I found Invincible #100 to be an excellent read. I'm not a seasoned reader of this series by any means, but Kirkman's ideas on the struggles a young superhero must contend with is gripping. Heroes as they grow into themselves must be vulnerable and accountable. That along with the dynamic art of Ottley, Rathburn, and Rauch make this a must read.

I may not care for many comicbooks based on cartoons, but this one's an exception.  That's all due to Allegri's storytelling and unique art. The humor's a bit dicey, but the creativity more than compensates for it.

The popculture references alone are a reason to snag a copy of Bravest Warriors #4. I was amused by Sadness and her insults. The plot is somewhat embellished for my taste, but it gets the job done. The best part of the art is Holmes' depiction of the clown planet.

Other structures Ivie creates are equally compelling, none more so than Emily's home, which seems more of a castle than a house. Being a fan of the Castlevania franchise, I have a soft spot for gothic architecture, albeit the style here is toned down for the general audience. Although most of the issue is formatted in subdued colors, there is selective use of flashy hues. The haunted guitar has a lime green glow while the melodies Evan plays on his piano blossom in all their orange radiance. The emo personality is ultimately at the forefront, though. Emily dresses in black and has white highlights in her dark hair. Evan has blue bangs that match his blue-striped rocker vest.Altogether, I was pleased with Emily and the Strangers #1. Reger's emo/gothic vision shines through in the punk-themed plot and in Emily's edgy dialogue. Ivie's art pays tribute to Reger's creation, adding imagery to support his gritty comic realm.

Chew #31 was a decent read for me. I respect Layman's originality in premise and context. I can also say I've never seen a cannibal portrayed as the good guy until I read this. It's always refreshing to have a twist that makes you do a double-take. I also love Layman's inclusion of poetic devices such as alliteration; his captions flow with Guillory's art like peanut butter and jelly. The only turn off was the cussing. It doesn't go well with the ethics of being a hero.