Just like the previous issues, the finale is gorgeous. Risso's art and layouts are very engaging. The action is brutal and reflects a nihilistic outlook on the world. The brutality of man, the horror of violence, the inability to change one's own nature: these are all rich themes, worth exploring, and potentially evident inBrother Lono. Yet the story does not engage any of them on a meaningful level. And that's just too bad.

If it weren't for the issue's modern style, it wouldn't be difficult to think this was a relic of the 1980s pulled from a back issue bin.

It's an awkwardly positioned issue with awkward delivery and, while not all of that is the fault of these creators, it all results in a read that never manages to find the gas pedal.

There's potential present here, but it's not realized and what's left will only satisfy readers desperate to find more of Riri. They deserve better.

20th Century Men is quickly becoming one of the 21st century's very best comic book series.

Like every issue before it, 20th Century Men #5 will leave readers anxious to discover what comes next, but they will have plenty to contemplate in the interim given both the hope and despair evoked in this excellent issue

20th Century Men is a brand new vision that draws readers to interrogate the globe and their own soul through a mastery of the form. A masterpiece.

From the basic idea to the crisp visual notes, whatever you imagine based on that cover is bound to be better than what is inside. Boss is a real talent with great promise, one to be watched as he refines some of the skills and influences on display here. Yet the script squanders what he and the other visual collaborators bring to the table. There is no pushing back against the rigid grids and dense dialogue of the comic as it continues, and it collapses under its own weight. No matter how good 4 Kids Walk Into A Bank may sound, it's better to wait for the next thing.

A bizarre premise stuffed with colorful characters, gut busting humor, a deep appreciation of American pop culture, and a surprising degree of depth amidst all the tawdry details. The uninitiated can rest assured they're in for one heckuva ride here.

Combine those laughs and thrills, and you have a must-read comic on your hands assuming one doesn't mind a bit of funny business.

This is an already impressive and consistently entertaining series that appears to only possess room for growth as it continues.

The Six Sidekicks of Trigger Keaton would be a must-read for its comedic merits alone, but it still insists on delivering outstanding examples of action, character work, and mystery plotting in each issue meaning even its middle chapters are a delight from start to finish - because the interview back matter in this issue is truly outstanding.

It's played with the same excellent action panels and sense of humor that has been present throughout The Six Sidekicks of Trigger Keaton, and it ensures the issue is still a joy to read even as it hesitates to find its conclusion.

The solution to this series' core mystery arrives with a thud.

Whatever nuance this narrative lacks, it makes up with skillful horror storytelling.

For readers excited about Secret Wars and the epic superhero tales promised, A-Force #1 is a mixed bag. The tone and story are consistent with big crossovers, but share some of their failings as well. Consistent presentation of those ideas is where the issue really has troubles though. If Molina and Cheung's work improves, then A-Force may be one of the most fondly remembered series of this entire event.

A.R.C. provides readers a one-shot tale focused on the action and efforts of anti-poaching organizations on the continent of Africa, albeit with the pacing, plotting, and approach of a spy thriller.

A.X.E.: Starfox is a thesis statement for an apparently underrated Avenger that's bound to change a lot of minds and turn some heads.

There's never a moment of doubt and the odyssey further down this divine rabbithole remains thrilling; A.X.E.: Eternals is another excellent offering from Marvel's best event in years.

It provides both a great starting point and satisfies the yearning readers must feel to see more of this very inventive group as their actions encompass much of Marvel Comics.

Schiti and Gracia's artwork, all thirty glorious pages of it, are a testament as to why I'm disinclined to assume too much about the overall project of A.X.E.: Judgment Day based upon an uninspiring first chapter; it is an event shaped by some of the insightful and deft creators plying their trade at Marvel Comics.

All of the tie-ins for Judgment Day have related to a very specific event in the first issue and the reason for this slow acceleration becomes abundantly clear this week when the real stakes of the event are revealed. The final few pages alone reignite any diminished interest caused by the first issue's familiar stakes; what happens here will leave readers with plenty to consider and opens the door for an event far different than what many of us have grown cynical over.

Judgment Day is quickly evolving into a very special event that delivers on the blockbuster promises of crossovers without forgetting to root its story in universal questions and character; A.X.E. is beginning to look like a best case scenario for superhero events.

You won't find a better event than Judgment Day in 2022.

It's a proper spectacle as rendered by Valerio Schiti and Marte Gracia who fill splashes with a resplendent array of costumes and ensure that even burning skylines possess a strange beauty.

It's an impressively ambitious affair, especially when one considers that it's using superheroes to contemplate the problem of evil and man's value in an era of decline.

It's a promising climax that pushes this miniseries forward into its final couple of issues (and hopefully an ongoing series).

It's a whole lot of filler for a good bit of killer at the end.

The final moments of this miniseries exude anti-climax. All of the hallmarks of a big moment are there, but what actually occurs on the page has little to do with the events that came before.

The entire issue delivers a brief and thrilling read that invites readers to return for more of the same as this cross between magical realism and Westerns trods down an increasingly bloody road to revenge.

Above Snakes takes a second run at the formula introduced in its debut and proves that it possesses some real mileage.

Above Snakes continues to deliver single issue reads that are quite satisfying in their own right, providing brief arcs, but issue #3 is an excellent reminder as to how those smaller pieces are adding up and building towards something even more compelling.

Above Snakes has been such a delightthe apex of Sherman and Lewis' impressive collaborations thus farthat its penultimate chapter sneaks up on you; it's difficult to see this comic prepare to say goodbye.

The finale of Above Snakes meets the immense promise of each step that led to it in Hayden and Sherman's immensely strange Western. Above Snakes #4 delivered on the copious bloodshed promised by a man riding against an entire gang of bastards for revenge and cleared the stage to focus on only a few characters: Dirt, Speck, and Tombs.

While the final page of this issue is an absolute showstopper, it's ultimately one big reminder of what readers have been discovering across two series in the past year, albeit a well-written one.

The result is a dismal acknowledgement of what's occurring on the fringes of Absolute Power and raises the question: Couldn't all of this have been included in a few narrative captions instead?

Much like the first issue, it seems that this miniseries primarily serves to flesh out brief sequences from the event to enhance its condensed page space without providing much satisfaction on its own right. If readers are interested in seeing how the Doom Patrol and Aquaman confront such powerful foes, they'll have to look elsewhere. That makes for a deeply unsatisfying comic book read.

Task Force VII read like outtakes from Absolute Power across its first two issues, emphasizing scenes and connections not important enough to be included in the event miniseries but too insubstantial to stand on their own merits like illustrated superhero trivia. Absolute Power: Task Force VII #3 does significant work to address this flaw by emphasizing the strange connection made between Alan Scott and the Amazo Jadestone and offering more than a summary of what's happened to the JSA since Absolute Power #1.

Like all of the other issues in this miniseries, Task Force VII #4 isn't essential to "Absolute Power," but it portrays the sort of struggle that makes this particular event interesting and delivers everything readers require in a tightly crafted 20 pages with a perfectly suited bittersweet conclusion. It's the exception worth picking up, even for readers skipping tie-ins.

Character inconsistencies (Skeets doing the exact opposite of what he just advised between pages) and ample clichs (a villain explaining their plan in excruciating detail) make for a tedious issue of filler that leaves us looking for to Action Comics #1000 as a light at the end of this tunnel.

It's another disappointing chapter before the big shake up.

Action Comics #999 is an excellent end point as the torch is passed to a new team next month.

Action Comics #1003 is yet another strong entry in this Superman renaissance.

No issue has better defined why Brian Michael Bendis is the right writer to steer the Superman line of comics than Action Comics #1004.

Take a break from drawn out superhero sagas and remember what comics can deliver in a single package; you won't regret it.

It's a joyful return to an idea that has always been fun and absolutely delivers on the genre-oriented promise of its title with plenty of adventure for readers to enjoy.

It's easy to imagine Adventureman becoming a hit when collected, but as a single issue reading experience it doesn't offer much to satisfy or hook readers"providing something that feels more like a lengthy sample than a rousing first chapter.

The second issue begins to lay the groundwork for how pulp fiction and the comic book reality will interact, and it offers a satisfying invitation to watch these worlds merge even without a cliffhanger.

Adventureman: Ghost Lights takes off in the final few pages of this issue with a countdown and climax that's some of the tensest comics you'll read this week.

There's no doubt that the Dodsons' artwork provides plenty for readers to enjoy, emphasizing the blend of pulp fiction and Claire's reality with stylish flair here. However, Adventureman is struggling to maintain momentum and offer a clear conceit to readers, and that poses a serious long term problem for a serialized story like this one.

The opening sequence of Adventureman #4 is astounding. It's a thesis on power as its heroine grapples with ever growing abilities and form, and it's delivered in the familiar grammar of superhero and pulp genre tales as summoned by the Dodsons. What follows is a mixed bag of events, exposition, and threads that never quite feel like they are part of the same story.

The series is as gorgeous as ever with both pulp-infused heroes and villains reminding readers of how much charm is built into the very bones of this story.

In Adventureman #6, the focus rests on the different sorts of classic, pulp tales that may lie ahead and it's apparent those will pay dividends with the series' style.

Adventureman remains an impressive aesthetic feat, but the slow crawl of its story is starting to remove the luster from its appearance.

While Adventureman debuted nearly 2 years ago, it seems to be finding a rhythm just now with a comfortable mix of characters and context that allow for the many soap opera-esque plots to play out across many issues. It's simply fun to watch it evolve here, even if the cliffhanger lands with a thud.

No matter how engaging and fun these settings remain, readers have already seen the Dodsons deliver these buoyant concepts repeatedly and, at this point, some novelty is needed.

Adventures of Superman: Jon Kent #1 is a comic that does not require reading. Fans concerned about events in the Superman family of books can be sure they know all they need from the solicit, while the story inside this issue remains cold, uninflected, and generally uninteresting.

There's simply too little to the individual issues of Adventures of Superman: Jon Kent so far to make them read like a substantial development in a serialized narrative, which makes the connection to a story composed of brief, digital installments make more sense.

Told with more wide open panels, familiar, MCU-style humor, and an embrace of superheroes as enforcers of the world as it is, Superman: Adventures of Jon Kent remains an utterly lifeless affair.

Jon Kent continues to tour the world of "Injustice" and inform readers about this very popular alternate reality in a fashion that will be repetitive for those already familiar and direct, but dull for those who may not be.

For those interested in knowing what happens next, Adventures of Superman: Jon Kent #5 delivers more, but there's not much to be valued beyond the plotting.

With artwork that forgets to develop any interesting settings in favor of bland superhero splashes and a conclusion that is anything but satisfying, it's clear Adventures of Superman: Jon Kent is best skipped altogether.

Rex Luthor's gang of childish supervillains prove to be an entertaining distraction for most of an issue that runs in circles.

While the story is competently told, there's little that will stick and that makes it difficult to recommend this story, even if it lacks obvious flaws.

While there might be an epic tragedy bound up in the threads of this mini series, it's served as a buffet, rather than a feast.

This was a strange, largely directionless series, one that will be quickly forgotten beneath the continuing onslaught to Conan spin-offs.

While this miniseries is all set to go out with a bang, it's unfortunate how long it took in arriving at its destination with little else to add.

Alien #1 is a serviceable introduction to a new era of Alien comics; setting itself clearly within the timeline of the early (and most popular) films, and providing readers with a new lead character and problem to address.

The result is a comic that is dull every moment spent away from devoted action and suspense sequences and those are further undermined by the final few pages in which Larroca's forms appear to be traced atop one another with no clear physicality or contact.

Xenomorphs are all over Alien #3 as the few survivors of a recovery team struggle to make their way deeper into an infested space station; the problem is that they appear to be a comedic element, rather than a horrifying one.

The flaws in Aliens are as noticeable as they are because of this series' profile"this is Marvel Comics' launch of a new franchise that it will most likely possess in perpetuity within the House of Mouse. Yet every part of this debut story continues to fall flat and what might have appeared a step below mediocre as yet another Dark Horse miniseries seems utterly disastrous here.

All of the problems that were evident in Aliens #1 have not only proven to be substantial flaws, but have continued to worsen throughout this story"it's difficult to find any elements to even deem salvageable in these pages.

Overwriting runs rampant like the first few sessions of an RPG and the impulse to explain undermines any metaphors intended to be shown. Yet when the script finally opts to simply show these characters under unimaginable pressure, a diamond of a good idea can be seen. It's enough to keep me reading because, despite how badly this franchise's core strengths are regularly mangled in endless sequels, the results are rarely dull.

Where the first arc of Alien sought to remix familiar elements from the franchise, "Revival" introduces a variety of new concepts to the series and offers a promising reset after that disappointing introduction.

It's competently told, but if all we ought to seek from Alien is what we've seen before then there are far better comics to consider. This is simply more and that's deeply disappointing.

With less-than-terrifying Xenomorphs rampaging through a story that's been told many times before, it's difficult to find a reason this hiatus shouldn't have been made permanent.

Alien #10 is the best issue of the series"and therefore the franchise's run at Marvel Comics"to date purely for the novelty it introduces.

Poorly rendered photographic forms and inconsistent geography continue to plague an Alien story that otherwise might be fun, if not memorable.

It's clear there are some ideas of interest embedded in Alien, but it remains uncertain whether they'll be worth following in a series that regularly relies on well-worn tropes and mediocre representations of forms that should be frightening.

The alien itself never provides any sense of horror, only confusion, in appearances with strange perspectives and a lack of consistency. Simply viewing the text makes Alien Annual #1 an unbearable chore.

*This grade is based on the quality of craftsmanship in this issue. I would not recommend it to anyone who has not read Prometheus: Fire and Stone, but do not want to judge the creators for what was most likely outside of their control.

Wherever the mysteries of the plot and ambitions of the creators lie, Alienated #1 promises that the best is yet to come and earns more than sufficient credit to keep us reading throughout 2020.

There's still an interesting story present in these pages, but many of the best features have been dialed back to the series' detriment.

This nuanced, well-paced exploration outpaces a clunky introduction and some familiar tropes to make the issue read as something exceptional.

Alienated #4 increases the stakes and demands of its story in a shocking fashion, and if it can pay off the trials of this issue, it will be one of 2020's most compelling new series.

The penultimate issue of Alienated offers abundant visual spectacle accompanied by character arcs filled with tragedy, setting the stage for a riveting finale to one of 2020's best miniseries.

After five stirring issues of mounting emotions and trauma, some temporary peace is found"that will have to be enough, as it so often is in life.

Despite its lack of originality, Aliens: Aftermath at least delivers a story that understands its point of origin and that alone is an improvement at Marvel Comics.

Stokoe is a cartoonist who both adores genre and studies his craft. This is what makes him the perfect artist to tackle an adaptation like Aliens: Dead Orbit. The chills and style of films are captured through Stokoe's own eyes. The gap between the thing and the thing itself is closed because Aliens: Dead Orbit #1 is not an imitation, it is its own work of art " and a thrilling piece of comics storytelling.

The final panel makes for an almost perfect ending to this issue. Reynolds uses a silhouette to once again display the terrifying xenomorph anatomy, but to also emphasize the sharp terrain surrounding it. Broken rocks lie across the earth like broken glass jutting upwards. Everything about the panel indicates a sense of imminent danger and the colors of a setting sun reveal that the story will only grow darker. This issue serves only as an introduction to the story that Roberson and Reynolds are interested in telling. Yet it presents the imagery and ideas of that story in a manner that has left me entirely convinced I want more. There's no doubt in mind that this comic exists for a good reason.

All Against All has provided readers a fascinating riff on apocalyptic sci-fi with a setting and species that reflect humanity with strange clarity, and it appears well staged to stick the landing in its finale.

The violence in All Against All #5 is painful to witness and that speaks to the power of this stunning sci-fi series questioning the nature of humanity and our relationship with the natural world.

All-New, All-Different Avengers is anything but what the title describes. It's bland, unimaginative, and poorly assembled. The best thing to be said about it is that it is a perfectly readable Avengers comics, but we already have five decades worth of those.

Excluding the potent combination of favorite characters, All-New, All-Different Avengers is a superhero comic that looks and tastes like the paste you were told not to eat in preschool. Consuming it won't hurt you, but it certainly isn't going to do you any good either.

What gives Prez so much to play with on a small scale though is Lemire's script. He is exploring the consequences of surrendering three gifted, but traumatized children away. Lemire separates the story in two parts, showing what led to a split in the present and what brings the two heroes back together after 20 years. The result is something that reads like a breakup story, even if the romantic element was never there. Clint and Kate's codependence and partnership dissolves in a shockingly human manner that may strike close to home for some. As a result All-New Hawkeye is a comic that, much like its predecessors, sophisticatedly presents the problems we go home to after the day job is over (even if that day job is being a superhero).

All-New Inhumans #1 is visually engaging in most panels though and finally gives readers a reason to care about this new team hitting the scene at Marvel Comics.

The course of All-New Inhumans #5 isn't to provide so much of value that missteps like these contorted faces can be easily overlooked, but that they call into question why to read the comic in the first place. The appearance of Spider-Man and plot points on weaponization provide footholds to an ongoing plot with some merit and visual charm, but none of it distinguishes All-New Inhumans in any marked way. The most interesting concept in the entire comic, the Skyspears, is a lesser version of something currently being published at Image Comics. If there is really a call for Inhumans stories, then fans could expect worse than this, but that's assuming there was ever a call to begin with.

Despite some flaws in the art, All-New Wolverine #1 is a good start that delivers a clear direction for the character and shows just how much can be done with her in only a couple dozen pages. Whatever comes next should be a very fun adventure.

The characterization of these young heroes is excellent still and it's enjoyable to watch them interact under Bendis' words and Asrar's images. However, the clunky introduction of a new character and fractured stories detract from that experience. All-New X-Men #32 is an uneven collection of beginnings ranging from the exciting to the confusing.

The best part of All-New X-Men #1 is the solicit, once you open the comic itself the promise is quickly unraveled to leave only disappointment.

All-New X-Men is a hastily assembled comic book on every level. Characters are sketches of teenagers and a single issue only manages to focus on a single, shrug worthy conflict between two of its characters, while the rest are banished to the background in one note appearances (e.g. Bobby is gay! Hank is smart!). The artwork passes the test of sufficiency, but provides no literal or metaphorical depth for readers to invest themselves in. It's certainly a comic, but there's not much more worth saying than that.

Without the necessary style or skill to make the artwork its own draw, there's simply not enough here to guarantee any reader is compelled to wait for All-Out Avengers #2.

The entire affair is a bore one made interminable by Greg Land's rigid figures and mid-coitus-rigor-mortis faces inducing cringes from the page. Leave it.

It's a tedious battle that provokes little interest as neither the story at hand nor the story promised provide readers a cause to continue beyond seeing more of this and that reads like a threat.

Land's lifeless and sexually-frustrated work ensures that the best issue of All-Out Avengers to date remains difficult to recommend.

Beyond some excellent quipping and a final reveal that plays on Captain America's natural earnestness and directness, it's clear that All-Out Avengers was a vehicle for an artist incapable of supporting the action it provided.

Plenty can be said about the thematic hooks and character pieces set up in All-Star Batman #1, but it is a comic that is at its best and most interested in its genre. Even the exploration of secret histories, redemption, and mentoring all are core themes to the genre itself. This is a comic filled with great costumes, thunderous fights and chases, and plenty of bigger-than-life concepts. It is a comic that even at its darkest revelation is still fun (at least in the lead story). It is a comic that looks every bit as cool as you want a Batman book to look. In that regard, it has the potential to be the best Batman comic any of these creators have ever worked on as it possesses a clear understanding of both the character and the world he operates in. It is far too early to make that sort of declaration, but it is exactly the right time to check out All-Star Batman.

In an era filled with similar stories, there's nothing to be found in Almighty #1 that makes it stand out.

After two complete issues it's difficult to answer what Almighty is about, much less where it might be going or if it's worth following that journey; probably best to just leave it.

Almighty #3 is an improvement overall, but not much of one.

Almighty carries over its ongoing issues with pacing and generic antagonists that serve up a cliffhanger that serves just as well as a jumping-off point.

With such shoddily designed characters and settings combined with ineffective action sequences and a story that resembles a collection of notes more than a coherent narrative, Almighty is one series best left forgotten by the end of 2023.

For all of the terror and tension these real individuals may have experienced, it simply cannot be found in the pages of Almost American #1.

Almost American delivers a dramatic improvement in its second issue by establishing a clear foundation for the story ahead.

And so by the final page in which the thrilling news of another to Portland is announced, readers are left to wonder why they would want to continue reading this very realistic portrayal of surprisingly uncompelling international espionage.

Only the last page promises anything close to the excitement and intrigue Almost American promised readers and the tag of "To Be Concluded" suggests this twist, too, will be anti-climactic.

Cliched writing, anti-dramatic sequences, and the omission of any interesting aspects leaves Almost American dead on arrival.

A dull premise and inability to live up to its own promises leave The Amazing Mary Jane dead on arrival.

After a dismal first issue, The Amazing Mary Jane continues to walk a path towards a new genre, something that might be described as "anti-comics."

Even an issue that is less dull than prior installments is so poorly assembled that it's impossible to ever accept the story it presents or be entertained by various elements of artifice that desperately seek to be entertaining.

The Amazing Mary Jane is a story that makes as little sense as the one being produced in its page.

The Amazing Mary Jane #5 delivers exactly the sort of ending readers would reliably have predicted at the end of #1: a supervillain smashup to save the successful endeavor of Mary Jane and her new friend Mysterio.

Amazing Spider-Man #7 is a fun double feature. Both the A and the B-story should delight plenty of fans (although the B-story may horrify even more). This is a Spider-Man story at its least serious in direct juxtaposition to what seems to be the very dark tone of Spider-Verse. For now theres plenty of space for quips, smackdowns, and team ups though and Gage knows how to write a fun-loving webslinger with the best of them.

Amazing Spider-Man #9 is a slow start to a still promising event. Slott has shown before that he has a great grasp of how to make overstuffed superhero stories function, and Coipel and Camuncoli are more than ready to put their best work on display. Assuming the series only gains momentum from here, there is a lot to look forward to in Spider-Verse.

Amazing Spider-Man #14 is a comic that fits well within the parameters and expectations of its storytelling influences. It reads much like an issue of Amazing Spider-Man from decades ago with an excellent grasp on tone and pacing. However, it is dated in some regards and lacks the panache of many artists who told those stories. Those aspects prevent the best elements of this issue from setting a standard for serialized, corporate superhero comics.

Amazing Spider-Man #795 is a fine, but totally forgettable issue that doesn't build much anticipation for what comes next.

Slott and his collaborators have done a lot with this supporting cast over the years, and Amazing Spider-Man #796 reminds us that it has been for the best.

Amazing Spider-Man #797 is a thrilling first chapter that sets the stage for Slott's big finale wonderfully.

It functions as both a response to expectations for a Spider-Man comic and a reminder of why so many readers love this franchise in the first place. There's a promise at its core too: Dan Slott will go down as one of the greats.

This is how you craft a penultimate issue.

There is so much to unpack throughout the 80 pages of Amazing Spider-Man #800. Guest stars, tragic twists, epic battles, and a greatest hits collection of artists fill these pages.

Every page is in service to a concept of humanity's basic ability for good, one that it captures in a truly amazing fashion.

It's in the last moments of the issue that promises are made about the relationships, villains, and themes that will populate what is still to come. There's no reason to believe that Amazing Spider-Man won't achieve them all given some time.

It's an unfortunate sophomore installment that is boosted largely by a choice of great C-list villains and Ottley's excellent work in two action sequences featuring those choices.

After three issues, there are fewer reasons than ever to hope this series will improve and it may soon be time for even diehard fans of the webhead to jump ship.

While there's an obvious love for Spider-Man lore and plenty of ideas simmering in subplots, they don't have much to offer in this issue and can't provide enough hope for the future of a relaunch that has already lost most of its luster.

This has been a deeply disappointing relaunch and the best thing to hope for is that #6 provides an opportunity for a fresh start in the wake of a story that served as more as a jumping off than a jumping on point.

After a very disappointing opening arc, hope springs eternal as Amazing Spider-Man begins to course correct.

Gags, action, and a moment of genuine goodwill all land well and make for the first issue of this new volume to really click. If this keeps happening, then Amazing Spider-Man will be a series to watch.

This is the best issue of the new Amazing Spider-Man so far and sets up even more good things to come.

While mileage will vary for different readers depending on their appreciation of the great artistic lineup, this issue turned what could have been a fun, minor celebration of all things Spidey into a mediocre cash grab.

Fred Myers is the best part of the current Amazing Spider-Man run. His charm is every bit as magnetic as it was in Superior Foes of Spider-Man providing some much-needed fun for this cardboard presentation of Peter Parker.

The spark of Superior Foes of Spider-Man is alive in Amazing #27. Not only is this incarnation of Boomerang recognizable, the non-stop banter and tonal fluctuations of his past series are on full display.

Even with many of the beloved Superior Foes in session, this is yet another storyline in The Amazing Spider-Man that deserves a pass.

The debut delivers a comfortable tone for fans of comics and movies alike while introducing a new wrinkle to Peter Parker's already complicated life in one of the best looking Spidey magazines published this year.

This sophomore outing maintains all of last week's strengths with clear character work and outstanding artistic contributions, but it also fails to provide a clear hook or provide more than half-steps forward for either of its leading heroes.

The Amazing Spider-Man may not feature behind the mask, but it has recaptured the magic that made this series a stalwart companion for superhero readers of all stripes.

Sara Pichelli's depiction of Morbius may be unmatched as she makes this awkward B-lister look lithe, powerful and often terrifying, even (or especially) as he's been mutilated in combat.

Writer Cody Ziglar and artist Michael Dowling make an impressive debut on The Amazing Spider-Man as tension builds between Ben Reilly and his Beyond Corporation sponsors before Kraven the Hunter arrives on the scene.

Beyond and simmering subplots, all of which bring Bronze Age charm with them, but this issue sells itself on a creative reconstruction of the classic Spider-Man vs. Kraven the Hunter mechanics with abundant flair.

It's stalling for time and while parts of this week's issue are stylish and fun, when I closed the cover I simply wondered why this was a necessary issue.

It's an outstanding example of what a single issue of Amazing Spider-Man can deliver and an excellent showcase of an artistic star worth following wherever their name appears.

It makes for a moving narrative about the struggles encountered in the wake of an injury and even though fans are already counting down Peter's return, it's clear that he's expected to earn it just like his Uncle taught him.

If asked what happens in these pages, it's difficult to say more than, "Doc Ock returns." That may be enough to provide some style points, but it doesn't make a $3.99 comic seem any more satisfying upon reflection.

It's a great deal of fun to read the trials and tribulations of The Amazing Spider-Man reimagined with an original spin.

Ben Reilly and the Beyond Corporation finally arrive at their breaking point and while the inevitable conflict was anticipated, its direction and consequences in The Amazing Spider-Man #86 will keep readers on the edge of their seats.

With a big change on the horizon, Amazing Spider-Man still knows how to showcase this status quo while building lots of anticipation for whatever comes next.

It's the final few pages that will leave fans talking for the next two weeks, though, and the build to them in this issue and across the story so far have been masterful.

It's a big issue that promises only bigger things ahead; Spider-Man is quickly returning to his role as the leading man of Amazing Spider-Man in spectacular fashion.

The Goblin Queen may not be a villain built to last, but her unique Goblin gaze summarizes a lot of strife into a brief, but powerful sequence. It's a useful mechanic before Peter and Ben eventually face this saga's real villain: Maxine Danger. If this issue is any indicator, it'll be a killer showdown.

This is the exact sort of action and intrigue many readers read Amazing Spider-Man for and it's proving an excellent end for a memorable era.

While much of the issue is spent moving the story forward with the finale just weeks away, the chase to get there is plenty enjoyable, especially given how those battles and reunions are portrayed.

While The Amazing Spider-Man #93 isn't a highlight, it provides a fitting capstone for a consistently entertaining and interesting era of Spider-Man comics.

An offering of action sequences, alien gaslighting, and a great splash page will give fans of these two characters something they will likely enjoy, but there's not much to lend this story depth or legs.

There are some great opportunities for writer Karla Pacheco to express humor, including some excellent dog-oriented puns, and the positioning of a reformed gym teacher shows a real knack for memorable conflicts and quick character development, but Pacheco's panache can't resolve a story that by its very nature is designed to not be resolved.

Zeb Wells, John Romita Jr., and the rest of the creative team have made Marvel Comics' flagship title an exemplar of excellent superhero comics once again.

It's another great step in the most promising new era for the series in many years.

The Amazing Spider-Man is delivering a version of Peter Parker that reads as essential while elevating his supporting cast and some of the most clearly underrated villains in a large roster Spidey comics don't get much better than this.

The first arc of Wells and Romita Jr.'s Amazing Spider-Man wraps just in time for issue #900 to drop, and it feels like there's never been a better time to be a reader.

All in all, The Amazing Spider-Man #6 (or #900) provides readers with a story that reminds readers why Spider-Man is such an iconic character, even as it celebrates their history, and should leave new and long-time fans alike anticipating the road to issue #1000.

It's another killer issue in what's gearing up to be a genuinely iconic run for the amazing Spider-Man.

The Amazing Spider-Man #8 reflects perhaps the most essential quality for any creators tackling the title in 2022: making the familiar feel fresh once again.

Ultimately, the issue reads like a holding pattern for a crossover that would have made more sense in July and already ready for Romita to return.

The Amazing Spider-Man continues its streak of excellence; don't miss this essential tie-in.

It's another home run from the creative team of The Amazing Spider-Man.

The Amazing Spider-Man #12 develops the newest Hobgoblin mystery in a deeply satisfying fashion that suggests Hobby may be prepared to re-enter Marvel's A-list in the not too distant future one can hope.

If there's more action like this coming, readers should be thrilled even if their favorite webslinger will be anything but.

The Dodson's evoke a real sense of tragedy in "Fall" and Ryan Stegman makes clear that hell is coming for both Spider-Man and X-Men comics in "Winter."

The action possesses abundant energy as it pulls readers eyes across the page, and Venom is particularly fun to witness as the character thrills back to its mindless early days. The Amazing Spider-Man #15 promises a lot of fun ahead in the series' tie-ins and "Dark Web" as a complete event.

The Amazing Spider-Man #16 continues the Spidey event of the season with plenty of style and fun, as it builds upon decades of Marvel's best (and sometimes worst) stories to concoct something novel.

Parker, Jameson, and Robertson are trapped in an absurd simulacrum of New York City deep within the bowels of Limbo, and it makes for a simultaneously hilarious and unsettling issue of Amazing Spider-Man.

Perhaps the single most impressive feat in this issue is how seamlessly it weaves the tones of over-the-top comedy and continuity-laden pathos into a single narrative that lands both its laughs and sighs.

This issue doesn't lack for action either and delivers a devilishly clever premise that lands exactly where any reader might expect after its introduction, and promises another great issue next month.

It's another classically styled issue of Amazing Spider-Man that manages to bring readers something fresh but recognizable.

The most engaging elements of this story are Romita Jr.'s always energetic action sequences featuring a particularly creepy new(ish) antagonist and asterisks calling back more than a decade of Spider-Man history. These ties and an excellently depicted splash cliffhanger promise that the current storyline will have been worth the wait, but for now The Amazing Spider-Man #21 feels like a little bit more waiting.

As Marvel Comics' teases the big reveal of what really happened to Mary Jane and Peter Parker, the story itself continues to defy expectations at the very least.

Just as each issue of this long-awaited story has altered its form, The Amazing Spider-Man #23 promises a new spin on this strange saga as it nears its climax.

Readers already aware of Spidey's current status quo will see how each new appearance fits into the inevitable outcome, whether it's Norman Osborne and Ms. Marvel in New Jersey or the Fantastic Four in New York. As a result the story flies by and builds to Peter's risky rescue mission wonderfully depicted by Romita Jr. who twists forms and plays with depth to provide readers a sense of the stakes behind all of this pseudo-science.

With only one chapter remaining in this pivotal story, Amazing Spider-Man #25 does an excellent job of reframing the story and making it clear why these characters can never go home again.

The Amazing Spider-Man #26 mostly arrives as a relief that this kayfabe spectacle of death can be addressed elsewhere and mysteries drug out for more than a year can be resolved. Wells and Romita remain an excellent partnership and fit for Spider-Man, but when the needs of the publisher undermine the style and tone that made early issues of the current volume so good, it's difficult to continue applauding such odd outcomes.

After a long detour Amazing Spider-Man is back to what it does best and promises readers the best may still be yet to come.

With so many classic characters arranged in a genuinely new fashion, Amazing Spider-Man #28 manages to summon the magic of classic 1970s Spider-Man action in a modern style. Wherever Doc Ock's plan may lead, readers will want to follow.

The Amazing Spider-Man #29 walks the line between big, bouncing action and tragic character twists with ease, delivering readers one of the most fun Spidey issues of the year so far.

Building upon now-classic stories ranging from Green Goblin's earliest victories through Superior Spider-Man, it's clear this vision of Amazing Spider-Man is creating a very bright future for the series and character, alike.

While extended page counts and increased cover prices may test some readers' patience, Amazing Spider-Man #31 earns all of its space in a return to form for the current iteration of Amazing Spider-Man.

Whether it's comedic back-and-forths, displays of fearsome power, or some sincere dialogue between old associates, every sequence serves up these disparate tones well and ensures they all blend together making Amazing Spider-Man #32 a diverse set up for a forthcoming story that's not to be missed.

Amazing Spider-Man #33 (already a notable number) lays out an enormous feat for the story ahead as it seeks to rival a piece of the Spider-Man canon but the tact and skill displayed in this set up makes that feat seem entirely achievable. This may be the best story yet in an already excellent run.

If Amazing Spider-Man can sustain this energy, it's well on its way to producing another classic storyline for Marvel's flagship series.

The early potential of this story hits a snag as the ill-defined notion of Norman Osborn's sins (which sent Spencer's run into a tailspin at its conclusion) comes back to haunt the story.

It's a delight to see Rek-Rap back in action in The Amazing Spider-Man #36 in a story that feels significant to the series' ongoing concerns and plays off its creative teams' best qualities to tremendous effect.

Rek-Rap continues to deliver big laughs and a satisfying mystery amidst Peter Parker's (and Norman Osborn's) exasperation at the absurd entities of Limbo intruding in their lives. The humor evident in Amazing Spider-Man #36 remains, but Wells and McGuinness find new twists to keep this story fresh.

Rek-Rap's adventures wrap up just in time for "Gang War" to begin and readers of Amazing Spider-Man have a lot to appreciate in this ludicrous, streamlined adventure through the halls of Limbo before excessive crossovers and a dour mood take hold.

It's a very exciting time to be reading Amazing Spider-Man and the fireworks found in the first issue of "Gang War" suggests it will be an unforgettable event.

With plenty of colorful bad guys and untold chaos still to unfold, "Gang War" remains a very fun event in the pages of Amazing Spider-Man.

"Gang War" has slowed to a crawl in its middle section and it saps the energy from tie-ins and Amazing Spider-Man alike. It's past time for the story to meet the energized artwork of the artist carrying this event forward.

"Gang War" still possesses plenty of energy from the characters and style on the page, but the middle chapters have lost a lot of the early momentum. Readers can hope that with the end now in sight that things pick up in Amazing Spider-Man #43.

There are individually excellent elements, specifically the final focus on Tombstone and Beetle, but the issue itself fails to hold up this climactic battle with nearly two-dozen tie-ins structured around it as a significant event.

The emotional payoff after the action subsides marks the issue's best qualities with heartfelt reunions and coldhearted progressions. It's clear that "Gang War" is building to something bigger and its' finale shares in some of that future promise.

That uncertainty is as meaningful as any big battle in Central Park and makes the cliffhanger reveal at the end of Amazing Spider-Man #45 all the more sinister.

It's an outstanding issue that signals Amazing Spider-Man is ready to deliver its best with recent events behind it.

The only thing better than the chaos found throughout The Amazing Spider-Man is the storylines bound to unfold from these introductions as things get very hectic by the final page.

This two-part story reads like a brief diversion in the grand scheme of Amazing Spider-Manreframing some key figures on the board while staging future eventsbut the adventure it delivers is classic Amazing Spider-Man-fun with plenty of melodrama, twists, and expectations setting.

This issue delivers a top-notch example of how to utilize an event tie-in to support the best elements of an ongoing series, and regular readers ought to be glad that vampires paid Amazing Spider-Man a visit this month.

The Amazing Spider-Man #50 delivers an over-sized anniversary issue filled with twists and back up stories for one excellent superhero reading experience.

The overall story continues to build suspense as the risk to Peter's life grows increasingly evident and a collection of supporting characters prepare to rally for his side. It's another excellent issue that promises the best is still yet to come.

Although the stakes are high, the issue doesn't veer away from the series' characteristic humor making for a fast-paced and thrilling read.

Inconsistent artistic styles and a sense of rising action without any clear destination make for an underwhelming installment of Amazing Spider-Man.

What unfolds is the sort of finale that ought to define heroism and will remind readers why Amazing Spider-Man is still the standard in superhero comics.

If every installment left in Wells' run is as good as this, then this final set of issues will be a highlight for the overall series.

This annual touches on interesting elements running through Marvel Comics today, but doesn't contribute anything substantial to them in terms of style or story.

The set up for this chaotic event is abundantly tantalizing and First Strike walks the line as both a catch-up for new readers and entertaining addition to the story.

The Amazing Spider-Man: Blood Hunt #1 is an affair that can only intrigue the most die-hard event readers or Spidey collectors, as it fails to deliver on the best qualities of either.

With inconsistent artwork that sometimes fails to align with dialogue or appears to feature half-melted facial features, it seems like this title exists primarily because the market would bear another miniseries bearing the label "Amazing Spider-Man" and so it was published with minimal concern.

Despite the apparent growing pains of those involved in the project, what ultimately undermines the tie-in is its total lack of tonal consistency with a final page gesturing at themes that are not evidenced anywhere in the story as it is told.

Renew Your Vows #1 is an uneven issue from all creators involved. Slott capably embraces the fun and strangeness of this period in Marvel Comics history, but his pacing leaves something to be desired. Kubert and Dell, on the other hand, are at the top of their game as long as they are portraying characters in masks. The story's arrangement as a prologue leaves a lot of interesting ideas to be explored and time to iron out the flaws. It's an issue filled with potential, but it's fulfillment is far from certain.

The new chapter of American Gods remains a solid adaptation, but never transcends its roots when transferred into its new medium.

The end result is an issue that is competent, but doesn't feature a plot well suited to the medium it's working in though.

It's indulgent to the extreme with characters occupying the highest echelons of wealth and engaging with related vices. What might normally seem lascivious is fun when framed with curious new layouts

American Vampire 1976 reestablishes the series and prepares for one final push, even if that effort delivers some tedium in its initial outing.

It's enough to keep this long-time fan of the series engaged, but doesn't provide any reassurances that this story was worth the wait.

Regular references to the past fail to charge the present moment with additional tension; it's time for this story to pick up the pace.

Combine that expository dump with hamfisted explanations of the series' metaphors from Gerald Ford and it's clear that American Vampire is struggling to bring itself in for a landing on the page as well as in this particular segment of the story.

American Vampire is prepared for a very big climax and now it's time to see whether or not it can deliver on so much promise.

There's no knowing where the story goes from here or who, if anyone, might make it to the end in one piece. Yet the excitement detonated in the final pages of American Vampire 1976 #6 calls back to the series' highest highs; it's time to wrap up this modern (and maybe final) Vertigo classic with a bang.

There's little substance to be found here, only reminders of who these characters were briefly before this final confrontation with the beast buried in American soil. While issue #7 does collect some excellent pages, it ultimately reads like it's stalling for time.

Now that everyone is in place, let's hope that longtime readers of American Vampire can discover a more satisfactory conclusion in the two issues remaining.

American Vampire 1976 #9 sets up an epic conclusion for the last great Vertigo series ever"I'm hoping it delivers the same sense of momentum and style shown here.

Longtime readers of American Vampire, like myself, will not find many, if any, surprises in the series finale. That's perfectly appropriate for the final 30 pages of a story that lasted for more than 1,000, though.

American Vampire is back and as good as ever. Snyder and Albuquerque have a clear grasp of what worked in the original series and have continued to build on those elements. Any pacing problems are an effect of creating an introduction to a series with such a large history, which should leave the reader with nothing but a sense of optimism about where this comic is going. The characters should be a bit more pessimistic though"

Second Cycle #2is a masterclass of tension and horror. It uses each scene to make the reader feel more trepidation, until it unleashes the monster that has been hidden the entire issue, then starts the process all over again.American Vampireis typically used as an example of how the horror genre can be effectively utilized in comics. Issues like this are the reason why.

There should be no doubts amongst readers concerning Snyder and Albuquerque's ability to craft an effective horror story with a human core. If there were,Second Cycle #3should dispel them. This is a great link in a great opening story toAmerican Vampire: Second Cycle, whetting appetites and building suspense at the same time.

American Vampire: Second Cycle #4 is an excellent conclusion to the first story arc of the new series. It presents the best aspects of the series in its well defined characters, striking visual sense of action and horror, and grand sense of mythos. It manages to bring all of these elements together to create a climax that is a satisfying pay off to the tension and stakes built over the first few issues. Furthermore, it serves as a thesis statement for American Vampire: Second Cycle as a series – presenting what it is about and showing that the creative team is fully capable of delivering on the series' promise. American Vampire has returned and, based on this story, its second act should be even better than the first.

It is a story told, but not told well.

No matter what you come looking for in Analog, there's guaranteed to be a better option somewhere else on the comics store shelves.

After two issues there's even less in this new series to be intrigued by than it seemed at first glance. It may be time to let this idea fade away instead of making copies.

This issue fails to be either a great single story or intriguing part of the ongoing narrative. Instead, it's just a reminder that there is potential within these pages, but also that it's bound to be wasted.

It's the best installment in the series so far, but that's still not high praise.

Analog #9 may be an uneven outing, but the rush towards the finish line prevents it from ever being boring and that makes for an overall improvement in a series that never found its footing.

I suppose Analog #10 offers a perfectly adequate definition for "fine."

The present as presented by Kim Jacinto and Israel Silva is something mediocre though. Jacinto applies a heavily detailed linework inspired by artists of the 90s in order to create something that feels far less realistic than what she is aspiring towards. There's nothing confusing about the action or drama shown in the present, but it alludes any sense of the organic or natural. If it were not for Hans' work in this issue, it could be tossed away. Yet the rich colors and beautiful love story shown in the past makes the present feel like a narrative worth paying attention to.

The new miniseries from writer Tom King and artist Peter Gross maintains the fable-like quality of the original and establishes the foundations for a political allegory within a modernized framework.

Readers interested in political science will recognize many of the competing arguments at play as a pure democracy devolves into chaos and the subsequent republic debates how to weigh individual votes. It's an interesting thought experiment but also one that readily explains to readers why specific ideas will not work. That didactic approach makes long segments of narration in Animal Pound read like a lecture, especially as the reality surrounding these animals remains so ill-defined.

It's an impressive looking comic book that, having arrived at its thesis, becomes a much more interesting and exciting read.

Rather than exploring the underlying tensions and causes of rising fascism, Animal Pound begins dipping into apologia. It has no space to consider the other, only the tragedy of how (entirely unexamined) grand founding ideals are twisted into something cruel. In this way it serves to inform us of the cat's perspective, one seemingly lacking in self-awareness.

It's still a plot machine that does little to distinguish itself from so many similar events across the past decade of Marvel comics, but at least it's good for a few moments of levity and doesn't overload the reader with excessive captions.

This issue certainly connects the dots, but watching the creators draw that line doesn't leave much room for fun.

It's a fun pitch for a concept that doesn't offer much promise enough to keep me interested in what Annihilation 2099 is building toward at its climax.

The origin of this Surfer is cast in the form of parables with brief contemplations of temptation and sacrifice revealing the character's fundamentally tragic nature. Everything in this issue may function as staging, but it's iconic staging with a stunning redesign by artist Ario Andidito showcasing a heart on fire within the Surfer's chest.

Rather than arriving at a climax, issue #5 reads like yet more prologue leaving any excitement for this cosmic battle until October.

As an introduction to who these characters are, the issue is serviceable, but it provides nothing beyond that.

Ant-Man #1 is that perfect debut that manages to both introduce the character to unfamiliar readers and tell a compelling story in the course of a single issue. It is a caper that transforms a comedy into an emotionally invested drama and a seemingly straightforward superhero story in New York City into something much more exciting and original. It starts by giving readers what they want, and then delivers something far better. Spencer and Rosanas have created a great start here made all the more exciting by how much the series has yet to grow.

Together these creators are crafting a new Ant-Man tale that not only reflects the character's long history, but the history of Marvel Comics in a story already bound to astonish readers new and old.

I've long been fond of the least-famed Ant-Man, Eric O'Grady, and his (ironically) short run of titles beginning with The Irredeemable Ant-Man. Ant-Man #2 captures the magic of that series brilliantly and in such a fashion that it continues the meta-narrative begun last month in deft fashion.

It's a heart-warming tale and one that sets this increasingly ambitious series up for a truly grand finale.

Ant-Man proved to be a colorful celebration of one of Marvel's underrated protagonists and a wonderful showcase of two top talents capable of constructing a miniseries unlike anything in comics today.

Existing fans of Kindt and Jenkins are bound to stick around, already knowing how these two tend to deliver on every big idea they imagine, but it's more likely that new readers will opt for the collection if they stick around.

It's a tremendous sequence of exploration and survival that culminates in a suspenseful cliffhanger, even if Sobrat's first words only seek to oversell expectations for whatever may come next.

Apache Delivery Service #3 is the most thrilling and frightening issue yet, while promising far more (or far worse) for the final chapter which can't come soon enough.

Theres a long history of anniversary issues in the world of superhero comics. Archer and Armstrong #25 shows the full potential in creators celebrating the series that fans love to read every month.

Readers unfamiliar with Archer and Armstrongthe exquisitely-trained, recently-unbrainwashed young hero and his seemingly-immortal, perpetually-partying mentorwill find an excellent introduction in these pages.

It's a middle-chapter with lots to showcase, but the best promises it makes are for what is coming next month.

Archer & Armstrong Forever reaches the climax of its first arc and it is a splendid mess showcasing why this duo remains a potent force at Valiant and for more issues to come.

Archie #2 continues to deliver on all of the best elements of the first issue. It's accessible, fun, and an absolute visual delight. While the series is not delivering anything new, that's never its intent. It plays it safe and executes each page of high school tomfoolery and melodrama with grace, producing a comic that is enjoyable for all ages.

The relationships, internal struggles, and characterization that made Afterlife with Archie a surprisingly compelling hit have been set aside for a fast-paced thrillride of horror set in Archie Comics.

The depiction of grindhouse horror offers readers something notable with plenty of monsters and gore-tastic encounters, but there's little suspense or fright found in such rushed sequences as the miniseries plots toward its conclusion.

Archie Comics: Judgment Day #3 will not surprise any readers with the bleak climax to this apocalyptic vision for Riverdale; everything is awful and that's where some fun can still be found in this abbreviated saga of the world's end.

This is a real treat of a first issue, one that encourages readers to just enjoy themselves for as long as it lasts.

All of the right elements are still in place, but there's simply not enough of them to maintain momentum here, much less accelerate.

There are still some fine moments, including a top-notch pairing of '66 riddles and fisticuffs, as well as some very well written jokes. Yet Archie Meets Batman '66 chooses to live and die by a style crafted over almost a century, and minor flaws in this installment add up in a big way.

The scheme bringing the protagonists of Gotham City and Riverdale is finally unveiled and it's very bit as colorful and fun as what fans of the classic Batman '66 series might expect.

If you're still wondering whether the editors at Dark Horse and Archie Comics lost their minds teaming up for this series, stop. This is an idea that only seems crazy until you read the results. Archie Versus Predator #1 is a comic that only captures what makes these franchises great, b

Archie vs. Predator II #1 delivers what might have seemed impossible, a rewarding sequel to a story that slaughtered its core cast and setting.

A lot of page space in Archie Vs. Predator II #2 is devoted to working through the concepts laid out in the prior issue, which results in a lackluster follow up.

As far as the mainstream of comics go, this issue at least feels fresh and that counts for a lot when discussing properties that are quickly approaching their centennial anniversaries.

With so many highlights, this is a comic that is pure joy to read, embracing the superficial joys of genre fare.

It's a finale that's a lot of fun and a little poignant, far more than we could have asked for from Archie vs. Predator II.

A handful of striking visuals boost this otherwise bland experience, but a well framed silhouette isn't nearly enough to salvage this miniseries.

Arkham Manor #1 is an exciting start to a series that is packed with potential. Duggan and Crystal have created a scenario that gets at the very heart of this 75 year old character, touching upon ideas that are rarely recognized in Batman comics. Just as important, here they show the skills to tell that story in a way that is visually striking and always engaging. This could be the beginning of a beautiful series.

Army of Darkness 1979 is never actively offensive, but it is certainly dull from start to finish with no redeeming qualities to be sussed out.

The self-aware tone puts nearly all of these elements beyond effect as it's unclear who this joke is being played upon, perhaps the reader.

The tonal whiplash present in Army of Darkness 1979 #3 is so severe as to leave your neck sore after reading it.

In the space of a single issue, it's possible to imagine these ideas landing, but stretched across four months (and more) the concept is so thin that it's difficult to keep crawling through.

After months spent searching for a redeeming quality in this series it's apparent that Army of Darkness 1979 has finally reached its appropriate destination " unsold copies forgotten altogether in back issue bins.

With only one issue left to go, there are still plenty of surprises and Assassination Nation #4 provides the bounce board to set up this miniseries as one of the absolute best comics of 2019.

Astro City # 9 serves to continue this newest volumes first long-form arc nicely. Busiek draws out all four of the central character's conflicts setting the scene for a dramatic finale. Whether it will make a statement about the issues that continue to lie under the comic's surface is yet to be seen.

It's difficult to fault Busiek for tackling a complicated and important issue in the pages ofAstro City. He has successfully handled a wide variety of thematic material in the comic before. But his attempt to discuss feminism here falls flat, adding nothing new to the conversation. The story is meant to feel positive and it does, but resembles an "after school special" type of message. With very few compelling visuals for Anderson to sink his teeth into, this issue is remarkably ordinary.

Astro City #11 is a return to form for the series. It evokes empathy for normal people by setting them side-by-side with superheroes. When the comparison is made, it's hard to tell the difference between those with and without superpowers.

Astro City #13 is an achievement to be celebrated. It not only tells a story worth reading, re-reading, and then reading once more, but it does so by taking full advantage of its chosen medium. Busiek and Anderson have always told stories about the small pleasures of life and what it means to be human, and they have told them very well. But here they take a message about the value of human relationships, not matter their form or brevity and tell it in a way that ensures readers will concentrate on that message. Art is all about relating, whether it be an emotion, an idea, or a very specific message. Astro City #13 relates an idea and uses every tool at its disposal to do so. It's a testament not only to the value of human contact, but of comics.

Astro City #14works because it's a story focused on its characters. Its themes concerning greed, disability, or even something as specific as the 2008 financial crisis may function, yet the comic only truly succeeds by providing readers empathy for Ellie, her friends, and even her enemies.

This is difficult material from start to finish, and the entire creative team handles it admirably.

Astro City #52 is a tremendous conclusion both to Michael Tenicek's story and this volume of the series. It reminds us that superhero comics are not fantasy but a representation of the greatness that lies within us.

Astronaut Down is a delightful genre riff that knows how to blend elements of sci-fi and horror while delivering plenty of original twists and nasty surprises. It proves to be an addictive read, perhaps especially when it's being heavy-handed.

There's still plenty to explore in this story, but striking a balance that allows readers to appreciate the high concept and its grounding in Douglas' life is proving troublesome.

It's a thrill to chase the story and its cataclysmic implications, especially as new twists build upon old turns to create a much more complex narrative.

While it's interesting at points to consider the ethics involved in saving individuals facets of a massive multiverse, there exact nature of the science (and the character at its center) lacks sufficient detail and depth to make this denouement seem significant.

This is not simply a team and series I want to keep my eye on for future developments; I'm already on board for whatever comes in issue #2 because Atlantis Wasn't Built for Tourists is a confident debut that promises only greater thrills ahead.

Now that so much exposition has been dumped, let's just hope that issue #3 picks up the pace again.

The final few pages and introduction of a new ally makes it clear that the time for explanations has ended and the payoff readers have been waiting for since this series' excellent debut is just around the corner.

Whether or not the drifter returns, Atlantis Wasn't Built for Tourists will remain a thrilling detour for comic book readers.

Reading Adapt or Die is a genuinely draining experience lacking any of the charms of the source material and bringing nothing original to the miniseries.

There are a handful of elements that transcend this base banalitya confrontation with predators in the jungle, specificallybut it's never enough to justify the time spent reading this issue.

This is a story searching for its justification to exist, one that it never discovered.

Axis #1 is nothing special. It is not offensive, but also lacks any notable features. Kubert's art still provides plenty of spectacle for readers to enjoy with lots of characters engaged in a broad battle. The drama that is supposed to be in those panels is non-existent though. The Marvel universe may be briefly changed by some fallout of this issue, but Remender and Kubert never craft a reason for readers to invest in or care about this story. It reads like another event comic that does nothing to distinguish itself from all of those that have come before.

However, this issue carries the multiple problems of its predecessor and, refusing to alter its course, reads like a continuation of an already unimpressive comic. Change may never be permanent in superhero comics, but that doesnt mean it cannot occur within individual stories. Change is the lifeblood of drama and the quicker Axis focuses on altering the status quo, no matter how temporary it may be, the better the series will be.

Despite all of the cynicism and skepticism from readers about events, "The Red Supremacy" was not destined to be a bad comic. The fault for that lies with the storytelling.

Axis #6 isnt disappointing because it is such a singular disaster; there are plenty of other great comics to read. It isnt disappointing because it represents the death of superhero or event comics; that kind of fatalistic assertion is ridiculous. Its disappointing simply because even given the incredible talent and resources at Marvel Comics, no one even bothered to try. Comics deserve more than this mediocre effort.

For those invested in Hickmans Avengers epic, this will be a significant issue bound to shock and awe readers as much as the heroes witnessing these events. Despite some flaws on the periphery, Avengers #40 is the story of two characters and the conclusion of that story is executed perfectly. It is tragic and raw and signals the beginning of the end for Earths Mightiest Heroes.

"The Death Hunters" comes to a close with an issue that's primarily prologue.

On its own The Avengers #55 simply keeps the train moving forward, but ought to offer plenty of elements of interest for those who have skipped the current volume altogether.

While it's a perfectly fine one-shot, what's added to the series makes this singular installment seem largely trivial, especially given the scope and definition previously provided to this specific character.

The Avengers #57 is a waystation on the path to something that may or may not earn this long-sustained build.

The result is a series in a holding pattern where the best ideas in these roughly self-contained issues are buried beneath continuity maintenance.

I'm a sucker for Westerns, but the slapdash pastiche-work being applied to Avengers of all eras in the current scattershot arc of stories does the genre no justice here.

The Avengers drops its ongoing plot to check in on Hawkeye during the events of Judgment Day as the team's greatest marksman is judged by a Celestial. The initial set-up framed by guest creators on the series is fun as Hawkeye stumbles through a conversation with a god making small talk and chowing down on cheeseburgers.

This comic asks readers not to think for a moment while reading it and it's likely most will continue not thinking about The Avengers after the final page is turned.

The most promising element found in the issue is that it promises some sort of ending is finally in sight for a narrative grown far too large with too little purpose.

At the end of the road, there's simply not much substance or interest to be found in The Avengers.

If nothing else, The Avengers #64 previews what appears to be the saga's endgame as the Multiversal Masters of Evil are challenged on an ancient Earth; the final page suggests a conclusion is in sight. Beyond that sense of inevitability, there's little else in the issue to discern itself from the chaotic climax crossing over with Avengers Forever.

It will never cease to be a delight to watch Javier Garrn depict Celestials and grand scales of the Marvel mythos, but the framing in The Avengers #65 robs it of any significance while offering more narrative forgotten in the build to this climax.

For a comic so overstuffed with content, the cardinal sin is to be dull and that's exactly what The Avengers #66 is.

The most cliche of superhero tropes weighs upon Avengers Assemble Alpha like gravity as two teams with excellent knowledge of the multiversal, Earth-killing threat that they face still fall into combat with one another over petty grievances and minor misunderstandings.

As a fan of Kuder's pencils, it's hard to look away, but there's simply too little to Avengers Forever to even make this issue or miniseries memorable.

As a whole, "Avengers Assemble" hardly hangs together, but the highlights found in Avengers Forever #13 deliver some great panels and laughs along the way.

While the emotional beats don't land and there's no substance to speak of, there remains a visceral degree of fun in seeing the toy chest dumped across the living room floor before it's swept away in a few months.

The greatest triumph in Avengers Forever #15 is the promise that it will all end with the next installment.

It's a disappointment, to say the very least.

This might just be a matter of luck with the two best Avengers books both being written by Al Ewing. Excluding Avengers Standoff #1 though, the entire set hits a much more consistent set of highs. Even with the generally lackluster and safe comic All-New, All-Different Avengers, there's something to be said for reliable entertainment. There appears to be greater attention and effort being paid to the Avengers right now. Well, it's that or Ewing just makes this group look good.

Avengers Undercover and Avengers Arena have both been surprising highlights in Marvel's lineup - consistently good comics. Yet the conclusion to this story doesn't live up to what came before it. There are engaging characters and ideas present, but not enough space for most of them to do anything memorable. The series may have been forced to conclude earlier than planned, but that doesn't make this rushed finale any more satisfying.

It's the sort of offering you might imagine giving to someone for a free first comic if they had never read a superhero story before.

It's worth reading as saying anything more would be to spoil the experience and this issue is an experience, even as it attempts to return to normal.

Following the massive revelation of #6, this issue does a good job or reestablishing a status quo. Every moment reminds readers who the protagonists are and what roles they play.

While even greater things await on the horizon, but for now this issue provides a much needed breather.

This is one of the true turning points in the stories of the B.P.R.D. and it will have repercussions for years to come.

No recent issue in the Mignola line of comics has better captured the entropy of Hell coming to Earth than this one; you have been warned.

There are a lot of adjectives that come to mind when thinking of comics created by writer Garth Ennis and artist Jacen Burrows, but readers are unlikely to put "fun" anywhere in that list. Whether it's in viscerally upsetting horror series like Crossed and The Ribbon Queen or nihilistic war comics like Punisher: Soviet and Get Fury, the collaborators are known for delivering mature takes on genres largely devoid of colorful superhero trappings. That makes Babsa new fantasy series at Ahoy Comics featuring a sword-wielding heroine facing a world filled with dragons, orcs, and other monstersa pleasant surprise. The new series showcases their range as creators, embracing the fantasy genre with a sense of humor and delivering a debut issue unlike anything they've crafted before or on the stands today.

The addition of several canine companions and their own absurd rules makes this a perfectly tolerable licensed comic book.

Bad Karma #1 is a great read from start to finish because it's built on excellent character work.

The stakes continue to climb in Bad Karma and this is clearly a story with little in the way of happy endings, despite the clear love and affection that binds its core cast of characters together.

Wherever it goes from here is bound to hurt, but it will be impossible to quit reading at this point.

Issue one ends abruptly, almost as if it were cut off mid-sentence. The story appears to be written as a whole that was only broken into installments after being completed. However, this first chapter provides plenty to invest readers and drive the narrative forward. Baltimore: Cult of the Red King #1 doesn't rush to the action, but takes time to carefully describe its cast, as well as their world and mission. It is a tonal overture that promises a horrifying story to come.

Baltimore: Cult of the Red King #3 shows just how far the series has come in five years, and will leave readers stunned with its final sequence. The stakes are higher than ever, and Mignola and Golden have not lost track of the thematic core of the story. It is a comic about reflections and dualities: humanity and inhumanity, life and death, heat and cold. Even without this enormous cliffhanger, the issue gives readers every reason they might need to return for more.

It's a perfect example of how to hang a story on a conspiracy, withholding information yet still offering plenty of reasons to anxiously anticipate Bang! #2.

It's a great introduction to Thomas Shaw, but still feels small as a follow up.

With each issue so far adding a fully developed protagonist in the midst of their own drama and adventures to the cast, it's hard to wait for issue #4 to arrive.

Now that Bang! has finished with its introductions, readers can anticipate seeing just how far this modernized League of Extraordinary Gentlemen will go to celebrate and explore the films, novels, and shows that have infused it with meaning and so much fun.

It's more fun to imagine the lives of this quartet than to watch them play out and that's perfectly fine because the first four issues were outstanding.

Thankfully, Barbaric #1, from writer Michael Moreci and artist Nathan Gooden at publisher Vault Comics, recognizes that repeating the past is a surefire recipe for mediocrity and provides the first exciting new sword & sorcery series to hit comic book stores in many years.

Barbaric #2 maintains everything excellent from its debut"the humor, the violence, the fast pacing"and builds upon that momentum.

Barbaric #3 ends the new series' first arc on a high note, drawing all of its threads into a spectacularly bloody finale filled with satisfying connections"whether it's the literal meeting of Axe and enemies or a new bond between comrades.

Barbaric appears ready to continue for many miniseries and one-shots to come, and that's something to be excited about.

This issue is enough for now and will deliver quite the treat to any readers who save it for Halloween night.

If Leomacs builds out the remaining sequences of the series as well as he does in Basketful of Heads #2, then the collected story is bound to become a fall favorite for fans of horror comics.

Much of the comic is spent in conversation with June and her new companion. A few of the jokes land and the surreal nature of their relationship is amusing, but that initial appeal doesn't cover just how long this lasts.

It's time to keep moving forward or jump ship, because no matter how good Leomacs makes this comic look, it still needs to deliver a story possessing some points of interest.

The big twist of Basketful of Heads arrives in this issue and it lands with the same resounding thud as one of those heads.

In my review of the first issue of Basketful of Heads, I compared the series charitably to an 80s slasher flick. That comparison has been borne out by subsequent issues, but in a consistently less appealing fashion.

There may be a better form of this story to be told, but the story here explains most of its best elements without a moment for reflection and the result is a comic capable of luring readers in with style, but incapable of delivering much excitement.

Batgirl #35 illustrates that comics function as a collaborative medium and have to be judged as such. Tarr and Wicks provide outstanding work, but the flaws in the script still ruin the experience. It's impossible to recommend this issue on the strength of the art alone when the dialogue, gender presentation, and plotting are this troubled. It's an unfortunate disappointment, but one that needs to be acknowledged. As much as I wanted to see this concept succeed, I cannot honestly say that it does. The problems inBatgirl #35 are too big to not discuss.

Batgirl #36 reveals a learning curve, one that shows the promise of this title and creative team. The incredible strength of Stewarts layouts, Tarrs art, and Wicks colors are consistent and make for one of the most visually engaging comics released this month. Although there are still issues with the plotting and scripting of the series, they see marked improvements in this issue. Theres a lot of potential to be found in this series and evidence that is being more fully realized as it continues.

I want Batgirl to be great. I want this series to continue being a "go to" recommendation for superhero comics. All of the wanting in the world doesn't stop Batgirl #1 from being what it is though, and what it is is an uninspired and dull superhero comic that fails to recognize the most interesting elements of its own existence.

Batman #28 is still an enjoyable issue. It features a nicely told action sequence, introduces the boisterous Bluebird, and should stoke plenty of interest in Batman Eternal. Now let's get back to "Zero Year", already.

Batman #29is a pleasant surprise. It takes a story that has been done dozens, if not hundreds, of times before by some of the most talented creators in comic history and finds a way to make it new. Snyder and Capullo have captured a new perspective on Batman's origin by juxtaposing it with a larger disaster, and it works very well. Capullo also captures a new visual sense with the help of FCO Plascencia on colors. "Zero Year" was announced almost one year ago, and the biggest question from fans was, "do we need another Batman origin story?" After readingBatman #29the answer is, clearly, "yes."

Batman #30is not a perfect issue. The exposition and opening cipher slow the reading experience and don't work on multiple levels. But the parts of the issue that do work, work very well. From the beautiful establishing panels of Gotham to the Riddler's mad master plan to the tower-tumbling action sequence,Batman #30offers excellent moments that create clear stakes for "Savage City". Despite its unevenness, it's a great introduction to the final part of "Zero Year".

At its heart, Batman #31 is an adventure story. It features death traps, vicious wildlife, a power mad dictator, and feats of derring do. It is bright, fun, and absolutely thrilling. This is Batman at his absolute best.

This is how you prepare a great conclusion.

Scott Snyder, Greg Capullo, and the rest of their team have crafted a tale that not only distills what makes the character of Batman so beloved, but one that makes him feel brave and new after 75 years. Stunning.

Batman #34 serves as a great return to the current timeline. It not only presents a well told, self-contained story, but mayintroduce Batmanreaders to three great comics talents as well. Whenever the regular Batman team decides it is time to move on, editors would be wise to consider the fine work here when seeking a new creative team.

Batman #35 is a great package. From the first page of the feature to the last page of the backup it manages to be consistently engaging and is always well told. Theres no doubt that Batman would sell well no matter what creative talent was attached, but Im skeptical that it would garner this high of sales and this much acclaim without creators like Capullo, Snyder, Miki, Plascencia, Tynion, and Jones. Month after month, they bring their absolute best to these pages, making Batman one of the best superhero comics on the stands.

But they still have more stories to tell. In that regard, Batman #40 serves as both a conclusion and a launching point for a brand new tale. Whatever comes next, theres every reason in the world to be excited.

While Batman #43 is still laying down tracks for the rising action bound to follow, the promises made between and during the exposition are incredibly exciting. Mr. Bloom's reveal is the clear, standout moment of the issue, but there is a lot to love here. Capullo and Plascencia are still effortlessly delivering each action and emotion-oriented beat. Snyder continues to bring Batman to wilder places with enough death traps and introspection to satisfy all sorts of fans. It's the promise offered by both the talent of this team and the best moments of this issue, that ensures Batman's place as one of the best superhero comics coming out today.

Batman #46 is a middle chapter, which is something many superhero comics struggle with. The task of moving 3-4 plots along, setting up future revelations and events, and continue to build tension and action is difficult to manage in a single comic that should be fun to read on its own as well. Yet Capullo and Snyder pull it off with aplomb. They understand how their story ought to function, which allows them to focus on the individual strengths of each scene. Action and romance alike are beautifully presented here, making the wait between each issue absolutely worth it.

There's certainly potential to be found in this prologue for a rebooted Batman Inc., but it's unclear whether there's depth to be explored beneath the plot-reliant twists of this annual.

The only truly new element in the issue is the combination of these two characters' narratives, but the execution is so good that readers will be reminded why both names are considered icons.

It's the exploration of Batman and Dylan Dog's combined worlds that drives the sophomore installment of Batman/Dylan Dog; given what's displayed here, readers will be left wishing this series was an ongoing feature.

The result is a thrilling read that speaks to the heroic qualities found in its leading men and the pure joy of reading a great adventure tale told by such talented artists.

The novelty is the source of this story's attraction and this close to the end (and without Fishsticks) there isn't much novelty left to be wrung from the combination.

Batman/Superman #18 is an imperfect continuation upon an interesting concept. Pak is placing both of his leading characters under tremendous pressure, and detailing their emotional responses excellently. Lazy plotting and characterization like Batman's in this issue detract from the impact of that situation. Syaf's artwork tells the story well, but has begun to appear rushed under a monthly schedule with several inkers. This is an issue that would have been well served by one or two more weeks to iron out the wrinkles.

The finished product does not communicate any of that potential though. Batman & Robin Eternal #1 is a finely tuned piece of marketing. There is at least one respectable name (i.e. Scott Snyder) attached under the title of "plotter", one fan favorite character returning, some art that makes for a fine advertisement (but fails to work sequentially), and loads of hype that sound fantastic on paper. This has all of the elements needed for DC Comics to sell it, but none of what is required to actually function as an enjoyable or even readable comic. The approach to a weekly comic here is comparable to that of factory farming, the gross production of a McRib. Get the meat from bone to table as quickly and cheaply as possible, and spend money to make it look good on the menu.

There's real heart to Thomas as a character, but this mini-series provides no room for readers to find it, which is a real shame.

There's no real tension or drama to a story that insists on explaining itself, and that's what leaves this entire arc best left forgotten.

Batman Beyond #3 is functional. It delivers plot and action so for a basic understanding, but it never really matters. Rather than a tale written in the present about the future, it reads like a relic of the past. Overscripted and serviceably presented, Batman Beyond is part of a workmanlike tradition in comics that has no place in the future.

With the Batman side of things looking no better than "War Games" and Fables failing to recapture its charm, it appears this miniseries missed its mark by many years.

The only saving grace of this issue are Level's layouts which pay homage to Fables and are often as inventive and well executed as the work that made Buckingham so widely respected.

The further this story goes, the fewer redeeming elements there are to be found and it's difficult to not think this is a concept that would have been better left for fans of both franchises to simply imagine.

This entire crossover reads and appears overwrought, never quite managing to evoke the fun or seriousness from its sources that made it appealing as a concept.

There's simply too much clutter to appreciate the sense of style presenting this messy miniseries, though.

The final installment of Batman: Creature of the Night completes a fine companion piece to Superman: Secret Identity, well-considered, brilliantly illustrated, and deeply humane, even if it might be wise to re-read the first three issues before returning to the finale.

Batman: Damned is not so much read as relished, enjoyed for individual elements that do not add up to a stronger whole. That level of craftsmanship affords it the label of interesting, even if it would not ordinarily be categorized as good.

Despite its superficial appeal, Batman: Damned earns a big "keep it."

Wherever this gothic murder mystery is heading, readers may rest assured knowing that they will experience a viscerally tense saga of vengeance and obsession only possible in the comics medium.

Much of Gargoyle of Gotham #2 is dedicated to laying out the tensions and clues of a larger mystery and leaves readers to contemplate many sequences and how they may fit together. It's a tantalizing set of circumstances grounded in Gramp's outstanding action sequences and moody splashes.

Fast-paced action, iconic designs, and nightmare sequences all build into an unforgettable reading experience. This won't change how you think about Batman, but it will certainly raise your expectations for how the vigilante is depicted.

Using fear gas as the basis for a showcase of Kelley Jones' Batman artwork proves to be a great idea as the second issue of "Kings of Fear" tosses reality to the side in about half of its pages.

As this showcase continues, it is only increasing its capacity for fun while Jones remains the stylistic dynamo readers have come to know across so many years of great Batman stories.

Batman: Legends of Gotham #1 offers nothing new and is ultimately best skipped by all but the most dedicated of completionists.

With Fernandez and Bellaire delivering dark notes in perfect style, this is one issue no fan of Two-Face or Gotham villainy should consider missing.

It's a potent comic book that continues to engage Batman readers after nearly thirty-five years, and a fine point of inspiration for that exact reason. Yet the first installment of One Bad Day is so devoted to crafting an homage to The Killing Joke that it never bothers to define the most significant portion of its title: The Riddler.

Batman: One Bad Day Clayface is a testament to the power found even in the second tier of Batman's rogues, and calls for greater consideration of this daunting villain.

Penciler Ivan Reis, inker Danny Miki, and colorist Brad Anderson light this spectacle of ecoterrorists battling against caped vigilantes for the planet's future in a familiar style appropriate for a grand event in the DC Comics tradition.

While this might be worth picking up to peruse for Risso's pages, the collection rates a big "keep it."

Overall, The Brave and The Bold #1 makes a strong case for itself as an artistic showcase with room for the many mysteries inside to grow into something more compelling.

The series assembles a collection of headlining writers and artists, each of whom could carry a solo series featuring the characters from their stories, together in one of the most ambitious anthologies of 2023.

The Brave and The Bold continues to curate an outstanding array of talent in an anthology bound to please any Batman fan.

Batman: The Brave and The Bold #4 presents four stories, all of which are essentially new additions to the serialized anthology. Only "Stormwatch: Down With The Kings" continues an existing story, but even it is drawn into the events of "Knight Terrors" in a fashion that only serves to push the narrative forward in the final few pages; however, most of the nightmares witnessed in this addition read as unnecessary distractions lacking in both style and substance.