As it stands though, Afterlife with Archie #4 is the best-written comic of the series so far. I have no idea where things will go from here, but it's a safe bet that there's no happy ending in site for the characters. As for the readers, watching the world end continues to be captivating.

Of course, this being an issue of Afterlife with Archie, there is so much more happening as well --along with some more character deaths and a few dollops of the book's now-trademark creepy subtext. (Wait, does Smithers like like Veronica?) But to tell you more would be to spoil the undead fun. So know this: As the story rolls towards its conclusion, Francavilla's art becomes more and more overwhelmed by shadows that adeptly mesh with Aguirre-Sacasa's increasingly dark storytelling. The characterizations here are brutally realistic, and there are several bold confrontations between characters that are pointedly more shocking than all the bloodletting is. These first five issues have been better than anybody can have anticipated. Here's hoping that the undead continue to terrorize Archie and company for years to come.

This issue's Hammer Horror meets American Horror Story by way of Lovecraft may be a full of familiar patiches, yet it is one that makes readers eaglerly anticipate each new development in this bold twisted Archieverse. Things keep getting scarier in each new issue, and that is a wonderful thing.

After the huge theatrics of the last issue, this slower paced installment is exactly what was necessary and needed at this point in the series' run. This issue is all about reflection, be it the characters quiety recalling their pasts or the evoking of the poignant speech from the end of Thornton Wilder's Our Town that serves as a coda to a makeshift funeral in which the survivors symbolically bury their dead.

At this point, it's hard to say exactly where Afterlife with Archie will go next, and that's part of the excitement. More than just a zombie story, it continues to explore all sorts of monsters -- supernatural and human alike. As such it remains an absolutely riveting read.

While this era of Archie may be at an end, there is a new one rapidly approaching. But as revolutionary as this may seem, Archie Comics have long been about trying new things (Jughead's Diner for example) with varying degrees of sucess to take them to the next level of the industry. But as you've probably noticed, they've more than capable of taking on their rivals and won't be going anywhere soon. Just like Archie, fortunately.

The bottom line here? Riverdale is in good hands.

The brilliance of these final pages is how they crescendo with tension and sadness, leaving readers with the bleak realization that something tragic and senseless has happened. Dealing with LGBT and gun control issues in a comic is a powder keg of controversy, one that this installment has no doubt ignited. But at no point in the book does Kupperberg feel the need to grandstand and shove his views on the issues down the throats of readers. They are a part of the story to be sure, but they aren't the story. The focus, as always with Archie is on the characters, and how their bonds can't be broken. Apparently even by death.

Vigliante stories are a dime a dozen in comics, so the fact that The Black Hoodsucceeds on every level is a testament to Dark Circle's curating of talent. As the book's much ballyhooed use of the f-word indicates, this is a bold attempt by Archie to further reinvent its image and show that these characters aren't a distraction from what's going on in Riverdale but instead a shattered funhouse mirror reflection of the bleak side of existence that the company has never before attempted to showcase with such skill. The industry may not realize it yet, but Dark Circle Comics just became a major player.

It may be a bit early to say so, but screw it, The Fox is a perfect comic that will prove to be amongst the year's best. Juggling humor, excitement and heart, it is an absolute pleasure to read. Paul Patton Jr. may be unhappy with his lot in life, but you'll love everything about it.

So The Fox's adventures are over for now, but thanks to a final page tease we know that he will return inFox Hunt, which once again promises to reunite Haspiel and Mark Waid. For comics readers, this is great news indeed. The Fox is one Freak Magnet we'll want to see much more of.

Make no mistake, this first issue of The Hangman is a challenging work featuring an unsympathetic lead who will be transformed into a vigilante anti-hero in issues to come. Seeing his journey towards redemption -- or something approximating it -- is going to be a fascinating one. For now, the book is a slow burn whose greatest strength is throwing some light on the shades of grey that define us.

Don't miss it, or risk losing out on one of the year's most stunning debuts.

With each subsequent installment of The Fox, Waid and Haspiel have been upping the dramatic stakes and still keeping Patton grounded in his own weirdo reality. This particular combination of the supernatural and the silly is unlike anything else currently being done in comics. So appreciate the title while you can, it's shaping up to be one for the ages.

Ultimately, this is just the first chapter in a much larger story that Goldman is trying to tell (the second volume, Underwater, will be released this summer). Those willing to be patient with it, and can give in to its at-time overwhelming Daniel Pinchbeck-ian vibe and some characterization missteps, will find much pleasure to be discovered here. It's a slow burn and coming down from it will leave you feeling buzzed.

Ultimately, Archie vs. Predator is a fun read, but it is one with some untapped potential and some easily fixable problems. With the Predator in Riverdale by story's end, things are almost certain to pick up from here. Let's hope so, because with a little work this one could be a classic.

With an issue-ending teaser promising the return of the Time Police,Jughead#1 is a textbook example of how to revive a classic character through the writing of someone who truly gets the source material and adds his own eccentric flourishes. You may be surprised by how much this comic makes you laugh, but longtime Jughead fans won't. They've been waiting for this day for awhile.

Ultimately, the first issue of Escape from New York is one whose ambition is overwritten by an inherent need to get exposition out of the way so that the story can detatch itself from its source material and become its own thing. (An approach that has worked brilliantly with the Big Trouble in Little China book). We are cautiously optimistic to see where things go from this point forward. But hey, if it doesn't get better there's always the chance that BOOM! will get the They Live license, right?