Night Club 2 reads like it was written by how-do-you-fellow-kids Steve Buscemi, a script catering to a younger audience without the wherewithal to actually land an adequate story.

If you want to keep the great memories of Strange Academy alive, stay clear of this iteration.

While the classic style of Adams' art is on full display here, the plot seems to pull me every which way without building any story arc up to its full potential.

It's all just a hodgepodge of dialogue with little direction or connective tissue.

This mini-series is only half over and it already feels like it's run its course two issues too long.

The dimension-hopping plots is far from a normal Batman tale and it's beginning to be evident why that's fairly uncommon.

Issue #5 is supposed to be this mini-series' penultimate issue and I still haven't the slightest idea of what's going on.

Plagued by delays over the better part of a year and some change, Batman vs. Ra's Al Ghul goes out with a whimper with the sixth issue this week.

Some emotional character beats help keep things afloat for a bit but Biker Mice From Mars #1 is largely hollow.

Celebrating the beloved DC icon, some of the character's best artwork is collected into an extended one-shot here loosely tied together by a "story" from Dave Wielgosz. Actually, story's probably putting it on a little too thick given there are roughly five dialogue balloons throughout the duration of the book.

What Murder Falcon lacks in a substantial plot and believable dialogue, it certainly makes up in creativity and originality.

While seeing Commando Scrappy Doo blast away zombies and monsters with a machine gun is a stunning visual, it's not enough to outweigh the incoherent plot.

Finally back with Marvel to write a Spidey title, Christopher Priest's highly anticipated return ends up falling flat.

The last in a three-issue crossover, Typhoid Fever: Iron Fist is disjointed and lacking direction from the time you flip open the cover.

This faux reboot of Non-Stop Spider-Man picks up exactly where that series left off, and doesn't really do much to propel the story forward.

For a book that wants to be Venom, it's rather aimless at this point.

Earthdivers #8 finds itself a bit all over the place with sudden jumps between scenes providing readers with plenty of whiplash.

Earthdivers doesn't reinvent the wheel, nor does it do enough to set one of its own issues apart from the next.

It's not often you see a comic where the lettering is the best part of it all, but Steve Wands' work within Earthdivers #10 is substantially better than the story at hand.

With an oversized page count, the pacing of Firefly 'Verses #1 matches that of a snail with a bout of the flu.

At first glance, Weapon H seems like a character that was something dreamt up in a Liefeldian fever dream in 1995, but Hulkverines manages to expand on the character's depth in satisfactory ways.

The good thing is that Hulkverines knows exactly what type of book it needs to be " and it executes that pretty well.

As with the remaining titles, this issue suffers from trying to squeeze in more warped characters than necessary. Regardless, Infinity Wars: Weapon Hex #1 didn't leave me bored.

This is a title collectors will buy to complete their Infinity Wars set but as of now, Weapon Hex #2 does little to nothing to advance any sort of storyline.

X-Force #1 neither sinks nor swims, it simply is and that much is the cardinal sin of the medium. The issue is unable to stand-out from casual superhero storytelling, and it's a rather tame debut to follow one of the best X-Men eras Marvel has ever published. It doesn't help that the team, and story itself, is framed around a rather insufferable Forge, a character who brings the whole issue down.

Silencer knows exactly what type of comic book it is, and it embraces that fully. Continuous blood-pumping action mixed with gratuitous violence provides for a read that's certainly exciting.

This book reeks of nostalgia with it trying its damnedest to be the best '90s comics it can be.

In terms of a plot and overall narrative, Silencer falls flat but come on, who doesn't enjoy car-crashing action fests?

With an absolutely stunning splash page to wrap up the book to boot, fans coming off the high of John Wick: Chapter 3 would absolutely love this month's issue.

While it ends on a feel-good high note, the rest of the issue feels like the same few panels repeating over the majority of 23 pages.

Jeremy Haun, Seth M. Peck, and company have built a beautiful world but Realm just hasn't hit his stride yet.

This book alone spans multiple genres " from action/adventure and fantasy to horror, The Realm #11 has something for everyone.

Part fantasy, part horror, Realm #14 takes a lot of pages to say little. Nothing in this issue sets it apart from the rest of the stuff hitting shelves this week, but it isn't inherently a bad issue.

Like most other entries in this Marvel event, A.X.E.: Iron Fist #1 exists to help bolster a central title and make it bigger than it really is.

While the event itself has been intriguing with its warring dynamics amongst the various groups, this issue pumps the break so that Tony Stark can lead his own psyche through a round of therapy about the very same topics we've seen him battle before. It's tiring to the point of exhaustiveness, and it adds littleif anythingto the overarching narrative of the event.

The potential is there for Antithesis to redeem itself, sure"it's just got a long way to go.

Some may love it for its nostalgic value but in an age where there's dozens of superhero stories to pick from any given week, Antithesis is largely forgettable and entirely passable.

The Waid + Adams combo here makes it look like this book was ripped straight out of the Silver Age of comics, tone and all. While nostalgia can carry you pretty far, this story still isn't hitting the right notes.

Antithesis comes to a close here and surprisingly enough, it might be the mini-series' best issue yet.

In contrast with the ongoing Nightwing series, this Knight Terrors-spinoff is all too predictable and haphazard.

This issue has a lot to it, and it simply can't cover its bases in time.

Some comics have a lot going on, and then there's something like Knights of X #1 that comes along and makes those stories pale in comparison.

Knights of X #2 shows a lot of promise and Howard's mini-world is something I hope gets explored further and soon. It's just unfortunate that exploration hasn't yet come in this very series.

Knights of X #3 continues to move forward at an ever-slowing pace, churning forth just the slightest throughout its featherweight page count.

In a "Reign of X" line that's already been exceptionally dense with its rich storytelling, Knights of X is the creme brulee of the bunch. You read all the mutant-related titles you can, then there's a book like Knights of X #4 that's too decadent for its own good, upsetting your stomach as you scoop out the last bit of remnants from the ramekin.

I can't believe I'm saying this, but Invader Zim #32 seemingly rebounds the title after a few...several...off issues.

Invader Zim is good at what it needs to be, but it's a far-shot from ground-breaking, Earth-shattering serialized storytelling.

Ah, Invader Zim. In a book in which we probably shouldn't expect much, this title imagines to exceed what little expectations I had in place.

At the end of the day, the powers that be know exactly what an Invader Zim comic needs to be, and they consistently execute that plan fairly well, for better or for worse.

For as inconsistent as Invader Zim can be, when it packs a punch " it packs a big ol' uppercut that'll knock you on your butt.

With just enough heart and the ability to land jokes right, Invader Zim #39 is a pleasant read " or as pleasant as an Invader Zim comic can be, at least.

The way this issue is plotted, it reads as a filler at it fights to churn the wheels of a story forward.

Straczynski's Captain America continues to put concept over character, for better or for worse.

While Herbert's layouts and lineart sync perfectly with Adams' pulp-style adventure, the Stewart story is a bit too small for its own good, especially when dealing with the idea of a multiverse head-on.

Perhaps in due a worthy tale will be told but as of now, only a slight glimmer of hope shines through an otherwise murky story.

The plot threads here make sense and over all, it pushes the whole spin-off forward. That said, it's still a far cry from being an essential part of the overall story of Empyre but after the improvement from issue #1 to #2, I'm anxious to see where this book goes next.

Despite rock-solid Captain America writing from Phillip Kennedy Johnson, it's still hard to shake the feeling the stakes or story from this Empyre doesn't really matter, either as a whole or to the larger Marvel event currently going on.

While I didn't find much of substance within the pages of Future Quest Presents #12, I remained intrigued throughout mainly because of nostalgia.

Albeit a bit disappointing, the issue doesn't include any Earth-shattering revelation despite the title and prior marketing.

Quite frankly, this issue raised more questions than answers, paving way to an unsatisfying ending.

It misses a few too many marks to be the great oversized issue is was hyped up to be.

While the riddles laid out may bring back fans of mystery thrillers, the premise and characters alike are a bit too vanilla.

Little Black Book jumps in headfirst on the mystery laid down in its debut issue last month a little too hard here.

A little too much time is spent on the world-building here and not enough on character and story.

If anything, Masters of the Universe: Revelation #2 exists to get from Point A to Point B without providing a meaningful trajectory forward, a rarity this early in a comic arc.

This is a definitive bridge between two Masters of the Universe shows set decades apart, however brittle that bridge may be.

There was a lot of ground to cover throughout these four issues, and Tim Sheridan and crew managed to balance it all rather well.

Si Spurrier's lore introduced here is nothing short of heavy, with signatures of Hickman-ian world-building found throughout. Still, Spurrier's script is able to pace itself enough that readers connect with its characters as they traverse the universe in an attempt to stop the villainous Essex.

The rebellion against Mr. Sinister continues in a bombastic fashion while this story buckles beneath the weight of multiple worlds.

If anything this title feels like a series of one-shot teasers for an expansive sci-fi world that has nothing to do with Marvel or mutant lore.

An intriguing debut issue, Gary Whitta and Darick Robertson manage to craft a tale that's just different enough from the other post-apocalyptic tales that saturate the shelves at local comic stores around the world.

As expected, Oliver #2 starts to explore the massive world set up in the debut issue, though it still leaves a lot to be desired.

Equal parts Terminator and Rambo, Oliver hits its stride with this issue.

Four issues in, it still seems like a walking cliche and it blends in with most other comics on the shelves today.

Story-wise, it's a hodge podge of plot points that only have one thing in common: an unsuspecting victim being senselessly murdered by an alien troll.

It's always a delight to see Stephen Segovia's art, so at least this issue has that going for it.

This issue is about as neutral as they come, even for a Red Hood book. It's not particularly bad, but nothing stands out the keep you interested either.

Red Hood gains a bit of footing this month as compared to previous issues.

While the title's plot really isn't furthered until the very end of the issue, it's still an enjoyable read that gives a little bit of a refreshment to a title that's been feeling stale.

While some prefer the slow-paced expositional buildups, it's most definitely not my cup of tea.

With an ass-kicking protagonist, Scarlet #4 is a delightful change of pace over any of the previous issues " something that was desperately needed for this arcs' penultimate issue.

After a better-than-normal fourth issue, Scarlet #5 misses the landing " pretty hard at that.

For a one-shot Christmas special, this oversized issue has everything you'd need. Even then, the shtick started to run thin by the end.

While casual fans are going to see this and scratch their heads, there are dozens of Easter eggs in store for the die-hards, that's for sure.

While I found the introductory story featuring Katana dull at points, the final story featuring Klarion the Witch-Boy really stood out.

Keeping with the theme of multiple short stories in one book, this month's stories are direct continuations. The story that stood out this time involved Katana and her late husband.

In the words of the great Michael Bluth, I'm not sure what I expected " but at the very least, this Gumball Spring Break special is as entertaining as anything.

In the end, the comic comes across pretty inconsequential, even though it lays the groundwork for some interesting origin tweaks.

In a world where dozens of new titles debut every week, Freeze manages to feature one of the most original plots you find on the shelves.

Though the concept of Freeze continues to be original and intriguing, this issue feels like it was missing something.

With some gruesome splash pages and a premise that has an astonishing amount of potential, Freeze certainly has what it needs to be very solid read " it just needs to get there first.

Sure, there are some fun cameos throughout but the plot just keeps tripping on itself as it falls into a redundant mess. On the bright side, you can never go wrong with Joe Bennett on the artwork.

Wastelanders: Doom is a book that relies a little too much on its surprises to help propel its plot forward. That said, the script does slightly carry its own weight with the content within, crafting arguably the most "different" Wastelanders story today.

At the very least, it was an entertaining read perfectly suited for a one-off book rather than a title I'd have to read month after month.

While the title reads pretty dense at times " like most other books from Warren Ellis " it's quite entertaining, at the very least.

This issue almost moves uncomfortably fast, but on the bright side, you likely won't be bored with it.

For a book nearing the end of it's run, it's getting pretty anti-climactic, bordering on the edge of stale.

As Wild Storm begins to wind down, the action starts picking up and this book as pulsating action on nearly every single page.

Perfectly campy, Wizard Beach left me laughing out loud more than once. though the issue lacks a substantial plot, the title still manages to be heartwarming and charming.

While it's not necessarily a genre-bending piece, it's a comic that's chock-full of action and moves at a brisk pace.

It's flawed and imperfect, messy and jagged"it's exactly the art this character needs.

The story is still a bit too slow for my tastes, but I'm totally loving the tone"almost Mandalorian in a sense, the cosmic Western arc provides for a worthy tale.

As far as penultimate issues go, Yondu #4 slowed down the overall pacing of the series to a crawl.

Thanks to its fair share of twists and turn, this issue is pulled one too many ways to really stick the landing.

While there's likely (hopefully?) more to the story, this introductory issue is about as flat as can be.

Like the title's first issue, Brynmore #2 is awfully light on spooks for being solicited as a horror story.

Three issues in and Brynmore finally delivers on the promise of the horror, introducing readers to a story dealing with both vampires and zombies.

Four issues in and Brynmore finally becomes the title it was hyped as, a horror tale perfect for the season.

Brynmore ends as abruptly as it started, light on plot, action, spooks, and much of anything at all.

While this issue in particular takes a while to lift off, Priest ends it on a note of promise moving into the next issue.

As with any storyline set in an insane asylum, you always run the risk of the end result appearing convoluted as the writer tries tie dozens of loose ends together. That's not necessarily what's happening here ,but two issues into this arc and I'm not quite sure they're executing the idea as well as they could have.

Several issues into the story arc, it's beginning to feel stale as the pace seemingly slows to a crawl.

For the first time in a few issues, Deathstroke #39 pumps the brakes a bit and allows the story tobreathe, giving extra time to the bits and pieces that need it.

Deathstroke's time in Arkham finally comes to a head, making Deathstroke #40 the most exciting book of the story arc.

Priest manages to go full-on Bond this issue, creating an intriguing premise that shows promise for the next story arc.

Practically a Deathstroke comic in name only, this issue sees the Teen Titans storyline carry over, for better or for worse. Slade continues finding himself imprisoned, and at this point in the run, it's plenty tiresome.

Backed to the brim with panel-leaping action, this issue leaves you with a massive twist that's both shocking and heartbreaking.

The first Gargoyles comic spin-off has arrived, and it's apparent from the leap it's a most welcome addition to the wider canon.

Though Drew Moss' lineart continues to do wonders for this animated-based property, which brings across the tone of the show it's based on exceptionally well, a lukewarm script does no favors at it drags readers in far too many directions with bizarre pacing and questionable paneling.

Unfortunately for the title, the result is a rough comic that appears to not know what it wants.

It's an issue that can only be written by one Greg Weisman, and he definitively excels here

The dialogue is elementary, and things move at far too brisk of a pace to allow for readers any sort of comfort.

As has been the case as with the rest of the Dark Ages story, this finale is rushed and clunky.

While Niimura tries to make some lemonade out of the lemons of a character with his kinetic action pieces, Immortal Sergeant goes nowhere in its script, despite being oversized at 40 pages.

Immortal Sergeant wears its heart on its sleeve, and that's something you ought to applaud it for.

After two issues of Immortal Sergeant that have left me wondering "Why?," I think I've figured it out. This comic is a manifesto for those looking for a reason to yell at clouds or the kids trampling across your lawn.

The creative team proves the potential this title has had all along before dashing hopes not even halfway through the issue.

In lieu of any meaningful character development, the cast here refuses to change for the better. In fact, if any change is to be had, most of them are regressing as the title moves along.

It's frantic at times, which matches the tone of the story yet even then, it seems to be a mismatch.

Immortal Sergeant #7 soars as the title's best-yet as the eponymous curmudgeon finally starts turning the corner not into a likable character, but an understandable character at the very least.

This issue, arguably more than any of the series, makes the character all-too-real and the story is so much better for it.

It's definitely a slog to get through at first, but Immortal Sergeant #9 isn't only the brightest part of this story, but it's an epic endcap to a human-driven story.

While the script falters at times, the art is more than enough to carry the first issue to satisfactory heights. Huang introduces a gorgeous world that deserves to be explored more by the mix of heroes leading the story.

This book still has loads of promise, and I hope we see more exploration in the coming pages.

This book is definitely heading the direction it needs to go to become a solid sci-fi entry, but it may be an issue or two too late.

The finale crams about three issues worth of storytelling into its 20 pages and the end result is a breakneck story that never gets time the breathe.

Blood-pumping action on most pages coupled with whodunnit-type aura and Stealth is off to a real solid start.

Though a necessary read before going forward to the next issue, it feels like a lot more could have happened than what ended up in the final pages.

The concept remains intriguing, it's just a hard sell when three issues have been released and you're barely an inch further than where everything started.

Good moments through and through, including some zany slapstick bits involving the antagonist, provide just enough and bring me back for another issue.

At long last, Stealth hits its stride as it begins to tie up loose ends it laid down as early as the first issue.

While most of the mysteries are answered throughout, the breakneck pace is bound to give you whiplash.

Maybe future issues will improve on the debut retroactively"you know, the Age of Ultron effect. In and of itself, however, Morbius #1 stopped short of wowing me in ways I expect from launch issues.

There's no shortage of action and blood in Morbius #2, exactly what the doctor ordered when it comes to the Living Vampire.

After a brilliant second issue, Morbius #3 finds itself suffering the same pitfalls that held #1 back from being an incredible debut.

While the dialogue and scripting are both still a bit lacking, the overall narrative with Morbius vs. the world is inching toward an interesting peak.

When it comes to creature feature comics, it's hard to beat Morbius #5. Loaded to the brim with all kinds of creepy crawlies, this issue does the perfect job of encapsulating the horror that is Michael Morbius.

The world introduced here by Brown and Prenzy is nothing short of intriguing, but the plot and scripting does fall a bit short at times, finding itself written itself into the corner but somehow, it always manages to claw and scratch its way out.

On The Stump sure is something"and if we're being completely honest, there isn't anything on the shelves like it.

Three issues in and On The Stump is still just as shocking as the two issues before.

There's definitely a world being built here, but even with a slight history lesson, it's shaky at best.

Though one might hope all is revealed in due time, I'm not sure from what I've read yet the long haul on this title will be worth it.

Weisman and company stay true to the property's roots, and that should prove beneficial in the long run.

Because of the various different plots, the script does get quite jarring at times, yanking readers back and forth as the writer tries to jam as much as possible into one issue.

Already three issues in and the first arc of this new Gargoyles comic seemingly reaches its conclusion in unspectacular fashion as characters literally drop what they're doing mid-fight and go home as all if well.

Now a third of the year into this run, Gargoyles has no focus. Given the first arc seemingly wrapped with the last issue, Gargoyles #4 is a mismatch of sizable proportions with a script that goes nowhere, nor does it know what it wants to be.

It's only taken the better part of six months to get this comic on the tracks, but Weisman and Kambadais really start cooking with Gargoyles #5.

Though the story moves forward in Gargoyles #6, it does so in a haphazard fashion.

With the return of another Gargoyles favorite and some of the world-building that made the animated shit a cult classic in the first place, Gargoyles #7 is a breath of fresh air for this comic series.

While Gargoyles #8 doesn't do much to advance the plot, both Goliath and Coldfire get a substantial amount of character work.

Gargoyles #9 is an issue that'd make Matt Murdock blush. Not only does Greg Weisman write a trial (or hearing) accurately, he manages to keep this low-octane issue.

Unless it's on a Netflix docuseries or the trial of the century, there's rarely anything exciting about a standard court hearing. However, Greg Weisman not only made one exciting, but downright enthralling at points over the past few issues of Gargoyles.

The plot progresses, but it does so in such a jarring manner, this issue is a tough one to get through.

Weisman's script pushes together every lingering plot thread possible to wrap things up far too quickly.

Crave #1 is as sexy as it is tense, a coming-of-age story shrouded in a story made for an older generation.

If there's an award for horniest comic of the year, Crave's already a frontrunner as it starts to blur the line between art and pornography.

When Llovet allows the characters to speak and take action, Crave shows just how impactful it can be. It's a slippery slope for many of reasons but when this comic works, it works extremely well.

Crave #4 gives a little substance to the story at hand, putting its horniness on the back burner for now in exchange of story and character work.

There's something about Crave that feels like wasted potential. Despite showing glimpses of brilliancy, most of the story has felt hollow and empty.

A genre-crossing thriller, Dogs of London #1 simultaneously tells a classic noir tale while updating the narrative for current times.

For being billed as a supernatural crime thriller, Dogs of London #2 spends all too much time on anything but.

The book constantly bounces around between timelines and characters and the end result is a mishmash of storytelling that's clearly better off as an OGN or a binge-read, if only because the month-to-month release has created jarring cuts in an already jarring story.

Dogs of London seems to finally hit its stride in the title's fourth issue, bringing lot points together in a cohesive manner for the first time.

A delightfully brutal ending.

The script moves along quickly, and Cinar's lineart is the perfect combination of 90s era Fixit goodness with an added modern-day sheen. Still, it's evident this book doesn't really know what it wants to be just quite yet.

It's a big popcorn book through and through as the pacing on this issue is set at a breakneck pace.

After focusing on Spider-Man for a few issues, Joe Fixit finally gives some time to the eponymous Avenger, and it's all the better for it.

Though the story fizzles out as it's stretched every which way, the action and panel-exploding punches are a sight to see, for whatever that's worth.

The script of this finale was fun and full of excitement, and inar nailed the action sequences.

The first issue alone is a who's who of Marvel Comics' mystics and before you close the back cover, even the Avengers get involved. Despite all that, this introductory issue serves as an intriguing launch of something that might become something epic"or something that we've seen one too many times before.

All things considered, this sophomore outing is paced incredibly fast and makes for a rather light read, though that's not indicative of its quality script and lineart.

There's some character work that can be done here, thanks to the version of Strange still alive is without the development of decades worth of storytelling, but even then the surface has only been scratched.

They're trying to flesh out a character's decades-long history within the span of just a few issues, and it's just not clicking.

The Death of Doctor Strange had promise, but it never reached the heights it could have.

For the most part, it's hard to shake the feeling that Action Comics #1005 is nothing but filler for a larger story arc.

Bendis has been relying all too much on cliffhangers as of late, and it's but a matter of time before these leave-ya-hanging issues with zero sustenance will get tiring.

No matter which way you shake it, this outing could very well be Bendis' best book on Action Comics so far.

Travel Foreman and Hi-Fi team up to create art that's out of this world, and it'll have you marveling over it the entire time this issue is in your hands.

The world Steve Orlando continues to craft in Electric Warriors is astonishing.

The pacing of this issue never quite clicks, and it seems to jump around too frequently, creating jarring transitions from scene to scene.

Four issues in and the creative team hasn't even scratched the surface of what's possible with these characters.

Orlando and company lay out massive world in this series, but it has yet to really execute on that premise, and there's only one issue left.

A fitting end for the miniseries, Electric Warriors ends on its highest point.

The story and plot itself isn't anything to write home about just quite yet, another street-level superhero trying to take a one-percenter.

Regardless of the story or plot, it's hard to get past Cowan and Sienkiewicz on the same team. It just so happens they work seamlessly with Thomas' scripts so far.

Sure it helps to have Cowan and Sienkiewicz involved, but this latest story feels undeniably 90s, for better or for worse.

While the story seems like a generic sci-fi action book set in an all-too-stereotypical dystopian future, Torres' art combined with bright, vibrant colors from Dave Stewart is a great combination with Lemire's plot.

As you dig deeper throughout the issue, flashbacks line the page that help create some much-need character depth for the title's protagonist, and that's what sets this book apart from the rest.

I'm not getting a great sense of character development from the title's two protagonists, and at the end of the day, it's hard to shake the feeling that I'm reading some generic science fiction tale.

As a standalone issue, The Quantum Age #4 isn't necessarily an issue to write home about, but in the larger scheme of things, it will hopefully set up some big payoffs in the end.

In a world chock full of superhero comics, Jeff Lemire manages to make The Quantum Age different enough that it stands out from the rest of the competition.

A fitting end for the six-issue mini-series, Quantum Age #6 is about as complete of a book as you'd want in a finale issue.

Despite the most interesting character of the bunch ending up dead by the end of the issue, this debut caught my attention just enough to bring me back to it next month.

There's a sense of Mad Max meets the Freakshow and for that, I'll definitely finish the series out but as of now, it just seems things aren't going anywhere.

Overall, the series was still a bit too dense for the number of issues it was awarded but it's still a worthy-enough tale to behold.

By the end of the issue, I was left wanting more, mainly because it felt this issue was a couple of pages too short.

Though a bit toned down from the last issue, this title is still interesting as all get out"there's no denying that.

The issue does some interesting things to help deepen the world Lemire has built over the past couple of years but even then, the book still has a looming feeling of inconsequential storytelling.

At this point, it's hard not to think this issue could have taken place in half the issues instead of drawing it out a few extra issues.

More than anything this series ended as if it feels like part one of a two-part story.

Superior Spider-Man #1 simply doesn't move the needle any measurable amount. It refuses to inject new life into the concept, and so it simply exists. It doesn't want to stand out, nor does it lay the groundwork for an interesting story ahead.

It's got potential, but it definitely isn't there yet.

It only took three issues, but Superior Spider-Man #3 is a true return to form.

When Superior Spider-Man works, it works exceedingly well and luckily for fans of the story, Superior Spider-Man #4 is one of those times.

While the story itself seems to know where its going, the characters lack any sense of direction and they just exist.

Time Traveler Tales is silly, goofy, and full of root beerand a story that bounces around enough to make your head hurt.

Time Traveler Tales #3 features a surprisingly light script based on rather dark and dreary subject matter. Scheidt handles certain themes with a certain lightness and the title is better off for it.

Though it's really an all-ages tale, there's a lot of darker elements the writer handles with a certain lightness, pulling the title far from despair.

Though the series and issue a like are light on characters, Time Traveler Tales #5 is an earnest, even heartfelt, ending.

The power battle between Rightwing and Miss Martian continues in Titans #23 and it overpowers the rest of the issue, for better or for worse.

Titans #24 takes the group to an interesting place with a metahuman with the most unique powers.

This issue is packed to the gills with action so you shouldn't find yourself bored with reading this. Other than that, Titans #25 seems to be just another run of the mill issue featuring Grayson and company.

The reintroduction of the Blood Cult provides for a thrilling issue of Titans that almost has Dick, Donna, and company straddling the line of being in a horror tale.

Dan Abnett is able to craft an incredibly poignant issue to deal with the traumas involved with these superhero tales that we often times don't get to see.

While this issue didn't stand out in particular, it'll definitely be required reading for those interested in "Drowned Earth".

DC seemingly keeps putting some of the best artists in their stable on this title and Jung, Dell, and Lucas team up this issue to make beautiful art.

Like previous issues of late, the Titans shine when they find themselves in fish-out-of-water scenarios, and Titans #30 is no different.

With a temporary new addition to the team that should excite most fans, Titans #31 errs more towards a filler issue as it works to set up the next story arc.

While it's unfortunate the best issue of the Titans of late has next to nothing to do with the titular group, it puts the title into a very interesting spot with the buildup of this Mother Blood battle looming large.

Part one of a new arc, Abnett and company start it off nearly as strong as possible, and the future of this title is most certainly bright.

This can't be stated enough: the art team on this title is one of the best in the business. From the art, to the colors and letters, it's the complete package.

While it will be sad to see Abnett and company wrap this book up next month, it's long past due " at least the past few issues have been worthwhile reads to end this all on a high note.

Daily Bugle isn't entirely necessary but at the very least, it's a solid-enough read to warrant a return to the second issue when it comes out next month.

Sure, there's the predictable cliffhanger of an ending but at the very least, it doesn't attract from the solid storytelling in the first twenty pages.

Antioch #1 is a formidable debut issue in a new comics world full of promise.

Antioch takes a step back here, slowing to a crawl as Kindlon and Ferrari weave a microscopic tale.

It's all too predictable, which is a shame for an entire issue that takes place over the span of a single fight.

Book of Shadows #1 is a solid set-up for an intriguing premise, giving Valiant their own shot at hosting a summer comic book event.

Cifuentes continues to put at some strong work on the art. Between he and Filardi, these horror characters are rendered just as well as they've ever been.

Featuring an ensemble cast, the story in this issue is spread awfully thin, almost to the point it breaks into nothingness.

Book of Shadows is a title that was simultaneously too short and too long.

Stephanie Phillips takes the reins on the First Avenger, and the end result is something with a little more fluff than need be.

Complete with monster hunting spies and more monsters than you can count, Capwolf & The Howling Commandos is much more thrilling than its predecessor.

By now, Capwolf & the Howling Commandos feels like it's largely just running in place.

If you're looking to laugh out loud, this book's the right one for you as it will have you rolling on the floor.

This title knows exactly what it needs to be and it executes it perfectly. While it continues to be void of substance, it's damn entertaining at the very least.

The second you try treating this title like a serious comic is when you'll start having a bad time.

One can't help but think this storyline is one big throwaway.

So, this title is still a thing... And surprisingly this month, it may be the best issue yet.

While the run has been rough at times, leading all the way up to this issue"for whatever reason, #6 was incredibly complex and more emotional.

Dead X-Men #1 is simultaneously a great hopping on point for someone looking to catch a final glimpse of this current X-Men era, while also being faithful to the past few years of mutant storytelling. It helps reinforce the idea of the X-Men being Marvel's most elaborate and extensive house of characters, hopping genres without missing a single beat along the way.

It's camp to the fullest, and that's something this issue wears proud.

Though the change in artists between timelines keeps things fresh, the wheels of this story churn in place taking readers on the same journeys as before.

If it wasn't clear by now, Dead X-Men is a series born out of the need to connect the dots of the wider "Fall of X" event, even if it does make for some awfully jarring moments.

The comic's Omega issue sets out to answer many of the loose ends left over by the main storyline and does a pretty adequate job on the front. What's more obvious, however, is that this issue serves much more like a #0 issue than part of the previous tale.

For being an event tie-in, Devil's Reign: Spider-Man #1 packs one heck of a bunch.

Hilarious, action-packed, and thoughtful " Domino #5 is just good enough to keep the Domino hype train rolling full steam ahead.

If you want to see Gail Simone at the top of her game, pick up this title.

If you're looking for a page-turning, blood-pumping action thriller, this isn't it.

Continuing to build out the earliest days of the BPRD, this Hellboy spinoff certainly provides interesting storytelling to supplement the Hellboy-based tales.

With a particularly gruesome scene early on, this issue is a reminder that once you feel things might get stagnant in this universe, something comes right along to shake things up.

A fitting end to BPRD '56, this issue " believe it or not " manages to take Hellboy to places he's never been before.

The story is split amongst everyone, and that's where it begins to really falter, as things jump around far too frequently. Remove any sense of development, and Siege Society starts to begin hollow. Luckily, it has a main story to fall back on, making it a suitable (yet nonessential) read.

Jed MacKay's script is strong, and Jefte Palo's artwork looks as if it was taken straight from a comic produced in Wakanda.

Some people might find the antagonist Killraven one-dimensional and the artwork bizarre, but once all the pieces of the puzzle are placed together, it makes for an enjoyable read that knows exactly what its purpose is.

Infinity Warps #1 is exactly what it needs to be. With three-and-a-half mini-stories in one title, it gives creative teams just enough room to experiment with this mashed-up characters without drawing it out too long.

Though each of the three storylines ends rather abruptly, each character could have a future elsewhere should the House of Ideas decide to carry them out of Infinity Wars.

I'm not sure if it's because Gerry Duggan isn't behind it, but Infinity Wars: Iron Hammer #1 felt distinctly different than any of the other Infinity Wars outings thus far, and it rubbed me the wrong way

Sure, most of this material might not stick around in a post-Infinity Wars world, but the lore and origin laid out in Infinity Wars: Iron Hammer #2 is quite interesting, and for fans of other of the two main characters Iron Hammer represents, it'll be a fun read.

This book isn't bound to win an Eisner, but it invoked enough fuzzy feelings within me that allowed me to look past its shortcomings.

Sleepwalker's powerset combined with the various amalgamations of characters is a recipe for a bizarre comic, one which will either be loved or hated.

Sleepwalker is a character rooted in nostalgia, and although these Infinity Wars tie-ins have an awesome opportunity to do some cool things, Sleepwalker #3 falls flat.

Though most of the tie-ins have largely felt like fan service, Sleepwalker #4 stands out as its themes of dreams and nightmares runs deep.

Though origin stories tend to be slow for me, I thought this issue was fairly well paced, and it introduces some additional warped characters you'll be sure to love.

Although the story seems rather rushed, with decades after decades of stories crammed into two issues, Infinity Wars: Soldier Supreme #2 is probably my favorite issue of these "warped" tie-ins so far.

Man-Bat #1 is both a solid primer for the title character, and a splendid introduction to a great story. Though this team tries to cram more big name stars in to help carry the title, Man-Bat still stands out entirely on his own merits.

The issue feels relatively hollow in an attempt to shoo-in the Suicide Squad, a group of heroes with much better curb appeal than the Man-Bat.

Sure, things are moving forward but between the aforementioned pivot and a pace that inches forward ever so slowly, Man-Bat #3 is a little tedious to get through.

Man-Bat #4 should lay the groundwork for an epic finale, and that's exactly what it does.

The ending does come at a rapid pace, but this issue's return to the basics helps to stick the landing.

In a new anthology series from Marvel, Marvel Comics Presents is set to debut a fresh new set of tales each month featuring a wide variety of creators.

One can never go wrong with more Gorilla-Man, and luckily this short story delivers. A bit of personal reflection combined with an epic ape battle, this is a splendid note to end the anthology issue on.

Logan out of his element is certainly a welcome sight, yet this story continues to slog, seemingly carrying no weight as it progresses forward.

The best part about it all is the striking artwork from Juan Ferreyra, including a beautiful two-page spread that is nothing short than striking.

Largely contained within one apartment, Leah Williams' story doesn't need flashy action or larger-than-life set pieces to be downright delightful.

While it moves at a brisk pace, Ketch's battle with Wallow is as epic as it is haunting, something that ends up providing quite the action-packed short story.

An international espionage thriller of sorts, this short story sets up a massive arc for next month.

There were a few plot points all to predictable in the story this time around but thankfully, things seem to be in a perfect place for the right finale next month.

If you don't think you're the target demo for this book, you may want to rethink, because you may be surprised"this book is fun through and through.

If you"or one of your children"enjoy the brands included, it might be worth the read. There's no telling now if it's something worth sticking around for, however.

Both stories here are fine, though the first one""Pet Sounds"" as a slight edge due to its content and underlying themes, a storyline that provides at least the slightest sustenance other than ponies and Decepticons fighting it out.

This title serves as a constant reminder to not take life too seriously, especially if you manage to find yourself reading comic books more often than not.

Ben Percy's writing is good enough for a book akin to "Godzilla vs. Kong," where the spotlight should belong to two monsters fighting rather than any thought-provoking dialogue or meaningful human interaction.

Whether it be the Watchmen-esque storyline or the washed-up superheroes going back to work, Project Superpowers is an enjoyable read with a somewhat fresh take on the genre.

With tones of Avengers: Infinity War in tow, Project Superpowers does an excellent job of balancing an ensemble cast, making sure to give each character their own chance to shine.

This story is massive and full of jaw-dropping art, one page turn after the next, so you've got to applaud the team for pushing the "comic booky goodness" envelope so far within the span of 40-some pages. All that said, the story here feels inconsequential from the leap.

While the writer uses a somewhat tired catalyst here"a solar flare, of all things"he manages to keep things moving with an ensemble most would consider far too large.

This story doesn't really upset the status quo, only teasing ever-so-slightly some real deviations from how we've seen these stories play out before.

If you can stomach the snail's crawl of a pace, the scripted intrigue and artwork should be enough to tide you over at least one more month.

It took a while to get there, but The Secret Land #3 gets exactly where it needs to be.

While the book started awfully slow, far too slow for my liking, the back half was paced exceptionally well, including this final issue. Now that it's over, I wish there was more of this story to continue.

Phew. That's my honest first reaction after reading something like Trojan, a comic that, on its surface, seems to exist solely to shock and awe the masses. It's gory, it's dirty, and at times it's downright uncomfortable to take in. Luckily it seems like Kraus, Laci, and Lesko have a purpose in place for the griminess that they give you here.

Continuing with the Wakandan characters she began to write in Black Panther: Long Live the King last year, Nnedi Okorafor's ability to write Okoye and her Dora Milaje compatriots is uncanny.

Avengers: Wakanda Forever #1 is a poignant end to the inter-title Dora Milaje adventure Nnedi Okorafor has sent us on the few months.

Jack Russell and Elsa Bloodstone return to the Marvel mythos in this jam-packed one-shot, one that surprisingly overstays its welcome.

Waltz's script does a lot in little time, making huge leaps through the story to make sure it's wrapped in just four issues.

After a four-month break, Undiscovered Country returns for its third arc and boy, do they swing for the fences with this one.

If last month's Undiscovered Country wasn't a big enough indicator, this issue makes it known"this title has gone full-on meta, and it's an absolute delight.

For a book that can bend its genre from issue to issue, this latest arc has been one of the most unique stories I've read of late, there's no doubt about that.

Undiscovered Country has officially moved into fever dream territory, making another sharp turn into the supernatural and fantasy as our group of protagonists take on a literal one man band.

Snyder and Soule trade wild surprises and shocking twists for a snail's pace of a plot, and the book still remains consumable. That said, this issue with Ace is some of the best character work that's been done on the series forward into future issues. -

This plot from Soule and Snyder twists and turns more than a stomach after bad dairy, and it leaps forward at a breakneck pace.

In standard fashion, the pacing of the issue pushes forward with ease hopping around from one scene to the next in no time at all. That creates a sense of unease and confusion, which may or may not be part of the design.

Camuncoli and Grassiplus colorist Matt Wilsoncombine for another spectacular outing on the art front, even though the script finds itself playing things a little too safe.

Though Undiscovered Country can be wildly inconsistent at times, there is no doubt that it's an undeniably fresh tale.

Though the story continues to be exceptionally light on character work in favor of shock and awe, Undiscovered Country #24 is a step back in the right direction.

All these years later, Undiscovered Country continues to be its bloated self, releasing issues that are far too grand for their own good.

The team behind Undiscovered Country has the unique ability to reset the status quo often, helping keep things fresh in an increasingly rare years-long indie ongoing.

The story at play here isn't new or groundbreaking, but the treatment of the characters is, and that's what you'll need to watch as the series moves along.

Icon and Rocket #1 served as a suitable relaunch for DC's Milestone revival and now, the title's second issue blows the lid off it all.

The story here takes a hard pivot into incredibly real-world issues and the ongoing opioid crisis and the effect is has on the various societal classes around the world.

A character-driven story can go a long way, so let's see how Icon and Rocket can carry this before we get a solid-enough plot.

Green Lantern #10 brings several running mysterious into focus into one colossal battle, and it all feels decidedly epic in scope, a threat perfect for a Corps such as the Green Lanterns.

Icon and Rocket wraps its first arc in high-octane fashion, pumping out one of the most action-packed issues of the return yet.

Equal parts sexy-spy-thriller and blood-pumping-action-blockbuster, Web of Black Widow is peak Romanoff, there's no denying it.

Some comics don't rely upon stopping the end of the world to be effective and this series is proving that.

The Web of Black Widow spins a deeper, more intricate tale with each passing issue but now, it seems like it's on the verge of getting lost in itself.

As far as Black Widow comics go, this issue is right in the middle of the pack"save for a pretty hefty cliffhanger, nothing particularly stands out.

Without giving too much away, every little detail laid in the past four issues is wrapped up nice and tight almost to a point where it's too predictable.

X-O Manowar #1 is nothing short of beautiful and serves as the fitting"and very welcome, might I add"return of a classic Valiant superhero.

Despite initial hesitation from our titular hero, he eventually has to compromise his standards to win a fight one can't win by themselves. It's a concept we've seen plenty of times before yet here, it feels fresh enough to keep the plot interesting.

It won't take you long before you feel X-O Manowar #3 is a filler issue, providing content just to provide content as the overarching plot starts to falter.

X-O Manowar #4 seems to bring this run's first arc to an end"with a whimper, at that.

It's not a deconstruction of the superhero genre, nor does it feel like a small and intimate look at what it means to be a hero. Instead it just really feels like nothing.

This book really still doesn't have a clear-cut antagonist yet, it's just an ancient viking warrior fighting with his alien suit. Luckily for fans of the character, that's often when he's at his best.

It's taking a while to get from Point A to Point B here, but at least it seems like the story is on a rebound from the past few issues.

X-O Manowar is coming to its roaring conclusion, and it seems peculiar to drop an issue full of exposition as the penultimate of the run.

There's been times X-O Manowar has been inconsistent"wildly inconsistent, at that. But the fact of the matter is, this series stuck its landing with both feet planted as hard as one can be.

Nick Spencer is firing on all cylinders when it comes to Amazing Spider-Man, and this issue in particular is the perfect launch for a brand-new story arc.

While it seems like it's back to form for Spider-Man, it just feels like something is missing from this title.

The majority of this issue serves as the prelude to the latest book featuring Kraven on a massive hunt, and it's shaping up to be quite the event.

With an event that's been building for quite some time, this first issue is certainly a step in the right direction.

Two issues in and this mini-event has gone just as one would predict.

Certainly a disappointing outing in an otherwise promising event.

It's definitely hard to stay dry-eyed during this beautiful, poignant tale about being different from the norm.

While this book is paced better than its predecessor, it's a bit muddied and tiring.

Focusing on Lizard's love for his son, this is a classic father-and-son tale full of heart.

On the final home stretch, the event seems to finally be getting some footing underneath itself.

Cunning and mischievous are two words that can describe both the Vulture and this book.

The penultimate issue of "Hunted" is the arc's best book yet, setting up an explosive finale.

All in all, "Hunted" left a bit more to be desired but issue-by-issue, #22 is by and large the best"and most important"comic of the event.

While a massive cliffhanger at the end is in store, this issue was, by and large, business as usual.

Despite coming off a mini-event in which people were hunted, Nick Spencer and company take Spider-Man to a whole new low here, introducing an all-new villain that's bone-chilling, to say the least.

Should the team manage to flesh out Jessie's introductory story arc in due time, they may have something special on their hands.

. From the opening sequence until the end of the book, my jaw remained dropped throughout the entire read.

Jeff Lemire and Doug Braithwaite's limited series comes to a roaring conclusion in Bloodshot Salvation #12.

Mackie's plot does take a little bit too long to get going but once it starts lurching forward, the title is quickly off to the races with exciting action set pieces to boot.

Two issues in and this story is very much grounded, but that's perfectly all right this comic knows what it needs to be and it excels at that.

Danny Ketch: Ghost Rider #3 is where this story begins to crumble under the weight of its nostalgia.

Danny Ketch: Ghost Rider #4 ties things up nicely with a neat little bow, serving as the conclusion for a story that was 30 years in the making.

Though an over-sized issue, it's light on character and carries a painfully slow plot that churns little from front cover to back.

Though the comic very-much has a movie tie-in vibe, it's still leaps and bounds better than it should be.

Porter allows Barry Allen to find himself throughout this slightly oversized issue. That means that even though another new villain was introduced, the character moments were delicious little treats making for a well-rounded and, dare I say, excellent comic book.

This is definitely the X-Book to check out if you can only pick one outside of Hickman's foray.

If this mini-series gets some time to breathe sort itself out even the slightest bit, the end result could be something very special.

There's simply not the space to flesh out all of these characters while having a cohesive story, and this issue suffers from that all too much.

As Heart of the Dragon barrels towards its epic conclusion, it continues to feel more and more like an event title that's supposed to spread across multiple titles.

It's here Heart of the Dragon begins to collapse under the weight of its ambitious plot and grandiose ensemble.

For as messy as this mini's plot got at times, Heart of the Dragon #6 does an excellent job at slowing down the pace, allowing readers to catch their breath and sort things out. In fact, the events of this series could change the future of Danny Rand forever, should the story stick.

This series is an attractive offering for those looking something not-too-serious, with the understanding the tales within have virtually no bearing on the overall health of the Marvel Universe. Plus, Marvel #2 has one of the funniest Dr. Doom sequences comics has ever seen.

After all, what's not to like about a super-meta take on Marvel's oft-forgotten monster characters?

Sure, it's an anthology with stories that likely won't go anywhere, but at least they're bite-sized and enjoyable.

And just like that, the anthology draws to a close with its strongest issue yet.

Norse Mythology is back for its third round of comic book adaptations, and it's starting off with what could amount to one of the series' strongest issues yet.

While the names attached to Norse Mythology are some of the biggest in the history of American comics, a monthly comic book probably isn't the best way to frame these stories.

There's something about a story in which someone like a god fears death, and Doran illustrates that perfectly.

Again, this story doesn't have any jaw-dropping moments as it's a story that's been told thousands of times before. What this story does provide, however, is a fresh take that's just different enough from whatever's come before it to hold your attention even the slightest bit.

As with other entires in this series, the script is disjointed at times, thrusting readers around numerous places and scenes from panel to panel. That said, it's consistent in its storytelling, and Doran's folksy line art does wonder for this grim-yet-candid tale.

The second volume of Neil Gaiman's Norse Mythology continues with another classic Norse tale, and it might be the first one yet that's not really made for sequential storytelling.

Unlike this series' debut, it works best when focusing on one story and that's the case here with Norse Mythology #3.

In a series of stories that have had plenty of highs and lows, Norse Mythology III #4 might be one of those lows.

The story itself is necessarily not something to write home about, since again, it's an adaptation of a centuries-old tale. At the very least, however, at least it's fun to consume in a sequential format.

Gaiman, Russell, and company made the perfect choice with David Rubin on the "Loki's Children" story, as the Sherlock Frankenstein alum's haphazard lineart gives an incredible feeling and depth we've yet to see on this title"somewhere between Genndy Tartatovsky and some pulpish steampunk goodness and for that, the book is infinitely made better.

It's issues like this one that shows just how bizarrely structured Norse Mythology really is.

It's probably one of the most well-paced reads across all three volumes of this title and Russell's line art matches exceptionally well with the story at hand.

In terms of the script, it's a simple story that needed to be stretch into a sizable comic script, and Russell manages to do that exceptionally well without sacrificing any of the pacing.

Despite the gloomy story at hand, the art and coloring provides a great sense of balance to the tale at hand, and the end result might be one of the best Norse Mythology issues to date.

Between the two artists at hand, Norse Mythology II #6 might be one of the better collections of this second volume yet.

"Freya's Unusual Wedding" might be the best short story yet we've gotten from this Norse Mythology reimagination.

This issue is a superb introduction for what's to come and it shows incredible promise.

While the hijinks of the Guardians are always a welcome sight, there's something missing from this issue.

While it's pretty par for the course with the other "Old Man" titles, this delightfully bizarre book will leave you cheering with a certain splash page towards the end.

A slow burn at first, this oversized first issue of Outpost Zero soon picks up enough that you don't want to put the issue down.

The amount of heart within these two dozen pages is second to none and Outpost Zero #2 is another home run for the team at Skybound.

Though a single mystery has practically consumed the plot of the first four issues, things finally start coming to a head in this issue where moment begins to happen on the plot advancement front.

On the surface, Uprising #1 can almost be overly dense but as you dig further in, you uncover a thought-provoking tale that starts to bend the stereotypical super powers-against-the-government storyline.

The wheels of the train are starting to churn ever so slowly, but you can really feel the steam start to build here. It just has yet to be seen whether this book will move forward full steam ahead or crash off the rails.

There's a lot to unpack in these six issues, and re-reads will likely be required as everything's quite dense and tiresome to get through.

This coming-of-age tale has just enough charm and heart to make it a tolerable, but nothing more.

While the dialogue seems a bit elementary at points, it's perfectly written for the two youngest protagonists in Mikey and Brennan.

While Williamson, Bressan, and Lucas are great, this issue serves as a lettering masterclass courtesy of Pat Brosseau.

Though this issue takes it down a notch, enough happens to keep you interested.

Though hard to follow at times, this genre-bending issue is firing as well as it ever has, which is saying something as it's been great of late.

Though it has its faults with some weaker character development with the vast supporting cast, Birthright might be stronger now than it has ever been.

Things finally come to a head in Birthright #40 in an incredibly powerful and epic issue. If you've been waiting for massive magical marvels, this issue has it all and finally, readers are taken to a spot they've been waiting for all series.

From the second you open the cover and flip the first page, Birthright #41 is in your face with a set of three two-page splashes that sets an epic tone for the second-to-last arc of the series.

This book has definitely had its highs and low and at this rate, it's looking like it just might stick the landing if the past few issues have been any indication.

Despite being set in the midst of a battle between worlds, Birthright #43 is slow on the action but thankfully, that's completely warranted this go-around.

The finale to this book is coming at a break-neck pace so you better buckle in"everything's getting super real, super fast.

Anxiety-inducing in its fullest, this title is setting up an epic conclusion"here's to actually sticking the landing when it so arrives.

Here, the events that unfold are a bit too drawn out as the action gets pushed to the backburner. Nonetheless, this final arc does appear to be wrapping up most of the outstanding questions in the series, so at least it has that going for it.

For this final arc, the Birthright team decided to change up the status quo"a move that's paying off as this new story is as fresh as ever, despite the title already nearing 50 issues.

Birthright #48 is in a unique position where it feels like the book moves by at a rapid pace, even though the plot hardly inches forward in the slightest.

With Birthright #49 here, the story is quick to wrap itself up, bypassing the slow-burn methods of issues in the past for a brisk story that rushes to the end.

The end of Birthright is here, and it's a fitting end for where the story has gone.