Allor and Tucker are on their way to writing a triumph of a series with Hollow Heart. Issue #3 is a deeply layered, intelligent study of subjectivity, justice, and trauma. Between the art and the writing, every detail feels intentional. Much like the installments before it, Hollow Heart #3 is an outstanding single-issue -- one that will inevitably become part of something bigger.

The ending of Hollow Heart leaves the reader with El, living in their own constructed space with their own constructed Matteo. Tucker's use of fire against black space makes the rest of the series feel like a reverberation from this imaginary point of origin. When the story briefly returns to the facility, we are reminded of how dull and plain the corporate space looks without El's point of view. The series thus ends on the stifling notion that corporate violence exists in pursuit of intimacy " that it is a force that consumes the space around us.

Orlando, Johnson, and Morgan have created something exceptional in Kill a Man, a graphic novel that beautifully addresses themes of masculinity and queerness in a perfectly executed sports drama. With a highly emotional script and magnificent art, Kill a Man is one of the best stories to come out of the genre in years.

At the end of The Adventure Zone: The Crystal Kingdom, the stakes are higher and surprise plot points are waiting to be unraveled. And the thing is, I know what these surprises are. By large, I know how the plot is going to play out. Yet I am nonetheless just as enthralled and excited to get to the next installment as I was the first time around. Retelling a story is not easy, but Pietsch and the McElroys have successfully done so in a way that is just as -- if not more -- compelling than the first time.

S.W.O.R.D. #4 is ridiculously good. The sheer skill of the creative team comes out in this issue's pitch-perfect plot and fascinating character work. With King in Black ending next month, this series will inevitably begin to grow into one of the best Marvel titles out there.

Black Cat has been an absolute hidden gem of a series, and issue #3 proves why it needs more attention. This week's installment will likely go down as a must-read in Felicia Hardy's history, as it carefully and insightfully examines what makes the character so great.

Runaways #33 is a gentle comfort in this dreadful time. Rowell, Genolet, and Cunniffe offer a fun and endearing slice-of-life issue, with a now-familiar cast of characters that will bring some company to many readers.

The delight and comfort of the Runaways series continues in issue #34, as a long-awaited team-up brings up some surprising new developments. Following this stubborn team as they interact with Pixie and Wolverine is an absolute joy. Readers will have to wait and see how Rowell ties up an exciting plethora of plot points in coming installments.

Way and Simon have put together a perfectly timed story that drops and picks up plot points at just the right moments, and this issue is a captivating balancing act of resolution and emerging tension.

You Look Like Death #4 provides a welcome exploration into one of The Umbrella Academy's most interesting characters. Klaus' voice shines through in this issue, as his growth becomes mapped out on the pages. With sensational art and compelling cast dynamics, this issue is a high point of the series so far.

Doctor Who Comic #1 starts off this multi-Doctor adventure with a bang. This issue humorously establishes the plot foundations for this series, while hinting at a more emotional story to come.

Doctor Who: Empire of the Wolf #1 achieves the considerably difficult job of uniting several elements of the franchise that have appeared across the past 25 years. Within the first issue, it has already begun a complicated plot and captured the distinct voices of its cast, all while looking gorgeous. In coming issues, if Houser takes a moment to indulge in the emotional components that make the Doctors' and Rose's relationship so compelling, Empire of the Wolf has the makings of a truly great Doctor Who tale.

Michael DeForge's Heaven No Hell is a fascinating exploration of self-subjectivity and sociality. Everything about the book is deeply personal. Whilst some chapters may seem esoteric and obscure at times, readers will surely find a part of themselves in DeForge's use of expressionism.

As a muddled tie-in, Watelanders: Hawkeye #1 has much going against it. Yet Sacks, Ibraim, Lima and Petit have achieved the difficult task of creating a fun and satisfying Clint Barton story by knowing their limitations and embracing the classic elements of the character. It is simply a shame that Marvel has not given Barton more attention during a time when the spotlight is on him.

Marauders #17 showcases both the strengths and weaknesses of the title so far. The clever writing and fluid art are let down by glaring character imbalances, making the reader forget that this is a team series. If Duggan begins to explore the potential of his complete line-up, this series could go from good to great.

Marauders #18 is an overall fantastic issue with some clever underlining political undertones. The creative team finally makes use of their overlooked heroes to make for some great action scenes. Be that as it may, writer Gerry Duggan must be more mindful in some of his dialogue.

Curse of the Man-Thing #3 is a good conclusion to an overall fun series. Orlando's writing is nostalgic and emotive. It successfully ties the plot together without rushing through chapters. The issue is, unfortunately, let down by its art, which whilst not bad, does not fit with the written narrative.

Immortal X-Men #1 is an incredibly well-put-together opening issue that showcases the talents of its creative team. It consolidates what has come before it while promising exciting events for the future of Krakoa. Yet this narrative rupture goes beyond the story and outside the text, as the use of Mr. Sinister as the main character leaves much to be questioned.

Knights of X is off to a strong start, but readers hoping for something different from Excalibur might be disappointed. Though well written, issue #1 shows signs that, like its predecessor, the series may become too focused on Betsy Braddock, as the rest of the team is pushed to the sidelines.

Orcs! #1 is a promising start to a series that is ideal for younger readers interested in fantasy. Larsen delivers a comic full of charm and fun in a story dedicated to the underdogs.

Excalibur #14 is a memorable installment to the X of Swords saga. Tini Howard effortlessly puts together a fast-paced and emotional narrative, which is given an enchanted quality to by artist Phil Noto. This is a definite high point of the Excalibur series.

Excalibur #15 excels when it focuses on Apocalypse and the history he shares between his extended family. The beautiful writing and art combine to make some truly theatrical moments. Certain narrative pieces of the story outside these interactions, however, subsequently come across as pale in comparison.

The glaring imbalances of power and imperialist narratives in Excalibur #19 overall call for a reinspection of the series overall. Tini Howard is certainly a talented writer. However, this does not excuse, nor compensate, for the problems with the series. It is time that white readers and critics listen to the wider fanbase, and reconsider how they perceive Excalibur.

Black Widow #4 stands out as a masterpiece in artistic action, complete with an engaging script and compelling character dynamics. The only thing missing from this highly entertaining issue is a narrative recognition of its gendered implications.

Black Widow #5 completes an outdated and ultimately misogynistic arc by Kelly Thompson, that leaves a lot to be deconstructed. If you are going to buy this issue, buy it for the standout action sequences.

All in all, Black Widow #15 is an appropriate end to a run that has thrived on first-class visuals and groundbreaking action sequences, but lacked in written plot. With a bit more time to tie up loose ends, the series' conclusion may well have been more satisfying. However, the controversial choice of giving Widow a child will inevitably prove difficult to consolidate going forward.

King in Black: Marauders #1 shows the making of a strong Marauders issue. Unfortunately, its strengths are overshadowed by the mismanaged event it takes place in. That said, if the best elements of the plot are anything to go by, readers are in for some great stuff in the future of the main Marauders series.

Nuclear Family #3 offers readers some cinematic, fast-paced Cold War drama. Despite a few stumbles shared between the art and plot, this series continues to show promise.

This is a very fun graphic novel that is a welcome contribution to comics intended for children. The stories are fun and easy to follow, and the art perfectly suits its audience. It is let down by a few out-of-place jokes, but it is certainly worth a read.

X-Force #14 is a well written, well illustrated issue that unfortunately suffers from overcrowding. Indeed, more attention should have been paid to certain plot elements. Be that as it may, it is still entertaining and well worth a read.

On the surface, Devil's Reign #2 is a perfectly serviceable comic that gets by on the technical talents of its creators. Yet in skirting past any meaningful discussion of power and authority, it becomes a damning symbol for the virtue-based centrism that corporate publishers often operate on. Luke Cage's Blackness is whitewashed and used as window-dressing in a plot that does not dare upset the status-quo. Writer Chip Zdarsky has shown that he is capable of writing stories of significance, but his work here is symptomatic of the racism and whiteness that exists in the industry overall.

Unfortunately, the better parts of Heroes Reborn: Siege Society #1 do not make up for what it has going against it. It is puzzling that the creative team went with the premise of integrating classic Avengers into a team with Nazi ideology. Perhaps it was not down to the creative team at all -- if this is the case, they did well with what they were given. Regardless, this addition to the Heroes Reborn story is at best, uncomfortable, and at worst, offensive.

Ultimately, The Union #1 is an awkward read that spouts a great deal of sentiment about British identity, without making any effort to explore the lived experience of the British people. While I concede that this is just the beginning of the series, as a single issue, The Union #1 feels outdated and inappropriate during these difficult times.