While the narrative may be a lot of doom and gloom, its also a glorious artistic experiment with Bermejo altering his style with every timeline. While the 1960 scenes are depicted neatly, in a stark, monochromatic style, the future is brighter, full of color but with sketchier line art. The change in styles continue with every shift, some of which occur on the same page. These changes can be jarring but theyre all part of the experience and are certainly less disorienting than theyd be for our protagonist. My only critique is that the lettering by Becca Carey doesnt always work. The font for Thackers inner monologue is great but the word balloons used for dialogue just feel so out of place against the superb realism of the art in the first act, although her work matches the style of the later timelines perfectly.

Fraction has created a bevy of fun, pulp-inspired heroes and villains along with a more-than-capable lead in Claire.

If there is anywhere that the book falters, its in the writing of America herself. Typically portrayed as a badass neer-do-well, she mostly just coasts through the proceedings, displaying little of her trademark personality. It may be more of an introspective portrayal, but it seems an odd choice considering how much the story focuses on her. There are moments where her personality comes out, particularly during an interaction with special guest star Spider-Man. Vazquez also dispenses with any real exposition, making no mention of the Young Avengers and only hinting at Americas power-set. Despite the lack of accessibility, its a refreshing change that puts trust in the reader to have at least a rudimentary knowledge of the characters.

Its too soon to tell if this series will match the quality or success of Dynamites previous volume written by Mike Carey, but theres enough potential to warrant a second look when the next issue hits, especially if youre a fan of likable characters and fun retro-space concepts. If nothing else,Barbarellais a damn fine-looking book, as is its leading lady.

Even though established canon tells us everyone will be fine (for a while at least), the dangers our characters face still provide a great deal of suspense and intrigue, right up to that nail-biter of a cliffhanger. Likewise, the racial tension between the various ape species is on full-display and while its hard not to cringe when a favorite character expresses their prejudice against another, its oddly refreshing to see the heroes cast in shades of gray. However, there are a few strange narrative choices. The opening scene is essentially a reprint of Marvels older Apes series that was based on the film, retelling the events that lead to fateful meeting between time-displaced astronauts and horse-riding gorillas. While this is both fun and effective in establishing setting, the same device is used again twice, with both panels feeling totally out of place. Were the scene in question a flashback, it would make sense but here, its just jarring.

There will no doubt be comparisons to books like Saga and rightly so. ButBlack Cloak is so much more than that series less graphic equivalent. The near-seamless blending of crime procedural and fantasy epic create a genre all its own, with characters that are both truly fantastic yet utterly relatable. The world-building is top-notch and its cliffhanger ending will leave you reeling til the next issuewhich reminds me, I need to go add this to my pull list, like, yesterday.

Artist Setor Fiadzigbey brings this world and its characters to life with a very unique and lavish style. The lush forests of Wakanda nicely contrast with the sleek, futuristic design of its buildings and technology. The book has such a dynamic look that evena boardroom scene focusing on Wakandan politics looks incredible. Paris Alleynes colors have such a pure, watercolor style that meshes perfectly with Fiadzigbeys pencils. Its a beautiful book that youll want read again with each subsequent issue.

For more details, check out our review of the debut issue ofBlack Stars Abovehere!

Overall, it's a gorgeous book from start-to-finish and is definitely worthy of the Black Widow legacy, as well as your time and money.

One thing the previous arc had going for it consistently was the excellent art. Sadly, thats another area that has taken a hit in quality. Art duties are handled by David Lopez, and while his layouts are great (particularly in an early two-page spread), his character work leaves a lot to be desired. Certain players, especially Willow, just come off looking odd, with expressions ranging from bored to manic. Fortunately, previous colorist Raul Angulo has returned to work his magic and, along with letterer Ed Dukeshire, provides some much needed artistic continuity.

In addition to the writing and pacing, the art by Jan Bazaldua is significantly improved over the previous issue. Bazaldua s manga influence is obvious without being distracting and her layouts work to tell the story just as well as Wongs script. A few panels in particular provide more insight into Yunas feelings than several caption boxes could convey. The only downside to the character designs is that Yunas wardrobe screams weird Psylocke cosplay rather than something functional for a college student/magical artifact stealer. Much like their two leads, however, the creative team has managed to forge a solid dynamic that will no doubt get better as their story continues.

The story does feel a bit uneven at times, and certain events seem contradictory, but much of it is in the service of the story, with Seeley keeping certain twists and revelations close to the chest. Enter into this story with an open mind, and you'll finish it with one that is properly blown.

Cosmic Cadets: Contact is intended for middle-grade readers and may be a bit violent or scary for younger readers. Consequently, the book isnt really geared toward adults, however parents will certainly have something fun and worthwhile to share with their kids.Overall, Crane and Alves have merged their different storytelling techniques to craft a story that will resonate with readers of all ages and will leave new fans clamoring for the next installment.

Perhaps the books greatest strength lies in its look and style, thanks in part to the outstanding art by Lukas Ketner. Taking place in the early '80s, the characters and locations look and feel genuine. The brilliantly-muted colors by Lauren Affe give the entire book a weathered, purely vintage aesthetic. Theres no ironic commentary or overly-saturated nostalgia here; it literally reads like the adaptation of a 1983 horror flick, only with much better writing. Equal parts Fright Night and Creepshow, Count Crowley: Amateur Midnight Monster Hunter is an entertaining yarn thatboth respects and embraces the genre to which its paying homage.

Creepshowmay not be everyones cup of tea but its a brilliant and disgusting love letter to the horror comics of old and the creative teams pay homage to its source material with tongue planted firmly in cheek. And despite its long history, this issue is perfectly accessible to those unfamiliar with the franchise – but be warned: this definitely aint for kids!

Cursed Pirate Girl: The Devils Caveis a beautiful and unique masterpiece that is just one part of a larger narrative, where every new chapter is worth waiting for. Mark my words, youll want to set aside plenty of time to pour over every page and just bask in the imagination of one of comics most unique and skilled voices. To get caught up, check out Cursed Pirate Girl and Cursed Pirate Girl: 2015 Annual #1 in either print or digital wherever you buy comics.

Lorimers art is perfectly in sync with his writing; his realistic approach to the characters and locations never feels less than believable. This style gives the quieter moments a naturally tense feel while the heavier moments, including the grotesque Biblical flashbacks, are comparatively more intense and horrifying. Plus, Joana Lafuente's and Anita Vus colors add even more layers of beauty to the horrifying carnage. Finally, Jim Campbells lettering is perfectly suited to the storys tone. All in all, Daisy #1 is a fantastic first issue from a talented creative team.

Overall, Dark Ride is a helluva lot of fun while never feeling cliche or predictable. While there is no clear protagonist, each character seems capable of carrying the story in whichever direction it goes and I, for one, am anxious to see where that is. Ive read a number of horror comics recently and I must say, this was the first one to make me go well, that was messed up. Trust me, thats a good thing.

The launch of this new first issue (his ninth, I believe) does coincide with Marvels recent Dawn of X relaunch. Unlike many of the new X-books, however, this series appears to be largely self-contained and new-reader friendly, despite Deadpools frequent inclusion with the Merry Mutants. In fact, apart from the appearance of a couple characters from Thompsons recently-concluded West Coast Avengers, this issue is perfectly accessible to first-time readers and long-time fans. With its hyper-violence and edgy, yet mostly lighthearted humor, this new arc acts as a spiritual successor to the now-classic runs by Gail Simone and Joe Kelly, which is a very good thing for both the character and readers alike.

With tongue firmly planted in-cheek, Wong and co deliver a strong start to what could be a very compelling new volume ofDeadpool and his ongoing adventures. While its too soon to tell where this story fares when compared to legendary runs by Joe Kelley, Daniel Way, and even the more recent series by Kelly Thompson, its fair to say our villainous hero is in very good hands.

While this book seems dependent on familiarity with the writers earlier works in the Vampi-verse, he provides just enough clues and exposition to help new readers kind of figure out whats happening. Fans of Priests signature style–starting off each scene with a new title card–will be glad to know he uses it here, although it doesnt serve much purpose and is frankly more of an annoyance than anything. The dialogue and pacing of the story are handled much better than the style aspects, although the dark humor is sparse enough to seem almost out-of-place with the otherwise serious tone.

The breakout star of this issue arrives in the titular "SPIDER-REX!!! by writer Karla Pacheco and artist Pere Perez. While the idea of a dinosaur-totem is awesome, this entry is at once the weirdest, most fun and, in some ways, the weakest of the entire issue.

In the final, and perhaps strongest chapter, Sakura Spider makes her Marvel comics debut, having already appeared in Viz Medias Deadpool: Samurai manga. While the teenage Hida Harukas backstory and abilities have much in common with Peter Parkers own, the differences and emotional beats manage to keep her otherwise familiar origin story seem fresh and engaging. Rather than simply taking a manga-esque approach, the creative team of Sanshiro Kasama and Hikaru Uesugi go all in with a story that is 100% manga, despite the choice to tell the story from left-to-right. The art is just outstanding and Sakura Spiders design is incredibly fun, if not a tad derivative. Of any of the Spiders highlighted this ish, Sakura Spider certainly has the most potential for a spin-off but hopefully in a more traditionally Eastern fashion.

Fans of David Lynch, Neil Gaimans Sandman, and Mike Careys The Unwritten will find plenty to like in this five-issue series, although the casual reader may be left confused. Theres a clever amount of world-building here, with plenty of potential to expand.

Even if the idea of diving into the deep end of the Energon Universe feels daunting, I'd encourage you to take a chance and give this new universe a shot. You won't be disappointed.

Another highlight of the book is the backup story, The Tale of the Three Brothers. Not to be confused with Beedle the Bards fable of the same name, this three-page prose narrated by an as-yet-unseen character is oddly compelling and manages to enrich the previous story while standing on its own. It also serves as a much more satisfying cliffhanger than the main storys abrupt ending. Fortunately, whether youre a long-time fan of the series or new the franchise, this first issue serves as a fine jumping-on point but also manages to tie into the current series quite seamlessly.

The focus on Winston is an inspired choice, especially since he's generally considered the least fleshed-out member of the team (as far as the films go). Here, he gets the attention he rightly deserves, providing his own perspective of the film's events and his role in them.

Included in this issue are a series of bonus features, including some back-up comics, which are every bit as entertaining as the main story, if not more so. The first is a no-holds-barred trip into Mahfoods irreverent style, while the second is an autobiographical tale that is heartbreaking in a number of ways. And while they couldnt be more different, both tales enrich and inform the main story, peeling back the layers to reveal the deeply personal story Mahfood is trying to tell. Its an experience that ultimately sticks with you well past its blood-soaked cliffhanger.

Fair warning to the squeamish: some of the violence is incredibly nasty and may be triggering to some. I found myself hoping that the diner scene was some hallucination or daydream (spoiler: it aint) but I have mad respect for Thorogood and Image for not holding back. Fortunately the twisted humor and slasher-flick atmosphere undercuts the violence that some might consider in bad taste. By the time you get to the quasi-subtle joke about tentacle hentai, youll forget all about the machete-wielding guy in the bunny costume. And, yes, that is in fact a sentence I just wrote.

Complementing the excellent writing is Michael Dowling on art. Dowlings character designs and layouts are fine but there are a handful of inconsistencies that hold it back from being truly great. The action scenes, while sparse, are handled very well and are truly a highlight, particularly an early scene when Janine goes into ghost-mode. The books concept is solid and its protagonists powers are cool and silly in all the best ways. Plus her design is super-cool, with her standard attire resembling a cross between Spidey villains Shriek and Hobgoblin. While the issue has its shortcomings, it still serves as both a great continuation and introduction to a character who has the potential to stick around for years to come.

Nostalgically speaking, there is a lot of fun to be had, particularly with the many references to the MOTUs less popular canon. The inclusion of one such character is likely to cause certain readers to rejoice, while others may turn away in disgust. The scope of this series and the respect to the characters varied history is evident in the last page reveal, which is likely to be equally polarizing to long-time fans. Despite a few missteps, there is a lot of potential to this series, and Im excited to see where it goes from here.

The art by Zulema Scotto Lavina is simply spectacular, particularly in the sharp contrast between set-pieces. The bright and shiny buildings that house the upper-crust in their subtly futuristic outfits could not be more different than the grit and grime of the citys lower levels and their denizens. Which-Wheres design has a distinctly 90s comic book babe influence but stops short of crossing over into creepy sex-bot territory. Her wardrobe near the end of the issue seems to say Cyberpunk Halloween Pin-Up Special but it strangely works and never comes off as gratuitous. Valentina Cuomos colors add to the aesthetic and propel the art to a whole new level. The overall look of the issue has a 90s vibe but with enough modern sensibilities to keep it from feeling like pure nostalgia.

If this one-shot has any shortcomings, its in the conversion from digital-to-print. Originally published as a scrolling digital series on Marvel Unlimiteds Infinity Comics platform, the art often appears faded or even blurry, especially in contrast to the sharp and distinct lettering by VCs Ariana Maher. Its a small gripe and certainly doesnt detract from the enjoyment of the book, but its certainly an area that could be improved as more digital pieces make their way to print.

Despite the occasionally complicated narrative choices and a couple very bizarre character moments, this is a solid introduction to an exciting new world with familiar archetypes and clever mash-ups. Thanks to the witty dialogue and beautiful art, this latest offering from Scout Comics was pretty much impossible to put down and has enough subtext to warrant multiple readings (Ive already read it twice). It may not be perfect, but if the last scene is any indication, Impossible Jonesmay be a worthy addition to your pull-list.

As entertaining as the story may be, the books biggest strength is the art by DUrso and colorist Igor Monti. DUrso imbues personality with every, single character, from Cassias roommate Hariette to the random onlookers during the big action scenes. The dynamic between Cassia and her mother is a joy to behold, both in how theyre written and drawn; the body language alone conveys so much about their relationship and just makes the book come alive. The character designs are just flawless, and while we see relatively little of the title character (both past and current incarnations), the tokusatsu-inspired designs add a whole other layer of excitement to an already excellent read.

Joining Thompson is the art duo of Chifuyu Sasakiand Naoko Kawano, also known as Gurihiru. Their cute, manga-inspired style is perfect for this type of comic, providing a wide range of emotions for the titular star, while always making him look as precious as can be. Not to be outdone, their depictions of Marvels other heroes are so unique and full of personality that its regrettable they arent handling more monthly titles.If a picture is worth 1,000 words, than this one-shot is filled to the brim. Its little wonder that the digital series was nominated for an Eisner! Packed with fun cameos and adorable shenanigans,Its Jeff!is a blast that youll want to flip through again and again.

Speaking of Joker, despite having top billing in the title, the Clown Prince of Crime doesnt appear anywhere in the issue. Not unlike the killer in Seven, he exists as a force of nature to move the narrative forward, his actions appearing only in flashback. Even Batman only appears in a single panel, during one such sequence that provides one of the books more emotional moments.

Casual readers would probably describe the art as ugly – this couldnt be further from the truth. Doug Dabbs work is beautiful in a gritty, grounded sense, with characters that look, move, and act like real people. Sprouts wardrobe resembles pieces that Harley Quinn might have dropped off at Goodwill while her hair shifts from shock-pink curls to electric blue spikes. Her overall appearance is equally off-putting and adorable, her expressions ranging from weird and creepy to pitiable and heart-breaking. Colorist Matt Wilson complements Dabbs work with his trademark brilliance. Visually the book looks more like an old-school Vertigo title than the splashy books Image is mostly known for and thats not a bad thing.

Not every piece comes together perfectly, however. While Vuongs art matches the tone of the story and his depiction of Garmadon is spot-on, the LEGO aesthetic isnt used throughout. The characters look and move like mini-figs but apart from the occasional weapon or prop, nearly everything is drawn in a more traditional style. It would have been nice to see more of the set pieces actually look as though they were built from pieces of a LEGO set. Additionally, while the recap is helpful, those who arent devout fans of the LEGO Ninjago television series may find themselves a tad overwhelmed and needing to review a wiki for more info.

The reasoning behind the invasion is but one mystery that is begging to be solved, but readers wont have to wait long. Following the debut issue, the remainder of the story will be collected in one volume, rather than serialized in monthly installments. Still if you want in on the ground floor, youd do well to pick up this issue just so you can say you readLifeformedbefore it was cool.

Artist and colorist Giulia Giacomino is nothing short of a revelation. Her art and designs are faithful to the Disney aesthetic, while depicting the characters with her own style and personality. The designs of the villainous Cluster Sovereign and their robotic shark minions strike the right balance of adorable and menacing. I mean, robot sharks are awesome in any medium, especially when theyre none-too-bright. Giacominos layouts keep the story flowing nicely, although there are some panels near the end that seem a bit disjointed when leading to the splash page that suddenly ends the issue. A minor quibble in a book that otherwise looks fantastic.

As with any anthology, the quality of stories vary, but there isnt a weak chapter in the bunch. The art is just fantastic, from the beautiful, classic style by Martinez and Harris to the more modern aesthetics of Akande and Williams. Each story has something to say, about the character it spotlights, about culture, about truth in the ways we live. Its an important book that reinforces the need for diverse storytellers and characters that can inspire any one of us, no matter our race or creed. Its also a bargain at $5.99 for a whopping fifty pages (without ads), and features some great extras, including an interviews with Martinez and journalist Evan Narcisse, writer of Black Panther: Wakanda Atlas, a fact-filled tome all about the countrys fictional and literary history.

A book of this magnitude needs some damn good art to show off this cast and the magical proceedings. FortunatelyLuigi Zagaria delivers and then some. His character designs are pitch-perfect from Logans stocky stature (and brown costume!) to Blades movie-inspired aesthetic that has never looked better. Zagaria handles the over-the-top magic and mayhem with flourish but provides the same attention to detail in the more grounded moments, such as the the subtle body language between Zoe and her demon girlfriend Dessy. My only real complaint is the book needs to be more than just a limited series because I already need more of this team.

Scout Comics has been putting out a number of fun and unique books, and Midnight Western Theatrecontinues that trend with a supernatural western that is a little bitDeadwood and a little bitTwin Peaks with just a dash ofTrue Detective. Definitely pick this up and track down the first issue if you can " I know I will!

As outlandish as the story sounds, the artwork brings it to life in truly spectacular ways. Sam Lotfis illustrations are beautiful; he balances the more grounded feel of the books opening pages with a subdued, but stylistic depiction while letting loose with a barrage of video game-inspired aesthetics during the scenes set in the far future. Jean-Francois Beaulieus coloring is just fantastic and perfectly captures the look of the world that is equally utopian and dystopian. Blending a character study with an orgy of sci-fi sensibilities is an inspired choice as Mosely creates a world that is essentially The Matrix by way of Avatar, while adding a dash of cyberpunk noir and Asimov-fantasy. Buy this book!

The story is very much a fantasy with shades of science fiction, but the relatability of Dewey and his friends keep everything grounded. Between Deweys dyslexia and Beatrices anxiety, the cast is depicted in a very real, honest way that never feels heavy-handed. With every new level, the kids work together to solve problems, help each other, and push themselves harder to get to the next stage. However, the books visuals dont fare quite as well; there are some noticeable inconsistencies with perspective, and the characters expressions seem limited and very Muppet-like. These are minor quibbles though, and the art gets better and more stylish as the story progresses. Cory Breens lettering is excellent and very easy on the eyes, and Hansens coloring is beautiful. There are also plenty of fan service moments and several subtle nods to its placement in the DC Universe (or somewhere in the multiverse), but those moments never feel forced or distracting.

Much like the other titles in the Dawn of X line, this is not the most new reader-friendly book on the stands. At least a rudimentary knowledge of the mutants new status quo is required to fully understand the issues opening scenes. The X-Men line in general is notorious for using caption boxes that provide character names and abilities, however, those are noticeably absent here. It may be beneficial to have a Marvel encyclopedia handy to know more about characters like Mondo, whose powers are only vaguely hinted at. Despite the lack of general accessibility, this is a highly entertaining first issue that should appeal to X-fans of any generation.

The art by Alexandre Tefenkgi and colorist Lee Loughridge is just breathtaking. Their designs for our leads are both grounded, yet fantastical with Maceos disheveled but colorful wardrobe contrasting nicely with Mezzys Furiosa-esque warrior garb. The artist's depiction of the apocalypse is messy and cluttered in ways that are eerily familiar, yet oddly unique. Maceos sanctuary is like a hoarders wet dream, with waste and resources coating the floors, while vending machines and inflatables lay scattered about. The world here isnt ravaged by zombies or aliens but seemingly by environmental disasters, perhaps even climate change. There may also be a virus at work, but again there are only hints as to what really brought down society. Its obvious that this is the work of some master storytellers who have an epic to tell and are not in any rush to get to the end. Not to oversell it but Once Upon a Time at the End of the Worldcould very well be Aarons very own Saga.

The art by Greg Land is, as per usual, heavy on photo-referencing but light on personality. A few panels look really good, but Lands style lends itself better to covers or pin-ups, as opposed to sequential art, which looks mostly rushed. One panel in particular even finds teen Angel inexplicably wearing his older counterparts costume; it would appear to be a coloring mistake were it not for the awkwardly placed halo on his chest. Its a small mistake overall but the error of continuity is pretty ironic given how meticulous the rest of the book is.

The art on the book is solid as well, with pencils by Alessandro Miracolo and colors by David Curiel. The art flows nicely from scene to scene and complements the narrative perfectly. Miracolo does an exemplary job handling the smaller moments between star-crossed lovers Jean and Scott, as well as the larger, space-opera action scenes. Curiels colors are vibrant throughout each page and give life to the Phoenix in a way few artists can. You can feel the heat coming right off the page (no small feat, especially when reading digital comics). The Krakoan Era may be over but the fun is only just beginning.

Together, Andolfo and Braga have managed to produce a strange, yet beautiful comic with a lot of potential that gets bogged down by too many ideas. With any luck, future installments will shed more light on the proceedings so readers will have something to latch onto. Until then,Purr Evilwill likely leave you grasping for something thats not yet within reach.

Handling the art is Giuseppe Cafaro, whose style and character designs are similar to Andolfos own without ever seeming like an imitation. The outbursts of violence are bloody and graphic but handled masterfully and made all the better with excellent coloring by Chiara Di Francia. Every decapitation and dismemberment is a thing of beauty. Cafaros depiction of Red Sonja is just as fantastic; he keeps the traditional look of the buxom red-head in a chainmail bikini but avoids any gratuitous imagery or cheesecake poses. His Sonja is beautiful, as always, but meant to be feared, not ogled. Its a refreshing change of pace that once again never disrespects the traditional aspects of the character.

While the book is effectively creepy and uncomfortable, its an odd choice to focus solely on a group of very unlikeable characters when solicits market Maisie as the star. She really only appears in two panels as herself, while her television counterpart gets a little more page-time. The cliffhanger ending makes it apparent that Maisies story is only beginning and that the next issue(s) may provide an altogether different perspective on the idea of fandom. Its certainly worth tuning in to find out what happens next.

Overall, the Sabrina Anniversary Spectacular is successful in that its a celebration of Sabrinas past, present, and even her future, as Amber Nightstone is poised to play a recurring role in the good witchs adventures going forward. Plus its always refreshing to have new content featuring the teenage witch, whether it be in a classic setting or as part of Archies modern line of titles. One can only hope that a return to Sabrinas more chilling adventures might be on the horizon as well.

Those still lamenting her previous all-but-cancelled series may be left wanting something darker and edgier, while those used to her appearances in the core Archie and Jughead titles may be put off by the creepy vibes. The book as a whole is very entertaining, with Thompson doing an admirable job of bridging those two series into a hybrid that is both fun and creepy. Its likely not a coincidence that the tone and style of this series is very close to that of the current Netflix series but still manages to keep things lighthearted.

While its hard to judge a new team without all the components, this book is off to an interesting start. Duggans approach is a bit of a slow-burn, but its apparent that hes building toward something exciting. The book has a lot of potential, is filled with gorgeous art from start to finish, and should definitely be considered for your pull-list.

Unfortunately, Petillos art is another weak spot. The action is depicted well and there are some panels that are just plain beautiful. The character designs, however, are very much the opposite. Not that everyone in comics should have model-good looks but the stylized designs are sharp and pointy in ways that border on unpleasant. Thankfully the colors by Francesco Segala are on-point, particularly in his use of reds and earth-tones that really give the illustrations a pulp paperback look, further accentuated by a grainy texture that makes the pages look old and tarnished. Its an effective technique, just a shame that the pencils dont quite match.

All in all, this is a fun first issue that serves as a direct continuation of the creative teams vision, while providing a serviceable introduction to fans. They clearly have a lot of love and respect for our hero, striking a good balance of humor, drama, and incredible action thats worthy of the character. The lack of background doesnt take away from the enjoyment of this issue, and, if anything, the unanswered questions are more intriguing than frustrating.

Joining Corrie on his adventure is artist Matt Wendt, a star in the making. His style and designs are evocative of Stan Sakais Usagi Yojimbo, trading feudal Japan for a Scandinavian countryside. Each of the main characters have their own distinct look and personality, while even the background critters are expressive. While both the writing and art are strong, Wendts cartoony style occasionally downplays the deadly serious tone of the story. As such, the subject matter and violence may be too intense for younger readers, especially those who take issue with seeing furry creatures eviscerate one another. The only real levity or humor comes at the expense of the portly Gorm, whose gut is as big as his heart, if not more so. As a standalone adventure,Sons of Ashgard: Ill Met in Elmgardis a solid OGN for audiences young and old but also proves to be a strong start to what will hopefully be a long-running series.

Spawn Kills Every Spawn! may not be for everyone, however theres at least a little something for anyone and everyone who has even a casual affinity for the heavily-cloaked hellspawn. Whether youve been reading the series since the beginning, dropped off around issue thirty-seven, or rented the movie once at Blockbuster; if you have memories of sitting on the floor bashing Spawn toys together or spending hours hunched over a desk drawing characters like the Clown or Overt-Kill, this book is for you.

As with the other Contest of Chaos books, this issue includes a back-up tale by writer Stephanie Phillips and artist Alberto Foche, continuing the adventures of Clea, Spider-Man, and Jessica Jones. In the latest chapter, Marvels most unlikely trio uncover more secrets about the strange events transpiring in the main universe, leading to a metaphysical confrontation with the enemy behind it all. Spoiler: it was Agatha all along.

Overall, however, this is a solid first issue to a new Spider-Man series and an excellent way to kick off what is presumably the last Spider-Verse event.

This latest Dark Horse miniseries is groovy, sexy, and weird in all the ways comics should be. WARNING: May contain hairy men in Union Jack speedos.

While the first chapter of this era doesnt start out as strong as the first volumes of Star Wars or Darth Vader, the creative team has produced a solid opening chapter that will definitely have readers clamoring to find out what happens next. Scattering the legacy characters into various directions means each of our heroes will get their moment to shine eventually, even if we may have to wait, while the new heroes and villains are interesting enough to warrant their greater page-time. Seguras willingness to play in lesser-known areas of the sandbox creates opportunities to tie-in other stories without distraction. Fans of the Aftermath novels will delight in the inclusion of Yupe Tashu and the Acolytes, but Insurgency Risingdoesnt require any homework in order to understand and enjoy the latest tale in the ever-expanding Skywalker Saga.

The art-team of Leonard Kirk and Rachelle Rosenberg deliver another gorgeous issue, giving each new set piece its own color palette and tone. While theres a lot more talking than action, Kirks layouts keep everything at an even pace and the character designs are top-notch; new character Zeva Bliss already deserves her own action figure. Despite the storys shortcomings, theres a lot of intriguing developments and the cliffhanger ending guarantees Ill be here for issue three.

The art team of Alvaro Lopez and Laura Braga bring their own signature styles to the page, adding personality and emotion to both the world and its characters – no easy feat when the Ewoks themselves arent terribly expressive. Antonio Fabelas coloring fleshes everything out, creating a nice contrast between the dull, mostly monotone shades of an Imperial craft with the lush greens and browns of the Forest Moon. Theres a surprising amount of world-building considering we thought we knew all there was to know about the Forest Moon of Endor, and there are at least a few references that fans of the Ewoks cartoon and movies will appreciate. The inclusion of a couple fairly well-known bad guys borders on fan-service but when a storys this fun, I say sign me up.

As the story progresses, the dynamic between Obi-Wan and his friend Gehren is delightful but it fizzles out far too soon, leaving one characters fate left up in the air (you can guess who). As such, the main story feels like its just a one-and-done with no real resolution. Its relatable in a way–the idea of growing apart from a good friend and never knowing what happens to them–but here it just seems like the start of a story that may never continue. Hopefully there is a theme or overarching narrative that will provide greater meaning to this series; otherwise it runs the risk of being another forgettable tie-in simply made to lead into Kenobis upcoming live-action series.

Stylistically, the book is all over the place and its better for it. The opening prologue is devoid of any color save black and gray. The sketchy line art and streaky inks create the impression the pages exist in an old, pencil-smudged sketchbook. Everything and everyone seems to have texture and personality, and the rough look just makes it all the more enjoyable. I liken it to having a talented friend force their self-published comic upon you – its rough around the edges, and the world seems familiar but the ideas are sound. Its far from perfect but theres potential and you want to see where the story goes.

Ill say again, STRAY DOGS is intended for mature audiences. While any real violence is minimal, whats seen on-panel can be a bit jarring, and the dark undertones throughout are definitely not for kids. If youre looking for something new and unique from the usual superhero fare, or if youve ever just wondered what Lady and the Tramp would be like with the tone of True Detective, then definitely give this a read. Its an effectively creepy and entertaining first issue that kind of messed me up, but in all the best ways.

Once again, the art here is brilliant. Forstners designs are equal parts Disney and Don Bluth, which makes for a nostalgic, yet tense read. Along with Brad Simpson on colors, Forstner puts a tremendous amount of energy into every page. The book is simply gorgeous from start to finish, with credit going to Tone Rodriguez and Lauren Perry, as well. If you havent picked up Stray Dogs yet, you owe it to yourself to pick it up. Just be sure to read it with the lights on. And to hug your pet afterwards.

Alessandro Vittis art is fantastic; his layouts are on-par (not sorry) with the best artists in the business. His style is heavy on detail, most notably in the action sequences, which have a dynamic yet grounded approach. This is used to comedic effect when Taskmaster, in full garb, is evading an assassins bullet while on a golf cart, talking on a cell phone. Its a ridiculous image that Vitti brings to life in a spectacular way. My only gripe is with Taskmasters skull mask is that its always a bit jarring to see him be so expressive beneath the mask, especially with a moving jaw, but its no weirder than Spideys whole eye thing.

For all its strengths, the book has a few minor weaknesses. The biggest offender is that its over far too quickly! All kidding aside, an early scene that introduces the character of Kaite, alludes to her own family struggle but rather than build some type of mystery, it just comes off as vague with dialogue that lacks the authenticity prevalent throughout the rest of the book. Its a minor quibble, easily forgotten once the story gets going. And while it may be too soon to tell what kind of story Thompson and De Iulis are telling here or where The Cull will ultimately lead (or what it even is) but this issue is certainly unlike anything on the shelves and will likely be surprising readers up to the very end. I suggest getting in on the ground floor now!

By far the biggest draw for me here is the world-building. While the flashbacks really only hint at Jasmines own past, her upbringing by a pair of Nazi-hunters post-WWII is a concept worthy of its own prequel series. Likewise, baby sister Violet is a rich enough character to lead a miniseries or at least a one-shot of her own. With a flirtatious, violent personality and equally violent backstory, this sexually-fluid vixen is the most dynamic of La Trois Fleurs. While neither Rose nor Poppy get as much page-time or development (yet), its apparent that all three Hawthorn sisters havetheir own secrets, which Im excited to see unfold over the course of this series.

While Tynions storytelling prowess is evident, he has a perfect partner in artist Joshua Hixson, who manages to move the narrative forward with nary a word. His character designs are simple, yet complex, evoking the likes of David Aja and Chris Samnee, while maintaining his own distinct style. Hixson handles moments both big and small, from the tiniest flicker of emotion in our protagonists face to a full-page scene of literal blood and guts. Not to be outdone, letterer Hassan Otsmane-Elhaou manages to include his own artistic flair, from the large captions announcing a new set piece to the disturbing sound effects that seem to have an eerie texture of their own. Like the film Suspiria,The Deviantis a grotesque thing of beauty that will shake you to your very core. Dont believe me? Pick up a copy and see for yourselfif you dare.

The art by Patric Reynolds is both beautiful and ugly in all the right ways. The setting of Edge City looks like little more than a demilitarized zone. Likewise, the photo-referenced characters are depicted as realistic, flawed, and about as far from glamorous as you can get. With the addition of Lee Loughbridges excellent coloring, the art has a grounded approach that makes Big Heads bright green visage even more terrifying in contrast to the grittiness of the environment.

Its been a while since Ive had a book stick with me likeThe Sacrificershas. Needless to say, its going to be a loooong wait for the next issue.

The art by Lisandro Estherren is wonderfully eerie an early scene at a bar features its denizens as grotesque shapes, as if displaying their inner ugliness on the outside as they dance and cavort. Estherren and colorist Patricio Delpeche deliver the perfect visuals to complement Tynions creepy-af script. Delpeches excellent use of reds and purples certifies the club known as The King of Pain as a literal Hell on Earth, creating an atmosphere that feels hot and claustrophobic its an uneasy feeling to have while reading a funny book but it enriches the experience. Whether youre new to the world of the Sandman or a veteran, this accessible first issue will hook you and make you want to dive back issue bins and bookshelves for more.

Written and drawn by Dennis Messner,The Unpetablesis an off-kilter, rollercoaster ride of hilarity and utter nonsense. The humor and character designs are reminiscent of the animated series Regular Show but for a slightly younger but equally immature demographic. Messners art is manic in the best ways and while the story feels a bit disjointed, especially during flashback sequences, it all comes together nicely. Whether youre young or young-at-heart, theres plenty to enjoy here, though you may find yourself longing for the next chapter as soon as its over.

Zdarskys trademark voice was all-but absent in the previous issue, but here its very distinct and his range as a writer is on full-display. The dialogue is full of humor and heartbreak, as is the story itself. The genius lettering by Aditya Bidikar adds just enough personality to Zdarskys words, while keeping within the style of this dark and broody tale. I only hope this whole team returns to the world of Blacksand one day soon.

And while the story does inevitably show how both identities are crucial during a particular situation, the nature of their duality is never explored as fully as it could be, resulting in a one-shot that is good, but doesnt seem like a crucial, must-read story. The book also ends with a bit of inner-monologue from Loki, a strange choice given his limited role in the story.

Young and Strahm bring their mutual storytelling sensibilities together in a merger that exploits both creators' strengths in all the best ways. Youngs voice and storytelling prowess is evident in every panel, while Strahms illustrations are just perfect for this type of story. To paraphrase the song Colors of the Wind, every rock, tree, and creature has a life, a spirit, and a name. Theres a remarkable sense of continuity from one setting to the next, and theres often a subtle creepiness that hints at a darkness resting just below the surface. His artwork is complemented by colorist Jean-Francois Beaulieus extraordinary pallet, and the lettering by Nate Piekos adds to the books delightfully strange personality.

The familiarity is nice and all but the creative team plays things a little too safe. The Ultimate line was known for taking risks, with varying degrees of success, but it seems Ultimate Black Panther would rather hide in the shadows than risk open war.

If you think the idea of endless variations of characters existing within an increasingly complex multiverse is too played out, Uncle Scrooge and the Infinity Dimemanages to use nearly every single trope there is but still make the concept feel fresh and exciting. Aaron isnt trying to subvert those tropes or complicate the narrative with shocking plot twists or gratuitous fan-service. What hes crafted, along with the incredible art team, is a love-letter to classic Disney comics and the characters so many generations have grown up with. It also honors the creators, particularly Carl Barks and Don Rosa, that created and/or developed those characters into the ones we know and love today.

Unearth is weird in all the best ways possible, layered with ideas to explore while never fully disclosing what the story is about or where its heading. While that aspect can often be frustrating, its actually one of this books greatest strengths. Is the threat simply a virus? Is it aliens? Monsters? Magic? It could be any or none of the above. The mystery is at the very heart of this bizarre and horrifying tale and I, for one, cant wait to know more.

The only downside (and this is a common issue with a lot of comics nowadays) is that the previous series are pretty much required reading. A recap page may have been helpful, but there is enough exposition to hit the important notes without detracting from the ongoing narrative. Speaking of which, its clear that Tieri and Moreci have long-term plans for this section of the Archie-verse, and I strongly suggest getting caught up now. You wont be disappointed!

At times,We Have Demonsfeels like a direct continuation of the teams previous work, almost like it exists between the panels of epic DC stories like Dark Knights Metal and its sequel. Much like those stories, this book has enough worldbuilding to spin off a number of crazy tales. Even our star Lam feels like the spiritual successor of Harper Row, a character the creative team introduced during their epic run on Batman. Daughter of a preacher man, Lams upbringing has its fair share of tragedy and enough teen angst to make her frustratingly relatable. Lams story serves as a coming-of-age parable, which Snyder deftly weaves within a creation story that balances science and faith in a way that is outlandish, yet respectful to both ideals.

Much like the previous anthologies, Women of Marvelincludes a bevy of bonus materials, including a lovely introduction by Charlie Jane Anders and all-too short interviews with other women of Marvel, including Pilar Flynn, producer of the new hit animated series Moon Girl and Devil Dinosaur, and Isabel Robertson and Kara McGuirk-Allison, producers of theWomen of Marvelpodcast. For those who dont mind defacing your beloved funny books, there is even a paper doll of Janet van Dyne, featuring several adorable outfits with art by Erica Durso and Rachelle Rosenberg. Even with its weaker aspects, this one-shot is a celebration of Marvels female heroes and just a few of the talented women who work hard for their craft and deserve to be recognized.

If youre a fan of the merry mutants but either havent seen or remember much of X-Men 92, this is a solid jumping-on point, though you may want to watch the final episode to understand the current status quo. Otherwise, this is a great call-back to a bygone era that many long-time Marvel fans fondly remember, with characters that act and sound the way we remember. Foxe nails the voice of each character to the point where I could easily hear the original voice cast deliver every line. I strongly recommend pulling up that iconic theme music on Spotify before you start reading. Chefs kiss.

Even though the book doesnt offer much in the way of a self-contained story, it serves as a compelling primer to the X-Mens current status quo and provides some foreshadowing that feels truly organic. Other moments do seem more editorial-mandated–such as the second-act cliffhanger that promises a Spider-Man/Wolverine team-up–but it all adds to the fun of a giant-sized X-Men comic that may be light on action but delivers plenty of story for your buck.

The plight of the X-Men has always served as a metaphor for oppressed sub-cultures and Guggenheim manages to use what could be considered an unnecessary prequel to say something about how the world is now. The true villains here are the so-called baseline humans, those who represent the notions of transphobia, homophobia, and racism, projecting their hatred and fear on a community that they see as less than human. To his credit, Guggenheim does a fine job of writing in a style that feels like a classic X-Men story, but the comparisons to real-world struggles makes it as contemporary as can be. Manuel Garcias art matches the writing with a classic approach that evokes Alan Davis during his prime, especially during scenes involving the team in their 80s era uniforms.