ride of a mini-series. I cannot wait for the trade paper on this one!

Chaos comics are not for everyone. They require a particular sense of humor. If you think that a demon ripping the heads off of elves and beating Santa Claus is tasteless then you probably will not like this. On the other hand, if you enjoy reading comics where demons and hell spawn are the monsters and good guys, then you'll probably really enjoy chaos comics even at that, particular sense of humor. If you like horror comics, or comics like JUSTICE LEAGUE DARK, you'll probably like Chaos comics, and the CHAOS HOLIDAY SPECIAL  2014 is a solid introduction to this line of comics.

BAD KITTY (so far) lacks the supernatural elements of the earlier version, but this may not be a bad thing. Itis not nearly as flippant as HARLEY QUINN, but it is still ultimately a comic about someone with a completely unfettered id.BAD KITTY is the part of each of us that gets to do whatever the hell it wants to.Every person keeps their own personal BAD KITTYin check, but we all fantasize about letting her out. This is a seriouscomic, but itstill feels like a fun ride.

This is a 48-page one-shot. It may be that Dynamite is looking at launching THE CHOSEN as a series. It is hard to know for sure, but based on CHAOS and this one-shot, they have a good chance at having a winner here. THE CHOSEN deserves a chance to make it as a magazine. It belongs in that rarified air with the rest of the revived CHAOS universe, as well as HACK/SLASH and other titles.

In a way, this is a STAR WARS moment. We knowthat Anakin will get the helmet and red lightsaber; the interesting question is how. It is not a spoiler, based on either the original Chaos title or on the current Dynamite CHAOS miniseries to believe that CHASTITY will grow into the fierce vampire hunter/assassin. It isfascinating to watch the process.

CHASTITY is a challenge for the writers. Readers already know how the story will end. The writer has to keep the readers interest in what happens along the way. As Andreyko moves forward into the meat of her back story, many questions arise. How does the high school girl turn into the super-powered vampire hunter? What is the ultimate fate of her brother? What are the plots and motives of the detective and of the various vampire factions? Readers will have to follow the series to find out. We know how the series will end; Andreyko is making it interesting to watch what happens along the way.

This is a wonderful comic, but you need to get the first issue to understand some of the characters and plot references. While it might be useful to watch the movie "Nightbreed," it is not neccessary - the first two issues are prequel to the movie, and the movie might help to understand the significance of a 'surprise' at the end of issue #2, I do not think it diminishes the overall story. Clive Barker's work is strong enough to be appealing, even with mediocre writers and artists, but when he is paired with significant talent, as he is here, then the comic is strongly recommended. If you love horror, dark fantasy, or the work of Clive Barker, then this is a MUST BUY.

NIGHTBREED is not for everybody. This is a horror fan's horror comic.The complex narrative structure makes it hard to jump in at this point, and there is littlespace given to exposition.Even readers familiar with the inhabitants of Midian may have a problem simply picking up the narrative at this point. Readers wanting to catch up should go back and buy the first three issues. They are well worth it.

As fascinating as Andreyko's work has been, one hopes that he will soon move all of these characters ahead towards a story.  Failing that, he could easily become the Marcel Proust of horror fiction.  He has created depths of Midian and its inhabitants that are truly fascinating, and his readers have been fortunate to share in his vision. As intense and well-developed as it has been, there must be action.  Regardless of the unbelievable quality of the exposition, the plot must move forward.

Readers should look forward to the development of strong female characters in Zub's future work. They can also look forward to how Simone will have Sonia interacting on multiple levels with other characters overextended story arcs in the future. The mark of great writers is that they are constantly learning, developing, and growing. Both of these writers have shown tremendous growth in their careers. It will be interesting not only to see the next three issues of this long-awaited four issue miniseries; it'll be interesting to see what happens next.

It will be very interesting to see where CREATURE COPS goes. Anderson's gift may prove to be his challenge. Rather than dwelling on the monstrous aspects of the situation, he is chosen to dwell on the human characters. His job over the next many issues will be to get and keep the readers involved in the lives of these characters. So far, he is off to a fine start.

You will want to buy the trade paperback when it comes out.  Hopefully that will be soon.

It seems that this will not be hard-core horror, from the writing. Although the artwork is vaguely reminiscent of THE LIVING CORPSE, the story line is just a bit too light for that.

None of these stories have happy endings. The Scooby Gang does NOT unmask the bad guy, and the hero does NOT rescue the victim from the 'clutches of the evil madman.' This is HORROR, pure and simple. CREEPY is meant to be the excelsis of anthology horror. It is not, and never will be for everybody. CREEPY is a classic horror comic for fans of horror comics. It is, as it's masthead proudly proclaims, "The Finest in Illustrated Horror."

A critic once wrote that the mark of well-developed characters is this:  Would you be willing to read a story in which these characters  just went through mundane activities and talked with each others?  With Steve NIles CRIMINAL MACABRE stories - the answer is a resounding yes.

Top Cow's CUTTER looks to be a solid, well crafted, horror movie translated smoothly into a comic format. I am looking forward to it.

While the majority of the credit for this deservedly goes to the creative team of Fahey, Napton and DiBari, The editors and management of Top Cow deserve credit for allowing this team the space and freedom to develop their craft.  If they continue in this direction, this team could very easily make a huge name for themselves in horror comics.

Classic graphic horror novels are too few and too far between.  Classic slasher stories are always welcome, regardless of the format.  The creative team of Fahey, Napton and DiBari deserve great credit for executing a classic genre so purely and reminding us of how good horror can be.

But consider the slasher/revenant sub-genre of horror and science fiction as a unique place. JASON, FREDDY, MICHAEL, LEATHERFACE and all of the others. We go because their name is on the marquee, but we root for the survivor girl. This is even true of more generic entertainment - from JAWS and THE BIRDS to THE MIST and SHARKNADO - we root for the victim - this is even true in CUTTER. At the end, we are treated to a classically ambiguous ending. Is she a ghost or a psychotic? Is it all over? We don't know - and that's the way it should be.

At the end of this issue, Aliens land again on this robot world. It will be interesting to see what happens next.

It will be most interesting to see where the next issue goes.

D4VE is clearly one of the best comics of 2015 – not only for the story it tells about robots and aliens in the distant future, but for the story it tells us about the human condition here and now.

D4VE is a fascinating comic.  For readers who want to be challenged by their comics, this is an excellent choice.

With that, D4VE is happy and at peace.  There is no place left to go.  This is a perfect ending.

Hartnell is probably the only person familiar enough with DANGER GIRL to write this 'origin story.'  It promises to be a wonderful jumping on point for new readers.  As the creator of the character and series, he knows the nuances of character and dialogue for ABBEY CHASE as no other writer does, and this is a great chance for new readers to come to the series.  For long time fans of the series, it is a great chance to see the creator of the series really open up about one of the most popular characters in the series.

By nesting problems and puzzles in the layers of his writing, Linsner is creating a greater depth in his story, and inspiring the readers not only to keep up with the action/horror story, but to understand the subtext and symbolism as well.This is a thought-provoking story that works on multiple levels.

This is an eight-issue series, and at issue five. it may be difficult for readers to jump in, but Seijic is rapidly approaching the climax of the story, and it looks to be worth it.

It will be interesting to see if this mashup between two very different characters from two very different styles of westerns can be successful. Given this creative team, success is great likely.

I look forward to next issue's conclusion to this story.  Mini-series or major event?  We'll all know next month.

As an artist, Tarrantino is clearly in his element here.  Obviously, he is comfortable with the DJANGO character he created, and he is equally comfortable with the quasi-grindhouse spaghetti western he has created here.  It would be most interesting to see his comic take on other genres.  As a screenplay writer and movie maker, he has proven equally adept at many different genres.  As a comic writer, I would hope that he proves equally adept at different genres of comics. 

Dynamite has done well with Doc Savage before " the Justice Inc story arc with the Avenger and the Shadow was very well done. Savage had foes and allies who were his equals. They had not only the ability to stop him; they had the ability to defeat him. Heroes are often judged by their villains " the Rogues Gallery that confronts them. Holmes has Moriarty. Batman has the Joker. Dr Who had the Master. In the pulps, Doc Savage had John Sunlight.

If you like the series, you'll be happy with this comic. The characters are pretty much true to their portrayals on the TV Series, and the dialogue rings true. Morrison's writing is very close to the TV Show, and Dave Taylor's artwork is equally true to the source. It is not a jumping in point. I do not know if there is a 'Jumping in' point with DOCTOR WHO. The mythology of the show is very complex and involved. People who do not know the back stories of the characters in particular and the mythology of the series in general may find some elements difficult to follow.

Robbie Morrison is known for his work on various BATMAN stories, and THE AUTHORITY.He had a very brief stint as a writer on the fascinating SPIDERMAN's TANGLED WEB.His work there was memorable, and a good example of why he's a great choice for DOCTOR WHO.If you're interested, check it out - it is one of the best MARVEL's you've never heard of, and it's still available in trade paperback (Volume 2).Dave Taylor also has a history with BATMAN, but he's also done some other work including projects for Marvel and JUDGE DREDD.This new DOCTOR WHO represents a change from the previous (post-revival) incarnations.The earlier Doctors have all been younger, 'cooler' types.Capaldi represents a return to paradigm of the Doctor as an older man.Capaldi's Doctor is still a man of action, but he is not a hipster; he is a man equal parts Sage and Warrior.This is why Morrison is a good choice.

The third hurdle is where the jury is still out.  This is the second issue in the first story arc.  It is difficult to tell how the characters will develop.  This is a comic that is not too serious, and it is long on irony and in-joke humor.  If you like Doodle Jump, you will probably like this a lot.  If you liked Grans work on Marceline, you will probably like this.

Benedetto and Fuso started out with a huge advantage; Sallis' work is classic and strong.They have carefully made choices to honor the feel of the original work and maintained a restrained and reserved control over the story.

The premise is interesting.  Lewis' writing is solid.  He has a good sense of dialogue, and he definitely has quite an imagination. Olivera's artwork is solid. He does not provide too much background detail - he sticks to the basics and delivers pretty well.  The question remains- can this creative team sustain?  It may be worth following this comic to see if they can keep it up.

Zub and Daniels are not just telling a story; they are having a party, and they invited us along.

This is one of the most polished and professional indies I have seen in a long time.

This is a tremendous effort by a talented creative team to maintain and forward Burton's vision.

If there is a fault in their grand vision, it is that rarest of mistakes: They may be expecting too much of their audience. This is a dense narrative, striving to function on multiple levels: psychological drama, political suspense, techno-thriller, character study, mystery, and more " all wrapped in a science fiction superhero adventure story. The storytellers have created a broad cast of dynamic well-rounded characters, and given them all depth, nuance, and humanity.

Waid and Kitson have created a believable universe based on a fascinating premise.  Beyond that, they have populated it with unique and truly interesting characters- dynamic and amazingly credible, they move through their insane world in a believable fashion.  The dialogue is as intricate as the detailed artwork- and equally nuanced.  This creative team is raising the standard by which other comics will be judged.

For those who enjoy CHAOS! EVIL ERNIE, CHASTITY, PURGATORI, and the rest of DYNAMITE's revived CHAOS universe, this will be a great series. If you do not know EVIL ERNIE, this is a great jumping on point. For those who like supernatural/occult action series, this will be a fun ride. If you like HACK/SLASH, NANCY IN HELL, HELLBOY, JUSTICE LEAGUE DARK, or similar titles, you will probably really like this. Despite the fact that he is a reanimated demonic revenant and the most prolific serial killer in human history, EVIL ERNIE is an immensely likable character.

EVIL ERNIE is in many ways the flagship title in Dynamite's revival of the CHAOS line, and it appears to be in good hands.

Lanhellas' artwork is fast-paced and he manages to convey gore with just the right amount of blood and maggots. In a comic like this, where there is a fine balance between horror and action, Lanhellas is finding the right balance.

Lanhellas' artwork is outstanding. His designs are different from the original character (Brian Pulido), but they are a solid fit to the story as written by Seeley and Seeley.

EX-CON is the apotheosis of a crime novel set in comics form.  Swierczynski and Burns are not making this for everybody.  This is a crime story for people who love crime stories. This is dark and cynical.  This is not a super-villain comic, like HARLEY QUINN OR SUICIDE SQUAD.  This is not the hyper-stylized style of Frank Millers SIN CITY; this has a far more realistic feel.   If crime stories are not your cup of tea, you may not like this.On the other hand, if you have never tried a serious crime comic like 100 BULLETS or RED TEAM, you might want to give this a shot.  

Strangely enough, I would strongly reccommend you buy this comic for one reason - this is Michael Hague's first comic book. Someday people will look back on this like it was the first Frank Frazetta comic, or an early Boris Vallejo paperback book cover.

Although this is not overtly grindhouse, I suspect fans of that genre will love this.  Likewise, fans of vampire, zombies, and mixes thereof will also find Fistful of Blood to be a fast, fun, exciting ride.

Although Bisley's art is superb, Fistful of Blood is clearly the writer's show.  Kevin Eastman's introduction of supernatural elements is stunningly well-developed.  It does not feel artificial or forced.  His twists at the end are surprising, but they also flow from the plot.  He has been in comics since 1984, working in this industry for over four decades, and he clearly has not lost a step.

Marvel began to evolve the GI JOE brand away from being a toy advertisement by establishing characters and relationships. Other runs at GI JOE have evolved it further from the toy section into valid graphic storytelling. By bringing in Traviss and Kurth, IDW is making the commitment to develop the title even further.

GI Joe Deviations is what happens when a solid creative team decides to have some fun and poke loving humor at a franchise.  GI Joe Fans beware.  If you have no sense of humor, you will probably not like this comic. If you are not a GI Joe fan, you may miss a few jokes here and there, but you will likely enjoy the overall 'Megamind' theme of the comic and it's gleeful, farcical tone.  If you are a GI Joe fan, and you have a sense of humor, you will definitely want to buy at least 2 copies of this comic: one to keep, and one to read until the staples fall out.

There is not much action in this issue, but there does not need to be.  This is a launching pad for a new direction in a beloved and popular title, and this team (which has spent a lot of time working with the franchise) looks like they're setting everything up to do it right.  The editors at IDW made a good choice in keeping this team together on this franchise. 

While this is something that is more than mildly entertaining to most fans, this is definitely something that hardcore GHOSTBUSTER's fans will not want to miss.

A creative team with experience not only in the franchise, but in the unique 'crossover' sub-genre, clearly enjoying themselves by taking fan favorite characters and putting them into a totally unique situation and putting them through their paces alongside their own doppelgangers - it is clear that these storytellers are having a grand time. That elevates the series finale as well as the whole miniseries.

In Dante's INFERNO, the reader takes a tour through Hell.  As show in the first issue of GODZILLA IN HELL, the King of Monsters will not be a passive observer.  This will definitely be an interesting ride.

Like so many round-robin style efforts, this miniseries gives many different storytellers the ability to contribute their own style, both in art and in writing, to move a story along.  Each showcases their own interpretation of character, plot, and setting.  Each brings their own interpretation of the theme.  This second issue is significantly different from the first.  Neither is superior to the other; each gives the reader a different set of lenses through which to observe the theme: GODZILLA IN HELL.

These creative teams are demanding that we pay attention and think about the questions they are posing.

Next issue is the climax, the end of the series.  It will be most interesting to see where/how it ends.

The editors made a wise choice in allowing Dave Wachter the cleanup position in this lineup. Although all of the creative teams have done fascinating work, Wachter's choices here have been inspired. Going with a somewhat Japanese classical art style and using Shinto/Buddhist iconography – stark and simple – return Godzilla to his roots, bringing us all back to the beginning.

Godzilla in Hell was triumphant, but it went over the heads of some readers with its rotating cadre of storytellers, deep and layered symbolism and a central conceit that went beyond metaphor into a full-blown analysis of eschatology, hamartiology and naturalism.  Fialkov is capable of such levels of depth (read the Devilers!)   That is not why he is here today.  He is not here to challenge the paradigms we use to order and organize our philosophical and spiritual lives; he is just here to tell a monster story.

This is the last issue in the series, so it is a difficult place to jump in, but knowing IDW, the trade paperback will be out in a few months.  Although this is not The Half-Century War, Godzilla: Oblivion will definitely be a trade paperback that Kaiju fans will want on their shelves.

This is a fun ride. If you are a kaiju fan, you probably already know that IDW is doing a great job with the franchise.  If you have ever wondered why people still buy those 'rubber suit monster' movies after all these years, this is a great way to experience the excitement first hand.

This is not a comic for everybody, nor was it designed to be. IDW made a Kaiju comic for hard-core Kaiju fans. They want to see Kaiju fight, and that's what IDW delivers. This issue is an epic Kaiju Battle, and it does not disappoint.

Readers and aficionados of the old Gold Key line will appreciate this for both it's nostalgia and the idea of watching how these characters might be recreated in the new millennium. People who read and enjoyed some of the 'modernized' revisions of these characters will probably like this. If you don't know anything about Gold Key Comics, you still might find this interesting, just to see where Hester is leading this diverse cast of characters.

Spay and his creative team have set forth to create a major event designed to equal anything done in Marvel or DC.  This is their BIG CROSSOVER EVENT.  Many labels have created such events, ranging from Infinite Crisis and Civil Wars to Infestation and the recent X-Files crossovers. They are bringing many of their major characters and story lines together in a single event which will have an impact across the entire Zenoscope universe.  They have consciously set forth to make a mark on the industry, saying that they are the equal of any of the 'big labels.'  If you have looked at Zenoscope and considered jumping in, this is a good place to do it.  

GRIMM TALES OF TERROR has been a bit uneven, but this issue is solid and stands on it's own merits as a horror comic.. The recent turnaround of the ARCHIE label was spearheaded by the incredible AFTERLIFE WITH ARCHIE and continues to wow readers with THE CHILLING ADVENTURES OF SABRINA.  The quality of story and artwork should prove to even the most skeptical readers that any company with solid artists and writers has the ability to produce good horror. Given time and encouragement,Zenescope is proving that it is capable of producing a more diversified product then it's hallmark GRIMM FAIRY TALES.  Is it possible that some day GRIMM TALES OF TERROR could rise up to the same level as CREEPY? Readers will have to keep reading to find out.

GRIMM PORTLAND WU gives writerswho don't do a lot of comics a chance to explore thepossibilities inherent in this medium. I would like to see these writers work outside of the GRIMM universe. Perhaps their success here will give them the incentive to reach even further.

Hopefully, this creative team will continue to maintain and improve on the quality of the writing and artwork.  This is a comic with a lot of promise. I hope they can deliver.

Overall, this issue of Gutter Magic is the setup for the fourth and final issue of the miniseries.  Given the strong buildup the next (and last) issue should be awesome.

The artwork is dated (the best of its era – 60+ years ago), and the writing may be somewhat formulaic, but the cumulative effect is horror. This is not for everybody, but for people who deeply care for pre-code horror comics, this is a wonderful effort.

The HELLBOY comic titles have a huge following and it is carried over to a wide range of titles on different characters and even the BPRD itself, including the unappreciated SIR EDWARD GREY: WITCHFINDER. Readers have demonstrated enough of an interest in the characters and the 'mythology' of the BPRD to support the artists taking the time necessary to give depth and dimensionality to the characters. HELLBOY is more than a snarky, muscle-bound, demonic gunslinger. He is a man, with unique origins trying to find his place in a world in which he, and everyone else around him, knows that he does not belong. This is a world, which hates him, but it is the only world he knows, and he has come to love it. HELLBOY is a fascinating and unique character, and this creative team is giving readers a chance to see how he evolved into the fascinating character that he has become today.

The idea of 'anchoring' an anthology series around an ongoing story worked well for Warren Publishing (EERIE), and it has great potential here.  Clive Barker's HELLRAISER  is a classic series, and the Mythos he created around it is a sandbox that only the truly gifted should play in.  BOOM has chosen it's writers and artists well.  This will be a great series for fans of Barker/Hellraiser in particular, but also for any splatterpunks/gorehounds out there as well.  Barker's brand of horror, ably continued by these writers and artists is pure intensity.  It is definitely not for kids or the easily offended, but for true fans, this is some AWESOME STUFF.  This is really a great horror anthology comic.

For people with closely-held views of the afterlife and the entire God/Satan dichotomy, this may be offensive.  If you are willing to allow your beliefs to be challenged, this can be a very entertaining ride.  Ferrer has a history of writing outside this box, and Hot Damn appears to be no exception.   This journey through hell is definitely different from anything Dante or Milton ever wrote. 

Hot Damn is interesting on the deeper level, but it is also a human story.  In a mix of Heaven and Hell that resembles a painting from Hieronymus Bosch on crack, Ferrier gives readers a deliberately flawed narrator to lead readers on an amazing voyage through the afterlife.  Teddy has made serious mistakes, but he is equally serious in his love for his girlfriend, and while he still makes bad choices, he does want to be a good person.  Readers are constantly reminded by Teddy's actions that he is a thorough sinner - and that he is fully cognizant of that aspect of his nature.  Although he wants to be better, he is coming to understand that he is neither totally evil nor totally good, but an uneven combination of saint and sinner - in short - a human being.

This is clearly more of an adventure comic than a horror comic, but the use of the old favorite UNIVERSAL MONSTERS revised and revved up for the modern era is a definite winner.

This was a most satisfactory end to the first story arc. I find myself already looking forward to the next issue.

If you are one of the many people who have looked at Dynamite's many MARS titles and wondered how to jump into the series to check it out, look no further - this is the place.

For readers who have any familiarity with Judge Dredd, this is a comic that is a good jumping on point.  For readers with no prior knowledge of the character, there is some solid background exposition in the early pages of the story.   It is not enough to explain the entire premise of Judge Dredd; the series has been going for decades.  It is enough to support readers new to the series.

McDaid continues to do a great job with the artwork. There is a different feel to the work " it is clearly still Judge Dredd, but this is a different world- in many ways similar and in many ways different from the Cursed Earth of 2000AD. This is a brighter world, less post-apocalyptic urban sprawl and more Heavy Metal.

McDaid continues to do a great job with the artwork. There is a different feel to the work " it is clearly still Judge Dredd, but this is a different world- in many ways similar and in many ways different from the Cursed Earth of 2000AD. This is a brighter world, less post-apocalyptic urban sprawl and more Heavy Metal.

In this story, we are given some exposition, but clearly, Uslan is playing many cards close to the vest. He is not telling us how much of the Avenger story will be ret-conned (if any). He is working to maintain the 'mythology' of these classic characters, and he is clearly working with Timpano to maintain the feel of the character while creating stories with substance and depth of character.

This issue is a hard place to jump in, but it would be worth it to go back and get the earlier issues. This months issue is great, but next month's conclusion will be EPIC!

Cosby's writing is slow and ponderous.  He is dwelling in exposition for too long.  This is the second issue; he needs to be moving more quickly. It is important to understand the background, but Cosby should know that readers who deliberately select classic characters will likely know more about the character – his choice to use two issues for exposition slows down the development of the plot and makes the rising action too slow.

Chaos Dyanmite! Has revived many great Brian Pulido characters from the 90s. They have brought back EVIL ERNIE, CHASTITY, and PURGATORI.  All of these characters are primarily re-– visionings of Pulido's original characters.  LADY DEMON is another such creation. Chaos Dynamite has found a solid formula for reviving a group of fan favorite characters and bring them to a new generation.

This issue ends in a major cliff-hanger (no spoiler) and it will be amazing to see how Gillespie and Andolfo top this.

This is a good action/horror comic done by a fine creative team. 

With the help of a good guy (an officerin the old government), she recovers the axe and is sending ti back to the Indiana.  The bad guys recover the axe.  Action follows!! (NO SPOILERS)   

If you have ever wondered why some people love the old westerns, read LADY ZORRO. Then you will understand.

The re-visioning of the characters is satisfying. Although speech patterns are somewhat altered to match the neo-Victorian Steampunk aesthetic, the personalities of the characters are pretty much unchanged. This series aims for two groups of fans. First, it serves quite well the fans of the various proterties covered Fans of Green Hornet or the Six Million Dollar Man will be amused to see their favorite characters rendered in a different era. Likewise, Steampunk fans will appreciate the chance to see a wide range of characters redone in their favorite genre.

The unfortunate thing is that this is the last issue of the run.

Carter's words sum it up:  "This could be a mistake or the beginning of the greatest 'How did you meet' story ever.  The only thing I really do know  . . . is that I can't wait to find out."

Too many times, people complain that comics are all about heroes and monsters, and that they are more about fantasy than the real world.  If you know anyone who says that, show them LONG DISTANCE.  This is a comic that everyone should be reading.

A lot of comic reviewers look at pure romance comics in either the single – issue, short story mode or the teenage romantic comedy mode (think of the old ARCHIE series) or Shojo manga.  Zahler's creation, although closest to the last, is truly none of the above. He is moving into a mostly underexplored territory.

This has been a wonderful little series.  I am hopeful that the trade paperback will be out soon, and that Zahler will continue to create realistic stories about human people in the real world.  He is absolutely brilliant at it.

Castro and Bechko are both talented storytellers, and this was an interesting miniseries. They took two old properties and created a fascinating mythology to weave them together, developed the characters and the relationship, and tied the story all together neatly in six issues. It would be great to see them work on something else together. Given the right material, they could do something truly awesome. This is a creative team with huge untapped potential.

Looking at it as a niche comic for a limited target audience, it is highly effective.

Mars Attacks: Occupation is a highly engaging comic, well-executed by two highly talented veterans. This second issue includes a fair amount of exposition, so it is not too difficult for readers to catch up with the overall plotline.

Without a clear understanding of the balance between seriousness and fun, the series either becomes improbably depressing or sinks into farce.   Mars Attacks! Occupation is a great example of why IDW has managed to do so well with this franchise.

Layman and Kuhn have only five issues to tell a huge story, and they have set themselves up for a big finish in the next issue.  Unfortunately, readers new to the series will need to get all three back issues to be fully read on to the story.  On the plus side, this would make a tremendous trade paperback.

This is a three issue oversized comic from BOOM. This is a fascinating take on the apocalypse story.The concept of a weaponized meme has been used before - from an old MONTY PYTHON sketch about the killer joke to CELL by Steven King, it is not new. Tynion's challenge is to surround the event with fascinating and realistic characters, keep them likeable, and find ways to get them through this apocalypse - or not.

MEMETIC is something special - atotallyinnovative, creativeand unique take on the zombie horror story. The originality of concept and artwork may make it difficult for some people to understand that this is indeed a zombie story. This isthe brilliance of Tynion's story.

A classic franchise getting new life from Cullen Bunn and a very talented crew of artists is something worth celebrating.

Fans of the original series- or any subsequent iterations- will definitely want this comic.  People who became fans of franchise-derived comics (Think MIcronauts, Transformers, ROM, etc)  may want to give this a chance.

Sharp's writing is strong. His sense of story and pacing is strong. He needs a better editor. His dialogue simply does not ring true. The main character's internal monologue detracts from the quality of the story and the incredible artwork.

The second story, DEATH & TAXES, is not a uniquely MUNCHIN-esque tale.  It is nonetheless highly amusing, as it follows an IRS-like tax collector through a D&D/PATHFINDER-like world.  Accompanied  by his Tax Preparation Advisor (READ: Ogre), he manages to destroy several standard sword & sorcery tropes with his unwanted and unwelcome bureaucratic meddling.    This is humorous and well-executed, but it is not exactly a MUNCHKIN story.  It could fit in well as filler in any of several places, ranging from RAT QUEENS and SKULLKICKERS to RED SONJA or PATHFINDER.

Comics that look back at the fanboy/con experience sometimes backfire.  They tend to be over the edge - either too harshly cynical or too syrupy sweet.  Often, writers like Peralta (whose writing in this issue indicates that he has been to a lot of cons) manages to capture the scene in a true and balanced fashion.  He deserved major kudos for this.

The story is well written. SOMBRA is presented as a dynamic, well-rounded character, and his descent into evil is portrayed in understandable terms. The question of what causes a rational being to reject good in favor of evil has long been a classic theme of literature. It is surprising to see it in a 'kiddie book.'

All in all, a solid issue of this title. Bronies and other pony-fans will appreciate this issue.

This is not a big dramatic issue of the series; it is an interesting little slice-of-life.  It is important to do that.  One of the big draws of MLP is that Equestria is like Pandora (think Avatar) – it is a place that many fans would like to visit.  Issues like this give readers some insight into the daily lives of the characters and background of the popular series.

Clearly this comic is not for everyone. It must be judged on its own merits. If you like the genre, you will like this comic, therefore it is good.  Like any other tie-in, it is designed very deliberately to appeal to its fan base.  If you are trying to understand what the whole 'bronie thing' is about, this might be a good illustration.  Another thought - if you have a friend who does not read comics, but likes the ponies, this might be a nice stocking-stuffer! 

The creative team of Zahler and Fleecs did a good job here. They managed to take the series in a slightly different direction without changing the characters or the basic ethos of the Ponies.

A lot of comic book readers and other fans look down on "bronies" for their devotion to the series. I would suggest that before they do so again, they read this issue.  If they do so honestly, they will walk away impressed.

At this point, I'm quite over my surprise at finding this depth of writing and quality of artwork in a comic about ponies. I am nonetheless impressed by the craft of the storytellers. They have transcended the materials they were given and shown readers that comics are for everyone, and the readers of all genres deserve nuanced, well developed dramatic storylines told with skill and presented with quality artwork.

Price's artwork is consistently good; he has managed to capture both depth and gravity while not losing the 'cute pony' look which is the trademark of the series.

Fleecs and Zahler both bring many things to this comic.  They both have great skill as storytellers.  Each of them is skilled as both artist and writer.  They both bring strong knowledge and understanding of this franchise.  Beyond that, they bring an understanding of the unique differences between the TV and Comics media.  They know what can be done in comics that cannot be done on TV, and they know how far they can take those advantages without overstepping the boundaries.

The first issue was amazing, and this second issue continues to darkly dazzle. Niles, who usually writes limited series, has done impressive story arcs with CRIMINAL MACABRE and 30 DAYS OF NIGHT. He usually tells a story and then lets it go for a while. This title will be different. Niles has announced that THE OCTOBER FACTION will be his first ongoing series, and it looks like he's got a winner here.

The characters, despite all of the supernatural threats and powers swirling about them, are human – they are a family that cares for each other.  They want to build and maintain the same caring and nurturing relationships that all healthy families have.

This issue is not a great jumping on point; the plot is a bit too involved for easy exposition, but it would be worth it to get a few back issues and the first trade paperback.  It would be worthwhile; this is a great series.  It is a clear example of a horror writer at the top of his game, supported by an artist who understands his sensibilities perfectly.

Steve Niles work has often been mini-series; sometimes a one-shot or only two – three issues.  Sometimes he would do a seven or eight issue story arc. This appears to be the longest ongoing story of his career. Many readers wondered how well Niles would adapt his style to an continuing, monthly title. The October Faction should prove to everyone that working in the ongoing format has not detracted from his creativity or from his ability to imbue his characters with a unique combination of monstrosity and humanity.

Worm and Niles are working together to bring the first story arc of this series to a climax, and it will undoubtedly have a major impact on the entire family.

Normally, this would be the end. Steve Niles history is one of completing a story arc and then retiring a series until he's ready to revisit it again. Consider his work on Criminal Macabre for example. Niles has never felt the obligation to fill empty pages; when he has no story to tell he prefers to remain silent. This is a different situation. This is his first ongoing series.  Next month, he has many pages to fill.

Worm's artwork consistently emphasizes the simultaneous humanity and 'other-ness' of the characters.  It is a great compliment to the story and characters.

This is the beginning of what promises to be a very interesting story arc.

Hopefully, Nile's commitment to bear witness to the lives and relationships of is family will be equally legendary.

If you're not, but you've ever wondered how those stories go and WHY people love them so much, then give this a try; you might get hooked on it.  

PATHFINDER is really a comic aimed at fantasy fans.  On the other hand, readers of SKULLKICKERS, RAT QUEENS, or other iconoclastic revisionings of the genre, or readers of CONAN and/or RED SONJA, sword and sorcery stories that center around a single hero, may want to try this out.  If you want to read a more classic D&D-type sword and sorcery comic, check out PATHFINDER

In a story this complex, it is difficult to jump in midway through the story.  Miller and Granda are not making wallpaper; they are shooting for the big prize here.  This is not the 'same day, same story' plotline with cookie-cutter flat static characters. This is a complex story with rounded dynamic central characters. Readers who are interested will need to go back and get the first issue to make sense out of much of the second issue.  Do not worry; it will be worth it.

Is this comic for everybody? Probably not. If you remember the era, then is is a pleasant trip down memory lane. If you want to see how the classic strips converted to comic magazine format, then this is not only interesting, it is instructional. Is it a fascinating narrative? Not really. Is the artwork revolutionary? Not really? Is it part of our collective history as comic book fans? Definitely! This is an important part of that history. You should be familiar with it.

Sagendorf may have started out with characters and a basic idea from EC Seager, but he added a lot to it and expanded it, using the opportunities afforded to him by the expanded comic book format.  In many ways, seeing the difference between his Popeye in the papers and his Popeye in the books is seeing an important step in the evolution of comics. 

The relatively new Chaos! Dynamite series of titles have been bringing back many of Brian Pulido's classic Chaos! characters, and it is good to see that Dynamite understands this. EVIL ERNIE, CHASTITY, and these other characters - including PURGATORI - have significant and patient fan bases, and both the fans and the characters deserve to have quality writing and artwork for the characters to whom they have been so long devoted. Itis good to see that they are treating these properties with respect and dignity.

In addition to his impeccable skills as a writer, Simonson is a wonderful artist. He continues to demonstrate the great sense of line, color and movement that characterized much of his work at Marvel. His use of sound effects as part of the action is unique and adds a great dimension to his storytelling.

Although this issue is a difficult jumping-on point for readers, the artwork is totally captivating, and a great example of why Walt Simonson is regarded as one of the true giants of the industry.

RAT GOD is a special treat for those who love the depths of horror.

I do not know yet if this is good Lovecraft or not, but the first issue of this miniseries is very promising.

One of the problems with mini-series is that by the time you finally decide that it is good or not, it's over.  Four issues is not long enough.  This is clearly a very strong attempt at Mythos horror/action, and it is very well written and illustrated.    Do not let this one pass you by.

Geovani's artwork is wonderful for these characters and this story arc. HE is judicious in his use of color and background detail. He is very adept at moving the story along with the writers pace and he is clearly trying to match Simone's light-hearted tone for this arc. Looking at some of his past work, Geovani clearly has the talent to take characters from dark and serious to comedic, and he has chosen the right mood for this story. Colorist Adriano Lucas also deserves recognition for this. The careful use of palette is so important here. The wrong color becomes too dark, or - worse- frivolous and silly. Either would be wrong here. Dynamite has assembled a wonderful creative team for this title, and hopefully, they will keep them together.

Simone's writing is simple and powerful. With this issue of RED SONJA, she again demonstrates why she is one of the most underrated writers in comics today. Simone does high-concept as well as anyone in the business. At the same time, she does small stories with a poignancy and a sense of subtle, nuanced dialogue (both internal and external) that are matched only by a talented few.

All in all, this is a great representative sampling of stories about RED SONJA. For those who are not already fans, this is an excellent 'jumping in point.' The writing on all stories is fine and true both to the character and the era in which she existed. The artwork is excellent. Many of these teams have collaborated on this character before, and it shows.

Noah Salonga has done a lot of work on similar titles (Red Sonja, Xena, and Wolverine), and his experience shows very strongly here. Salonga is a fine artist with good sensibilities about how his artwork will compliment the story. Dynamite will doubtless use Salonga for more titles in the future; I hope that he will continue to spend time in the Sword and sorcery titles. His work in this area has been and continues to be outstanding.

Thisis a great jump-in point for the series and for the character. For those who missed the first two issues, the exposition in the first few pages covers everything very well. For Sword and Sorcery fans, this is red meat.This issue has it all:beautiful women with swords, flying dragons, evil enemies, freedom-loving barbarian warriorsand gigantic battle scenes.If readers want to see the barbarian-heavy version of swords and sorcery looks like, this is a phenomenal example.

Some people might think that the plot drags a bit here.  There is a lot of necessary exposition; building new characters and creating complex plots is not something done in a slap-dash manner.  Those familiar with Williamson will know that he takes his time to do it right.    If you are looking for a PWP (Plot? What Plot?) action story, this might not be your comic.  This team wants to entertain us, but they also want to engage us in the characters, setting and plot.

One of the really neat things about Williamson's take on Robocop is the strong feel of a noir/police procedural that he gives ROBOCOP. Despite the action/adventure (gunfights, riots) and science fiction elements (Cyborgs vs robots), Williamson makes ROBOCOP "Murphy - a character we can understand and relate to. .

This would be a great comic for parents who want to encourage kids to read.  Often, kids who won't read school-provided texts will enjoy comics.

Carlos Furuzono is a relatively new artist, and he has gotten better over the past several issues. He has a Sherlock Holmes/Harry Houdini mashup coming out in October. Furuzono is a developing talent, and I think that he will continue to improve. His work shows great promise. He can show emotion in his characters, and he shows action very well. His work style seems more suited to capes/masks than the quasi-steampunk environment in which he has found himself. He needs to develop texture and shading in his artwork, and to develop the detail and minutiae that will allow him to fit into this environment.

This will be a fun five issues. I am looking forward to it.

This is an interesting combination of storytellers. The Tiptons are veteran writers, and have continually demonstrated their ability to take established genre characters out of their 'comfort zones.' Even for them, this is a challenge due to how far the source material (Meyer's novel) takes the character out of his established canon. Joseph is a fine artist, and this is a great opportunity for him to show IDW that he is capable of great things.

Raicht is a very talented horror writer, and CHAOS is a great place for him.  Dynamite would do well to keep him in the horror and horror/action comics.

Politics aside, this makes for a fascinating look behind the curtains of a shadowy black ops world. In this story arc, a disillusioned operator quits the organization. Only later does he discover that a terrorist organization is growing and preparing for a major attack on the USA. Reconnecting with the agency, his support team reconstituted, he goes back in. The dialogue is understated. These are patriots, but they are also realistic professional experts. The dialogue is understated, but the drama is high. Edmundson's writing strikes the balance between technospeak and action. Laming's art matches the same balance. Clancy's novels oftenrun several hundred pages; some of them are over a thousand pages long.A difficulty in adapting Clancy's works to the sequential art format lies within the serial nature of comics. Chunking the text into 24 page installments is a complicated task,given the multiple interl

In the end, the bad guys are pretty much thwarted, the big bossed are terminated 'with extreme prejudice,' and the hero's family problems are well resolved. The bad guys slink off to lick their wounds and regroup. This is a very satisfying end to a four-issue arc. I look forward to the next run.

This is a fine creative team working on a classic franchise. Placing the Enterprise in the Delta Quadrant provides opportunities and challenges for the writer and artist. They have a freedom to avoid many of the 'rogue's gallery' of the original series, but Captain Kirk and the crew of the Starship Enterprise are now facing the opponents faced by Captain Katherine Janeway and her crew on STAR TREK: VOYAGER. This invites comparisons. It will be interesting to see where this story arc goes.

Of course, in a story arc like this – almost a mini-series in many ways, it is the conclusion that makes or breaks the entire piece.  This is a fine set up for that final issue, and Johnson and Shasteen are making sure not to give away any hints about the conclusion.  Obviously, it will continue to feature fine writing and powerful art from a creative team that is striving to remain true to the performances that created the legendary Science Fiction franchise and the ideals of the revered Great Bird of the Galaxy who dreamt the whole thing up.

This is what Science Fiction Franchise comics should look like. This is not just 'the guys from the TV show doing stuff in a comic book.' This is an author and an artist advancing the narrative and developing plotlines and characters. This is using the preexisting characters to showcase and develop new characters, and to use them to tell a story that is worth telling.

Johnson has a tremendous feel for the characters and the franchise, and he is the ideal choice to write an arc like this.  Shasteen's artwork during his time with Star Trek has been outstanding, and he continues to capture the United Federation of Planets' Flagship and its crew with great authenticity.

The artwork is solid. The characters resemble the actors in the source movies/TV series. The action work is solid, and Stott shows promise as a comic illustrator.

The photomontage style takes pictures from many different episodes and re-captions, adjusts, overlays, or just plain changes them. They are not many comics that do this. Usually, when it is done, the photo novel follows the original story almost exactly. Those photo novels are meant to capture, as exactly as possible, the spirit of the original screenplay. This is different; Byrne is using those original series pictures as the canvas on which he paints a news story.

Hernandez and Johnson have their plates full, attempting to combine two huge science fiction/ adventure franchises. They need to include enough material from both sides to please their fans, maintain cannon and continuity, and still produce an entertaining comic without falling into the "my guy can beat your guy" trap. So far, they are managing to keep everything on track.

This a great comic for fans of either franchise; it is a must-have for fans of both.

Although the story line involves very serious elements, destruction of the universe, death of guardians, the return of Nekron, the destruction of Vulcan and more, this is still a miniseries clearly written for the fans. These five issues have been all about giving the fan boys what they want. It has been a tremendous ride. The next (sixth and final) issue promises to be joyous.

When issue one came out, and there was a Neil Adams Variant cover, people knew this was going to be either the promised "crossover event of 2015" or a major bust.  Fortunately for all of us, the haters got it wrong.  This has been a fantastic crossover, well-written and well illustrated by great storytellers who gave a lot of care and concern to the high expectations of two different sets of fans.  In this issue, they delivered a strong finish and satisfying conclusion to a strong miniseries.

Getting to know the Klingons " from opponent to ally is an important part of Trek History. Getting a chance to see it through new eyes is a task well suited to the sequential art format. Graphic storytelling gives readers a chance to look at things and ponder the nuances at a level impossible in TV and movies. Conversely, text alone would not show the details that comics readers get to dwell on. This time spent on image is important, and this storytelling team is using that unique aspect of the format to their advantage.

This looks like an intriguing miniseries that even casual fans of the franchise will appreciate.

If you know BSG, you will find this interesting.  If you like steampunk or space operas in general, give this a chance.  

Strong work by a strong creative team that's not afraid to work outside of the box.

For fans of either or both franchises, this is a must-have.  For general readers, this looks like a fun miniseries.

Many times, storytellers in the medium of sequential art have managed to transcend the source material. Although there are far too many examples to list, Transformers Beast Wars: Code of Hero is the obvious example. Will Sitterson rise to that level?  Probably not.  Unfortunately, he was limited by a stock plot and six issues in which to develop it.  Still, this is a prime example of what talented storytellers can produce.

Sejic is evolving both as writer and artist, and it will be interesting to watch as his talent in both sides of sequential art continues to evolve.

Given this creative team, the next few months of SWORDS OF SORROW promises to be a great adventure.

The pacing is increasing, and we are moving rapidly forward.

This is the penultimate issue of the series.  It serves to set up the settings (both artistically and contextually) for the finale next issue.  Based on issue 5, issue 6 should be nothing short of earth-shattering.

All in all, this one-shot is a solid addition to what is turning into a really fine crossover event. 

This is not some open-conflict like Civil Wars, or Fear Itself, where the endgames of both sides are understood (if not known in detail).There are secrets here, plans hidden within plans, and that is what really makes this interesting.

The SWORDS OF SORROW event continues onward.  With writing and artwork at this level, readers can only hope that the other issues/story arcs will be able to maintain this level of quality.

Sometimes it looks like Hill and Rodriguez are like Niles and Templesmith, a storytelling team that has a unique style together.

If you remembered and liked the early era of classic TEENAGE MUTANT NINJA TURTLES, USAGI YOJIMBO, or other anthropomorphic Japanese-style drama, this is for you.

All in all, a well-written episode; fans of the series will appreciate the depth of knowledge and understanding of the characters displayed by these three veteran writers. It is more than just the banter of the characters in combat and the occasional sniping between the brothers. There is a wonderful scene between Michaelangelo and Raphael. Normally, Raphael is the hothead of the family, but here, seeing his brother's pain, he is the voice of patience, acceptance, and love. The scene is understated, and the dialogue is brilliant.

One of the things that has made this comic such an enduring franchise is it's sense of characters and relationships.  At the end, readers are aware that the Turtles will survive, and that they will emerge triumphant over their enemies.  It is what happens to the characters and how they relate to each other in the meantime that fascinates and engages us.  After all of these decades, the creative team has found how to make these seemingly absurd characters real and vital.

Dialynas work on the Woods is evident here.  This represents a change in style Ken Garing's work earlier in this story arc.  It is particularly evident in his work with the more human characters.

Everything is here for a purpose.  Mixing these elements in at the end if not a throw-away, nor is it a spoiler.  It is foreshadowing. In bright daylight, it is a shadowy hint of things to come.

This is a great opportunity to look back to a different and pivotal era in the evolution of the franchise.

Again, this is a great pairing for a story like this. These two should be doing this kind of dark stuff. I fully predict that this is going to be an AWESOME ride.

TERMINAL HERO #2  is a great comic, an exhilarating ride along the edge between horror and science fiction. 

While most readers should hope that JMS and Woods will continue to work on TERMINATOR stories, it would be interesting to see them branch out together. This is a creative team that has the ability to transcend the material. I would love to see them work on other story lines. I can imagine them doing stories set on B5 or in the BABYLON 5 CRUSADE universe. While the artists on THE TWILIGHT ZONE are more than competent, it would be interesting to see what JMS and Woods could do together on that series.

Although this is clearly a great read for younger readers, adults will appreciate it as well.The plotline is complex and the characters are well rounded and dynamic.Although there is a clear vibe that the kids will all come out of this alive and well " the question remains how will three kids, a dog and an old woman masquerading as a detective defeat a horde of monsters?

For fans of the original series, those interested in the original series, or people who just enjoyed pop-TV Science Fiction of the late 1970's, this is a great read.  

As would be expected, there is violence, sorcery, and innuendo. If you like 'sword and sorcery,' with strong female characters, you would probably like this comic.

I reviewed Blood Queen #1, and I find that the 'jury is still out' on this new series.  I am hopeful that it will turn to be a good sword and sorcery story.  Most female heroes in this genre are warriors (excluding the wonderful and under-rated RAT QUEENS), and we could use a good story centered on a magic user/sorceress.  A minor spoiler is that this comic is (to some degree) modeled on the legends surrounding Elizabeth Bathory, so this could end up as an interesting re-visioning of an old story.  So far, the writer and artist have resisted the lure of going cliche on their source material.  In the era of Malificent, we could stand with more strong female anti-heroines, as opposed to just evil queen after evil queen who getting killed by the good guys.

Many readers of Archie Comics are accustomed to each issue being a generally discrete and self-contained story.  This is not true here.  Readers unfamiliar with the specifics of the past issues may have difficulty jumping on to this series, but it is more than worth the effort.  This is a densely written thinking reader's comic.  It succeeds as both supernatural horror and psychological thriller.

If you were fascinated by BREAKING BAD, you may want to give THE DAMNATION OF CHARLIE WORMWOOD a try. Like BREAKING BAD, this is a story about a good man being tempted to go bad. The creative team poses many questions about the nature of virtue and sin - temptation and corruption. What defines a good man? Good comics entertain. Great comics make readers think. This one does both.

The intricate plot of THE DAMNATION OF CHARLIE WORMWOOD continues to move forward. Blanch and Carr, skilled writers with an inside knowledge of prisons and the people who live and work there, are weaving an intricate tapestry of temptation and corruption.

Without giving away any spoilers, at the end of this issue there is a set up for an undisclosed major event at the beginning of next issue. It is a deliberate cliffhanger. This issue in many ways is what Freytag would describe as rising action. There is a lot of exposition. A lot of back story is being filled in, particularly about Liz, but the pace of this plot is starting to accelerate Charlie (and we) are becoming more involved.

The writing moves quickly, and introduces/develops characters with a good mix of action and dialogue. The artwork is outstanding. This is a great team of artist and writer. Fialkov creates scenes where Triano gets to show off his skill. Triano, in turn is creating scenes that support the writing and not overpower the story and dialogue.

It's an outstanding combination of a tremendous writer and a great artist.  This is rapidly becoming one of my favorite horror comics.

The team was assembled and sent into the underworld to plug the gate between their world and ours. As they move deeper towards the source of the disturbance, they are discovering more about the cause of the disruption that threatens our world. They are also discovering more about each other - and themselves. The story line continues on at a fair pace. Triano's artwork can be exquisitely detailed, and he often creates intricate scenes, both on Earth and in Hell that invite the reader to linger over the minutiae. When the action requires a faster pace, his scenes of action and conflict focus on the most important moments to deliver the greatest impact. This emphasizes Fialkov's writing and dialogue. With thoughtful plot and interesting well-developed characters and beautiful artwork, this is rapidly becoming a favorite horror comic because creative team has succeeded on many levels.

Often, comics in this genre tend to be more action comics with supernatural and horror elements, but that is not the case here.  DEVILERS shows that supernatural action/horror can have the strong emphasis on horror without losing that quality.  This is solid action comic, but it is an excellent horror comic.

This is a fascinating comic.  The next and concluding issue promises much.

If you like THE DRESDEN FILES, or DEVILERS, HELLBLAZER, BPRD, or any similar titles, you're going to like this. If you wondered what the adventures of Sirius Black would have looked like, you're going to like this. Fans of JUSTICE LEAGUE DARK may like this a lot as well. It's a great multi-genre comic, with a lot to like for hero-comics fans, fantasy fans, and horror fans.

This venture into what appears to be a crossover between psychological horror and supernatural horror is reminiscent of Paul Tobin and Juan Ferreyra's  Eisner-nominated series Colder, but this team is adding other dimensions to the story.  It's a lot to ask of a creative team, but Tynion and Rock are at the top of their form here.  The Eighth Seal is an impressive mixture of psychological/body horror and political thriller.  Horror comics like this are a treat because they work on so many levels at once

Anticipation.  Dread.  Fear of the Unknown.  This is really what puts the FUN into horror comics.

Some people did not follow this comic from the beginning, and they're picking it up now.  This third issue is a great example of the old 'three issue rule.'  If readers have not followed The Eighth Seal yet, it is not too late to grab the first two issues and 'jump on.'  Otherwise, it may become too complicated - the conspiracies may become too labyrinthine to jump in at issue four of eight.  In that case, readers are advised to get the trade paperback.  In fact, readers are advised to buy the trade paperback anyway - this is a story worth keeping and re-reading.

The next issue is the last.  Given the strength of the first four issues, the final issue should be awesome.

Good guys charging in at the end and vanquishing the bad guys would ring false and hollow. Survivors bloodied and battered but unbroken and unbowed would be equally trite.  By making the hard choices - and making them work, Tynion has again demonstrated his talent as a writer.

This is a well-written story with relatable characters and visually arresting monsters. There are a few places where the comic reads more like a video game,but the writers use fast pacing and discordant, nightmarish imagery to create and sustain an atmosphere of abject elemental fear. This is more than a good promotional tie-in. THE EVIL WITHIN stands on its own merits as a solid horror comic.

Often horror movie comics take the story in different directions than the original material. Sometimes, they turn into action comics. This is a horror comic that is not ashamed to scare the crap out of you.

Menton's artwork is equally moody and shadowy.  He has captured the mood of a genre horror movie perfectly.  Despite faithfully capturing the sterile clinical facility, he also captures with equal skill the humid, atmospheric pressure of abjection and revulsion.  The FLY characters are shown in shadow and mist, although faithful readers will remember the appearance of the FLY, Menton is keeping the figure hidden, waiting for the correct moment for the big reveal.

With a story that is so complex, this last issue is a very bad place for jumping in.  If you have not read the previous issues, I would suggest either reading all of them first of waiting for the trade paperback. If you have been following the series, you will definitely want to see how this ends.

It may not be for all readers.It is an adult tale. This graphic novel is dark and sardonic, a well-written cautionary tale and a disturbing reflection on how our therapeutic culture and obsession with 'self-awareness' endanger the stability of our families and our culture.

Eric Powell has written some powerful dialogue, and his illustrations are equal to the words his character speak. He is to be commended for reaching deep into primal emotion to create this story. It is said that most plot lines involve seeking, but that horror involves loss. It is in this vein that Powell is exploring the depths of a very human soul.

THE GOON stands on its own as a valid comic, and ONE FOR THE ROAD is a good continuation of the characters and their story. Goon and Franky help a down-on-his-luck sailor find his buddy and get back to base before they get into trouble. On the way, they run into Cowboys, Cultists, a Nazi-King Kong, and a bevy of Hollywood stars. No Spoilers. Obviously, THE GOON is not the most serious comic in the world. In the literal sense " it is a funny book " a Comic Book. If you're looking for an action-comedy that's heavy on the fun and definitely not too serious - you're going to love THE GOON.

In many ways, this is similar to a typical LONE RANGER story, but Gray has deviated slightly, making his interpretation of THE LONE RANGER someone who is uncomfortable around women and does not know how to deal with them. This 'Jimmy Stewart' (Think of the hat scene in Frank Capra's classic MR SMITH GOES TO WASHINGTON - it's on youtube.) While many western heroes have that endearing shyness, this is NOT a feature of THE LONE RANGER. Jimmy Stewart made many fine westerns, and he often played variations of that character - particularly in the classic THE MAN WHO SHOT LIBERTY VALENCE, When examining a western, - particularly a masked western hero of this era, and most particularly THE LONE RANGER - in many ways one of the most iconic of American heroes, the particulars of the character must be observed, and in this case, Gray has not; this is not THE LONE RANGER of Clayton Moore and Fran Striker.

On the plus side, the MAXX allows readers to engage with ideas and concepts that are foreign to them; isn't this one of the purposes of literature?

The reader has two choices, follow one part of the battle all the way through and then go back and follow another, or try to read each entire page before going on to the next. This brilliant choice by Glass and Santos allows them to capture the reality of combat while using the unlikeliest of characters.

The Rocketeer At War is a fun comic, and perhaps that is it's best aspect.  In a world with so many grey areas, it is a relief and a pleasure to have a story that is unapologetic in its dichotomy between good guys and bad guys.  It is fun to have Good Guys who practically define the old tropes that have become so unpopular in the modern era.  The Rocketeer At War clearly bids us to 'return to those thrilling days of yesteryear.

Dynamite is working to a pre-sold audience here. As a label, they have done so much lately to revive some of the old heroes from the pulp era. Here, they continue to bring some of the great characters of my youth back to life for a new generation. I am glad to see that they are doing it with a well-thought-out mixture of respect for the source material and fresh ideas for a modern era.

Rather than a 48-page special, this really needed to be released as a trade paperback or in some format that would allow this tremendous group of storytellers full reign. Despite that editorial flaw, this is still a tremendous comic, well worth the time of any fan of THE SHADOW.

Bunn and Timpano quickly found their groove as a creative team, and each works to compliment the other. Bun's writing gives Timpano room to show his versatility, from the bright lights of the Jazz Age and the noir atmosphere of the criminal underworld to the supernatural horror of the monsters brought in to hunt down THE SHADOW. Timpano's artwork gives reality to Bunn's vision without overpowering it. He manages to capture the writer's vision and sense of atmosphere. The editors need to keep Bunn and Timpano together as a creative team. They are not only perfect for the SHADOW and other pulp-revival characters, but they would make an excellent creative team for horror comics.

It is a pleasure to see what happens when a creative team of this quality is assembled. It is unfortunate that this is only a one shot. Hopefully, Dynamite will keep this team together.

This creative team has really produced a work that they can be proud of.

For those who have never read the story, this is a great opportunity to experience classic science fiction.

It is a heavy responsibility, and Adams appears to be treating it with the respect it deserves.

This is a solid continuation of the popular series, aimed primarily at fans of the series.

If you want a horror comic that will keep you up at night,read the new TWILIGHT ZONE.

This is a uniquely courageous comic. The TWILIGHT ZONE was originally conceived as a series intended to challenge it's audience. In this aspect, they have succeeded. From life-affirming challenges to Lovecraftian cosmicism, this new incarnation of Rod Serling's greatest creation continues to challenge readers, denying them the easy answers and pat conclusions.

THE WOODS is a rare thing - it is a comic that everybody can relate to.  We are experiencing a wonderful growth in the range of comic subjects.  Comics are developing for an unbelievably diverse and rapidly expanding market.  There are very few comics (like SAGA and perhaps RAT QUEENS) that have such a broad appeal that will encompass the breadth of this audience.  Although it is science fiction, THE WOODS is also a mystery.  It is a coming of age story that includes many so characters that almost all readers can find someone with whom to connect.

Hopefully, Eerie Publications will experiencethe same kind of revival, much the way that Grindhouse movies are seeing aRenaissance in Movies (Grindhouse, Machete, Hobo with a Shotgun) and Comics (SCUM OF THE EARTH, SALLY OF THE WASTLAND, GRINDHOUSE: DOORS OPEN AT MIDNIGHT, VANDROID, etc). Eerie Publications, with it's aesthetic of over-the-top gore and shock deserve recognition and understanding. They are an important part of our history - not only in terms of horror comics, but in terms of comics as a whole.

The artwork is solid.  Both artists have worked on X-Files before, and it shows.  There is a consistency with the primary IDW series artwork, and that really helps solidify the idea that this is the same universe with only a minor change.

This is an interesting exercise in sequential art.  The use of parallel plotlines and an anchor (Mr Xero) at the heart of their mythos contrasts with the different art and narrative styles.  Often X-FILES are pretty formulaic, but this particular series rises above through its creative use of the medium.  I wonder what this would have looked like on television?  If you are even moderately interested in the X-Files, particularly the backstory behind it all, then you will want to read this.  If you are looking to see an inventive use of the medium itself, you will appreciate this mini-series.

While this comic does nothing to advance any of the existing story lines, it is all great fun and it gives readers of the franchise an opportunity to see what happens then their favorite writers and artists are given the chance to go 'off the reservation' a little bit with their favorite characters.

Often, with series/franchises that carry complex mythologies, there is a difficulty 'jumping in.'  This is not the case here, as Roche has carefully used dialogue to provide solid exposition.

This issue and the entire WINDBLADE series provide an interesting insight not only into individual characters, but into the entire mythology of the TRANSFORMERS. 

Rod Serlings dream of THE TWILIGHT ZONE was to use stories to make us think about our lives, our attitudes, and our choices.  He did not want to make us agree with him; that would be propaganda.  Serling's drive was to make us ask hard questions. Ask them to him, to our leaders, and -above all - to ourselves.  He wanted us to ask the hard questions, and think about the hard answers.  Straczynski carries on that tradition here.  I first encountered J Michael Straczynski a long time ago on 'a shining beacon in space, all alone in the night, ' and I knew then that he had a way with ideas, images  and language that would entertain me, irritate me, agree with me, challenge me, upset me, and even horrify me - but most of all, make me think.  This is the purpose of literature.  Literature should not just entertain us - it should make us THINK.  

What happens next? Buy it and find out. Straczynski and Vilanova are building a legacy ofexcellence in this comic, reviving THE TWILIGHT ZONE and keeping it true to Serling's vision.

Straczynski appears to be working toward some great crescendo. He has brought everything together and worked it to a peak. At the end of issue 11, the author appears to have brought everything together for some universe changing event. He has worked to bring disparate characters into one place at one time around one critical juncture. It is simultaneously critical to one man, to a small group of people, and to everyone, but all for different reasons. A man seeks meaning. A family seeks closure. A world seeks a light of hope. In the next issue the world may be saved or lost but not by a cosmic hero with the secret identity. It will be saved or lost based on a normal guy, one without powers, someone just like us.

This is the nature of horror - the realization/understanding of the reality of a situation - when the veil drops away and you realize that what you thought could never happen not only does happen, but it's happening to you.

Avallone and Acosta have picked up a daunting challenge.They have four issues to demonstrate that they are up to that challenge.Although it is too early to know for sure (this is a 4-issue miniseries; ask after the end of issue #4), it's looking good so far.

This is the penultimate issue of this story arc. It includes some major battles, alien technology, political negotiations and declarations of honor, loyalty, and revenge.  It also includes subtle moments of contemplation and exposition.  Sakai is building the story to a apocryphal conclusion.  While many things in this world will definitely change in the next issue, there are two things readers can depend upon: first, the honor of the samurai protagonists and second,  the subtle yet powerful skills of this writer/artist.

While this is OK and very entertaining reading, it is important to maintain a contact with the roots of the characters. Collins and Berkenkotter clearly have a great respect for this character's early roots, even though they are not going all the way back. The original VAMPIRELLA was an interstitial anthology hostess as well as a character. Her back story included being a winged alien from the Planet Drakulon. As the Warren series progressed, she became less of a science fiction alien and more of a traditional horror character. It is this second 'incarnation' of VAMPIRELLA that Collins and Berkenkotter are embracing, and they are doing an outstanding job.

There are some changes in VAMPIRELLA in this issue - her position within the Vampire hierarchy changes, as does her relationship with the Church's special ops group. These are major changes, and understanding future issues will relate to the things that happen in this issue. This issue may signal a major change in the direction of the title and the character. VAMPIRELLA fans will not want to miss this issue!

In this way, VAMPIRELLA is very much like all of us, and that is why 40 years after her creation, VAMPIRELLA is still a very popular title. She may be an alien or a vampire but in many ways she is truly human.

Leth is very much at home as both writer and artist, and although Cassalos has worked with female writers, he is usually associated with veteran writers like Cullen Bunn, Tony Lee or Joe Harris. Cassalos art style is different than Leth's, and she is smart enough to take advantage of his talent. At the same time, Cassalos is working with a writer who sees the medium in a different way. Leth's background in webcomics gives her a different perspective on space and panel structure, and Cassalos is using that to his advantage as well. Someone at Dynamite is thinking outside the box " this is a solid creative team.

This is a wonderful chance for new fans to look back to the early VAMPIRELLA. For Warren era fans, this is a rare chance to see a color version of a Goodwin Gonzalez classic Vampi story. For those who are looking at a great jumping-in point for VAMPIRELLA, this is it. It is a great chance to see what her fans have known for decades.

It is a polished, well-constructed story that starts smoothly and picks up its pace through the last panel.  Best of all, it leaves readers wanting the next issue.

Bold, solid writing and strong, atmospheric artwork from a writer and an artist who are both highly innovative and willing to take thematic and stylistic risks - this is why people love independent comics.  It is good to see IDW taking a risk with a title like this.  This could be the SIN CITY of the new millennium.

One fortunate thing about three issue miniseries, you can go back and pick it up easily.  Then, you can read this issue – the second in the series, and be totally onboard with it all.  The next issue looks like it will be worth it.

Obviously if you like Hellboy or the BPRD, you're going to love this, but even if you don't, you might still find this interesting. It's not SteamPunk, but those who like Victorian Era horror might groove on it. Also, if you're into the Van-Helsing type heroes, Dr Spektor, Criminal Macabre, etc, you might want to give this a shot. There appear to be some Lovecraftian elements to this story, so HPL fans will find this interesting. For those unfamiliar with Mignola's universe, this is an excellent 'jumping in' point.

Overall, this is a great start to a new series.  It's fast moving, and smart.  The artwork is dark and gritty – perfect for supernatural action.  If you like supernatural action, you're going to want to get this comic.  If you like Constantine: Hellblazer (old or new,) Hack/Slash, BPRD, Criminal Macabre or similar titles, this is a must-read.

This brief summary does no justice to Duane Swiercznski's writing. He is a master of dialogue; his characters' words flow with the natural rhythm. His characters range and intensity from normal human to grotesque over-exaggeration, yet they are all believable. Even X,, shrouded in mystery, is a dynamic and fully rounded character. Swiercznski 's writing does not provide any easy outs. He is clearly keeping his cards close to his vest. It will be interesting to see what he chooses to reveal next.

A comic like Xena has such a strong fan base that some storytellers feel driven to take their 'A Game' to the next level. They know that the fans have high expectations, and they do not want to disappoint. Clearly, this is the case here. Gopez's artwork is just about museum-quality, and Valentine is diligently working to translate the TV series into sequential artwork as faithfully as possible.

These are great stories, from wonderful writers, told using some of the best artists in the IDW talent pool. Give a bunch of talented writers and artists an interesting sandbox filled with the coolest possible toys, and you get ZOMBIES VERSUS ROBOTS.

Steve Niles is one of the most consistently awesome writers in horror today. His writing is not great because it is horror; it is great horror. He manages to capture the human elements without which horror is nothing but meaningless destruction, gore and jump-scares. He gives his stories a human face and relatable characters. Horror is so much more interesting when readers can identify with and care for the characters. In the unusual pairing of Rosemary and Bot-Bot, Niles has again created characters whose utter humanity will will stay with readers long after the 'horror' of the story is forgotten.

Steve Niles consistently writes fine horror stories. His work on stories from 30 DAYS OF NIGHT, CRIMINAL MACABRE, ALIESTER ARCANE, and so many other fine titles has raised him above the pack. It is reasonable to think that soon he will be regarded much as we currently regard Alan Moore - as a living legend of the art form. One of the hallmarks of Niles' work is that even in fantastic and/or nightmarish settings his characters retain a deep humanity. Even in a worls of zombies and war-bots, Rosemary and Bot-Bot are real personalities. They are not cardboard cut-out tropes; they have real depth and humanity " even the robot.

The creative team here deserves a lot of credit – much to Ryall, who is both Editor and Writer.  After the end of the Steve Niles story that has run for the past several issues, he had an opportunity to use the additional space in many different ways.  He chose to take a huge risk – to spend an entire issue without its heroes, focusing entirely on an unexplored villain. 

ZOMBIES VERSUS ROBOTS is somewhat reminiscent of FUBAR, which takes a simple idea (Zombies in War Zones) and allows talented artists and writers to take the fantastic proposition and use it as a backdrop for creative excess that might not be possible in a less restrictive environment. In ZVR, the post-apocalyptic clashes between robots and revenant give storytellers virtual carte blanche for their imaginations to go where ever they want. Fortunately, we get to go along for the ride.

ZvR is pure entertainment – a thrill ride for science fiction, horror, and post-apocalyptic action fans.

In an amusing second piece, Ryall's young daughter Lucy (probably with some assistance- it's a pretty polished writing job for a 9-year old) penned a short but humorous story about a little girl, a zombie, and a friendly robot.  The artwork by Nico Pena (Littlest Pet Shop) is cute, but not excessively so.