There are a lot of contemporary comics that center Voodoo in their narratives. Many of these have great art and some of these titles are very well written. But for the most part, even when these titles have Black characters (major or minor), the Black identity of the characters is incidental to the story itself. This kind of incidental Blackness in comics has become more and more popular in a moment where comic book publishers struggle to balance demands for demographic diversity to be more inclusive of ALL comic book fans/readers and the sometimes ugly resistance to the facts of this diversity that sadly, has its roots in the very racism that BOX OF BONES courageously confronts. But the Blackness in BOX OF BONES isn't incidental. It is intentional in every sense of the word. And in all of those senses, BOX OF BONES situates itself as one of the most important comics in publication right now.

EXCALIBUR #5 is one of those issues where you will be forced to read it because everybody else will be talking about it. You will also want to avoid any spoilers in order to fully appreciated what Tini Howard has in store for some of the most interesting characters in any of the X-books. If you were thinking that once again, EXCALIBUR is just too far adrift from what else is happening in all of the other X-titles, think again. This issue is not one to pass on!

The trial unfolds and readers are treated to the various alien species that make up the Wardens of the Gyre. As the necessary battles ensue, our heroes realize that there might actually be a way off of this planet. And this " the possibility of a way off the Gyre " is an exciting turn for the heroes of PSI-LORDS. Who knows exactly what lies ahead for Beacon, Hazard, Artisan, and Tank, but getting them out and into space is exactly what this storyline needs.

The relationship between Daphne and Zola " a rock star who Daphne idolized before she became a ghost " is far more interesting and intimate than any other relationship that Daphne has had up to this point. The same might be said for Ronnie's relationship with Bernard, a ghost who live a closeted life and now sees some of his missed aspirations in (and through) the life of Ronnie. Somehow the human relationships in GHOSTED IN LA are better when the humans are relating to ghosts. In this world, human intimacy is stymied by humans. But at least there are a few ghosts hanging around to make life more intimate and more interesting.

The key to Wakanda's utopian aspirations has been the vibranium source that generates its technological advancements and thereby its capacity to determine its own national destiny. This sense of self-determination is vital for the sense of Blackness that animates all Black Panther books. But this kind of technological advancement also comes at a cost. How are traditional African healers supposed to remain valuable and valued in a culture that can cure people with "healing tubes?" For all of Shuri's extraordinary intellectual abilities, it is unclear if she appreciates the simple " but often overlooked " conflict between traditional African culture and Wakandan innovation. Good thing the creative team on MA Black Panther is looking right at it.

Things escalate and get complicated quickly as Ruby is trapped in the quagmire of Mia's horde/hoard. Again, the homophone is played brilliantly here by Bennett and Leiz both. The end result is that readers have to rethink their relationships to things. Why do we keep what we keep? And what exactly is a keepsake when our memories are so imperfect that what we keep loses its original meaning. But that is just the top layer of HORDE. Ultimately, our relationships to things shape our relationship to our own memories, which in turn influences and sometimes determines our relationship to people. You will not be able to read HORDE without thinking about your relationship to all of the above.

In some comics these days, [insert your favorite category here] identity is incidental. In others, identity is so intentional that it feels inauthentic. In MOONCAKES, the identity of each character is organic and feels intrinsic to the story in ways that most novels (graphic or otherwise) only dream of achieving. MOONCAKES is all about the magic of witches and werewolves, but it is a bit of magic in its own right too.

One of the most exciting things about Vita Ayala's writing/plot for this book is that it is almost impossible to anticipate where it will go next. How will Livewire ever be considered a hero given the terror she has inflicted on her world? What is the secret agenda of Gwen and Councilman Wright? And given her abilities, what's to stop Livewire from simply imposing her will on her tech-controlled world and reshaping it into whatever she wants it to be. As Livewire's path to redemption continues, readers and fans will simply have to keep reading to figure it all out.

All of that said, Count Crowley still remains a mystery. What happened to the original Count Crowley? Why is the host of a TV show about whack horror movies doubling as a monster hunter? What happened to Jerri and her brother in Cleveland? These questions and many more will be answered in the months to come in Count Crowley: Reluctant Midnight Monster Hunter. 4.5/5!

The best-case scenario for readers is to read SNOW, GLASS, APPLES without thinking too much about the more familiar versions of the Snow White tale. The readers' experience will be sharper " more focused if this version is engaged on its own terms. The most poignant passages are subtle. The contrast in skin complexions, an undying heart, or the mysterious scars on the king's body become powerful signifiers in SNOW, GLASS, APPLES. And then, a single snowflake on the pale cheek of a princess will haunt you forever. 5/5!

Reading Punk Mambo gives us the sense that there are an unlimited number of ways to write about and reconstruct the worlds that comic books might reflect on the page. That sense of expansiveness and the uncanny otherworldliness of Punk Mambo can (and should) be credited to the written craftsmanship of one of the comic world's most valuable scribes, Cullen Bunn.

Allusion after allusion abounds in "Empty Shells" and in much of the contemporary titles in the Sandman Universe. The only question is " and maybe the only drawback to this issue " is there such a thing as too much intertextuality? Is it possible to reach a saturation point when it comes to literary or mythological references? We don't know the answers to this yet, but THE DREAMING and the Sandman Universe are pushing the boundaries and posing these queries with astounding results in each issue.

Some of you may not have heard of Deron Bennett, one of the most gifted letterers in the comic book industry. Here his gifts are on full display as the variation and font/articulation in lettering becomes yet another extraordinary tool of storytelling in this vividly crafted bleak version of our future. GRAND ABYSS HOTEL isn't for everybody. Its allusions are thick and its lexicon will force you to use your mind and the dictionary. Do you know ('off top') what a plebiscitary democracy is? It's not for everybody. But it is about everyone " all of us in this world and in this time. And it asks the question that " if we are lucky " we might have to answer for our grandchildren someday. What did you do . . . when the world was burning down? 5/5

Berger Books/Dark Horse's SHE COULD FLY is an astonishing exploration into the realm of human psychology and mental health. If you missed the first mini-series (2018), you will need it to best appreciate and understand Luna's journey.

In order for Devil's Dye to succeed as a series it has to convey this world of conspiracy and drug dealing as a backdrop to something more significant. And in issue #3 the significance of Selena and Ellen's partnership, the importance of the team (Selena, Ellen, and Kareem), and the haunting nature of Selena's past " all shift to the foreground of the series in ways that are both subtle and overwhelming. There is tremendous competition for which Black book is the best " the Original, Black (AF) Sweetheart or Devil's Dye. It might be too early to choose, but without question, Devil's Dye #3 is one of the best single issues produced in this glorious Black universe.

For all of his conservative comic relief, Tom still never overshadows Val/Summit and Val's relationships to Dani and Fiona " her young charge who they are searching for in this issue. It's these relationships that retain the core energy of this fantastic book. Noble " the kinetic energy "superman" of the Catalyst Prime universe " guest stars in this issue as well. It's an amazing lineup of characters exceptionally well written by Amy Chu with some stunning visuals provided by Marika Cresta. No disrespect to Noble, but Summit might actually be the flagship solo hero title of the Catalyst Prime/Lion Forge lineup.

Simmonds' artistic style is irreverent and reminiscent. In general, the color tones of the PND world are dark, Simmonds craftily uses specific shades to wash certain pages and mark them as either flashing forward (red) or back (purple) in time. It's a stunning artistic choice with great narrative effect for the reader. But even with all of these visual cues and the "story so far" set up, PND needs to be read in its entirety in order to be properly enjoyed. Lucky for you issue #1 should still be available at your LCBS so you can start from the beginning of this masterful tale.

Naomi is a different kind of superhero comic " one where the answers aren't readily accessible or predictable. In some ways it fits within the detective genre more neatly than is does the superhero category. But something tells me the balance between detective fiction and superhero tale will come into equilibrium as the story progresses. Either way " readers will have the best "seat" in the house as we follow the twists and turns of Naomi's extra-ordinary story.

At the core of Amanda's internal conflict is an unanswerable query that too many comics/heroes/universes tend to simply take for granted. Do the needs of the many ALWAYS outweigh the needs of the few? Most heroes " most comic book creators tend to answer "yes" to this query " and in many cases this is a matter of fact reality of the superhero genre. But Vita Ayala and company dare to challenge this accepted and often unquestioned assumption. You might be surprised at where Livewire ends up in her thinking on this matter and her experiences might change your thinking on it too. But there is no mistaking that this is a unique and uniquely spectacular book about the challenges of being the most wanted and the most powerful superhero in the world.

Still, Okorafor never shirks the political challenges of Wakandan isolationism, the perils of monarchical rule, or the political import of unity and community across the African continent. Somehow, it's all here and it is all crafted in ways that make readers want to return to Shuri's world again and again.

As a superhero moniker, Ironheart bears almost no relation to Ironman. Riri's heart isn't made out of the metallic materials of an Ironman suit. Yet, her heart is as sturdy as they come. Even though MIT represents a unique opportunity for her to "transcend" her circumstances, she keeps the people of Chicago in mind constantly and works to establish her heroics in the hood from which she hails without much fanfare or overwrought reflexivity. One of the masterstrokes of this Ironheart arc is that Riri tends to focus on systems over situations and she tends to think about social structures more than individual bad behavior. In short, she is the kind of hero our real world needs right now. Riri cares about Chicago and in the world of Ironheart that makes her more of a hero than any of the super suit tech that she designs and invents for herself.

Superb #15 is two stories for the price of one, but reading an engaging, complex story about a hero who learns to master his disability even as he develops his mastery of his superhuman abilities is a rare and delightful comic book experience.

Maybe the most important border in border town isn't about identity or country; it isn't about who we hate or why we hate. The most significant border in border town is between life and death " the border that separates this world from the netherworld. This is the border that has been breached in Bordertown #4 and the invasion that ensues will be the challenge that defines this series and irrevocably reshapes the lives of these super cool teen-aged protagonists and their adorable little monster sidekick.

Maneaters is as serious as "Bitch Planet" but as much fun as "Riverdale." In so many ways, it is the perfect comic for our gender regressive times. 4.25/5

Roberto Castro and Salvatore Aiala (studio) deliver classic kinetic visuals that magically capture the wit, brute force, and sexuality of the character without reducing Red Sonja's heroic stature in any way. It will be interesting to see and read where goes and who she conquers next. This book continues to deliver interested stories with compelling art work each and every month.

"Laguardia" is a beautiful book. And it is rewarding to see and read this level of artistic collaboration dedicated to such an important story. "Laguardia" is essential reading for our times. Okorafor is challenging us to be better citizens " better humans. Read this book and accept the challenge.

By the end of issue #2 it is still unclear what exactly awaits Faith and company on the Dreamside, but the setup for the story thus far is so well done that readers will not want this ride to end any time soon. 4.5/5

Marvel's Moon Girl and Devil Dinosaur is a monthly reminder to us all of what good comics have always been about " and for whom good comics were originally made.

It is actually sad to see/read the conclusion of this comic book. It's that good. Cray's ultimate target is Diana Prince. Assassinating Green Arrow, Flash, and Aquaman is one thing, but Wonder Woman? Enough spoilers. The conclusion to the series is as satisfying as it can be. You'll need to read Michael Cray " all twelve issues to best appreciate the craft of Bryan Hill's vision. Surely there will be a TPB that will collect them all soon, but do yourself a favor and pick these gems up now.

Border Town #2 gives us a bit of background on Quinteh " one of the weirder characters in a cast of teens and otherworldly monsters. Quinteh isn't a wrestler per se, but he does wear a luchador mask to school " and everywhere apparently " every day. The flashback in issue two gives readers some insight, but the backstory only opens the door to more lore for the series and for this character. Wearing a mask, literally in this case, is how Quinteh is able to get through his days in Devil's Fork, Arizona " the setting of Border Town and a character unto itself. But like all else in Esquivel's wonderful world, "wearing masks" is also a figurative activity through which the wearer invites people to see what they want to see. Famous poet, Paul L. Dunbar once wrote: "we wear the mask that grins and lies . . ."

There is more philosophical and existential substance to be considered in "Soul Engine," but the comic works without taking time out of your reading experience to visit Google every other panel. Al Barrionuevo's pencils are powerful and they are well enhanced by Matt Banning and Roberto Poggi's inks, as well as Jamie Grant's vivid coloring. The result is a book that is more than the sum of its parts " when it needs to be.

If there ever is a Moon Knight movie or streaming series, this story will have to be a part of the narrative. The real reward for readers " especially any long-time fans of this character " is that this creative team is clearly invested in establishing some plausible coherence to the various iterations and incarnations of the Moon Knight character over the character's long, complex history. The kind of continuity that this arc will ultimately establish does what all good stories are designed to do: make way for even more good stories.

The mythology of underground, lost societies are ubiquitous across time, region and cultures for many reasons. Maybe the most significant reason for these myths is that lost cities are often a reflection of our own histories and realities. They relate stories of unchecked technological advancements, utopias gone wrong, and how greed undermines the true potential of human advancement. The Lost City is often a signifier for our own social failures in reality. And, true to form, there are some hints of that kind of reality mirror for Hel and crew in The Lost City Explorers.

Dynamite's Red Sonja represents a moment of triumph for this genre of comics and for a series that features one of the most interesting heroines in any comic book universe.

Skyward earns the near universal praise that it receives. But one of the most attractive aspects of this story is the clarity of the storytelling itself. Garbett and Fabela's visuals are always on point and each panel is particularly tailored to Henderson's razor sharp script. No words wasted. Each panel is like a grasp for gravity in a world where the power of/over gravity is the rarest of resources. The absence of gravity isn't exactly Skyward's franchise. Instead the franchise of the series is grounded in an intricate study of what all can (and cannot) happen in a world where gravity is absent.

Kelly Thompson (and Co.'s) version of Nancy Drew will likely be the definitive version of this character for a generation or more. The story is smart and so is the art. Nancy Drew #2 has a big heart and a good sense of humor " some qualities that are not easy to achieve in a moment where cynicism reigns supreme. Getting on board here at issue #2 is no disadvantage to readers, but with characters as classic as Nancy Drew, in the hands of these capable creators, it might not hurt to follow the series for every clue you can get. 4/5.

The temptation to shorthand Dark Horse's Blackwood as "Scooby Doo" meets "Harry Potter" is almost overwhelming. Except Blackwood, written by Evan Dorkin and visualized by Veronica and Andy Fish, isn't either of these classic serial narratives. It isn't some mash-up of them either, although it has the perfect amount of elements of both. Blackwood is the story of a strange group of teens " or a group of teens who have had some strange experiences (of the mortal variety).

At the core of Statix Press' "2021: Lost Children" is the decline of American empire and the United States' corollary descent from (small 'd') democratic principles.

Batman's world is a dark place "where there is an endless supply of criminals preying on the most vulnerable populations. "On the Outside" seems to be set to remind us of Batman's primary predicament as a vigilante superhero: there never really is an inside track for justice in a world where evil lurks around every dark city corner.

This is heady stuff for the comic book genre and that's ok. God Complex wrestles with a world caught up in the powerful forces of technology and divinity. Whether or not, or how, Seneca will navigate those forces is a story readers will want to stick around to see through to its end.

One of the reasons why Peek-A-Boo is such a satisfying read is that the creative team wields an adept grasp of the comic book form, showcasing an uncanny ability to exploit the form for horrific effect. Each panel and every splash page is positioned for maximum effect. And maximum here doesn't necessarily mean big and bloody. Sometimes the best effects in horror rely on what you can see and what you cannot or when you can see something and/or from what perspective you can actually see it. This is the triumph of Peek-A-Boo. It's a visual hide-and-seek horror story, deftly executed in comic book form.

The drama vested in "Beneath the Surface" has been building up for months, so while I HIGHLY recommend reading anything with this crafty title, Dark Ark #7 and the series itself warrants your full attention.

"Abbott" is sort of like a flying time machine. It whisks through 1970s Detroit in one instance but can quickly and authentically pivot into the netherworld of the undead in another. It has brought its readers on a journey through 1970s Detroit, the world beyond and back - with an extraordinary amount of agility and care. And most importantly, Ahmed and company have delivered a denouement that resolves many of the series' most complicated questions even as it leaves readers wanting more and more. [Insert applause sound effects here].

Walker and Greenwood have built something that is both dark and timeless. "The Last Seige" could be pre-history or post-apocalyptic, medieval or modern fantasy.

Motherlands is a sci-fi, spacey thriller featuring contract killers and killer technology conglomerates whose tangled webs of corruption and evildoing only really matter, because family matters. Or, more specifically, the relationships between family (and lovers) matter most in this issue and likely in the series itself.

Valiant's "Shadowman" is back with the vengeance of a disrespected loa and issue #3 shows no signs of slowing down what has already been a fast-paced narrative complete with dizzying shifts between the worlds of the living and the dead.

Crude isn't a superhero comic per se. It cannot be easily categorized as a vigilante book, or detective noir or any defined category reserved for modern comics. It's geo-political ambitions combined with its gloomy and gory viewpoint on the world will entice readers into the underground confines of the story's dark setting. Obviously crude oil comes from beneath the surface, but in the world of "Crude" so does everything else.

Once in the Ether, Boone's personality is markedly different. He is almost bubbly. He even looks a little different in the Ether than he does on earth. Here again, David Rubin's artwork is subtle and compelling. Even if the story and the character of the protagonist seem to be overused staples of comics and film, Rubin's pencils help to make the world of Ether something all its own. 3/5.

Wolverine is literally a cartoon caricature of himself, Ms. Marvel (Kamala Khan) is a bitter, wizened variation of the optimistic teen we see in the primary, Namor (not on the team) is a 70's style hipster in the age of Aquarius. There's more, but suffice it to say that Saladin Ahmed, one of the most gifted writers in comics, is delivering something delightful for comics fans: innovative variation on old ideas.

It will be interesting to see and read more into this world where an ancient iteration of earth's mightiest heroes might shed light on how today's Avengers can manage the re-emergence of the Celestials - maybe one of Jack Kirby's most underused creations.

In this world, shovels and other digging tools are much more important than guns " or any of the more traditional superpowers. The rudimentary nature of our heroes' association(s) and their basic mortal toolbox underwrite a narrative that feels more real than most horror oriented fiction in the marketplace at the moment. This doesn't preclude this issue from being tons of fun: a hell-bent cult, straight out of the Eyes Wide Shut wardrobe room, faces off against an army of unionized grisly gravediggers over a space monkey hidden in plain sight at the Coney Island zoo. Horror comics don't get any better than this.

Again, the concept here is solid and at times compelling. It fits well within the story world that Osajyefo and Smith 3 are building. But there are moments and panels in this issue where the story is confounded by characters popping up out of nowhere or where the scene itself might benefit from some kind of exposition.

The Narrows, a neighborhood in Gotham that is "underserved," is the setting for this miniseries. It may remind more seasoned readers of the inner city worlds built in the Milestone Media days. For these reasons and many more, The Signal and Static Shock demand to be united in a buddy series. Or, maybe The Signal could lead the team of Robins (past and present) in an ongoing monthly dedicated to Batman's more pedagogical inclinations. The point is, DC needs more of The Signal in its monthly offerings. Maybe the perceived let down in the finale of this three-issue arc is simply a clarion call for more stories centering this interesting character in the Batman universe.

This is the kind of comic book creativity that appeals to the mature comic book fan " not that the younger set won't read and love this series; they will. But for readers who have been reading comics for decades; for those who have families and/or are having and raising families right now, the experiences detailed in the endearing relationship between Scott Free and Big Barda are designed to make folks who are married with children feel like the heroic gods they sometimes have to be.

The concept of a disembodied Black man sutured together with alien tech and fragments of his own body is a rich one for any genre. But sometimes, reading a Cyborg comic is like watching a sequence of missed opportunities - unfolding panel-by-panel and page-by-page.

The writers (and letterers) of Motor Crush have devised a uniquely nightmarish version of our social media society.

The panel layout for "Ball of Confusion"/Abbott #3 is exquisite. There will be moments where the images or even the panel arrangements themselves will provide powerful cues to the reader that can reveal clues to the mystery in advance of the protagonist's discovery. This is the kind of stuff that makes us feel like little kids reading our first comic under the cover of darkness with a dying flashlight. 4.5/5.

There are reasons why this team is together but readers won't know why just yet; they will simply learn that this is a team that is bound together. A clue to this mystery might be connected to a guest "appearance" of Tom Strong. Fans of this Alan Moore creation can only hope that the kind of wonder with which Tom Strong's origins were told will continue to be one of the key influences on this really good book. 4/5!

Ultimately the beauty of Beeby's story so far " and especially evident in this issue " is that you have to be prepared to set aside your reader's impulse to figure out everything. Suspend that habit for a bit and do your best to figure in to the majestic world of the Mata Hari.

For readers interested in adding a sci-fi-space odyssey title to their pull list, Infinity 8 should be a welcome addition. It's not as dark or heavy as Low; and it isn't as overwhelming in its alterity as Black Science. This is a lighter " and in some ways " a more exploratory story, with a budding sense of humor that will distinguish it from these other popular titles. Even if sci-fi comics aren't your "thing," the comic timing and perfect placement of the "twip twip" sound of Yoko's genomic scanner makes this title worth a good look.

If the stakes of this iteration of Kick-Ass seem higher that's because they are. Patience Lee is a dynamic, likable, if slightly reluctant, hero who is kicking ass with a decidedly deliberate purpose. She is the Robin Hood we need right now.

Imagine a comic book that is set almost entirely in a hospital room; it's about a mother giving birth and a father bearing witness. Aside from the birth itself, the only other real action here is choosing a name for the baby " a hilarious process that once again underscores Tom King's wizardry with the written word.

Not that readers will need any additional incentives to try this book at this point in the story arc, but the fact that Misty Knight enters the story here and that her history is neatly packaged for folks unfamiliar with her Black girl majesty, simply makes this book and the entire series that much better. For readers (or film goers) who may think of the Falcon as a derivative character by nature " or creation, this series is being written in a way to deliberately disabuse us all of that notion.

In "Incognegro: Renaissance" #2 readers continue to follow the trail that Pinchback is on in order to uncover the murder mystery. Along the way and through a small but engaging cast of characters, we can all learn a bit more about the complexities of racial identity and the arbitrary nature of the rigid racial lines that continue to define the world in which we live. 4/5.

Easy access to these alien AR-15's makes life more lethally violent for the police, Black Lightning and all of the citizens on the west side of Cleveland. In this issue Black Lightening confronts Tobias Whale in a spectacular battle that spans most of the issue. In their exchanges readers will hear more about Tobias' diabolical plans and learn more about how comics can make important social justice interventions in our world. 3.5/5.

Black Panther LLK #6 ultimately raises more questions and leaves many more questions unanswered about Wakanda, it's relationship to other nations on the continent and the national/continental responsibilities of a superhero who also happens to be a political ruler. In this sense, it is not an ending of Ngozi's story as much as it is a beginning.

And ultimately the images and the imagery are what make this book "pullable" from month to month. John Romita Jr's pencils are brilliant. It is nearly impossible to view his artwork without seeing the rich history of classic comics that he has worked on over the years. Romita Jr.'s work carries with it the visual gravitas of a stellar career drawn across platforms, in and around the worlds of your favorite superheroes. The Silencer inherits some of this magic and puts it to good use in this compelling issue.

For all of these reasons, people will be entering the world of Wakanda (maybe via the film) through this issue. This is a good thing because if you find the story too far along or if you get frustrated with some of the references that operate just beyond your world of understanding, the interview between Coates and Ryan Coogler published in the letters page " "Down with the King" " is well worth the price of the ticket this month.

Black Panther Annual #1 proves the two most important features of the Black Panther character and the world of Wakanda. 1) There are still many amazing stories to be told about BP and the entire cast of characters in that world " some of whom have yet to even be created. And 2) Wakanda isn't and never was a utopia or some kind of dystopian commentary on the limitations of our trite utopian ideologies.

Martin Morazzo has a visual knack for depicting Prince's weird, horrifying and somehow fleeting world of small town Americans steeped in a fantasy gothic swirl of death, decay, and human destruction. The series may not end up being as dark (and maybe depressing for some) as issue #2 is, but it has certainly established its capacity to comfortably live, breath, and die in the darkest corners of this strange world. 4/5.

Kill or be Killed #16 isn't so much about the killing or that Dylan might be killed if he doesn't satisfy his deal with the demon to kill serially, but more about Dylan's state of mind. This sounds crazy, but bringing Dylan's story into a mental health institution opens up a series of ways through which readers will connect with Dylan - even if we don't see our demons.

Finally, if like so many readers, you have recently decided to "break-up" with superhero comics produced by the "Big Two" because of the endless iterations and/or revisions of your favorite characters' storylines, than you might also appreciate Seeley's meta-comic approach to these challenges to the cohesion of your favorite superhero universe. The meta-narrative here isn't forced; there's no breaking of the fourth wall or any other gimmick set in motion to cover for the vagaries of the comic book marketplace. Instead, characters explain it away with logical, summary dialogue.

There are many worlds within Eternity that should be revisited by Divinity, Myshka, and hopefully other stars of the Valiant universe. Only in this issue will readers get some hints as to how that might look in an unknown future. That said, Kindt, Hairsine and company provide a fitting ending to an ambitious miniseries, and what they might create going forward could be very interesting. At the thematic core of Eternity is the act of creation " whether that be the creation of a child, the creation of a universe or the creation of a comic book. Matt Kindt' s ability to thread these matters of creation into an original story about the balance of the universe makes this issue - and the series - worth a good look.

Enter Dr. Hannah Jones, psycho-therapist to the stars, who is emerging as a media star in her own right " doing tv interviews and featured in Ebony and New Yorker magazine profiles. She is the perfect ally for Legion but he has to get to her before Lord Trauma does. Milligan and Torres have accomplished a near perfect set-up for the series in their opening salvo. The story line moves like Legion's mind and the kinetic rendering of the visuals is an appropriate extension of Legion's artistic origins. Readers will want to stick around for what looks to be a wild psychological trip through Legion's mind.

The most striking feature of Sink #4 is the coloring by Alex Cormack and Lisa Moore. The shifting palettes from bright days to dark nightmarish nights are jarring and at times disturbing for the reader. And once the blood starts to flow it flows beautifully and unceasingly. Folks familiar with the world of Sinkhill will be happy to encounter Mr. Dig again. Mr. Dig is maybe the most enigmatic vigilante in comics since Batman, and his schooling of the "Young Team" forms the moral kernel of this scary tale.